When I first started in the film industry, gotta be honest, had no idea what I wanted to do. The influences I had were people like Tony Scott, David Fincher, Ridley Scott and well..all these former music video commercial guys. I desperately wanted to create my own media company that made short form projects because they were so cool. I did a lot of work as a cinematographer and researched a lot of companies. Pre-millenium it was tough. Still tough but much more manageable. Also I was broke. But you can still dream when you are broke. Probably dream more. I now consider my new step in the entertainment industry as, well...a communal collective. I have most of the equipment I need, got a reperatory cast, and now some crew folks. I am deeply grateful for the resources and I really wish more people were this lucky. So, in essence I have my own production company. Best of all...I don't need anyone's permission.
Whatever I make or have others make...has no bearing on the marketplace. I'm sickened by the machine that has gobbled up most of the innovators of cinema. Though, always a business, it occurred to me that it needs not be completely return on investment based. With a massive caveat. You need a day job.
Again, by sheer happenstance my day job supports this endeavor. And how great is that? Call it bragging, but the perks have outweihed the politics. Especially when you steamroll them. The trick...do something. I have battered and bruised co-workers to a pulp over these things. In Hollywood, there is no shame. Most people will not make it for that reason. That they aren't willing to swallow their pride. I wasn't for the longest time. Didn't get me anymore. And people are steadfast in their creativity but can't seem to adjust their lifestyle to suit.
I've had plenty of conversations on this topic. The actual process of making films suck. It does. Young people enjoy the comraderie of set life. Meanwhile, money is ticking away and time is leaving. As a proponent of efficiency, it's gut wrenching. I hate waste. And to be frank, filmmaking.
I think Billy Wilder said it best when he said that films are like a souffle. You make the thing, then it inexplicably rises or falls. This means no one knows what it will do regardless of how good it is.
I recall my 2nd film in film school was a short film called "Nicki Sweet: The Killing of A Dirty Cop." I made the thing incredibly cheap because I didn't get my student loan fast enough to make this other movie. Which, by the way, was really out of my budget. I had massive plans, and they all fell through which is why I resorted to making something easy, fast and cheap (pick any two). I dreaded showing my classmates. The thing about anything artistic, you are open to some ugly responses. Well, the showing to my classmates and my professors...I can only say was a massive hit. One of my professors laughed so hard and so long I thought he'd have a heart attack. He got the corny 70's detective homage. With his loud guffaws led to the class foisting the film up as best of class...that is...
...
until the final screening. Boy, was my ego up to eleven. I arrogantly gave the projection booth my tape and sat back to reap the accolades. Guess what? Not...one...single...laugh. Not even a cough. Finally when it ended, I shrugged "what gives?" The truth, you don't know what the audience will do...ever. That was a very interesting lesson in filmmaking. Some of it leaves you feeling just awful. Terrible and awful. The downside is...you retain your dignity. Yep, all downsides. So it really isn't the slightest bit fair. On top of that...you fight talent egos. I'm not saying I've had battles with actors. Quite the opposite. But sometimes, they don't want to share how disappointed they are. Most of the times...it's difficult to separate their likeness with the project. Can't blame them. Now if you have an ultra-sensitive actress, say...boy, it is an awful feeling when they don't back your work. It's happened. And will happen a lot. To be fair, there are few who feel good about what they do. As we tend to judge ourselves the worst.
But no one knows what will work. I recall hearing plenty of stories of talent who, after a screening would run out of the theater to not to have to address the public (I saw it in person). They were besides themselves with rage, self-loathing and a broken arm of trust. This town thrives on big talk and...well, subpar delivery. Though, after a few months only for the project to grow a following. Then an explosion of success. Meanwhile, the story of the talent that was disgusted by the project. Burt Reynolds comes to mind for "Boogie Nights." Championed by the world as a masterpiece, he didn't see it that way. In fact, he fired his agent shortly after. Only to be nominated for a Golden Globe, despite his lack of trust in director Paul Thomas Anderson. Perhaps Burt felt their sensibilities clashed. But this revived his career in a small bit. And that has to taste a little like acid. Not that I'm a PTA fan, but I can understand. With his ensemble group of serious actors, Mr. Reynolds undoubtedly felt out of place with his jock mentality. I would too. To point being, you can never explain this to people who don't do their research. And these are the land mines we navigate. It hardly does anyone any good to explain...EVERYONE GOES THROUGH THIS. It's not easy on any level. But our small entourage of true misfits try. That's why Ed Wood speaks to me more and to a LOT of people trying as well.
I think a lot of younger people struggle with the voices of social media. Haunted by what is essentially indelible. If it fails, it fails globally. And I pity that.
It makes no difference to me. I'm proud of things that are made, because we constantly try to push that boulder up that hill.
Wednesday, January 30, 2019
Wednesday, January 23, 2019
2019 Oscar Nominations
Hadn't seen a bunch of these. And the only one I thought was the best is getting controversy for making it about a "White savior." Actually two of them play this..."BlacKKKlansman" is about a newly minted Black detective who has to use his White partner to infiltrate the Klan. And "Green Book" is about a Black musician who is driven around by a White man through the deep south.
