Moms against Radiohead

Consider this the most outrageous story of the year.

All I can say is that Josh has a tape with every notable Radiohead b-side up to OK Computer...it's too late to save him.

Post from...

...Marco's house!!! Ahhh-hahahahahaha. Gonna shoot a scene for a new film here this sunday. Marco is going to even be in the film, as well as Moxie Moehtar. Two staples of our acting catalogue.

Anyway, just wanted to say that I'm posting late and I'm posting at Marco's house. I'm collecting different places to post from.

That's it...that's where I'll shoot my picture

Gasp! Has pre-production begun? On what?

King Long

A complaint I read frequently from film critics: “Why doesn’t Steven Spielberg make films like he used to? You know, fun films with great action sequences!”

What these individuals fail to grasp is that we now have Peter Jackson to make those films for us. Yes, picking up Spielberg’s slack, Jackson’s latest endeavor is King Kong, a film people have been talking about, dreaming about and gossiping about for the last month or so. I in particular was interested in this film, both because of the visuals and because of the choice of Jackson as the director. I must admit, I found myself wondering how Kong would have developed if another director had tackled it. After finally viewing the film I concluded that while such a take may have been interesting, it probably would not be as unique and visceral as Jackson’s.

When viewing Kong, one can’t help but get the feeling that Jackson is a guy who loves to make movies. Just look at the scenery! He’s taken a world of Saturday Morning Serial adventure, mixed it with the vaudeville whimsy of the 1930’s and thrown in his own brand of cinematic tension to create a world that is really fun to visit.
The streets of New York glow with hypertension: riot patrol officers and repossession men take away material belongings, theaters pockmark every corner on the street, and honest citizens don’t accuse other people of being terrorists…no, they call them “Bolshevik’s”. It’s a glimpse of the 1930’s that is both familiar and outrageous. Yes, among the congested streets and smoky projection rooms, you’ll find Jackson winking right back at you. Some directors might have chosen to place this modern retelling of Kong, like Jackson has, in the very time in which the original was made. I doubt that few would have added as much character and color though as he has. He has really created a fine world to populate with his actors.
And among these thespians we have Jack Black who plays Carl Denham, Naomi Watts who plays Ann Darrow, Adrian Brody who plays Jack Driscoll and Andy Serkis who plays Kong himself.

Now, I must admit, I had a hard time understanding the slant of some performances at first. For example - Watts plays Darrow with such “gee-golly!” earnestness that she could disarm a tank. Black is of such fanatic desperation, such deceit, that I immediately forgot that films like “Orange County” even existed. Simply put, it’s hard to get used to these characters…at first. But then one remembers that this is merely an additional layer of the world Jackson has created. Black’s Denham and Watt’s Darrow are exactly the kind of people who might populate a New York like this.
One can’t help but wonder however, if the over the top caricatures of Darrow and Denham influenced Adrian Brody’s interpretation of Jack Driscoll, a playwright turned weary screenwriter on Denham’s latest picture. Driscoll is really the only straightforward character of the movie. Not overtly funny, nor arrogant, Driscoll is just a little bowled over by Black’s Denham and a little heartsick over Watts’ Darrow. And as a result of taking his character without any slant, Brody gives us a nice little “in” to the movie…that is, until Kong arrives.
Serkis should get the most praise. He created the movements, expressions and gestures of Kong through computer capturing technology. What’s most remarkable though about his work and the work of the animators helping him to create Kong, is that they not only created a GIANT MONKEY…but they created a giant monkey with a soul. There is actually personality and charm to Kong. Even more remarkable are the exchanges between Kong and Watts. Despite the impersonal barrier of technology, there is something very personal in the moments between Kong and Darrow. You really believe that she feels for him and he for her. I think that some of the credit goes to Serkis, who created a Kong with a heart. But most of the credit goes to Watts for being able to act with a blue screen and make it seem real. So many actors have fallen flat when presented with the obstacle of blue screen. And it’s no wonder why; actors have to use their imagination to create the inner-life of their characters, relying upon the physical set and other actors to motivate their outer-life. Watts manages to create both the inner-life and the outer-life in her moments with Kong, and she does it with great feeling and emotion.

As for the story of Kong, it’s pretty much the same as the original film. This version is told with such cunning and suspense however, that it remains viewable as a completely different piece. You’ll still get screams out of every moment of terror, laughter out of every bit of humor. What’s more, Jackson has added some genuine dilemmas to motivate each character. Denham has to complete his picture. Darrow has to find work. And Driscoll has to get Darrow back from Kong. There are plenty of character arcs interwoven into the story to make this film a dense venture.
There are problems with this film however…problems that tend to make me reluctant to pursue a second viewing (for the moment). Foremost among these flaws is the incredible running time of the film: 3+ hours. Jackson pulled 3+ hours off before, with Fellowship of the Ring, but he has a rougher time making the movie pass as smoothly here. It gets tricky right around the second act, when Denham and his crew arrived at the infamous Skull Island, home of Kong and the location of the second act. The island, while terrifying (and aided by a fantastic running parallel to Joseph Conrad’s “Heart of Darkness”) ends up becoming nothing more then a broken record of action sequences.
At times, the movie also feels a little overdone. There’s a fantastic T-Rex/Kong fight at the middle of the film that is spectacular and moving…for the first 5-minutes. By the time Kong and the Rexes are fighting down a Cliffside though, trading blows in-between the vines and tumbling rocks, it all becomes a little much. Many action sequences in the film tend to suffer from this problem. They become so grandiose and epic that you end up feeling burned out very quickly. The most enjoyable sequence for me was a car chase through the streets of New York with Kong hot on the heels of Brody.
In his bloated length and action however, Jackson seems to ironically mirror the hubris of his own character, Denham, who ends up exploiting Kong in a way that takes the word “gaudy” to a new level. Jackson is every bit the Carl Denham, standing in front of a curtain, bludgeoning us with the fireworks, dinosaurs and gigantic gorillas that awaits us on the other side.

Ultimately, King Kong is a fantastic adventure film, with strong performances, great cinematography and superb direction. But it’s just such a commitment. I really did enjoy this movie and its characters; but I can’t help but feel that I might have enjoyed them a little more had they left me wanting more.

That’s a trick Jackson hasn’t mastered yet.

Goodbye and Good Riddance

And here I thought that King Kong would be the one movie I'd be most excited to talk about...and then Gabe and I saw Good Night and Good Luck. Expect a review of this film in addition to a Kong review, tomorrow.

Until then...

-Brock H.

Makin' Movies

I’ve got two films that I need to review before the week is out – Aeon Flux and King Kong. Expect the Kong review before the Flux review, because, well…quite frankly Kong comes closer to meeting its mark then Flux does. And I’d rather write about that film.
I do want to talk a little bit about Flux though, especially since it is science fiction. I’ve been taking note of science fictions lately, ever since I saw Primer with Josh and Angie. I can’t remember what was said exactly, but Josh and I both agreed we wanted to do another science fiction film. So, I’ve been casually taking note of science fiction films, be they good or bad. Flux has a distinct flaw in it that actually crops up in a lot of science fiction movies, a flaw I’d like for us to avoid in any future sci-fi we do. But, more later…

I finally managed to pick up Catch Me If You Can on DVD, easily one of my favorite Spielberg films. I can’t believe I never got this film, but I watched it last week when I was lying around the house, recovering from having my wisdom teeth out. I think what I like about it is how tight the narrative is. The art direction editing is also very tight. Maybe I’ll write a review for that film as well.

And school is out for the semester, thankfully. Took my Avid final yesterday and I was outta there. I have to work on some films over the break though, do some research, pre-writing…and if we manage, Gabe and I want to shoot a movie. I can smell MOC Year 2 just around the corner…

A Visit From Hollywood

Today we had lunch with some of Rebekah's family, including her mom's cousin, Glen Scantlebury, who's edited some big name films. I gave him a DVD with the Matter of Chance films. Hopefully he'll get a kick out of them.

Routine Sickness

I thought I'd post something, even if it's nothing. Not a whole lot going on. The job's a lot less busy now, which is good. Money's been tight, though, since Rebekah went part-time. So I've done some side jobs.

Right now everyone's sick. First it was Bekah. She's just getting over it. Then Zoe, and I think she's starting to get over it. I'm in the middle of it. I know Brock was sick recently. Are you over it, Brock? It's probably running the gamut in his family too.

Cartoon's are a pain to keep doing. So, I pretty much dropped that. Perhaps you'll see one now and again on special occasions.

