While I was touring in NYC with my band last week, I took some downtime and went to go see The Lovely Bones. $12.85 later, I find myself in a theater with about 25 seats and a screen no bigger than a Jimmy Hendrix wall hanging. Whatever, it’s New York.
I was concerned at first that I would need to be completely enveloped by this film in order to enjoy it’s overwhelming visuals and super dramatic content. Fortunately, I was wrong. (more…)
I went to see The Road (2009) today. I went to see it alone–a new experience for me that I’m now sure to repeat. I found it liberating because I didn’t have to come up with an opinion to defend afterward; instead, I let it simmer while I watched another film at the Landmark theater (something only possible when alone). I kept coming back to the scenes in the underground bunker with all of the food and the cellar stocked with starving people–food for cannibals. It reminded me of Fallout 3, a video game that I had beaten a month ago. And then pirates. (more…)
The talented guys over at Pro Video Coalition just posted an interesting story about a new commercial, “Apples”, shot on the iPhone.
While the technique behind the motion graphics is quite remarkable (see the behind the scenes on the PVC post), I found the acting totally sunk the spot. Companies are desperate to reach out to our youtube generation – and I think it shows. The woman’s delivery treads the line between sculpted narrative and improvised realism: the uncanny valley of cinema. (more…)
Walking out of the theater after seeing a film with a satisfying ending is like walking out of a restaurant stuffed: the last thing you want to do is go back in for another meal. As a filmmaker, it seems in my best interest to end my films in such a way that the audience craves to go back in again.
I’ve consistently found that the first time through many of the films I’ve come to love, I walk out scratching my head thinking “really? what’s the big deal?” That’s the key. (more…)
Peter Hutton (I paraphrase): “The first shots of a film tell the viewer that you’re in control, that they can trust you and relax.”
I recently screened the first ten minutes of my thesis film, Part II, for my compatriots in senior seminar. Terrifying. Turns out Peter’s more than correct, he’s onto something that can make any film seem bigger than its budget.
If I haven’t told you to do this already, go to pandora.com and make a station for Lemon Jelly. The UK duo manage to create dynamic, enthusiastic yet chill grooves with great samples and organic instrumentation. “Space Walk” (above) is my personal favorite, but I recommend you find your own.
I was watching the special features on Crank 2: High Voltage (more on that brilliant film later (you think I’m kidding (I’m not))), and I saw this beautiful poster. I had completely forgotten how extraordinary the production design was for Henry Selik’s 1996 adaptation of James and the Giant Peach.
ALSO: for a beautiful background for your desktop.
We were listening to a 30-minute Musique concrète piece in electronic music comp workshop, and I decided to take a little break (breaking a cello is nice, but a meticulous dismantling? please). I walked down the hall to Jesse Cain’s office.
I asked him about his senior project and how his editing process went. I shared my woes with him.
His advice – I paraphrase: 1. Cut everything everyone tells you to. 2. Audience’s aren’t stupid. 3. Your movie’s always better than you think.
Peggy Ahwesh enters the equip room and the conversation.
Her advice – I quote: “Don’t get married too early.”
…but it isn’t Sam Neill’s career. The star of Spielberg’s Jurassic Park didn’t just attempt to revive his role as Dr. Grant in Joe Johnston’s Jurassic Park III; the stakes were clearly greater the second time around. Neill’s acting trajectory is a clear story of having it and wanting it back. Which is also, surprisingly, the case for Johnston.