Personally, fuck both these films and let "The Favourite" win. I enjoyed the film for it simply existing as a film. You know if you gave the Best Picture to "Bohemian Rhapsody" the name Bryan Singer will come back to haunt you. And what the flying fuck is the deal with putting "Roma" in Best Picture and then Foreign Best Picture. These awards are getting weirder and weirder. It's like the adults left the business and handed it to their Ritalin induced kids.
I haven't seen "A Star Is Born" since Lady Gaga's face troubles me. Not that I don't think she's pretty, but she really wants everyone to think she is, by protesting how it's not about looks...then dressing up like a freak doll my Grandma use to have around in the 70's. So if it's not about looks, why not just always have t-shirt and jeans and go out on stage. Why the elaborate get up?
Oh right, it's a show.
The biggest gripe is the gripe I have every year. ZERO Asian actors ever. I challenged a friend to name one (trick question, there has only been ONE Best Actor). He won both times. Ben Kingsley. Who isn't even what you would consider the Asian we recognize as Asian cinema.
Now you can argue that Hong Kong, China, Japan and Korea have their own cinema. But so does Mexico. Yet...fuck Alfonso Cuaron. I can't get through any of his films. Guy rides on Hollywood's sympathy of being just a Mexican director of human stories. They're fucking boring (I guess so is life). But also...he was nominated for cinematography. Seriously. Because he shot a home movie. This is what it comes down to.
But whatever, I've said it in the past, these awards mean nothing, but at least don't pretend to be progressive and for humanity and minorities when it really is to hate on the President you hate so much. Be honest, even though your movies aren't.
Personally, fuck both these films and let "The Favourite" win. I enjoyed the film for it simply existing as a film. You know if you gave the Best Picture to "Bohemian Rhapsody" the name Bryan Singer will come back to haunt you. And what the flying fuck is the deal with putting "Roma" in Best Picture and then Foreign Best Picture. These awards are getting weirder and weirder. It's like the adults left the business and handed it to their Ritalin induced kids.
I haven't seen "A Star Is Born" since Lady Gaga's face troubles me. Not that I don't think she's pretty, but she really wants everyone to think she is, by protesting how it's not about looks...then dressing up like a freak doll my Grandma use to have around in the 70's. So if it's not about looks, why not just always have t-shirt and jeans and go out on stage. Why the elaborate get up?
Oh right, it's a show.
The biggest gripe is the gripe I have every year. ZERO Asian actors ever. I challenged a friend to name one (trick question, there has only been ONE Best Actor). He won both times. Ben Kingsley. Who isn't even what you would consider the Asian we recognize as Asian cinema.
Now you can argue that Hong Kong, China, Japan and Korea have their own cinema. But so does Mexico. Yet...fuck Alfonso Cuaron. I can't get through any of his films. Guy rides on Hollywood's sympathy of being just a Mexican director of human stories. They're fucking boring (I guess so is life). But also...he was nominated for cinematography. Seriously. Because he shot a home movie. This is what it comes down to.
But whatever, I've said it in the past, these awards mean nothing, but at least don't pretend to be progressive and for humanity and minorities when it really is to hate on the President you hate so much. Be honest, even though your movies aren't.
Monday, January 21, 2019
Sir Ridley Scott
The name itself does sound like royalty, does it not. Like "The Earle of Bruce"
I know you readers have heard me yammering about director Tony Scott (R.I.P.) but it was the senior Scott that was one of my earliest influences which was "Blade Runner."
"Blade Runner"blew my mind, because all that cold, wet, smoke filled film noir in a futuristic detective was so moody. It illustrated my life, like nothing else. I watched that film practically once a day when I was a senior in high school and desperately wanted to mimic the look of it. Unfortunately, in those days, I only had a VHS video camera, so...well, it wasn't exactly a Jordan Cronenweth (cinematographer) look. But I still love the look of wet neon lit streets with smoke coming from sewer grates.
I've also watched the behind the scenes compendium that comes with the ultimate box set. It's over three hours long! And you really have to see the exhaustive research it takes to make these things. Also, the struggles to make...anything. There are financial stories that most likely have been dropped. Specifically, the problems with securing composer Vangelis's music (which as a teen, I went to the library every week to see if I could find it, and the only version was in the soundtrack bin at Everybody's Records in Cincinnati. And it wasn't the version I heard in the film).
The one detail that struck me was the casting of Sean Young as replicant...Rachel. As related by Ridley Scott, it was an extensive search with money poured into doing screen tests to find the perfect girl. All the screen tests are on the disc. Fascinating to watch what he may have saw. She was, in short, the most inexperienced of all the other ones auditioning. She somehow caught Scott's instincts to cast against her skill level. And during the shooting, according to crew, it was a struggle to get Rachel to the point of being a nuisance to Harrison Ford. There was obvious tension between them. But in the end...the product is all that mattered, and they got there. And I would say, in the nerd world anyway, Sean Young's Rachel is iconic.
