Joseph Gordon-Levitt as Johnny in Sin City - before and after visual effects
That’s what life is: repetitive routines. It’s a matter of finding the balance between deviating from those patterns and knowing when to repeat them.
JGL, My One and Only
For one of my Design classes, focused on Form and Color Theory, I had to create a book of a theme of my choice for my final project of the Spring Quarter. I had to stray away from the common (ex: Disney, among other things), so I wondered, what would be unique but something I found interest in? The answer? My creative soul mate: Joseph Gordon-Levitt.
I wondered, what could I fill an accordion book with to make it dedicated to the wonderful JGL, without picture after picture of his face? Well, I decided, what better way than to show some of his well-known work in a sort of timeline-like manner. From his childhood lead role in Angels in the Outfield to his (at the time) latest work providing his voice for the lead character in the English dubbed As The Wind Rises, I dedicated each page to what I felt were pieces of his work that most of the public recognizes and associates with him. Of course, I also wanted to include his more obscure work, such as in Mysterious Skin and Manic, but I wanted my book to be a piece in which almost everyone who knows of JGL would understand when they read through my book.
As I was planning each page, I knew I wanted the whole book to have a cohesive look throughout, so I stuck with simple silhouettes and text, as well as a color scheme of black, white, and red (to go with the HitRecord colors). Hopefully you all enjoyed my dedication to JGL as much as I did when I was making it (and by some miracle, I hope he sees this too)!
(Note: the above photo with the cutout of a man in a pink shirt is of JGL’s brother, Burning Dan. Of course, I had to create a page in memory of his beloved brother. Rest in peace Dan Gordon-Levitt).
Joe will be hosting the “Sneaks” event at Adobe’s MAX conference in October, in Los Angeles.
Joseph Gordon-Levitt, Seth Rogen and Anthony Mackie on set of Jonathan Levine’s untitled XMas comedy, August 18
Looks like the theme sweaters are a thing ;D
BUT I’M STILL A BELIEVER IN THE BATMAN, EVEN IF YOU’RE NOT.
Joe on his way to the Late Show with David Letterman [x]
Joseph Gordon-Levitt after appearing on the David Letterman Show meeting the people waiting for him,
Joseph Gordon-Levitt on David Letterman, August 20th 2014.
Ahahah, it’s safe to say Joe is in costume for XMas in this fanpic [x]
In an interview with moviefone Joe said a few very interesting things about The Walk:
I wanted to ask you about something you’ve got coming up, which is the Robert Zemeckis movie “The Walk.” That’s in 3D too, right?
Yes. We just finished shooting it. It’s definitely one of the most, if not the most, challenging thing I’ve ever done. And I mean that in the best way.
What was so challenging about it?
I’m not as good a wire-walker as Philippe Petit, but I did learn how to walk on a wire. And it’s really hard. Plus, I’m playing a Frenchman so I’m speaking with a French accent and some lines I’m speaking in French and wanting to not sound like an American who is speaking French. So I really wanted to work on getting that accent just right. And just playing this guy with maniacal ambition, and I mean maniacal in the best sense. But he’s just so intense. But Bob Zemeckis was just such a dream and the way he shot the whole movie is so inspiring. And you bring up 3D — a movie like “The Walk,” as well as “Sin City” — these are movies where the 3D is in the bones. The movie is begging to be in 3D. It’s not like, “Well, we’ll make it in 3D so we can charge more for the tickets.” The idea of a wire-walker, of a shot where, in the foreground you can have the guy’s foot on the wire and deep, deep, deep down there, 1,300 feet below, is the city of New York. That should be in 3D. It’s like “Gravity.” It should be in 3D. Especially in the way that Zemeckis shot this movie — if you have vertigo, you’re going to have a physical reaction to this movie.
Did he talk to you about what it was going to look like?
Oh yeah. It’s shot to make you feel like what it felt to be on the wire there. That’s the thing — there is no footage of the walk. The cops came just before his friend could shoot any motion picture footage. There’s just a few stills. And we re-created the walk and collaborated with Philippe to say, “Okay — what did you do on the first crossing? What did you do on the second crossing? Why? What did you feel like?” It’s not a completely precise replica, because the walk was 45 minutes long and we can’t put a 45 minute walk in the middle of the movie, but it’s quite accurate and Philippe was there while we were shooting the wire-walking. So it’s really going to be the first time we’ll get to see what that was.
Did you feel extra pressure having him there?
Honestly, he was so positive to me, it didn’t add pressure. It was encouraging. He just has this incredible bottomless pit of energy and was applying that to me — making me feel great, making me feel inspired. He was the one who taught me how to walk on a wire. I spent eight days straight with him. At the beginning, I couldn’t do it at all and at the end I was walking by myself with a pole, on a real wire, six feet off the ground.
2014 Creative Arts Thank You Cam: Creative Achievement in Interactive Media for Social TV Experience
Here is the video in which Joe “thank hitRECord community, pivot and burning dAN <3 #Emmys” [x]