With Oscar season upon us, it’s a good time to reflect on the past year in movies. My favorites may not align with the Academy’s, so rather than try and predict the big winners, I offer up my very subjective and admittedly random recap of what I liked (and didn’t like) amid the dozens of movies I experienced in 2011. New reviews are constantly being added to my website, chickflix.net, so feel free to check it out for additional perspectives on a slew of movies – including several Oscar-buzzy flicks that are just coming out in theaters.

My favorite movies of the year:

50/50 - I laughed, I cried. I loved this movie with Seth Rogen and Joseph Gordon Levitt. Don’t let the premise of a buddy movie about a guy with cancer scare you off.

Win Win - This indie with Paul Giamatti came out early in the year and didn’t get the love and respect and marketing it deserves. It’s kind of like The Blind Side, only better.

The Descendants - George Clooney shines in this dramedy that I liked way more than the The Ides of March (despite my appreciation for both Clooney and Ryan Gosling).

The Help - It did the book proud, and featured a strong ensemble cast of phenomenal actresses.

Bridesmaids - This breakout hit also featured a strong ensemble cast of phenomenal actresses who also happened to be pretty darn funny.

Harry Potter and the Deathly Hallows – Part Two - I wasn’t an obsessive fan of the series, but I was still impressed and satisfied with how the 11-year epic drew to a close. Well done, Harry.

The Artist – It took me about 20 minutes to ‘acclimate’ to watching a silent movie. But ultimately, this flick drew me in. It’s a work of art that reminds us what on-screen chemistry is all about.

Honorable Mentions:

Moneyball - The relationship between Brad Pitt and Jonah Hill made this more than an ‘inside baseball’ movie.

Midnight in Paris - I’m generally not a fan of Woody Allen flicks, but this one was a pleasant surprise.

Drive - This type of movie (Pulp Fiction-esque violence) is not my usual cup of tea, but Ryan Gosling was incredibly compelling to watch.

Individual performances of note:

Meryl Streep in The Iron Lady – Streep is insanely good (as always) as the former British PM Maggie Thatcher, but the movie itself is very uneven.

Michelle Williams in My Week with Marilyn – Williams embodies the iconic Marilyn Monroe but a week felt more like a year in ‘movie time’.

Leonardo DiCaprio in J. Edgar – The movie was rather weak, but Leo’s performance was very strong. The guy’s got range.

Agree. Disagree. Agree to disagree. Or share your list here!

By Hannah R. Buchdahl for media-match.com/usa

According to the omni-knowing Wikipedia, “A 3-D (three-dimensional) film is a motion picture that enhances the illusion of depth perception”. The bigger question facing film-makers and the film industry is, “does it enhance the actual film or viewing experience?” It is being debated whether there are actually any worthy 3D movies out there… Has Hollywood got carried away with a gimmick?

To 3D

One positive point put forward by Richard Gelfond of IMAX Corp., is that “visionaries like Tim Burton, James Cameron, Peter Jackson, Jeffrey Katzenberg, Steven Spielberg and Robert Zemeckis all have 3D projects under way. With that talent at the helm, it is certain to reset the benchmark for 3D film experiences“. You could even say that Cameron help push the technology forward in it’s current wave with his own-specification Reality Camera system, developed in 2003 in order to film ‘Ghosts of the Abyss’.

With these creative minds realizing that the filming process should be use to enhance the storytelling, and not simply slapped on to try and pick up a current trend, there is promise for the quality of 3D films being made. In that regard, we are seeing some smart uses of 3D, also including a number of documentaries and nature adventures where 3D does add to the effect of some staggering scenes.

Do moviegoers want 3D movies? The figures would suggest so: back when ‘The Polar Express’ was released as IMAX’s first full-length, animated 3-D feature, the 3-D version earned about 14 times as much per screen as the 2D version. This was a few years ago, and certainly encouraged a number of directors to experiment further with the medium; fast forward to last year and we saw some pretty epic releases in ‘Alice in Wonderland’ and ‘How to Train Your Dragon’. Figures may be dipping in 2011, in regards to the percentage of box office total that is received through the 3D version of the film, but that small dip is only after several years of decent increase, and partly due to the wider selection of 3D movies around.

