The music, East Hastings by Goodpseed You! Black Emperor, certainly contributed much to the awesomeness of the clip.

I’m glad that Kathy Bates’ character Annie Wilkes from the movie Misery made the list. Who do you think is the best Hollywood villain?

Link [embedded YouTube clip]

Let Hollywood Saloon take you back to a time before Stanley Kubrick was "Stanley Kubrick", before Spielberg was "Spielberg" and Scorsese was "Scorsese".

The folks at Hollywood Saloon have gathered together the early directorial efforts of some of cinema’s biggest and most acclaimed names, ranging from Stanley Kubrick and James Cameron to Paul Thomas Anderson.

These early works, consisting of 16mm student productions, Super 8 and VHS films, give us a glimpse of the youthful talent that would go on to produce some of the most important films of the 20th century.

Link

From the Upcoming ueue, submitted by whitespace.

Cineleet has an interesting post about movies that depict mentally challenged characters, from those who suffer from mental retardation, savant syndrome, to plain ol’ derangement, and analyzed what made these movies so great:

The 2008 comedy Tropic Thunder highlights an inconvenient Hollywood truth: Oscar loves mental disabilities. In the film, Ben Stiller’s action hero character, Tugg Speedman, wishing to expand beyond his stereotype, attempts to court Oscar sympathies by playing a mentally challenged farmhand. It ends up being a critical failure. This is because, as Tugg’s co-star Robert Downey, Jr warns him, “You never go full retard”. And he has a point.

The most critically acclaimed performances by characters with disabilities still retained something the audience could emotionally relate to.

For instance, take Dustin Hoffman’s award-winning portrayal of the "idiot savant" Raymond Babbitt in Rain Man (1988):

Character: Raymond Babbitt as played by Dustin Hoffman

Mental Disability: Autism / Savant Syndrome
Barry Levinson’s film features Hoffman as an “idiot savant” who possesses a phenomenal capacity to count toothpicks and cheese balls (and later, cards in Vegas). Hoffman’s performance arguably is one of the most ‘affected’ of all the characters on this list, and as such, the hardest to emotionally connect with, particularly for his brother (Tom Cruise), who’s self-centered and primarily interested in the estate their father left Raymond. But in the midst of his worst autistic episodes, Raymond’s primal instinct to care for his younger brother is the touchstone that makes this performance resonate.

What the Critics Thought: The Los Angeles Times called Hoffman’s performance made the film “hypnotically interesting”, and Newsweek’s David Ansen said the film was “made with care, smarts, and a refreshing refusal to settle for the unexpected”.

How it Paid Off: It took home four Oscars that year, including Best Picture, Best Director and Best Actor for Hoffman.

Link – Thanks Warren!

The following is reprinted from The Best of The Best of Uncle John's Bathroom Reader. From Hollywood's earliest days, directors have sought to leave their individual marks on their films. Some have devised small "signatures" that identify a film as their work. Can you spot them? MAKING THEIR MARK The French have a word for it: auteur (author). It's the name for a theory of filmmaking - the idea that a film director is like a book's author and is responsible for the film's vision, form, and content. Many director's films are easily recognizable as theirs, based on the themes and style that recur in their movies. But some directors also add small signature touches or in-jokes that - if you recognize them - add to the audience's enjoyment. FRANK CAPRA Capra had a pet raven named Jimmy, and he found a place for him in several of his movies, starting with You Can't Take It With You (1938). In the Christmas classic, It's a Wonderful Life (1946), Jimmy the raven sits on Uncle Billy's desk in the Bailey Building and Loan.   ALFRED HITCHCOCK Probably the best-known of all director signatures, Hitchcock famously placed himself in many of his films - his unmistakable profile appears briefly in 37 out of 54 of them. To help you out, we've sniffed out Hitchcock sightings in some of his most familiar films. Psycho: About four minutes into the film, Marion (Janet Leigh) returns to her office. You can glimpse Hitchcock, wearing a cowboy hat, through the window. Don't blink or you'll miss him - he's only on-screen for a few seconds. Rear Window: About 30 minutes into the film, Hitchcock is winding a clock in the songwriter's apartment. Dial M for Murder: This one is of Sir Alfred's trickier cameos. Roughly 13 minutes into the film, a class reunion photo is shown. That's him on the left of the picture. Strangers on a Train: Right at the start of the movie, Hitchcock can be seen boarding the train, carrying a double bass. Lifeboat: Hitchcock appears briefly as the "before" and "after" pictures in a newspaper ad for weight-loss program. Around the time of this movie's filming, Hitchcock had crash dieted and dropped 100 pounds. QUENTIN TARANTINO Tarantino is best known for violent films with a healthy dose of black humor. And there are several signatures to watch for: Each movie contain a "trunk shot," during which the camera is set deep in the trunk of a car so it can capture the actors as they lean in and over it. Each also has an ad for Red Apple cigarettes (a fictional brand.) Tarantino almost always has one or more of his characters barefoot - it's Uma Thurman in Pulp Fiction and the Kill Bill movies. MARTIN SCORSESE Taking a leaf from Alfred Hitchcock's book, Scorsese appears in cameos in almost all his films. Going Hitchcock one better, Scorsese also puts many members of his family in small roles. Cape Fear: Scorsese's mother plays a customer at the fruit stand. The Color of Money: Scorsese is walking a dog in the casino scene. The dog was actually his own dog, and received a credit as Dog Walkby. Goodfellas: Scorsese's mother plays Tommy's mother. The director let her ad-lib her entire scene. His father plays the prisoner who put too many onions in the "gravy" (tomato sauce). Raging Bull: Scorsese can be seen asking Jack to go onstage. Also in Raging Bull, Scorsese's father is part of a mob at the Copa Nightclub. Taxi Driver: Scorsese is sitting in the background of the campaign headquarters as Cybill Sphepherd walks in.

