Tim Buttner - Multi-Media Expert


Tim is a Multi-Media Expert with skills that span various forms of media. Tim began writing screenplays before he was twelve, completing his first feature-length screenplay at sixteen. He began filming in high school and at seventeen gained experience interning at Edgewood Studios on the set of Zombie Town. Tim continued to study film at Drexel University, establishing himself in the Stereoscopic 3D revolution after attending workshops in New York City with Florian Maier on Stereoscopic Film Production. After graduating from Drexel's Film & Video Program with a Bachelor of Science, and with a Screenwriting & Playwriting Minor, Tim worked for Digital Revolution Studios under Craig Tanner and further worked in stereoscopic 3D. While at Drexel Tim co-founded a company (One Forest Films) with high school friends and for several years helped build the company as CTO, and Chief Web Designer. Tim has been a contributing writer for MarketSaw, and as well selected as a Beta Tester for Blackmagic Design on the URSA Mini 4.6K camera.


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Tim is also a contributing writer to MarketSaw, a 3D blog. Check it out: www.marketsaw.com




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—Favorite Quotes—

"Cinematography, a military art. Prepare a film like a battle." — Robert Bresson

"'Nobody's perfect' is the line that most sums up my work. There is no comedy, no drama about perfect people." — Billy Wilder

"Structure depends on strategy: strategy is determined according to events." — Cao Cao, from Sun Tzu's The Art of War

"I shall hang my 'lecturing' on the same peg with my other failures and follies. It must be a long peg and a strong peg to hold them all." — George Perkins Marsh

"Will the science of the human heart, around which all contemporary art is based, exhaust so completely the writer's powers of imagination that in future the only novels that are written will be chronicles of various events?" — Giovanni Verga

"Train easy, fight hard… and die.
 Train hard, fight easy… and win." — Unknown

 

—Personal Quotes—

"Movies are not watched. They are an encounter with a life's experience not your own."

"I'm well trained in the art of turning shit to gold."

"'My favorite movies are the ones inside my head."

It's Depressing Living with Seven Deadly Sisters in Punch-Drunk Love


Updated on May 28, 2010, 3:15 PM - Written by Tim Buttner

 

It's not easy growing up with one's family because no matter what you're stuck with them due to the blood relation. Some people are lucky enough to have a strong family relationship, but that doesn't mean there isn't dramatic tension beneath the skin. Brothers and sisters are often the worst because there is the competition for parental love and attention, academia, occupation, and love. Deep down there is love, and a sibling will always be there for another, but ultimately siblings get on one another's nerves. It's tough to imagine what Barry Egan (Adam Sandler) had to suffer through being the only boy in a family with eight kids… seven of which were girls. Paul Thomas Anderson's Punch-Drunk Love (2002) focuses mainly on the middle part of Barry Egan's life, where he's having the most conflict due to the constant harassment and ridicule he receives from his seven sisters, and the audience never gets a full glimpse into his early childhood, but the sisters do manage to give a little insight through some exposition. It's tough to classify the psychological disorder that Barry experiences during the film, because it at times would seem like bipolar due to his fits of rage or random breakdowns of weeping, but in fact what makes him mentally ill is depression.


Paul Thomas Anderson decides to open the movie without any opening titles or credits and bring the audience right into the life of Barry, and does so with a wide shot of Barry sitting at his desk in a open storage space talking on the phone with a representative of a food distributor that is participating in a promotion to give away air miles for every ten purchases of their product. Barry is distracted and proceeds out of the storage space into the parking lot where he witnesses a car accident and a cab stopping to drop a Harmonium in front of the entrance to the parking lot. Within this sequence Anderson introduces the audience to the strange events that will take place through the cou...

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Old Boy vs The Killer


Updated on May 26, 2010, 10:50 AM - Written by Tim Buttner

 

Separated by 14 years, however close enough to the time that Dae-su Oh spent imprisoned, Dip huet seung hung (AKA The Killer / Bloodshed of Two Heroes) came from famed Hong Kong director John Woo and Oldeuboi (AKA Old Boy) came from a philosophy student of Sogang University in Seoul: Chan-wook Park. The former was released in 1989 and the latter 2003, but both were met with different sorts of acclaim for their portrayal of violence. One was more of a flashy "Hollywood" flair while the other was a more gritty revenge film. The Killer takes a sort of film noir perspective, and Old Boy makes a dark revenge tale even more twisted than Dumas' and yet, there is a compelling fascination that grabs hold of their audience. Is it because the directors chose to film the movie in their native language? Native country? Or city? Or, could the most compelling facet of the films be that each builds its place in the society in which it was made through the characters sense of honor, which is inherent to the Asian culture.


Woo and Park both have their distinct cinematographic styles, whether it is how they choose to shoot a scene, how they transition from one scene to the next, or how they choose to choreograph a complex fight scene. The number of shootouts in The Killer outnumbers the number of fights in Old Boy, however that doesn't make the latter any less violent. For one of the shootouts in The Killer, an action scene at a beach house, it took 28 days to film, with some 20,000 rounds of ammunition fired, and the final shootout scene took 36 days to shoot, with close to 40,000 rounds of ammunition fired. Old Boy took 3 days to shoot its famous one-take corridor scene where Dae-su fights off close to twenty-plus opponents with a hammer and his bare fists in a tight corridor to get to an elevator. Woo edited his elaborated fight sequences so that it seemed as though his protagonists never had to reload bec...

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Lawrence of Arabia vs Charles Dickens


Updated on May 11, 2010, 3:23 AM - Written by Tim Buttner

 

Out of all the epic movies that emerged out of the studio system in the early days of Hollywood, there are a select few that manage to reach the level of detail and character development of a Charles Dickens novel. These movies are grand in scale. The world is as much a character as the players that inhabit and evoke the conflict in it. The setting evokes more conflict by its inherent nature, which is exactly what Dickens did in his novels. Dickens wrote long tales, and the Hollywood epics were so long that they required an intermission. Over the course of one of his long novels Dickens was able to keep the train moving by developing his characters always, and the same is true for many of the epics. If there was any filmmaker more capable of the Dickens standards than David Lean, whose best epic film was shot on gorgeous 65mm: Lawrence of Arabia (1962).


An element that a Dickens novel could never have had, which Lawrence is aided by tremendously, is a score that sweeps its beauty throughout the theater. Maurice Jarre provided Lean with his score that created another element to the film's setting. Lean also used sound as a means to tell the story, or transition from one scene to the next, something that Dickens could only allude to in a novel. It is through these devices that Lean makes his first leap above the standards that Dickens put in place through his writing. Where Dickens was confined to describing his world to his audience in words, Lean had the ability to show and/or surround them through images and sound the descriptive qualities of the setting. It is in the earliest moments of the movie that we are introduced to this because the screen stays black and Jarre's roaring score brings to life the theater. Our first introduction is through the music, whereas Dickens' first introduction in the novel Hard Times is dialogue. Not dialogue that we hear, but instead dialogue that we read. The effect is as though we have a black scre...

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