Tout Va Bien

I'm wondering if this is a common thought. Even with my enormous knowledge and appreciation of film, I still hold onto some préconceptions when I think of certain types and movements in cinema, that once in a while, discourages me from watching them. Because, honestly, sometimes I'm just looking to tune out and watch something fun like most people.
I wonder if this is a common occurrence?
The french La Nouvelle Vague movement, is one of those pieces of film history that I haven't explored to the fullest. I feel that there is this silly idea in my head that the body of work is inaccessable films made by pretentious film critics.

...And I would be totally wrong.

When reading my "top three..." post, you'll find one of the most famous pieces, "the 400 blows" listed as a huge influence on me. Sometimes I forget that the other films involved with Nouvelle Vague are just as personal and accessible. This is especially true with Godard. Whose display of knowledge with technique is unparalleled, and represented so clearly in is work. His knowledge of different film conventions of storytelling and breaking down those conventions and using that as a part of his storytelling is masterful.

It's fun to watch, and interesting subjects. Godard likes to have fun with film, break the rules he knows so well, and still remains insightful with his commentary.

Tout Va Bien
This is the hilarious poke at the conventions and process of filmmaking I was speaking of. During a strike at a meat factory. A news team husband and wife, hole up with the corporate manager in his office as the employees take over, and make their grievances known with very frank interviews. The film is depicting similar class struggles of that of the french revolution. One of the most common mechanisms used is "breaking the 4th wall", which for people who don't know, the characters break through (figuratively lol) the screen and speak, or are perceived to be speaking, directly to the audience. As seen in the screenshot below, Godard goes so far as to create his set as a cross section, so the audience is forced to see and experience everyone equally.

I was most surprised to find how funny and thoughtful this film was. Wrapping back around to the opening paragraph of my exposition, I found this to be very entertaining. And that was the flip I had while watching it. I went and rented another Godard film the very next day. It was a similar feeling to finding that old band you haven't listened to in a while and once you hear them again there is this flush of emotion, nostalgic but in a new appreciation kinda way.


The opening narration started me off to a good pace. With a discussion of what character beats to use during the making of the film we're about to watch. The movie is scattered with brief moments of film processing. There is an intimacy included, involved with not only the subject matter, but of the filmmaking process overall. And how much the two are blended together with visuals, story, the acting.


The story involves a reporter and her director husband getting involved with covering the struggles of workers striking against their meat factory employers. Throughout you find the relationship struggles involved with the two principals to be almost voyeuristic. With being so surrounded and involved with the events we're brought into, the relationship is taut with a true sense of realism.


The film is very clever. As my viewing partner pointed out (Sarah, an excellent movie watching partner), the interviews conducted of the striking workers are devoid of the questions being asked them, and instead are shown as a kind of monologe with only the answers in succession, as if the interview is being conducted but only hearing one side. It was interesting, funny, clever. And a great way to point out who's outlook we're really paying attention to in the moment. It's one of the most effective "breaking the 4th wall" examples I've seen.




I know this is a very brief overview for something from a master like Godard, but I was filled with so many thoughts from watching this...It was hard to nail it down...I just wanted to get it out there.




A wonderful reintroduction to Nouvelle Vague (The new wave) and I will be watching this one again very soon.

Re watching the classic "Breathless" might also be on the menu.

Top Three Pt.2

As I said in the previous post on the "Top Three" film list...I immediately started thinking of alternates to my "off the cuff" choices. I really feel its important to pay attention to where your mind immediately goes when posed with questions like these. I'm standing by my top three...but these came into my head so quickly, I felt it necessary to evaluate them as well.

Top Three take 2:

1. Chinatown

2. 400 Blows

3. Unforgiven


1.Chinatown

"Chinatown" was the first one to come into my head. I would have swapped this one out for "Taxi Driver".

This film might have one of the most perfect scripts ever written. I know how that sounds...but I've read it on paper...and it's pretty phenomenal writing. With direction from Polanski, whom I feel may be the most skilled director since Hitchcock (yeah...I said it!) you have possibly the best crime noir film of modern cinema.

There is a simple device used in the film, that is obvious when you mention it, but the genius is that you're oblivious to it when watching it happen.

Jake Gittes is in literally every scene of this film. And what that means is,  all the information that is being given, reaches the audience at the same time it reaches our main character. We are learning and figuring out the mystery with Jake in "real time". This allows for a massive amount of intimacy to be created between us and the story.

And what a story...political upheaval, city corruption, a good guy with a bad reputation, a severely damaged leading lady with a big secret, falls for the somewhat damaged savior...I mean...come on...if you like crime noir done right...this is the last word.

