I’m having a hard time keeping track of all Ridley Scott’s rumored projects. The guy is juggling like five or six, including planned Alien prequels, a movie based on the board game Monopoly and an adaptation of author Joe Haldeman’s sci-fi novel The Forever War. I know very little about the book, but according to Haldeman himself, via JoBlo, Scott has brought aboard Blade Runner scribe David Webb Peoples to write the screenplay.

As one of the biggest Blade Runner fans on the planet, this news gets my naughty parts all tingly. Scott and Peoples working together in the sci-fi genre could be spectacular. If it ever happens. And what’s the deal with Peoples? His last gig was 1998′s underwhelming Soldier. Weird.

So, what is The Forever War about? Allow JoBlo to explain:

[The Forever War] tells the contemplative story of soldiers fighting an interstellar war between humanity and the enigmatic Tauran species [and has] pithy, insightful explorations of the inhumanity of war and of bureaucracy, and of the psychological effects resulting from time dilation space travel.

I have no idea what any of that means, but I’m still crossing my fingers and toes a Scott/Peoples reunion  comes to fruition.

I probably can’t go a day without reciting a quote from one of my favorite movies. A noteworthy line of dialogue can act as an icebreaker, bolster a conversation, lighten the mood and on occasion, make you seem a lot funnier than you really are.

Everyone has their own supply of go-to lines for every social situation. Be it a first date, house party, work function or job interview. Although, I’d be careful about going to the well while searching for a job. I recall a few years back being asked to describe my then job duties, so I dropped this winner from Office Space:

“I just stare at my desk; but it looks like I’m working. I do that for probably another hour after lunch, too. I’d say in a given week I probably only do about fifteen minutes of real, actual, work.”

Even though I delivered it with a smile, the guy didn’t see the humor. Little did he know I was being 100% honest. Needless to say, I didn’t get the job. Oh well. It makes for a helluva story, which in the end, made it worthwhile.

Point is, we all quote movies from time to time. And the shorter the quote, the easier they are to remember. Some of cinema’s greatest lines have been only one or two words, like “Rosebud” from Citizen Kane or “They’re here” from Poltergeist. For purposes of this exercise, I’m going to focus on three-word quotes, and as you’ll see, there have been a bunch of winners throughout the years.

“Well, we’re waiting.”

Delivered by: Judge Smails in Caddyshack

Why it’s memorable: Smails is an impatient douche who can’t stand losing. Ted Knight’s classic expression and impeccable delivery made Smails one of the best comedic characters ever.

“Free your mind.”

Delivered by: Morpheus in The Matrix

Why it’s memorable: It’s those three words that transform Neo into The One. Once he starts to believe, he becomes a force to be reckoned with inside The Matrix. Whoa.

“We rob banks.”

Delivered by: Clyde Barrow in Bonnie and Clyde

Why it’s memorable: He says it with such pride, as if robbing banks were the best career choice one could make. And for young Bonnie and Clyde, it was.

“One million dollars.”

Delivered by: Dr. Evil in Austin Powers: International Man of Mystery

Why it’s memorable: The good doctor really thinks he’s sounding nefarious when he utters his ransom demands. Little does he know, the world economy has grown quite a bit since he was away.

“E.T. phone home.”

Delivered by: E.T. in E.T.The Extra-Terrestrial

Why it’s memorable: Like any lost kid, E.T.’s only wish is to return home to be with is family. I’d still like to know how much a phone call to the cosmos costs.

“Is it safe?”

Delivered by: Dr. Szell in Marathon Man

Why it’s memorable: Because it’s scary as shit. Dustin Hoffman’s character has no clue what Laurence Olivier’s sadistic Nazi war criminal is asking, but he gets tortured anyway.

“Time to die.”

Delivered by: Roy Batty in Blade Runner

Why it’s memorable: Roy knows his four-years are about up. He wants more life, but once he realizes that’s not possible, he accepts his fate and dies.

The more I read about writer/director Christopher Nolan the more I like the guy. In an interview at the Hero Complex Film Festival over the weekend, Nolan revealed that 3D conversion tests were done on his latest film Inception, but in his words, “I’m not a huge fan of 3D.” Therefore, the sci-fi mind bender due out July 16 will stay as is, in 2D. He added the following:

“It’s all based on all the visual-effects technology, you know, that we’re currently most engaged in with match moving, so forth, and rendering 2-D imagery into a 3-D space. … On a technical level, it’s fascinating, but on an experiential level, I find the dimness of the image extremely alienating.”

