The following film is a perfect example of exceptional film making. Some of you may have seen this short before, perhaps in the context of the entire BMW series, but I assure you on second viewing, when the construction of the piece is considered, it will take from you a new level of respect. How it can be so short but still so comprehensive and coherent I don't know. How the dialogue and voice over can be so sparse but every character so rich and complex I don't know either. It's at once a love story, an action film (some of which is only implied), an intense drama and, not least, a character study in full form.
The choices in music, sound design, what to show vs. what not to show and over all production design are inspiring. This is film in pure form. I must commend Wong Kar-Wai and Andrew Kevin Walker for a brilliant work.
Just a heads up - because I like to post daily - that I will be away for a few days writing. Empty cabin in the middle of nowhere, no internet, no people, no animals (that need walking). Just my macbook and a bottle of cheap Alberta Rye.
On a less serious note. It was a few months ago when I came across a trouvaille of sorts; I began watching Ricky Gervais stand-up, then I got a hold of both seasons of BBC's "Extras". After that I made it my goal to watch both seasons of the infamous "Office"(UK) as well. With a recent hollywood role in "Ghost Town", Ricky has solidified himself as a real ocean-crossing superstar. (but I saw him first)
In the following videos, he showcases not only comedic brilliance but his tendency to not take himself to seriously, which is a trait I wholly admire in starts of his caliber. As I ramp up to shoot an african-aid music video in sub-sahara Africa myself, I have taken a certain interest in other uncommon attempts at world issue. There are plenty of people that 'take a piss' out of those who try to do their part to help less privileged and/or at risk nations. Of course, the only real solution to Africa's issues is not foreign aid; medicine, schools or toys, but, actually, wealth building via entrepreneurship and infrastructure training. But, at risk of sounding cliche, every little bit helps.
You'll also catch a few cameos from a couple more 'other-side-of-the-roaders' putting in thier two pence.
"Lost (Acoustic)" by Coldplay is having it's way with my iTunes as I type. I have wanted to write about this for a short while, as it's something that, as a screenwriter, I feel very strongly about. There's no doubt that the screenwriter is the most abused role in the film industry - except for that of the person who scoops up horse shit in between takes (but, alas, I have been there too). The screenwriter's job, and direct lack of acknowledgment, is analogous of the modern music producer; often the 'creator' of the content yet never the final deliverer. The screenwriter is the composer of the music as the director is the conductor of the orchestra. I don't mean to intimate that the director's role is less meaningful or artistic, I simply wish that the 'creator' of the actual piece would get the appreciation that he or she so obviously deserves.
I am, of course, speaking of films that don't share a writer and director. There are certain filmmakers that, though I still don't agree with, are more tolerable when snatching such a credit as "A Film By" or "A ________ Film". Such directors may be Quentin Tarantino, Charley Chaplin, Clint Eastwood or even Christopher Nolan; who have all shared multiple credits on multiple films, be them in the disciplines of direction, writing, acting, or score composing. No, this rant - some may call it that - is directed at those directors, famous or not, who worked for the 'director credit' and so traditionally take the "Film By" credit as well; as if they were entitled to it. An unwritten rule.
Is it really A Film By Them? Or is it an immense collaborative effort? A collaboration of cinematographers, actors, producers, grips, gaffers etc... not forgetting the inventor of the material, the writer. (More and more writers these days are optioning novels, books, short stories or real life occurrences, thus loosing some points for originality, but we won't get into that now. For I to am guilty with my recent bio-pic script "Allenbury". It's no coincidence that the "Best Adapted Screenplay" category at the Oscars held such viewed films as "Curious Case of Benjamin Button", "Doubt", "Frost/Nixon". "The Reader" and "Slumdog Millionaire" while Best ORIGINAL Screenplay housed the less prolific "Frozen River", "Happy Go Lucky", "In Bruges", "Milk" and "Wall-e" ["Milk" of course built upon a preexisting character).
Don't misunderstand. I am not saying that the writer should get the "Film By" credit all to themselves because they mindfully birthed the content. What I am saying is that the credit should all together be abolished and the glory thereof should be shared. "The Wrestler" stands as a shining example. As I sat in a dark, ghetto theater and the house lights dimmed, the credit "A Film By Darren Aronofsky" appeared on screen. I thought to myself "Hmmm. I thought Mickey Rourke was the big thing about this movie?". I watched the movie, in awe, of it's genuineness, complexity and depth. But it occurred to me rapidly that Darren, as much as I admire him for this work on 'Requiem' and such, had very little to do with that magic that jumped off the screen, beyond my over-priced popcorn, and into my willing mind. It was the words, the performance, the style of shooting that I connected with effortlessly. And yes, Darren had a huge part of that creation and I would never deny him that, but did he really, truly, deserve the entire film?
