Flanders

Friday, March 19th, 2010

There’s a passage in Thomas Malthus’s An Essay on the Principle of Population that suggests a certain amount of geographic determinism, given that he wrote the essay in 1798:

The fertile province of Flanders, which has been so often the seat of the most destructive wars, after a respite of a few years, has appeared always as fruitful and as populous as ever.

I suppose he’s referring to the Eighty Years’ War, but I naturally think of the World War I poem, In Flanders Fields, written in 1915:

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved, and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

It was in the movie Flags of Our Fathers

Tuesday, March 16th, 2010

Ron Grossman of the Chicago Tribune took a quick survey in the newsroom the other day — something between a Rorschach test and a pop quiz — asking younger colleagues to identify an iconic photograph:

While some instantly recognized the image, others couldn’t quite place it.

“I know I ought to know it,” one co-worker said. “It was in the movie, Flags of Our Fathers.” Some, seeing uniforms, realized it must be a war photo. Maybe Vietnam? One got the era right but the battlefield wrong. She guessed it was D-Day, not, as it was, the raising of the American flag on Iwo Jima.

(Hat tip to David Foster.)

Bachelor Number One

Thursday, March 11th, 2010

Rodney Alcala had already had been convicted for the 1968 rape of an 8-year-old girl when he appeared on The Dating Game in 1978 — and won:

Mills, who was bachelor No. 2, said he had an almost immediate aversion to Alcala. “Something about him, I could not be near him,” Mills recalled. “I am kind of bending toward the other guy to get away from him, and I don’t know if I did that consciously. But thinking back on that, I probably did.”

Alcala was able to charm Cheryl Bradshaw from the other side of the “Dating Game” wall.

“Who will it be?” the host asked her at the end of the show. “I’ll take One [bachelor No. 1],” Bradshaw said, and out strolled Alcala.

If Alcala appeared likable to viewers at home, Mills said he was the complete opposite when they sat together in the show’s green room, where the show’s contestants waited before going on air.

“He was quiet, but at the same time he would interrupt and impose when he felt like it,” Mills said. “And he was very obnoxious and creepy — he became very unlikable and rude and imposing as though he was trying to intimidate. I wound up not only not liking this guy … not wanting to be near him … he got creepier and more negative. He was a standout creepy guy in my life.”

Within months of his “Dating Game” appearance, Alcala would become a killer, prosecutors said, abducting and murdering a 12-year-old girl in 1979. Before the decade was over, Alcala would claim four more victims, according to testimony at his trial.
[...]
Though Bradshaw chose Alcala as her date, she refused to go out with him, according to published reports.

You can watch the episode, if you’re so inclined:

Even without knowing that a serial killer is involved, I feel compelled to cringe at The Dating Game. How can you not worry about our civilization, watching a show like that?

In the 1970s, were they really letting convicted child-rapists out of prison in less than ten years?

(Hat tip to Todd, who knows a little too much about serial killers…)

We must Americanize ourselves

Sunday, March 7th, 2010

Heinrich Hauser wrote The German Talks Back to explain postwar Germany to Americans — not, Mencius Moldbug explains, from the point of view of a German liberal but from that of a German national-conservative. An excerpt:

The crucial test to which the American government in Germany ought to subject all claimants and lobbyists is, of course, “Just how many followers do you have? How many hale and hearty democrats can you deliver?” An honest question, to which in honesty the non-Nazified functionaries of the old Weimar Republic can only answer: “None. Unfortunately, the people have become estranged from us. The young generation has forgotten us and doesn’t care about democracy. After thirteen years of Hitler, what can you expect?”

This is perfectly true, except that for once it is not Hitler who must take all the blame if American ideas don’t work out in occupied Germany. That blame must be shared by German gullibility and American gullibility alike. The truth is that the fathers of the present generation ate sour grapes from America, and now the children’s teeth are set on edge.