"Forget about it, Jake. It's Chinatown." Best last line of a movie ever. (ooohhhh, I feel a new list coming soon)

2. The 400 Blows

I saw this at a very impressionable age. I sometimes feel I get my own sense of disillusionment and wanderlust from seeing this film really young (12-13yrs old)
This is probably one of if not the best "first time out" for a director. Truffaut used what most first time directors forget to use...their own experiences.

When starting out with writing a film, or directing, I feel it's a valuable asset to use one's own life as the basis for the story. It's so familiar that you understand the story like the back of your hand, and can focus more on technique, style, collaboration, because you will never lose sight of where the story should go.

I used this for my first short film. And I can say that, at least visually and tonally, I got exactly what I wanted. With that under my belt, it created the confidence I have now to use my personal emotions and experiences towards stories that aren't so much directly about myself. And the tree starts to grow. I have the 400 Blows to thank for believing in this method of discovery in filmmaking.

The "troubled" boy story who is not only poorly cared for and taught, but highly enigmatic and resourceful. But he lacks the knowledge to recognize the consequences of his actions before he actually does them.  He is thrown into an adult world, expected to act as such, before he acquires the knowledge of life needed to do so.

It's beautifully honest filmmaking, very personal. The last haunting shot, creates a melancholy very few films attain over an entire run time...much less one shot.

3. Unforgiven

I've been having some very engaging conversations lately on the subject of "stereotypes".

This film is a beautiful examination of the idea of romanticizing the anti-hero. The thing that separates this from other films with the same idea is that the main character is basically the result of such romanticizing. The Clint Eastwood character is constantly being held up to the stories that others have of him. He uses it to his advantage, but you start to see those stories strip away...and the realities of the what the stories really are. It starts to show something of a truth.

Now this specific film deals with the idea of the cowboy, and the anti-hero stereotype portrayed specifically films specifically. But the idea, the device, can be applied to many different stereotypes in life overall.

The script, is also one of the best ever written. What's common about good scripts is that it's only comprised of what is absolutely necessary to move the story. You notice the lean nature of how things are moving, the smoothness, easiness.

It's almost simple as well as complex. It's a wise film, and shows it's thoughtfulness in a mature and direct manner.

Absolutely stunning work all around.

*"It's a hell of a thing, killing a man. You take away all he's got and all he's ever gonna have."

Lincoln

I love my job, because sometimes you come to work and we're showing a secret screening of "Lincoln" and you get to sit and watch (most of) it.

Without having seen the film in its entirety, I just felt I should pass off these thoughts.

No one makes movies like Spielberg. They really are a league of their own. That being said, I'm not always in the mood for this old hollywood style..."fluff"...for lack of a better word.

But the film is epic. Yet intimate at the same time, a very difficult balance to maintain through a 2.5 hour movie.

Just some basics, this film takes place over 1-2 months during the attempt to pass the amendment to the constitution abolishing slavery.

And yes...Daniel Day-Lewis is awesome.

This film had me pretty hard from the opening scene...it's a beauty, acting, color, sets.

It's Spielberg at his very best...from what I saw at least.

;)

Will report more once I sit and watch it in its entirety.

Top Three...

The other day I reconnected with an old film buddy...mentor if you will, or instigator as I like to think of it.

A long time ago when I was just a kid who liked movies...a lot, he pointed me in the direction that lead to my current state of a "cineste" if you will.

During this phone call he asked me the most dreaded and aggravating of questions for a cinephile:

"what are your top three films of all time?"

First...f* you, Joe! Seriously!

Second: why not five? Or ten? Why three? For god's sake, man!

After I moved through my state of frustration and anguish...I really felt the challenge of it, and thinking about it for just a couple mins tops, this is the list I came up with, in no particular order (but if you know me you can probably guess what order)

1. The Thin Red Line

2. Taxi Driver

3. Batman (1989)

I was a little surprised at my choices...especially Taxi Driver...but it was an awesome exercise to have to think of this on the fly. And it really forced me to evaluate what films I hold to high regard and why. There is an incredible amount of processing invested in creating a list like this. And almost immediately I started running through alternates.
I started thinking of my choices in terms of what I took into account with each one. Personal connection?, visual and artistic merit?, writing? Are all things I felt needed to be balanced and represented in my choices. In delving into this thought process I came to the realization of how ridiculous "top # films" lists are...and how inherently different any "top #" list is from one individual to another. I mean, sure, you could get professionals together and run through the films with a fine tooth comb, but really, all artistic value is perceived subjectively anyway...that's part of the beauty of film (and other art forms) is that there is no one right choice for a "top list"...

...well...maybe a Uwe Boll film would be considered a "wrong" choice for a top list...cause seriously...fuck that guy.

So lets talk about my "off the cuff" list.