Not To 3D

Not every movie works in 3D. Hollywood is treading a thin line this time around, and needs to avoid the similar recent record industry fad that ‘every song needs an auto-tuned T-Pain vocal’, which became so ridiculous it lost all credibility, and crashed and burned in a short time frame. Converting old classics to 3D just for the sake of it has hurt the reputation pretty badly of late (‘Jaws 3D’, anyone?). Rather refreshingly, Tim Burton isn’t shooting ‘Dark Shadows’ in 3D, which is a great thing to hear. It can be argued that such movies need a crisp, darker tone to them, and there would be little artistic advantage to use it in those cases.

The medium has been getting a lot of stick this year, from the quip of “Is there a way for Woody Allen to be neurotic in an added dimension?“, to the sudden decline of favor from Dreamworks CEO Jeffrey Katzenberg. Has Hollywood already overcooked it?

2.5D?

Ultimately, I think, and hope, there should be an equal balance of 3D and non-3D movies, and a distinction that you can like or dislike any of them for reasons other than the format. Studios don’t have to make everything in that medium, and reviewers don’t have to absolutely and automatically detest anything made in it. It is about using the technology as another tool in a wide arsenal, similar to the way that talented directors may use CGI and digital conversion on some projects. Using it to add to the overall cinematic experience is a way that the technology can survive and remain special for the movie-goer, rather than an all-out assault from the big studios and ultimate audience over-saturation.

by Lee Jarvis.

Nothing defines Hollywood more than the parties. Whether its a wrap party an invite up in the hills or a holiday party you better be ready to put your best foot forward.

Bring a Friend
There is nothing more awkward than not really knowing anyone at a party. You feel uncomfortable, you look uncomfortable, and your new best friend quickly becomes the bartender or the nearest waiter with a delicious tray of appetizers.

Having a friend with you will not only help you fit in and relax, the odds of you seeing someone you know doubles (it’s a small world).

2 Drink Maximum
These parties usually mean open bar* and while there is nothing better than endless free alcoholic drinks, now is not the time to totally let loose and get wasted. For those Millionaire Matchmaker fans out there you know we’re taking a cue from Patti on making a good impression, if you think about it, dating and networking aren’t really all that different . That being said it’s ok to have a drink or two to help loosen up.

*Even if it’s an open bar, be sure to bring a few dollar bills to tip with. $1 a drink is good.

Stars and Big Wigs
Odds are you’ll bump into some of the big players (Show Runners, EPs, Directors, Cast). If you get the opportunity don’t hesitate to introduce yourself and say hi, but don’t push yourself on them and don’t get clingy. Read the signs and don’t overstay your welcome.

Step Out of Your Comfort Zone
It’s tough to put yourself out there and meet new people, but now is one of the best times to do it. You always have an out: the music is loud, people are constantly moving around and catching up. Ideally you’ll know someone at the party and they can start introducing you to more people.

If people you know haven’t shown up or they are skipping the festivities, it’s easiest to start introducing yourself to other people who are alone or in groups of two. Hi is always a good place to start.

Who Was That?
Be sure you’re listening when names are said, it’s easy to focus on what you’re going to say or how you’re acting and completely miss your new found friend’s name. Try saying the person’s name back to them “nice to meet you Jim” or repeating their name in your head a few times. If you can’t remember it never hurts to ask again whether its the at a slow part of the conversation or the end.

What to Talk About
You’re main goal is to focus on who people are. It’s easy to start with what they do and who they know here, but try not to get swept up in the where or who they work for. This is a party, talk about fun stuff like what they do outside of work, where they are from, etc. There is definitely an art to conversation, but as long as you’re listening to what people say and respond accordingly you are well on your way to connecting with some new friends.

Light on the Biz Cards
I’m NOT saying leave them at home (always have you business cards) or NOT to hand them out, but just don’t push them on everyone. Most people are there to have a good time and relax. Use your best judgment, sometimes being a little less official and exchanging phone numbers or remembering their name and connecting on Facebook or LinkedIn the next day is a good plan.

Follow Up
E-mail, Facebook, LinkedIn, text however you want to just be sure to follow up. Grab some drinks, meet for coffee or lunch, you know the drill.

