Lost habit

Several years ago (we’re talking at least four) Parker and I used to collect action figures. I mean; we collected action figures like bad habits. We had shelves of them, boxes of them. And it wasn’t just of a particular type, like say…Star Wars (Star Wars was simply the type that got the most prominence on our shelves). It was pretty much anything sculpted in likeness of our favorite film, anime and comic book characters. If they had made The Graduate action figures, I would have rejoiced in the irony of being able to hold it while saying “plastics!” Heck, at one point, I think Parker was even talking about traveling to Italy and learning to sculpt so a famous toy firm would hire him.
After a while of course, that habit broke down. The last time he or I purchased any figures was when Star Wars Episode III came out last year…and that was kind of like a “last hurrah” binge. Figures occupy very little space in a world now overrun with other, more academic pursuits. And yet, I might have to make an exception in the months to come.
I haven’t mentioned it before, but I’m a big fan of the television series Lost (no real surprise there – seems everybody is these days). Alex got me hooked on this series when he invited me over to watch a few episodes of season 1 on DVD. I ended up going home with the DVD that day, promising I would return it in a week or two. I think I ended up watching the episodes in a matter of days and returning it by the end of the week. Sensing this interest in the show, McFarlane toys seems to have made a series of action figures based around Lost.

Now, what exactly is McFarlane Toys? I have to conjure up “action figure geek” Brock to answer this question: McFarlane Toys is only the coolest action figure company around. Using photo-realistic techniques in conjuncture with a team of insanely precise sculptors, McFarlane has created toys based upon such properties as the X-Files, the Beatles and Where the Wild Things Are. A more recent venture was the company’s action figures based off of the film Napoleon Dynamite. They’re the best company to get the idea that, hey; some Lost figures would be pretty cool.
Ultimately, if I pick up one of these crazy things, they’ll be something neat to have around the Matter of Chance office (I.E. my computer desk).

P.S. Josh – I bought a couple of episodes of Season 2 on iTunes. And, I ended up breaking down and watching the Season 2 finale. I guess I just couldn’t wait for the DVD, especially since they start Season 3 the moment fall begins.

Weirless

I must admit, I am a little bit sorry to hear the recent news about Peter Weir and Johnny Depp’s project, Shantaram.

Peter Weir has always been one of my personal favorite directors, although I didn’t really get into him until film school. A few years back he did Master and Commander, one of the best sea-fairing movies ever, in my honest opinion, and since then, I’ve been intrigued by future possibilities and old projects.
Shantaram caught my eye because it was his first collaboration with Johnny Depp. Weir has done good things with actors before (Paul Bettany in Master and Commander is worth the viewing alone), and I figured that Depp’s “weirdness” would be an interesting new energy for him to try and harness. Moreover, Shantaram is about a drug addict who becomes a doctor in the slums of India, eventually moving on to defend Afghanistan against invading Russians. So, basically, it's one of those films that combines every single element I’ve ever written about or will write about. Of course I’m going to be intrigued.
Sadly, they had differing views about how the material should be handled. I can’t say whose interpretation would have been better as they both seem to have a keen eye about these things…but I’d venture to say that Weir’s take might have been gold. Ah well.
It’s still an intriguing idea and could make for a fine film…but the producers (I’m looking at you Depp) need to find a director with as much vision and integrity as Weir.

back

I'm back... now the push to Wildlifeless begins. Oh boy...

World Cup Fever!

The excitement level over soccer for the general American public is quite low. Especially when compared to the rest of the world. I for one, have the fever! I need to find a pub...

In the bag

-Latest draft of Filmic...Check
-Latest draft of Sin of the Opiate...Check
-Copy of The Madcap Armament...Check
-Notes for the above works...Check
-Flashdrive holding copies of everything above...Check
-iPod...Check

I'm off!

I'll be out of town until Saturday. Where shall I be? I'll be spending my time in Cali, which I'm actually not looking forward to since I'll be in San Diego a few weeks later shooting Wildlifeless. But, oh well, no biggie. Here's to getting plenty of work done.

I'm gonna hurt her...

Mission Impossible III Review

(Josh's post at TA reminded me to write this.)

If there has been anything blatantly ostracized in the last two Mission Impossible films, it has been their examples of villainy. I point you to Exhibit A: Jon Voight. Aside from being completely non-existent in the first film, he is barely threatening when finally revealed. Worse, the film never establishes a leering threat or sense of danger in lieu of Voight. This isn’t nearly as bad as the second film, when there was an onscreen villain: Dougray Scott. In establishing his villainy, John Woo and the film’s writers made the bold choice of using every bad-guy trademark in the book. Of course, it didn’t help that Scott appeared completely non-threatening and disinterested in his performance.
Sadly, there was never any doubt that Cruise’s character, Ethan Hunt, would prevail over these largely unintelligent, boorish representations of espionage villainy.

