Saturday, October 31, 2026

Michael Myers from "Halloween" (1978) is Innocent (of a silly thing)

watch on YouTube

scroll to the bottom for a minor update

I want to talk about one detail from John Carpenter's “Halloween” (1978) which is genuinely hilarious but also doesn’t matter at all. Michael Myers might be innocent of a crime that everyone thinks he committed.

In the middle of the movie, Laurie and Annie pull up to the hardware store to chat with Annie’s dad, Sheriff Brackett? He’s shouting over the hardware store’s burglar alarm where someone stole a Halloween mask, rope and a couple of knives.We are meant to think that Michael Myers broke into the store and stole the mask.

But did he? Let’s take a look at the timeline.

At the beginning of the movie, Michael Myers breaks out of the Sanitarium on the night of October 30, and drives to Haddonfield. The next morning he’s watching Laurie Strode on her way to school and he’s already wearing his creepy mask, let’s say this is 8:30am. He stalks Laurie at school, wearing his mask. He stalks Tommy Doyle who is just leaving school, while wearing the mask, let’s say 3pm.

Michael, stalking the people of Haddonfield all day.

High school is dismissed, let’s say 3:30pm, and Laurie, Annie and Lynda walk home and there’s Michael, in his mask. He stands right outside Annie’s home, wearing the mask. He is in Laurie’s backyard, wearing the mask.

Later, Annie picks up Laurie for their babysitting gig, and that’s when they pull up to the hardware store, burglar alarm still ringing in the background, one would assume since the time of the break-in, where the Sheriff says someone stole a Halloween mask, rope and a couple of knives. The girls drive to their babysitting gigs, with the sun about to set. Chicago sunset on October 31 is typically around 5:30pm. So let’s say they drove up to the hardware store around 5pm.

Nichols Hardware Store, where the alleged robbery took place.

So… when exactly did Michael Myers break into the hardware store to steal his mask? We’ve seen him running around Haddonfield all day with his mask on, as early as 8:30am, so he must have broken in before dawn, let’s say 7am, when the hardware store is closed. If that’s true, the burglar alarm has been ringing for ten hours straight, with the cops finally investigating all those hours later.

Perhaps the hardware store closed on a weekday and Michael broke in a few hours before this scene… then how could he have been stalking Laurie as early as 8:30am?

Either Michael broke into the store and stole his mask predawn and the alarm was ringing for ten hours straight OR the hardware store was closed for some reason and someone robbed it right after school was let out (probably Ben Tramer), and Michael somehow had another mask the entire time.

What are we to make of all this? It’s that none of this matters at all. "Halloween" is a masterpiece of horror and suspense, and this scene is just a way to create tension by alluding that someone in Haddonfield broke into the hardware store to steal a Halloween mask, rope and a couple of knives.

The lesson here is that pedantic plot and timeline integrity is not an essential ingredient in making a movie masterpiece.

update 2026/11/01: I was a little off with my timing on Chicago sunsets - for October 31 it's actually around 5:45pm. However, in 1978, the switch from Daylight Saving Time frequently happened before Halloween (until 2007 we switched our clocks back to Standard Time on the last Sunday of October). Indeed in 1978, we moved our clocks back on October 29. That meant that sunset on October 31, 1978 was actually around 4:45pm!

Which makes this other discovery even more curious - I totally forgot about this line in the movie:


Annie (on the phone to Laurie): "Listen, my mother is letting me user her car. I'll pick you up. 6:30!" So, according to historical records, if Annie picked up Laurie at 6:30pm, this should would have taken place an hour and 45 minutes AFTER sunset:


Again, none of this matters at all. 



Friday, September 11, 2026

Apple Event Film 2026 vs. James Bond

Apple's highly polished and cinematic Event videos frequently draw inspiration from big budget blockbusters. The 2026 introduction of iPhone 18 Pro and iPhone Duo was no exception, with some references to James Bond films, particularly the opening shot of "Skyfall" (2012) when presenting former CEO Tim Cook, Bond walking from left to right in profile when introducing new CEO John Ternus, and the James Bond gunbarrel title sequence when referencing the new variable aperture featured on the iPhone 18 Pro.


watch directly on YouTube


Back in 2018, I documented the heavy influence of "Mission: Impossible - Ghost Protocol" (2011) on the 2018 Apple Event introduction.