The point of this is that...we have to trust our instincts. And stick by them. As green as Sean Young was, there is a point of conversation to be had. The enthusiasm for HER to stick it out may be the better lesson. That, though no one considered or wanted you, the wounded nature of that rejection must've played wonderfully as a replicant desperate to understand if her memories are real or not. So for the directors out there, go with your first instinct of the person, not based solely on experience but enthusiasm. People with grit and determination are far more valuable.
I know you readers have heard me yammering about director Tony Scott (R.I.P.) but it was the senior Scott that was one of my earliest influences which was "Blade Runner."
"Blade Runner"blew my mind, because all that cold, wet, smoke filled film noir in a futuristic detective was so moody. It illustrated my life, like nothing else. I watched that film practically once a day when I was a senior in high school and desperately wanted to mimic the look of it. Unfortunately, in those days, I only had a VHS video camera, so...well, it wasn't exactly a Jordan Cronenweth (cinematographer) look. But I still love the look of wet neon lit streets with smoke coming from sewer grates.
I've also watched the behind the scenes compendium that comes with the ultimate box set. It's over three hours long! And you really have to see the exhaustive research it takes to make these things. Also, the struggles to make...anything. There are financial stories that most likely have been dropped. Specifically, the problems with securing composer Vangelis's music (which as a teen, I went to the library every week to see if I could find it, and the only version was in the soundtrack bin at Everybody's Records in Cincinnati. And it wasn't the version I heard in the film).
The one detail that struck me was the casting of Sean Young as replicant...Rachel. As related by Ridley Scott, it was an extensive search with money poured into doing screen tests to find the perfect girl. All the screen tests are on the disc. Fascinating to watch what he may have saw. She was, in short, the most inexperienced of all the other ones auditioning. She somehow caught Scott's instincts to cast against her skill level. And during the shooting, according to crew, it was a struggle to get Rachel to the point of being a nuisance to Harrison Ford. There was obvious tension between them. But in the end...the product is all that mattered, and they got there. And I would say, in the nerd world anyway, Sean Young's Rachel is iconic.
The point of this is that...we have to trust our instincts. And stick by them. As green as Sean Young was, there is a point of conversation to be had. The enthusiasm for HER to stick it out may be the better lesson. That, though no one considered or wanted you, the wounded nature of that rejection must've played wonderfully as a replicant desperate to understand if her memories are real or not. So for the directors out there, go with your first instinct of the person, not based solely on experience but enthusiasm. People with grit and determination are far more valuable.
Saturday, January 12, 2019
On Directing Stage Direction
I will be the first to say, directing isn't an easy job. You have to really pay attention. That said, I like paying attention. What I love is the crew that keeps me pointed North. I will admit that it gets a bit...well, it's not easy to keep things orientated properly. Given time, like say...theater stage, actors REALLY nail down blocking. That is, where you are and what you say. In a pinch, like on a film set, forget it. It's capture as much as you can and hope that everyone nails their position. Introducing a camera into the equation, well...folks, it's a dance. Then you try to keep the pieces together in your head. For the most part, it tends to block itself. However...it's always interesting listening to commentaries on DVD that lay out the complications of what is seemingly the easiest scene. Things like dinner table scenes are apparently the most difficult. Which is understandable if you care about continuity. For instance, who passes what food to whom at what line and you MUST remember who you are looking at when you say a line or pass food. Okay...then flip the table and do it again. In this case, directing is remembering. And that is near impossible. However, really good actors make it easy on you because they keep track of that shit. I legit want to vomit thinking in those terms.
Now to make it easier, a LOT of film sets have video playback (the ones that shoot on film). That is, they can see how the action plays and re-do it. But, that takes time. For me, even though I have video tap (the camera that records the film camera lens), I tend to forego playback or even have a tap because I rely on the cinematographer. Keeping orientation is difficult though less and less people tend to care. Especially if it's only two characters.
Lately, I've been enjoying directing more. Especially with newer people. A LOT of people tend to freeze when being directed. I am one of them. I hate it. Hate acting, because I'm horrible at it, and then embarrassed afterwards. If it's just action, fine...can't do lines to save my life. I've tried and it's awful. In fact, it was for a directing class, and it's really embarrassingly bad.
If I were to give any advice to new directors, it would be to learn blocking. And then, learn to listen. When things sound really awful, stilted for sounds like it's read from a page...don't panic. The actor is listening to you and rely on you not to make them sound/look foolish. This takes...YOUR aesthetic. That means having tastes. Or at least, knowing what you hate.
I love listening to director stories. There was this one about Clint Eastwood on "Unforgiven." There was a moment when he gently suggested to Gene Hackman that during the scene when Will Munny was about to shoot Little Bill and the gun misfires, that he take a pause before saying his next line "misfire (pause) KILL THE SONUVABITCH." During the take, Hackman kept running the two lines together, without the pause. A few times and Hackman was feeling frustrated. THEN, Eastwood suggested they set up a small dolly track that would push the camera in after the line "misfire!"...so now it was "misfire (dolly in) KILL THE SONUVABITCH!" See, Hackman, as a seasoned actor knew the next line needed to be on the closer shot. So he naturally waited for the dolly to move in.