Enjoy It
Most importantly just have fun. You’re out hanging with Producers, Directors and the stars, drinking and eating for free. Even though you feel like you’re at the bottom of the food chain, this is the start to your Hollywood lifestyle, take a chance to soak it all in.

KeyPA.net

KeyPA.net KeyPA is dedicated to empowering young people in Hollywood to achieve their goals, and this was originally posted here.

“Dustbuster” was the loose name given to the job of digital colorist assist-assist, though the job title was not exactly accurate (in fact, it always seemed an afterthought, something to give us some sort of hierarchy within the company). I mean, we were working a film post-production job, in an assistant capacity, beneath the Colorist Assists, so I suppose you could give us that particularly cumbersome label. However, to save time and spare confusion, I and my fellow workers were called dustbusters, as we were literally responsible for removing dust (as well as scratches, and blotches) from every single frame of every single film the company took on. The colorists needed an impeccably pristine “canvas” with which to do their work, and that’s where we came in.

The process for cleaning film is simple enough to describe on the surface: they would scan the film digitally, and would then send the files to the main computers in our workspace. The film was then broken up into sections, with each section typically assigned to one of the nine or so workstations. Each workstation was loaded with the company’s proprietary software program, which would run the film frame by frame, shot by shot, and scene by scene. The dustbusters would then literally clean the film, by digitally removing every scratch or hair or discoloration. We did this by surrounding the offending mark with a box, which would then scan the next frame for a similar image to render. If there was little movement, the job was simple; if there was a lot of movement, we then had to tweak the box to get it as close as possible to blemish-free.

If this sounds mundane, it’s because it was. An eight hour shift, locked in a small, dark, windowless room, working at a cubicle, and staring at the same couple of thousand frames of film all day isn’t exactly how I would describe the fun side of Hollywood. But more than that, it served to illustrate just how many production jobs there truly are, and how varied they can be. Now, whenever I look at a film’s budget, I can’t help but be impressed by the number of people working behind the scenes, on the smallest details, people whose names will never appear in the credits; I think of the countless production companies, each specializing in an aspect of the filmmaking process. And I marvel at just how big and yet small this town can feel.

I showed up at a studio in Hollywood dressed in comfortable clothes: sneakers, jeans and a tee-shirt, as I’d been instructed. I was met by my friend, who handed a walkie-talkie and showed me how to key the various channels. So far so good. He then took me around and introduced me to his boss, along with some of the other production assistants I’d be working with. More importantly, he taught me some of the valuable lexicon I would need while working on set: “what’s your 20?” (where are you?)… and “ten one hundred” (I’m in the bathroom). Personally, I didn’t think I’d ever feel comfortable letting thirty or so people know I was in the can, so I figured I’d just skip over that part. But I got a kick out of saying “what’s your 20?”, and used it often that first day. I think I even started throwing in things like “ETA five minutes”.

Anyway, only once I was on set was I told what they’d be shooting: turns out Bob Dylan was filming a video of his original song from Curtis Hanson’s film “Wonder Boys”. Everyone was instructed in no uncertain terms that, once Mr. Dylan was on set, we were all to maintain our distance, avoid prolonged eye contact, and lastly, under no circumstances, were we to talk to him. Ever. I nodded, figuring it was cool enough that I’d get to see Bob Dylan in person. And sure enough, when he walked on set, it was a bit of a thrill that he was standing only five feet away.

I didn’t expect what came next, however: in between shots, to help pass the time, Dylan decided to practice. He started strumming his guitar, and singing songs like “Hurricane” under his breath. I looked at the other production assistants around me, and could see the same barely-suppressed excitement on their faces: we were basically being treated to a private concert by the man himself. I didn’t think the day could get better from there, but it did.

Because of my limited experience, I was plucked from the set and sent to work the monitors in the video village, the area where the director (Hanson), the producers, and the talent all gathered to watch the various takes; in this case, the talent included Dylan, as well as Michael Douglas, who was there to reprise his role in the film for some scenes with Dylan. My job was simple: press play and rewind. I took drink orders, handed out coffee and pastries, and then settled in a chair next to Michael Douglas for the next couple of hours. The highlight came when everyone wandered away except for myself and Bob Dylan; figuring it would be rude not to talk to him, I struck up a conversation and we chatted for about five minutes. At that point, I couldn’t believe they were actually paying me to be there! When the day finally ended, I walked away whistling, having had one of my best days in this city. This is showbiz, I thought to myself; I now have a PRODUCTION ASSISTANT job, and I love it!

