movies

Best Denise quote ever

overheard / /

We went to see Troy last week. At the end of the movie, the Trojans drag the Trojan Horse into the city. They party, celebrating what they think is the abandonment of the war by the Greeks, and everyone collapses into a drunken stupor. Cut to the waiting Greek ships, hidden a few miles away, just waiting for the signal. Later that night, the sides of the horse slowly open, and out clamor the Greeks who were hidden inside.

DENISE (sincerely): Oooh … I knew that was going to happen!

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Portable music turns life into cinema

art, business, tech in changing society, technology / /

From Farhad Manjoo’s “iPod: I love you, you’re perfect, now change” (Salon: 23 October 2006):

Levy writes that when this happens, the music becomes a “soundtrack” for the scenery, which is a good way to put it. The iPod turns ordinary life — riding the bus, waiting in line at the post office, staring at a spreadsheet for 12 hours a day — into cinema. Levy describes the work of sociologist Michael Bull, who, when studying the habits of fans of the iPod’s great ancestor the Sony Walkman, found that people liked to think of themselves “as imaginary movie stars” playing out scenes dictated by the music in their ears. One subject who listened to music from spaghetti westerns said that the Walkman turned him into a “verbal bounty hunter” bent on firing “short cool blasts of verbal abuse” at his co-workers. The science fiction writer William Gibson once described the Walkman as having done “more to change human perception than any virtual reality gadget. I can’t remember any technological experience that was quite so wonderful as being able to take music and move it through landscape and architecture.” The iPod, with its greater capacity, alters perception even more profoundly; when the right song comes on, the world actually feels different.

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1st book written to be filmed

art, business, history, language & literature / /

From Claudia Roth Pierpont’s “Tough Guy: The mystery of Dashiell Hammett” (The New Yorker [11 February 2002]: 70):

In March, 1928, [Hammett] had written to his publisher, Blanche Knopf, about his plans to adapt the “stream-of-consciousness method” to a new detective novel. He was going to enter the detective’s mind, he told her, reveal his impressions and follow his thoughts … But a few days after sending the letter, Hammett received one himself, from the head of the Fox Film Corporation, asking to look at some of his stories. He promptly fired off a second letter to Knopf, informing her of an important change in his artistic plans: he would now be writing only in “objective and filmable forms.” In the finished novel, Spade is viewed from the outside only, … we are granted no access to his mind. “The Maltese Falcon” may have been the first book to be conceived as a movie before it was written.

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The HOLLYWOOD sign as multi-user access-control system

business, security / /

From Bruce Schneier’s “Hollywood Sign Security” (Crypto-Gram: 15 January 2005):

In Los Angeles, the “HOLLYWOOD” sign is protected by a fence and a locked gate. Because several different agencies need access to the sign for various purposes, the chain locking the gate is formed by several locks linked together. Each of the agencies has the key to its own lock, and not the key to any of the others. Of course, anyone who can open one of the locks can open the gate.

This is a nice example of a multiple-user access-control system. It’s simple, and it works. You can also make it as complicated as you want, with different locks in parallel and in series.

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AACS, next-gen encryption for DVDs

business, security, tech in changing society, technology / /

From Nate Anderson’s “Hacking Digital Rights Management” (Ars Technica: 18 July 2006):

AACS relies on the well-established AES (with 128-bit keys) to safeguard the disc data. Just like DVD players, HD DVD and Blu-ray drives will come with a set of Device Keys handed out to the manufacturers by AACS LA. Unlike the CSS encryption used in DVDs, though, AACS has a built-in method for revoking sets of keys that are cracked and made public. AACS-encrypted discs will feature a Media Key Block that all players need to access in order to get the key needed to decrypt the video files on the disc. The MKB can be updated by AACS LA to prevent certain sets of Device Keys from functioning with future titles – a feature that AACS dubs “revocation.” …

AACS also supports a new feature called the Image Constraint Token. When set, the ICT will force video output to be degraded over analog connections. ICT has so far gone unused, though this could change at any time. …

While AACS is used by both HD disc formats, the Blu-ray Disc Association (BDA) has added some features of its own to make the format “more secure” than HD DVD. The additions are BD+ and ROM Mark; though both are designed to thwart pirates, they work quite differently.

