Monkey See Monkey Make NBC Look Bad

How rocks stars are making capitalism look really, really, really bad.

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You’ve seen the promos. You’ve heard the promos. You’ve smelled the promos. The 2008 Olympics have been a long time coming, and now they’ve finally come. And while we have high hopes for U.S. Olympic teams, we sure hope the performance of the American teams tooting the horn is no predictor of the nation’s competitive edge over other nations.

Case in point: the BBC promo for the Olympics make NBC look like a bunch of sponsor-grubbing YouTubers.

“Journey to the East” is based on the classical Chinese novel Journey to the West and follows the adventures of Monkey, Pigsy and Sandy as they make their way to the other end of the world using Olympic athleticism to overcome the literal and abstract hurdles.

If this looks and sounds familiar, it should be: the enachanted short film (because we can’t bring ourselves to call it a mere video) is the brainchild of Damon Albarn and Jamie Hewlett, the duo behind the pseudo-band Gorillaz. (Albarn is perhaps better known as the frontman of Blur and the mastermind behind The Good, the Bad & the Queen.)

The 3,000-frame animation took 12 weeks to complete and required 12-13 drawings per second of screen time, eating up 50 pencils and over 8,000 sheets of animation paper. If you think that’s quite a production, just wait for the audio: it was recorded on unusual Chinese instruments, 20 of them total, with a choir of 38 Chinese singers studio-dubbed to sound like 76 people. The two parts — the animation and the music — were developed simultaneously over the course of the 4 months so they woud fit together in the most perfect, organic way possible.

…And now it’s back to “This segment brought to you by Exxon-Mobil.“

Blame It on the Weatherman

Why World War II put Al Gore in business, and how Mae West helps keep it 72 and sunny.

WAR, COMICS, WEATHER

Every once in a while, we uncover an utterly unexpected and rather bizarre connection between seemingly random and unrelated elements. That’s exactly what University of Pennsylvania grad student Roger Turner has done with his accidental-discovery-turned-thesis about the link between comic books, military training and weather reporting.

In ‘Toon with the Weather is an audio slideshow revealing the fascinating historical reason for why the 8 o’clock weatherman delivers his spiel the way he does.

It all comes down to the IQ of WWII aviators. Turns out, the military hired pilots for their physical ability, sight and mental endurance, not necessarily for their… erm… cognitive capacity. So when said pilots had to be taught basic weather knowledge from meteorological textbooks, the military had to dodge more blank stares and huh’s than they did Nazi airplanes.

The solution, as usual, was to make things simple — so the military borrowed from the emerging comic book culture and decided to use cartoons to illustrate the weather. The pilots got it, the Nazis got theirs, and the military was happy. A whole culture of weather comics was born, full of weather-based characters (think mean bully-like cumulonimbus clouds), humor, even pop culture references to anyone from FDR to Mae West and other pin-up girls.

After the war, many of those first-generation TV weathermen were ex-military meteorologists who decided to present the weather to the general public in the same style they had used to educate the pilots. They used simple maps and cartoon-like imagery, which we still see today — those sun-behind-cloud graphics, red and blue arrows, and rain illustrations that grace the nightly forecast behind the hot chick who looks nothing like a retired WWII pilot.

Some things stay the same, some things luckily change.

Even as the discussion on climate change gets more and more heated, we see the same iconography and graphics used to illustrate the process — take Al Gore’s latest TED talk, chock-full of those same simple shapes and cartoon-like graphic sensibility.

Watch the slideshow and learn something cool to make you sound all intelligent and well-read at the next dinner party.

The Reel Stuff: Top 3 Sites for Harcore Film Buffs

Hitchcock vs. Jason Reitman, the laserdisc’s most valuable heritage, and why David Caruso is now more quotable than ever.

You were that kid in film class. Or you never even took film class and still wish you had. Just so you could be that kid. You can quote any Sundance film on cue and name-drop obscure directors like a top-40 rapper does bling brands. Your knowledge of German Expressionism and Soviet Montage is directly proportionate to your contempt for IMDB, so it’s only fitting that we bring you the top 3 gems by film geeks, for film geeks.

ART OF THE TITLE

In our line of work, we know every touchpoint with a brand is important, every detail of the package matters and needs to work with the contents. And because every film is its own mini-brand, the best of them pay special attention to one very special element of the package: the opening credits.

Which is why we’re head over reels with Art of the Title — a project dedicated entirely to the coolest, the smartest, the most visually engaging of movie title sequences.

You’ll find anything from the colossally classic like Vertigo, to the excruciating bio-realism of Fight Club, to the uncomplicated playfulness of Napoleon Dynamite.

We’d love to see them add some more of our favorites: like the opening credits of Mad Men and Weeds, and the end credits of Superbad. Now here’s a final project for your next film class.

MOVIE TITLE SCREENS

Wanna get even more specific and anal about opening sequences? Zoom in solely on the movie’s title. For 11 years now, mega film buff Steven Hill has been doing just that. His Movie Title Screens Page is as far from a mere page as it gets: it’s a fascinating library of 5,301 movie title slides encompassing more than 7 decades of film.

You can see the evolution of title design over the years, compare title screens of alternate releases of the same film, or just gawk at the amount of work that went into this. And to think it all started almost by fluke, thanks to a crappy laserdisc.

WAXY

A true film buff is nothing if not obsessive. And when they’re compulsive about being obsessive, well, it could either result in institutionalization, or yield a brilliant project. Luckily, Andy Baio over at WAXY has decided to skew brilliant with his Fanboy Supercuts collection of “obsessive video montages” stringing together every utterance of a specific word or phrase in a specific film, TV show or video game.

The collection ranges from the expected yet delightful (like every uttrance of “dude” in Big Lebowski), to the inside-jokish (like every “lupus” reference in House), to the unhelpably smile-inducing (like every sound of a door, button or explosion in The Incredibles), to the indulgently absurd (like David Caruso’s each-more-laughable-than-the-next one-liners on CSI: Miami.)

If you’ve got some of your own, go ahead and post them in the comments to be added to the collection. We’re waiting for someone with more free time than us to finally splice together every “mothafucka” in every Samuel L. Jackson movie.

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