This is brilliant directing.
Now to make it easier, a LOT of film sets have video playback (the ones that shoot on film). That is, they can see how the action plays and re-do it. But, that takes time. For me, even though I have video tap (the camera that records the film camera lens), I tend to forego playback or even have a tap because I rely on the cinematographer. Keeping orientation is difficult though less and less people tend to care. Especially if it's only two characters.
Lately, I've been enjoying directing more. Especially with newer people. A LOT of people tend to freeze when being directed. I am one of them. I hate it. Hate acting, because I'm horrible at it, and then embarrassed afterwards. If it's just action, fine...can't do lines to save my life. I've tried and it's awful. In fact, it was for a directing class, and it's really embarrassingly bad.
If I were to give any advice to new directors, it would be to learn blocking. And then, learn to listen. When things sound really awful, stilted for sounds like it's read from a page...don't panic. The actor is listening to you and rely on you not to make them sound/look foolish. This takes...YOUR aesthetic. That means having tastes. Or at least, knowing what you hate.
I love listening to director stories. There was this one about Clint Eastwood on "Unforgiven." There was a moment when he gently suggested to Gene Hackman that during the scene when Will Munny was about to shoot Little Bill and the gun misfires, that he take a pause before saying his next line "misfire (pause) KILL THE SONUVABITCH." During the take, Hackman kept running the two lines together, without the pause. A few times and Hackman was feeling frustrated. THEN, Eastwood suggested they set up a small dolly track that would push the camera in after the line "misfire!"...so now it was "misfire (dolly in) KILL THE SONUVABITCH!" See, Hackman, as a seasoned actor knew the next line needed to be on the closer shot. So he naturally waited for the dolly to move in.
This is brilliant directing.
Wednesday, January 9, 2019
Much Doubt
I know I sound like a dude who gives a ton of advice like I know what the fuck I'm talking about, but to be perfectly honest, I don't. Neither does anyone else. There is a strong sense of most people that drives them to do things, and I'm not entirely sure what that may be. A conversation I had with a co-worker really put it into perspective. His wife had recently passed away with liver failure, and we both concluded that our lives are very limited without a purpose. Most people can sit at home watch television or play video games and go to work with enough energy to eat and drink something and that is enough. We both envied those people. Because if you're meant for something bigger, or feel like you are, there is an insatiable need to want to keep making things. No matter how good or bad. There is no other time then to seize every minute to accomplish a thing. Whatever that may be. But we get sidetracked.
I recently watched a 1971 Arthur Hiller film called "The Hospital." Written by Hollywood legend Paddy Cheyevsky. The film is brilliant, surreal and offers a very jaundiced eye towards the medical profession. It's about a burned out drunk doctor who is so stressed to the brink of life that when people start to die at the hospital, he instead falls in love with one of his patients father and attempts to flee with her. And folks...it's a dark comedy!
After watching this flick, I just knew in my heart I could never reach this level of brilliance. Much like Billy Wilder or some Coen Brothers films, this is genius level storytelling. While logically flawed, Cheyevsky made it work in his world. And...how the fuck isn't this not on the lips of more people. Aside from how grim the film is, it's incredibly poppy...and guess what else? George C. Scott is the doctor. It's hilarious, bitter, and sad. Amazing film. So it makes me depressed I haven't reached that level.
I also recently read a friend's feature script. And folks...yes this will sound arrogant, but I never thought any friends of mine could write well. I know, it's incredibly arrogant. But he presented me with a script and I essentially read it in one sitting. It's engaging, yet odd, funny and well-paced. And it's depressing that a good film will come of it. Because it's hard to fuck up a good script. And kudos to him! What a surprise. Typically, most scripts are horridly written (or worse, some tell me they've written a script and don't even have one).
What am I trying to say here? Right, if you stay the course and have faith in your own style...the sick feeling of envy should subside. It's entirely possible others are jealous of my opportunity to make things.
I recently watched a 1971 Arthur Hiller film called "The Hospital." Written by Hollywood legend Paddy Cheyevsky. The film is brilliant, surreal and offers a very jaundiced eye towards the medical profession. It's about a burned out drunk doctor who is so stressed to the brink of life that when people start to die at the hospital, he instead falls in love with one of his patients father and attempts to flee with her. And folks...it's a dark comedy!
After watching this flick, I just knew in my heart I could never reach this level of brilliance. Much like Billy Wilder or some Coen Brothers films, this is genius level storytelling. While logically flawed, Cheyevsky made it work in his world. And...how the fuck isn't this not on the lips of more people. Aside from how grim the film is, it's incredibly poppy...and guess what else? George C. Scott is the doctor. It's hilarious, bitter, and sad. Amazing film. So it makes me depressed I haven't reached that level.
I also recently read a friend's feature script. And folks...yes this will sound arrogant, but I never thought any friends of mine could write well. I know, it's incredibly arrogant. But he presented me with a script and I essentially read it in one sitting. It's engaging, yet odd, funny and well-paced. And it's depressing that a good film will come of it. Because it's hard to fuck up a good script. And kudos to him! What a surprise. Typically, most scripts are horridly written (or worse, some tell me they've written a script and don't even have one).
