The movie is shot at night in the forests around Viborg, Denmark and is just brilliant. There are more behind-the-scenes stuff here.

Who doesn’t like bunnies, a wolf and a twist at the end.

Out Of A Forest from Tobias Gundorff Boesen on Vimeo.

Thanks to Gammasquad for the tip.

Out Of A Forest – Cool Motion Stop Video is a post from: The Inquisitr

The tide is turning. You can hear it in the creaking sound of the New York Times building its paywall, for the second time, and Murdoch has said no more freebies from News Corp. The freetards are probably sitting in a medical marijuana coffeehouse somewhere wonder what went wrong.

The freenomics model of Web bliss is under attack and the rise of subscriptinomics is all but assured.

Now we hear that YouTube is testing the paid content waters by teaming up with the Sundance Film Festival and filmmakers to charge somewhere around $5.00 to be able to view an assortment of movies online. According to Jodie O’Dell over at ReadWriteWeb the movies currently slated to be available are:

The films include The Cove, an underwater adventure about dolphin capturing in Japan; Bass Ackwards, which chronicles an improvised road trip; Children of Invention, about two Bostonian orphans; One Too Many Mornings, a “coming of age comedy about two guys who are too old to be coming of age”; and Homewrecker, a comedy about a locksmith. The filmmakers will determine the exact asking price for viewing each movie, but all will be in the range of $5.

$5.00

To watch a movie in a browser on a computer monitor, or even dumber in a 3.5″ smartphone screen.

So for a little less than a real theater ticket you can watch a movie in a YouTube viewer, in a browser, on a computer monitor and this is supposed to be a good value for your dollar.

I am sure that there will be lots of people who will think this is a great idea and I have no problem with that. I just don’t think that any video geared to be watched in a small viewing screen inside of a browser is worth $5.00. Maybe a $1.00 but that would be pushing it.

YouTube looking to charge to view content – Get Real! is a post from: The Inquisitr

I caught this one earlier via those crazy folks at geekologie and like them I have watched this a few times because it is just plain cool. That said however be forewarned there is definitely one part that isn’t safe for work or playing in front of kids (or people with no sense of ha-ha) and I’m not talking about the cartoon violence.

VIDEOGIOCO by Donato Sansone from Enrico Ascoli – Sound Design on Vimeo.

Your nightly dose of WTF (and possibly NSFW) is a post from: The Inquisitr

I’ve been in hog heaven lately with the glut of quality comic book movies that have been coming out recently. The Dark Knight, Iron Man, Hellboy 2 and The Hulk have all been superb movies that are unique and have expanded the genre (as well as paved the way for future quality adaptations to hit the silver screen). Another movie made possible by these successes and others like them in summers past is the film adaptation of the DC Comics short run series called The Watchmen.

The Watchmen has always been an influential work in both the science fiction world as well as the comic book world. Alan Moore, the writer, has seen subsequent graphic novels move to the big screen (like V for Vendetta and From Hell). After the comic run finished, it was later re-published as a graphic novel, something that is widely attributed as having popularized the format.

Unfortunately, there’s now a chance that The Watchmen may never make it to theatres. I caught the news yesterday on comic industry blog Uncivil Society that there’s apparently an intellectual property dispute between Fox and Warner Brothers as to who exactly owns the exclusive movie rights to the film, and Fox is threatening to block the films release entirely in an effort to protect their investment.

The evidence is pretty clear that Fox secured the rights back in 1990 (Uncivil Society has all the document scans), but turned down the production. The producer eventually ended up at Warner, who greenlighted the project, but clearly didn’t do the legal due diligence.

Does that mean the film will end up not seeing a public release? It’s doubtful it’ll come to that. Mike Massnick over at TechDirt does some reading of the tea leaves, and indicates he belief that the disagreement will “get settled long before the movie’s scheduled release in March of next year — but it will probably mean that Fox gets some of the profits for doing absolutely nothing.”

Should We Even Have Exclusive Rights in the First Place?
Mike then injects a bit of his typical libertarian approach to intellectual property matters and wonders why there even exists the idea of “exclusive movie rights”:

To be honest, the whole concept of selling off exclusive rights to a story idea for a movie never made that much sense. If multiple studios want to make multiple movies out of the same concept, why shouldn’t that be allowed, letting the best movie win in the marketplace? If the original content creators feel strongly about a vision, then they can sign up to work with one particular studio to make sure the movie is more true to life — but it shouldn’t require “exclusive” rights.

He then goes on to use as evidence for his point the fact that when actual news or riveting real-life drama happens, it’s a race to the finish as to who can come up with the best movie adaptation first. Without realizing it, though, he demonstrates why it’s a very bad idea to take competitive standards and apply them to artistic works.

While the movie adaptation of V for Vendetta was a commercial success and very well received by the fans of the graphic novel, Alan Moore was so notoriously displeased with the film that it was profiled in the New York Times. Mr. Moore is the embodiment of the desire for artistic integrity, and in a situation where all movie rights for films were up for grabs, gross misinterpretations of the underlying messages would run rampant.

From a business perspective, though, such a system would be incredibly damaging to many longstanding franchises. For years after Joel Schumacher and Tim Burton drove the Batman movie franchise off a cliff, the series became untouchable in Hollywood and sales of the comic book went down the drain.

Certainly, as is evidenced by both of these cases, the exclusive rights system doesn’t always prevent us from getting bad movies. Having a hoard of movie producers rushing towards a deadline, each one trying beat the other by a week’s release date certainly can’t help the quality of the films coming out, and I doubt seriously many major comic vendors are willing to gamble that way with their brand and their stable of titles.

Who Gets To Watch the Watchmen? is a post from: The Inquisitr