September 2012 3 posts

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Are Design Books Meant to Be Read?

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FILMography

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Deleted Scenes from “The Master”

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Fri 28 Sep
2012

Deleted Scenes from “The Master”

Last weekend I went to see Paul Thomas Anderson’s latest Very Important Movie, “The Master.” I’m not sure I can recommend it — it’s like spending two hours with largely unlikeable people — but personally I thought it was an amazing cinematic achievement. Anderson is a craftsman of the highest order, and every scene and shot is rich with artistry. It’s not a profoundly enjoyable movie, but you might enjoy it nevertheless.

The Master

Over at Cigarettes & Red Vines, they take note of the fact that “many, many of the scenes present in the film’s marketing did not make it into the finished film.” This blog post is an inventory of the clips prominently featured in the movie’s trailers; the writers also discuss how they likely would have fit into the narrative that was ultimately released. It suggests that there is at least a longer, more expansive cut that may one day make it to video or even to theaters. Count me in.

Fri 14 Sep
2012

FILMography

Christopher Moloney prints out stills from movies, carries them to the real world locations where they were shot, holds them up so that the stills mesh almost perfectly with the scenery, and then takes another photo. The results look like this:

FILMography

It’s beautifully done. See the full tumblr here.

Wed 12 Sep
2012

Are Design Books Meant to Be Read?

2:20 PM
Remarks (18)

The folks at Unit Editions, a boutique publisher of amazing graphic design books, keep turning out stuff that I can’t resist. Back in June I pre-ordered their “most ambitious Unit publication to date — a numbered, limited edition, deluxe monograph of the legendary Herb Lubalin, one of the foremost graphic designers of the 20th century,” written by noted design writer and Unit Editions co-founder Adrian Shaughnessy.

Lubalin

It arrived in the mail recently and boy does this thing announce itself. It ships in a cardboard box, but when you open it up, the book is enclosed in another cardboard box, this one printed with some fancy graphics and the name of the book on the spine (I’m not exactly sure if I’m meant to save this second box or not). Open that, and you finally get to the book itself, wrapped in a screen-printed dust jacket — it’s interesting to me how in print design the more enclosed the content and the harder it is to get to, the more special it’s meant to feel.