Why titled super 8

I think that, like you said, that is the norm now, which hopefully will change. One of the things I liked about the Star Wars franchise that you guys did was the creative handoff between you and Rian Johnson. It was letting filmmakers take their own story where they wanted to go.

I felt that played out in a really interesting way, but I know not everyone feels that way. I'm curious, for you, as the person who helped get that foundation off the ground, and also concluded it, do you feel like that trilogy would have benefited from planning out a very strict three-movie story from the very beginning, or do you enjoy that kind of creative freedom to kind of take the characters different ways and kind of see how it goes?

ABRAMS: I've been involved in a number of projects that have been — in most cases series — that have ideas that begin the thing where you feel like you know where it's going to go. Then sometimes it's an actor who comes in, other times it's a relationship that as it is written doesn't quite work. Things that you think are going to just be so well-received just crash and burn, and other things that you think like, "That's a little small moment, that's a one episode character," suddenly become a hugely important part of the story.

I feel like what I've learned as a lesson a few times now, and it's something that, especially in this pandemic year, working with writers — the lesson is that you have to plan things the best you can. You always need to be able to respond to the unexpected, and the unexpected can come in all sorts of forms.

I do think that there's nothing more important than knowing where you're going, and there are projects that I've worked on where we had some ideas, but we hadn't worked through them enough. We had some times when we had some ideas, but then we weren't allowed to do them the way we wanted to.

I mean, I've had all sorts of situations where you plan things in a certain way, and you suddenly find yourself doing something that's degrees different. Then sometimes it works really well, and you feel like, "Wow, that really came together," and other times you think, "Oh my God, I can't believe this is where we are.

It's like you never really know, but having a plan, I have learned, in some cases the hard way, is the most critical thing. Because otherwise, you don't know what you're setting up, you don't know what to emphasize, because if you don't know the inevitable of the story, you're just as good as your last sequence, or effect, or joke, or whatever, but you want to be leading to something inevitable.

But I will just say, it's something that we are incredibly excited about. I think that anyone who gets to work with Ta-Nehisi is blessed. So, I feel very lucky to get to be collaborating with him. On the original side, a project of yours in very excited for is Demimonde.

Is that still in development? Is that something that might be happening soon? To the point earlier about the pandemic, one of the remarkable and unexpected benefits of this otherwise trying and in many cases painful time has been that the projects that we've been working on have been allowed to gestate, and simmer.

The writing has been able to happen without that more typical urgency of pre-production and production, where suddenly you're looking at locations, and auditions, and set design, and production design, and props and things when you're just trying to figure out the bones and the framework. So, the beauty of this time on Demimonde , for example, is we've been able to not just outline the season, but write the season.

Not just roughly understand where we want to go over the course of the series, but actually plot it out. So, I feel like we're in a place that feels like it should be more the norm than it ever is to really kind of know where you're going to go. But to your earlier question that was a really good one, about planning things out, I just feel like that's one of the things that this time has allowed us to do in a way that I don't think we've ever had the luxury before.

Very quickly, I'm obligated as a writer for Collider to ask about Collider. I know it's a project that's been in development for a long time that you and Edgar Wright were working on, is that still bubbling up or has that kind of gone away? ABRAMS: Edgar has since gone off to do a few other movies, and it's not something that is actively in the works right now.

But, obviously, it's an idea that I love, that Edgar came to me with. The title refers to the type of film that was used in the early days of novice filmmaking. Introduced by Eastman Kodak in and aimed squarely at amateur filmmakers and hobbyists, the Super 8 camera and accompanying film stock became a staple of home video throughout the s and s.

The Super 8 video camera was a breakthrough for the amateur film industry, allowing aspiring cameramen to shoot a whopping 2-and-a-half minutes of footage per cartridge.

Its grainy and saturated look evokes a retro feel nowadays, one that many attempt to emulate using photography filters or smartphone apps. However, the cropped, lo-fi aesthetic was once the standard for would-be directors and cinematographers. Despite the quirky look of the images produced by Super 8 film, it soon became the dominant standard for home video throughout the s and s. When I think of 8mm, I think of the movies.

The exhibit is a platform for collaborative interaction between artists, poets, filmmakers, architects, engineers, museum gallery visitors and web surfers. In conjunction with the exhibit, filmmakers are now….

The work was inspired by Japanese tokonoma. The tokonoma is a raised alcove space often found in traditional Japanese architecture and used to comment, question, or illuminate aspects of…. Follow us Facebook Twitter Instagram. Super-8 film detail. Originally from Chicago, she is loving her time in the Twin-Cities even though she misses her beloved Cubbies.

Her passions include traveling, dancing, communicating only through emojis, and of course, telling anyone who will listen how amazing WAM is.

Just back from a semester in Italy, she is thrilled to be more involved with the Collective for the upcoming year! Subscribe to Blog via Email Enter your email address to subscribe to this blog and receive notifications of new posts by email. The Weisman Art Museum is… More.

In conjunction with the exhibit, filmmakers are now… More. The tokonoma is a raised alcove space often found in traditional Japanese architecture and used to comment, question, or illuminate aspects of… More.