While the generic AACS spec includes key revocation, BD+ actually allows the BDA to update the entire encryption system once players have already shipped. Should encryption be cracked, new discs will include information that will alter the players’ decryption code. …

The other new technology, ROM Mark, affects the manufacturing of Blu-ray discs. All Blu-ray mastering equipment must be licensed by the BDA, and they will ensure that all of it carries ROM Mark technology. Whenever a legitimate disc is created, it is given a “unique and undetectable identifier.” It’s not undetectable to the player, though, and players can refuse to play discs without a ROM Mark. The BDA has the optimistic hope that this will keep industrial-scale piracy at bay. We’ll see.

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How DVD encryption (CSS) works … or doesn’t

business, tech in changing society, technology / /

From Nate Anderson’s “Hacking Digital Rights Management” (Ars Technica: 18 July 2006):

DVD players are factory-built with a set of keys. When a DVD is inserted, the player runs through every key it knows until one unlocks the disc. Once this disc key is known, the player uses it to retrieve a title key from the disc. This title key actually allows the player to unscramble the disc’s contents.

The decryption process might have been formidable when first drawn up, but it had begun to look weak even by 1999. Frank Stevenson, who published a good breakdown of the technology, estimated at that time that a 450Mhz Pentium III could crack the code in only 18 seconds – and that’s without even having a player key in the first place. In other, words a simple brute force attack could crack the code at runtime, assuming that users were patient enough to wait up to 18 seconds. With today’s technology, of course, the same crack would be trivial.

Once the code was cracked, the genie was out of the bottle. CSS descramblers proliferated …

Because the CSS system could not be updated once in the field, the entire system was all but broken. Attempts to patch the system (such as Macrovision’s “RipGuard”) met with limited success, and DVDs today remain easy to copy using a multitude of freely available tools.

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The first movie theater

business, history, tech in changing society, technology / /

From Adam Goodheart’s “10 Days That Changed History” (The New York Times: 2 July 2006):

APRIL 16, 1902: The Movies

Motion pictures seemed destined to become a passing fad. Only a few years after Edison’s first crude newsreels were screened — mostly in penny arcades, alongside carnival games and other cheap attractions, the novelty had worn off, and Americans were flocking back to live vaudeville.

Then, in spring 1902, Thomas L. Tally opened his Electric Theater in Los Angeles, a radical new venture devoted to movies and other high-tech devices of the era, like audio recordings.

“Tally was the first person to offer a modern multimedia entertainment experience to the American public,” says the film historian Marc Wanamaker. Before long, his successful movie palace produced imitators nationally, which would become known as “nickelodeons.”

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‘Thomas Crown Affair! Thomas Crown Affair!’

commonplace book, security, tech in changing society / /

From Improv Everywhere’s “Missions: Best Buy” (23 April 2006):

Agent Slavinsky wrote in to suggest I get either a large group of people in blue polo shirts and khakis to enter a Best Buy or a group in red polo shirts and khakis to enter a Target. Wearing clothing almost identical to the store’s uniform, the agents would not claim to work at the store but would be friendly and helpful if anyone had a question. There aren’t any Targets in Manhattan, so I decided to go with the two-story Best Buy on 23rd Street. …

We met at Union Square North at 3:30 PM. Around 80 agents showed up, most them looking like wonderful Best Buy employees. …

The reaction from the employees was pretty typical as far as our missions go. The lower level employees laughed and got a kick out of it while the managers and security guards freaked out. …

Security guards and managers started talking to each other frantically on their walkie-talkies and headsets. “Thomas Crown Affair! Thomas Crown Affair!,” one employee shouted. They were worried that were using our fake uniforms to stage some type of elaborate heist. “I want every available employee out on the floor RIGHT NOW!”