1. The Thin Red Line

It's no secret that I adore this film. Also featured on this blog is an analysis of my favorite sequence in the entire movie. Funny enough...it also happens to be the most read post on this blog...hmmmm

This choice I feel, represents the all of what I'm talking about. All the elements I look for in a film, the elements I, personally, find to be the most attractive and revered in an art form, are beautifully represented here. There is a poetic, tragic, and complex design of emotions, philosophies, and ideas included in this film. They dance...fluidly...and without restriction.

Einstein suggested a method in which a movie should be made. "The method has nothing to do with following a protagonist around but rather is a succession of images juxtaposed so that the contrast between these images moves the story forward in the mind of the audience."
-On Directing, David Mamet

This suggestion is on perfect display in The Thin Red Line. I think Malick must have read the same quote Mamet included in his book. Because he illustrates the method exactly. And it's a beautiful thing to witness, and a method of movie making that I firmly believe in.


*It should also be mentioned for those MA student types, that yes, this method also started with the Neo-realists, and continued with the french new-wave...probably, and obviously, originally made famous by "Breathless"...but that's another post.

2. Taxi Driver

There is a boldness that runs through the films of the late 1960's-mid 1970's. It was argued in the phone call mentioned above, that this boldness continued into the early 80's. I don't disagree with that but the "bulk" was specifically late 60's-mid-late-70's. By the time the 80's rolled around the boldness had definitely thinned.

This is the time period of "The Godfather", "Dog Day Afternoon", "Network", and "Straw Dogs".

In that time there was this film..."Taxi Driver". I love the fact that this film, displays without filters, a pure decent into insanity....but is that what's really happening? Or is it rather an individual poking holes through the cultural and social indecencies and projections that have been passed off as "proper" behavior, and the decent as it were is rather an awakening?

It's a complex story that shows a ferocity of film making that the great Scorsese used to have in spades.

I appreciate the boldness. The style, the grit. It all seems like a real New York story. The honesty of it is I think what draws people in to Travis Bickles almost spiritual dilemma. You believe him. You believe in his journey. The examples of the emotional corruption inherent in all people, being shown to Travis over and over again, can only bring us further into his world. It creates a reality that becomes our reality.

As a studio made independent film, a rare risk in these times, there are amazing ideas and performances
that elevate this film to an example of social art.

3. BATMAN (1989)

Batman will always be in my top three because of the overwhelming personal connection I have to it. I also think its a damn cool movie, but the personal vastly outweighs the "technical" if you will.

A lot of people believe "Edward Scissorhands" to be Tim Burton's love letter to the type of tragic horror films from his youth. With the inclusion of the small casting of Vincent Price, it's hard to argue that fact. But I would attempt to argue that "BATMAN" is in fact much more the love letter to old Hollywood magic than "Edward" ever will be.

*it should be noted that as an "original" Tim Burton fan, I feel "Edward Scissorhands" is his best film by far...yes even more so than "Ed Wood"...ahhhh!!!! Getting off track!


The pure scope of the film, with what I feel is the most theatrical set built for a film since...I dunno..."Spartacus", it shows a level of production and love of building a "world" that severely lacks in these modern computer created worlds.
It was a risk taking prospect, and you can see the risk in the style and story. And maybe thats just what I miss about movies now, and why I love this movie so much. To take such a risk with higher budget, blockbuster type movies, is something that is too far and few between. The new Batman movies did it a bit. But the risks that those films took, were made safe by the fact that this film already laid the ground work for its success.

It's also wonderfully romantic, sweeping, funny, scary. Prince music, a badass car, practical effects...I could go on and on....
It's my "Casablanca".


...To come, is my alternate top list that I came up with immediately after the above phone conversation.

MVFF #35 The Sessions

This is one of the more pleasant films to play at the Mill Valley Film Festival. "The Sessions” is the story of UC Berkeley graduate and Poet, Mark O'Brian. Disabled from Polio, he's spent most of his years in an iron lung. The moment of his life depicted in the film is when he decides to lose his virginity...in his late 30's, by hiring a "sex surrogate", whom educates with physical intimate contact for therapeutic ends.
             The film itself has a tone I found to be between a cable movie of the week, and a Mike Nichols drama. Meaning the subtle way serious subject matter is handled in a light and direct way (“Mrs. Robinson, you’re trying to seduce me…) it’s such a positive human story to begin with, but I think what else drew me in was the films incredibly honest view on sex. The way the filmmakers handled the material in a non-sensational and unembarrassed way, took me aback considering the notorious ways subject matter like this is usually handled in American cinema. By the end, honestly, I could see this being a most effective tool for education purposes. Not only does it teach bluntly the physical, but deftly communicates the emotional aspects of sex, and its repercussions, as well as how to navigate them. Something I feel is incredibly lacking the sex education of our youth…getting off my soapbox. It was a joy to see this material handled in a truly developed and open way.
             The performances are what elevate this closer to the "Mike Nichols" side of the spectrum. With John Hawkes proving once again to be a strong staple in films. I never was partial to the term “character actor” but of that described class of performers; he’s one at the top. Hawkes been on a roll recently, with his tremendous and frightening turn in “ Martha Marcy May Marlene” but has enjoyed a steady workload especially with the ambitious HBO series “Deadwood”. I'm one that’s glad he's getting his dues. And however much I loved Phoenix in "The Master", I wouldn't be upset at Hawkes taking the acting statue at this years Oscar’s (Day-Lewis as Lincoln is coming soon so that debate might be rendered moot soon) If you watch YouTube videos of the real Mark, it’s a frighteningly accurate performance by Hawkes. His charm and nuances due to the disability are remarkably recreated by Hawkes. He is deserves all the accolades that are coming to him.
            Helen Hunt was a wonderful return to the screen for me. Characterizing perfectly the strength and vulnerability needed for the surrogate, Cheryl Cohen-Greene. But also, and this is a key attribute, outspoken unashamed attitude towards her profession. She maintained that demeanor so consistently and effortlessly.

