Marloes Horst by Rony Shram

Rony Shram the photographer from New York is not interested in documentary phtography, his main interest is in fashion photography.

documentary fashion photography

Cool costumes, models and props at Disney's D23 Expo

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Original movie costumes and props from The Rocketeer.

Original movie costumes and props from The Rocketeer...

In director Joe Johnston's 1991 homage to pulp comic and Saturday matinee heroes of the 1930's and 1940's, Billy Campbell stars as the titular 'Rocketeer', a young stunt pilot who stumbles onto a mysterious prototype jetpack which allows him to fly.

Original costumes on display from The Rocketeer

at Disney D23 Expo 2011

The nostalgic movie is set in 1930's L.A., where stunt pilot 'Cliff Secord'discovers the rocket pack and uses it to battle Nazi spies.

Cliff Secord pilot costume worn by Billy Campbell,

plus Gee Bee miniature airplane on display from The Rocketeer

The Gee Bee miniature airplane model pictured behind Billy Campbell's 'Cliff Secord' pilot outfit was built by Industrial Light & Magic.

The Rocketeer movie poster

Based on the iconic retro look of Dave Stevens Rocketeer superhero which first appeared in 1982, the costumes in the movie are designed by Marilyn Vance, whose work can also be seen in Die Hard, Predator and Pretty Woman to name but a few films.

The Rocketeer costume worn by Billy Campbell

Also included in the Treasures of the Walt Disney Archives exhibit on August 19, 2011, was one of the jetpack props used in the movie.

The Rocketeer's Cirrus X3 jetpack

Finally, here's also the 1930's style ball gown worn by Jennifer Connelly as'Jenny Blake', Cliff Secord's aspiring actress girlfriend in the movie.

Actual dress worn by Jennifer Connelly

as Jenny Blake in The Rocketeer

If you love these fantastic outfits, be sure to check out more original costumes, models and props that were on display at Disney's D23 Expo 2011.

The Rocketeer movie poster

The Cove documentary covert filming equipment on display

The Cove documentary covert filming equipment on display...

In the 1960's, Richard O'Barry was the world's leading authority on dolphin training, working on the popular TV show 'Flipper'. Following ten years in the industry, O'Barry realised his mistakes and has been campaigning to return dolphins held in captivity to the wild ever since.

The Cove movie poster

The Cove tells the story of how the Director Louie Psihoyos (and co-founder of the Oceanic Preservation Society), O'Barry and an elite team of activists, filmakers and freedivers, embarked on a covert mission to penetrate a hidden cove in Japan and shine the light on a dark secret, that 23,000 dolphins are being barbarically slaughtered in the village of Taiji every year.

The Cove covert filming equipment display at ArcLight Hollywood

The following photographs show a selection of covert camera equipment used in the filming of The Cove documentary on display at ArcLight Hollywood on July 30 and August 4, 2009.

The equipment includes a baseball hat with hidden camera and an Industrial light and magic/Kerner Optical 'fake' rock that housed one of the covert cameras.

Clandestine filming and recording equipment were placed in trees, on the cliffs and underwater, both to film the secretive slaughter of these dolphins, but also to hear the chilling final sounds of these creatures as they faced death.

The film is compelling viewing and makes you reconsider everything you know about dolphins held in captivity for our amusement.

Visit the official website to watch the trailer for The Cove and to see how you can get involved to help prevent the senseless slaughter of these dolphins.

Documentary movies get cool.

#55 - Documentary movies get cool.

It was the decade when...

People realized that the Documentary was more than an "hour-three" Oscar category.

Documentary filmmakers are a resilient bunch. Despite the dearth of money, the lack of public attention, the difficultly finding distribution - they have pressed on, rolling their Sisyphean boulder up the hill, hoping to, if they are lucky, get a brief moment in the sun at the Academy Awards, Holocaust topics being a good bet to achieve Oscar glory.

In the AUGHTS this long suffering genre had a kind of popular revolution. Instigated by the work of one uniquely popular documentarian, many filmmakers suddenly found their documentary movies acquiring not only critical praise but that most illusive of commodities: box office success. Best of all, there was nary a swastika in sight. Here are some of the highlights:

Bowling For Columbine (2002): Whatever your feelings on his politics or directorial style, all parties can agree that Michael Moore is the most financially successful documentary filmmaker of all time and probably the most widely seen. No other documentarian gets as broad an audience or a seat on Dave Letterman's couch to promote his films. For many people Moore is documentary cinema. His first film of this decade was one of his best and earned the orotund director his first Oscar. Grossing over 20 Million dollars domestically, Bowling For Columbine was nothing short of a blockbuster by the standards of the genre. Less an exegesis on the Columbine massacre than a free-form essay analyzing the violence at the heart of the American experience, Columbine is Moore at his least didactic. The party-line invectives for which he is famous are less present here, preferring contemplative associations to lefty bromides. Without his firebrand opining however, the film becomes a double edged sword; it packs a wallop and yet remains slightly vacuous, the subject matter offering no neat resolutions or demagogues to denounce. No summation exists to tie together Moore's various analyses. There is, in the end, only the horrific absurdity of Columbine.