What am I trying to say here? Right, if you stay the course and have faith in your own style...the sick feeling of envy should subside. It's entirely possible others are jealous of my opportunity to make things.
The Golden Globes 2019
...or as the rest of America refers to it "the fags who win trophies for playing and then bitch about Trump."
I can't remember who is nominated for what, but a few times when I glazed over it, I was thinking "what the fuck?" A few I whole heartedly agree with. Anything "The Favourite" wins is icing on the cake. As most people have referred to it as deliciously wicked and cunty.
I don't think the Globes are as political as the Oscars. Though, it's always been the case, when Marlon Brando didn't take his Oscar for "The Godfather" I think it set a standard for them to send people on their behalf as a result of something political. In those days, no one in attendance wanted to hear it. Can you imagine John The Duke Wayne having to sit through some Indian lady tell him how awful Indians are being treated. You know...like calling them "Indians". Meryl Streep is the next piece of shit that comes to mind when it comes to political bullshit. This bitch was in Harvey Weinstein's corner. And truth be told, she should probably come out and tell the truth. Like most of these bitches winning awards wouldn't have had they sucked off Weinstein. She knew. Unless she's an idiot. Though I knew, but no one cares what I fucking say. Maybe she should clam up. No one should self-detonate their careers. Though, you wonder about Dustin Hoffman disappearing. Because he was accused of some sexual aggression. He's a fucking short Jew. Leave him the fuck alone. Like tiny Asian dudes who DON'T know martial arts, the more you chase away, the less there are. Also, you do have Andy Samberg hosting it. So there's that Jew thing. Bring back Hoffman you fucks!
Speaking of which...I saw "Crazy Rich Asians" And though I found it...pleasant...to be this inundated with award talk is really fucking dumb. It's a passable diversion, at best. Though, this is their token "we want to be inclusive" film. Much like "Black Panther" which...I'm still laughing about. Really? Back to "Crazy Rich Asians"...I think you could excuse this flick much like "Four Weddings And a Funeral" was nominated. I like that romantic comedies (which wasn't very funny) get nods. But there was a better choice to draw a light onto the disparity. Also, this is America. Most of Americans couldn't give a shit about crazy rich Asians. Most crazy rich Asians probably want to be left alone, because you'd find out some devious reason why they're crazy rich Asians.
I'm pulling for "The Favourite." Yes, my favorite is "The Favourite" I think it's really the only one with the least amount of politics pushing for it. You know...like "Vice" is obviously the front runner, "The Favourite" is simply a fun high school immature Victorian comedy dressed in frilly shit. The others seem such the political powder keg.
I can't remember who is nominated for what, but a few times when I glazed over it, I was thinking "what the fuck?" A few I whole heartedly agree with. Anything "The Favourite" wins is icing on the cake. As most people have referred to it as deliciously wicked and cunty.
I don't think the Globes are as political as the Oscars. Though, it's always been the case, when Marlon Brando didn't take his Oscar for "The Godfather" I think it set a standard for them to send people on their behalf as a result of something political. In those days, no one in attendance wanted to hear it. Can you imagine John The Duke Wayne having to sit through some Indian lady tell him how awful Indians are being treated. You know...like calling them "Indians". Meryl Streep is the next piece of shit that comes to mind when it comes to political bullshit. This bitch was in Harvey Weinstein's corner. And truth be told, she should probably come out and tell the truth. Like most of these bitches winning awards wouldn't have had they sucked off Weinstein. She knew. Unless she's an idiot. Though I knew, but no one cares what I fucking say. Maybe she should clam up. No one should self-detonate their careers. Though, you wonder about Dustin Hoffman disappearing. Because he was accused of some sexual aggression. He's a fucking short Jew. Leave him the fuck alone. Like tiny Asian dudes who DON'T know martial arts, the more you chase away, the less there are. Also, you do have Andy Samberg hosting it. So there's that Jew thing. Bring back Hoffman you fucks!
Speaking of which...I saw "Crazy Rich Asians" And though I found it...pleasant...to be this inundated with award talk is really fucking dumb. It's a passable diversion, at best. Though, this is their token "we want to be inclusive" film. Much like "Black Panther" which...I'm still laughing about. Really? Back to "Crazy Rich Asians"...I think you could excuse this flick much like "Four Weddings And a Funeral" was nominated. I like that romantic comedies (which wasn't very funny) get nods. But there was a better choice to draw a light onto the disparity. Also, this is America. Most of Americans couldn't give a shit about crazy rich Asians. Most crazy rich Asians probably want to be left alone, because you'd find out some devious reason why they're crazy rich Asians.
I'm pulling for "The Favourite." Yes, my favorite is "The Favourite" I think it's really the only one with the least amount of politics pushing for it. You know...like "Vice" is obviously the front runner, "The Favourite" is simply a fun high school immature Victorian comedy dressed in frilly shit. The others seem such the political powder keg.