I tend to agree. I loved Avatar, but James Cameron spent years devising it to be the ultimate 3D experience and the time, effort and money he put into it definitely showed. If it’s the right kind of project, I’m all for 3D technology. That being said, I like most of my films just the way they are.

Nolan didn’t completely dismiss the possibility of the upcoming Batman flick being in 3D. He ruled out shooting in 3D, but said a post-conversion process could work, if that’s what audiences want. He’s also not fond of CGI and would prefer practical effects be used first and foremost. I’m with him on that as well. Bad CGI, hell even good CGI, is still noticeable and can really take you out of a movie.

Finally, Nolan doesn’t pay attention to the Interwebs, so I guess he won’t be reading this (damn!), hates email and cell phones and has seen Blade Runner “hundreds of times.” Case closed. I officially have a major man-crush on him. To such an extent that I’ll pay to see Inception not once, but twice in theaters. And I NEVER cough up cash twice at the movies.

[Via Heat Vision]

Director Ridley Scott is quite the hot property in Tinseltown these days. According to his IMDb page, he has eighteen projects in development, including an adaptation of the classic novel Brave New World and a movie based on the board game Monopoly.

Tomorrow, Robin Hood, his fifth collaboration with Russell Crowe, hits theaters. So now is a perfect time to rewind the clock on Scott’s career and rank his absolute best films to date. While not all his projects have scored a bullseye, he never fails to skimp in the boldness and ambition departments.

Here are Ridley Scott’s ten greatest works.

10. Matchstick Men (2003)

Why it’s #10: Nicolas Cage, Alison Lohman and Sam Rockwell all deliver memorable performances in this nuanced tale of con artists. Scott lets his characters take the wheel and the results are exceptionally good.

9. Black Rain (1989)

Why it’s #9: Dark, gritty and ultra-violent, Black Rain dives head first into the cryptic and dangerous world of Japanese Yakuza. Michael Douglas shines as a hard-boiled NYC detective on the hunt. Scott’s striking visuals of Osaka, Japan echo a 2019 Los Angeles.

8. The Duellists (1977)

Why it’s #8: Scott’s debut film revealed his already honed skills behind the camera as two Napoleonic era French officers battle for respect. It’s beautifully photographed and the various action scenes are expertly staged.

7. Someone to Watch Over Me (1987)

Why it’s #7: Scott’s most underrated film is both a romance and thriller. Tom Berenger plays a blue collar cop tasked to guard a Manhattan socialite being threatened by a vicious mobster. A palette of blue and black coats this smoky crime drama.

6. American Gangster (2007)

Why it’s #6: The true story of drug kingpin Frank Lucas is a compelling exploration into New York City’s criminal underworld during the 1970s. Scott again allows his actors to steer the plot to a satisfying end.

5. Thelma & Louise (1991)

Why it’s #5: Scott’s smash hit about female empowerment was a showcase for Susan Sarandon and Geena Davis; both received Best Actress Oscar nominations. It’s a rip roaring road movie that balances humorous and poignant moments.

4. Black Hawk Down (2001)

Why it’s #4: Scott received unprecedented cooperation from the U.S. Military to dramatize the tragic Battle of Mogadishu in 1993. The hellish combat sequences, intense pacing and hand-held cinematography are some of the best ever put to film.

3. Gladiator (2000)

Why it’s #3: Scott’s only film to win Best Picture is an ass kicking epic that impresses from start to stop. The final duel between Maximus and Commodus serves as a how-to guide for filming hand-to-hand sword fights. Scott was deserving of a Directing Oscar, but lost out to Steven Soderbergh (Traffic).

2. Alien (1979)

Why it’s #2: Sci-Fi/Horror has never been done better. Scott’s nightmarish journey aboard the doomed mining ship Nostromo is an effects masterpiece. After thirty years, it can still make your skin crawl. Just watch the trailer if you don’t believe me.

1. Blade Runner (1982)

Why it’s #1: All other dystopian science fiction flicks bow to Blade Runner. The story, performances, special effects, cinematography and soundtrack all hit the mark. Scott was beset by numerous problems during production, but none of them prevented him from creating his most stunning film yet.

I’ve been listening to Gorillaz latest track “Stylo” nonstop for the last week. I can’t get enough of the damn tune. It’s layered, bluesy and Mos Def kills it like only he can.

