Film Criticism

Being brief, there's a lot to explore here later:

One of the films I saw at Dead Center was “For the Love of Movies: The Story of American Film Criticism” . The following panel was about the state of film criticism as well.

The film turned into a film snob rant on blogging and the internet and how it is killing film criticism. It was easy to feel inadequate as I quickly flashed to my favorable review of Iron Man 2 and even claimed Pepper Potts to be one of the best written female roles in cinema. Yes, I said that. I'll back it up in a later blog.

I also thought about how I do not invoke the entire wealth of film knowledge in to my reviews. And I felt like the group of girls in the film history class that all said they liked Transformers 2.

But here is what I've processed so far. I do know film. I could easily reference any French film with popular culture and tell you why any film didn't work perfectly. I can also tell you the real reason why no one cares to see French films - it doesn't have anything to do with reading the screen - it's that French films have recently failed to expand on and evolve with film grammar. They still largely rely on the fact that they are French.

(I've digressed - imagine that). Anyway,
the reason I don't pull on my vast knowledge of cinema, and quite possibly the reason why critics are losing jobs... is because there is a very clear difference in a review and in film criticism!


Explain to me how you can really provide a powerful discussion and criticism of a film without giving away major plotpoints. And in doing so, changing how the movie is seen. And in doing so, changing the experience and possibly breaking the connections and contexts you created. And then what benefit did you provide a reader?

On top of that, it's commercialism, not the wide variety of morons on the web, that have given way to an attitude of watching only what is new. And that's just the way it is. Too many films are out there now and people want to see what's new.

So to "review" a film and invoke a context (what the director of the documentary claimed is what good critics give their review) that is not accessible by the audience you are writing for is simply the critic showing you how smart they are... intellectual masturbation. And I'm just saying, you are probably going to lose your job writing reviews for the paper.

When a critic pulls an attitude that downs "blogging" and other mass pop mediums and plays it off as silly, I have to take an issue as an Educational Technologist. And when they act as if they are better than mass culture because they enjoy French films and won't review new films because it's pop culture and "I am just going to hate them all anyway", it's hard to feel sorry for them for losing their job.

I enjoyed the film, I loved the panel discussion (as much as I got to see), and the director did say he wasn't anti-web or ageist, and that if he could re-edit he would change how that attitude was portrayed. But you couldn't help but feel the animosity directed toward anyone without a cane or nose in the air.

And so... I've regrettably defended pop culture... I need to take a break... I don't feel so well...

I walked into that film with an attitude that I was know-more-than-you auteur and walked out re-evaluating myself. And feeling the need to defend my reviews. More on this self-made dilemma to come.

Mark one up for DeadCenter Film Festival for making me think.

Iron Man 2 Review

Go see this in theaters. If you are able, go see this movie in IMAX (not the "IMAX Experience" - theater conversion thing - unless you're a sound connoisseur with money to spend, it's NOT a 7 story IMAX screen).

It's too much fun to miss.

Iron Man 2 is what a sequel should be. There's bigger action set pieces, but Favreau lets all that be motivated. There is an honesty to this movie that Michael Bay could really take a lesson from. Favreau's treatment of big action and sex appeal all comes from the characters, it hardly even comes from the plot. And that's what makes the action better.

RDJ is, once again, fantastic. Wait for a small moment Stark spends in the company of his father's memory, and you'll buy anything Stark will deal with or is capable of.

One of my only issues with the first movie was the writing for Pepper Potts. She was, at first, written as a strong woman who took nothing from anyone and did her job well. She later turned into one dimensional damsel in distress, running with flailing arms from the badguy. I thought Gweneth saved the movie by playing it with such great blankness to the script that she nearly pulled it off.

In this film I came to better understand Pepper Potts. And it has saved the character in the first film for me. Paltrow is given so much more to work with but her character stays very true to what my original issue was.