Saturday, January 5, 2019
No Film School
I was on Facebook and came across a page called "No Film School." Essentially it's a tongue-in-cheek reference to how you can learn everything you can without going to film school. Absolutely agree.
After a year there, fuck these idiots.
What I discovered isn't the site itself that is bad. They're promoting gear and interviewing independent movie makers, it's that the people who chime in know jack squat about the industry. Because they are from all parts of the world, and arrogant as it is for me to say, Hollywood is still the epicenter of information. Which is why I get heated when commenters post how they've moved on from film. The quick answer from me "so what? You're stupid little project sucks and you're too dumb and frankly scared to use film." So they justify themselves by comparing themselves to other people. As if they didn't have millions behind them.
Film shooters aren't elitist. In fact, they are the opposite...INCLUSIVE. What kind of cult would it be if I told you you don't belong here? We trade old film stocks and advice and gear. There's that word "gear". These fucking newer guys care so much about the latest and the greatest. Let me correct myself, non-professionals care about the latest and greatest. Not that they DON'T use the latest and greatest (again risk aversion). It's that that is the newbie's only focus. If "older" technology exists and STILL competes, latest and greatest means shit, correct?
The other thing that hits me...the people who are so convinced film is dead and they've moved on so others should. Nope. It means you failed as a FILMmaker and decided this is all you have and so everyone should be dragged down with the rest of you so you'd look like a genius. Some would argue that's what film is. That, in order to afford it one must LEARN it and therefore, film shooters have an advantage. It's not about that. It's about seeing the beauty of what it offers. Never heard anyone complain about film dailies. Perhaps in the old days, these days...they embrace its flaws.
So, I've dumped that site. It's full of kids anyway who don't really know that much about either the business or how to truly make it. And then being sold advertisement. The floundering movie makers, though admirable to their tenacity, sometimes misses it's own point.
After a year there, fuck these idiots.
What I discovered isn't the site itself that is bad. They're promoting gear and interviewing independent movie makers, it's that the people who chime in know jack squat about the industry. Because they are from all parts of the world, and arrogant as it is for me to say, Hollywood is still the epicenter of information. Which is why I get heated when commenters post how they've moved on from film. The quick answer from me "so what? You're stupid little project sucks and you're too dumb and frankly scared to use film." So they justify themselves by comparing themselves to other people. As if they didn't have millions behind them.
Film shooters aren't elitist. In fact, they are the opposite...INCLUSIVE. What kind of cult would it be if I told you you don't belong here? We trade old film stocks and advice and gear. There's that word "gear". These fucking newer guys care so much about the latest and the greatest. Let me correct myself, non-professionals care about the latest and greatest. Not that they DON'T use the latest and greatest (again risk aversion). It's that that is the newbie's only focus. If "older" technology exists and STILL competes, latest and greatest means shit, correct?
The other thing that hits me...the people who are so convinced film is dead and they've moved on so others should. Nope. It means you failed as a FILMmaker and decided this is all you have and so everyone should be dragged down with the rest of you so you'd look like a genius. Some would argue that's what film is. That, in order to afford it one must LEARN it and therefore, film shooters have an advantage. It's not about that. It's about seeing the beauty of what it offers. Never heard anyone complain about film dailies. Perhaps in the old days, these days...they embrace its flaws.
So, I've dumped that site. It's full of kids anyway who don't really know that much about either the business or how to truly make it. And then being sold advertisement. The floundering movie makers, though admirable to their tenacity, sometimes misses it's own point.
Thursday, January 3, 2019
Pre-Production
I spent today driving all over the San Fernando Valley getting knick-knacks for my newest episode of "The Valley"...fancy that.
The coolest thing I have to say is that the Valley is chock full of interesting movie stores. The likes of which probably won't exist in any other city. When I say "movie stores" I mean prop houses, monster make-up equipment shops, model building, practical effects and...lighting and grip. All in the Valley. Did you know...Industrial Light and Magic started out in Van Nuys, California.
So, yeah, I bad mouth Los Angeles, but it is one of the perks. The downside? Everything is fucking expensive. Yes, much like your locations, these motherfuckers out here up-charge everything. And then you have to have everything insured. While I get that vintage stuff comes at a price and that it's near impossible to replace, I can't get behind that a salt and pepper shaker costs $75 to rent (that's their minimum).
The other thing...people in the movie biz are shady. I get really nervous lending out my shit as well. So, most of the time I'm out looking at Goodwill stores. The other one good thing I will say about prop rental places...you can return the stuff. Yes, it costs more, but it makes more sense than turning your place into a junkyard. These places are a museum of stuff really. And if you spend time walking through, actually pretty interesting pop culture history.
Hollywood Is Garbage Town For Filming, Go Elsewhere
My buddy and I were laughing the other day how, in Los Angeles, if you wanted something as mundane as diner or a motel room, the starting price to film is $3000. THIS is what WE considered production value...in Hollywood. Anywhere else, this is a simple rent the place out and shoot. And no one gives a fuck. Unless you're doing porno. And even then.
