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The Ealing studios story began in 1902, and their long legacy stretches the lifespan of the oldest continuously working film studio in the world, still in working order to this day. Despite this, ‘Ealing’ is as inseparable from the idea
Video-essayist and author Lindsay Ellis, following an absence during the release of her novels Axiom’s End and Truth of the Devine, has published an extensive Nebula Original video-essay about the film series which first ignited an interest in filmmaking in
Charlie Kaufman’s Adaptation is an adaptation about adaptation, whereas Susan Orlean’s The Orchid Thief, is about adaption. Or, maybe not. Really, The Orchid Thief is a factual chronicling of Orlean’s fascination with plant dealer John Edward Laroche and his consuming
Containing a story within a single location is a great way not only to spare your budget undue inflammation, but also to bring tension and drama to an unavoidable and concentrated pitch. That said, containing the breadth of a story
Corey Mandell begins one of the most extensive and approachable interviews ever conducted for the excellent resource on screenwriting that is Film Courage, by asserting that it is easier now than it has ever been to find someone looking to
The Japanese Kaiju genre (giant monsters and the like) is mostly nonsense, but their loose-cannon entertainment and simplicity are precisely what have made them so popular as exports, especially in the West. People love to pull up the 19th film
Martin McDonagh’s latest acerbic comedy of biting remarks, The Banshees of Inisherin, has given critics, audiences, and screenwriters the opportunity to reflect on his unique, darkly comic, gift of gab, transposed onto his frustrated characters, and best put to use
Characters who don’t have the benefit of the spoken word must be anthropomorphized visually, but how was Chuck Jones capable of anthropomorphizing a straight line. It has no eyes. No body to contort, gesture with or express posture. A line
The titular castle of Howl’s Moving Castle is an apt metaphor for the lush creativity of Ghibli studios’ output; towering and complex, yet indistinct, morphing all the time so as to leave only an impression in the mind, without the
The Razzies have a pretty poor track record when it comes to singling out the true ‘worst of the worst’ from a year in film and are more prone to riding a trend than anything else. Last year, the whipping