Quit

I just got off the phone with the director of the Advanced Production shoot (which I attended last weekend). I had to let her know that I quit and that she would have to find a replacement. I gotta say, I don't feel terribly good, but it had to be done. Last weekend, the shoot was an organizational hell. She didn't know what she was doing and she over-worked the entire crew. To top things off, she didn't provide the crew with very much food or downtime. We were there for 11 hours and we worked all 11 hours.
The final nail came when she failed to recognize the efforts of everyone who was involved in the shoot. She posted special thanks on the film's webpage to the cast of the film and the location providers, but she failed to highlight the efforts of key members of the crew. For example, she failed to recognize Brandon Steed, the nagra operator who basically put his cushy job at the Mac store in danger just so he could help her with sound. She failed to recognize the efforts of her DP, Jayme Schere and she failed to recognize the efforts of her script supervisor, who basically walked away from a very organized and promising shoot just to help out on this one. And then, just yesterday, the director shoots out an e-mail to everyone informing them that a 5th day will be added to the shoot. And here's the kicker...the burden of the camera crew falls on Brock and I. Yep, her AC's, DP and gaffer quit...so she was planning on having me fill in just about every roll on the camera crew. That wasn't gonna fly. So I quit.
This shoot has provided me with two valuable lessons: (1) Don't use the school equipment for your projects and (2)don't alienate your crew.

Your inside is out and your outside is in

Here's a late post for you...

I put the finishing touches on my new edit for "Outside In" today. I forgot why I wanted to make that film, and months after I had made it I found myself really disliking it, but after re-editing it I mentally said to myself: "Oh, riiiiight". It's just a silly film and that's why I had so much fun with it originally.

New points on this edit:

-Letter CU re-shot: on digital. Otherwise, without a good, clear closeup of the letter, the entire film is pointless.

-Monster revelation: the monster revelation sequence is quite a bit different now...the original edit had the dolly-back frame kick into an undercrank when the monster was revealed. Now, it starts off with an overcrank, moves into an undercrank and then eases back in to an overcrank. Lemme be more clear - it goes slow-mo, then fast, then back to slow-mo.

-Tossed out footage re-used: a lot of footage that I threw out on the original edit I use in this one, including lots of cut-aways.

-Cuts to black eliminated: Now, instead of the cuts to black scattered throughout the film, we have cuts to telecine color-correction. I really like this.

Getting experience

Hello all,

How have things been? I realize it's been quite a while since my last post, and I do apologize for that. I must say that this has been a very hectic semester. And that's quite potent when you consider that I'm not shooting any personal projects this semester…just writing and editing. Much of this stress and time consumption comes from the number of classes I've taken and the learning curve I've experienced in some of those classes. Avid editing in particular feels like one of those classes that are really giving me a run for my money.
The interesting thing about this semester however is the knowledge it has provided me with. Most of this knowledge relates to upcoming projects I plan to film with Josh and Gabe. For example, in producing I've learned how to make a business plan to attract potential investors to my films. Since a number of our movies currently in development (Castro, Everlast, etc...) are much longer then the typical 3-minute Screen Wars short, and because they have numerous production details that are far too expensive for us lowly peons to cover with our own wallets...attracting investors will be a key part to producing the next batch of MOC projects.

The other thing I've been attuned to lately is the various formats available in the film market...HD, MiniDV, 16mm, Super 16 and 35mm. I bring this point up because I plan to shoot my next two projects on film, if possible. This will probably mean that I will have to attract an investor. And if investors get involved, I'm sure they will support our efforts to maximize our visual potential.
However, there is the possibility that shooting on 35mm film will be far too expensive and burdensome for our investors. If that is the case, then we will need to be well informed of the other gauges and formats available to us. Josh will be the cinematographer on Everlast (the film I would like to use 35mm for), and I’m sure he’s able to consider numerous positives and negatives with regards to each format. I need to bone up on this knowledge however. In doing so, I've found myself flirting with the idea of shooting Everlast on Super 16. If 35mm becomes a pipe dream, Super 16 may be an alternative. I must say though, considering the user-friendly nature of various Super 16 products, shooting on Super 16 may become more then just an alternative – it may become the preference.

Some great links for Super 16 are as follows:

Aaton's website devoted to Super 16 and Super 35 products - If we do shoot on Super 16, I will probably go with an Aaton camera because of its maneuverability and easy magazine loading. We probably won’t be able to get a huge camera in on the fight scenes, and these smaller cameras are less imposing for the actors. They seem easy to deal with as well…The A-Minima takes 200 ft. daylight spools, so we can change mags quickly and efficiently on the set.

Kodak's website on Super 16 in the current HD marketplace - Gabe might find this to be an interesting article. It notes that many of HDTV's current projects are shot on Super 16 and then mastered to HD. The article does note a discrepancy in Super 16 for daylight exterior shots, but this discrepancy was found in 1996.

And finally...

Kodak's modest dictionary of Super 16 cameras - The information here isn't very detailed, but at least it gives you an idea of the current Super 16 cameras on the market, plus standard 16 cams that have been modified to support the Super 16 format.

I think another reason for my recent investigation into the Super 16 format comes from recent reports I have gotten about the quality of equipment currently accessible to students at my school. Next semester, I will be shooting my portfolio piece at the college, a 15-30 minute film with sync sound (for those curious, it is a war film much like Apocalypse Now or Platoon). I do have the option to record it on digital, but since this is my last real film project at the school, I would like to go out on film. Unfortunately, friends who have had access recently to the cameras and equipment for the portfolio class have reported a serious problem with quality. Lenses are banged up, scratched and difficult to manipulate. Magazines and cameras are worn and used beyond the point of repair, etc. Even more telling - groups of students who work in the equipment facility at the school shot their final projects this semester on cameras rented outside of the school.
I think with the problems I've had in the past (most notably with the Arri 16s on The Subject), the notion of shooting my final project on another badly worn camera is stomach churning.
I want one thing to be optimal on this final film: image quality. I don't want to deal with equipment that is difficult to shoot on, and I don’t want to get back a telecine that looks like it was recorded with a projector on a stucco wall. I’ve noticed that when these problems happen, when the basic fundamental image quality deteriorates, my contribution to the aesthetic quality of the story deteriorates as well. And I refuse to allow that on my next two films. When locations are falling through and my brains are leaking out through my nose, I can be comforted by the idea that at least my camera works…
On a related note: this Saturday, I will be stepping in as 1st AC on a portfolio project (I will be working with an old chum, Jayme Scherer). Obviously, this is a perfect opportunity for me to study the quality of the school's equipment. I'll be handling it all day, so I'll be able to get a fair idea if it is up to snuff.

Anyway, that's what's been running through my head lately. I'll try and post more often...I have to say; I've really enjoyed Gabe's comics. They've been a fond throwback to when I first met Gabe. I remember looking through his notebooks back then and finding all kinds of comics he drew that I found hilarious (they didn’t make sense, but they were brilliance!)

Castro

Charlie

Espanol

Mr. Young

First day of Bridge School has come and gone - what a great show. Los Lobos played a very energetic set and at the end they even did a cover with Neil. Bright Eyes kicked butt, busting out accoustic fare absent from the Digital Ash tour. Good Charolet was an embarassment, especially sandwiched between Nora Jones and Bright Eyes. Johnny Cooger (hah) was great, but his set faaarr too short.

That is all for now...

A final note: hikus for you

Alone with Brock,
Sitting in the dark,
Hands off, buddy!

Fake Irish accent,
Real Irishman in tow,
Soooooo dumb.

A strange woman's tuckus,
Brushes my kneee,
Do you smell pudding?

Two motrin,
On my seat,
For my buttache.

Wontons or eyeballs,
I do not know,
Chinatown.

Smells like the dickens,
So hard to light,
Dookie cigar.

Rebeckah Loyer,
Gabe Loyer,
Zoe Castro.

A Galli named Marco,
The Youngest Rotundo,
Gay as they come...

Oh to be Green Day,
So cliche,
Good Charlott takes the stage.

Nora Jones,
Piano and headphones,
Want to touch the hiney.

That's a lot...enjoy.

Ah, Blissful Merchandise

Today, was a good day. Remember when I had 90-some of my CDs stolen from my car? Just recently I ordered them all back. Today I got most of them in. Plus, I bought the new Batmen DVDs. That's right, Batmen.

Anyway, it was extra great to get the CDs because I was sorely missing them. I've only gotten into a handful of new artists in the past few years. Yes, I'm still jaded about the overall music scene these days. But now I get to listen to the "classics."

Avoiding a Car Crash

Tuesday I was cruising west along Bell Rd. during work when a white pick-up truck cut across north to a Fry's shopping plaza. Fortunately I saw him when he first took off. I thought he was going pretty fast, but figured he'd be stopping in the center lane, thinking he must see me, being that I was right in his path. Nope.

That only gave me enough time to floor it, and to try turning away from him, as I in was in the center lane, of a three lane, west bound road. I didn't make it past him and he nailed the back corner of my bumper, sending the tail north bound, but I regained control. He slammed on his brakes, after the hit.