This town if ridiculously film savvy and people are sick of it (dig the weather though). The other day while I was out looking for a motel, I ran across one in Burbank. This rundown shit-shack I thought would be perfect. I'd rent two rooms. There are two reasons why I don't (or try not to) do guerilla style filmmaking anymore...1) I'm not a kid. There are bigger consequences when you can't say you didn't know any better 2) don't want any of my cast or crew arrested. While this is a far reach. Most likely a fine and booted from location, there is also the chance that trespassing comes with a larger risk of it. I've been through the L.A. justice system and it fucking blows. Many of my friends STILL do it guerilla style, and well...they happen to be younger than 30. In the Midwest, no one cares. It's actually cool and most offer to help. 3) I have no control of location. This is the most aggravating. As I get older, the less I want to deal with the public that I can't control. Thinking now, renting the motel rooms and secretly filming doesn't mean the people aren't outside on a Saturday afternoon smoking weed and playing music...loudly (as I've read in a Yelp review after the fact).
So I told the manager of the shit-hole motel what I intended to do. Mind you, a complete and total shit-hole no one seems to want to spend time in...and his response "No, movie shoot give $3000 a day." I'm not joking. Even this fucker knew or was approached at some point. Or heard it from the grapevine. After securing any place that looks normal...you celebrate at the fact that you got production value. Meanwhile, it's what is in every student film. The frustration in this town will gut you.
This is not to say you CAN'T shoot in Los Angeles. The light is nicer than most cities, the location has deserts, mountains hotels and standing sets somewhere. But everyone I've told NOT to come to L.A. to do anything stubbornly come here and experience the reality. By the way, if you are very prolific and determined to make things, this may not deter you. However, after running into so many "no's" or looks as if you just shat in a bag and handed it to them...I would say enjoy your own town. They will LOVE you to try to do something. Here, they make it near impossible to do the simplest things.
Case in point, I took my wind-up Bolex to Barndall Park in Hollywood to take some additional footage for stuff. I was stopped by three different people and asked about the camera. Actually that they hadn't seen one in decades. Then the Hollyhock House security eyeballed me. Then I just left. Sick of it. If you think you'll just come into Los Angeles and start making your dream project...if it's only you and a few people, go get it. The rest of the time prepare yourselves to tap dance.
This town if ridiculously film savvy and people are sick of it (dig the weather though). The other day while I was out looking for a motel, I ran across one in Burbank. This rundown shit-shack I thought would be perfect. I'd rent two rooms. There are two reasons why I don't (or try not to) do guerilla style filmmaking anymore...1) I'm not a kid. There are bigger consequences when you can't say you didn't know any better 2) don't want any of my cast or crew arrested. While this is a far reach. Most likely a fine and booted from location, there is also the chance that trespassing comes with a larger risk of it. I've been through the L.A. justice system and it fucking blows. Many of my friends STILL do it guerilla style, and well...they happen to be younger than 30. In the Midwest, no one cares. It's actually cool and most offer to help. 3) I have no control of location. This is the most aggravating. As I get older, the less I want to deal with the public that I can't control. Thinking now, renting the motel rooms and secretly filming doesn't mean the people aren't outside on a Saturday afternoon smoking weed and playing music...loudly (as I've read in a Yelp review after the fact).
So I told the manager of the shit-hole motel what I intended to do. Mind you, a complete and total shit-hole no one seems to want to spend time in...and his response "No, movie shoot give $3000 a day." I'm not joking. Even this fucker knew or was approached at some point. Or heard it from the grapevine. After securing any place that looks normal...you celebrate at the fact that you got production value. Meanwhile, it's what is in every student film. The frustration in this town will gut you.
This is not to say you CAN'T shoot in Los Angeles. The light is nicer than most cities, the location has deserts, mountains hotels and standing sets somewhere. But everyone I've told NOT to come to L.A. to do anything stubbornly come here and experience the reality. By the way, if you are very prolific and determined to make things, this may not deter you. However, after running into so many "no's" or looks as if you just shat in a bag and handed it to them...I would say enjoy your own town. They will LOVE you to try to do something. Here, they make it near impossible to do the simplest things.
Case in point, I took my wind-up Bolex to Barndall Park in Hollywood to take some additional footage for stuff. I was stopped by three different people and asked about the camera. Actually that they hadn't seen one in decades. Then the Hollyhock House security eyeballed me. Then I just left. Sick of it. If you think you'll just come into Los Angeles and start making your dream project...if it's only you and a few people, go get it. The rest of the time prepare yourselves to tap dance.
Wednesday, January 2, 2019
The Spielberg Touch
I think people may look back, maybe decades from now and truly appreciate Steven Spielberg.
Though I hate his politics, as he is dancing properly for the Hollywood elite, I think his films are amazing. And have a re-watchability. I'm not sure many of the newer generation will fully comprehend the loss it will be when he stops making movies. Which, in a all likelihood, may be a few more years.