The Fog Of War (2003): For years Errol Morris has been something of a documentarians documentarian. Serious and solemn, Morris' films are highly focused and charged with epistemological purpose. The Fog of War has all the familiar Morrisian tropes: the menacing Phillip Glass score, the dreamy symbolic imagery, the moral seriousness. In the film, former Defense Secretary Robert McNamara sits before a stark white background (it looks like he is in an Apple Commercial) answering Morris' questions in a tone that feels like a cross between courtroom testimony and therapy couch confessional. Never going in for the kill, Morris allows his subject neither absolution nor damnation for his actions preferring instead to stress the many ambiguities that politics and war trade in. Perhaps such fence-sitting is a kind of cop-out but it makes for exciting, thought-provoking cinema in a way that crude indictment would not. The film won Morris his first Oscar.

Capturing the Friedmans (2003): An unrelentingly horrible story of a middle-class suburban family eaten up alive by its patriarchs pedophilia, Friedmans uses as its through line the found footage of the family home movies, a near unwatchable record of dysfunction and familial collapse. The story plays out as a mystery of sorts: did the kindly father, a school teacher, really molest children in the basement of his suburban home? Did his son participate in the abuse? As the accusations against the family mount to more and more preposterous heights, the smell of hysteria overtakes reality. But, it's the stress from within that consumes, the family as crucible of anger, denial and confusion. The film lost the Oscar to The Fog of War but still earned a respectable three million dollars at the box office.

Fahrenheit: 9/11 (2004): The Titanic of documentaries (the Movie, not the ship), Fahrenheit: 9/11 was a phenomena. If the the Palme D'or at Cannes was more of a political rebuke to the Bush Administration than an award for excellence in filmmaking, it nonetheless was tangible proof that Moore's two hour invective was going to play a role in the national conversation as no documentary had before. Grossing over $200 Million in worldwide box office, the film acted as both battle cry and pat on the back for liberals everywhere. Too bad then that the movie actually adds up to little, despite the filmmaker's effectively conspiratorial tone. More a manipulation than a reasoned argument, Fahrenheit was concerned primarily with demonizing the President and his administration. An effective piece of propaganda, the movie did not succeed in it's real goal; George Bush was reelected in 2004 despite Moore's marching orders.

Super-Size Me (2004): A gimmick of a film, Super Size Mewas the shockingly popular movie about a guy who eats nothing but McDonalds for a month. He gets fat and ill. Who knew? It garnered its creator Morgan Spurlock $11 Million dollars and a television contract.

Grizzly Man (2005): The voice of God in movies is usually pretty consistent: loud, masculine, and authoritative. I find this most depressing. I like to think that God sounds more like, well, like Werner Herzog: thoughtful, ironic, detached, wryly humorous and vaguely Continental. A voice which offers gentle but unsparing insight into the absurd activities happening down on planet earth. No commands or eternal judgments, just contemplative musings and poetic notions about existence. Well, I doubt God is very much like this (or like anything at all), but in Grizzly Man, Herzog's brilliant 2005 documentary about the life and death of Grizzly Bear enthusiast Tim Treadwell, I can at least pretend. Using mostly "found footage" taken by the ill-fated protagonist, Grizzly Man worked on many levels: It's the story of our relationship to the natural world and it's creatures. It's a cautionary tale of broken dreams and the pain of experiencing failure in a society that both practically guarantees it and yet has little patience for mediocrity. It's a tale about using and making cinema to escape our lives. Treadwell was not a scientist or trained naturalist, he was an out of work actor and LA beach bum who, fed up with Hollywood, people, and society, decided to leave it all behind with an act that both conceded his failure and was a last ditch effort to avoid it: he goes to live amongst the Grizzlies, recording his new life on video tape. His strange new lifestyle finally got him some long-sought media attention, including a now macabre visit to the Late Show with Dave Letterman. Herzog selectively chooses from Treadwell's copious footage to paint a picture of man at odds with civilization but doomed by his rejection of it. Throughout, Herzog interjects his modest and dispassionate musings, all the while concealing a bleak humor that permeates the whole movie. It's fascinating.

March of The Penguins (2005): Anthropomorphic children's folderol. Somewhere David Attenborough is wincing. It was also a blockbuster and Oscar winner.

An Inconvenient Truth (2006): Al Gore has been giving a PowerPoint slide show on Global Warming for years. In 2005, someone recorded it. Alarmist and shocking, the subject matter mattered more than the filmmaking. It won the former VP an Oscar (and probably a Nobel too).

Man on Wire (2008): Though a certain 2001 event goes blissfully unmentioned in this documentary about performance artist Philipe Petit's 1974 illegal tight-rope walk between the two towers of the World Trade Center, the film acts as a sort of elegiac tribute nonetheless. While Petit's act would be a fascinating story in any context, it's the resonance of what happened later that gives the film it's real purchase. Man on Wire allows us to see the Towers as something more than flaming infernos. The film is an Oscar-winning celebration of measured mischievousness and risk-taking, literalizing the metaphor that life itself is a tight-rope walk, and thank God for that.