We need more film reviews like this one: “We don’t even have to show our faces to reinvent ourselves. In a chat room, anyone can be a Ripley—or whoever. It’s a liberating time in the history of a protean nation, and also a conflicting one. ‘The American is always on the way to someplace else,’ Lewis Lapham once wrote, but perhaps never as quickly or universally as in the high-velocity world of right now. While Ripley has to laboriously scratch out a passport photo to trade in an identity, we can do it in a digital click.” Frank Rich, as only he can, opens up what the film critic is allowed to review and produces one of my top-five favorite film reviews ever on Anthony Minghella’s cerebral thriller of 1999, The Talented Mr. Ripley.
“You would have to look rather closely to see it. Extremely closely. In fact, someone could set the old logo and the new logo side by side and stare for some time before detecting even the slightest distinction. The folks who led the exhaustive makeover process couldn’t be more pleased.” NYT on the ginger redrawing of MoMA’s logo, set in Franklin Gothic No. 2, c. 2003. Shortly thereafter, NYT announced its own redrawing in the form of a slightly tweaked—but subtlely compelling—new Cheltenham. Whose ghost haunts these two typographic facelifts? Morris Fuller Benton, for one. Who else? Matthew Carter, of course. For further reading, try this interview with Carter, which helps connect some more dots between the two.
A post about my ongoing fascination with film editing would be quite a long read, but I know I share the opinion of many designers that the craft of film editing shares a great deal with the craft of, for instance, the design of visual books. A good intro can be found in this article from the Boston Globe, where we get quotes from the venerable film editor Walter Murch who observes that film editing “could just as easily be called ‘film construction.’” Also quoted are rising stars like Steve Hamilton, who explains the ever-shrinking number of long takes in feature films this way: “The power of the gaze has been circumvented by technology. We can’t look our matinee idols in the eye anymore.”