            Side story. I actually became acquaintances with the real Cheryl, a year or two before this film happened, as I found we lived in the same town for years. In fact, before I got the job at Mill Valley Film Festival (projectionist) she had been talking about this movie and Helen Hunt playing her. And now seeing the fruition of those stories, the screening held a special weight for me. Helen nailed her perfectly, but didn’t forget to infuse that little special piece of Helen to round it out. They are “players” after all. And she was just living it up, coming in person to this premier screening.
            William H. Macy was a revelation of a portrayal for the priest best friend who smokes and drinks, and gives him God's pass to have sex out of wedlock. A really great depiction of how I always thought a religious figure to be. He definitely rounded out my sentiments stated above concerning this optimistic viewpoint on very sensitive subject matter.
            It's a very well rounded film, soft and light. But the warmth is very vibrant. With so many films seemingly infused with nihilism, some with similar subject matter (see my views on the Israeli film “The Slut”). It gives me a strong feeling of hope to see this beautiful example of the goodness in humanity. And that one-day we can all see these sentiments on sexuality and intimacies infuse more of everyday life.

MVFF #35: "The Slut"

This Israeli film showed at the Mill Valley Film Festival this year. Written, directed, and starring in the title role by Hagar Ben-Asher, was quite a disappointing experience, and honestly I found to be a most preposterous and shallow analysis of human relationships and sexuality.
            The main character, Tamar, a single mother of two, lives a comfortable life that includes a rotation of regular lovers in the country town she resides in. A chance meeting of an attractive old acquaintance, Shai, puts her lovers on the back burner as she falls into a more traditional monogamous relationship. After she becomes pregnant, there is a noticeable lull in her attitude. Wherein she begins to somewhat reject this more standard situation of one partner, home, kids.
            What's truly noticeable in this is that most of the drama derives from the conflicts created by a very selfish person for no reason other than to satisfy her sexual appetites. Who doesn't communicate very well with the people she brings into her little "world". Perhaps this is the point, to have some comment on emotional development, selfishness, how to communicate what is and is not working. These all would be welcome insight to complicated relationship dynamics, perhaps a notion of the selfishness of sex. But in the end I didn’t end up feeling there was a very interesting or in depth look at these themes, or our motivations regarding the complexities of sexual relationships. It consisted of Tamar silently suffocating in the unit she creates with Shai. It created a pretentious, ugly, and ultimately useless piece of work, I somewhat felt only to sensationalize.
            The ending I'm sure will upset plenty of people, it did me quite a bit. And I think it will not only because the subject of the ending is an idea/image of pure evil and wrong, but that there is truly no basis for it whatsoever. The motivations for it was in no way logical, well…I guess I can see show she drew those lines…but it was so unnecessary and uncharacteristic of Shai’s character thus far that I had to cry “Bullshit” on the whole thing. I’m purposefully leaving out the details of the ending because if you choose to investigate this film, I want you to be able to have the same blank reaction I did, so you can draw your own honest assessment.

            I had such a strong reaction to watching this, that when I saw it was scheduled to play again on my shift as projectionist, I refused to do the screening. Not for any censor reason, but I just couldn’t find any justification in this work. Almost similar to Roger Ebert’s reaction to “Blue Velvet” if you’ve ever seen it (and if you haven’t YouTube it, its awesome).

            Catherine Breillat does a much more insightful job with material like this. Such as “Fat Girl”, drawing such deftness to the commentary of social stigmas, and ideas of positive vs. negative influence on adolescences and their outlooks and development of sexuality. Among many other themes…love her films

CREATURE FROM THE BLACK LAGOON- 3D - California Film Institute

CREATURE FROM THE BLACK LAGOON- 3D - California Film Institute

Check it out!!!