And honestly, I admit the "issue" with the character a bit sheepishly. Apparently I wanted a one dimensional character and thought Paltrow was infusing life and connection between two separate flat characters. After the second installment, I'm won over by Pepper. She is one of the better written women in cinema (I say it unapologetically). Women are traditionally treated to one dimension in movies, and Pepper Potts is far from it. And Paltrow gives us the perfect portrayal. She is a woman. She doesn't want physical fighting. She doesn't have training or the desire to get in to combat. But she DOES take care of business. And she isn't afraid of anyone when it comes to matching wits. Pepper Potts is essentially a normal, innocent human being in a world filled to the brim with one or the other - super power people or fleeing bystanders.

Even though Don Cheadle opens us back to Lt. Rhodes with a line meant as much for the audience as for Stark, "I'm here, let's get used to it, let's move on," you can't help but draw comparisons of Cheadle and his former embodiment, Terrance Howard.

I liked Terrance Howard better. Don't get me wrong, I love everything Cheadle does, and he was very good here. It's just that Howard has this constant sense of discovery and humility all over his face, but then he is unbelievably cool and in control at the same time. Howard's presence was the perfect play off of Downey, Jr.

But what are you gonna do? You got to hand it to Marvel for knowing their budget, giving their terms, and not getting bloated over their success with one film (like so many others, including a little Batman and DC debacle we still haven't recovered from). They're an exciting studio to watch because they are turning a lot of things in the business on its head.

Ultimately Cheadle is the only possible replacement, and he does well. I wonder if most of what I miss is just from the inescapable comparison, and not a real judgement of chemistry.

But, see the movie... Now.

I'm Over It... OK, I'm Over Myself

So... I think I owe The Dead Center Film Festival an apology letter.

Let me first say, that the intent of this blog has a little bit to do with venting the fears and frustrations and triumphs of an independent film maker. And with that sense, even while I'm having a nervous breakdown over the first cut of my film, or when I'm dropping into a depression over getting a rejection letter, or when I'm writing nonsense stream of consciousness while I edit, it's existentialism.

I know fully well the world is not ending. I know fully well it looks ridiculous and might not be perceived with the full intent of my tongue-in-cheek attitude, but never-the-less, I feel I must vent. And not just for myself, but also because: I hope this to be a journal of fears, frustrations, triumphs, bombs, and insight from me to the reader - those of you who might care what goes on in an independent filmmakers head. So maybe you'll know you aren't alone, or maybe you'll know you are in better shape, or maybe you just want to take the ride with me for the fun and interest.

So... Without Further Ado.

Dear DeadCenter Film Festival,

I'm sorry I expected you to accept my half-finished movie for your film festival. I apologize that I thought I was a shoe-in for the fest because I have a really good concept and vision and because my production phase was so awesome, complete with great crew and cast. I expected less of your film festival and for that, I apologize. You will see a different film next year... and it will be one of the few entertaining selectees from the hundreds of crappy and mediocre and even good movies you reject. Can't wait to spend the weekend with you, DeadCenter.

Sincerely,

Jacob

Extract: Not Quite Office Space

I finally got to see Extract.


Bottom line: this is a funny movie. *This is an enjoyable rental. *Ben Affleck is the greatest supporting actor of our generation. *Jason Bateman continues to impress by being absolutely brilliant as the everyman with the slightest of movements around his eyes and in his choices. *Mike Judge writes and directs strong and full characters once again.




**Something didn't quite work.


What?... I'm not exactly sure.


It could have been the expectations of Mike Judge as he continuously walks in his own created shadow of the highly quotable and BEST MOVIE OF ALL TIME... Office Space. That will sometimes do it.


I think it might have something to do with the fact that the plot is not nearly as innocent. It plays like the continuation of Office Space. The world is set up well, the characters are hilarious and consistently dragging each other into situations over their head, but it's dealing with cons, adultery, drugs, and some female characters that just aren't likable. Ultimately, this ruins the "escape the mundane" aspect that Office Space played off of, which in turn takes away the existential comedy of the situation.