I must've gained some distance, because when I looked back he was further away than I expected. He was stopped in the driveway of the plaza. I probably should've stopped the car there and walked back, but I wasn't thinking (the adrenaline was pumping). Plus, I saw a bunch of traffic coming, so I made a U turn to go back. He wasn't there anymore. I realized that he may have thought that I was taking off, since the next turn off wasn't for a little ways. But I searched the entire parking lot for white pick-ups and only came across two. I inspected both but saw nothing incriminating.

I expected my car to be in bad shape, but I almost couldn't tell I was even hit, if it weren't for the scuffs. If I had tunnel vision, and didn't see this guy, I would've been t-boned! It was a scary moment, but all's good.

The Matter of Chance Training Video

In one of my classes, I have to create a three to five minute informative corporate screenplay for my class project. What is that per say? Well, such screenplays might be akin to a training video or "company policy" film, a video you might see if you are training for a new job or applying to an organization. You know...films that tell you how you're supposed to give your customer their Wendy's burger.
I've never really had any job or corporation that I would affiliate myself with, and most of the kids in my class are using their current jobs as the sources for their screenplays. So, I've decided to create a training video for Matter of Chance Productions.

What goes into this MOC training video? Well, this is an introduction into the world of the Matter of Chance team - so I must cover our history, what services we offer and what it is exactly that we do. Every corporate screenplay, just like a feature screenplay, is broken into three parts. A beginning, middle and end. The beginning of the training video is supposed to introduce the organization and briefly highlight what it is that will be covered. The middle of the training video is supposed to cover the important information of the company, like the history, services and accomplishments. And finally, the ending of the video will state a "call to action", or something that entices the viewer into some kind of effect. I think the action for my video will be, "use MOC for your production needs", or some such fiddle faddle.

Now...most videos are presented with standard gimmicks or tricks. Some informational videos are just edited sequences of captured footage with a narrator voice over. Some are designed to be a mini-movie, covering a day in the life of an employee at "Wendy's". Some are simply speakers standing in front of a camera, spouting out info - talking heads if you will. The MOC video will be a combo of talking heads and voice over narration, and an MOC character will introduce each segment.
For the beginning, Harold will introduce us into the Matter of Chance world, using a chalkboard to highlight various components we will be looking at.
For the middle, Leonardo will be going point by point through the company history, following which he will promptly assassinate Joshua J. Provost, Gabriel Loyer and Brock H. Brown.
Finally, at the end, The Printer will give the viewer his or her call to action. The call to action will be punctuated by The Printer's death, which will make his martyrdom an inspiration to all future clients.

I expect it to be a fantastic video, one that the teacher will reject completely.

The New Storytellers

Just got out of my editing exam a short while ago...man, talk about a toughie. I did pretty well though I expect, so that's good.

I had to add one of my favorite Castro pictures to this post

Josh came over yesterday and we chatted about the Castro Film. A big thing we noticed was how young Castro looked remarkably similar in various facial features to Gabe, particularly the eyes. Physically, we have the look in the ballpark, so it'll be up to Gabe to nail the psychological aspect.

Josh also showed me pictures of the main character. Yes, it is a film about Castro, but there is a protagonist that we see the film play out through. And like Castro, he is also a historical figure who resided in that infamous period. No one we know looks quite like this fellow, so we may have to do some casting and searching for this part.

Anyway, all I can say is, I'm stoked.

Phoenix film's new base of operations?

I totally forgot to post this. Looks like ASU is finally taking steps to embark upon a serious film program.

Cough

Man, being sick is terrible. Let me tell you though, there's nothing worse then going to school...a full day, while being sick. Something nasty is in the air. And what's the deal with people? I had a whole bunch of people come up to me today (of all days) wanting to shake my hand. I feel like a tool telling people, "Hey look, I'd shake your hand, but I'm teeming with germs".

I'm Batman

Finally. I've been waiting for this for years. No word if it's a better transfer, but at least there's commentary from Tim Burton.

Many things

There are many things we must talk about soon.

1. Prison Break - who is watching? I'll blog about this specifically later...

2. Castro - The next MOC production? We need to set ourselves up a little online Castro database so we can all look at info regarding our story.

Land Shrimp

There were many of these creatures jumping around the beach in San Diego. I called them "Land Shrimp." Apparently that is what everyone else calls them as well. However, I wasn't about to find out if they tasted like ocean shrimp. I would've needed a handful anyway. That little guy above is probably around 5-7mm.

Dad Survives San Diego Trip

When Rebekah announced that we go to San Diego to meet up with family from New York state, I have to admit that I was very hesitant. We hadn't traveled anywhere further than the mall with Zoe, who is five months. She did very well.

We actually stayed in Solana Beach (pictured above) with Rebekah's brother Alex, and her parents. They have a second cousin enlisted in the Navy, stationed in San Diego. Her parents came out for over a week to visit her. Their original plan was to drive to Phoenix and visit Bekah's family. But why drive 5+ hours to come to the desert heat when you're in cool San Diego, by the Ocean? So we decided to go out there.

We did the typical beach visit. Saturday we visited Birch Aquarium, which Rebekah and I have done before, but the rest of the family hadn't. That night we ate at an Italian restaurant, Parioli. I had the seafood risotto, which was very good. We sat outside on the patio, which had a nice atmosphere. We were treated to a movie, Cosi Ridevano, on their outdoor screen. I didn't catch much of the movie, though.

It was good to get away, albeit a short weekend.

While

Haven't had a post in a while...don't know why.

Points of discussion:

-A hit man TV show (with episodes written by Gabe Loyer, Joshua J. Provost, Jeremy P. Provost and other guest writers.)

How am I gonna lure all those writers to the staff of my show? Well, I'm working on the premise, but I think it has two things that said writers will find enticing: hit-men (I know at least two of those writers have brooded upon this subject in the past) and filmmakers. These are the professions that the show will revolve around.

Note: I'm roughly developing the pilot for TV class right now, so don't everyone be writing up episodes just yet.

-Good Criterion DVD purchases (I'm thinking of something along the lines of Rashamon, Kagemusha and maybe something Godard. The problem with Godard is that I haven't really seen any of his films. He's one of those filmmakers where I'm forced to say "oh, he's brilliant", only because I know he is. From study, I've practiced theories he may have developed in my own craft.

...

Yes, it is ironic that I as a filmmaker use conventions developed by the works of others...works that I have not seen.)

-Creative writing class (Interesting, fun, but I feel a little underworked. Don't get me wrong, I get plenty of homework and I do it with the right attitude...I guess I want to be writing fiction. As this point she is developing us as writers. I whine now, but later on all of these minor exercises and routines will pay off in spades. I can already tell.)

-Armageddon (Speaking of Criterion, I was browsing their collection a short while back and I noticed the Michael Bay/Bruckheimer film on their list. What's up with that? I thought Criterion was a collection of the most important and often-times overlooked (by a mainstream audience) films. Armageddon?! The only reasoning behind this DVD being on the list is (a) Bruckheimer paid off Criterion handsomly and they used the cash to release a bunch of deserving films, or... (b) they consider it an important film to release because it represents the standard of all mainstream action films. It is the cinematic representation of that corner of the craft. Of course, maybe I'm missing something???)

Present

Anna gave me a new picture today that she took while on the set of The Subject. I hadn't seen it before - I guess everyone took pictures that day. She said it was her favorite, but she gave me some other ones too that were pretty cool.

They are Night Zombies!! They are Neighbors!!

Sufjan Stevens has a grand plan. He aspires to write an album for every state. So far, he has two – Greetings from Michigan and Come on feel the Illinoise.

My prior knowledge of Sufjan consisted mainly of praising reviews from Pitchfork. I believe I had listened to a handful of song samples a while back, but heard nothing that aroused my musical interest. That is, until recently when I download a couple songs, one of them from his new album.

It is quite the concept album, covering many facets of Illinois, from historical subjects and holidays, to the fictional character of Superman, who grew up in Smallville, Ill. Sufjan even covers the low points, such as John Wayne Gacy, Jr., the Chicago serial killer who murdered over 30 people. Despite the depressing topic, it’s a hauntingly beautiful song in which he practically sums up Gacy’s biography. He then, perhaps disturbingly, compares himself to the killer when he sings “And in my best behavior I am really just like him. Look beneath the floorboards for the secrets I have hid.”

Sufjan is often categorized as a “folk singer.” He splendidly ventures from that genre. He has the typical acoustic guitar, but his songs are often layered with strings and horns, and even a choir. There are also a few songs with very catchy melodies. He is deep and kooky at the same time.

There are 22 tracks, many being short segues. He has outrageously long song titles such as “To the Workers of the Rock River Valley Region, I Have an Idea Concerning Your Predicament.” Or, “THE BLACK HAWK WAR, or, How to Demolish and Entire Civilization and Still Feel Good About Yourself in the Morning, or, We Apologize for the Inconvenience but You’re Going to Have to Leave Now, or, ‘I have fought the Big Knives and will continue to fight them until they are off our lands!’”

