Entries Tagged 'Entertainment' ↓

I’m in awe of this Red Dead Redemption gameplay introduction trailer, above, and so hot to play this game I’m melting rivets on my jeans. The usual disclaimer applies.

That’s a Limited Edition Jay Z Etch A Sketch Artwork, above, as rendered by George Vlosich III, of GV Art and Design. (You may recall seeing him on Oprah, earlier this week.)

The giclee print is 1 of 20. Says Vlosich, in his somewhat emphatic style,

A giclee is the highest quality print available. Printed on textured paper, it shows the detail of each line. (16″x 20″) Signed by artist. Only 20 of these have been created. A must have for any collector. No matter what you have in your collection, George’s work will be the most talked about piece.

There’s also “a limited number (1 of 50) digital prints (12″×16″),” but that’s strictly for non-ballers. Jay-Z  Etch A Sketch Giclée Print, $325. Digital Print, $85.

At this point, millions have visited the glowing world of Pandora, in director James Cameron’s Avatar. The highest grossing film in history, with nearly $2.5 billion earned worldwide, it is, as of this past weekend, still the third-most popular film in the U.S., and has been nominated for nine Academy Awards, including Best Picture.

What fewer have seen, however, is the real glimmering world of Avatar, namely, the humming, 10,000 square-foot server farm at WETA Digital, in Miramar, New Zealand, above, where the film’s photo-realistic images, above right, were wholly generated. The system literally “occupies spots 193 through 197 on the Top 500 list of the most powerful supercomputers.

As reported on datacenterknowledge.com,

Thirty four racks comprise the computing core, made of 32 machines each with 40,000 processors and 104 terabytes of memory. Weta systems administrator Paul Gunn said that heat exchange for their servers had to be enclosed. The “industry standard of raised floors and forced-air cooling could not keep up with the constant heat coming off the machines,” said Gunn. “We need to stack the gear closely to get the bandwidth we need and, because the data flows are so great, the storage has to be local.”

By the time the production was in its

last month or more of production those 40,000 processors were handling 7 or 8 gigabytes of data per second, running 24 hours a day. A final copy of Avatar equated to 17.28 gigabytes per minute of storage.

That’s. A. Big. File. Imagine if someone accidentally deleted it.

O.K.: In fact, he wasn’t actually all that forthcoming, which should be expected at this point, right?

But, as someone who’s interviewed Jay-Z on TV before, what’s extremely cool to me about his humorous chat with the BBC’s Jonathan Ross—of Friday Night with… fame—is watching Jigga’s charm on open display.

As Mr. Carter parries with the chummy Brit, endlessly deferring Ross’s faux-friendly entreaties, his timing is impeccable, with each pause and sideways glance as perfectly placed as they are in his raps. Indeed, it’s a whole performance, yet a good part of it is silent.

But what most dawns on this writer as I watch the clip is that Jay didn’t merely become “the biggest rapper on the planet,” as the show’s web site notes, by clever alliterations, a clothing line, or, again, marrying one of music’s biggest stars.

In part, he did it by being a nice guy. Which sounds like a cliché, until you think of the fact that, in a field whose artists are lampooned for their ice grills, he smiles more than almost anybody. Now, laught at that.

What absolutely thrills me about the teaser for Wall Street: Money Never Sleeps, right, Oliver Stone’s follow-up to his 1987 classic, Wall Street, are two hilarious sight gags that take place near the 1:00 mark. Both have to do with the release of corporate raider Gordon Gekko (Michael Douglas) from prison. (Lovers of the first film, below right, know that it ended with Gekko’s protegé, Bud Fox [Charlie Sheen], turning over information to the Feds that would put Gekko away for a long time.)

Of course, the short’s best visual effect—Douglas’ nearly quarter-century older face—isn’t one, and in a powerful close-up, above, Stone and the actor put it to tremendous use, to convey both the unrecoupable passage of years, Gekko’s great humiliation, and his desire for infinitely lucrative revenge.

One of the most fascinating aspects of revisiting definitive works is learning, as one inevitably does, how fungible they were when created. Few, now, could imagine anyone but Michael Douglas as the oily and sinister Gekko, and, ultimately, Douglas was given an Academy Award for his portrayal.

But as noted in Wikipedia, referencing James Riordan’s Stone: A Biography of Oliver Stone and other sources,

the studio wanted Warren Beatty to play Gekko but he was not interested. Stone initially wanted Richard Gere but the actor passed, so the director went with Douglas despite having been advised by others in Hollywood not to cast him. Stone remembers, “I was warned by everyone in Hollywood that Michael couldn’t act, that he was a producer more than an actor and would spend all his time in his trailer on the phone”. But the director found out that “when he’s acting he gives it his all”. The director says that he saw “that villain quality” in the actor and always thought he was a smart businessman.

