First Shot Jitters

Sorry for any delay, apparently there's a festive season on that takes up people's time.

Anyway, we had our first day of shooting for CAROLS last Sunday and it's safe to say I'm pumped for the remainder of the shoot over January and February.

Little personal admission, the first 30 seconds of on set activity and I'm pretty sure I had no idea what to do. We were going to start running the actors through their movements and as usual when you're director, you're asked 5 million questions one after the other and are expected to know all the answers there and then. I found myself muttering and mumbling and needlessly looking at my script for the first slew of QandA but thankfully my DOP had to go and sort something camera related out and I took a moment to myself where I was like 'What is wrong with you? this is what you want to do for the rest of your life, you're on a location with 15 people looking to you, this is a job you love. So snap out of it!' I took a breath and from then on I worked in my usual form.

I suppose it was a case of first shot jitters and we were attempting a tracking shot too, probably not the smartest thing for the first shoot day as the crew all need to get used to each other too but we got there and I am very happy with the print take (take 12 if you were wondering... yeah I do still have a lot to learn).

#004 SKYFALL

A fair amount has been said on the subject of this film already, especially when referring to it's context within the canon of Bond, so I will mainly look at this from the point of view of looking at it as a Movie.

Directed by Sam Mendes of AMERICAN BEAUTY fame (my favorite film of all time), SKYFALL is an exceedingly superb action film. Opening of a wonderful and constantly escalating action sequence that flows from setpiece to setpiece in what feels like utter ease and landing us smack bang in the middle of the world James Bond inhabits. Cut to a brilliant title sequence with a great Adele number underneath.

The visuals on this film are amazing, and with Roger Deakins behind the camera, what did you expect?  Interestingly enough, the Arri Alexa was used on this picture and while images aren't always as flawless as those from ANONYMOUS, also shot on the Alexa (though not the studio model) the camera is fast proving itself to be the greatest digital camera to date.

The story, even for non-Bond fans, is exciting and enthralling from the get go covering a plot by a mastermind hacker to take down MI6 and it's leader. All actors here handle their characters perfectly.  Judy Dench is especially given a great plot in which she shines and damn near steals the film from Craig... nearly.

This film is exactly what you want in an action picture, explosions, chases, jokes and a damn good story. I can't really say much more other than it's worth the hype and deserves the some $871 million dollars at the box office as of this writing.

Brilliant, fun and a damn great action film - 10/10

Corporate Work

So yet another delay, TRAINSPOTTING is, after all a 2 hour movie and I have rehearsals at 8am tomorrow, I will try to have it up tomorrow night and possibly another film if I can keep my eyes open long enough to watch two. In which case it will be the 2002 film SPUN.

So here's another little nugget with regards to Corporate video work, that is: non-narrative videography. I include weddings, fitness videos, training videos... basically anything that fits in that category, I call Corporate video.

I myself have had a few Corporate gigs and from my experience, the best advice I can give is this:

DO WHAT THE EMPLOYER WANTS.

Yes, that's right, forsake all your "artistic integrity" and, whatever they want, you give it to them. You think it would be more pleasing to the eye to dolly in but they want it handheld? Do it hand held.

Yes 9 times out of 10 your ideas are better but that's not the point of Corporate videos... you have your own work for that kind of experimentation and creative license

At the end of the day, they are the ones paying you. There are hundreds of people out there who want that money and will do what they are asked to do so it's just better to use that handheld shot, that star wipe or that cheesy Muzak, if they are happy, they keep paying you and you can take that money and make your films with it. Simple.

... that seemed like an angry post (not my intention at all) but I guess I've had too many conversations with other people where this seems to be the farthest thing from common sense.... in fact that's a wonderful oxymoron isn't it?.... Common Sense...

