I've heard of Easy Rider, always in reference to its landmark status, its position as a game-changer in Hollywood. It's emblematic of America's counter culture and the film industry's flourishing in the 70s. So, I was very glad to be asked to watch it, though it came at a tragically apt time as Dennis Hopper, director and star, died just the other day.
Along with my other group members, I don't feel it's aged too well. Some of the stylistic tics (the flashing back and forth between scenes) got on my nerves, and as a whole it celebrates a lifestyle which I don't respect. Some of the more improvisational scenes were really dull - it's a top tip not to give your actors marijuana and then let them say what they want.
Still, I felt it had a much stronger drive than M*A*S*H and better photography too. Some of the images were truly beautiful, and I didn't mind the long scenes which were just Steppenwolf music videos. And it gave a window onto American counter culture: from the communes to the way you could be hustled out of a diner because of your long hair. I don't know whether it's true that looking a bit hippy-ish could earn a beating or a bullet to the gut, but it bears more research.
The ending does seem to be a bit of a cop out: everybody dies. But how else do you end it? Either they die young, still riding their awesome bikes and looking cool, or they live for another 40 years, settling down, voting Republican and tutting at teenagers drinking beer until they die from cocaine related cardiac problems. Characters like Captain America and Billy either die young or live long enough to become the villains. (How did that Dark Knight quote sneak in?)
It did, however, give me a powerful need to get onto my own two-wheeler, possibly to go on a road-trip across Scotland, popping blue smarties and snorting sherbet.
Monday, 31 May 2010
Tuesday, 25 May 2010
Filming log: Audition
This past weekend we finally got to shoot Sam's excellent little script, Audition. (Genius title, right?) I think it's an excellent example of how to make a film short and sweet and still contain all the dramatic beats you need: Noah wakes up on the morning of his dancing audition but takes the wrong music.
My role was (well actually, still is) editor but I went along to the shoot too as a general goffer - pouring glasses of water (which we really, really, needed), set dressing, heavy lifting, CD cueing and since Murray wasn't there on Saturday I stepped in briefly as a kind of Line Producer. Producing isn't really for me I think but I can, at a pinch, ask someone if we can use their path and gate. I also composed the music since we were trying not to include any copyrighted material, and after the shoot we digitised everything so I could get to work. I also did some setting up of lights, camera and sound, and it's rather shocking to realise that I can do all of that automatically now while carrying on a conversation about which shots to get.
It was good to see Sam working, and how he covered shots - very thoroughly. As editor I'll have plenty of choices and I think it'll cut together very well. My aim is to be finished by the time we start work on our end of year films, so watch this space.
My role was (well actually, still is) editor but I went along to the shoot too as a general goffer - pouring glasses of water (which we really, really, needed), set dressing, heavy lifting, CD cueing and since Murray wasn't there on Saturday I stepped in briefly as a kind of Line Producer. Producing isn't really for me I think but I can, at a pinch, ask someone if we can use their path and gate. I also composed the music since we were trying not to include any copyrighted material, and after the shoot we digitised everything so I could get to work. I also did some setting up of lights, camera and sound, and it's rather shocking to realise that I can do all of that automatically now while carrying on a conversation about which shots to get.
It was good to see Sam working, and how he covered shots - very thoroughly. As editor I'll have plenty of choices and I think it'll cut together very well. My aim is to be finished by the time we start work on our end of year films, so watch this space.
Thursday, 20 May 2010
Personal reflection, all the small things
We're supposed to blog about our little eureka moments, right? This is a small one, but still: I can now coil BNCs and XLRs, in a way not likely to break them, and so they look all neat. You just have to... twist... as you coil. Which is what I've been told for several months, but which means nothing until you actually get it.
Anyway, woo!
Anyway, woo!
Tuesday, 18 May 2010
The Cat Piano
Here's an absolutely lovely short film, which uses voice-over, in the form of a poem no less, very effectively. I love the noir aesthetic even though it's an animation.
Wednesday, 12 May 2010
Filming Log: Candid Cabaret
First of all, how awesome are the MA Musical Theatre students? Wow. I knew they were good but their performances over the two days I filmed blew me away; occaisionally I had to lock the camera off I was laughing so hard. They're funny, engaging performers who can also smash the glassware with their belting music. I'd struggle to choose a favourite act, but special mention must go to the rendition of Kate Bush's "Wuthering Heights" complete with crazy-eyed gyration.