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Alcatraz: reality & Hollywood

history, law, politics, security / /

From Dashka Slater’s “Lights, Camera, Lockdown” (Legal Affairs: May/June 2003):

The first two Alcatraz films, Alcatraz Island and The Last Gangster, arrived in theaters in 1937; the most recent, Half Past Dead, came out last November. In the 65 years in between, Alcatraz has been the subject of some two dozen movies and has made guest appearances in many more. There have been prison movies, horror movies, comedies, romances, action films, cartoons, and even porn flicks set on Alcatraz. It’s rare for a Hollywood set to last even a few weeks after a film is complete, but the prison is so popular with filmmakers that a meticulous replica of its cellblock, first created for the Clint Eastwood film Escape From Alcatraz, has resided on a Culver City soundstage for more than 20 years. It has provided penal ambience for hundreds of movies, television shows, commercials, and music videos. …

THE FEDERAL PENITENTIARY AT ALCATRAZ opened on August 22, 1934. It was to be a prison like no other, a high-tech, escape-proof, super-maximum warehouse for the nation’s most incorrigible bad guys. …

The secrecy had been designed to deflate the celebrity reputations of gangsters like Al Capone, who had enjoyed special treatment at other prisons. James A. Johnston, the prison’s first warden, believed that egoism was the chief failing of recidivists. His prescription was total isolation and total anonymity. At Alcatraz, he promised, Capone and his ilk would become “forgotten men.” …

The articles emphasized the prison’s harshness and brutality, chronicling its excruciating rule of silence, which required prisoners to stay mute except during a two-hour recreation period on Sundays, and describing the dank “Spanish dungeons” where prisoners were sent for disobeying rules.

Many of these accounts were embellished, and some of the more lurid tales were pure fabrications. Alcatraz was tough but not barbaric. Inmates were guaranteed the basics of food, shelter, clothing, and medical attention; everything else – work, exercise, visitors – had to be earned. Minor infractions – failing to finish the food on your plate, talking while in the cellhouse, sassing a guard – brought a swift reduction in privileges. More serious violations, like taking a swing at a guard, sent prisoners to the chilly darkness of “the hole.” Particularly obstreperous prisoners were hosed down with cold water from the bay, a practice that earned the warden the nickname “Saltwater” Johnston.

Alcatraz was hardly a country club, but it was still one of the better-run prisons in the United States. Inmates had their own cells, an improvement over bunking with another con. These five-by-nine-foot cells were cramped, but each had its own light and running water, and prisoners could order as many books as they wanted from the prison library. The cellblock was kept at a comfortable 70 degrees and the food was considered some of the best in the prison system. …

Throughout the ’30s, ’40s, and ’50s, films like Train to Alcatraz, Prison Train, King of Alcatraz, San Francisco Docks, and The House Across the Bay picked up the mythology of the “Inside Alcatraz” accounts and ran with it, depicting the prison as a place that made even hardened cons quake in their leg irons. …

… fewer than 300 prisoners [were] kept there at any one time …

The island’s reputation was increasingly out of step with the times, and the prison was facing more tangible problems as well. After years of exposure to the salt air, the fortress was literally falling apart, and the cost of repairs was prohibitive. The prison closed in 1963 …

IN 1972, AFTER LANGUISHING IN BUREAUCRATIC LIMBO for nearly a decade, Alcatraz became a national park, a move that allowed Hollywood to begin making movies on the Rock itself. …

The Park Service originally thought interest in the prison would peter out within five years. Instead, the park receives 1.5 million visitors a year, about five times as many as Antietam or Little Big Horn and nearly as many as Mt. Rushmore. …

Hollywood is responsible, in large part, for making the former penitentiary recognizable as a prison rather than just a decaying collection of empty Depression-era buildings. Escape From Alcatraz brought fresh coats of paint to the mess hall and D block, as well as the yellow stripes (which never existed when the prison was open) that now run down the main cellhouse corridor. Murder in the First funded the restoration of a guard tower on the dock, and The Rock paid for the removal of hazardous waste. Leftover Hollywood props – metal detectors, cell cots, benches, even pillows – have stayed on as permanent adornments, giving tourists a sense of what the penitentiary was like when it was operating. Over time it has become difficult to distinguish Hollywood’s Alcatraz from the real one.