It’s refreshingly original. If the music wasn’t enough, Sufjan has a unique voice that pulls you in. I’ll even post a couple favorites, which are more stripped down musically than most on the album.

Sufjan Stevens - Concerning The UFO Sighting Near Highland, Illinois.mp3
Sufan Stevens - John Wayne Gacy, Jr..mp3

Bad Boob

I have a couple posts I've been working on, but I haven't had time to finish them since my wife was admitted to the hospital Wednesday afternoon. She's been there since. She developed a real bad case of mastitis. She finally gets to come home tomorrow. She'll have to be on antibiotics through I.V. for about two weeks.

I'll get the posts up soon. One is a review of a new album I'm really, really enjoying. The other, is a revist of The Village.

Back

First day of school yesterday... it was a long day. Gonna be writing a lot this time around, no filming really. What am I writing per say? Prose, short films and commercials (blah) and a pilot for a television drama.

I think I'm gonna make mine about a captain who steals a nuclear submarine. I'll call it "Rigged for Red"*. Or "Dive Below 5".

*note: I just read on the net that "rigged for red" means that the lighting inside a control deck is darkened so the sonar screens can be viewed.

Every week they'll sail to different coastlines and see mermaids and pirates and stuff...or something. Anyway, I'll post more (and more seriously) later.

Rolax Anyone?

Remember when SPAM mainly consisted of male member enhancement miracles? Well, they’re still prevalent, but now my SPAM folder has a rather large quantity of emails to buy Rolex. Or some knock-off like Rolax. There’s even a website dedicated to finding the right Rolex replica for you. It’s quite hilarious to get emails addressed to “Dear Gblower” or “Dear Gblox” or something completely far off, like “Dear Jose.”

Seeking a record deal

Apparently, Radiohead is currently under no contracts.

What that article won't tell you is that they're in negotiations with 727 - next thing you know, they'll totally be opening for Nowhere Man and a Whiskey Girl.

Overtimin' It

It's been two weeks at my new job at the school district and I've been putting in overtime. Fifty-three hours last week. And I get paid for it! Unlike the last place, where I was salaried. Overtime is rare, however, when you're working for the government. It's allowed around this time, since school is starting up and it's hectic.

I'm having fun. I'll be supporting the computers and network for four elementary schools. I like the "getting out and not being in one place all day" thing. Knowing you're helping out the kids, makes it more rewarding as well.

This week is the last for overtime. It is already starting to calm down. Hopefully this will give me more time for blogging. I also have an idea for a short film that Brock and I may tackle. I have to start writing it.

Going back

Well, school is going to be starting soon. Am I ready to go back? I think so; at least I hope so. I’ve really put this summer to good use though. We shot a plethora of films and attended a slew of mixer events in support of those films. And each time around, I enjoyed the ride immensely. I should note that it’s not over yet…Monday night Gabe and I still need to go to the drama mixer and find out if we won any awards. Gabe and Josh have a very positive outlook in this regard, but I just can’t muster up any hope. I’m really just going for the people behind the event. Moreover, because Josh is out of town Gabe and I need to fill in the MOC presence (even though it won’t be the same), and of course, I’m going for Marco.

It’s about 12 o’clock as I write this, but I’m not tired. I think I’ve gradually begun switching my days for nights. Agent 1988 (my brother Parker) commented on this rather acutely: “You’ve become a vampire”. This is because of a couple of reasons; (1) it is far easier to write when everyone else is in bed. And (2) I don’t want to miss Cowboy Bebop. Things are quiet tonight however. Cowboy Bebop isn’t on Thursdays, and I’m giving myself a break before I delve into anything new.
It’s not a long break mind you. I have to begin soon anyway. Why, you might ask? There are a few ideas that could possibly take place in the Boston locale, and I must construct them while Josh is still over there for some minor location scouting/suggestions. I know one thing for sure; I want the setting for one story to be an underground subway or a city transportation of some sort.

And suddenly, I have a hankering for fireworks. I remember when they were quite abundant among my brothers and Alex. Now? I have to settle for posting this festering pentameter.

Things I’m Digging Right Now – August 7th

AGTC, Final Cut:I love the new overhead announcements. Obviously, Josh is the voice behind AGTC (although they sound like he sucked in a balloon full of helium before recording). They really add to the corporate feel of the piece, which is what Josh’s original intention was for the film I believe. Anyway, it’s good stuff. My favorite Joshua J. Provost film, by far.

Leonardo: Leonardo didn’t perform too well in Screen Wars, but that doesn’t mean that I love the film any less. It’s still one of my favorite Matter of Chance shorts. I hope it does well elsewhere.

1984:While I was on my trip I read George Orwell’s masterpiece, 1984…for the first time. I must say that it was brilliant. I can’t believe I went so long without picking the book up – especially since so many of my favorite authors, filmmakers and artists draw inspiration from it. I found it interesting that the story was actually quite sooty and gritty. That atmosphere is far different from the alleged “Orwellian” future depicted in so many mediums, which is often cool, sleek and futuristic. As for the book itself, it artfully illustrates that nothing is sleek about the future. Everything is decomposing. I also like how bleak it is. So many films create stories of revolution, but this really doesn’t end on a happy note. He loved Big Brother.

The Emo Diaries, Chapters 1 and 2: Josh kindly gave me some CD’s before his departure: his extra copies of the Emo Diaries. I’ve only listened to Chapters 1 and 2, but they are fantastic. There are plenty of great bands that I never knew of in these CD’s, and a plethora of familiar faces. Jimmy Eat World’s cathartic “Opener” and The Appleseed Cast’s “Max” are defining. Other great tracks from Pop Unknown, Camber, Samiam, etc, make for a fantastic collection. Even though this genre is pretty much dead, it was still a nostalgia rush.

Catching up with Gabe: Parker and I had lunch with Gabe and his family today, which was nice. It’s been a while, especially since the trip. I think we need to all watch “Once Upon a Time in the West”.

CineCast: I have to admit that I was a little hesitant to try Apple’s new Podcast feature; I don’t normally listen to radio programs of any kind. But I took a chance and downloaded the CineCast show a few weeks ago. I’ve been hooked since.

Agent 1988: Read this blog.

Yo

I'm back.

Let the Poets Cry Themselves to Sleep

I can never get enough of Bright Eyes. Just in case this is the last song for a while, I'll end with who I began with.

Download mp3: Bright Eyes - Poison Oak.

Poison Oak

Poison oak, some boyhood bravery/When the telephone was a tin can on a string/And I fell asleep with you still talking to me/You said you weren't afraid to die/In polaroids you were dressed in women's clothes/Were you made ashamed, why'd you lock them in a drawer?/Well, I don't think that I ever loved you more
Than when you turned away, when you slammed the door/When you stole the car and drove towards Mexico/And you wrote bad checks just to fill your arm/I was young enough, I still believed in war
Well let the poets cry themselves to sleep
And all their tearful words will turn back into steam
But me, I'm a single cell on a serpent's tongue/There's a muddy field where a garden was/And I'm glad you got away but I'm still stuck out here/My clothes are soaking wet from your brother's tears
And I never thought this life was possible/You're the yellow bird that I've been waiting for
The end of paralysis, I was a statuette/Now I'm drunk as hell on a piano bench/And when I press the keys it all gets reversed/The sound of loneliness makes me happier

Weren't You Invited?

J. Mascis - Guitar God, Lord of Loud. I've posted the song that got me hooked on Dinosaur Jr. right away.

They've reunited and are currently on tour. They're not coming to Phoenix! I may have to make a little trip to Cali.

Download mp3: Dinosaur Jr. - Out There.

Out There

I know your name/I know that people out there feel the same/I know you're gone/I hope you got some friends who come along/I know you're out there/I know you're gone/You can't say that's fair/Can't you be wrong?/I feel OK/Sure, I know that's not what people say/Maybe they're wrong/Maybe you weren't on my side all along/I know you're out there/I know you're gone/You can't say that's fair/Can't you be wrong?/ I know you're out there/You're still a case, it's still the place/Weren't you invited?/It's what you can't spare/Whatever's left, just hide the rest, and bring it right in/I know it's sick/I know you think again it's just a trick/Maybe I've changed/Just tell me was this all in vain?/I know you're out there/I know the space/It's not a race/Weren't you invited?/It's what you can't spare/Whatever's left, just hide the rest, and bring it right in/Maintain the inside/I've lost my range/Feel the strain/Weren't you invited? Just never tried/It's still the place/You're still a case/Now bring it right in

TTFN

Alright folks, you have The Subject and I finally finished my Charlie and the Chocolate Factory review. I'm off for a few days. I dunno if I'll be able to blog while I'm on my trip, but I'll try. Either way, you'll hear from me for sure this time next week.

Gabe's minding the store.