But onto the filming bit. On Sunday my role was to get shots of the audience using the PD150, a cute little camera which I'm rather fond of since it's one of the first I ever used. My main job was to not disturb the audience while filming them and I think I did alright; I also used one of the tips David Liddle gave us while he was here, keeping on eye on the viewfinder and the other on the audience so I could spot when people were having interesting reactions. It's a tricky image to process but I think I got used to it by the end of the night.
As for the taxi nonsense afterwards and the exciting tale of how I got home, there's a short film in there.
The next day we had to do everything ourselves, without guidance from Ray. To be honest, I quite enjoyed it, as I got to use the bit of my head which obsessively makes lists schedules things. We all worked together well and managed to set up and do some tricksy cable hanging all in good time. We learnt some of the rules about that (for instance, I knew that cables which could be a tripping hazard need to taped down but I didn't know that the tape had to be white). The shoot itself went well, and I got to practice more on the 570, which I do need.
The taxis even worked!
But onto the filming bit. On Sunday my role was to get shots of the audience using the PD150, a cute little camera which I'm rather fond of since it's one of the first I ever used. My main job was to not disturb the audience while filming them and I think I did alright; I also used one of the tips David Liddle gave us while he was here, keeping on eye on the viewfinder and the other on the audience so I could spot when people were having interesting reactions. It's a tricky image to process but I think I got used to it by the end of the night.
As for the taxi nonsense afterwards and the exciting tale of how I got home, there's a short film in there.
The next day we had to do everything ourselves, without guidance from Ray. To be honest, I quite enjoyed it, as I got to use the bit of my head which obsessively makes lists schedules things. We all worked together well and managed to set up and do some tricksy cable hanging all in good time. We learnt some of the rules about that (for instance, I knew that cables which could be a tripping hazard need to taped down but I didn't know that the tape had to be white). The shoot itself went well, and I got to practice more on the 570, which I do need.
The taxis even worked!
Wednesday, 5 May 2010
Stagecoach (1939)
Westerns aren't generally my thing; say "space westerns" and I'm there but I associate the genre far too much with the same old story: good guy vs bad guy, innocent dame looks on. Visions of Calamity Jane flash before my eyes. But then it's the same as when I say I don't like musicals, the reality is that I just don't like bad musicals, because there's a good few westerns which I've watched and enjoyed.
Stagecoach, happily, falls into that category. That must partly because Ringo, played by "it must be a Western" John Wayne, is no clean cut hero - he's a wanted criminal, but no less of a hero for it. The others are equally well developed, and I especially admired that the alcoholic Doc Boone, while he stepped up and delivered the baby, didn't undergo a radical Hollywood-schmaltz-induced character shift. It feels truer to reality - bad people can do good things.
The look is fantastic too, with the scenery and wide open spaces. You can really feel the danger the landscape posed to the pioneers, even if the cavalry did tend to arrive at a convenient point.
John Ford, one of the three masters (we all know that the other two are Ford, John and the elusive "JF") is truly a master of the camera, and he builds scenes shot by shot, and then builds the scenes up into a seamless narrative. I thought it flowed very well, from action scenes to more introspective ones.
So, I found Stagecoach to be a pleasant surprise and well worth a watch.
Stagecoach, happily, falls into that category. That must partly because Ringo, played by "it must be a Western" John Wayne, is no clean cut hero - he's a wanted criminal, but no less of a hero for it. The others are equally well developed, and I especially admired that the alcoholic Doc Boone, while he stepped up and delivered the baby, didn't undergo a radical Hollywood-schmaltz-induced character shift. It feels truer to reality - bad people can do good things.
The look is fantastic too, with the scenery and wide open spaces. You can really feel the danger the landscape posed to the pioneers, even if the cavalry did tend to arrive at a convenient point.
John Ford, one of the three masters (we all know that the other two are Ford, John and the elusive "JF") is truly a master of the camera, and he builds scenes shot by shot, and then builds the scenes up into a seamless narrative. I thought it flowed very well, from action scenes to more introspective ones.
So, I found Stagecoach to be a pleasant surprise and well worth a watch.
I agree with Nick
My main feelings about the election and the way it has been conducted are despair, nausea and apathy.