It's hard to be existential when the situation is as terrible as the characters perceive.


Extract probably shouldn't be compared to Office Space, but Judge makes it really hard not to. There are parallel characters and plot elements, and the fact that it's dealing with the work environment like no other films really tend to do - makes the comparison inescapable. And there, is possibly where the movie ultimately fails. Fail is too strong of a word. Rephrase:


There is where the film ultimately shows why it didn't succeed in theaters or on DVD the way Office Space did, or the way the studios probably thought it might.


Rent with no expectations... and when the kids are in bed = have a good time.

Help. I've fallen and I can't get up.

Artists are quite often known for being manic depressives. I've hit the downswing here.

My short film "Do You Want to Go Out?" was rejected from DeadCenter. I even entered in the Oklahoma category. The logic being that because I knew what sound was, because I actually used some professional equipment, that I'd be a shoe-in. And I wasn't.

It could be because I turned in a half finished product. One that was too long in the beginning and too sloppy in the end. A version with no soundtrack, uneven color, easily corrected mistakes left in, and well... let's face it folks... bad  sound. All those things I can tell myself, but I really don't know what they thought. It sucks to be rejected.

Especially after my last short some 4 years ago was dreadfully low quality. Especially to know that unless you are in a film festival you won't get sincere criticism, you just get a lot of "Oh that was good," junk. When it's an objective crowd, they really are judging your film - and it's gut-wrenching to hear, "not good enough" - especially when you're competing with a limited crowd. It's devastating to not be able to produce content but once every two years and know that you didn't live up to the standard that was created from successes in college. 


It's like I'm a brilliant director stuck inside the body of a lame producer. My producer won't let me do work, my producer won't line things up to keep me going.

And to know, that I chose a path that meant I had to be good every time- and often -or I would be doomed to doubleA ball with never a shot at The Show. I'm that pitcher who's mom made him go to college instead of taking the draft and he ended up throwing out his arm.

More than anything, I just needed a win.

Not sure why I looked to a film festival for the win in the first place. But sometimes you need confirmation that you belong. Even when you've had that moment 20x before. Even when you've stood next to giants.

Maybe my film WAS rejected because it's not good as a half-done, but that continues to be my excuse. Limited resources/access/time. I keep tweaking "that", I keep waiting to get "this" right. Others do it, they do it all, they get work done. I don't get it, but,


It's like I'm a brilliant producer with a whiny prima donna director stuck inside. The auerture won't shut up and make the movie, he needs his latte to be correct, he needs his space to be clear.

Wake up Call: The Business Plan

<---A helpful book for starting out

Last week I took a second run at my business plan for film. Every time I dig in, I get so excited about the future of this business. When I walk away, all the crap of life and my artistic mind wants to throw more into it, tell me how hard all of it is, and tries to overwhelm me. It often succeeds. It is why I'm only on the second draft of a business plan investors need to know about.

Too many of us treat ourselves as "filmmakers". Well, I'm sorry, but unless you work at Kodak, or Fuji, you are not a film maker. I am not a film maker. We all need to get it through our heads so we can move on and stop expecting someone to give us an aurteur contract because we can dissect Francis Ford Coppola films.

You are hardly an artist. Just because you know the art side, just because you make a movie and inject something Scorcesse or Lynch has done into your story, just because you can break down exactly why a Michael Bay movie is awful (and I'm talking about myself here too) doesn't mean you are "above" the business nature of your medium. This is a wake-up call, Jake.

The moment you apply a story to your art, you have become an entertainer. And entertainment is a business, there is no way around it. Your market might be stuck up film snobs like yourself, your story might be for pure art reasons. But any time you want to hold an audience captive, any time you would even like the idea of them paying for it, you are a business person.

Even David Lynch is subject to budgets, schedules, marketing, audience turnout, and ROI (that's Return On Investment for you ingenious aurteurs out there).