Cya,

-Brock

Quite eatable

The idea to remake Willy Wonka and the Chocolate Factory had brewed in Hollywood for some time. A number of famous directors were even attached to the project before it finally came to rest in the possession of Tim Burton. And when the film was handed over, there were several doubts raises about this remake of the 1971 classic.
Such doubts were only amplified when a teaser trailer was finally released last winter. Instead of quelling fears, a whole new batch of concerns arose, such as the film's tone, the direction it was heading in and Depp's portrayal of the chocolate genius, Wonka. Some suggested that Burton's handling of the film was far too campy. Even more brutal were the connections made between Depp's Wonka and music personage Michael Jackson. And to be perfectly honest, the more commercials I saw, the less confident I became in the film as well.
It was just corny. The trailer was hard to watch, the commercials were very childish, and Depp's Wonka seemed to be far lighter then Gene Wilder's portrayal.
Imagine my surprise then when the film turned out to be not just good...but great.

And when I say great, I mean great.

If there is any justice, the promotional campaign behind this movie will go down as one of the most misleading in history. While commercials and trailers can give a fair glimpse into the nature of a film, they don't even begin to scratch the surface of what Tim Burton has accomplished with this piece. And that's not to say that this movie is a masterwork. Rather, it is to say that he has made a very satisfying and outright creepy film.
Yes, this movie is quite unsettling. Much of this is due to the writing of John August and the direction of Burton. With these two craftsmen at the helm, Charlie and the Chocolate Factory is a grand film about imagination and invention...with a dark underbelly of wickedness. Never is this more apparent then when the film introduces us to its chief character, Willy Wonka.
The original Chocolate Factory had a fantastic introduction to Willy Wonka. Most of us could probably recount it: Wonka is first seen as a hunched over, crippled old man. Approaching the children with great pain and effort, we can't help but be taken aback when Wonka suddenly launches into a very articulate cartwheel. This introduction, both clever and highly descriptive of the nature of the character, would be impossible to live up to or even hint at in this film. So the filmmakers simply ognore it all together. And in doing so they are able to give us one of the finest character introductions over the last few years.
I won't spoil it for you, but let me just say that Depp's introduction as Wonka is easily the hook of the film. The first 20 minutes or so, designed exclusively for the purpose of charting Charlie's woe-stricken life, may catch you. But then again, it may not. Yet, this one moment of introduction is where the crux of the film rests. This is what the first 20 minutes build up to. Moreover, the rest of the film's tone is set by this moment alone.
Thankfully, Burton made what could have been potentially a rather childish and diabetic moment turn into a hellish revelation of the true underpinnings of Wonka's character.
Messed up he is indeed. After his tumultuous introduction, Wonka begins his tour of the chocolate factory. It is during this when an innocent comment sends the candy-maker into an awkward flashback. "Father....Papa?", he coos as his lower-lip quivers. Unlike Wilder's portrayal of Wonka, Depp's is riddled with guilt and angst. This angst causes Wonka to descend deeper into madness as the tour of the chocolate factory moves on. As the flashbacks become stronger, his thinly veiled contempt for the children is revealed. At one point, Wonka even manages to give the children a small discourse on the nature of cannibalism and why it isn't commonly accepted in society. This is dark stuff. Some of it may go unnoticed by younger viewers, but the edge won't be missed by older minds.
Yes, it is safe to say that Depp's Wonka is leagues away from Wilder's. While Wilder's version of the character was always sly and underhanded, Depp's Wonka is deeply disturbed, malicious and yet childlike by his very nature. It isn't that Depp's performance is better. It's just a different slant. Wilder remains in a lofty position through his interpretation of the character; he is in complete and utter control of his emotions and actions. However, Depp's Wonka is utterly and completely out of control. With a peppy voice, he comes across more like a PBS children's host then the owner of a chocolate factory. And that's what's truly frightening about his interpretation. There are other differences you will probably notice in comparison to the original film.
This time around, the movie takes the time to develop a stronger relationship between Charlie and Wonka. The two build up an extraordinary friendship as Wonka's view of the other children depreciates. The film also manages to give us a little Wonka backstory, which is greatly appreciated. After viewing Willy's past, it's easy to understand the "why" behind the creation of the chocolate factory. Dejected by his father, Willy engrossed himself in a world complete of his own devising. Everything is very beautiful, very delicious and yet at the same time, darkly bitter. Every candy-cane in the factory looks slightly mutated, slightly twisted. And everything in Burton's beautiful production design serves a purpose. The past lurks around every chocolate covered corner.

One of the things that greatly impressed me about the film, in addition to the production design, was the cinematography. Truly magnificent, it's clear that Burton had a specific vision for this film. Every location within the chocolate factory seems to have its own flavor. And even when the film moves outside the factory, there is plenty for the eyes to feast upon. The besotted town where Charlie resides practically screams "Burton". Yet, while the director has been known to be overtly meticulous in his visual style, it never feels out of place here. Every image, lovingly crafted, never overwhelms the senses. Instead, it simply goes well beyond expectation and creates a fantastic world of the imagination. And that's a wonderful thing indeed.
Burton hasn't been able to accomplish such a feat consistently for the last few years. He blundered with the ruinously horrid Planet of the Apes, and then bounced back with Big Fish. Yet even then, nothing ever compared to the mastery he wielded in films like Edward Scissorhands. Herin, he has finally regained his composure.
Charlie and the Chocolate Factory had the potential to be a tremendous disaster. It could have simply been tepid. Instead, Burton has accomplished one of the most enjoyable films of his entire career. It may not have the integrity or majesty of films like Edward Scissorhands, but it works. Every character is memorable in their own weird way and every visual stays with you long after you leave the theater. Charlie and the Chocolate Factory could have been a terrible film. But it isn't.
Burton accomplished the best thing he could have with this revision. He didn't create a stronger film. Instead, he created a film that speaks to an entirely different mentality. Both films can stand together as great accomplishments. And both films serve to indulge different moods.

The Subject - An Introduction

Ladies and gents, allow me to spare you of any further waiting and post for the first time, The Subject, my latest film.

A few things should be mentioned. Foremost among these few things: The Subject is my first short captured on film since Outside In. It follows a similar style, but I think the directing here is much more refined. Second, this is the long version. An edited version will be submitted to screenwars...but I consider this to be the film.

Also, some thanks are in order: Thanks to Josh for his suggestions, acting and editing, Thanks to Johnny Summers, Angie, Evan and Mike for their acting, and thanks to the crew for working so hard. Finally, thanks to the school for their support and thanks to Gabe for auditioning and giving me his thoughts during the production of the film.

That's all. Enjoy.

Stuck Wide Awake

Talk about long song titles!

Mark Eitzel has a great voice. Cool thing about the album art is, when you open the case, it reveals that there's a dead bird under the flowers. How very poetic.

Download mp3: American Music Club - I Just Took My Two Sleeping Pills and Now I'm Like a Bridegroom Standing at the Altar.

I Just Took My Two Sleeping Pills and Now I'm Like a Bridegroom Standing at the Altar

The world hides like a smile behind your hand/I became hard and cold, your smile became quicksand/I don’t know what city I’m dailing your number from/I don’t know if you’ll be there or if I’ll ever get home
I just took my two sleeping pills/Now I’m like a bridegroom standing at the altar
I’m not innocent but I’m bled dry/And I’m stuck wide awake with no dreams in my eyes
Do your worst/I’m sure that it couldn’t even scratch the crust/Of a case study of a life without trust
I just took my two sleeping pills/Now I’m a like bridegroom standing at the altar
Waiting to embrace my new life/With all the love in my heart
Waiting like a bridegroom standing at the altar
And everyday I meet more people that I’ll forget/And everyday I become more like someone/That you should forget
I just took my two sleeping pills/Now I’m like a bridegroom standing at the altar
Waiting for you to slip your ring around my finger

Is it a Crisis or a Boring Change?

This one's for Josh. ;-) Oh, I tease!

Stephen Malkmus is an unsung guitar player. You wouldn't know just how good he is unless you saw him live. I didn't. He can cover the fret board and play some sweet licks. He improvises too.

Malkmus was the one that got me to take the plunge into Radiohead. Saw him live and he was like "have you guys listened to Radiohead's new album, OK Computer?" Then he went on about how amazing it was. I always liked "Creep" and I always liked "Fake Plastic Trees," but for some reason I never checked them out any further. That week I bought OK Computer and had one of the greatest listening experiences ever.

Download mp3: Pavement - Gold Soundz.

Gold Soundz

Go back to those gold soundz/and keep my advent to yourself/because it's nothing i don't like/is it a crisis or a boring change?/when it's central, so essential/it has a nice ring when you laugh/at the low life opinions/and they're coming to the chorus now.../i keep my address to yourself 'cause we need secrets/we need secrets/back right now
because i never wanna make you feel/that you're social/never ignorant soul/believe in what you wanna do/and do you think that is a major flaw?/when they rise up in the falling rain/and if you stay around with your knuckles ground down/the trial's over, weapon's found/i keep my address to myself because it's secret/cuz it's secret...back right now
so drunk in the august sun/and you're the kind of girl i like/because you're empty and i'm empty/and you can never quarantine the past/did you remember in december
that i won't eat you when i'm gone/and if i go there, i won't stay there/because i'm sitting here too long/i've been sitting here too long/and i've been wasted/advocating that word for the last word/last words come up all you've got to waste

Hawking Lugis

The wife and baby were sick over the weekend. I managed to fight it off, but it hit me yesterday. I feel much better today! Brock and I are blogging like mad! Mwa, ha, ha, ha!!!