The BBC is shackled by its requirement for balance, meaning that it can't express any actual opinion on what happens, theoretically so we can make up our own mind, but really just making them bend over backwards not to truly probe anyone. The other networks are plagued by quite the opposite problem, especially Sky News, the official channel of Rupert Murdoch and his best friend Dave. The introduction of televised debates invites squabbling among the smaller parties and allows Nick Clegg to be named most popular man in Britain simply by not having a face that has either melted or is in the process of melting.
It's an American conceit, and it transfers poorly to Britain in my opinion. In America they talk about lofty abstracts, while here we discuss the minutae of OAP's bus passes. Both are important, but majestic oration looks a lot better onscreen.
My least favourite things of all are the rampant visual metaphors: explaining politics in terms of three piglets named Gordon, Dave and Nick doesn't make you accessible, it makes you stupid. The graphics are an improvement on the last election, where we were treated to hideous computer modellings of the three leaders sprinting down a virtual Downing St, but are still overly complicated and flashy.
I think what people really want to know is what each party stands for, and their previous records. I'd also love to see some more passion in the way politics is covered - is no one else angry and disillusioned? When Gordon talks about his excellent record as Chancellor, why does no one challenge him and point out that he's lying through his teeth and has been for over a decade?
The media is as part of the dance of politics as the MPs in Westminster, and while they talk about the desire for change in Britain, they do nothing to help it.
I'm looking forward to Channel 4's "Alternative Election Night" which promises to at least be a laugh.
I'll be voting tomorrow, but I don't hope that any party who wins will be any good. Tragic to see such cynicism in one so young.
The BBC is shackled by its requirement for balance, meaning that it can't express any actual opinion on what happens, theoretically so we can make up our own mind, but really just making them bend over backwards not to truly probe anyone. The other networks are plagued by quite the opposite problem, especially Sky News, the official channel of Rupert Murdoch and his best friend Dave. The introduction of televised debates invites squabbling among the smaller parties and allows Nick Clegg to be named most popular man in Britain simply by not having a face that has either melted or is in the process of melting.
It's an American conceit, and it transfers poorly to Britain in my opinion. In America they talk about lofty abstracts, while here we discuss the minutae of OAP's bus passes. Both are important, but majestic oration looks a lot better onscreen.
My least favourite things of all are the rampant visual metaphors: explaining politics in terms of three piglets named Gordon, Dave and Nick doesn't make you accessible, it makes you stupid. The graphics are an improvement on the last election, where we were treated to hideous computer modellings of the three leaders sprinting down a virtual Downing St, but are still overly complicated and flashy.
I think what people really want to know is what each party stands for, and their previous records. I'd also love to see some more passion in the way politics is covered - is no one else angry and disillusioned? When Gordon talks about his excellent record as Chancellor, why does no one challenge him and point out that he's lying through his teeth and has been for over a decade?
The media is as part of the dance of politics as the MPs in Westminster, and while they talk about the desire for change in Britain, they do nothing to help it.
I'm looking forward to Channel 4's "Alternative Election Night" which promises to at least be a laugh.
I'll be voting tomorrow, but I don't hope that any party who wins will be any good. Tragic to see such cynicism in one so young.
Sunday, 2 May 2010
Reflection on content origination
I've decided to switch up how I do my reflective blogging, since I'm sure we can agree that "On Monday I did this, and on Tuesday I did this (except you already know, you were there)" got old fast. So now, I'll reflect when I actually have something to reflect upon, such as after a shoot, or, as now, when a class particularly gives me pause for thought.
Adam's classes on content origination are great, and we all leave enthusiastically thinking about how the next thing we write will surely be genius. Lately we've been talking about mobile content, and it's a field which appeals to me especially since I've been on the consuming end for a long time.
As is usually the case, Doctor Who was my first real experience of web content. When it was rebooted it came with a shiny new website and all manner of tie-ins and what-nots. A quick raid on my bookmarks throws up the dalek game, the bad wolf website and UNIT's own website. More recently they have a make-your-own-trailer application and a make-your-own-comic section. Very cool. Makes me wish I was thirteen again. (Except really not, no amount of cool internet stuff is worth that.)
Battlestar Galactica did the webisode thing very well but then it would, wouldn't it?
The big new thing being talked about now is Project Canvas and it's very exciting. I'll be waking up on Friday praying that the Tories haven't won simply so that we'll still get it, although I think a far better name would be "Project Sandpit" because I believe that is what it gives television the potential to be.