I will spare you the well-worn argument about Wilson’s Fourteen Points, and how the Germans felt let down when they got the Treaty of Versailles instead. No: what you have forgotten, or never became conscious of, is that for ten years after the First World War Germany’s most popular slogan was “Wir amerikaniseieren uns!” (“We must Americanize ourselves.”) Rarely, perhaps never in history, was there a defeated nation so completely enamored of the victor’s efficiency as the Germans after 1919. “American matériel has won the war? So then everything American must be superior. Let’s imitate them, let’s Americanize ourselves.” Such was German logic.

Every American who visited Berlin during those reconstruction years will remember to what ridiculous lengths that German logic went: American bars and American-style nightclubs, American jazz bands, if possible with one “real imported” Negro at the saxophone. American cafeteries and American movie houses were ubiquitous. The neatly dressed German wore “shimmy” shoes and a suit of American cut. American cars rolled on the streets with a new and surprising noiselessness, and in if an American asked his way in German he got an English answer. The dollar was the Elite-Valuta — the elite-professionals of the Kurfuerstendamm demanded it from even their German customers. And the first skyscrapers begain to raise their steel skeletons over the trees of the Tiergarten.

We imitated everything. The National Assembly imitated your Constitution, and the Reichswehr your Sam Browne belt. Industrialists copied your production systems, workers adapted themselves to your speed-up systems, and poets sang in praise of the assembly line. We introduced your weekend and your bookkeeping. We blossomed out in Rotary Clubs and poured sugar into our perfectly good wine to ape the sweet tooth of America.

We really meant it all. Sure, the people were disappointed that their Wilsonian dream hadn’t come true after all, but then they still clung to their dream of America. What kind of dream?

“If you will only be good democrats and work like hell and be modern and progressive as we are, then you can live like Americans.” That was the siren song which in a thousand variations sounded from across the ocean, and the people listened as starry-eyed as ever Hitler listened to a Wagner opera. They dreamed of the electric refrigerator that would one day be theirs, and of the vacuum cleaner, and, above all, of that cheap little car.
[...]
For a time the carrot worked; the ugly 19th-century brick-and-plaster houses of Germany’s Main Streets put on pants: facades of concrete reaching to the second floor and framing modern stores with neon lights. Cities built new municipal buildings and parks and hospitals for themselves. Yes, it was done with American loans — to a large degree, at least. Industry modernized itself and installed new machinery. Yes, American money helped do that, too. It looked almost like prosperity on the face of it, and a typical German crowd looked almost like a normal American crowd.
[...]
It must not be forgotten that private enterprise in Germany had suffered a major blow a few years before the Nazis came to power. In 1930, the great depression hit the economic body of Germany, which owing to malnutrition had a low resistance anyway. And the most significant thing about it was that “Wir amerikanisieren uns,” the slogan of the ‘twenties, backfired on us with a vengeance.

When the United States retracted her private loans, the first establishments to topple were the ones that had taken the loans. These included the municipalities that had gone farthest along the American way of modernity, and the industries that had gone the limit with American production methods, thereby accumulating an unduly high overhead. The workers on the American-style assembly lines were the first to be thrown on the dole. The most progressive farmers, who had invested heavily in modern American implements, were the first to surrender to the sheriff’s sale.
[...]
The cheapest kind of amusement, which even those on the dole could afford once a week, which indeed was thrown in as part of the dole, was a ticket to the movies. People thronged the movie houses, partly for the warmth, partly to snatch an hour of sleep in half-comfort, partly to forget their misery, and partly for the show. And the show always included a newsreel and some slapstick comedy from the U.S.A.

Never shall we forget — we, the unemployed of the depression years in Germany — those nauseating scenes that Hollywood projected for us on the silver screen as ostensibly representing the American way of life. Never shall I forget the incredulous stare at first, and then the tightening of lips, and then the gleam of hatred in the people’s eyes…

“So that’s the way those fellows live over there in America… did you see those brats throwing pie at each other’s faces, and all besmeared, and the whipped cream dripping all over?… And the girls in the sexy bathing suits, swimming in a pond full of apples and banging them around… Don’t forget the ones who got their buttocks measured by a bunch of fellows — a beauty contest, they called it… And that other hussy in the beauty parlor; got her hair all plastered with yolk of egg. I’ve seen it. Real eggs, at least a dozen….
[...]
In that other thing, College Fun or whatever it was, did you see how they wrecked the place, smashed up the furniture and all? Did you think that was funny? No, I call that beastly, and I could have taken a stick and smashed their skulls, and never be sorry I did it.”