Here's what I've learned:

• Your art will not go away. You have a unique vision - inherently - no one else sees how you do. Therefore your artistic nature is not a trick, if you don't think about it, if you set aside thinking about your "art", it will not make you worse because you aren't thinking about it
• So start learning the business. Stop watching more movies for a month, and research on how the movie got made. You will only lose time by putting off stepping towards business.
• MOVE FORWARD, or, as I will condition myself to think = MFF. I will let you fill in the blanks there, but I had to use the middle one to get some emphasis on FORWARD. My first draft happened months ago because I finally sat down and said "I'm doing this". Because of that moment on that day, I'm done with my second draft today. But only because I did that first one months ago.

Finally: Rely on other people. Being an artist is a lonely gig, it comes with the territory. But you aren't an artist until you start creating art, remember? And you can't create art until you do some business.

• Which makes you a business person right now. Your business is failing. Because business is not a lonely gig. Understand your business and then get people excited about helping, people who are business people - not other aurteurs like you! How's that supposed to work? You will need marketing people, producer people, and people who know people. Start collecting business cards.
• Like a movie without a screenplay - you don't have a viable business without a business plan. So start writing the business plan. All those people you are collecting cards from have no idea what making a movie is, but if you can relay what making a movie is in terms they already know... How exciting will that be to them to understand the magic behind a movie suddenly?

That's all. Stay tuned for more on HOW to write a business plan. I'm no expert, but I sure have done exhaustive research. So I'll relay it to you. Not to mention, if you don't know anything about Oklahoma Tax credits combined with the federal government's incentive for investing in film, you are missing out. 

There is no other business that can guarantee 70% of an investment will not be lost. Not to mention, at the same time providing the potential of the return to be so massive (how much did the $10G film Paranormal Activity make at the box office?)

Oh... and MFF. Let's go.     (that's "flip"... by the way... like a, uh, front flip, you know... flip)

Blogging While Editing 4 - DYWTGO?

Really didn't want to edit from my office, but a 24" screen beats a 13" any day. I don't know if I can stick around here for very long. Last time I worked in my office late, I got locked in the parking lot on campus. Luckily someone left one of the gates' padlocks off. But I found that after quite a bit of panic.

Working on the exterior apartment sequence. It's really important to get each beat in the scene right. We didn't get a take with every single beat right. But each take has at least one beat that is just golden. I wonder if it's just me as an editor, though. I didn't see it that way when we shot it. I tend to look at each beat as its own moment when I edit. I think that's why my highlights are topnotch. But when it comes to the scenes themselves, I really put so much time into each moment. And as I found out with the final scene, that doesn't always work all that well.

Saw myself on camera. I think I might be a vampire. I. am. white.

The Apple Magic Mouse is AMAZING. I love being able to jog back and forth with the sweep of finger.

Kelli has some great ad libs that are so low I never heard them until I started editing with quality headphones. Mike is a lot louder and it skips over him. Note to self: use two channel audio every time. I'm able to bring his volume down and hers up. It's great.

It sucks to kill your darlings. But I suppose that's just what good writing is.

I've been editing for the last hour with my fly unzipped. Good thing I wasn't Ustream-ing my editing progress.

Kent just sent over the coffee shop sequence with timing and sound. I'm rendering now. Can't wait to see it. I just sent him the exterior apt scene for color and sound treatment.

He had already timed and was working on the sound for that scene! It's like I'm out to make this guy work- I totally expressed my plan incorrectly to him. But Kent gets stuff done and seems to love tor work, you gotta love that in the film biz. It wasn't a problem for him and now this will even give me a chance to touch up the computer store sequence - which I was going to call locked so he could color and sound that one.

They just hit the lights in the hallway. I'm so glad I'm not editing a zombie movie right now.

I wonder what time the deadline is tomorrow? I facebooked DeadCenter - we'll see.

The Office sequence is cut. It is funny.