The mad ones descend upon the Mill Valley Film Festival

Walter Salles's
On The Road

Walter Salles's
“On The Road” @ 35^th Mill Valley Film Festival

"They danced down the streets like dingledodies, and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn..."
                                                                                  -Jack Kerouac


The mad ones start. They always instigate. Instigate the change, the language, the mood for the rest of us to follow. The mad ones always know. Know where to go, where to find it, what to do with it. Without maps or rules...they follow the beat. Beat of life, beat of the road, beat of the words, with their hearts and minds. 

Purity in this is absolute. Like breathing air is a pure act. The mad ones follow the road with purity. 

The air is pure in this film, words and bodies, language and color, are all pure representations.

The most inspired idea of this film was to have Walter Salles direct. Who so brilliantly displayed his passion for youthful discovery in "The Motorcycle Diaries", follows these mad ones with an unmolested eye. The reserved energy of his camera shows just how vibrant the times and story of these "instigators" really was. The energy of a bursting youth culture on the verge of revelation is bleeding off the screen. Thanks to Walter, these mad ones have a new road to explore.

It's hard for me to write critically about this film and not feel like a phony. This material deserves a special attention. I found very little at fault, but admittedly I was working while the film was on...tried as I did to sit and watch the whole thing all the way through...I did miss some. But right from the opening scene...the beat lived, danced, and vibrated off the screen.

It's incredibly difficult to capture as special a time and place as what's described in "On The Road". And even a minor successful attempt deserves merit. But this doesn't feel like a minor success. It feels like a complete success. I was transported, immediately. It could be my age. And having recently been at a similar place in life as these travelers, but there is something more...with the colors and shots, pacing and costumes. The actors pitch perfect. 

I feel in love with them, as I did reading the book. 

The players weren't faces they were people. In which life is instilled, and real words to say. Viggo Mortensen was perfectly blended as the "Old Bull Lee" character (William S. Burroughs). And Kirsten Dunst disappeared into her role as Camille. And a fragile and brave cameo by Steve Buscemi made me laugh and broke my heart all at the same time.

This version was 125mins. If you've read from the Cannes Festival, the first screened cut was significantly longer. I also would've loved to see that cut. But this doesn't feel like it left out any of the heart and soul of the journey. Even the brief moments that may have taken chapters in the book, but only minuets of screen time have weight, considerable weight. 

Not having read the book in years, I couldn't tell you what was "left out" or changed. But my readings from the Cannes screening have left me to believe that the whole book was shot verbatim. And edits where made to long monologues of Sal at his typewriter. There are still plenty of them; if something was to be cut...I can understand choosing those moments. His narration or "readings" are present throughout.

It's an authentic film. And it's a pleasure to see that after all the phonies have had their day. This comes along and shows us where the revolution actually happens not in a room, or around a table of decisions. But out on the road, and the ending credits leave you there. Wandering the ever-unfolding open road.

"Horses" contributors !

Thank you everyone for your contributions and support of this project.

We're in the final fundraising days for production. I leave you with this video...hopefully another will appear tomorrow.

Thanks again to everyone!

HORSES Lead cast! More contributions

I first want to thank everyone so far for their support of this project. It means so much to me and everyone involved.

Our lead actor has been cast! His reel can be found here: http://www.tonysommers.net/id3.html

We had a great conversation about films, and this project. He will be bringing not only experience but a personal connection to the material, just what I was looking for.

We've broken $500! But there is still 5days to go! As well as contributions, I am also still looking for crew members with on set experience, producers, sound people, and post production.

Thanks to everyone again. This will be a great experience.

FINAL WEEK FOR HORSES!

*More contributions are rolling in!
This is the final week! Help us give "Horses" a big huge push! :)

I want as many people involved as possible, thank you for looking and contributing to this great project.

$480 already contributed...I think we can do better!

Thanks!

HORSES CREW & CONTRIBUTORS

Hey All,

Updates abound. We have gotten a good start, and some great contributors with IndieGoGo.
We are always looking for more people to get involved. Not only with contributing to a great project but also with hands on.

I'm looking for crew and post people to lend their talents, hands, minds, and to help spread the word.

Please contact me directly if you have interest in being involved!

check it out below!

True Romance - Tony Scott 1993

True Romance (1993)

If we take a min, and think about the combination of forces at work during this movie, with what we know now about the people involved...this is a pretty bad ass movie.

You, basically, have Tony Scott...somewhere in between 'Top Gun' and 'The Last Boy Scout' stylistically, and writing by a young and brash Quentin Tarantino.

I mean...that's kinda awesome.

Almost a combination of Terrence Malick's "badlands", and Arthur Penn's "Bonnie and Clyde", its a true gem of pulp.  Clearance and Alabama meet clandestinely only to immediately fall in love and go on the outlaw trail to paradise. Where they follow their dreams and deal with the nightmares that follow them. These lovers on the run...but its interesting that they are running to and not from...the crux of the movie. A great twist to the genre.