Pre-war Germany and the modern Middle East suddenly seem eerily similar.

Alice in Underland

Friday, March 5th, 2010

To enjoy Tim Burton’s Alice in Wonderland, you’ll need to accept that it’s not by any stretch Lewis Carroll’s Alice’s Adventures in Wonderland or its follow-up, Through the Looking Glass, David Edelstein says, but a fancy Hollywood hybrid:

Yes, it uses Alice’s characters and motifs, but the plot is one part C.S. Lewis to one part The Wizard of Oz. You could call it “C.S. Lewis Carroll’s Alice in Narnia with Johnny Depp as the Mad Scarecrow.”

Carroll’s delicious satire of English logic and manners has been turned into an action-packed, feminist coming-of-age story. Alice, played by the Australian actress Mia Wasikowska, is a young Victorian woman of 19 facing the marriage proposal of an unattractive prig. She falls down a rabbit hole — for the second time, the first time was when she was 6 — and arrives in Wonderland — or, as the locals correct her, Underland — and no one believes she’s the same Alice. But if she is that Alice, a number of characters tell her, she has a destiny: to ride into battle on “the frabjous day” against the homicidally petulant Red Queen and her winged Jabberwock.

Batman Beats Superman

Wednesday, March 3rd, 2010

Batman beat Superman once again, as a copy of Detective Comics No. 27, Batman’s debut appearance, sold for $1,075,500, beating the price paid for Action Comics No. 1, Superman’s debut appearance, a “mere” one million dollars.

Chaotic Enough to Be Interesting

Tuesday, March 2nd, 2010

Movies are much pinker today than in the past — not in tint, but in the way the cuts resemble pink noise:

According to the new report, the basic shot structure of the movies, the way film segments of different lengths are bundled together from scene to scene, act to act, has evolved over the years to resemble a rough but recognizably wave-like pattern called 1/f, or one over frequency — or the more Hollywood-friendly metaphor, pink noise. Pink noise is a characteristic signal profile seated somewhere between random and rigid, and for utterly mysterious reasons, our world is ablush with it. Start with a picture of Penélope Cruz, say, or a flamingo on a lawn, and decompose the picture into a collection of sine waves of various humps, dives and frequencies. However distinctive the original images, if you look at the distribution of their underlying frequencies, said Jeremy M. Wolfe, a vision researcher at Brigham and Women’s Hospital, “they turn out to have a one over f characteristic to them.”

So, too, for many features of our natural and artifactual surroundings. Track the pulsings of a quasar, the beatings of a heart, the flow of the tides, the bunchings and thinnings of traffic, or the gyrations of the stock market, and the data points will graph out as pink noise. Much recent evidence from reaction-time experiments suggests that we think, focus and refocus our minds, all at the speed of pink. If you’re sitting at a task, Dr. Cutting said, “sometimes you’re good at it, sometimes your mind wanders, sometimes you’re fast, sometimes you’re slow, and the oscillating patterns that occur are generally one over f.”

White noise is uncorrelated data — like static. Brown noise is a random walk — each step is based on the one before. Pink noise is correlated enough to create a pattern, but chaotic enough to be interesting — like your heart rate.

Thoughts on Commercials

Saturday, February 27th, 2010

Steve Sailer has been watching the Winter Olympics and has some thoughts on commercials:

Speaking of commercials, why don’t advertisers make slight variants of their commercials to keep people from completely zoning out the 73rd time they’ve seen it? They shoot way more footage than they use, so why not whip up alternative versions to keep viewers awake during the Olympics?