Sony busted for Payola! About time someone got busted. Will it stop the practice? Yeah, right. It may level off for a while, though.

The Madcap Armament

It's almost 1:30 A.M., and I just finished my second full-length screenplay, The Madcap Armament. It's been a productive evening.

Few notes:

-This is the first screenplay I ever started.
-It's about 150-60 pages at the moment. It needs to be trimmed down.
-It's a science fiction.
-I started it in screenplay class with Gabe.
-I may change the title to something like, For Sarah, Always

Just glad to be done with it. That's two massive chunks of work done before my trip at the end of the week. I'm really tired and excited to be done.

That's all. Sorry to take your time.

-Brock

The Subject

The Subject is finally completed. We have both the 3-minute, Screen Wars cut, and the longer, 5-minute director's cut. I'm quite excited. It's really a fun film to watch and Josh did a great job with the editing. In fact, everyone did a good job on this film. People really helped out for the sake of the story, and I think it works masterfully. In many ways, you could kind of view this as a belated companion piece to AGTC, if not exactly in story, then most possibly in style and tone.

Speaking of which, I think Josh is going to try and do a 3-minute cut of AGTC we were talking about it tonight. The whole idea is sheer madness, but it could probably be done. I will always consider the full 7 minute version to be the film, but this new 3-minute version will be something to see if Josh can pull it off.

I asked my family today what their favorite 3 Matter of Chance films were...here is the top 3:

1. Leonardo
2. Intense Math
3. The Subject

Which brings me to an interesting question: what are your favorite 3 MOC films?

Lost the War

One week only! To celebrate my last week at my current job, I will post a song (or two) every day this week.

Sublime has some real gems within their catalogue of pot-smoking, beer-drinking, frat boy songs. One is Pool Shark, a sad, self-foretelling song of Bradley's own demise.

It's a real short song, so I threw up another for good measure.

Download mp3:
Sublime - Pool Shark [Acoustic].
Sublime - Boss DJ.

Pool Shark

Lying in my plastic bed,
thinking how things weren't so cool to me.
My baby likes to shoot pool,
I like lying naked in my bedroom, tying on the dinosaur tonight,
it used to be so cool.

Now I got the needle, and I can shake, but I can't breathe.
I take it away, but I want more and more.
One day I'm gonna lose the war.

Parker's blog

You guys gotta check out his latest post.

Chasin' Those Cows That Fly

Ah, Stone Temple Pilots - the red-headed stepchild of the grunge era. They put out some great songs despite frontman Scott Weiland's drug problems. That's mostly due to the underrated DeLeo brothers, Robert and Dean. They were more innovative than most grunge bands, each album having a different sound than the last.

If you didn't get "Tiny Music..." you missed out.

Download mp3: Stone Temple Pilots - Seven Caged Tigers.

Seven Caged Tigers

Pass the time kickin' as time rips by
Neither goose nor the gander fly
Buy a minute spend an hour burnin', burnin'
Take a peak as the model earns it, earns it
Walk a mile as it keeps crawlin', crawlin'
Clean the politician, wash with everpure

So the answer gets harder
And the truth's getting farther and farther
And the bottle keeps churnin' and churnin'
Seven caged tigers fly by

Wastin' time chasin' those cows that fly
Churnin' out all of that butterfly sugarboost
Track the blade as it moves downward and onward
Take a pill it'll kill martyrs, martyrs
Passin' time rippin' as time kicks by
Pass the umbilical cord down for fly by
Take a sneak while the model she earns it, earns it
Hike a mile as it keeps crawlin', crawlin'

So the answer gets harder, harder
And the truth's getting farther and farther
And the bottles keep churnin' and churnin'
Seven caged tigers fly by

Yessss! Freedom

I apologize that there isn't a "song of the week" this time around. Things are crazy for me. I'm starting a new job August 1st. Next week is my last week at the place I've been at for nine years. There's a feeling of tremendous elation, intertwined with fear and nervousness. Mostly elation.

Next up

Charlie and the Chocolate Factory review by Tuesday. Hey, maybe Gabe can review this one too, if he has time. Gabe's actually read the book (a childhood fave), so he could offer an experienced viewpoint on this movie.

The Subject will hopefully be done by the end of the week...if not it will be around next weekend or so. We gotta pick music, add the sound, get the credits (there are a lot of people to thank this time around) and get it trimmed down to about 3 minutes for the short cut. (The director's cut won't be a whole lot longer...3:50, tops).

For the ladies

Fatigo - Menso Review

Let’s face it; there really aren’t a whole lot of Arizona bands that distinctively sound like Arizona bands. Recall the most infamous, Jimmy Eat World and I’d bet that most would be prone to believe they hail from just about any other major state in the USA. The same could be said about a great number of other Arizona bands; very few are so distinctively rooted in the local culture. In that sense, Fatigo stands as one of the first bands I’ve been able to distinguish as an Arizona band…sort of.
Now, don’t assume I say that because of the whole Spanish-speaking, Mariachi thing. That isn’t what makes them an Arizona band (although it certainly helps perpetuate the image). No, it is the themes, word pictures and overall attitude that formulate them as an Arizona band.
Their second album (and debut on 727 records), Menso, embodies everything about Arizona that makes it a unique place to live, and yet it also charts everything that makes it uniquely unbearable. Foremost among such things are the heat, which if viewed from this album’s perspective, might lean us towards the "Arizona is unbearable" argument. “Dormido” (which translates as “slept” from Spanish to English), narrates a favorable pastime during the summer-months – an all day sleeping binge. That’s not exactly as direct as the rest of the album; many other songs outright lament the wicked cruelty of the summer months. It is in this sense that Fatigo defines itself as an Arizona band. (No, they are not an Arizona band in the tacky cactus tea gulping “Arizona” sense)
And in all actuality, Fatigo has a much stronger reach because of such themes. With songs that cover everything from an aversion to heat, ill advised magic shows, outright hatred and delusional apocalyptic imagery, Menso doesn’t deserve to be pegged as the ultimate Arizona album, it earns the right to be the ultimate summer album. And for those of us who live in eternal summer, that's good entertainment to have.
But that’s only one side of the coin: Along with such gems as "Menso" and "Television", the album carries with it the epic of White Bear, a grumpy Artic bear who longs for the icy galciers of his homeland, but sadly remains marroned in the desert.
Goofy? A little, yet it adds a kind of running premise to the entire set. Actually, while there are plenty of great songs on the entire album, the White Bear songs are probably my favorites out of the whole collection. These songs most distinctively define Fatigo.
The very imagery of a polar bear roaming among the Southwest desert invokes thoughts of isolation and remoteness.
The most refreshing thing about the album however, is the band's cornball antics: Instead of letting their commentary about life and longing sit nakedly out in the open, Fatigo takes precious time to craft humorous musical shells to hide away what others would treat as “weepy”. That makes Menso all the more endearing.
The same could be said for Fatigo, who never plays themselves up as a pretentious group of remorseful, twenty-something “poets”. They’re really just goofballs at heart. This playfulness helps them to be quite accessible to just about any listener. True, some will latch onto this style of music more readily then others, but just about everyone will be able to agree that songs like “Mother Nature’s Son” and “The Golf Cart Preacher” are extremely catchy.
This is a grand accomplishment for a second LP, and for a band that really has no visible public history. Usually, it takes several albums and EP’s before a band can sound this polished. Impressively, Fatigo nails it right off the bat.
By the time the opening track kicks the whole ordeal off, the album manages to play itself out really well. A very possible gripe is that there simply aren’t enough songs like “White Bear III”, which benefits greatly from its somberness. Nevertheless, Menso remains a grand accomplishment. And after more then one listen, Menso might be stronger then an amusing ride from start to finish…it might be definitive.

24 minutes of dissolves and wipes

I feel like I've created an uneditable film. Josh has been kind enough to help me edit The Subject, but even with his mad editing skills, it hasn't been easy. I don't feel especially bright when I look at some of the footage we shot...I guess I decided it would cut together just fine back when I was filming this thing. But it'll work out, if not because of the film then because of Josh's help. Anyway, this post is an outright appreciation of his efforts.

-Brock

Lame On!

