Showing Revision 6 created 06/25/2013 by Sei Ichijoumi.

1. Title:
   Everything is a Remix Part 2
2. Description:

   An exploration of the remix techniques involved in producing films. Part Two of a four-part series.

   An additional supplement to this video can be seen here:
   goo.gl/gtArc

   To support this series please visit: http://www.everythingisaremix.info/?page_id=14

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   Perhaps it's because movies are so massively expensive to make.
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   Perhaps it's because graphic novels, TV shows, video games, books and the like are such rich sources
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   of material, or perhaps it's just because audiences just prefer the familiar.
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   Whatever the reason most box office hits rely heavily on existing material.
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   Of the ten highest grossing films per year from the last ten years
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   74 out of 100 are either sequels or remakes of earlier films or adaptations
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   of comic books, videos games, books and so on.
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    Transforming the old into the new is Hollywood's greatest talent.
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    Everything is a Remix
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    Part Two: Remix Inc.
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    At this point we've got three sequels to a film adapted from a theme park attraction.
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    We've got a movie musical based on a musical, which was based on a movie.
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    We've got two sequels to a film that was adapted from an animated TV show
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    based on a line of toys.
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    We've got a movie based on two books, one of which was based on a blog,
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    which was inspired by the other book, which was adapted into the film.
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    Do you follow? We've got 11 Star Trek films, 12 Friday the 13ths, and 23 James Bonds.
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    We've got stories that have been told, retold, transformed, referenced and subverted
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    since the dawn of cinema.
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    We've seen vampires morph from hideous monsters to caped bedroom invaders
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    to campy jokes, to sexy hunks to sexier hunks.
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    Of the few box office hits that aren't sequels remakes or adaptations
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    the word original wouldn't spring to mind to describe them.
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    These are genre movies and they stick to pretty standard templates.
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    Genres then break up into subgenres with their own even more specific conventions.
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    So within the category of horror films we have subgenres like
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    slasher, zombie, creature and of course torture porn.
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    All have standard elements that are appropriated, transformed and subverted.
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    Let's use the biggest film of the decade as an example.
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    Now it's not a sequel, remake or adaptation but it is a genre film, sci-fi and most tellingly
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    it's a member of a tiny subgenre where sympathetic white people feel
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    bad about all the murder, pillaging and annihilation being done on their behalf.
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    I call this subgenre "Sorry About Colonialism".
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    I'm talking about movies like Dances with Wolves, The Last Samurai, The Last of the Mohicans,
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    Dune, Lawrence of Arabia, A Man Called Horse and even Ferngully and Pocahontas.
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    Films are built on other films as well as on books, TV shows, actual events, plays whatever.
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    This applies to everything from the lowliest genre film right on up to revered indie fare.
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    And it even applies to massively influential blockbusters, the kinds of films that
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    reshape pop culture.
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    Which brings us to…
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    Even now, Star Wars endures as a work of impressive imagination, but many of its individual
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    components are as recognizable as the samples in a remix.
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    The foundation for Stars Wars comes from Joseph Campbell. He popularized the structures of myth
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    in his book, The Hero With a Thousand Faces. Star Wars follows the outline of the monomyth,
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    which consists of stages like The Call to Adventure, Supernatural Aid, The Belly of the Whale,
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    The Road of Trials, The Meeting with the Goddess and a bunch more.
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    Also huge influences were the Flash Gordon serials from the thirties and Japanese director Akira Kurosawa.
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    Star Wars plays much like an updated version of Flash Gordon, right down
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    to the soft wipes and the opening titles design.
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    From Kurosowa we get masters of spiritual martial arts, a low-ranking bickering duo, more soft wipes,
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    a beneath-the-floorboards hideaway, and a boastful baddy getting his arm chopped off.
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    War films and westerns were also huge sources for Star Wars
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    The scene where Luke discovers his slaughtered family resembles this scene from The Searchers
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    And the scene where Han Solo shoots Greedo resembles this scene from The Good The Bad And The Ugly
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    The climatic air strikes in The Damnbusters, 633 Squadron and the Bridges at Toko-Ri play very similarly to the run on the Death Star
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    And in many cases existing shots were used as templates for Star Wars special effects
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    There's also many other elemants clearly derived from various films
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    We have a tim man like the tin woman in Metropolis
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    A couple of shots inspired by 2001
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    A grab the girl and swing scene like this one in the 7th Voyage Of Sinbad
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    A holographic projection kinda like the one in Forbidden Planet
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    A rally resembling this one in Triumph Of The Will
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    And cute little robots much like those in Silent Running
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    George Lucas collected materials, he combined them, he transformed them
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    without the films that preceded it there could be no Star Wars
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    Creation requires infuence
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    Everything we make is a remix of existing creations, our lives and the lives of others
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    As Isaac Newton once said, "We stand on the soldiers of giants"
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    Which is what he was doing when he adapted that saying from Bernard de Chartres
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    In Part 3 we'll further explore this idea
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    and chart the blurry boundry between the original and the unoriginal.
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    George Lucas was the most movie saturated film maker of his era
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    but that baton has since been pased to
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    Quentin Tarantino's remix master thesis is Kill Bill
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    Which is probably the closest thing Hollywood has to a mashup
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    Packed with elements pulled from countless films
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    Kill Bill raises filmic sampling to new heightsof sophistication
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    The killer nurse scene in particular is almost entirely a recombination of elements from existing films
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    The basic action is the same as this scene from Black Sunday
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    where a woman disguise d as a nurse atempts to murder a patient with a surynge of red fluid
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    Darryl Hannah's eye patch is a not to the lead characher in The Call Her One Eye
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    and the tune she is whistling is taken from the 1968 thriller Twisted Nerve
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    capping it off the split screen effect is modeled on techniques used by Brian De Palma
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    in an assortment of films including Carrie
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    For and extended look at Kill Bill's referances check this out
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    Hi there, I'm Kirby, I am the creator of Everything is a Remix
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    and i hope you enjoyed this latest installment
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    Now if you did, if you enjoyed it a lot and you would like to help me keep sluggin' away at it
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    financial contributions are very much welcome and you can do that at the address that is here
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    or you can go to my site and click donate
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    This series really is a massive amount of work so all contributions really do help
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    Also go to everythingisaremix.info if you'd like to learn more about the production this video
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    the samples, the referances, all the stuff that went into the making of it
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    Thank you for watching, my sincere thanks for your support, your feedback
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    your praise, your criticism, the lot
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    Thank you, i hope you like the video
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    i hope you'll like the next one
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     and I'll see you next time