Here’s an easy way to keep siblings competitively engaged: shoot three or four different punchlines and then make one slight variation in each version’s set-up shots. That way, somebody who is paying close attention will be able to achieve dominance over the rest of his family by accurately predicting the punchline. It will drive his siblings crazy, so they will also study the commercials looking for clues so they can beat him to the punchline.

Also, advertising agencies keep missing the sweet spot between too boring and too interesting that you don’t notice what brand is being advertised. A lot of prestige ads that run on the Olympics are so expensive, so filled with show-offy scenes from around the world that you often lose the thread before they finally flash the sponsor’s logo for 0.8 seconds at the end. I’m sure those kind of ads win awards — nobody loves to give awards to each other more than advertising people — but are they really effective at selling whatever sponsor that’s revealed at the very end? Especially when the stylistic theme of countless commercials is exactly the same: Despite, or perhaps because of, global diversity, everybody on Earth loves us.
[...]
Instead, why not borrow a trick from cable networks that keep a small logo up on a lower corner of the screen? Hey, this show is on the Discovery Channel! I’ll have to try to remember that. Similarly, put the sponsor’s logo in the corner throughout the commercial. Your ad won’t win any awards and your ad agency might get sanctioned by the Advertising Council for violating the professional ethics of the advertising business by being overly attentive to the client’s interests instead of to your own sense of creative self-expression, but, so what?

A Canticle for Leibowitz

Thursday, February 25th, 2010

Lent started recently, and, by coincidence, I started reading A Canticle for Leibowitz, which opens with a monastic novice passing his Lenten vigil in the desert — in the 26th century, six centuries after the Flame Deluge has plunged civilization into a new Dark Age:

The text reveals that as a result of the war there was a violent backlash against the culture of advanced knowledge and technology that had led to the development of nuclear weapons. During this backlash, called the “Simplification,” anyone of learning, and eventually anyone who could even read, was likely to be killed by rampaging mobs, who proudly took on the name of “Simpletons”. Illiteracy became almost universal, and books were destroyed en masse.

Isaac Edward Leibowitz had been a Jewish electrical engineer working for the United States military. Surviving the war, he converted to Roman Catholicism and founded a monastic order, the “Albertian Order of Leibowitz”, dedicated to preserving knowledge by hiding books, smuggling them to safety (booklegging), memorizing, and copying them. The Order’s abbey is located in the American southwestern desert, near the military base where Leibowitz had worked before the war, on an old road that may have been “a portion of the shortest route from the Great Salt Lake to Old El Paso.” Leibowitz was eventually betrayed and martyred. Later beatified by the Roman Catholic Church, he became a candidate for sainthood.

Centuries after his death, the abbey is still preserving the “Memorabilia”, the collected writings that have survived the Flame Deluge and the Simplification, in the hope that they will help future generations reclaim forgotten science.

Recently, Robin Hanson called attention to William Grassie’s fuzzy-headed far view on surviving such a catastrophe, calling it not just fuzzy-headed but also amazingly wrong-headed, because it suggested that a single impractical book — Maps of Time — could preserve literacy.

That’s an odd complaint, I said, given that we know many, many people learned to read specifically to read one such “impractical” book, the Bible, and, as Canticle reminds us, the last time we needed to bootstrap society, we did it with the help of religious monasteries, which had retained many ancient texts and the ability to read them because they were tenuously connected to the Bible.

Today, especially amongst American Protestants-turned-agnostics, we look at the Catholic Church as an enemy of Truth and Progress — the Church silenced Galileo! — but through most of human history it served as a kind of Long Now Foundation, establishing rites and rituals that would sustain the Church and its traditions for generations and giving great thought to Big Questions.

I did not know it at the time, but Walter Miller, the author, had served in a bomber crew that helped destroy the monastery at Monte Cassino during World War II, and he converted to Catholicism after the war. Seen through his sympathetic eyes, the Church is a source of great practical wisdom, with established methods for steering flawed human beings toward productive behaviors — not unlike the Overcoming Bias and Less Wrong crowds, but more experienced, if also tied to a peculiar cosmology.