Before I begin this review, I’d like to dispel any previous assumptions you might have had about me. First and foremost, I do enjoy artistic and experimental films. A good film, like a good book, has the power to make one think, to arouse deeply set emotions, and to bring important social dilemmas into the limelight. And since film is the opiate of the masses, it has a far stronger impact these days then a book. In that sense, film has an extraordinary power.
However, I also enjoy fun, entertaining films. Every now and then, like anyone else, I enjoy watching films that might have no apparent thematic or social relevance. Oftentimes, it is these films that have the tightest structure or the most linear character development. And it goes without saying that they offer the greatest suspension of disbelief. That being said, when a film like The Fantastic Four comes along, it can be extremely entertaining and cathartic. And I’d be wrong if I didn’t admit that the Fantastic Four has its fun moments.
Actually, all of the basics are in place for a great superhero flick; a powerful villain with a personal connection to the hero(s), a team with a wide spectrum of conflicting personalities and quarks, and a somewhat linear discovery of powers and abilities. Indeed, the Fantastic Four does exactly what a film of its nature should do; have fun. The problem is that there are several other films in the same genera that do the exact same thing…several times better.
First and foremost, consider the heroes’ discovery of their powers. For some characters like the Invisible Woman (who must take her clothes off to be truly invisible) and the Thing (who is now a sheer monstrosity to loved ones), this discovery is painful and awkward. For others, like the Human Torch, it is exhilarating. In performance and direction this is all portrayed appropriately, but I could name several films to come out in the last few years that accomplish this same thing on a much stronger level. Consider Spider-Man. After Peter Parker’s geeky introduction, we truly shared in his jubilation at the discovery of his powers. It was liberating. On the other hand, the character development in Fantastic Four can’t hold a candle to films like Spider-Man.
How about the villain? Doctor Doom is considered one of the most infamous comic book villains of all time, but herein, he’s actually kind of pedestrian. I did admit to enjoying him after I saw the movie. But after comparing him to previous cinematic villains, I found several things to be rather dull about his interpretation. For a comparison, consider Ian McKellen as Magneto in the X-Men films. Probably the main reason why that character worked so well is because he had a strong motivation. Heck, even someone who only saw bits and pieces of an X-Men film can name Magneto’s motivation: he wants mutants to be the dominant race over humans. Doom has no such motivation.
Yes, the story does try desperately to pin a motivation on him at the beginning of the film: First, it gives us his connection to Sue Storm, which half-handedly forms a kind of love triangle to Reed Richards, Doom’s rival. But it abandons that concept when it throws a gang of displeased investors into the mix, giving Doom something entirely new to worry about (a blatant rip-off of Norman Osborn’s motivation in Spider-Man). Then, when these two motivations fall flat, Doom spends the rest of the film using his powers here and there to remind the audience that there is still a threat that the heroes will eventually have to take down. Sadly, no amount of motivation, stolen or poorly conceived, manages to stick. In the end we’re left with a villain that isn’t really a villain at all, but a collection of motivations taken from better villains.
When watching The Fantastic Four, you do get little snippets of ideas that seem to be genuine attempts at an original flick. There are sparks of originality. Like, instead of being feared and hunted down ala the X-Men or Spider-Man, The Fantastic Four is revered and hounded like modern-day celebrities. The Thing’s self depreciation, instead of being dark and gothic, is colored by his “Brooklyn” accent. Even the cartoony effects, showy compositions and obnoxious colors throwback to the visuals of a comic book. Those are nice touches.
Unfortunately, there just isn’t enough originality in the film to separate it from the pack. If asked on cue, I could recall a specific tone and feeling about Spider-Man, Batman or The Hulk. But if asked about the Fantastic Four, I would only be able to recall it as a dim reflection of everything that made those other superhero films great. In that sense, The Fantastic Four truly feels like a cookie-cutter experience. Instead of slaving over the story and characters like Sam Rami or Bryan Singer, director Tim Story compiles a “sampler platter” of everything they did and just assumes it’ll make itself into a meal.

Set The Alarm To Self Destruct

I didn't even know what Kill Haole Day was until now. Anyway, the Dambuilders were a great band. Josh probably has all their stuff, since they were from Boston and all. They did the indie rock w/violin thing the best.

This week's song is from their first of three albums.

Download mp3: Dambuilders - Kill Haole Day.

Kill Haole Day

this is not my scene
and i'm not sure what they mean
just wish i skipped
no way to worm out of your grip
my moke i'm choked up to let you bend my head
my crime is trust
white trashes to ashes dust to dust
are we pau?
can i ride? decide?
maybe there's no place left to hide
i thrive on rage
dare you to kick my rib-cage in
all lights go dim
happy to be your insect pinned
i guess i'm stuck
set the alarm to self-destruct
do it...pow
starless kalihi side haole boy must die
would you crush the life out of me
nice to know you're thinking of me
check this out
my doubt is that your afraid to take me out
my crime is lip
am i on the suicide tip
disinfect my head
check to see that i'm not dead
i guess i'm stuck
set the alarm to self-destruct
are we pau?
starless kalihi-cide haole boy good-bye
would you crush the life out of me
nice to know you're thinking of me
do i sense you really love me
auwe
good-bye

Back from telecine

The Subject has arrived. Now the editing begins.

Come Sit On My Wall

By request per Brock. Damien got quite popular since he did some songs on the movie Closer. I'm not a fan of the whole album, just about five songs.

The lyrics I found say "story of O." The album's entitled "O" but I'm not sure that's what he says. I thought it was "old." I'm probably missing something, though.

Download mp3: Damien Rice - Amie.

Amie

Nothing unusual, nothing strange
Close to nothing at all
The same old scenario, the same old rain
And there's no explosions here
Then something unusual, something strange
Comes from nothing at all
I saw a spaceship fly by your window
Did you see it disappear?

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me
Nothing unusual, nothing's changed
Just a little older that's all
You know when you've found it,
There's something I've learned
'Cause you feel it when they take it away

Something unusual, something strange
Comes from nothing at all
But I'm not a miracle
And you're not a saint
Just another soldier
On the road to nowhere

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

And Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

Scattershot

Ah, 4th of July weekend. Nothing like a Holiday Weekend to help me make some headway on my script. Pounding out some crucial scenes for the second half of Act II in my script, I spent any free time I could muster yesterday and today writing out 10 pages of material. The scenes I ended up getting down were some of the more difficult I’ve had to write, including one very intense confrontation scene.
I should add that I’m positive once I go back and rewrite my material I’ll find plenty of mistakes to cramp up over, but for the moment I’m reasonably satisfied enough to push forward at least 10 more pages by tomorrow. Act II is running long…I’ll cut it down in the final draft.

So I called FotoKem and the processing on The Subject is done. All that’s left is the telecine. After the film gets back to me I’ll begin the arduous process of editing. Actually, I’m really looking forward to the editing for this film, as I have a million ideas I want to try and accomplish. One of the things I wanted to make important in this film was the Foley and overall sound. That’s never really been a heavy focus in the past, but I want to get creative with it this time around. I can picture setting an entire mood with some particular sounds. I know that I’ve always ended up just laying down music to my films, in essence making them music videos, but this time I really want to focus on the sound effects.

I added the Criterion Collection and The City on Film Daily to our collection of links on the right hand side of the page. Why? Well, Criterion made it to the list because we’ve been talking very heavily about movies lately, independent, artistic and foreign films in particular, and I’ve realized over time that they have one of the finest collections of cinematically important films. They also publish a number of interesting film articles. The City on Film got a link because, well, that’s a very frequently updated blog. And since I wanted to make sure we keep updating our site with new material, I decided to add that. I should get his new CD and review it.

Speaking of reviews, my next major one:

Going by the trailers and commercials, it isn't going to be anything like I thought it would be, but I've read some surprisingly good reviews. I'll still give it a shot.

5 Good Spielberg Films

I may not have particularly enjoyed War of the Worlds, but Spielberg has had his fair share of good movies. More recently he delved into less accessible subject matter. While this may have turned much of his audience off, I found some of these newer films to be among his most enjoyable. And of course, he still has a hefty back-catalogue of remarkable films that continue to inspire filmmakers worldwide. Everyone has the capacity to make something truly astounding. Just to let you know that I have no real bent against this guy’s work, here are five of my personal favorite Spielberg films.

Catch Me If You Can: Spielberg’s definitive capper movie. Based off the real life story of con artist Frank Abagnale Jr., this film tracks the manhunt for Abagnale from two opposing points of view: Abagnale’s own and that of his hell-bent pursuer, Carl Hanratty. With a sharp sense of humor and a clipped pace, “Catch Me If You Can” is not particularly stunning or epic, but it doesn’t have to be. It’s merely an exercise in both tone and pace.

Jaws: Spielberg did manage to deliver a film that was told through the eyes of intriguing and engaging characters. His finest hour at this form of storytelling was Jaws. Known as the film that revolutionized his career, Jaws works on so many levels. But what remains most impressive about it is its strong cast of characters. We’ve got the smarmy marine biologist, the guilt-ridden police chief and a crusty old seaman. These three characters, strongly opposed in background, morality and personality, pushed the film forward towards a remarkable climax. Even if Spielberg could have gotten the mechanical shark to work, it wouldn’t have given this film the same brilliance.