Now, we cut to Exhibit C, the intro of Mission Impossible III:

No immediate title sequence, no TOM CRUISE in big bold letters (immediately)…And no operatic music. It opens on Hunt strapped to a chair. Beaten, bleeding…with tears in his eyes. In front of him sits his wife, also tied to a chair. Duct tape muffles her sobs of distress. Standing over her with a gun…is Philip Seymour Hoffman.
“You have 10 seconds to give me the Rabbit’s Foot, or I shoot her.”
For the record, bad guys count to ten all the time. But they never shoot the girl. In fact, they hardly ever finish counting to ten. What’s more, the previous two films established bad guys in this series as being threatening, but never really serious. Hoffman’s character, Owen Davian? He is serious. He does get to ten.

And then he shoots her.

This is an incredible contrast to the opening of the previous two films. It is also a commentary on the talent behind this installment, J.J. Abrams. Instead of opening with an edgy rock-climbing sequence or a flashy sting-operation, Abrams decides to open the film in close-quarters with a heated interplay between the good-guy and the bad-guy. Despite the lack of stunts or loud atmosphere, this opening is a thousand times more enthralling than the introductory sequences of the previous two. And this is a standard of Abrams’ that stands true throughout most of the film in fact.
Abrams, noted for his work on the television series Lost, understands what draws an audience in. He knows that you simply cannot pack on mindless action sequence after mindless action sequence; an audience demands well-written, well-performed characters. Abrams used this to his advantage on Lost, and in Mission Impossible III he shows that he still uses character as his strong suit.
Now, that isn’t to say that in choosing character over action, Abrams completely nullifies the thrills demanded of a big-budget action flick. On the contrary - In choosing character, he amplifies these thrills. Surprisingly, Abrams action sequences are largely the same as those featured in the previous two films (I’ll even say that some of them are not as distinctive or iconic as the last two’s). But they are far more effective because they involve characters we care for. The end result is all the more crushing, all the more harrowing, impressive CGI or not. This movie underscores Abrams’ value in character.
And Hoffman’s Davian and Cruise’s Hunt are simply the prime examples of Abrams’ interest in character.

An example: Hunt, in the last two films, was a jet set, standoffish super-spy who loved the thrill of his work. So, you know…he was basically Tom Cruise. Abrams’ Hunt however, has settled down. He can still take on the world and then-some, but he’d much rather grab a bag of ice, put on a record and spend the rest of the evening at home with his girl (Notice the singular on girl, not the plural.)
Beyond that, Abrams allows Cruise’s performance a sense of weary acceptance at the impossible stunts unfolding before him. Woo’s Hunt treated the stunts and near death experiences as an extreme sport. Abrams’ Hunt, on the other hand, approaches the whole ordeal with a rushed sigh.
Regarding Davian, Hoffman plays the character minus the quiet intensity and hollow threats of his predecessors. He is not in control of his emotions, he doesn’t like being put on the defensive, and he has absolutely no qualms about hunting people down (brutally) to get what he wants. And that is what is so delightful about his character – he has something he wants. And since he has a need that stands in stark contrast to Hunt’s, the movie has plenty of time to unfold some fun sequences around their rivalry (a rivalry that Davian beautifully takes straight into Hunt’s personal life).

With two tightly written characters, it’s even more of a treat to be able to say that the whole film is pretty tight. There’s nothing extraneous about the whole ordeal, nothing breathless. It moves quickly, with razor precision, but also takes time to connect us to the protagonist. It’s beautiful to look at, never takes itself too seriously, and rarely spoon-feeds itself to the audience. Sure, it’s not brain-food, but the creative team understands that it doesn’t have to be. Abrams even manages to sneak a MacGuffin into the film…a true tip of the hat to the grand master.

One of my minor quibbles about the film is something I heard in another review: it’s a shame this is the third one and not the first.

12:10

Dang.

Aloha!

This band is 5x better live than on record! Every band should be, but alas, sometimes it's the contrary. If you have the chance to see them, go! I doubt they'll disappoint.

Brock and I traversed to Modified Arts, to gain entry rights, as we've had the previous misfortunes of sellouts. I researched the opening bands, Peachcake, and Foreign Born, beforehand. After determining from their MySpace page that Peachcake's core fanbase consists of 17-year olds who love to bounce to their jumpy, synth-pop, we decided to skip out and patronize Carly's, which resides in the spot previously occupied by The Paisley Violin. There we partook of some tasty, exotic beers.

Feeling a new sense of air, we headed back in time to catch Foreign Born. They were described as having a 70s guitar sound. I only caught a hint of that, but they were pretty fresh and interesting to listen too.

Then, there was Aloha. I already had an expectation of greatness from word of mouth, and their performance on the Michigan Fest DVD that I own. They exceeded that expectation. They're a four-piece and aside from the usual guitar, bass, and drums, they had two keyboards, a vibraphone (the iconic piece of Aloha), and an additional floor tom located near the vibraphonist.

They have a few songs where the drummer becomes the focus, pounding out fast, tight and alternating rhythms. He was often accompanied by a relentless beating of the floor tom with mallets (or whatever you call the drumsticks with big, fuzzy ends). Some songs had no guitar, with both keyboards dueting. The bass was melodic, in synch with some drum highlights. It was contagiously energetic.

Earning the Right

Tuesday afternoon: a post-war haze of boredom that I must live through now that school is over. Yesterday, at 9:30 A.M., I effectively put the last bullet in the Spring Semester by completing a finals test for Radio and TV. Sure, I still have two more classes tomorrow – screenwriting and portfolio editing, but by now, the teeth are gone…with my final trailer complete and the first act of Sin of the Opiate printed, the cat has effectively been de-clawed.
So what now? To be honest, I’m not perfectly sure. A couple of things flitter around my brain (a mind that has since lost everything through a drain opened after that test). These flitters include the need to rehearse the cast of Wildlifeless, make sure all of that SAG stuff is squared away, the writing of a pre-production and budget plan for Filmic, and the second and third acts of my aforementioned screenplay.
These are all things that must be done…but I highly doubt that I’m going to get around to doing them before Thursday.

Why?

Because at this point, I’m out of the scope. The hurricane has passed. And I survived. I mean really, literally, survived. I spent classes this semester with honors students who insisted that they were “rock stars” who “kicked major butt” and could fly grades higher then any Japanese Zero to blast off from the face of this earth. And just days before the end, I sat next to these honors students in class as their façade melted and their final projects burned out like defective firecrackers. Kids asked for incompletes. Kids seven years older then me. And I walked away from that firebomb.
Last semester, in making The Subject, I weathered a storm of bad production and unfortunate mishaps. This semester, all that was bad and that happened to me, reversed and sunk its teeth into the students of every class I attended. And I walked away unfazed. I don’t believe in cosmic switches or rubber-band effects, but I do believe in escaping the lion’s den. And that’s that.

Now, boredom creeps through this house, hanging like that sweaty thickness of air that has also descended upon the valley as of late. It’s going to be poignant this year. It’s going to be thick. But at the same time, I kind of welcome this boredom. Sure, there are things I will have to do. A couple of movies have to be made. But I feel that I have earned the right to be bored. A novel concept I struggle with is that I feel the need to constantly be doing something. Progress must be made, in school or in an MOC project or in some aspect of my life. For now, I feel like I have earned the ability to sit around, with nothing to do. A screen is in front of my face, and a keyboard at my hands. School has ended, and now I have the right to be here, blogging about useless nonsense and pet-projects, Jackie Carol running in the background. I have the right to collect meaningless bits of information, conundrums, and post them for what they’re worth.

That being said, here’s to nonsensical stream of consciousness at 1:53 on a Phoenix afternoon. The valley is silent minus Josh and Angie. The house molasses.

Minor notes before this rambling ends:

1. I anxiously await this new album…and let me comment that the art is just fantastic.

2. Shutter-ghosting – a new effect I’ve learned about by reading the cinematography forums, as suggested by Joshua J. Provost. In learning about various cinematography techniques for Filmic, I’ve come across some fascinating stuff. Here’s the general summary of Saving Private Ryan: They shot at 24 fps (normal speed) but with a 45 degree shutter angle, making the motion very crisp and jerky. The prints used a 100 IR level of ENR silver retention processing (Josh, you told me this one). The negative was sometimes flashed; the lenses had their anti-reflection coatings removed for more flaring, and some shots were made with a camera with an out-of-sync shutter so that bright highlights were streaking vertically in the frame. The tungsten-balanced film (EXR 200T) was push-processed and instead of a normal 85 filter, they used a half-correction (81EF) for a cooler look.

3. Scottsdale students should check out a new issue of The Vortex for an essay entitled “Murphy Strikes Back”, consequently about the very same thing that plagued my pathetic student body, as well as a short story entitled “The Great American War Flick”. I’d post both of these items on “Leonard Hughes”, but that would be inappropriate and unfair. Just get the magazine (I think its free for crying out loud), because there are lots of other great stories and works in there as well.

4. I promise Gabe that I will post more about this band before the week is out.

That’s all, until the next wave.

R.I.P. Johnny Boscow

I thought I'd take a little nostalgia trip tonight and glance over Last Rights with Johnny Boscow, technically the first screenplay I ever wrote from start to finish.

As I dug through my computer though, I couldn't locate it. The search continues, but I think it's gone. All of my character notes and research info for that is gone as well. All I really have left to remember it by is this scene on Leonard Hughes.

Wow...

Sad tidings...for me anyway. Here's to you Last Rights. In retrospect, not a brilliant screenplay, not even a good one, and I may very well have been the only person who ever read it...but it was mine.

2004 - 2006

My Life

Let’s be honest, I’ve never been a terrible fan of credit card promotion. Aside from the annoying letters and pre-approved cards I endlessly receive in the mail, my primary annoyance is witty credit card commercials. Ah yes…There have been several attempts by various card companies to make a remarkable credit card commercial. Along that path, over the past few years we have seen notable attempts involving everything from Robert DeNiro to the Patriots.
While these attempts have been steadily better, I’ve never been outright amused by a credit card commercial…and certainly not enticed to sign up.
Maybe this can be traced back to my parents and their employment at American Express. American Express isn’t a bad company. They put food on the table. But I never really took pleasure in the idea that my parents worked for a corporate beast…and that they wanted to see this beast grow. I simply couldn’t wrap my mind around devoting oneself to a corporate institution like that. Not that they were obsessed mind you…simply supportive. I believe that as a result, I cannot stand credit card advertisement.
Over the last couple of months however, American Express has called a truce.
Yes, they reached a loving hand out through a new series of commercials and said, “We’ll meet you halfway Brock”. Not literally…but their latest set of filmmaker focused advertisements couldn’t amuse me more.
It all started with ads featuring name actors like DeNiro and Kate Winslet. As they walked through some urban environment or backlot, voice over would ramp in, narrating for us their “daily life”.
Clever?
I’ll admit.
Amusing?
Nope.
But then, these “My Life” commercials moved into odd territory with an M. Night Shyamalan inspired commercial. The difference herein is that American Express gave free reign to Shyamalan, letting him direct the commercial and, in effect, make a two-minute short. The ad unfolds around Shyamalan sitting (uncomfortably) in a restaurant, taking note of all the strange events happening around him. There’s even a little “familiar” moment when a girl drops some wine glasses, only to have them shatter to the ground below.
It’s not the best cinematic experience since Signs, but it’s strangely funny. I had to give it to American Express; they made a commercial with one of my favorite filmmakers…and, ingeniously, let him direct it.
So, there was a sort of compromise.

But tonight, I saw their latest ad. A commercial for Wes Anderson.

Genius. When a commercial opens with Jason Schwartzman and a Sikh(?) blowing up a car with a ballpoint pen detonator, rest assured that you’ve won me over.
The rest of the commercial unfolds as Anderson walks through a film set, acting very “director-like”, in one of his trademark, ridiculously lengthy tracking shots. “Can you do a .357 with a bayonet?” Anderson asks his prop-master. A shrug. “Yeah, I don’t see why not.” It’s a funny piece that is largely unexpected. I mean, I can understand the Shyamalan commercial; he’s emerged as a filmmaker that Joe Everyman equates with the word “director”. But Wes Anderson? I thought his influence rarely extended beyond film school and New Yorker subscribers.
And yet, I have to kind of applaud American Express for making commercials with quirky, fresh new directors as opposed to picking familiar hats like Spielberg or Lucas. Not only that, but these commercials completely embrace what these directors are about. They’re not just cookie-cutter pieces with Anderson or Shyamalan standing in front of a white backdrop, waxing useless on the importance of owning an Amex card. They are completely in the style of said filmmaker.

Let us mark it: the first time I’ve enjoyed a credit card commercial…ever.

My next wish is that they keep up with the director-centric commercials and make one with a music video giant: Spike Jonze or Michel Gondry.

Post in transit

Over the course of yesterday and today, I rewrote the "problem" spots of Madcap, in addition to some Opium pages. I'm bushed. There's still some stuff to finish up though. Gotta just polish a few scenes in Act III of Madcap, and there are 10 more pages in Opium before the act break.

After that...well who knows. Maybe I can finish Opium before the end of may. Ambitious, but I'm optimistic. It would be nice to have it done and off my mind before Wildlifeless though. Very nice.

Snakes!!!

Snakes on a Plane! Yee-hawww! The title alone evokes visions of pure hilarity. You know, the only kind of hilarity there would be when you get a plane full of venomous snakes. How many snakes? A crate full!

I had to comment on this movie when I saw this post. Before that, I hadn’t even heard of it. Apparently there are some that question whether this movie will actually be serious, or some kind of spoof. It's become an Internet phenomenon. Check for yourself.

I, for one, can’t wait to see it. But, not until it’s on DVD. I anticipate it as the kind of movie that will bring forth many laughs, though, that not being the intent. Perhaps it’ll replace Anaconda as one of my favorite “comedies.”

Art of the Rewrite

One of the things I've never been terribly good at as a screenwriter is the rewrite. Don’t get me wrong…I always rewrite, and I do find it to be a valuable tool. But it hardly seems that I completely fix all of the problems in a screenplay when I do the rewrite. There always seems to be a few scenes or part of an act that just doesn't seem to work. And the entire work suffers because of it. As nearly any screenwriter will tell you, pro or beginner, those scenes stick out like a sliver in your brain.
Just recently, I planned on handing over one of my screenplays, "The Madcap Armament", to Rebekah so she could proofread it. I've left that screenplay sitting around for so long that I figured it was time to make sure it was as good as it could possibly be before I let it be covered by time and other stories.
One major problem with the screenplay however, was that it had been written in as a word document. You see…I now realize, with the aid of Final Draft, how poor some of my formatting attempts were. It's not a pretty looking script. So, I decided to transcribe the whole thing over to Final Draft and fix a few minor issues before I sent it off to Rebekah.
Upon re-reading it however, I came across a series of scenes in the second half of Act II that left me with a nagging feeling. Like a dull ache, those scenes stuck out in my mind as being off-key, out of place...just all-together bad. I couldn't place my finger on the reason why they felt that way; they just nagged at me. I decided to wait on sending the screenplay, at least until I could puzzle out the reason why that section of the story felt wrong. In fact, it is a weird thing when something feels off in a screenplay. It doesn't just feel wrong...it feels fuzzy.
Act II, Part II of "The Madcap Armament" felt fuzzy. As a result, I started to let the act simmer in my mind. I even read that portion of Act II over and over again, trying to pinpoint the exact spot in which things started to feel fuzzy. After some careful reading, I found it. The second I located the point at which everything began to fall apart, I realized what my problem was.

The main character disappeared.

Almost literally. There is a point in the second act where the main character, Leonard Chaplin, disappears off the page, only to be replaced by secondary characters that are more lively and unique then he is. And then, when the second act ends, the story begins to pick up again. Why? Because Leonard reappears and starts making drastic decisions about how he is going to end all of the problems facing him. Leonard begins to be the protagonist again.
Once I realized this, I was blown away. It was a pretty dramatic problem, one that gradually got worse as the screenplay moved along. And the funny thing is that the second half of Act II doesn't read badly...it doesn't move slowly...it just feels terrible. Just to be sure however, I began to read a book that I had purchased and left sitting on my shelf for months. That is Syd Field's book on Rewriting.
All I can say is that I should have read this book sooner. Already I've begun to appreciate the fine art of rewriting. Not only that, I've realized why my approach to rewriting constantly fails, why problems like the Leonard Disappearance continually crop up in my screenplays. I simply do not know how to rewrite. But I am changing that.
After reading the first 4 or 5 chapters in the book (and jumping around through several others), I learned that my problem definitely stemmed from the disappearance of Leonard. The protagonist had in essence lost control of the story. He ceased to take action and now only knew how to react. And I pinpointed the exact spot in which the seed of this problem was planted. It took several scenes before the problem began to show however.
That is the diagnosis. The cure? A complete rewrite of the second half of Act II. Old scenes will be dropped. New ones will be written with Leonard as the focus. The remaining scenes will be crafted to fit to his character arc. It will take at least a couple of days, but when it is complete, I will be able to rest easy when I send the screenplay off to be proofread.

I might add that my foray into this untouched arena of screenwriting couldn't have come at a better time - the rewrites for our screenplays are due in Screenwriting III. I spent the majority of my afternoon today working on the first act of "Sin of the Opiate". Unlike Madcap however, I have an entire class of screenwriters to point out mistakes and help me rewrite. After collecting their notes together in addition to my own qualms, I began to refashion Sin of the Opiate. While I still have a plethora of tasks to complete before I can turn in a polished draft, I can at least say that the screenplay is beginning to take some kind of shape.

Here's a new download for you of 6 rewritten pages from the screenplay. I never posted the originals, but I didn't want to post something that you had already read. Enjoy.

Festival Madness

Tomorrow, Gabe, Rebekah/Zoe (I presume), Josh, Angie and myself will be heading down to Tucson to check out the TucsonFilm.com Short Fest, 06. As you’ve probably read on Try Avoidance, we’ve got two short films in the main festival this year plus three others in the online segment of the festival. As you can imagine, this is a real treat for us. Plus, we get to hang with our local film buds, Bruce and Max and watch their film “The Intervention of Brad”. Everything is shaping up for a good weekend.

Shifting gears for a moment here, I cannot wait to get out of school. I mean it; things are really starting to drag. I have all of these projects I’m working on, but there simply isn’t enough time to do everything properly. And so, everything I want to do gets put on hold while I take care of everything I have to do. The second school ends however it’s anyone’s game. I don’t know if that makes sense, but whatever.

Wildlifeless update

A very exciting development has been the lockdown of the cast for Wildlifeless. I gotta tell you…this project is shaping up to be amazing. Why? Well, these actors…and I won’t drop names for the moment…but these actors are phenomenal. Probably some of the finest actors we’ve ever had onboard. They really “get” it. There were so many different, interesting slants to the character that the other potentials tried to cover…and I was delighted by the variety, but the ultimate selections knew what made these characters tick. There is a comment in a book I have on directing, entitled Friendly Enemies (a book I have been referencing continually over the last few weeks) which basically says: always keep your character in mind during the audition. Understand who your character is. Once you know that, casting the role is incredibly simple. It’s simply matching up the actor with what you envision for the personality.

And believe me, I did not believe the book until the audition. Now, I absolutely hold faith in that publication. If the director knows the characters and knows the story, then the actual selection of roles is incredibly easy. The hard work is about to begin though…the actual directing of the actors. I must say that I am a little frightened. This is the first time I’ve directed a kid. I’m confident that I can pull it off, but it’s going to be an interesting and probably harrowing journey before I arrive at that next level. The actors are putting themselves through a plethora of hoops to pull these characterizations off though, so I believe that it is my duty to go on this journey with them and see what comes our way.

Cinematography wise, I’m not worried. As long as we practice the shots, I’m confident we’ll be able to pull it off. I mean come on…this is Josh we’re talking about here. He knew the score about this film before he even took on the role of DP. The visual aesthetic is as much his baby as it is mine.

So that’s that.

First of all

Congrats to Kirby Sodderberg for his involvement with Pantomiming and the subsequent nomination for Tuscon Fest. Hurrah, eh? Secondly, congrats to my friend and partner in crime for Leonardo, Joshua J. Provost. Leonardo is paying off my friend, so let's enjoy it, eh?

In honor of Pantomiming's first ever festival selection, I feel the need to hold some kind of a contest - something to reward the legions of fans clamoring for some sweet Kirby action. Ahem.

1st Prize - A Pantomiming DVD, signed by Kirby and Brock
2nd Prize - A Pantomiming DVD signed by Chad Einwalter
3rd Prize - A Pantomiming slip case
4th prize - A screenplay for White Bread, the upcomming Matter of Chance film
5th Prize - a contenental lunch on the Disney Jungle Cruise with Brock H. Brown and the cast of Wildlifeless

Other prizes to be announced soon.

Get Off Your Fat Surplus

...the elaborate structure of networks, advertising agencies and sponsors will not be shaken or altered. It is my desire, if not my duty, to try to talk to you journeymen with some candor about what is happening to radio and television...I am seized with an abiding fear regarding what these two instruments are doing to our society, our culture and our heritage...during the daily peak viewing periods, television in the main insulates us from the realities of the world in which we live. If this state of affairs continues, we may alter an advertising slogan to read: LOOK NOW, PAY LATER...Editorials would not be profitable; if they had a cutting edge, they might even offend. It is much easier, much less troublesome, to use the money-making machine of television and radio merely as a conduit through which to channel anything that is not libelous, obscene or defamatory. In that way one has the illusion of power without responsibility...One of the basic troubles with radio and television news is that both instruments have grown up as an incompatible combination of show business, advertising and news...and when you get all three under one roof, the dust never settles...Sometimes there is a clash between the public interest and the corporate interest. A telephone call or a letter from the proper quarter in Washington is treated rather more seriously than a communication from an irate but not politically potent viewer. It is tempting enough to give away a little air time for frequently irresponsible and unwarranted utterances in an effort to temper the wind of criticism...I am frightened by the imbalance, the constant striving to reach the largest possible audience for everything; by the absence of a sustained study of the state of the nation. Heywood Broun once said, "No body politic is healthy until it begins to itch." I would like television to produce some itching pills rather than this endless outpouring of tranquilizers...But unless we get up off our fat surpluses and recognize that television in the main is being used to distract, delude, amuse and insulate us, then television and those who finance it, those who look at it and those who work at it, may see a totally different picture too late.

-Edward R. Murrow, October 15, 1958

How so much more true today. Kudos to George Clooney and Grant Heslov for bringing back to light what Mr. Murrow heralded in regards to news and television. You can read his entire speech to the RTNDA Convention here: http://www.rtnda.org/resources/speeches/murrow.shtml

See picture

You're telling me these guys didn't get the audition notice?!

Attention Deficit

"I don't get it!"

The previews for the movie Stay Alive just utterly disturb me. No, not the imagery, but the marketing tactic. "Hey, dumb people, watch this movie. Here's what it's about. In case you didn't get it the first time, here it is again." How many times in the preview was it mentioned that if you die in the game, you die in real life? At least a couple.

Happy belated anniversary to this blog. Three years last month. I wanted to do a celebratory post with Brock, but time passes by like the wind. We've gone from two readers (ourselves), to something like, five to seven! Amazing. Maybe if we could have some consistent, engaging material... Hey, we don't have time for that.

Turban-O-Matic

Amazing new technology teaches lazy Sikh kids to tie turbans correctly.

Bout time.

The Best of 2005 - Visual Effects

War of the Worlds

David Blitstein, Gintar Repecka, Alan Scott and Daniel Sudick

War of the Worlds was a terrible movie. It was absolutely horrible, poorly conceived and terribly executed.

With regards to story.

Visually, it was a real treat. If there’s one thing the film succeeded in doing, it was in conveying the enormity and reality of these alien tripods in relation to their human prey. While I would have liked to have given this award to Star Wars, the fact of the matter is that War of the Worlds succeeded in conveying computer imagery that appeared realistic, threatening and plausible. One brilliant stroke has to be their keeping the alien craft enshrouded in fog, darkness and trees for most of the film. As a result, the inadequacy of the computer imagery was negligible…instead, one couldn’t help but be overwhelmed and frightened by the very big, very real machines stalking our heroes through the night.
What’s also interesting is Spielberg’s use of these effects and computer visuals in relation to his ornate and fluid camera movements. Instead of being burdened by them, he allows them to free up his camerawork even further. One fancy shot had Spielberg looking at a horrific scene of violence through the viewfinder of a consumer digital camera. Other shots had him spinning and panning around a moving van in a fashion that would be either extremely expensive or near impossible to achieve with a camera car.
Letting his digital creations slip into the night, he presented imagery that seemed solid, concrete, real. And because of that, it was much more frightening. You may not feel the emotion between Tom Cruise and Dakota Fanning. But when that tripod set its foot down right in front of her, my heart skipped a beat. I wasn’t thinking of how great the digital effects looked. I wasn’t awestruck by the visuals. I was terrified. And that’s when I knew the effects worked.

The Best of 2005 - Makeup

Revenge of the Sith

Nikki Gooley, Charmaine Fuller and Colin Ware

If there is one nomination I completely understood at the Academy Awards, it was Star Wars Episode III, Revenge of the Sith’s nomination for makeup. Did it deserve more nominations? I tend to think that’s up to you personally to decide. Did it deserve the makeup nomination? Absolutely.
The makeup in Revenge of the Sith was outlandish and unrealistic. And that’s why it was so great. Palpatine’s utterly melted, reptilian appearance post lighting must have taken a tremendous amount of time to apply. And it looks utterly repulsive, right down to the little details such as the crevices in his face, or the pallid skin-tone. The tremendous bags under his eyes might as well be canyons, and the fine wisps of hair on his head practically seem to go transparent against his wrinkled scalp. It’s a stunning and unappealing visual.
On the flip side we have Anakin, who ends up looking very dark and disturbed when he finally turns to the dark side. His eyes don’t quite have the bags that Palpatine’s does, but they do appear deeply set. You could argue that Hayden Christensen’s acting fails to convey the troubled emotion Anakin is experiencing at this point in his life. But I found myself hard-pressed to understand why he failed to relate those emotions…the makeup makes him look so troubled that the rest should have come naturally. Even the tiny scars on his face hint at battles he’s been through but that we haven’t been privy to see.
The extreme on Sith’s fantastic makeup is of course Anakin’s final transformation: a charred corpse. It is said that this contributed to the film’s PG-13 rating. I find that easy to see, as he looks absolutely horrid, like burnt chicken on the barbecue. And that’s a beautiful thing.

Hail to the Hoff

When I saw Brock's post title, I thought he was going to write about the importance of make-up in a movie. Speaking of not posting in a while... Hello! Where have I been???

Philip Seymour Hoffman, greatest actor of our time? Quite possibly, and I've been a fan of his for a long time. Congratulations to him!

So, I actually watched the Oscars from beggining to end. I think I've only done that once before. That time being when I was in Hollywood, not too far from the Kodak Theatre. Jon Stewart received mixed reviews, but I thought he was great, and was probably the factor that kept me watching. The skits were well done too.

I have about five pages for a mocku-docu-mentary on a local, inspirational short film. Mocku, because part of it is made up, and Docu, because it centers around a real film. But if the filmmaker of this short is not down with it, it becomes all for fun. I plan on approaching him soon about it.

Make up

I have neglected to post lately because of school and a number of other pressing tasks. My apologies. To make up (in a rather poor fashion), here is a download to the first 5 pages of my new script. If you want to kill 5 minutes, by all means...

-Brock

Updates

-In Avid class right now...tonight is project night; turning in my photomontage.
-The first 5 pages of a new script are in hand..."The Sin of the Opiate". Scary. The first official feature-length since "The Madcap Armament".
-New short film..."Honeytrap". I'm specifically writing this one for someone I know who is running a writing competition, but maybe I'll get around to posting it.
-Will not be posting Filmic for the general public to read...sorry folks.
-Working on Wildlifeless director's notes..."Friendly Enemies" was right, the writer part does try to smother the director part of you.

That is all.

Done

The 48-hour film competition is complete. My only comments? I never want to act again. Next year, we'll find someone skilled enough to be alongside Gabe.

Flies are buzzing round my head

Big fish eat the little ones...big fish eat the little ones

not my problem, give me some

new script

More best of stuff tomorrow...in the meantime, I went location scounting with Josh over the weekend, and on the ride over managed to do some research for the screenplay I will write this semester. I posted a tid-bit for my last few scripts, so here's one for this - Clicky.

The Best of 2005 - Art Direction and Costume Design

King Kong - Simon Bright and Dan Hennah/Terry Ryan

Upon viewing Ron Howard’s Cinderella Man, you will see a cold and realistic portrayal of the Great Depression, as it really was – grimy, desolate, tattered and patchy. When he set out to direct King Kong, Peter Jackson took a different approach. Taking these images of depression and hard times, art directors Simon Bright and Dan Hennah fashioned an image of 1933 that was less about reality and more about grandeur. From the obnoxiously yellow taxicabs, to the street-corners packed with boarded-up theaters, King Kong is a film with an artistic flair that aims to create a cinematic filter for our viewing of that time. With the Lucas/Spielberg stylized jungle and the rickety old steam freighter, Kong’s visual atmosphere practically screams “ADVENTURE!” It’s more about the serialized version then the correct version. And yet, in artistically defining the look of this film, Jackson sought out a few key items that rooted the fantastic nature of the film in a dose of reality. The camera used by Black’s Denham is an authentic Bell & Howell 2709 – the same camera used in the original Kong film. Look closely at the movie posters on the New York streets and you will see original one-sheets for “East of Borneo” and “The Mummy”. Even when the good guys break out heavy weapons, they break out Tommy guns that might as well be missing from the set of Dick Tracey. Every minor detail, set and object was directed to lean to a more fantastic, colorful slant.

And so was the costume design. The costumes in this film fit their particular characters, and each makes a statement about those characters. Brody’s drab vests and herringbone coats define him as a playwright. The freighter crew’s raggedy frock and black overcoats (with sailor caps) speak of their mercenary nature. And Black’s shyster fedoras complement his wheel spinning as much as his mischievous eyebrows do.
The art direction and costume design of King Kong is remarkable because it set out with a very specific goal in mind – one that clearly benefited the highly visual nature of the film. It set out not just to recreate an era, but also to create the director’s vision of that era.

The Best of 2005 - Sound Design and Sound Editing

Batman Begins - David Evans, Stefan Henrix and Peter Lindsay

There is a fantastic moment in Batman Begins where Bruce Wayne faces off against his trainer and quasi-sensei, Henri Ducard, on a frozen lake. It is a sequence that works because you can literally “hear” the ice moving underneath them. The sound of the earth changing, a deep rumble, stands as a sonic complement to the change Wayne himself is going through. Later on, less subtle sound effects come into play. We have the sublime “poof” of the shadow organization’s gunpowder, the echoed and scattered rasp of the Scarecrow’s drug enhanced voice and the thoroughly satisfying roar of the Batmobile. The sound in Batman Begins excels because it creates an atmosphere that builds upon Nolan’s concept of hyperrealism. Very few sound effects in the film are inconceivable. Most are simply augmentations of sounds that exist in the real world. But their lush, enhanced bombast helps bring the world of Batman into a realm that is just out of reality’s grasp. And yet each sound is designed to complement the story.
Additionally, the sound editing complements these sounds, making full utilization of them at the most appropriate moments. When the Batmobile revs into and out of frame, the roar of its engines passes us by as well. The horrific screech of bats, the sound of Wayne’s secret fear, only cuts in at the most unexpected of moments. And it is sharp enough to unnerve the audience, as Wayne himself is unnerved.
While other films also succeeded in creating unique soundscapes (War of the Worlds in particular), Batman Begins succeeded in creating a colorful, defined atmosphere that was articulated in every shot, every breath. Plug some earphones in and close your eyes, because Batman Begins is a fine accomplishment in both sound and sound editing.

School

Today was my first day back at the school since last semester. Should be a good year. It did get off to a rocky start...but the routine will smooth itself out. Hopefully it is interesting. I did see many members of my "SCC crew", and they were happy to see me around the campus. Many of the regulars (Jayme from 'Outside In', Chad from 'The Subject', Brandon from 'Pantomiming') want in on Filmic, so that's cool. I told them it was a war film, and they all lit up. And then I told them, "it's not about war though". So now they're confused. When they read the screenplay, they won't be.

Another Year, Another Day...

The first post on this blog of 2006. A little late, sure. But really, just another day passed. Somehow, though, I feel that it'll be a big year.

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.