This ties in with Robert Nelson’s Reaching for Heaven on Earth, which, according to TWV, divides many great thinkers into two camps:

He calls his first category “the Roman tradition,” after both the empire and the Catholic Church. The thinkers he discusses under this rubric range from Aristotle to Paul Samuelson. “The leading figures of the Roman tradition,” he claims, “have not been the great revolutionaries of history, but men who typically saw moderation as a virtue and favored an incremental process of human development” (31). He lists 15 characteristic views of those in this tradition:
  1. The world is rational; nature, including man, is guided by the dictates of reason.
  2. The material and external world are the original and fundamental reality — not the world of the mind and ideas.
  3. Men are in principle capable of discovering and understanding the rationality of human existence.
  4. Systematic scientific investigation is required to uncover the rational laws of nature, demanding careful research and studies.
  5. Progress is found in gradual movement toward a natural and rational destiny.
  6. Valid law is natural law, which should govern humanity.
  7. Justice is what is rational, which is common to all.
  8. Because all humanity shares the same reason, all men are fundamentally equal.
  9. Life is lived to achieve happiness; a utilitarian goal is appropriate for mankind.
  10. Society is an organic community steered for the common good.
  11. Private property is a beneficial instrument of the common good.
  12. It is natural and just to pursue one’s self-interest.
  13. The poor are deserving: Society has the strong obligation to support them as fellow members of the community.
  14. Wisdom is found in moderation.
  15. This-worldy, commonsensical, and pragmatic attitudes best serve the needs of humanity.

Nelson’s second category is the “Protestant tradition,” which includes thinkers as diverse as Plato, Augustine, Karl Marx, and Herbert Spencer. For these thinkers, the moral status of law is “much less exalted…. Law is necessary in the Protestant tradition, but is merely a coercive device required to keep wicked men from doing still greater damage to one another. Indeed, all government is seen in this light, as a sinful product of man’s condition. Nevertheless, its decrees must be obeyed until God — or history — finally opens the way to a happier destiny” (55). Nelson’s list of characteristic Protestant views diverges dramatically from the Roman:

  1. The human condition in this world is deep alienation from original and true nature.
  2. Owing to man’s corrupted condition, reason is unreliable, often a source of delusion.
  3. Existing law is a corrupted product — like reason — of current human depravity.
  4. Justice is not to be found in the rational, but in the iron dictates of God or history.
  5. The ways of the world are revealed to men not through reason, but through revelation.
  6. True progress demands a revolutionary transformation of human existence.
  7. The current world is destined for sin; the triumph of virtue must await a heaven in the hereafter or the arrival of an earthly heaven.
  8. Mankind is divided among the saved and the condemned, the superior and the inferior groups.
  9. Life is lived not for happiness, but for disciplined labor in the service of God or history.
  10. Self-interest and economic competition exert an evil influence in the affairs of man.
  11. Communal living and common ownership are the highest form of existence.
  12. Government, like property, is a coercive social instrument designed to control sinful and unruly natures.
  13. The poor are responsible for their fate; society must not coddle them.
  14. Moderation is banality; pragmatism is a sign of weakness.
  15. The record of history is not progress, but retrogression, the fall of man.

Again, American Protestants-turned-agnostics tend to see the Catholic Church as similar to the Protestant Church, but with more silly rituals, when the key distinction through most of history has been the conservative, moderate nature of Catholicism versus the romantic, millennial nature of most Protestantism, at least in its origins.

Aretae recently mentioned that Tolstoy’s War and Peace helped him understand the entirely foreign worldview of an honest-to-goodness monarchist. I felt that Miller’s Canticle gave me a similar insight into Catholic monks — and reminded me that we may have torn down much of what the Church stood for, but we haven’t done a good job replacing it — which is why Peter Taylor recommends Yet Another Space Alien Cult. But we’ll get to that some other time.

To Badly Go

Thursday, February 25th, 2010

Don Boudreaux remarks that, to visit DC expecting to find people engaged in serious discussions of economics is like visiting a Star Trek convention expecting to find people engaged in serious discussions of astrophysics:

Perhaps a handful of the celebrities and costumed performers are familiar with real science, but their overwhelming object is not to help their public deal with reality but, rather, to escape it.