I watched "Ready Player One" again, and boy...it's a lot more nuanced than the retards of this generation can comprehend. And it's not only that it references MY generation, but it also is filmmaking at its finest. Sure, it's a throwaway "kids video game movie" but...not really. In lesser hands it's as basic as it can be. You watch it enough times, you realize how there is a set up and payoff. Something Billy Wilder was brilliant at.
Let's be honest, Spielberg films lack...teeth. They aren't meant to hurt others or indict others, they are to make the bad parts of your life disappear. Which I can see why he decided to tackle this film. And, trust me, I'm not one to strike up a band for a baby boomer filmmaker...they're all pretty smug Leftist (except for John Milius, who apparently shat all over Francis Ford Coppola for attempting to make a socialist argument for 'Apocalypse Now'"). I would argue that perhaps "Ready Player One" got such bad reviews is because it lacks cynicism. True, in this viewing I saw the socialism play out (if you are in debt, someone will buy it and put you in a hole to work it out until you die). While the true sensibility is a young man attempting to make something better for himself and yet choosing to live in a fantasy world. See, the 2019 guy in me tells me that the punk needs to "grow the fuck up" though the Spielberg touch tells me to leave him alone.
"The Post" was straight up Leftist propaganda. Newspapers are archaic form of information, but can still be used as metaphor for his paranoia about the present administration putting a kibbosh on them. Perhaps if the news printed wasn't so slanted, they would get much more support.
He should stick to the colors that make us all happy.
Though I hate his politics, as he is dancing properly for the Hollywood elite, I think his films are amazing. And have a re-watchability. I'm not sure many of the newer generation will fully comprehend the loss it will be when he stops making movies. Which, in a all likelihood, may be a few more years.
I watched "Ready Player One" again, and boy...it's a lot more nuanced than the retards of this generation can comprehend. And it's not only that it references MY generation, but it also is filmmaking at its finest. Sure, it's a throwaway "kids video game movie" but...not really. In lesser hands it's as basic as it can be. You watch it enough times, you realize how there is a set up and payoff. Something Billy Wilder was brilliant at.
Let's be honest, Spielberg films lack...teeth. They aren't meant to hurt others or indict others, they are to make the bad parts of your life disappear. Which I can see why he decided to tackle this film. And, trust me, I'm not one to strike up a band for a baby boomer filmmaker...they're all pretty smug Leftist (except for John Milius, who apparently shat all over Francis Ford Coppola for attempting to make a socialist argument for 'Apocalypse Now'"). I would argue that perhaps "Ready Player One" got such bad reviews is because it lacks cynicism. True, in this viewing I saw the socialism play out (if you are in debt, someone will buy it and put you in a hole to work it out until you die). While the true sensibility is a young man attempting to make something better for himself and yet choosing to live in a fantasy world. See, the 2019 guy in me tells me that the punk needs to "grow the fuck up" though the Spielberg touch tells me to leave him alone.
"The Post" was straight up Leftist propaganda. Newspapers are archaic form of information, but can still be used as metaphor for his paranoia about the present administration putting a kibbosh on them. Perhaps if the news printed wasn't so slanted, they would get much more support.
He should stick to the colors that make us all happy.
Tuesday, January 1, 2019
Happy New Year 2019
Everyone seems to be grousing about their shitty previous year.
To be honest with you all..it was awesome for me. But I doubt you want to hear about a double digit bank account. Mostly cuz the lot of you would wish me awful things. I would if I were broke and some shithead announced that too.
Perception is a big deal to a lot of people. Many of the people who ended their year with a dull thud are pretty young still and to be perfectly honest..i hadn't gotten my shit together until I was well past 40. I guess in Los Angeles that is closer to the magic number.
I also believe a lot of this comes from self inflicted stubborness as well. I was never all that happy pursuing money. Ever. This is not a brag in the least..because to be perfectly honest we're all one disaster from being in the street. Perhaps in your mind you believe money frees your life up. In the smallest of ways it does. If only if you have no true aspirations in life. Earning money means you continue your ambition anyway. Having money given to you makes you complacent.
My creative friends, I suspect, don't aspire to these things. Explains the fact that most people I know live close to the wallet. I think if I wish anything..it's that purpose fulfills your life, in all ways.
Merry New Year!
To be honest with you all..it was awesome for me. But I doubt you want to hear about a double digit bank account. Mostly cuz the lot of you would wish me awful things. I would if I were broke and some shithead announced that too.
Perception is a big deal to a lot of people. Many of the people who ended their year with a dull thud are pretty young still and to be perfectly honest..i hadn't gotten my shit together until I was well past 40. I guess in Los Angeles that is closer to the magic number.
I also believe a lot of this comes from self inflicted stubborness as well. I was never all that happy pursuing money. Ever. This is not a brag in the least..because to be perfectly honest we're all one disaster from being in the street. Perhaps in your mind you believe money frees your life up. In the smallest of ways it does. If only if you have no true aspirations in life. Earning money means you continue your ambition anyway. Having money given to you makes you complacent.
My creative friends, I suspect, don't aspire to these things. Explains the fact that most people I know live close to the wallet. I think if I wish anything..it's that purpose fulfills your life, in all ways.
Merry New Year!
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