Thinking of a show as a sandpit of ideas is hardly new, it's just not usually done in any official capacity. What it does is opens up all those avenues of storylines you can't pursue in a standard drama; the interesting secondary characters, the non-essential but enjoyable backstories, that bit of character interaction you cut from the script because it went over 60 minutes.
This is absolutely the least structured bit of reflection I've done, but it's more a sort of percolation of ideas about the class and what I think can be done with mobile content.
Adam's classes on content origination are great, and we all leave enthusiastically thinking about how the next thing we write will surely be genius. Lately we've been talking about mobile content, and it's a field which appeals to me especially since I've been on the consuming end for a long time.
As is usually the case, Doctor Who was my first real experience of web content. When it was rebooted it came with a shiny new website and all manner of tie-ins and what-nots. A quick raid on my bookmarks throws up the dalek game, the bad wolf website and UNIT's own website. More recently they have a make-your-own-trailer application and a make-your-own-comic section. Very cool. Makes me wish I was thirteen again. (Except really not, no amount of cool internet stuff is worth that.)
Battlestar Galactica did the webisode thing very well but then it would, wouldn't it?
The big new thing being talked about now is Project Canvas and it's very exciting. I'll be waking up on Friday praying that the Tories haven't won simply so that we'll still get it, although I think a far better name would be "Project Sandpit" because I believe that is what it gives television the potential to be.
Thinking of a show as a sandpit of ideas is hardly new, it's just not usually done in any official capacity. What it does is opens up all those avenues of storylines you can't pursue in a standard drama; the interesting secondary characters, the non-essential but enjoyable backstories, that bit of character interaction you cut from the script because it went over 60 minutes.
This is absolutely the least structured bit of reflection I've done, but it's more a sort of percolation of ideas about the class and what I think can be done with mobile content.
Agora (2009)
I had an uncanny feeling that I had made this film myself and then forgotten all about it. You couldn't actually find anything closer to what I care about.
The story concerns the city of Alexandria shortly after the legalisation of Christianity, following three characters fortunes in the societal upheaval that brings: a slave, a member of the elite, and Hepatia, a brilliant physicist and philosopher.
I want to talk about Hepatia, played by Rachel Weisz, because she really is an example of a strong female character in a modern film, and after what we've been discussing in class it bears discussion. She's intelligent, self-motivated and the bravest character in the film. They don't even end up copping out by saying that while all that cleverness etc is all very well, what she really needs is a husband and children. She does wind up punished - brutally, too - but since this is historical fiction you can chalk that up to reality rather than the writers, since Hepatia the Philosopher was indeed stoned to death and then carried through the streets naked.
The encompassing argument of the film is about the role of religion in the state (ie: it's a very bad idea, and tends to get people stoned to death) and the danger of dogmatic religion full stop (ie: if you can't tolerate heathens, then you end up destroying their libraries and all the brilliant things they do). Equal weight is given to both the outgoing pagans' brutalities and the identical brutalities committed by the even more self-righteous new christians. It lampoons hypocritical, political religion when the elite converts en masse to maintain their power in the new order, and quotes some of the less fun bits of the new testament, namely the bit about women being second class citizens (that's what gets Hepatia stoned to death - her intelligence makes her a witch, apparently).
It's a brilliant film - well written, well acted, and surprisingly well CGI'd. I expected it to look a little bit more low budget but the sets and the CGI accompaniments are very well done. Oh, and Rachel Weisz's costumes are beautiful.
It's such a pity then that it was buried in the graveyard screen, only screen twice a day and given virtually no publicity. If it's still on, then I encourage you go and see it. If not, I know I'm going to get the DVD.
The story concerns the city of Alexandria shortly after the legalisation of Christianity, following three characters fortunes in the societal upheaval that brings: a slave, a member of the elite, and Hepatia, a brilliant physicist and philosopher.
I want to talk about Hepatia, played by Rachel Weisz, because she really is an example of a strong female character in a modern film, and after what we've been discussing in class it bears discussion. She's intelligent, self-motivated and the bravest character in the film. They don't even end up copping out by saying that while all that cleverness etc is all very well, what she really needs is a husband and children. She does wind up punished - brutally, too - but since this is historical fiction you can chalk that up to reality rather than the writers, since Hepatia the Philosopher was indeed stoned to death and then carried through the streets naked.