In Wall Street: Money Never Sleeps, Shia LeBoeuf co-stars as Jacob “Jake” Moore, a Wall St. trader on the come-up, engaged to Gekko’s daughter, Winnie (Carey Mulligan). From the looks of things, this apparently gives Gekko more than usual parental concerns. Check out the teaser, then the trailer, below.

Also, as a special bonus, watch the original trailer for the first film, also below. When you do, keep an eye out for the very first, brief image after the logo and, realize, yes, that was a different world.

If you’ve read previous MEDIA ASSASSIN write-ups on the upcoming Kick-Ass, including a look at one of its R-rated trailers, featuring Hit-Girl (Chloe Moretz), above, you know I can’t even wait for this movie to be out.

[via IMP Awards]

Old Spice, the legendary men’s grooming products company, should give Wieden + Kennedy, their current ad agency, a massive raise.

You may know W+K as the immaculately creative shop that, for all intent and purposes, invented Nike as a brand. Now, they’ve delivered a series of commercials which make the decrepit, aforementioned manufacturer of shaving powder actually seem hip again.

Here, on MEDIA ASSASSIN, we’ve already covered one of the spots from their blazingly satirical “Different Scents” campaign. Now, check out this, above, “The Man Your Man Could Smell Like,” their latest pitch for O.S. body wash, and take in all the eyefuls of luscious man meat you can.

I got the news, oddly enough, from Janet Jackson.

Odder still was that her words had been the very ones with which others had eulogized Michael, her brother, merely eight months earlier. I’m guessing that memory was heavy in her heart Thursday afternoon.

“Today we lost a True Genius, Alexander McQueen,” Janet, shown right at the opening of MCQueen’s L.A. store in 2008, posted on Twitter. “He possessed a unique creativity that will never b recaptured.”

Lee Alexander McQueen was allegedly found Thursday morning in his $1M apartment by workers, hanged by his own hand at the age of 40. Police carried his body from the home, right, before it was taken away by private ambulance, according to The Daily Mail.

Reportedly, McQueen had been despondent over the recent death of his mother, Joyce, and, reading from the bottom, up, had apparently posted these tweets a mere eight days before his death:

Four days later, McQueen posted these messages, where he spoke of needing to “some how pull myself together,” in order to finish the NY Fashion Week show scheduled for Thursday afternoon:

Four days after that, McQueen was dead.

Widely credited with kicking British fashion into the 21st century a decade early—McQueen sold his company in 1991; 51% of it was folded into Gucci for £13.6 million in 2000—he remained the very Oxford definition of l’enfant terrible. He had a startling, savage talent and his couture, right, always teetered daringly on knife edges of chaos and assault. As he, himself, once said in an interview,

When you see a woman wearing McQueen, there’s a certain hardness to the clothes that makes her look powerful. It kind of fends people off. You have to have a lot of balls to talk to a woman wearing my clothes.

Yet, as an immensely skilled tailor in the tradition of Savile Row, where he’d once worked, he could also fashion stunningly classic, rich lines, as demonstrated in this crimson dress, worn by singer Mary J. Blige, below.

Though not a household name, on the level of Calvin Klein or Ralph Lauren, McQueen’s talent was so big that his every show was an event. His death has devastated the fashion world, and close friends. Model Kate Moss—McQueen stands between her and model Naomi Campbell, atop this post—whom McQueen publicly supported during her drug problems, is said to be inconsolable.

Finally, so brightly did McQueen’s light burn in his life that, with his tragic death, lovers of his clothing are buying everything in sight, even as analysts report that, the brand “is likely to be abandoned by Gucci Group.” The king is dead. Long live the king.

Ever since I was was in 4th grade, watching the older kids in our suburban grade school fly control line model planes, like this one, right, before class, I’ve possessed a soft spot for the sport of flying scale fueled aircraft. I’ve never had the money or the spare time to commit and truly learn, not to mention master, the art, but I’ve always thought, and think, I might, one day, hunker down and do so.

Imagine my surprise, though, when, peeking into the field several years later, I learned of the astounding levels to which skilled would-be flight jocks and plane builders had taken this pastime. See that B-52 in video still, above? Most people, upon spying the image, would conclude some lucky fan had squeezed off a shot of the U.S. Air Force’s workhorse, off on another mission.

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I so utterly dig this gorgeous one-sheet, above, that director David Lam fashioned, in lush black-and-white, for his 2009 documentary, Athlete. The film tells the stories of four ordinary folk, including 35-year-old twin sisters Carrie and Kellie, above. All are locked into mind-breaking tests of physical endurance, each for their own personal reasons, each redefining the idea of limits. That’s the trailer, below, but, in a way, you can say that the poster tells the whole story. Out on DVD March 9.