There’s also something very familiar about the mix. Well, one part of it anyway. It took me a few days, but the other night I finally figured out where I heard it before. It was in the movie Blade Runner, which was scored by ambient composer Vangelis.

Lest you think I’m nuts, allow me to share my findings. First, have a listen to “Stylo.” Weaved throughout the song is a siren-like background beat. It first kicks in at about the :20 mark, but can best be heard at around 1:00,  2:25 and at the very end. Have a listen:

Okay, now check out the soundtrack from the Taffy Lewis bar scene in Blade Runner. Pay attention to the first :30:

Sounds like the same siren-like beat to me. Makes me wonder if Damon Albarn and Jamie Hewlett sampled from the flick. I couldn’t find anything linking the two, but I also didn’t conduct any extensive research. That would require doing work. Agree or disagree with my theory? Or is it just an odd coincidence?

By the way, if you haven’t seen the kick ass video for “Stylo,” watch it here.

Painters use a palette and canvas. Composers rely on notes and instruments. Authors prefer words and a laptop. In the art of cinematography, shadow and light are the tools of the trade. The ability to creatively manipulate those two elements is what separates the great cinematographers from the ones who pop a Panavision on a tripod and start rolling.

Crafting the perfect film image takes patience, care and a keen eye. Anyone can point a lens at actors and shoot. It requires a unique understanding of theories and practices to construct true beauty on the big screen. The writer and director may conjure the vision, but it’s the cinematographer who brings it to life.

Cinematographers employ several techniques to tell a story. Combining some or all of these is critical to successfully relaying drama, emotions and ideas. Images should serve to enhance plot and theme, not hinder. The masters know all too well what it takes to shape awe-inspiring works that will last for generations.

To pay homage to this often unsung profession, I’m going to analyze what in my mind are some of the finest examples of cinematography in the history of the medium to see how they utilize these tried and true methods. This is not a “best of” list. There are hundreds of gorgeous looking movies to choose from, so narrowing it down to an arbitrary few and proclaiming them the best would be a foolish endeavor.

The following films and concepts are worthy of study and admiration because they represent the greatness that can be achieved in the hands of a skilled technician who understands the art of cinematography.

Montage

Ever since Russian filmmaker Sergie Eisenstein developed the concept of montage, it has become a staple in the movie making process. Stringing together seemingly unrelated shots to advance a particular idea can be quite powerful when devised by the best in the game. Such was the case when writer/director Woody Allen and cinematographer Gordon Willis began collaborating in the 1970s. Willis, known for his brilliant work on the Godfather films, transitioned to B&W for 1979′s Manhattan and helped assemble one of most stunning opening montages ever put to film. Allen’s superb narration and George Gershwin’s poetic composition adds to the wonder, but watch it with the sound muted and you’ll still be amazed by its artistry.

Atmosphere

If the script is set in a futuristic environment, it’s imperative to build locations that seem otherworldly in nature. A surefire way to ruin any flick, no matter the genre, is to skimp on production design and hire a shooter who lacks the necessary vision required to capture the appropriate atmosphere. In Ridley Scott’s seminal sci-fi classic, Blade Runner, Director of Photography Jordan Cronenweth applied intricate mood lighting to highlight the baroque architecture and stark landscapes of Los Angeles circa 2019. Never once during the film do you feel as if you’re looking at a movie set. The world of Blade Runner is real, and unlike few others I’ve ever seen.

Contrast

Darkness and light. Good and evil. Innocence and sin. All of these opposing forces, and many others, are commonly found in dramatic storytelling. The best practitioners in film are those who use the entire frame to further contrast juxtaposing characters and themes. For 1955′s The Night of the Hunter, director Charles Laughton and cinematographer Stanley Cortez chose an expressionistic shooting style that concentrated on heavy symbolism and contrast. Ominous lighting and long depth of field contributes to the eeriness and terror being enacted inside the plot. In the following scene, note the array of camera angles used, the framing within the frame and the importance of foreground and background action. It’s a technical masterpiece.

Stillness

To move the camera or not move the camera, that is the question. In today’s cinema, herky-jerky handheld pomp and circumstance has become all the rage. Sometimes it’s effective, other times it’s mind-numbing excess. Stanley Kubrick was without argument one of the most talented filmmakers to ever live. He eschewed flashy camera moves and instead concentrated on subtle maneuvers, or more often than not, no movement at all. He let the action inside the frame dictate pacing and plot progression. The long take is still one of the most powerful techniques at a cinematographer’s disposal. It can convey much more information than a track, dolly or truck shot. In this profound chapter from Kubrick’s 2001: A Space Odyssey, DP Geoffrey Unsworth leaves his camera perfectly still until the very end. The results are astounding.

