Kuwait City, Jan 30 (Ians) Indian motor-racing outfit’s Mumbai Falcons Racing Limited scored wins and achieved podium places in the second round, extending their lead in both the Formula Regional Middle East and Formula 4 UAE championships held at the brand-new 5.6-kilometre venue in Kuwait Motor Town, Kuwait City, this weekend
In F4 UAE championship, Mumbai Falcons got off to a blistering start, with James Wharton achieving one pole position and a win. The 16-year-old Ferrari Driver Academy racer, determined to bounce back from a challenging opener, quickly accomplished the goal in race 1 with his first win of 2023, the outfit informed in a release here on Monday.
“It was good to be back to where we should be. But now it’s time to get our head down and try to get to the front of the championship as well,” Wharton was quoted as saying in the release.
Wharton then finished...
In F4 UAE championship, Mumbai Falcons got off to a blistering start, with James Wharton achieving one pole position and a win. The 16-year-old Ferrari Driver Academy racer, determined to bounce back from a challenging opener, quickly accomplished the goal in race 1 with his first win of 2023, the outfit informed in a release here on Monday.
“It was good to be back to where we should be. But now it’s time to get our head down and try to get to the front of the championship as well,” Wharton was quoted as saying in the release.
Wharton then finished...
- 1/30/2023
- by News Bureau
- GlamSham
"Time Code" is a gimmick, all right, but it's quite a gimmick.
In this feature shot entirely in digital video, Mike Figgis performs one of the more fascinating experiments in movie history, combining the techniques of 1950s live television with the guerrilla tactics of 1990s indie filmmaking.
The story unfolds in real time on a quadruple-split screen. The four cameras never stop rolling, so 28 actors and four cameramen -- each handholding a high-definition digital videocam -- must synchronize and coordinate their actions over a 90-minute-plus period. This nerve-wracking drill was repeated over several days last year, but the 90-minute "take" that Figgis finally chose took place Nov. 19 starting around 3 p.m.
Such a rule-breaking exercise necessarily limits the audience for "Time Code" to highly adventurous adult moviegoers. The film also has a further commercial liability: It is designed strictly for the big screen. Its four screens are too small to be successfully "read" on any TV, video or DVD version other than a giant home screen. (Figgis does, however, plan to do live mixes of the four film segments on video monitors.)
While there is no doubt that digital technology has already made a huge impact on moviemaking, how "Time Code" figures in its future is difficult to predict. At this point, it looks more like an oddball stunt than the precursor of a new approach to electronic cinema, as Figgis seems to believe.
It's unclear how many future directors will want to adhere so rigorously to the Aristotelian unities of time, place and action. And the split screen is hardly new. As Figgis himself has said, this new means of expression is "not just about synchronicity, it's about telling interesting stories."
Well, the story of "Time Code" is downright awful.
"Time Code" is a sophomorically cliched vision of Hollywood, running amok with coked-up, alcoholic filmmakers, philandering execs, self-important assistants, whorish actesses, a demanding diva and a lesbian killer. Even the security guard is coked out of his mind. Nothing like using cutting-edge technology to tell a hackneyed story.
To be fair, Figgis has clearly designed this particular story less to delve into human nature or the meaning of life than to create problems to solve. In fact, he goes out of his way to make things hard on himself and his actors, for one thing choosing to locate the story in and around the eight-story Ticketmaster building on the Sunset Strip, one of the busiest intersections in West Hollywood.
Realizing an audience can only read one or two of the four screens at any given moment, Figgis uses his sound mix to indicate in which of the four screens the "main" story is taking place with the sound dropping out of the other frames to the point that it is impossible to hear any dialogue. Thus all four plot lines are rife with extensive time killers -- sequences where little if anything is happening while the story shifts to other frames.
For instance, Jeanne Tripplehorn, while a pivotal character in the story, spends most of her time inside or near a limo, chewing gum and stewing over her lover's infidelity, a genuine strain on any actor's resources.
The central figure is played by Stellan Skarsgard, who does an astonishing job of shouldering the burden of the story while staying in character and hitting all his marks. Playing a producer using booze, drugs and women with frightening abandon, he must juggle his wife (Saffron Burrows), actress-lover (Selma Hayek), an ambitious producer (Steven Weber) and a host of jittery production personnel on the verge of making a movie.
Major earthquakes hit several times, which provoke little reaction from any of the characters, easily the most implausible of the movie's events. As anyone who lives in Southern California can attest, all activity stops when big quakes hit. Even a murder would get postponed.
Plot lines do cross paths so that often two or more screens show the same scene only from different angles and favoring different actors. And at times Figgis develops his four plot lines so adroitly that he arrives at highly harmonious images in his four panels that play off each other.
Since a viewer watches this crazy-quilt experiment with a divided mind -- with story and characters taking a back seat to simply observing the high-wire act -- you can't be blamed for never getting "into" this movie. Instead you think of things such as where did they hide the cameras or how did they get all those cell phones to work so perfectly and on cue?
But what really impresses are the actors. Without exception, those in major roles perform with considerable grace under pressure. And the camerawork is all agile, to say the least.
Figgis also contributes a memorable jazz score. Indeed, probably only a composer such as Figgis, used to working with multiple melody lines on a music chart, would have conceived such a project in the first place.