I preferred that remark in the original Klingon.

NOVA Extreme Cave Diving

Thursday, February 18th, 2010

The recent NOVA episode on extreme cave diving in the “blue holes” of the Bahamas struck me as almost over-the-top extreme:

Including the expedition leader, anthropologist Kenny Broad, the dive team has recovered the bodies of more than 100 cave divers. To imagine recovering just one, think of a flooded, crumbling 10-story building at night. There’s a dead body in the basement. You have to find it and drag it to the roof. Could you? What if it was a friend? Wes Skiles recovered the body of his best friend from a cave. He also recovered three brothers who realized they were hopelessly lost and out of air. Wes found them holding hands.

Not far into the episode, they find a human arm bone, then a flashlight, and then more remains in a 1970s-era wet suit. They also found some older remains:

At their deepest level, blue holes are anoxic, and this lack of oxygen helps to preserve whatever falls in. Our team was able to recover two skulls belonging to ancient humans, the fossils of vertebrates that are now extinct in the Bahamas, and fossils of birds that aren’t just extinct but have never before been described by science. Living within the blue holes are at least one new order of multi-cellular creatures, descended from animals that evolved millions of years ago, as well as single-celled organisms virtually indistinguishable from the first life-forms on Earth. Parts of blue holes are like our planet’s first seas, from a time four billion years ago when the Earth had no oxygen. NASA was interested in the expedition because the extreme life-forms found in blue holes are similar to what they hope to find on other planets.

Doctor Who had anti-Thatcher agenda

Wednesday, February 17th, 2010

The Telegraph reports that Doctor Who had an explicitly anti-Thatcher agenda back in the 1980s:

[Sylvester] McCoy, who played the seventh doctor from 1987 to 1989, and Andrew Cartmel, the script editor at the time, both admitted the conspiracy, saying that it “seemed the right thing to do”.

However, the secret messages remained a secret to all but Doctor Who insiders. Meanwhile the show’s popularity went into freefall and it was taken off air in 1989.

McCoy, now 66, who took over as the Doctor three months after Thatcher’s third election victory in 1987, said they brought politics into the show “deliberately” but “very quietly”.

He said: “We were a group of politically motivated people and it seemed the right thing to do.

“Our feeling was that Margaret Thatcher was far more terrifying than any monster the Doctor had encountered,” he told the Sunday Times.

Cartmel said it was almost a job requirement to detest Thatcher.

When asked by John Nathan-Turner, the producer, what he hoped to achieve in being the show’s script editor, he recalled: “My exact words were: I’d like to overthrow the government.

“I was a young firebrand and I wanted to answer honestly. I was very angry about the social injustice in Britain under Thatcher and I’m delighted that came into the show.”

His script writing team included Ben Aaronovitch, son of the late Marxist intellectual Sam Aaronovitch, and Rona Munro, who later became a scriptwriter for Ken Loach, the left-wing film director.

Sophie Aldred, who played the Doctor’s feminist assistant Ace, said the crew “weren’t very happy” with Thatcher being the prime minister at the time, which she described as “a real bonding process”.

One three-part programme, The Happiness Patrol, featured a transparent caricature of Thatcher.

Sheila Hancock played Helen A, a big-haired despotic ruler of a human colony on the planet Terra Alpha, whose subjects — called “drones” — worked in factories.

The Doctor calls on the drones to down their tools and revolt, an obvious reference to industrial disputes like the miners’ strike.

A year later Catrmel wrote a speech for the Doctor about the perils of nuclear weapons, which was based on material from the Campaign for Nuclear Disarmament (CND).

A spin-off children’s novel called Turlough and the Earthlink Dilemma, published under licence by the BBC in 1987, also featured a villain called Rehctaht — Thatcher backwards.