Some of my favorite movies are ones that inspire me to ponder the mysteries of life. All it takes to get my gears spinning is a mind-blowing performance, an ingenuous script or the unique way a director frames a shot. More often than not though, it’s a simple quote that delivers the most impact. We all have memorable lines from countless flicks rattling around in our skulls. Some make us laugh, others serve as motivation, and a select few move us to think.

Whatever their meaning, these fictional phrases become permanently embedded in our individual personalities. They help define who we are and how we see the world. While many quotes can affect us on a personal level, there are plenty that are more universal. These are the go-to lines that steer us through the monotony of our daily routines. Here are ten that fit the bill.

10 – “Pain don’t hurt.”

Delivered by: Professional bouncer James Dalton in Road House.

Why it matters: We learn at an early age that a lot of stuff will cause us pain. It sucks, but it’s inevitable. Using Dalton’s Zen-like philosophy, we can disconnect the pain thus rendering it powerless. Works great when you slam your finger in the car door.

9 – “You dick!”

Delivered by: Surfer dude Jeff Spicoli in Fast Times at Ridgemont High.

Why it matters: We will meet plenty of assholes and morons in our lifetime. Sometimes you have to call a spade a spade and tell these purveyors of douchebaggery what you think of them. It might lead to a confrontation, but it beats being a doormat.

8 – “Look eye, always look eye.”

Delivered by: Martial arts master Mr. Miyagi in The Karate Kid.

Why it matters: You’ll get a lot further down life’s path if you look people in the eye. Don’t give them a reason to think you’re hiding something or that you’re not trustworthy. Show no fear. Stare them down like a professional fighter, minus the psychotic snarl.

7 – “I’m not a smart man… but I know what love is.”

Delivered by: Dimwitted sage Forrest Gump in Forrest Gump.

Why it matters: You don’t have to be a genius to feel love. However, you do have to be mentally and emotionally prepared to deal with its crushing effects.  Heartache and rejection will befall each and every one of us. Don’t let it defeat you. Be like Gump.

6 – “Stay frosty.”

Delivered by: Badass Colonial Marine Corporal Dwight Hicks in Aliens.

Why it matters: The worst thing you can do when you’re in a tight spot is panic and lose your water.  Keep a level head no matter the predicament. Unless it has to do with man-eating aliens with acid for blood. Then you can freak out and run for the hills.

5 – “Deserve’s got nuthin’ to do with it.”

Delivered by: Cold-blooded outlaw William Munny in Unforgiven.

Why it matters: Awful crap happens to everyone for no rhyme or reason. You could be the world’s greatest humanitarian or the world’s biggest villain. Don’t look for the “why.” You won’t find it. It’s a cruel fact of life that none of us are immune to tragedy.

4 – “I have a lot of problems… but they belong to me.”

Delivered by: Dysfunctional recluse Graham Dalton in Sex, Lies and Videotape.

Why it matters: I don’t know anyone that isn’t effed up a little bit. It doesn’t mean they should be fitted for a straitjacket. Got minor hangups? It’s normal. Got serious hangups? Might be a good idea to talk to someone. Locking yourself inside a self-imposed prison isn’t very healthy.

3 – “Never tell me the odds.”

Delivered by: Clever space smuggler Han Solo in The Empire Strikes Back.

Why it matters: I used to gamble back in the day. Knowing the odds was critical. That being said, on occasion I picked instinct over logic and it paid off huge. Life is all about taking the plunge. Sitting back and playing it safe is for losers. Sometimes you gotta close your eyes and roll the dice.

2 – “I’m too old for this sh*t.”

Delivered by : Grizzled police Sergeant Roger Murtaugh in Lethal Weapon.

Why it matters: Getting old blows. Trust me when I say that a night of nonstop barhopping is much tougher to recover from at 35 than 25. If you’re not a youngster anymore, stop pretending to be one. You’ll end up looking like what you are — an old fool.

1 – “Time to die.”

Delivered by: Ruthless Replicant Roy Batty in Blade Runner.

Why it matters: No one gets out alive. The sooner we come to terms with that little nugget, the easier it will be to enjoy the time we are allotted. Roy Batty wanted more. Once he learned that wasn’t possible, he graciously accepted his fate and said goodbye.