The encompassing argument of the film is about the role of religion in the state (ie: it's a very bad idea, and tends to get people stoned to death) and the danger of dogmatic religion full stop (ie: if you can't tolerate heathens, then you end up destroying their libraries and all the brilliant things they do). Equal weight is given to both the outgoing pagans' brutalities and the identical brutalities committed by the even more self-righteous new christians. It lampoons hypocritical, political religion when the elite converts en masse to maintain their power in the new order, and quotes some of the less fun bits of the new testament, namely the bit about women being second class citizens (that's what gets Hepatia stoned to death - her intelligence makes her a witch, apparently).
It's a brilliant film - well written, well acted, and surprisingly well CGI'd. I expected it to look a little bit more low budget but the sets and the CGI accompaniments are very well done. Oh, and Rachel Weisz's costumes are beautiful.
It's such a pity then that it was buried in the graveyard screen, only screen twice a day and given virtually no publicity. If it's still on, then I encourage you go and see it. If not, I know I'm going to get the DVD.
Iron Man 2
And, because I know not everyone leapt to see this at the first possible opportunity, this is a spoiler free zone.
I really did see Iron Man 2 at the first opportunity: I woke up early on Thursday morning when we didn't have class to see the first preview at 10am. Flick? Voluntarily giving up morning sleep? It must be serious. I was surprised to find a queue outside the cinema, and so was an ordinary member of the public who just wanted to see The Blind Side and found themselves surrounded by disreputable geeky types.
The problem with any film you're looking forward to is that it can let you down painfully, so I'm very glad to report that I enjoyed it. Very much. In fact, I had a fixed grin throughout the whole, only excepting the sad bit which I won't elaborate on but which is heartbreaking, mainly because of what a genius performer Robert Downey Jr is. Yet again he balances the inherent arrogant bastardness of Tony Stark with his heroism. The action scenes were very good, there was sufficient Tony-inventing-stuff and I continue to hope that someone will invent a computer like the one he has because wow, that is cool. Almost as cool as the suitcase armour.
On thing which irritated me was that Jon Favreau gave himself a bigger role in 2 than in the first, because while I adore him as a director (Iron Man and Elf? What's not to love?) as an actor he gets on my nerves for some indefinable reason. Still, it's a very little thing.
It made me very happy that every single person in the cinema stayed during the credits expecting a bonus scene and that there was a cheer when you saw the SPOILER GOES HERE.
On Saturday me and Harry went to see it in the imax and while I still enjoyed the film, I wasn't particularly blown away by the cinema experience. It was big, yeah, but not all that much bigger than cineworld's screen 3 (where it's screening anyway) and it's a whole lot more inconvenient. So, not really sold on imax.
I really did see Iron Man 2 at the first opportunity: I woke up early on Thursday morning when we didn't have class to see the first preview at 10am. Flick? Voluntarily giving up morning sleep? It must be serious. I was surprised to find a queue outside the cinema, and so was an ordinary member of the public who just wanted to see The Blind Side and found themselves surrounded by disreputable geeky types.
The problem with any film you're looking forward to is that it can let you down painfully, so I'm very glad to report that I enjoyed it. Very much. In fact, I had a fixed grin throughout the whole, only excepting the sad bit which I won't elaborate on but which is heartbreaking, mainly because of what a genius performer Robert Downey Jr is. Yet again he balances the inherent arrogant bastardness of Tony Stark with his heroism. The action scenes were very good, there was sufficient Tony-inventing-stuff and I continue to hope that someone will invent a computer like the one he has because wow, that is cool. Almost as cool as the suitcase armour.
On thing which irritated me was that Jon Favreau gave himself a bigger role in 2 than in the first, because while I adore him as a director (Iron Man and Elf? What's not to love?) as an actor he gets on my nerves for some indefinable reason. Still, it's a very little thing.
It made me very happy that every single person in the cinema stayed during the credits expecting a bonus scene and that there was a cheer when you saw the SPOILER GOES HERE.
On Saturday me and Harry went to see it in the imax and while I still enjoyed the film, I wasn't particularly blown away by the cinema experience. It was big, yeah, but not all that much bigger than cineworld's screen 3 (where it's screening anyway) and it's a whole lot more inconvenient. So, not really sold on imax.
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