A Camera Born Before Me: My Canon AE-1

So, I have decided to re-pick up 35mm photography. It's something I used to enjoy considerably, and most likely, was a contributing force to my career switch from making food to making film. I have had other SLR's in the past, all Canon. But the first SLR I got my hands on was my Father's Canon AE-1 from 1975 (pictured here). He used it through a few years of photography studies at McGill before I was even a thought. In fact, at that age, I was more than likely a worry. Later, I would get a brand new Canon SLR (never digital) but, much to my dismay, it never captured like the old AE-1 did. I would end up pawning my new Canon and lenses in order to pay for some post production fees on my film "Six Reasons Why" and, since, photography has been but a memory (still photography that is, since, I have been capturing images at 24 frames per second).

I have picked up the good ol' 1975 Canon AE-1 once again, blew off the dust and cobwebs, and have set out to refamiliarize myself with the antiquated piece of equipment which, hopefully, still snaps unrivaled picture quality and produces a 35mm feel like no other camera I have used since.

Directors nowadays, or at least the younger ones like myself, tend to forget about the technology which paved the way for Hi-Def Video, 4K Red Cameras, P2 Cards and Hard Drives. We loosen our grip on the artistic nature of what we do and it's only when we go back to strips of 35mm film that we get a fair and conscious appreciation for the art itself, instead of simply the process.

writing under the influence, and now snapping under the influence,
jeffc

After and Afterer: Gould and Gaga

The first video, you may have seen and it may, or may not, have triggered the same surprised reaction as it did for me.  The second video I am fairly certain you have not seen, which is something I intend to remedy. 

GAGA

So, I thought she was just another campy pop steamroller who'd light up the scene for a spell and, before we knew it, would see her music gone, resting peacefully in the hokey over played concert arena in the sky. But in my most recent archeological YouTube dig I brushed off a not so ancient video of Lady Gaga exhibiting some very real musical chops. She covers 'Viva La Vida' by Coldplay. She rearranges the composition and has some fun with the lyrics on the spot.

Last night, at a dance choreography meeting for my new music video gig, I found out that Lady Gaga was singed first by her label not as a performer, but as a songwriter. When the label couldn't find anyone capable of singing her tracks, they gave her a shot at singing them herself. It begs the question, how talented is the girl? At any rate, she's definitely a lot more talented than the radio stations, ripe male teens humping their Dells and TMZ's give her credit for.

GOULD

So, that was the Afterer, and this is the After. I would say this is the Before, but it's not. Simply because, as you will hear the great Canadian concert pianist explain, he does create new material, he interprets the classics by Mozart and Bach, but, like Lady Gaga, drastically changes the arrangment and, in Gould's words "...turns performance into composition."

If you are not familiar with Glenn Gould, familiarize yourself. He is one of the most exciting, successful and progressive pianists of our time... and he's a Canuck too boot. His off the wall interpretations, abnormally low piano chair, constant humming heard on almost every one of his albums and, not least, his wickedly idiosyncratic and peculiar demeanor make him one cool and talented dude.

In closing, next time you look at a pop star shaking her ass in front of 100,000 people singing about riding a boy's disco stick, take a second to contemplate the possible depth of that character. Their dreams, plans, talents and other things that fly under the radar of larger-than-life pop music. And, if you fail to see the connection between Gould and Gaga, crawl in a dark moldy hole somewhere and never come out, for you lack even the rudiments of progression and open-mindedness.  

Bring it.

writing under the influence,

jeffc

Not A Review: "L'Ours" ("The Bear")

First off, this isn't a film for everyone - in fact it's quite a bizarre experience. However, if you haven't seen "L'Ours" (or "The Bear" for all us anglos), you probably should. This evening I watched it, and I don't think I will ever be quite the same. 

It's a French film, you may have guessed via the title, and there is little to no dialogue, or narration for that matter, throughout it's entire duration; an artistic decision I have respect and intrigue for, as my tool for story telling is clearly words - which could be my crux.  I watched the un-subtitled version, so even when there was sparse conversation between the two villainous poachers, I  had absolutely no clue what they were babbling on about, which, by the way, didn't seem to effect the story's comprehension at all.

The film, to boil it down in simplest terms, follows an orphaned bear cub through the B.C. wilderness as he searches for new guardians, escapes (but not always) the poachers and fights to survive (no, this is not animated).  What sounds like an amusing and educational movie is actually an emotional journey which will put a severe strain on your inner animal lover and/or human hater.

I am still not sure as to how they managed to capture this crowning achievement of not only nature photography but it's innate story as well. Being shot in '88 adds even more mystery to the mix.  The camera angles, lighting, scenarios, conveniences and coherence could furnish the same sort confused mesmerization that one would suffer from while watching "The Hills" on MTV. Is this real? How are they catching this? How much is staged? Is that a man in a bear suit?

In any case, "L'Ours", from the opening scene, locks you into an emotional roller-coaster that makes "Hotel Rwanda" feel like a tacky Van Wilder romp. If you get the chance, check it out. 

And remember; this is not a review, I merely watched a bizarre film that I was compelled to share with you, and, in no way intend to critique it. 

"The Greatest Thrill Is Not To Kill But To Let Live."

writing under the influence,

jeffc

10,000 Words and Some Missing Vodka

Well, after a not-so-grueling rewrite on "Roll The Hard Six", we have a script that is much more complex, emotional and well written. Always a weakness of Campagna Brothers writing (and in all probability why we didn't include ANY female roles in "Six Reasons Why"), is the writing of female gender characters. They always seem, after the 1st draft at least, to end up with very little dimension and necessity. We use them merely to move the plot forward, which, admittedly, is a horrible literary and cinematic crutch, and, something we hope to have remedied on our latest love child.

Between that, hitting the 10,000 word mark on a concept novel/series of short stories/who-knows-what-the-hell-it-is, getting a poem into The New Yorker for review and a couple half decent blog posts earning me a "Blog Of The Day" award, it has definitely been a prolific few weeks. 

Hopefully I can maintain a certain degree of momentum and, with all luck, pull myself out of this horrible slough where the failure is almost palpable and the vodka bottles don't last long. 

I'll have a proper blog post up in a day or two... promise.

writing under the influence,

jeffc

Blog Of The Day: WINNER

So, "A Writer Under The Influence", for what it's worth, has won a "Blog Of The Day" award.  As a new blog with no clear direction or message, this is a very special accolade and we here at 'A Writer Under The Influence' (me) are very appreciative of it.

writing under the influence,

jeffc

Gone Writing: "Roll The Hard Six"

For the next 72 hours, I will be locked in a random suburban hotel room rewriting the script for the "Six Reasons Why" follow-up; "Roll The Hard Six" with the film's co-writer/co-director, and my brother of 26 years, Matt.

Hopefully, I will make it out alive, and in a perfect world, so will he.

writing under the influence,

jeffc