The acting is a dream, never once have I seen so many against type performances. These are great performances that make me wonder how the actors could have ever made a bad movie (I'm talking to you...Christian Slater) Gary Oldman's wannabe black, white pimp (brilliant I say!) to Bronson Pinchot's whiney producer's assistant, all unexpected, but all owning their rolls to the fullest.

Quentin is a true master of all genres. He blends them together seamlessly, and breathes his own life into them again. The language and pacing of this mad dash of a story is almost literally on fire. His play with the characters, leads you back and forth across awe, humor, terror....and adrenaline cranked thrills. He has you, at the first word of this film...he owns you. That's his true talent.

Tony was right there waiting to clench his teeth into this genre. The noir, the dark rooms, houses...where the sunlight is only seen in beams of spotlights. They never reveal everything that's going on...always part of it kept dark. A taste of which was felt in the "Hunger", but now more refined as a story use...and not a whole character in and of itself. His clean distinct use of light and grain has become so familiar by copycats, but he's the one who created it. With the amazing scripts he used it on...the style has achieved an artistry that, after his death, I'm saddened we won't see again.

I think...for me, and this might alienate others...or maybe just leave them a little in the dark from the obscure references, a huge love of this film....is that its in fact a love letter to film.
There are so many selections of movie geekdom here its not even funny. And its all relatable to fellow lovers of cinema of all kinds.

Thank you for the love letter, Tony & Quentin.
I agree with all your sentiments.

HORSES

We've gone live again for the fundraising of my next short film "HORSES". This is a very exciting project that we've become very dedicated to make a reality. Any and all support is highly appreciated. Any questions can of course be emailed to me as well.

Sharing is caring :)

The Master in 70mm @ The Castro Theater SF

The Master presented in 70mm @ The Castro. 8/21/12

One thing I will say first....the argument of digital vs. film has no basis after viewing this movie. Film is vastly superior to digital. It is very important, if at all possible, to view this in a 70mm presentation.
Stunningly cinematography is shown here. Anderson's fight to shoot this in 65mm was a worthy battle, because every frame of this is breathtaking.

...just had to say all that now so I don't ramble on about it while discussing the rest of the film.

As I was walking down the crowded Castro St, feeling that special cold chill that's only felt in San Francisco, I kept harking back to a moment of the "process" where you go beyond, backwards into your past life, and remember traumatic events, during a type of hypnosis session.

A moving and airy portrayal showing the creation of a person's being, his very fabric being molded. I associated the progression of Phoenix and Hoffman's relationship to that of the relationship parents have to their first born children. Perplexed, scared, protective, in awe of, frustrating, forgiving and patient towards.

During the film, I felt I was in a pure soul's dream. A young soul, fresh outta the gate and has no history to reference back to. A haunting dream of someone wandering through the details of memory, trying to remember how the pieces fit. I thought of the lessons taught down to me through school, parenting, role modals. How do you make sense of all this information. What does it do to the shaping of the soul. The effect of influence on others, in this, is a paramount thought. What kind of power does the idea of "suggestion" really have.

I was watching someone trying to remember a past life, and the remembrance of that is this film. It's a worthy note, that Anderson has been lingering around Kubrick's lineage for a while...and he took a big step closer with this. In a good way.

It's a beautiful character creation by Phoenix. Who I feel rivel's Day-Lewis's performance from PTA's previous 'Blood'.

I'm still a little swept away from the whole of it. Upon a second viewing I will bring further thoughts. But for right now, just hours after watching...My head churns more by the min.

This was still an early print, meaning there was no credits. The 70mm was just beautiful, in a beautiful theater, live organ player and all. A truly memorable movie going experience.

The Hunger - Tony Scott (1982)

  This is a truly original genre film. Tony Scott took on the vampire myth in his first film about an aristocratic older vamp, played beautifully by Catherine Deneuve, who seeks out a young female doctor (Susan Sarandon) to help keep her lover (and blood donor, David Bowie) from aging rapidly from some blood disease.

There is such a natural beauty to this film. The rooms and scenes have such a distinct play with natural light. The sun only seems natural when its being kept out by windows and shutters. Only when it peaks through the cracks does it feel welcome. The city daylight is shot as dusty and antagonistic as the lead characters feel it is. It makes us uncomfortable to be in it, as much as the vampires feel it is.

And it should be said, the film is never distracting by the use of the word "vampire". The characters are only presented as people with a sinister disposition. Never is it mentioned by name what they are. The mystery and seductive nature of these "creatures" is thanks partly to this fact. Its the immortality, the tragedy that surrounds the nature of immortality that is on stage here. The longing for companionship...the longing for something more. Catherine begins with a motivation for survival, and turns into the emotional creature dealing with a sense of loss that humans can't comprehend, looking for solace, and finds in Susan.

