11 Answers2025-09-10
100% Incheon Airport's tarmac area. The use of the long leading lines of the runway lights and taxiways in the MV shots creates an incredible sense of depth and space. In terms of cinematography, using the whole of the tarmac area to shoot the MV is a far more mature choice than shooting on a fabricated set. The location does most of the work to convey the sense of lonely yearning in the song and the film allows the audience to feel that emotion for themselves without the story being told to them.
4 Answers2025-09-12
This video uses Downtown LA’s rougher edges to create the video, such as peeling paint and flickering street lights. Although it is shot in a bleak style, the performances of the members come to life especially in G-Dragon’s scenes shot in empty lots. The city seems to be sighing in sync with the chorus.
3 Answers2026-06-02
Music video = MV. Until recently, I had always just called those “videos” (e.g. “MTV videos” [from the 80s]) but now MVs include anime openings and most J-rock videos. Weird how language evolves. And I’ve even started spreading it to other areas (e.g. “Check out the new MV!”).
As for what an MV can be, it’s really up to the artist. Usually, we get a straight up performance video. Sometimes there’s even a full story behind it. Ariana Grande recently dropped a brilliant thank u, next MV full of 2000s pop culture references, for example. And then there’s the abstract stuff – everything from a crying polar bear to a futuristic, isolated world where a woman rails against her environment. As a hybrid of musician and director, an MV can be pretty much whatever. My current obsession with music videos currently centers around how artists are incorporating AR (Augmented Reality) into their work, including the amazing MV for aespa’s Next Level, where human avatars coexist with their digital counterparts in actual real life spaces. Music videos are really the future of music – and it looks like it’s here already.
11 Answers2025-08-27
What I found most remarkable about the film was the lack of any iconic London or Southern English locations or even imagery. The film is so clearly Northern. The landscape is the biggest part of the identity of the film. The accents, the light, the buildings, the social settings – everything is West Yorkshire. A film of this kind set in Chelsea would be completely different. While the locations provide the weight to the story that makes the few moments of lightness so powerful, the romance has to fight against the economic reality of the locations, the boarded-up shops, the struggling mills. It’s hard to escape the pull of the place, not just physically but socially.
9 Answers2026-07-27
The locations now also serve as a sort of time capsule to Aspirational ‘90s settings. Napa today is still a very beautiful place but the film’s Napa location is ‘rustic chic’ and the San Francisco location of the Victorian home of Giles is ‘impeccably decorated in a style so very popular in the ‘90s.’ The camp is equally as ‘cool’ and also shoot in a ‘family goes on a big adventure and have fun’ style of so many other ‘family friendly’ movies of the era.
Thus the filming locations for these scenes have also been fixated at a particular time in history – in this case that of the late 1990s. When one visits the locations today they will probably notice differences – for example the new interior of the Ahwahnee at Yosemite, or the changes in the vineyard plantings at the various wineries. But in the film these locations have been fixated in time as they were at the turn of the century. Thus the ‘where’ of the film is also a ‘when’, and a visit to these wonderful locations today will provide a contrast to how they were when the story was being shot for the film some 15 years or so ago.
8 Answers2025-10-22
Short take: We’ve got to be precise as to which “One Two Three” we’re talking about. For Soundtrack projects, it typically lists all the different people that contributed to it (composers, performers, arrangers, producers and even orchestras and choirs). You’d typically find the full credits for a soundtrack in the on-screen film credits, in the liner notes of a CD/vinyl, or in the credits section of a streaming service. As for commercial soundtrack albums, the individual track credits for those are typically listed on Discogs and MusicBrainz. For films and TV, the composer and other members of the music department are listed on IMDb and AllMusic.
This kind of research is so much fun for me. Every so often, I’ll stumble upon an obscure guitarist or arranger. Their contribution to the piece totally transforms how I perceive it. So, look up those credits. There’s hours of fun for you in there discovering even more great musicians that you wouldn’t have known about otherwise.
6 Answers2026-03-26
I was really disappointed by the conclusion to this. After 300 pages or so of detailed build-up of all these different story lines, we finally get to read an epilogue that is set two years after the main action of the book. In the end, all of the good that was created by the protagonists of the book translates into positive regulations that are enforced by fines on a few of the worse actors in the book. The main bad guy is not prosecuted for his crimes, but the author tries to make us feel better by making sure that the protagonist of the story is now giving TED talks across the country. The end is so tidy and sanitized for the typical book club reader. After reading 300 pages or so of the most gritty and unpleasant sections of the book, I wanted so much more from the author in terms of messy consequences to the actions of the characters in the book.
11 Answers2025-04-18
A pretty apt location for a movie about the last people on Earth was the New Zealand South Island for ‘Z for Zachariah’. Primarily shot in the Otago region, locations in and around Queenstown, Glenorchy and the Dart River were used to bring the sheltered and lush farm, and then imposing barren environment to life. A farm set was built for the movie and shot on location at the respective locations to meet the story requirements of the movie.
Of course, the other big benefit of shooting in New Zealand is the huge amount of production support, plus the fact that the film is eligible for those famous NZ filming incentives. But, artistically speaking, choosing to shoot ‘Z for Zachariah’ in New Zealand’s South Island was a great choice. The location is a main character, and it does a lot of the storytelling. The silence of those mountains, and the clear river, really add to the mood of the film and the fragile survival of the remaining humans on Earth.
9 Answers2025-06-25
This is a question I have encountered on several occasions with various book clubs around the world. In each and every instance, the conclusion reached by the club members was that they believed the novel was fiction. What was intriguing, however, was the club members continued inquiry into why they would even entertain the idea that it was true. It appears to me that one of the main reasons for this reaction was the consistency and authenticity of the novel’s protagonist, Sam Hell, throughout his childhood and adulthood. Furthermore, the novel clearly delineates Sam Hell’s medical affliction and the attendant social stigma that he experienced as a result of it. To me, Dugoni’s masterful portrayal of Sam Hell as fully real and thus believable is the highest compliment a writer of fiction can receive.
9 Answers2026-07-02
My friend is a location scout for independent films and Gerry is sort of a legendary film in the locations world. Apparently Van Sant and Savides spent months traveling all over the southwestern states of the US in search of locations for Gerry. They needed to find places that were both epic in scale and utterly empty of human presence. This proved to be extremely difficult to find in modern America.
Both Death Valley and the Bonneville Salt Flats are some of the last “virgin” landscapes on the continent – in other words, places where you can point a camera in almost any direction and not see any signs of man’s presence. The two locations were scouted for Gerry, and are still used today as a kind of benchmark for “pure” landscape shots. And Van Sant was lucky to find two such locations in the first place – let alone to combine them so effectively.