The article above is reprinted with permission from The Best of the Best of Uncle John's Bathroom Reader. The Bathroom Reader Institute handpicked the most eye-opening, rib-tickling, and mind-boggling articles from everything they have written over the last ten years and carefully crammed them into 576 pages of the book. Since 1988, the Bathroom Reader Institute has published a series of popular books containing irresistible bits of trivia and obscure yet fascinating facts. Check out their website here: Bathroom Reader Institute.

Previously on Neatorama: Stories Behind Hollywood Studio Logos

The movie is about a ten year old Indian boy named Hari Prasad Dhoonda, nicknamed Hari Puttar (Puttar means "son" in Punjabi), who was left home when his parents go on vacation. Just like Home Alone, Hari soon has to face burglars who wanted to steal his father’s secret formula.

Given the similarity to its movies, Warner Bros. decided to sue but the case was thrown out by Indian courts on the grounds that the public would be able to tell the difference and Warner had waited too long to file their case.

Hari Puttar’s official website | Trailer of the movie at Clipser: Link

You see these opening logos every time you go to the movies, but have you ever wondered who is the boy on the moon in the DreamWorks logo? Or which mountain inspired the Paramount logo? Or who was the Columbia Torch Lady? Let's find out:

1. DreamWorks SKG: Boy on the Moon

In 1994, director Steven Spielberg, Disney studio chairman Jeffrey Katzenberg, and record producer David Geffen (yes, they make the initial SKG on the bottom of the logo) got together to found a new studio called DreamWorks.

Spielberg wanted the logo for DreamWorks to be reminiscent of Hollywood's golden age. The logo was to be a computer generated image of a man on the moon, fishing, but Visual Effects Supervisor Dennis Muren of Industrial Light and Magic, who has worked on many of Spielberg's films, suggested that a hand-painted logo might look better. Muren asked his friend, artist Robert Hunt to paint it.

Hunt also sent along an alternative version of the logo, which included a young boy on a crescent moon, fishing. Spielberg liked this version better, and the rest is history. Oh, and that boy? It was Hunt's son, William.

The DreamWorks logo that you see in the movies was made at ILM from paintings by Robert Hunt, in collaboration with Kaleidoscope Films (designers of the original storyboards), Dave Carson (director), and Clint Goldman (producer) at ILM.

Photo courtesy of Robert Hunt - Thanks for the neat story, Robert!

2. Metro-Goldwyn-Mayer (MGM): Leo The Lion

In 1924, studio publicist Howard Dietz designed the "Leo The Lion" logo for Samuel Goldwyn's Goldwyn Picture Corporation. He based it on the athletic team of his alma mater Columbia University, the Lions. When Goldwyn Pictures merged with Metro Pictures Corporation and Louis B. Mayer Pictures, the newly formed MGM retained the logo.

Since then, there have been five lions playing the role of "Leo The Lion". The first was Slats, who graced the openings of MGM's silent films from 1924 to 1928. The next lion, Jackie, was the first MGM lion whose roar was heard by the audience. Though the movies were silent, Jackie's famous growl-roar-growl sequence was played over the phonograph as the logo appeared on screen. He was also the first lion to appear in Technicolor in 1932.

The third lion and probably most famous was Tanner (though at the time Jackie was still used concurrently for MGM's black and white films). After a brief use of an unnamed (and very mane-y) fourth lion, MGM settled on Leo, which the studio has used since 1957.