The relationship between Catherine and Susan builds like two lovers learning each other for the first time. The resistance to the taboo nature (especially for the times) of two woman falling in love, a young and an old, a monster and a healer. Finally the giving over to the desire of it all. Seductive is almost too soft a word for the metaphors and themes at play.

It's shot with a sure hand, a naive but confident hand. Tony was definitely finding his 'style". It's a romance and horror, social and humanistic film. A mystery with mythological twist.

A beauty of a first film, similar to his brother, Ridley Scott, first film "The Duellests". But with more of what was soon to be, the edgier motief of Tony's work.

FFFFFoooooorrrreeeaaaallllzzzzzz.

8/20/12

Tony Scott...RIP

Tony Scott, the talented and influential director took is own life today.

It's an overwhelming feeling that i am still processing...his work is a big influence on me.

This week I will be looking into his entire filmography in memorial.

My regards go out to his wife and children, as well as his brother.

Films of Youth

The Bad News Bears.

I would like to paint you a picture. I'm working at the Five Star Video in Berkeley, California. (Which I should mention is the LAST video rental establishment in all of Berkeley, and one of the 4 in the entire East Bay) and a man comes in with his posse of kids. He asks for baseball films for kids...little league...and remembers "Bad News Bears" but thinks for some reason it might be inappropriate. I assure him its not, but (not having seen it in years) if he feels skeptical the "Sandlot" is a great second choice (see previous "films of youth" post) He says he remembers loving the "bears" but needs to check with the other dad whose kids are also with him. Fair enough. Over the phone, the other dad for some reason remembers "sex and drugs" being part of the movie...I assure him (in store dad) that while I can't remember the specifics, I'm pretty positive there isn't either of those two things in the movie. While ratings were somewhat different back then, due to the difference in the times at large. A PG movie isn't going to let that slip in. The dad in store was skeptical as well and rented both just in case. Fair enough.

I discussed this blog with him and that I was reviewing films like the "bears" specifically because of questions and situations like this one. Parents should be aware that the older movies for kids aren't necessarily "worse" or "inappropriate" for todays kids. I realize now that its been a while since parents of 12 year olds have watch movies like this and the memory of them might be a little...dim.

I'm here to shed some light. Now. On to the "Bad News Bears".

First a personal note. When I played little league as a kid, I was on this team. I have a deep connection to this film because I feel I was there. But I didn't have a coach like Matthau, and we didn't make it to the playoffs, and I never played little league again. So, watching this really warms my heart to see these "unfavorable" kids make it all the way to the top.

I re-watched this wonderful film just the other night. I can, without a doubt, assure parents everywhere that there is neither drugs nor sex....of any kind...present in the "Bad News Bears".
There is however very colorful banter between the kids. And its sometimes....really colorful, clever, but colorful.

The story I feel is pretty familiar. But I'll do a quick refresh here.

Matthau is a down and out, drunk, ex ball player, pool man. He gets hired by a city official dad, to coach his sons little league team. Thinking its an easy paycheck, Matthau shows up, tells the kids to just get out there, and continues to drink until he passes out. The kids don't know what they're doing. And become the laughing stock of the league.

Eventually Matthau sees that these kids need a real coach and that the other adults seem to have already given up on this team of misfits. Matthau sobers up and trains this last place team of rejects & losers all the way to the championship game.

The thing that I noticed, is that these kids talk with purpose, they don't back down to the authority. They speak to the adults at the same level, as equals. I personally feel that this action, is sometimes misconstrued as being vulgar, when in actuality they're not really saying anything vulgar at all. Its defiance the kids project, not vulgarity...but sometimes they get a little vulgar.

Kids have an incredible ability to sense "bullshit" from adults. And its perfectly represented in this film. The kids call out the adults on their bullshit all day long, namely on Matthau's character. Only when treated with respect do the kids fall in line. And when the team is finally treated with respect, they start acting respectful.

I mean...who knew...who'd a thought that if you treat kids with respect that they just might act respectful. That is a big lesson in the movie.

Half way through the playoffs, Matthau tells the best player (A great Jackie Earl Haley) on the team to catch all the balls he can, and hit all the runs he can, no matter what. He doesn't want to chance any of the other players messing up the game for a win. The other kids catch on and Matthau gets called out again. And they go right back to the defiance.

Matthau learns that they were not so concerned with being the winners, they just wanted to play. And have fun, and if they won they won, or lose they lose. Its really just about being treated like they weren't screw ups. They wanted the dignity of playing the game to the best of their ability, all the way to the end.

Matthau lets go, everyone plays no matter what, everyone gets treated the same, and everyone has fun.
I have to mention how amazing Matthau's character is. Like that bemused uncle who isn't quite that responsible but has really strong morals, and always looks out for the best interests of the kids.