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Success of The Shawshank Redemption

business, language & literature / /

From John Swansburg’s “The Shawshank Reputation” (Legal Affairs: March/April 2004):

Yet even King didn’t think [The Shawshank Redemption] stood a chance at the box office-and he was right. Though the movie got good reviews, and seven Oscar nominations, Shawshank in its original release grossed only about half of the $35 million it cost to make.

The movie came back from the dead on video. It was the top rental of 1995, and its popularity has not much abated since. The new Zagat film guide, for instance, rated it higher than Annie Hall and a little picture called Citizen Kane. The movie is currently ranked second on the Internet Movie Database’s Top 250 movies poll, behind only The Godfather.

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From P2P to social sharing

business, law, social software, tech in changing society, technology / /

From Clay Shirky’s “File-sharing Goes Social“:

The RIAA has taken us on a tour of networking strategies in the last few years, by constantly changing the environment file-sharing systems operate in. In hostile environments, organisms often adapt to become less energetic but harder to kill, and so it is now. With the RIAA’s waves of legal attacks driving experimentation with decentralized file-sharing tools, file-sharing networks have progressively traded efficiency for resistance to legal attack. …

There are several activities that are both illegal and popular, and these suffer from what economists call high transaction costs. Buying marijuana involves considerably more work than buying roses, in part because every transaction involves risk for both parties, and in part because neither party can rely on the courts for redress from unfair transactions. As a result, the market for marijuana today (or NYC tattoo artists in the 1980s, or gin in the 1920s, etc) involves trusted intermediaries who broker introductions.

These intermediaries act as a kind of social Visa system; in the same way a credit card issuer has a relationship with both buyer and seller, and an incentive to see that transactions go well, an introducer in an illegal transaction has an incentive to make sure that neither side defects from the transaction. And all parties, of course, have an incentive to avoid detection. …

There are many ways to move to such membrane-bounded systems, of course, including retrofitting existing networks to allow sub-groups with controlled membership (possibly using email white-list or IM buddy-list tools); adopting any of the current peer-to-peer tools designed for secure collaboration (e.g. Groove, Shinkuro, WASTE etc); or even going to physical distribution. As Andrew Odlyzko has pointed out, sending disks through the mail can move enough bits in a 24 hour period to qualify as broadband, and there are now file-sharing networks whose members simply snail mail one another mountable drives of music. …

The disadvantage of social sharing is simple — limited membership means fewer files. The advantage is equally simple — a socially bounded system is more effective than nothing, and safer than Kazaa. …

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New technologies & the urge to control

commonplace book, history, politics, tech in changing society, technology / /

From David L. Hudson, Jr.’s “Update on the Internet and the First Amendment“:

For example, as First Amendment scholar Rodney
Smolla explains, when Gutenberg developed the printing press
circa 1450, the Archbishop of Mainz created a censorship body,
and the Venice Inquisition issued a list of banned books.

The expansion of printing led English officials to pass
restrictive licensing laws that allowed the crown to impose
prior restraints on publication. When movies were first introduced
in the early 20th century, the United States government
argued for tight censorship controls because it was believed that
movies would easily influence children.

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The Forbes Fictional Fifteen

business, commonplace book, cool stuff / /

If fiction can be regarded as a culture’s subconscious, then it’s clear that we are a nation obsessed with the very rich. From avaricious caricatures like The Simpsons’ Montgomery Burns to literary character studies like F. Scott Fitzgerald’s Jay Gatsby, our culture — both high and low — is littered with images of billionaires and tycoons.