The company motto "Ars Gratia Artis" means "Art for Art's Sake."

Sources: MGM Media Center | Wikipedia entry on "Leo The Lion"

3. 20th Century Fox: The Searchlight Logo

In 1935, Twentieth Century Pictures and Fox Film Company (back then mainly a theater-chain company) merged to create Twentieth Century-Fox Film Corporation (they later dropped the hyphen).

The original Twentieth Century Pictures logo was created in 1933 by famed landscape artist Emil Kosa, Jr. After the merger, Kosa simply replaced "Pictures, Inc." with "Fox" to make the current logo. Besides this logo, Kosa was also famous for his matte painting of the Statue of Liberty ruin at the end of the Planet of the Apes (1968) movie, and others.

Perhaps just as famous as the logo is the "20th Century Fanfare", composed by Alfred Newman, then musical director for United Artists.

4. Paramount: The Majestic Mountain

Paramount Pictures Corporation was founded in 1912 as Famous Players Film Company by Adolph Zukor, and the theater moguls the Frohman brothers, Daniel and Charles.

The Paramount "Majestic Mountain" logo was first drawn as a doodle by W.W. Hodkinson during a meeting with Zukor, based on the Ben Lomond Mountain from his childhood in Utah (the live action logo made later is probably Peru's Artesonraju). It is the oldest surviving Hollywood film logo.

The original logo has 24 stars, which symbolized Paramount's then 24 contracted movie stars (it's now 22 stars, though no one could tell me why they reduced the number of stars). The original matte painting has also been replaced with a computer generated mountain and stars.

Paramount logo history, for more details, see: CLG Wiki

5. Warner Bros.: The WB Shield

Warner Bros. (yes, that's legally "Bros." not "Brothers") was founded by four Jewish brothers who emigrated from Poland: Harry, Albert, Sam, and Jack Warner. Actually, those aren't the names that they were born with. Harry was born "Hirsz," Albert was "Aaron," Sam was "Szmul," and Jack was "Itzhak." Their original surname is also unknown - some people said that it is "Wonsal," "Wonskolaser" or even Eichelbaum, before it was changed to "Warner." (Sources: Doug Sinclair | Tody Nudo's Hollywood Legends)

In the beginning, Warner Bros. had trouble attracting top talents. In 1925, at the urging of Sam, Warner Bros. made the first feature-length "talking pictures" (When he heard of Sam's idea, Harry famously said "Who the hell wants to hear actors talk?"). That got the ball rolling for the studio and made Warner Bros. famous.

The Warner Bros. logo, the WB Shield, has actually gone many revisions. Jason Jones and Matt Williams of CLG Wiki have the details:

Warner Bros. Logo History - see the full details at CLG Wiki

If you're interested in WB cartoons, you can't go wrong with Dave Mackey's Field guide: Link

6. Columbia Pictures: The Torch Lady

Columbia Pictures was founded in 1919 by the brothers Harry and Jack Cohn, and Joe Brandt as Cohn-Brandt-Cohn Film Sales. Many of the studio's early productions were low-budget affairs, so it got nicknamed "Corned Beef and Cabbage." In 1924, the brothers Cohn bought out Brandt and renamed their studio Columbia Pictures Corporation in effort to improve its image.

Vintage Columbia Pictures Logo (Source: Reel Classics)

The studio's logo is Columbia, the female personification of America. It was designed in 1924 and the identity of the "Torch Lady" model was never conclusively determined (though more than a dozen women had claimed to be "it.")

In her 1962 autobiography, Bette Davis claimed that Claudia Dell was the model, whereas in 1987 People Magazine named model and Columbia bit-actress Amelia Batchler as the girl. In 2001, the Chicago Sun-Times named a local woman who worked as an extra at Columbia named Jane Bartholomew as the model. Given how the logo has changed over the years, it may just be that all three were right! (Source)

The current Torch Lady logo was designed in 1993 by Michael J. Deas, who was commissioned by Sony Pictures Entertainment to return the lady to her "classic" look.

Though people thought that actress Annette Bening was the model, it was actually a Louisiana homemaker and muralist named Jenny Joseph that modeled the Torch Lady for Deas. Rather than use her face, however, Deas drew a composite face made from several computer-generated features (Source: Roger Ebert, Photo: Kathy Anderson)

Obviously, we're missing the stories of the logos of many other film studios. We'd love to hear from you if you know any! Please tell us in the comment section.

If you like this article, please check out Neatorama's articles on logos:

• The Evolution of Tech Logos
• Evolution of Car Logos
• Who Owns What on Television?