Cartmel lamented that such satire never reached its intended audience.
“Critics, media pundits and politicians certainly didn’t pick up on what we were doing. If we had generated controversy and become a cause célèbre we would have got a few more viewers but, sadly, nobody really noticed or cared.”

He said nobody further up in the BBC such as Jonathan Powell, then controller of BBC One, knew about their plan.

A spokesman for the BBC said it was “baffled” by the claims.

I’ve never seen the late-80s Doctor Who, but it sounds like anyone who was watching would have immediately picked up on the ham-handed satire. So, why is this news now?

Erector Set Movie

Wednesday, February 17th, 2010

In 1901, Frank Hornby introduced his Meccano toy set in England. In 1913, it came to America, where it was rebranded as the Erector Set. Now it’s getting its own feature film:

Helix Films, an independent film production company based in Santa Monica, today announced plans to develop an original 3-D feature based on the Erector Set, the iconic brand of children’s construction toys.

The Erector film is one of a number of coming 3-D features based on playthings. Disney’s 3-D sequel, “Toy Story 3,” hits theaters in June, and Universal will release a 3-D movie starring “Twilight’s” Taylor Lautner in 2012, based on the Stretch Armstrong doll. Paramount Pictures is currently weighing whether or not to release the third installment of Michael Bay’s ”Transformers” franchise in a 3-D format.

This might be a good opportunity to go back to the Meccano name.

Escape from New York, Again?

Thursday, February 11th, 2010

In the 1970s, it wasn’t hard to imagine a New York City that got so bad they walled it off and made it a prison. John Carpenter’s Escape from New York made a certain kind of sense. Now they want to remake it:

In the original, set at the end of World War III, New York City was a husk of itself after being turned into a giant prison, but that kind of destruction gets pricey. So in Escape 2.0, the Big Apple that the as-yet-uncast Snake Plissken is dropped into will be geographically undesirable, but intact: This Manhattan was evacuated and turned into a privately run penal colony after the detonation of a crude radioactive dirty bomb on the outskirts of the city.

“It is not a disaster movie,” says a source close to the project. “It is an exposé of an ecosystem, if you put a huge wall around Manhattan and then dropped in the most fucked-up, dangerous criminals on Earth.” This means New York will still be recognizable to audiences, à la I Am Legend, rather than an entirely new Armageddon Island.

I didn’t realize that the original, with its B-movie sensibilities, was expensive to make:

Carpenter and his crew persuaded the city to shut off the electricity to ten blocks at a time at night. The film was shot from August to November of 1980. It was a tough and demanding shoot for the filmmaker as he recalls. “We’d finish shooting at about 6 am and I’d just be going to sleep at 7 when the sun would be coming up. I’d wake up around 5 or 6 pm, depending on whether or not we had dailies, and by the time I got going, the sun would be setting. So for about two and a half months I never saw daylight, which was really strange.”
[...]
When it came to shooting in New York City Carpenter managed to persuade the city officials to grant access to Liberty Island. “We were the first film company in history allowed to shoot on Liberty Island at the Statue of Liberty at night. They let us have the whole island to ourselves. We were lucky. It wasn’t easy to get that initial permission. They’d had a bombing three months earlier and were worried about trouble.”

This is a cropped screen shot from the DVD version of John Carpenter's Escape From New York. It shows the wire frame image generated by the glider's approach computer. At the time of production, computer effect were prohibitively expensive, so a physical model was painted black and outlined using reflective tape. The model was then filmed using a black light.Some effects were too expensive to do as planned:

As Snake pilots the glider into the city there are three screens on his control panel displaying wireframe animations of the landing target on the World Trade Center and surrounding buildings. What appears on those screens was not computer generated. Carpenter wanted hi-tech computer graphics which were very expensive at the time, even for such a simple animation. To get the animation he wanted the effects crew filmed the miniature model set of New York City they used for other scenes under black light with reflective tape placed along every edge of the model buildings. Only the tape shows up and appears to be a 3D wireframe animation.

Beaker’s Epic Burn-ination

Tuesday, February 9th, 2010

Gloat over Beaker’s epic burn-ination: