With Great Power

When I last blogged nine days ago, I denoted that I had much to “talk about”. “Complain about” would be the better wordage, for I had just come from seeing the 25 films that won the Phoenix 48-Hour Film Challenge. Yes, Alex, Kevin, Gabe and his wife, and myself had gone to the screening of the top 25 films in order to see what beat us. As it turned out, it wasn’t much.
That’s not to take away the vision and finesse beheld by the sole “greatest film” of the night, Klac, but it is to say that aside from a few films, very little stood out as being great, or even better then our film. My reasoning behind that is this: One of the top ten films was nothing more then a taping of a bunch of guys sitting around and “discussing” what they should do for their project. Once you realize the laziness that must go into creating a project like that, you can’t help but feel the very fiber of your integrity being eaten away.
Yes, some of these films were bad.

In fact, they were bad enough that I couldn’t help but question “if these could make it then why couldn’t ours?” As I sat there and had to endure film after film, I remembered one of the sole criticisms that I heard time and again from people who viewed our film: You can see me laughing.
In more then one scene I can’t help but crack up from everything that’s going on around me. If you think it’s funny to watch Kevin Ross, the guy in the sports gear, prance around our washed out office screaming “superbowl”, then just imagine what it was like to physically be there and have him scream it into your face. I couldn’t help but smile every now and then. And wouldn’t you know it, the takes in which I’m smiling are the ones in which Kevin and Gabe give their starkest, most poignant representations of their caricatures. Still, the point hit home within me. I felt that I had costed us the screening. Deep down I believed, and still do believe that because of my numerous crack-ups, the judges decided to pass on us.
Yet that irks me to no end, because the rest of the film came together quite nicely. I have to say that even though my performance was bad, Gabe’s and Kevin’s were quite good. Moreover, the cinematography (I feel) was quite good for a short film that cost virtually nothing. And that’s not me tooting my own horn there; we all had our say in the visual look and feel of the film. Many of those angles are mine, yet I’d wager that Kevin and Alex have just as many. Gabe happened one of my favorite shots, the placid fish-eye shot that represented a security camera.
I guess what I’m getting at is that just because I screwed up my performance doesn’t mean that the other guys and the film itself deserve to be penalized. And that’s probably not what happened, but it’s certainly the theory that’s been running through my head.

After the screening I felt quite despondent. I couldn’t help but consider “if we got beat by stuff like that, what does that have to say about our dream of being filmmakers as a whole?” I was crestfallen. Thankfully, a midnight screening of Spider-Man 2 was the perfect remedy.
Yes, everything you’ve heard about Spider-Man 2 is true: It’s a great comic book film, a fun summer flick, and a touching character drama. But what impressed upon me, especially that night, was that no matter how hard Spider-Man tries, no matter how hard Peter Parker works to set his life aright, Sam Rami has no qualms about keeping things adrift. The first 20 minutes of the film are particularly harsh on the protagonist. We see him drift from job to job with nothing more then a few bucks and some invisible sense of purpose to keep him going. That unseen sense of purpose just might be drawn up from the charismatic Mary Jane, Peter Parker’s love interest from the first film. Yet, Rami and the story is particularly harsh here, using every disadvantage that could be taken from the Spider-Man persona, and directing it towards the dissolution of Peter’s relationship with Mary Jane. And it works. As the film goes on the characters’ ties to one another wilt. Equally as striking is the rift Spider-Man creates between Peter and his friend Harry Osborne. Osborne still remembers the death of his father, and he hasn’t forgotten his promise to get revenge upon Spider-Man. Naturally, he spends most of the film drilling Peter (Spider-Man’s “personal” photographer) on his own secret identity.
With all of these characters intertwining one another and being driven apart by Spider-Man, I felt that Rami had succeeded in recreating the very essence of the comics. That sole essence is this: Peter Parker doesn’t win. Even though he keeps Spider-Man a secret he still ends up paying merely because of his secret persona’s existence. It’s a catch 22; his friends and loved ones aren’t close to him because he keeps himself deliberately at a distance. Yet by revealing his identity, his friends would surely destroy him.
Also noteworthy about the film is Alfred Monilia’s performance as Doctor Otto Octavius, or as he’s later referred to as Doc Ock. The charisma and interplay between him and Peter Parker was nicely done. He’s certainly established as one of the better performances in this series.

At the request of a fan

Josh tells me to blog more. I will tomorrow. I'm just lazy.

More to come

Ohhh, have I got much to say. Much indeed.

We didn't make the cut

Sorry for the lack of updates, but I've sort of been a little weird the past few days. I haven't been unstable or anything, I simply mean that my desire to blog has been null. The first thing that comes to mind for mentioning is that our film didn't make the cut in the 48-Hour Film Challenge. It's no big deal, it was our first effort to submit a short to a contest after all. Moreover, we did it in less then 48 hours, which, for a group of relative beginners, is pretty damned good. And, we all love the short. Who cares if some film board doesn't? For a first effort I'll always cherish it.

Your lucky numbers

First one to e-mail Gabe and I with the correct guess as to who in the video is Gabe and I gets a prize.

Red Carpet

That's right, yo. Roll out the red carpet for Matter of Chance Productions! Ours, and 45 other short films, will be viewed and judged this Wednesday. The top 25 will be shown at a screening next week. I sure do hope we make it.

If you'd like to see this little film of ours, I'll have a link for it in our Links section shortly. It's around 20-something MB.

48-Hour Rush

The 48-Hour film challenge is over, and I gotta say it was a blast. I'm tired though. I need about 72-Hours to recover.

Return of the Beasties: The Brouhaha

To The 5 Boroughs - Review

When he released his much anticipated reunion album with the E-Street Band in 2003, multi-platinum artist Bruce Springsteen introduced his fans to a dark and somber work that characterized his feelings regarding the attacks on the Twin Towers. His album, The Rising distinguished the artist’s newly revealed opinions on the heated controversies and social issues that marked the day. But he wasn’t the first, and surely not the last to express such views. Since then everyone from Bono to Sparta, Radiohead and the Flaming Lips have taken the time to address their concerns both publicly and musically regarding the world’s current state of affairs. Their opinions are ardent and their views nothing short of strong.
Now flash back six years to 1998. The Beastie Boys have just unleashed their latest studio masterpiece, Hello Nasty, a wild, frenzied marriage of rock, hip hop and rap. The beats are bombastic, and the rhymes silly. With videos for their devastatingly popular singles, Body Movin’ and Intergalactic, the Beasties prove to fans everywhere that they’re just out to have a good time.
But after Hello Nasty nothing happened. Six years dwindled by. The world changed. The kids who had listened to the Beasties in high school grew up, possibly got married, moved on and got jobs. Divisive social elements struck hard worldwide and still the Beastie Boys remained silent. Bruce Springsteen and a plethora of other artists released their so-called defining works on the events surrounding September 11th, 2001. But on June 15th, 2004 the Beasties kept quiet no more.

There had been talk for months on end of a new Beasties album, but to actually hold it in your hands is nothing short of surreal. Also surreal is the very serious, social conscious views expressed on this album. As previously noted, the Beasties were known by their strictly party attitude. They often had smart, witty concepts and rhymes, but to see them throw their lot in with such artists as Springsteen and others by commenting upon the tragedies of September 11th is unexpected.
If that weren’t enough of a shock to the system, listeners will also be taken back by the album’s sparse, nearly void sonic landscape. Hello Nasty was vivid, lush. Its beats, samples and loops oftentimes borderline overcrowded. But on To The 5 Boroughs the Beasties have room to spare in their empty, almost hollow sounding hip-hop elegies. Surely, both the politicking and emptiness are intentional and reflective of the album’s subject matter: the ultimate dirge to New York and current events.
Yet, despite being expressed with deep conviction and feeling, the political opinions and social views become tiresome. While it’s certainly nice to hear the views of a group of artists you love and respect it’s a little bewildering to hear them express basically the same thing as everyone else.
True, their slanders of Bush and his companions are delivered in the typical Beasties fashion, “Is the U.S. gonna keep breaking necks? Maybe its time we impeach Tex. By the time Bush is done, what will be left?”. It’s just a bit surprising to find out that such views could be expressed in the typical Beasties fashion.
Take it as you receive it I suppose, there may be some who will find their political focused rapping conducive and enjoyable. Personally, I’d much rather hear rhymes more consistent with the theme developed in the lead single, Ch-Check It Out.

But how are the songs themselves you ask? Well, after waiting six years for new Beasties material, anxiously hoping that their next album would be as good as Hello Nasty, if not better, I can sum up the music itself in one all-encompassing word: Great.
The sparseness is bound to turn some people off to the record, but others will see it for what it truly is, the defining element. Check Your Head had its musical diversity, Ill Communication its groves, and Hello Nasty its sheer complexity. But To The 5 Boroughs will thoroughly be defined by its sparseness. And all for the better I say.
The loops and samples exude a vicious edginess and mood unlike any other Beasties effort. The beats, although simplistic, are genuinely catchy and even a bit clever. And although I haven’t gotten the chance to listen to the album on a true sound-system, I’m sure that these songs, when properly backed up by lots of base, will absolutely blaze.
One song of note I’d like to mention is “An Open Letter to New York” which is without a doubt, the masterpiece of this album. Other reviews (the Pitchfork one for example) criticize this song for its general word-pictures of New York City, contending that a more defined, abstract view of the city was called for to express its beauty. I’d stand to object, for in this song, the rapping draws the listener to appreciate New York even if he or she has never been to the metropolis. It develops a common appreciation and understanding with its listeners; in other words, by using easily understood themes in expressing the majesty of New York, no one gets left out in enjoying this track.

After six years of heated anticipation, it’s nice to see the Beastie Boys back in business. Fans have been longing to be reintroduced to their geeky hip-hop saviors for years. But the album’s failing rests in the trio’s inability to completely deliver upon that longing. With much of the rapping the Beasties decided to toss out most of their slap-dash comic references in favor of a political slant. While the music is darkly refreshing, the views aren’t. It’s all been said before, just not rapped. But it never had to be. That’s the album’s failing, and yet at the same time, it’s not a devastating one. It’s still a fine Beastie Boys record, full of hot beats and choice samples. And I should say, it is nice to have the Beasties back. I’d rather hear their opinions than Bono’s.

We Got The

New Beasties Album - Check Review soon.

And now begins Act II

I think that for a first video, our filming went generally smoothly. There were a few problems here and there and things that we had to figure out, but otherwise it was great. I also think it’s going to be a good video. Gabe showed me some of the footage he captured onto his PC earlier this week and it looks astoundingly better then when I first saw it on the camera’s playback screen.
It was merely a taste though for what’s to come. The Phoenix Film Challenge updated their time requirements for all entrees; all videos must be no longer then 5 minutes (or is it six?). I’m hoping that things work out for us and that we’re able to guide our project through the 48 hours. But there are a number of factors I’m going to be paying close attention to throughout the shoot. First and foremost, I want to make sure that if Alex and Kevin bring Canon XLS1 cameras to our team that Gabe and I are able to adequately use them without spending too much time learning how. Secondly, we won’t have a substantial amount of time to think up and create our video. Moreover, it isn’t just Gabe and I shooting the video, its Gabe, myself, plus Kevin and Alex. We all know one another very well, but I’m hoping that no differences in opinions or creative conflicts arise. With the time and the new members to the team, I don’t want to get forced into bypassing some important first stage of the film’s creation, like minor storyboards, a treatment or script.
Those are just some of the worries that have been filtering through my mind. I’m perfectly sure that nothing will go outlandishly bad, but still, it helps to expect everything to go bad. I think we’ll all have to just trust in one another and learn to interact and work accordingly.

I purchased some new (old) music earlier this week when I got The Pharcyde’s masterwork Bizarre Ride II. I’ve only known the Pharcyde briefly, but their music video and Fatlip’s documentary on the Spike Jonez DVD encouraged me to check them out. I was even more prompted into their music when Gabe related to me that he had seen them years back at Lollapalooza and that they were a good group. Thankfully, I wasn’t disappointed.
Bizarre Ride II is an amazing record. Despite being more then ten years old it still strikes me as a stunning accomplishment. The beats, grooves and overall atmosphere created by the group marks it as a nice companion piece to another defining record of that time: The Beastie Boys’ “Check Your Head”.
Speaking of the Beasties, their new album comes out next week!

Cut! Print!

Well, Brock and I finished up filming for our video. It went well and it was pretty fun. We got a taste of how much work can be involved with these things, and what can go wrong. On to editing.

Here are a few links to Salon's articles on "Pay for Play."

Pay for Play
Payola City
The Day the Music Died

Payola is a load of Crapola

Gabe sent me an article today about the current standard of “payola” in the record industry, and having just read it I can’t even begin to express my anger and distaste at all of the corruption going on in music. The sheer volume of bribery and shady tactics going down is boggling. Maybe Gabe will post the article, but rest assured, there’s a plethora of crap going on behind the scenes that listeners aren’t aware of.
And it makes me Mad. Mad enough that I remembered this crazy idea of mine to become a disc jockey, an idea that sprouted in my mind shortly before I entered college. I wanted to become a DJ primarily so I could play the music I wanted hear. I remember riding around with Alex during the summer, picking up lunch, or shopping for video games or whatever, and listening to the radio, only to be put off by all of the repetitive music we heard. Avril Lavigne, Britney Spears, Blink-182, they all sounded the same. I wanted to become a DJ so I could play stuff like Braid or Hum, or whatever it was I currently liked, stuff that didn’t get played.
But this seedy business going on in the music industry rekindled my desire, with a completely different objective: smite Clear Channel and all of the money-grubbing middle-men bastards who are bullying radio stations into playing the latest 3 minute teeny bopper ballad.
It’ll never happen. The most I could ever hope for would be to work at a campus radio station for a semester or two. Besides, I can infuse my anger and disgust into my films, and possibly reach a much wider audience.

Enough rating, sorry you had to endure that. I should focus on something positive now. For one, Gabe is going to pick me up in 20 minutes so we can go film. I think we mentioned a while back that we planned on doing some music videos for some of our favorite groups, and tonight we’re seeing that vision realized. Gabe’s got his camera, and some new equipment, and we’ve both got ideas for a video for The Casket Lottery’s song “Leaving Town”. I don’t think the band would mind. After all, it’s not like Clear Channel would allow the video to be played without a little payola.

Broach it!

Speaking of Chris Broach, I just received in the mail yesterday, the L'Spaerow CD. I started listening to it this morning and it sounds pretty good. A bit like The Firebird Band. I also got, Kill Bill vol. 1 - Soundtrack, Mogwai - Young Team and The Firebird Band - Archives.

Tonight: Rocky Votolato @ Modified.

Gimmie More

So I'm listening to Chris Broach's newest band (to my knowledge) Life at Sea, and they sound pretty damned good. I just might have to get their album.

First Day Back

Do you realize that tomorrow, Braid (one of the finest indie bands of the 90's for the uninformed) will play their first show since 1999? They broke the hearts of fans everywhere when they broke up in 99, but now they're back together, playing their reunion tour. Check out the link at the side, and be sure to see them.

Not to confuse children with angels

It’s funny; I was going to say, “Sidewalk Star” is actually kind of neat sounding (in a weird way). But now that I know where you lifted “Matter of Chance” from, I’m all the more enthused about the team name. Maybe years from now we’ll be the top Phoenix production studio, Matter of Chance productions. Heh heh… Yeah, I realized we should have a link since it is a Phoenix cultural event. Maybe some of you readers are planning on entering the event too!

Prepare the Sidewalk Star

Tomorrow I send off Brock and my team's registration form for the 48-Hour Film Challenge (thanks for the link at right, Brock). So far, the team consists of Brock, me, Alex Rotundo and Kevin Ross. We will be called "Matter of Chance" which was repeated several times in the beginning of Magnolia. So, I kind of lifted it from there, though it is a general phrase.

Brock, I'd imagine that someone, somewhere, would have used that split-screen or picture-in-picture technique, but I can't think of any off hand.

Stay outta town

It might be at a Greyhound bus station. Don't tell them either.

P.S. Gabe, has anyone ever used the mini screen (like on TV's when you're watching two shows at once) in a music video?

P.P.S. And yes! I want to see The Good, The Bad and The Ugly!

Good News for the Bad and the Ugly

I just picked up the two disk Collector's Edition of Sergio Leone's The Good, The Bad and The Ugly. Can't wait to sit down and watch. I'll have to have you over to view it, Brock.

Brock and I plan on doing our first music video. Just one for fun, to get experience. It will be "Leaving Town" by The Casket Lottery. Shhh, don't tell them!

Just a Reminder

I have to admit, I’ve been a bit taken back recently by the tremendous surge of re-releases. Legendary groups from all eras of the sonic landscape like Jawbreaker, Weezer, Pavement and Modest Mouse have spent time releasing special editions of some of their most famous (or infamous) works to date. In fact, when I was at Coachella Gabe told me that Dinosaur Jr. would soon join the fray with reissued editions of their two masterworks, Bug and You’re Living All Over Me.
With that in mind consider this frail form limping among giants. Picture an album only a few years old getting a face-lift and being tossed into the fray with serious contenders like Mascis and Malkamus. I am of course talking about Reggie and the Full Effect and their re-released debut album, “Greatest Hits”.
Punctuating this revisiting of their old stomping grounds, The Full Effect has retouched the album with new artwork and 7 new songs not found on the original release. Those songs, aptly titled the Lord of the Blings saga, as well as other recordings, could have easily fit on an EP or some other Vagrant compilation. But here they are, along with the original Full Effect songs that gained the band infamy a short while ago. Don’t think for a second though that I’m reprimanding Reggie and the Full Effect for this re-release, don’t even consider it. You see, these songs, clever and so typically Reggie in their own unique styling, are far better then anything to be found in the Moon and Antarctica’s extra recordings. They’re fast, synthy, and in some cases absolutely ludicrous. In other words, they’re Reggie and the Full Effect at their best. Some of the song titles practically drip in overly enthralling dramatics (like “Raining Blood”). Meanwhile, the album itself is the same as always, if not a little better then the first time I heard it. Reggie and the Full Effect have never been better then on their first effort, and I’m beginning to think that no matter how great future releases are they never will be. That’s what makes this re-release so relevant.
Yet, with the lack of reason behind this re-release I fear I’ve found perhaps the biggest Reggie joke of all. The Greatest Hits re-release was never meant as a serious re-issuing of a classic album. You see it only serves to mock albums that consider themselves as such.