Call me a whiny screenwriter if you will. Truth be told, I have not even enough credit to complain from experience, only from philosophy. In my latest screenplay deal, when optioned, I had it written into my contract that "Any director that any and all production companies, studios or motion picture facilities now known of hereafter invented throughout the universe, contract on to the picture in the event of purchase, development and production shall not receive “A Film By” nor “A [Directors Name] Film” credit at any point during the film’s running time, marketing, distribution or design."
Singer/Songwriter Robyn Hitchcock recalled: "I remember going to the Hope and Anchor (a pub where many folk punk acts played in London). The Pogues were all on stage and ready, it was a full house, but they hadn't started yet. Then this character shambled in through the door and shambled downstairs. I thought, 'Jesus, you're not letting that guy in are you?'. Then he walked on stage. That guy was Shane MacGowan."
If there is one thing that close friends know about me it's my unhealthy fascination with self-destructive artists and their aloof behavior, which, parenthetically, I believe contributes greatly to their creative endeavors. While these artists that fascinate me never intend such behavior it is their trend none-the-less, almost as a substratum throughout their entire life. Perhaps the poster-boy for such a character is Irish singer/songwriter Shane MacGowan; best known as the lead singer and songwriter for the prolific and influential Irish Folk/Rock/Punk band The Pogues. As you investigate their music further it will become increasingly clearer that The Pogues are to bands like Flogging Molly what The Beatles are to Coldplay.
I admire Shane. I love his music and what his music has done. I enjoy his personality and the magic that he posses and emits. I also find it interesting when fans love an artist so much more than the artist love's their fans, and for that matter, their music. A tale comes to mind, A Fairy-tale of New York if you will. It was the night of The Pogues sold-out Madison Square Gardens show in New York. Leading up to this, Shane and his band had started to drift apart, driving a wedge in the bands touring success - mainly caused by Shane's abuse of drugs and alcohol. Backstage before the show Shane was nowhere to be found, unless that is, you were putting down Guinness and polishing the bar with your sleeves at a local Irish pub. Shane had no intention of playing that night, as he grew sick of his band and his fans (I am reminded of the modern example of Kurt Cobain and song's like 'In Bloom'). Long story short, fifteen minutes before the show was to commence, a few hard-core Pogues fans, on their way to the arena, spotted Shane stumbling through the streets completely self unaware. He might have been a stray dog. Needless to say, they pulled Shane into their cab and made haste to Madison Square Gardens. The show went on and some lucky fans had a story for to tell their children (what entertainment those children find out of the story is another question. I'll get to that in a bit)
What has really begun to bother me, and is the stimuli for this entry, is the reputation that Shane is falling victim to as videos of him, at his lowest, become more popular on YouTube. Kids and teenagers poke fun at him, joke about his obvious intoxication and look up to him for his ability to consume alcohol, not his ability to write music and change the face of the industry. In fact, in that, they are probably completely unaware. I suppose this is the nature of the beast that is aging celebrity. As the previous generation that appreciated and grew with someone like Shane either dies off or moves on, Shane is still left in the boat that everyone has bailed out of. And as younger generations are ushered in they see a man like Shane for what he seems to be now and not for what he surely was then. It is impossible to recognize the arch and relevance of man when one's perspective is only that of the second half of their life, and not the first. Imagine watching only the second half of "Gladiator".
Hopefully, people who admire and respect Shane MacGowan for who he was and realize that these videos circulating the net are horrible inaccurate representations of who Shane's really was, will start to out-voice the drunkard youth. For a good read, check out a feature MAXIM did on Shane a few issues back. I forget the month, though somehow, I remember Shannon Elizabeth was on the cover;)
writing under the influence, jeffc
Shane Singing In a Pub In Ireland
Shane's Music Video for "That Woman Got Me Drinking" Starring and Directed by Johnny Depp
So here is the latest reason why, I believe, Lil' Wayne rocks...literally: his new Single and Music Video for "Prom Queen".
It was directed by Dave Meyers, whose birthday party I went to in LA. Dave also directed, in his directorial debut, "The Hitcher". He's a bit of a door-knob which is reflected in the aforementioned feature film - but he directs one hell of a music video. Look at the back up band playing for Lil' in the video; if it looks like KORN it's because it is.
