Do me a favor and think about a recent time you got together with a friend to hang out. Maybe you went to happy hour, maybe you had dinner; you’re meeting up with someone you likely meet up with often. You shoot the shit, tell jokes, share laughs. Now, think about what you really said to this person while you were with them. You’ve known them for a while, so there was probably no reason to, for example, keep repeating their name back to them. Or recall stories you’ve already told too many times. You don’t need to do these things, because there’s a shorthand to your interactions. An ease that makes hanging out with them enjoyable. If a camera were present to film your time together, what was captured may not make a lot of sense to people who don’t know you. We wouldn’t have any context to help us better understand the familiarity you and your friend have.
Monday, September 29, 2014
Thursday, September 25, 2014
Seven years. I can’t believe I started this blog seven years ago. And the funny thing is, And So It Begins was born out of necessity. When I was a journalism student in college, one of my professors demanded that each of her students start a blog. She didn’t require us to buy textbooks for her course, and, according to her, the tradeoff was that we create own our blogs and update them regularly. We were allowed to write about anything, so, naturally, I began writing about film. Several years later, after numerous changes to layout, design, and my personal taste, I decided to do something I was honestly hesitant to do, and that was discuss my own filmmaking.
It’s a name that echoes throughout Curtis Hanson’s masterful modern noir, L.A. Confidential. It’s a name that changes minds, reveals guilt, and displays shame. But, of course, the beauty of the name (and what a fine name it is) is that, technically, “Rolo Tomassi” means nothing. Who he represents is real, a purse snatcher who shot and killed Detective Lieutenant Edmund Exley’s father some years ago, but the name itself was made up by Exley, just to “give him some character.”
Monday, September 22, 2014
listening to this while you read. It’s more fun.)
Friday, September 19, 2014
Kevin Bacon gets a lot of crap. There’s the game and the blasé attitude and the rock band and the mediocre films. But beyond all that, I’ve always thought that Kevin Bacon was genuinely one hell of an actor. His range is never given enough credit, which is why, in highlighting my favorite Bacon roles, I’ve chosen performances that explore the many facets of his talent. From funny to sad, smartass to asshole, martyr to monster. Here, for my money, is Kevin Bacon at his best.
Thursday, September 18, 2014
There is no contemporary filmmaker currently making better, more important films about women than Andrea Arnold. As far as my tastes go, Arnold’s films are simply unmatched. Her frank and necessary use of sexuality, her understanding of the lower class, her unyielding respect for women – all reasons why Arnold is one of cinema’s most unique voices.
Beyond the stories she chooses to tell, it’s the way Arnold chooses to tell them that is worth praising. Arnold’s last two feature films, Fish Tank and Wuthering Heights, were shot in the 4x3 (or 1.33:1) Academy ratio, which means that the films are essentially projected as a square, as opposed to a widescreen rectangle that we’re used to. This is a very deliberate and very bold way to display a modern film, especially if you’re not using it as a gimmick, as Wes Anderson’s The Grand Budapest Hotel did. According to Arnold, the 4x3 ratio gives the film a specific type of intimacy that widescreen lacks.
Thursday, September 11, 2014
Lucky Bastard is a found footage film about a fan who is invited to have sex with his favorite porn star on camera. But shortly after the fan arrives on set, it becomes very clear very quickly that this whole setup is a bad idea. I found the film to be an unnerving and brazen experiment of a tired idea. The bulk of Lucky Bastard takes place in a house that is used for actual porn shoots. The set is rigged with dozens of cameras, leaving every area of the house documented. Much of the footage in Lucky Bastard comes from these stationary cameras, thereby giving the tired found footage motif a nice, organic twist. I dug the film when I saw it, but it wasn’t until last week that I became engrossed by the process in which Lucky Bastard was made and released.
Tuesday, September 9, 2014
No cinematographer inspires my own filmmaking more than Steven Soderbergh. I have difficulty explaining it, but the simple way Soderbergh pans to reveal an office sign, or colors physical settings differently, or shoots upside down (because why not?), or… well, I could go on and on. When I watch Soderbergh’s films, I refuel my creative drive. The impact his work has had on me is unspeakable.
Monday, September 8, 2014
One of the things I love most about character actors is that the great ones really can play anything. Stephen Tobolowsky is a perfect example. Looking through the roles I’ve highlighted below, there isn’t a common thread among them. We have psychopathic murders, goofballs, straight-laced business execs, zany film producers, and so on. The man has 232 IMDb credits, most of which defy the notion of typecasting. Very few of his best roles are alike, but damn near all of them are enjoyable. Stephen Tobolowsky is one of the best, most recognizable character actors currently in film. Below are just six of many reasons why.
Thursday, September 4, 2014
One of the easiest ways to make a movie for cheap is to set it in one interior location. But one of the hardest things about creating a cheap movie is to make it for cheap, but not cheap looking. The new micro budget headtrip, Coherence, accomplishes both feats. The entire film is set in (and directly around) one home, and takes place over one particularly troubling evening. Rather than let its minimalist setting work against it, Coherence embraces its own physical claustrophobia. It traps you in its unsettling atmosphere and dares you to pick it apart.
Wednesday, September 3, 2014
Making-Of documentaries can be compelling for a number of reasons. They can reconfirm your love for a movie you’ve always enjoyed, or act as a cautionary tale for what not to do while working on a movie. Whether they’re shorts included on the main film’s DVD, or standalone features, a great Making-Of documentary will teach you about film and filmmaking. Below are my favorites, but considering there are thousands to choose from, do feel free to list your favorites as well.
Saturday, August 30, 2014
Few filmmakers have endured a career arc as varied as Francis Ford Coppola’s. He started small, making flicks for Roger Corman with next to no money. His transition into the ‘70s was a legendary one, releasing four consecutive masterpieces and helping establish the ‘70s as the best decade of American film. From there, he churned out a handful of smaller films – some obscure, others noteworthy, none truly great – before retiring for 10 years all together. He’s returned with a trio of independent films that, while puzzling in their own unique ways, fully embrace what modern technology can bring to film.
Coppola’s career evolution is a fascinating one. Since becoming a legend, he’s actively fought to make the films he wants to make, the way he wants to make them. I don’t always like the results, but I respect the hell out of his methods.
Thursday, August 28, 2014
Tuesday, August 26, 2014
I’m fascinated by moral dilemmas, particularly with watching a compelling one play out on film. But it’s a tricky game. Push too hard, and you’re preaching – you’re the do-gooder, the Message Movie, the cinematic sermon. Avoid risk, and you’re portraying a dilemma audiences have likely seen many times before. John Michael McDonagh’s Calvary finds a perfect balance. Its core dilemma is a new and interesting conundrum, one that viewers are likely to mull over for days. This is a film that puts all the questions in the open, but doesn’t begin to suggest what the proper answers are.
Monday, August 25, 2014
A few weeks ago, Nathan (perhaps better known as Bubbawheat from Flights, Tights & Movie Nights) asked me to partake in his inventive Filmwhys podcast. As the guest, I was permitted to choose two films to discuss: a classic Nathan hasn’t seen, and a superhero movie I’ve missed. At the time, I was on a Polanski kick, and instinctually chose Chinatown as our classic, followed by Sam Raimi’s Darkman as our superhero flick. A few days later, Robin Williams passed, and I asked Nathan if we could swap Chinatown for Dead Poets Society, which Nathan graciously agreed to do.