This is pretty dry for a documentary about sex and murder. Louise Brooks was one of the most beautiful women in motion pictures but this documentary doesn't really pull me in. According to her story, Richard Leacock was not to first to intellectualize the vivacious actress. The most interesting part of the doc is when Louise tells us about how Pabst was most happy with her when she was playing the part of Lulu on camera and must furious with her when she continues to be Lulu off set. Comical, the inability to recognize Louise and Lulu as the same girl. But I feel this film doesn't show me anything I couldn't read in a well written article. Its falls flat.
Tuesday, October 25, 2011
Wednesday, October 12, 2011
Behind the scenes look at Occupy Boston
You really have to go down to an Occupy Wallstreet protest and spend a couple hours walking around camp to understand it. Its an anarchist collective, in the philosophical and historical sense of the word. Its a club for manic late night conversationalists. But one thing i its not is: a political organization with a poised agenda. Nobody knows whats going to come of it. At best it's a think tank. Its a place where you can go to express your frustrations and not worry about making sense. And everybody is already a member. They're pretty accepting down there.
October 5
I didn't really know what I was doing on my first day. I've filmed cinéma vérité before but usually when people were expecting me. I filmed The Tommy Dean Show. Even a Westboro protest. But this was a more intimate setting. I was behind the scenes and capturing people at their most vulnerable. Some of them asked me to stop and so I did.
October 7
On the second day, people remained apprehensive about the camera. People tried to lecture me about asking before I film them but to avoid confrontation, I ran away.
October 11
This was the day after the mass arrest. People were especially apprehensive, forcing me to grow some courage and start introducing myself to people. Once I explained myself to people, they seemed more happy to have me around. A few people maintained their distrust but I was able to avoid them.
Edit: October 24
I would be down at Occupy filming more but I've been fighting a cold. Boohoo me! ;-p
October 5
I didn't really know what I was doing on my first day. I've filmed cinéma vérité before but usually when people were expecting me. I filmed The Tommy Dean Show. Even a Westboro protest. But this was a more intimate setting. I was behind the scenes and capturing people at their most vulnerable. Some of them asked me to stop and so I did.
October 7
On the second day, people remained apprehensive about the camera. People tried to lecture me about asking before I film them but to avoid confrontation, I ran away.
October 11
This was the day after the mass arrest. People were especially apprehensive, forcing me to grow some courage and start introducing myself to people. Once I explained myself to people, they seemed more happy to have me around. A few people maintained their distrust but I was able to avoid them.
Edit: October 24
I would be down at Occupy filming more but I've been fighting a cold. Boohoo me! ;-p
Tuesday, September 13, 2011
Dear Zachary
Dear Zachary is exactly the kind of documentary I want to make. And I feel compelled to watch everything by filmmaker Kurt Kuenne. Its a deeply personal account of human tragedy. More than a record of events, it's an experience. Events unravel before you as they happen and the filmmaker puts you into the moment to experience the pain along with the subject as its happening.
I love the texture of the film. It feels like a home movie because it was intended to be a home movie about the filmmaker's close friend. Beginning with the death of his friend, the film develops as the friends and family of the deceased learn more about the situation. The plot thickens with ex-lovers, murder and a pregnancy. That's where Zachary comes in. He's the dead guy's son. You have to see it.
Not everybody appreciates the editing. Kuanne is not afraid to squeeze a passing clip in the background only to bring it back later in its full context with new meaning. A simple sigh or a foreboding comment can mean different things at different points int he story.
Kuanne's film captures grief as it belongs in time and space. It forces you to reflect back on those unintentional premonitions and moments of foreboding but its also an experience in itself which can be so painful as to be surreal, torn between letting go of the past and accepting the present.
You remember all those promises and dreams that will never come to fruition because an important piece of the puzzle has been lost. In situations of great loss, it borders on a psychedelic experience. Not so much hallucinating a thing that isn't there but in refusing to accept the thing that is not.
The impact of the tragedy comes from narrator's habit to obliquely lead into the bad news. It starts with an expression of hope in the past tense before it slams you with the tragedy. For example, I always thought we'd go skiing together but then you moved away. Or I baked you a cake! But then you couldn't make it to dinner.
Death is a human tragedy. Death as an interrupter of dreams is a personal tragedy. And it leaves you wanting to go back in time to prevent it.
Fantastic film. You can see it on Netflix.
I love the texture of the film. It feels like a home movie because it was intended to be a home movie about the filmmaker's close friend. Beginning with the death of his friend, the film develops as the friends and family of the deceased learn more about the situation. The plot thickens with ex-lovers, murder and a pregnancy. That's where Zachary comes in. He's the dead guy's son. You have to see it.
Not everybody appreciates the editing. Kuanne is not afraid to squeeze a passing clip in the background only to bring it back later in its full context with new meaning. A simple sigh or a foreboding comment can mean different things at different points int he story.
Kuanne's film captures grief as it belongs in time and space. It forces you to reflect back on those unintentional premonitions and moments of foreboding but its also an experience in itself which can be so painful as to be surreal, torn between letting go of the past and accepting the present.
You remember all those promises and dreams that will never come to fruition because an important piece of the puzzle has been lost. In situations of great loss, it borders on a psychedelic experience. Not so much hallucinating a thing that isn't there but in refusing to accept the thing that is not.
The impact of the tragedy comes from narrator's habit to obliquely lead into the bad news. It starts with an expression of hope in the past tense before it slams you with the tragedy. For example, I always thought we'd go skiing together but then you moved away. Or I baked you a cake! But then you couldn't make it to dinner.
