Monthly Archive for October, 2011

Wake Up and Ship!

Not to start that whole thing again, but where Apple has had a knack for bringing progressive products to the consumer market, Microsoft has always had a knack for creating videos about the kinds of products it would like to be able to bring to market… but never does.

The latest is the Productivity Future Vision from the Office division, which like all their videos, looks great (and probably would interact horrible in a real-world scenario):

I suspect these videos are made not only by outside agencies (if you know different, let me know), but entirely by graphic designers who dream about interaction design, but never had to realize their ideas in the real world.

It’s a bit like having a great print-only designer design a website; it looks great, until it has to actually live inside a browser.

Dreams are for sleeping; it’s time to wake up.

Real artists ship.

Squarespace 6

Excitement at the office today, as we put to sea the public beta of our new platform, Squarespace 6. We’ve poured all of our care and attention into it, and if you build websites, or publish online, we think you’ll like it a lot.

On a personal note, I couldn’t be at a better place, at a better time.

Now go sign up for a beta invite.

Kubrick’s Wonderful, Forbidden Smile

[During the production of The Empire Strikes Back] The art department experienced an awful setback, when Stage 3 at Elstreet Studios burned to the ground. “Stanley Kubrick had built a hotel for The Shining, and they kept on covering it with salt, which was melting, so the studio was a real mess,” says [Empire Strikes Back Production Designer, Norman] Reynolds. “And it was cold and it was just dreary, really dreary. And then the hotel set caught fire and the stage burned to the ground. It was a tough time, actually.”

“The still photographer on The Shining, Murray Close, took a wonderful picture of Stanley standing in front of the smoldering remains, and he had a wonderful smile on his face.” says Boone. “I saw a print of that, but Murray was forbidden to have that picture published.”

From Star Wars: The Blueprints, page 94. Murray Close was 19 at the time, and worked with Kubrick for three years on The Shining, a period he talks about in this interview.

Norman Reynolds recalls that [legendary production designer, John] Barry was dumbfounded one day while working with Stanley Kubrick on A Clockwork Orange. They were on an apartment set and, although the fridge would remain closed throughout the scene, Kubrick insisted that Barry fill it with food props that the character would’ve stocked. “They had a bit of a falling out as a result of that,” Reynolds says. [p101]

Stanley Kubrick attended the funeral of the John Barry, the the production designer on Star Wars, who had died suddenly:

“That really was a really big shock to see Stanley [Kubrick],” says Tomkins. “The only time Stanley came out of his shell. I mean, you never would get Stanley going to anybody’s memorial service, but he did come to John’s. So I was quite impressed by that, that he must have like the guy very much.” [p95]

Science Fiction and The Masses

Here’s Gary Kurtz, producer of Star Wars in a 1979 article from The Atlantic:

“The title Star Wars was an insurance policy. The studio didn’t see it that way; they thought science fiction was a very bad genre, that women didn’t like it, although they did no market research on that until after the film was finished. But we calculated that there are something like $8 million worth of science fiction freaks in the USA, and they will go to see absolutely anything with a title like Star Wars.”

And…

Initial research from 20th Century Fox using the title and a brief synopsis came back with the results that only males under 25 were interested in seeing the film. Fox then deliberately marketed the film with a view to attracting older and female cinemagoers by pushing images of humans (including Princess Leia) centerstage and referring to the film in more mythic tones, rather than science fiction. IMDB

I read this today, in Andrew Stanton’s profile in the October 17th, 2011 edition of The New Yorker, in relation to the upcoming John Carter movie:

[Disney] also nervously lopped “of Mars” off the film’s title, to lower the barrier between women filmgoers – who are famously averse to sci-fi – and Taylor Kitch’s smoldering aura.

It’s… John Carter of Mars. It’s a stable of science fiction, quite literally the father of space opera, Buck Rogers, Flash Gordon, and, ironically in this context, Star Wars.

Renaming it is in itself ridiculous; after all, every single remake coming to your local cineplex are there because you’re already familiar the name, making it easier to sell. Beyond that, to name it John Carter puts it in amongst movies like Joe Black, Jane Eyre, and Billy Elliot…

And let’s be honest here, the Barsoom series is one long male power fantasy. John Carter is strong, sexy, clever, as good with the flesh as with the steel. Unbearably so in the books, as it were.

Now, to be fair, John Carter is considerably more expensive than Star Wars was in its time, but considering the continuing popularity of Star Wars as a franchise – despite Lucas’s best attempts to alienate his original fanbase – not to mention the success of games like Half-Life, Halo, and Gears of War and TV series like Lost and Battlestar Galactica, movies like Inception or really any of the innumerable superhero movies, including such garbage as the recent Transformers movies… that by now Hollywood would trust the general public to succumb to either marketing, or simply, an idea, a solid, good movie even?

“To Steve”

We were in a restaurant when I got the news on my iPhone. Unable to digest the finality, we simply toasted his legacy. The couple next to us promptly raised their glasses to ours, “To Steve”.

To you, Steve. Thank you for everything.