Two weeks later, I PA’d a music video in downtown Long Beach, for some crappy boy band that no one had ever heard of. It rained… I was stuck outside, hauling cables and lights, from 10p.m. to 9a.m…. I made $75… I got yelled at twice by the psychotic 2^nd Assistant Director… and I broke my walkie-talkie (and nearly my hand) when some idiot slammed a metal pipe into it. As the rain poured down, I marveled at just how much I had been misled.

This is showbiz, I thought to myself the next morning as I trudged home; and I now have a production assistant job. Yay.

1. Get a Production Assistant Job
Working as a production assistant, or a PA, on a film or TV show is a beneficial way to learn about the production process and to get familiar with the folks making the decisions. The day-to-day duties can vary greatly depending on the production and budget, but the elbow-rubbing time can not be underestimated. Some will tell you assistants exist to feed the egos of their self-important bosses, but others know it’s a rite of passage to the Hollywood fraternity (or sorority). While much of the job consists of pouring coffee and answering phones, occasionally there can be some free time to read scripts and write coverage too. Also, production companies fill most new positions from within. When there’s a new position to fill, most managers would rather promote a qualified production assistant to the position, rather than hiring a stranger, even if some outside applicant had better work on his reel. In many studios, you find top people who initially started as PA’s. The key is getting in the gate in the first place.

Check out Media-Match to search for production assistant jobs and apply for as many as seem appropriate. For a small fee Media-Match will post your resume and try to match you with a job opening in the television and film industries. Also, it has a forum and a social network that allows you to interact with other people working as production assistants and job seekers looking for production assistant jobs.

2. Educate Yourself
Do you know what the terms “call sheet,” “sides,” “honey wagon,” and “call time” mean? If you don’t, you need to learn the terminology, “the lingo” that’s used in the industry. Or else, you can’t do your job properly as a production assistant.

Do you know the difference between a Director of Photography and an Assistant Director? Do you know what the Production Designer does? Learn more about the various production job roles found on television and film sets.

Next, familiarize yourself with the “trades.” These are magazines and newspapers geared towards entertainment industry professionals. The main ones are “The Hollywood Reporter,” “Variety,” “Film & Video,” and “Backstage West/East”. “Film & Video” is specifically for those who work behind the camera. Get “The Hollywood Reporter” on Tuesdays and “Variety” on Fridays. Those are the two days when the Production Charts are listed.

Learn as much as you can about the workings of film and TV production before you arrive on set for your first day of work.

3. Network, Network, Network
In Hollywood it’s not so much what you know as who you know in the entertainment industry. As many Tinseltown residents will tell you, this city is built on connections.
Take advantage and leverage your connections as a production assistant. Network, network, network. Talk to the people you work with and get to know them. The film or television industry is all about who you know and the people you are working with are a great place to start. Make those connections. You can meet people this way and begin to build up a network and beef up your Rolodex.

4. Be Persistent
Being a production assistant is not glamorous, but it is an important role. While you are on a set, be a sponge and soak up everything you can. When one show ends, be on the lookout for another one. Don’t ever stop working or looking for work because the next <a href=”http://www.media-match.com/jobsboard.php” title=”Production Assistant Job”>production assistant job</a> you take could be the one that takes you to the next level in your career.

5. Figure Out Your Ultimate Goal
Think about what your eventual career goal is. When you’re working as a production assistant, knowing what you want to do and knowing what you must accomplish before you get there is an effective way to move up. You have to put yourself on the proper path to where you want to be in the film or television industry.

If you’re currently a production assistant or are pursuing to be one, we’d like to hear your tips and suggestions.