Thursday, July 16, 2026

Todd Vaziri on Ian Failes' Befores & Afters Podcast

"Transformers" (2007), City Fight shot CF630, visual effects by ILM

I was lucky to chat with the premier visual effects journalist working today, Ian Failes, for his Befores & Afters Podcast. Listen in Apple Podcasts or Overcast.

Ian wrapped up his ILM series which also featured John Knoll, Dennis Muren, Janet Lewin, David Vickery, Ben Morris, Rachel Rose, Rob Bredow, Ben Snow and Hayden Landis talking about ILM's history. Ian recently wrote the book Industrial Light & Magic: 50 Years of Innovation, which is terrific.


For the episode, Ian and I dug deep into ILM history and culture and even got into the weeds on certain shots, like one particular shot from "Transformers" (2007), where I talk about the collaborative spirit of how we make visual effects. We had a lot of fun, and I think you'll enjoy the discussion.

Since I spoke so much about that one "Transformers" shot, I thought I'd print the full credits for the shot here. Visual effects and filmmaking is a team sport, and each one of these people (not to mention the amazing camera, stunt and physical effects teams) brought their creativity and innovation to this lovely shot.

SHOT: CITY FIGHT CF630

Layout by Keith Johnson

Animation by Derrick Carlin

Creature Dev/Transformation by Keiji Yamaguchi

Lighting by Jeff White

Rotoscoping and Paint by Michael Honrada

Compositing by Noll Linsangan

City Fight/End Battle Sequence Supervisors Nigel Sumner (lighting), David Hisanaga (FX), Todd Vaziri (compositing)

Visual effects and animation by Industrial Light & Magic, A Lucasfilm Ltd. Company, San Francisco, California

VFX Supervisor Scott Farrar, Animation Supervisor Scott Benza, Associate VFX Supervisor Russell Earl, Digital Production Supervisor Jeff White, Compositing Supervisor Patrick Tubach, Lighting Supervisor Hilmar Koch

Full ILM Credits: http://www.vfxhq.com/tvaziri/transcredits.html




Thursday, May 14, 2026

A Scan of a 35mm Print is Not "Ground Truth"


I'd love to talk in much greater detail about this topic, because it's a wonderful and complicated and nuanced issue. In the meantime, here's a Bluesky post I made:


Posting an image of a 35mm print from a film as “ground truth” for color and tone is almost always ridiculous. Even brand new release prints vary from print to print, and prints deteriorate over time in different ways for various reasons. Plus the variables that exist when scanning a print.


Generally speaking, resist the urge to compare a "scan of a 35mm print" to a "screenshot of the 4K" or whatever, because at that point you might as well compare two different iPhone photos taken of a movie in a dark theater. The comparison is giving you less information and clarity (ha!) than you think.


Tuesday, April 07, 2026

What Does “IMAX” Mean?


We’ve all heard about movies filmed in IMAX, or heard in movie trailers “see it in IMAX” and then looked at a series of confusing diagrams depicting various aspect ratios and theater screen sizes (typically made by fans). But do you know exactly what “IMAX” means? 


IMAX means:

  • large format film cameras
  • but it also can means large format film
  • but it also can mean a big digital camera


But IMAX also means:


  • a very big theater screen
  • but it also can mean a regular-sized theater screen (a.k.a. “LieMAX”)
  • but it also can mean a movie on a home streaming platform that has the exact same pixel dimensions, data rate, file format, and encoding specs as non-IMAX content (“IMAX Enhanced”)


But IMAX also means:

  • film projection
  • but it can also mean digital projection


But IMAX also means:

  • a tall aspect ratio (1.90)
  • but it also can mean a different tall aspect ratio (1.43)
  • but it also can mean a mixture of aspect ratios in a single movie (alternating between 1.90 and 2.35, 1.9 and 1.85, 1.43 and 2.35, 1.43 and 1.78, for example)