TIME CODE
Screen Gems
Producer: Mike Figgis, Annie Stewart
Writer-director: Mike Figgis
Camera A: James Wharton O'Keefe
Camera B: Tony Cucchiari
Camera C: Mike Figgis
Camera D: Patrick Alexander Stewart
Production designer: Charlotte Malmlof
Music: Mike Figgis
Costume designer: Donna Casey
Color/stereo
Cast:
Alex Green: Stellan Skarsgard
Rose: Salma Hayek
Emma: Saffron Burrows
Lauren Hathaway: Jeanne Tripplehorn
Executive: Holly Hunter
Randy: Danny Huston
Bunny Drysdale: Kyle MacLachlan
Dava Adair: Laurie Metcalf
Quentin: Julian Sands
Running time -- 90 minutes
MPAA rating: R...
In this feature shot entirely in digital video, Mike Figgis performs one of the more fascinating experiments in movie history, combining the techniques of 1950s live television with the guerrilla tactics of 1990s indie filmmaking.
The story unfolds in real time on a quadruple-split screen. The four cameras never stop rolling, so 28 actors and four cameramen -- each handholding a high-definition digital videocam -- must synchronize and coordinate their actions over a 90-minute-plus period. This nerve-wracking drill was repeated over several days last year, but the 90-minute "take" that Figgis finally chose took place Nov. 19 starting around 3 p.m.
Such a rule-breaking exercise necessarily limits the audience for "Time Code" to highly adventurous adult moviegoers. The film also has a further commercial liability: It is designed strictly for the big screen. Its four screens are too small to be successfully "read" on any TV, video or DVD version other than a giant home screen. (Figgis does, however, plan to do live mixes of the four film segments on video monitors.)
While there is no doubt that digital technology has already made a huge impact on moviemaking, how "Time Code" figures in its future is difficult to predict. At this point, it looks more like an oddball stunt than the precursor of a new approach to electronic cinema, as Figgis seems to believe.
It's unclear how many future directors will want to adhere so rigorously to the Aristotelian unities of time, place and action. And the split screen is hardly new. As Figgis himself has said, this new means of expression is "not just about synchronicity, it's about telling interesting stories."
Well, the story of "Time Code" is downright awful.
"Time Code" is a sophomorically cliched vision of Hollywood, running amok with coked-up, alcoholic filmmakers, philandering execs, self-important assistants, whorish actesses, a demanding diva and a lesbian killer. Even the security guard is coked out of his mind. Nothing like using cutting-edge technology to tell a hackneyed story.
To be fair, Figgis has clearly designed this particular story less to delve into human nature or the meaning of life than to create problems to solve. In fact, he goes out of his way to make things hard on himself and his actors, for one thing choosing to locate the story in and around the eight-story Ticketmaster building on the Sunset Strip, one of the busiest intersections in West Hollywood.
Realizing an audience can only read one or two of the four screens at any given moment, Figgis uses his sound mix to indicate in which of the four screens the "main" story is taking place with the sound dropping out of the other frames to the point that it is impossible to hear any dialogue. Thus all four plot lines are rife with extensive time killers -- sequences where little if anything is happening while the story shifts to other frames.
For instance, Jeanne Tripplehorn, while a pivotal character in the story, spends most of her time inside or near a limo, chewing gum and stewing over her lover's infidelity, a genuine strain on any actor's resources.
The central figure is played by Stellan Skarsgard, who does an astonishing job of shouldering the burden of the story while staying in character and hitting all his marks. Playing a producer using booze, drugs and women with frightening abandon, he must juggle his wife (Saffron Burrows), actress-lover (Selma Hayek), an ambitious producer (Steven Weber) and a host of jittery production personnel on the verge of making a movie.
Major earthquakes hit several times, which provoke little reaction from any of the characters, easily the most implausible of the movie's events. As anyone who lives in Southern California can attest, all activity stops when big quakes hit. Even a murder would get postponed.
Plot lines do cross paths so that often two or more screens show the same scene only from different angles and favoring different actors. And at times Figgis develops his four plot lines so adroitly that he arrives at highly harmonious images in his four panels that play off each other.
Since a viewer watches this crazy-quilt experiment with a divided mind -- with story and characters taking a back seat to simply observing the high-wire act -- you can't be blamed for never getting "into" this movie. Instead you think of things such as where did they hide the cameras or how did they get all those cell phones to work so perfectly and on cue?
But what really impresses are the actors. Without exception, those in major roles perform with considerable grace under pressure. And the camerawork is all agile, to say the least.
Figgis also contributes a memorable jazz score. Indeed, probably only a composer such as Figgis, used to working with multiple melody lines on a music chart, would have conceived such a project in the first place.
TIME CODE
Screen Gems
Producer: Mike Figgis, Annie Stewart
Writer-director: Mike Figgis
Camera A: James Wharton O'Keefe
Camera B: Tony Cucchiari
Camera C: Mike Figgis
Camera D: Patrick Alexander Stewart
Production designer: Charlotte Malmlof
Music: Mike Figgis
Costume designer: Donna Casey
Color/stereo
Cast:
Alex Green: Stellan Skarsgard
Rose: Salma Hayek
Emma: Saffron Burrows
Lauren Hathaway: Jeanne Tripplehorn
Executive: Holly Hunter
Randy: Danny Huston
Bunny Drysdale: Kyle MacLachlan
Dava Adair: Laurie Metcalf
Quentin: Julian Sands
Running time -- 90 minutes
MPAA rating: R...
- 4/24/2000
- The Hollywood Reporter - Movie News
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