Every year, the Hollywood community inevitably complains about the shows that didn’t get nominated (I would include myself in that list, seeing as how ‘Battlestar Galactica’ was not nominated for best drama series, while ‘Lost’ was overlooked in the writing and directing categories; however, since the former received a writing nod, and the latter is once again in the running for best drama, I really can’t complain).  But this year is different, and should be remembered as such, for the fact that two basic cable networks have shows that are being considered for best drama.  That is not to take anything away from what the broadcast networks have done; shows like ‘House’ and the aforementioned ‘Lost’ not only withstand the test of time, they actually reinvent themselves to remain fresh and interesting.  The cable networks, too, have remained viable, with shows like ‘Dexter’ and ‘The Wire’ receiving nothing but praise from fans and critics both. 

But the emergence of networks like AMC is notable for the fact that they have come seemingly out of nowhere to challenge convention.  They have presented us with small, character-driven shows dominated by great acting and compelling writing, and as a result have found steadily growing audiences.  They even seem to come up with ways to deal with some of the challenges facing television as a whole, such as the growing worry that people with DVRs are fast-forwarding through commercials: while watching ‘Mad Men’, a show about ad executives in the 1960’s, each first-half commercial break features title cards that give interesting tidbits about the sponsor or product in the ensuing commercials (who knew the first Orkin ad dates way back to 1954?)  Simple yet informative, these commercial teasers, for lack of a better description, keep you interested – they actually make you want to watch the commercial!  It’s creativity like this that illustrates, in a small way, what networks like AMC bring to the mix. 

Basic cable networks in general have been upping the ante in recent years.  It’s fitting that FX has recently changed its slogan to “There is No Box”, because that is how the network approaches its programming.  By thinking beyond what’s safe and what works, they have risen the level of quality; in doing so, they have also questioned many of Hollywood’s beliefs, including what, exactly, a hero should look and act like.  FX (along with TNT and USA) has also helped to dispel the notion that there are no primetime, desirable roles for women over 40 – just ask Glenn Close, Holly Hunter, or Kyra Sedgwick.

Here’s hoping that the broadcast networks take a look at what their basic cable counterparts are doing, and realize that there are in fact lessons to be learned. 

Beyond merely the industry taking notice, the growth of Comic-Con lies with those actually attending the event.  What we’re seeing is a growing trend of quality.  Comic fans have always been passionate about story; they’ve always had an exacting stance on what the characters can and cannot do.  And they now have the power to demand that quality from the studios and the filmmakers.  As films like “Iron Man” and the new “Star Trek” and “The Incredible Hulk” are brought to the big screen, their fans scrutinize every detail for authenticity… they discuss rumors, dig for advance copies of the script, and theorize to no end.  Some filmmakers find this intrusive, feeling it hinders the creative process.  Others, though, have taken notice, and have in fact embraced these fans (called “fanboys” for their devotion).  For these filmmakers, it makes sense to use this resource.  These directors and writers understand full well that any work based on an existing product will have to get these people’s stamp of approval… an advance thumbs-up can do wonders; conversely, early bad press can be hard to overcome.

In the end, the fans just want to see the best product they can, and while it’s not possible to satisfy all of them all the time, one can still get close. With the growth of the internet – a realm dominated initially by those who love computers – we’ve seen an influx of fan sites like “Ain’t It Cool News”, whose sole purpose was to analyze, discuss, and review their favorite films and television shows.  Now, this site has grown so much since its inception that its founder, Harry Knowles, is now being invited by directors like J.J. Abrams to view a clip of his newest “Star Trek” film – months before its release – in the hopes that he’ll relate something positive to his readers.  This kind of buzz is vital to a film’s success, especially those in the science-fiction and fantasy realms, and guys like Abrams are smart enough to realize it.  That’s why he also uses Comic-con to promote his hit show “Lost”, drawing in the audience with mysteries and teasers well after the show has hit its summer break. 

Comic-Con’s growth can also be attributed to the development of its truest fans.  Back in the 70’s, the convention started with only a few hundred people; one of the first notable guests was not a filmmaker but the sci-fi author, Ray Bradbury.  As the convention grew, it attracted kids of all ages, whose love of comics and films brought them together.  Now, these children are adults, and are themselves responsible for many of the films and TV shows that screen there.  The kids have grown up, yet they still have the same exacting standards as when they were young.  It is this dedication to quality that keeps the convention going, and it will continue to thrive so long as it stays true to this vision.

That, and it also doesn’t hurt that Ray Bradbury will be there again this year…