But IMAX also means:

  • a movie that was shot with non-IMAX cameras (sometimes 2K, almost always digital cameras) that alternates between aspect ratios that plays in big or regular theaters) (“Filmed for IMAX™, most Marvel movies, the first two “Dune” movies, etc.)
  • but it can also mean a movie that was partially shot with IMAX cameras and 2K digital or 35mm that alternates between aspect ratios that plays in big or regular theaters (“Oppenheimer”, “Mission: Impossible - Ghost Protocol”, “Sinners”, etc.) 
  • but it can also mean a movie that was fully shot with IMAX cameras that has a consistent aspect ratio* that plays in big theaters or regular theaters (“The Odyssey” is the first feature film ever to claim this, and *we don’t yet know if it will have a consistent aspect ratio or even what aspect ratio will be shown in regular theaters or home video)

But today, “IMAX” most frequently means a movie shot on digital cameras and mastered in 2K (and potentially uprezzed to 4K for certain shots) that sometimes has a taller aspect ratio, seen in a regular-sized theater.

So, it’s super clear what “IMAX” means. 



Monday, March 09, 2026

Oscar Pool Ballot, 98th Academy Awards

It's time for the Awesomest Oscar Pool Ballot In The History Of Oscar Pool Ballots.

Every year I create a special ballot based on a typical Academy Awards printable ballot -- but on my ballot, each category has a different point value. The highest valued category is "Best Picture," while the mainstream films' categories are valued at two points. The non-mainstream categories (like the documentary and short film categories) are valued at one point.

With this system, in a tight race for the winner of the pool, the winner most likely would not be determined by the non-mainstream films (in other words, blind guesses).

Special note: with the addition of the new Casting award, the total point value is now 45 points. 

Download the ballot here for the 98th Academy Awards and use it at your Oscar party.



And if you're wondering why Tom Cruise is on my ballot... he's been on every one of my Oscar ballots. Because he's soooooooooo cool.


Friday, January 30, 2026

Why Didn’t They “Just” Film on Location?

From the "After The Hunt" VFX Breakdown, by Frame by Frame

When people see a relatively innocuous shot from a movie of a city street, then see that it was an elaborate visual effects shot (either shot against a greenscreen or at a studio backlot), sometimes they wonder “Why didn’t they just film that at a real location? Wouldn't that have been easier and cheaper? Why resort to camera tricks?

Generally speaking, film crews need levels of control over the environment to a degree that is difficult for non-industry people to understand, which makes shooting on location sometimes not the best idea for a film production.


Here's a basic list of some of the reasons they didn’t “just shoot it at a real location” (there are plenty more):

  • ultimate control for lighting and sun position, time of year
  • location weather unsuitable for the film, either narratively or logistically
  • repeatable action for multiple setups
  • permissions and permits unreasonable or impossible
  • disruption of a community (closed businesses, car and pedestrian traffic) for days or weeks at a time
  • safety of crew
  • location accessibility for countless trucks and gear and dozens of crew members
  • availability of actors and crew
  • no location fits the storytelling needs of the production, or the location would require massive structural modification to fit the storytelling needs (period picture, science fiction, alternate reality, etc.)
  • additional photography (“re-shoots”) required but location no longer available or weather/season is totally different
  • location shooting is much more complicated and time consuming than studio shooting





update 2/1/2026: Look at the progress we're making with the discourse!


update: Here's a terrific video from Olivier Servieres and Bastien Reynal discussing the challenges of filming outrageous stunts on location and with actors on an LED wall stage, called "The Hard Truth about Shooting Car Chases", and gets into the reasons why you would have two separate shoots. Really well done.



update 5/21/2025: Stephan Fleet, VFX supervisor of "The Boys", has been making some absolutely wonderful videos about visual effects, and I particularly liked this one because it directly addresses a bozo's question of "why didn't they JUST..." and Stephan does a terrific job explaining why a film crew cannot "JUST" shoot an actual rock concert in a stadium and use it in their feature film.

@stephanfleet

Drone safety on set is serious. If you’re gonna make opinion videos know what’s up!

♬ original sound - Stephan Fleet