Its a really good movie about the whole spectrum of sportsmanship, from the relationship between the kids on the team, and most importantly the relationship between the coach and the kids. As well as knowing what's important about sportsmanship. Its not whether you win or lose, its how you play the game.

Very funny, vulgar enough to keep the older kids interested but not vulgar enough to damage the youngsters, lovable and a good hearted enough to keep the younger ones interested. And funny, entertaining scenes of baseball all around. A truly honest film.

My minimum age recommendation is 11yrs old.

Films of Youth

The Sandlot:

So, I realize if I'm going to get into the baseball movies I should probably start with "The Bad News Bears"...but I'm not. Because however much I love that movie, I wasn't around when it came out (or rather I wasn't going to see movies yet) and so my experience with it is kinda second hand.

The Sandlot however, I remember going to see in theaters ( I must have been 9 or 10 years old) and just falling deep in love with it.

The story is so genuine, so natural. It hits that note every filmmaker dreams of hitting with their material. Every point and emotion that's communicated here lands solid on its feet.

I greatly appreciate the deeper themes involved with it. Like "Stand By Me", it deals with real emotional complexities, explained and delivered in such a way that kids who see it will understand how other kids deal with not so typical situations. It's a film that breeds understanding and the acceptance of differences in others.

The main character has lost his father, and a new step father is in the picture. Right off the bat (ho ho, get it?) conflict is there for growth from both the child and the father figure. They both have something to learn about acceptance.

There really isn't anything here for a parent to be concerned about in this warm and just lovely film. So I guess talking about it kind of defeats the purpose of this blog but...I just love it so much.
It's also why I'm cutting this post short.

Next we talk about "The Bad News Bears" which I know some parents are concerned about...So I'll try to dispel the assumptions that it's inappropriate for kids, and thus more kids will see and appreciate the awesomeness of the "Bears".

Till next time...

Films of Youth

I like to remember a time where film for the youth wasn't the passive, cautious, numb experience I see it now. Everyone has concerns for what the youth sees, sure. But I feel its important to take children seriously, and not to treat them as fragile pieces of emotional glass.

For instance...every kid is going to get hurt at some point in their life, moments of peril and fear with be with them during their adolescence. It really is pointless to hide these moments...in film...from our youth because most likely they have experienced it already, and it provides them a cathartic...outlet, a feeling of safety that these things happen to everyone, and releases the fears of it happening again, the fears of experiencing those emotions. Now, that being said, I'm not talking about the films where kids are being put in violent or abusive situations by adults. No no no. that is not what I am referring to. The films I am referring to are more in the lines of "Stand By Me" although rated R by the MPAA, I would have no problem showing that film to 12 or 13 year olds. That film is quite possibly the best representation of how kids interact with each other and with the bigger world around them. I can say I learned a lot about my own actions and movements after watching that movie.

So...this post is a list, with a small review, of the films from MY youth, that impacted me and the importance I feel they have for the youth of today. An importance I feel is lacking in modern cinema for kids. These films treat kids and their emotions with the respect they deserve instead of talking down to them.


1. Stand By Me:

How great is that photo.
"Stand By Me" is pretty close to a perfect movie. It represents the magic that happens during the twilight of a well used summers day, those golden summers that never ended, moments that carry with you forever. It's honest. The kids are honest. They're vulgar, rude, and simple. Just like they should be. My favorite moment is when the four are around the campfire and they ask each other if you could only eat one food for the rest of your life what would it be...and Jerry O'Connell answers..."that's easy...cherry flavored PEZ" It's just such a natural answer.

The language is there...words kids have heard and used before (I had a really rotten mouth by the time I was 11, when you get away with it once...)
But the context and usage never feels gratuitous or out of place. The context in which its used in is wholly natural and never "malicious" but playful and jabbing, not unlike kids today on the school yard.

The narrator does a great job of preparing you for the inevitability of seeing the dead body...and the impact of finally seeing it is no less weighted because of this. It's real and its only for a moment...but it keeps the movie from being just another child romp through the woods, and evokes something far more momentous and important. The emotional maturity that develops in those kids faces is the ultimate moment of the story. But as we've followed them through the journey, when the moment comes we no longer feel that these kids can't handle it. Because the narrator is not only preparing us, but showing us through the situations of the kids, that they will be able to handle it.

There are lessons of friendship and situations shown here that can be powerful tools for kids to mirror their own experiences. Lessons on how to stand your ground, loyalty, and compassion. It shows a great deal about the essence of friendship, and the fluctuation of said friendships. Sometimes people just fade away from each other...and this film says that's life...and that's OK. And that's an important lesson, for kids, and anyone.

Watch this movie with your kids...you may find it will show you something just as revealing as it will them, you might look at your kids just a little bit differently, in a good way.