Death is a human tragedy. Death as an interrupter of dreams is a personal tragedy. And it leaves you wanting to go back in time to prevent it.
Fantastic film. You can see it on Netflix.
Thursday, July 21, 2011
Is CHBP good for local businesses?
Capitol Hill Block Party. Its kind of a big deal. Some people are excited, I'm sure. You'll see them bouncing up Pike and Broadway on the day of but if you look at the comment section of any given local blog (here / here), you see hate.
So I did a video interview with CHBP planner Jason Lajeunesse. Apparently I wasn't the only one who thought that would be a good idea.
My goal here was to put Jason's authenticity on display. Quotes in text articles lay flat within the context of the journalist's words. Video interviews are less easily manipulated. And here, you can look Jason in the eyes when he admits "getting people to shop durring the block party can be difficult" and decide for yourself if he is being genuine or not.
Cinematography is by Brody Willis. I performed the interview and edited the video.
So I did a video interview with CHBP planner Jason Lajeunesse. Apparently I wasn't the only one who thought that would be a good idea.
My goal here was to put Jason's authenticity on display. Quotes in text articles lay flat within the context of the journalist's words. Video interviews are less easily manipulated. And here, you can look Jason in the eyes when he admits "getting people to shop durring the block party can be difficult" and decide for yourself if he is being genuine or not.
Cinematography is by Brody Willis. I performed the interview and edited the video.
Friday, July 15, 2011
Making Movies For Nothing
Sometimes when I am home watching Netflix, I think about how I would much rather be making movies than watching them. And as a young filmmaker, it's tough. The first temptation is to call up all your filmmaking buddies and say "come on! lets make a movie!" but that doesn't always work. Then you're just sitting around and waiting for the phone to ring.
Find things to go to. Seattle puts on a filmmaker happy hour. Local film forums often put on nights for local filmmakers to show their work. And of course, you should always keep an eye out for local films on Kickstarter and make a modest donation.
The most difficult thing to remember is that nobody owes you a spot on their film crew. Especially as you start to grow in experience and pride it is easy to forget that film crews come together with trust. Don't sweat the gigs that don't work out. Just keep your head up and look for the next opportunity.
Sometimes you have to learn to create opportunities for yourself. Don't worry if you don't have gear and you don't have money to rent gear. The most valuable asset in a filmmaker's toolbox is his ideas. If your ideas are sound and inspiring, the rest will fall into place.
My ideas start with the experience that I want to capture and share. For example, an early afternoon cocktail with one of Seattle's top bartenders. Or hanging out with the owner of Seattle's finest basque restaurant. Or taking a walk with a busker.
The next challenge is to find someone with gear but doesn't know what to do with it. It sounds easier than it really is to convince someone that the prospect of bringing your idea to fruition is better than watching Netflix.
Most importantly, you need to make people feel like not just anybody is qualified to help you and that you need them for their specific skills. It is imperative that you are authentic because people will know when you are just using them for their gear. You should watch their reels and talk to them about what they love about filmmaking. If you can't find some common ground of mutual appreciation, you probably shouldn't ask them to help you.
Lastly, if you're asking people to help you, a lot of people are going to say no. If you have some strategy to your alliance building, you can find mutual benefit. Cinematographers need beautiful subjects. Sound guys needs interesting situations to show off their skills. Gaffers also need practice overcoming situational challenges. There is a trick to selling ideas to people. They need to feel that you're giving them a genuine opportunity.
You can never really make movies for free. If you have a day job, you have to take time away from making money. If you hire a crew, you force them into making a similar decision. Also, don't forget the time of your subject but don't sell your idea short. I believe good ideas are as good as money and if you have a good idea for a video, the time and money part will fall into place.
Find things to go to. Seattle puts on a filmmaker happy hour. Local film forums often put on nights for local filmmakers to show their work. And of course, you should always keep an eye out for local films on Kickstarter and make a modest donation.
The most difficult thing to remember is that nobody owes you a spot on their film crew. Especially as you start to grow in experience and pride it is easy to forget that film crews come together with trust. Don't sweat the gigs that don't work out. Just keep your head up and look for the next opportunity.
Sometimes you have to learn to create opportunities for yourself. Don't worry if you don't have gear and you don't have money to rent gear. The most valuable asset in a filmmaker's toolbox is his ideas. If your ideas are sound and inspiring, the rest will fall into place.
My ideas start with the experience that I want to capture and share. For example, an early afternoon cocktail with one of Seattle's top bartenders. Or hanging out with the owner of Seattle's finest basque restaurant. Or taking a walk with a busker.
The next challenge is to find someone with gear but doesn't know what to do with it. It sounds easier than it really is to convince someone that the prospect of bringing your idea to fruition is better than watching Netflix.
Most importantly, you need to make people feel like not just anybody is qualified to help you and that you need them for their specific skills. It is imperative that you are authentic because people will know when you are just using them for their gear. You should watch their reels and talk to them about what they love about filmmaking. If you can't find some common ground of mutual appreciation, you probably shouldn't ask them to help you.
Lastly, if you're asking people to help you, a lot of people are going to say no. If you have some strategy to your alliance building, you can find mutual benefit. Cinematographers need beautiful subjects. Sound guys needs interesting situations to show off their skills. Gaffers also need practice overcoming situational challenges. There is a trick to selling ideas to people. They need to feel that you're giving them a genuine opportunity.
You can never really make movies for free. If you have a day job, you have to take time away from making money. If you hire a crew, you force them into making a similar decision. Also, don't forget the time of your subject but don't sell your idea short. I believe good ideas are as good as money and if you have a good idea for a video, the time and money part will fall into place.
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