Rank Name $Net Worth
1. Santa Claus $∞
2. Richie Rich $24.7 billion
3. Oliver “Daddy” Warbucks $10 billion
4. Scrooge McDuck $8.2 billion
5. Thurston Howell III $8 billion
6. Willie Wonka $8 billion
7. Bruce Wayne $6.3 billion
8. Lex Luthor $4.7 billion
9. J.R. Ewing $2.8 billion
10. Auric Goldfinger $1.2 billion
11. C. Montgomery Burns $1 billion
12. Charles Foster Kane $1 billion
13. Cruella De Vil $875 millon
14. Gordon Gekko $650 millon
15. Jay Gatsby $600 millon” [Forbes]

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Movies in the night

commonplace book, history, true stories / /

Another image that enters my mind unbidden:

My brother and I are spending the night at Grandma & Grandpa Scott’s house. We’re pretty young … I might be 8 and my brother 6 or 7. It’s the mid-70s. At our grandparents, we go to bed pretty early … say by 10 p.m. This night, Gus and I know that the original King Kong is on TV, and we are determined to see it. We stay awake talking in bed (we’re in the guest bed together), and then we quietly sneak into the family room and turn on the TV, ever so quietly, and watch a 40-year-old (only 40 years!?) black & white movie, listening carefully for the footsteps of our grandparents. I don’t think we were caught.

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Movie studios and their genres

commonplace book / /

From Neither the Power Nor the Glory: Why Hollywood leaves originality to the indies, on Slate:

Back in the old days of the studio system, the brand of a Hollywood studio meant something to the moviegoing public. Each studio, with its roster of stars under contract, came to be identified with a particular genre of movies: MGM (musicals and romantic comedies); Paramount (historical epics); Warner Bros. (gangster stories); 20th Century Fox (social dramas); Universal (horror movies); Disney (cartoons).

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Secret movies in the Paris underground

art, cool stuff, weird / /

From Jon Henley’s “In a secret Paris cavern, the real underground cinema” (The Guardian: 8 September 2004):

Police in Paris have discovered a fully equipped cinema-cum-restaurant in a large and previously uncharted cavern underneath the capital’s chic 16th arrondissement. Officers admit they are at a loss to know who built or used one of Paris’s most intriguing recent discoveries. "We have no idea whatsoever," a police spokesman said. …

Members of the force’s sports squad, responsible – among other tasks – for policing the 170 miles of tunnels, caves, galleries and catacombs that underlie large parts of Paris, stumbled on the complex while on a training exercise beneath the Palais de Chaillot, across the Seine from the Eiffel Tower.

After entering the network through a drain next to the Trocadero, the officers came across a tarpaulin marked: Building site, No access.

Behind that, a tunnel held a desk and a closed-circuit TV camera set to automatically record images of anyone passing. The mechanism also triggered a tape of dogs barking, "clearly designed to frighten people off," the spokesman said.

Further along, the tunnel opened into a vast 400 sq metre cave some 18m underground, "like an underground amphitheatre, with terraces cut into the rock and chairs".

There the police found a full-sized cinema screen, projection equipment, and tapes of a wide variety of films, including 1950s film noir classics and more recent thrillers. None of the films were banned or even offensive, the spokesman said.

A smaller cave next door had been turned into an informal restaurant and bar. "There were bottles of whisky and other spirits behind a bar, tables and chairs, a pressure-cooker for making couscous," the spokesman said.

"The whole thing ran off a professionally installed electricity system and there were at least three phone lines down there."

Three days later, when the police returned accompanied by experts from the French electricity board to see where the power was coming from, the phone and electricity lines had been cut and a note was lying in the middle of the floor: "Do not," it said, "try to find us." …

There exist, however, several secretive bands of so-called cataphiles, who gain access to the tunnels mainly after dark, through drains and ventilation shafts, and hold what in the popular imagination have become drunken orgies but are, by all accounts, innocent underground picnics.

… the Perforating Mexicans, last night told French radio the subterranean cinema was its work.

Film noir in the Parisian catacombs. Secret bars and telephones. Scuttling down drains for secret assignations. "Do not try to find us." I’m swooning just thinking about it!

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