#001 Blurred

So first on my movie pile is the 2002 Australian film BLURRED.
It was suggested to me by a friend who recommended it when I was explaining a teen party-esque idea I had and to be honest, I wanted to like this movie more than I actually did.
For anyone that has heard me talk about movies, it will become very quickly apparent that I have a love of multi-plot films, that is films with multiple protagonists (the official term is "Hyperlink Cinema" but that's far too wanktastic for me to ever use that in public). Even the ones that aren't supposed to carry a lot of artistic merit such as VALENTINE'S DAY, I find myself, more often than not, enjoying them in some small way.

But with Blurred, it's just that much more difficult.

Blurred follows a dozen or so characters all on their way to schoolies week on the Gold Coast in sunny Queensland... yeah that's pretty much it.

I must give props to some of the actors here who manage, in some small way, to handle the incredibly on-the-nose dialogue that feels like first, maybe second, draft material rather than something that's been properly re-written. I mean, for example, the first 30 minutes are coated in every piece of Australian slang. Ever. Other actors in this ensemble piece don't fare so well such as the guy on the train who dumps his girlfriend and goes on a high with a random goth character for the entirety of the film.

That's another thing, most of these characters are unfathomably stereotypical to the point where it feels forced and yet those stereotypes aren't taken anywhere new or given a new spin or development throughout the film that would make them interesting. The characters all just kind of sit there and shit happens. There is, to my great dismay, a totally unnecessary love story that seems to come out of nowhere as two of the characters suddenly "Realise we like each other" in order to create conflict, these kinds of developments scream that the writer is taking a hand and only adds to the parts that feel forced.

Don't get me wrong, there were some good moments to this film: there's one particular sequence at a petrol station where several of the stories collide (my favourite kinds of moments in multi-plot films) that was quite enjoyable to watch and the ending wrapped it up nice enough that it didn't feel like my time was completely wasted but at the end of the day, while it wasn't a terrible movie, it wasn't a very good one either.

4.5/10 for me on this one.

P.S. The one amusing thing is how serendipitously creepy Matthew Newton's role is when considering all the things he did later on in life.... but perhaps that's not a particularly good thing...


Next on the pile is TRAINSPOTTING.

Learning From the Pros

Well I am forced to delay the movie review one more day owing to some production-based dilemmas that needed to be solved and my television being occupied, to my utter disgust, with sex and the city.

But I thought I might give away a trade secret... where I'm learning a lot of the filmmaking stuff I use. I learn it from the people I admire. While part of that is ALWAYS inclusive of watching their films, I am actually referring to a distinct advantage in our digital world of websites like youtube where the artists and craftspeople you admire are only a click away.

I can't tell you how many interviews I've since ripped from youtube and kept on hard drives, well over a few hundred gigabytes. From Spielberg to Tarantino, there's plenty of material with some really interesting and useful knowledge imparted to those who go searching.

This is especially evident with every Oscar season when all the "great" directors (except Terrence Malick) will come out to talk a bit about their work and craft.  I stumbled upon this goldmine of information the net has to offer during the 2009/2010 Oscar campaign when nominees included AVATAR, INGLORIOUS BASTERDS and THE HURT LOCKER, and I was merely searching for Tarantino-related videos to satisfy my hunger for every word that man speaks and I came across the Santa Barbara International Film Festival (SBIFF) Directors on directing panel... Basically they put all the talked about directors of the season at a table with each other and have them talk and discuss films for over an hour.
This particular panel had Quentin Tarantino, Kathryn Bigelow, James Cameron, Lee Daniels, Pete Doctor and Todd Philips... it's awe inspiring to say the least.




My only caveat for this video treasure trove is to avoid interviews (aside from some brilliant Hitchcock clips floating about by the AFI) that are shorter than 5 Minutes, usually most of that is a moronic interviewer asking stupid questions ("if you could have any superpower...", when it's a superhero film for a painful example) that add nothing to the conversation, and in my personal experience, the best ones are the interviews and panels that last long enough for the filmmakers to say something truly valuable. So my suggestion is to first search videos longer than 20 min as youtube allows in their advanced search to weed out the less insightful clips.

Hopefully I will be back tomorrow with a short review and the beginning of my "Movie-a-day" feature. I can say, however, that the first on the pile is an Australian film called BLURRED.