Indiana Jones and the Raiders of the Lost Ark: George Lucas may have initially conceptualized this story, but the actual direction of the piece owes its significance to Spielberg. Much like a Lucas film, Raiders of the Lost Ark places its focus on the cornball theatrics of pulp comic heroes and adventurous escapes of daring do. The film’s hero Indiana Jones finally gave Spielberg an outlet to discard all his ideas he had in homage of James Bond. What’s more, it gave him his own franchise of films to successfully capitalize off of.

Close Encounters of the Third Kind: Brilliantly understated in its execution, Close Encounters of the Third Kind succeeded in giving us an alien film that hinged on the miraculous wonder of Spielberg’s very active imagination. Told in part by the frantic performance of Richard Dreyfus, and the oddly detached narrative of the U.S. Military, Close Encounters used a drawling pace to gradually reveal the alien beings to us. To this day it remains timely and tasteful.

Minority Report: Minority Report was a film that was lifted off a story by Philip K. Dick and retold in film noir perspective. Featuring Tom Cruise and Colin Farrell in what may be his only tongue-in-cheek performance; Minority Report toyed with the idea of what it would mean to give up your privacy in return for a guaranteed kind of safety. Although Spielberg may not have pushed this concept as strongly as he could have, the film still features a tight narrative plus several interesting plot devices. Its vision of the future is also delightfully dark; abound with dancing cereal boxes, convicts stored away in tombstone like chambers, and police nightsticks that induce vomiting.

War of the Uninspired

On the day of October 30th, 1938, men, women and children fled their homes in terror because the nation was being attacked by the greatest threat humanity had ever faced: an enthused imagination.

The stimulant? A fictional a radio broadcast.

Spielberg on set

Yes, these people, caught up in a fit of sheer terror, had no intergalactic invaders to blame for their loss of control, just Orson Welles. The legendary auteur (at that time a member of the famous Mercury Theater) caused real pandemonium with his now infamous broadcast of “War of the Worlds” all because of a little acting ability and plenty of imagination. Ingeniously weaving his adaptation of the famous novel through a series of mock news reports, Welles managed to capture a personal level of terror that is often felt by each and every one of us whenever malevolence strikes.
Now, Steven Spielberg has attempted to capture that same feeling with his own adaptation of War of the Worlds, and it’s safe to say that while he may have created an entertaining film, he’s failed in the same arena Welles excelled in.
I honestly don’t think it’s unfair to criticize Spielberg in this regard; he tries several times throughout the film to capture that same sense of human terror, but he never quite succeeds. Instead of giving us 5-star generals and a hard-boiled war president as the film's leads, he builds the story up from the human point of view by introducing us to a shattered family in the form of Ray Ferrier, his daughter Rachel and his son Robbie. But despite this fundamental effort to capture terror where it is most strongly felt, Spielberg can’t help but fall back on his old tricks.
Yes, Spielberg may filter the story through a torn family but he also giddily shows us the aliens as soon as opportunity arises. (These aliens, by the way, are so formulaic in design that I’d just as soon see one walking down the street than be terrified of it.)
Herein Spielberg drops more cash on fancy computer effects for the alien war machines then Welles probably spent on all of his films combined. These alien war machines, or tripods as the film insists we call them, are truly terrifying when shadowed away by smoke and haze. But more often then not, Spielberg ruins the illusion by giving us plenty of crisp snapshots of the blasted things. He tries to be coy, but he just can’t do it. There’s one point in the film where Cruise’s character meets up with a gang of greedy, story-driven reporters who show him footage of the tripods attacking. M. Night Shyamalan tried this “secondary source” technique with great results when he showed us an alien captured by a video camera in Signs. In reality, that shot was probably just a guy in a rubber suit captured by an actual off the shelf video camera. Yet that’s why it was so chilling! Spielberg’s “footage" looks more like an ILM test model for the tripods.
Elsewhere in the film, Tom Cruise busies himself as usual by acting proficiently enough to carry the story along, unhindered by his recent media shenanigans; I honestly had no problems simply letting him fall into his roll. Along with Cruise we have Dakota Fanning, the prodigy child-actress who does a fantastic job of acting terrified (and since that’s really the only emotion she can effectively convey, this story is a perfect showcase of her abilities), Justin Chatwin who pulls off a sufficient performance if nothing else, and Tim Robbins who gives us something mildly besotted considering how little he had to work with. But, for a film that was touted to be built on a foundation of standout characters, there are no real standouts in the entire piece. True, the first half does a fantastic job of giving us the human characters we desperately need...then the second half throws them completely out the window.
The final flaw is a tone that is far too blatantly “dark!!!” to be effectively enjoyable. Instead of letting the atmosphere of the situation set the tone of the film, we’re given graphic moments of people vaporizing into dust or getting their blood sprayed across the land. Sure, it’s dark as heck, but not terribly inspired.
Spielberg should be praised for his visual accomplishments; that goes without question. And the visual effects beheld in the film are crafted most exquisitely. But these kinds of films simply aren’t Spielberg’s territory anymore. He used to own the blockbuster. Now, with a new generation of filmmakers leaving their imprint, it feels like he’s riding on the coattails of younger visionaries. We expect Shyamalan to swipe tricks from Spielberg, not vice versa.

After all the computer generated trickery, high paid actors and media scandals, Welles still owns the legacy for this story, all because he had a little acting prowess, some ingenuity, and of course, plenty of imagination. Let me know when Spielberg gets his back.

Report

Sorry it's been quiet around these parts lately. I haven't felt terribly interested in posting. Kudos to Gabe for all his MP3 posts. I look forward to them every week. They've kept this place alive.
Not much to report...finished a new short screenplay entitled His Big Night (maybe I'll put it up soon)...might have a part in it for Gabe, possibly Mr. Summers and a few others (if they're interested)...dunno yet. It's actually act II of a three act film. Gotta see how the planning stages turn out before I plan on filming it. I'm also gearing up to revise Wildlifeless for the 35mm contest. Unless someone wants to pair up with me to write something for that thing, I'll submit my revised edition.
The shoot for The Straight Man was great by the way. Easily one of our best films. It also has some of Josh's finest cinematography, and I truly feel that the rest of us helping on the film made the whole thing go smoothly. I won't say much about it though because it's under wraps right now. Anyway, keep your eye out for that.

Cya,

-Brock

Letting the pineapple turn

Sunday night after the jam session at Joshua’s house, Marco, Josh and Angie, and myself sat down and watched Wong Kar Wai’s seminal hitman piece “Fallen Angels” (or as it is known in the East, “Duoluo tianshi”). This was the first time I saw the piece and I have to say that I was quite impressed.
According to Josh, this film is a direct follow-up to Kar Wai’s own Chunking Express, and as there are numerous similarities between the two, the connection is palpable. For instance, a main character in this film, He Zhiwu, claims to have lost his voice after eating an expired tin of pineapple. If you’ve seen Chunking Express, you will recall that one of the film’s characters, He Zhiwu, collected and ate tins of expired pineapples. While there is no direct connection between the two characters in either film’s narration, it’s still a curious reference.
Anyhow, I was most impressed by this film because of several reasons:

One of the finer performances.

1. It’s structure. It’s clear that Kar Wai’s films have a unique structure all their own. Most often this is achieved through his improv shooting, which often leads to him piecing a story together (literally) in the editing room. He followed through on this style in Chunking Express, but I have to say that I felt like his attempt here was considerably more effective. The story really had a unique structure and style of editing. Whereas it was unique and workable in Chunking Express, here it was the defining drive behind the film.

2. The spine. This story really had a strong spine that followed through from beginning to end. Although much of it was probably improv, toyed around with and left unsure until the moment of editing, there was an unmistakable sense of direction to this film. It established a strong beginning and delivered with a strong end. And each character had a line of development that they followed throughout the film, sometimes to heartbreaking results. This was well done.

The film's token conflicted hottie.
3. The atmosphere. If this film succeeds especially well in one particular area, it succeeds in creating a suffocating, vivid, strung-out atmosphere. With every scene set entirely at night, this film never lets up for a moment on the enclosed, overwhelming harshness of the city. Everyone is either crammed away in a dingy little apartment, an ice cream truck or a restaurant that barely has enough room to stand up in, let alone sit down. (Most of the time, this seems to be achieved with a telephoto lens, which never lets up on the actors) Someone commented on IMDB that this establishes a proficient commentary on the backlash of modern life, also known as “The Walkman Syndrome”. A key sequence in the film, showing a main character spacing out while a terrible fight breaks out behind her, underscores this theory perfectly.

I enjoyed Chunking Express, but Fallen Angels is a film that I would watch again and again. It may even be a film I wouldn’t mind adding to my own collection.