1. The Tree of Life – Terrence Malick
With the films of Terence Malick you can expect fascinating stories, rounded characters and stunning visuals. His captivating films always turn out to be a work of true beauty and I have no doubt The Tree of Life will be one of my films of the year.

2. Essential Killing – Jerzy Skolimowski
Bit of a personal choice this one, but I’m giddy at the thought of a film that resembles Rambo and stars Vincent Gallo.

3. Black Swan - Darren Aronofsky
Many people around the world may have already seen Aronofsky’s latest film, but with a January release date for the UK, it’s a film I’m itching to see. Although I enjoyed The Wrestler, I’m aching for Aronosky to return to his weirder beginnings, as seen in Pi and Requiem for a Dream.

4. Melancholia – Lars von Trier
A new Von Trier film is always an event and the latest offering from the eccentric Dane looks as intriguing as ever.

5. How I Ended This Summer – Alexei Popogrebski
Winner of ‘Best Film’ at London Film Festival 2010, this is the story of two men working at a remote meteorological station on a Russian Arctic island. If the whole film’s cinematography is as sumptuous as the trailers, we’re in for a treat.

6. True Grit – the Coen Brothers
Many may have groaned when they discovered the Coens were remaking True Grit (lets face it their remake of The Ladykillers didn’t turn out too good), I for one was damn excited.

7. Armadillo – Janus Metz
Like a Danish Restrepo, Armadillo looks as if it could take the war documentary to the next level.

8. Never Let Me Go – Mark Romanek
Having made his name in the world of the music video, talented director Romanek takes Kazuo Ishiguro’s critically acclaimed novel to the big screen (if only it didn’t star Keira Knightley, this could be higher in the list).

Read the DN review of Never Let Me Go.

9. 127 Hours – Danny Boyle
As with Black Swan, this is another film many around the world will have already seen, but with an early January release in the UK, we’re still eagerly waiting to see the latest Boyle effort hit the big screen. It may not feature Bollywood dancing, zombies or a trip to the sun, but with Danny Boyle you always have high expectations.

Read the DN review of 127 Hours.

10. Rango – Gore Verbinski
A strung out chameleon looking a little like Johnny Depp in Fear and Loathing in Las Vegas (and definitely sounding like him), wanders into a Western town in need of protection. I’m not a big fan of the work of Gore Verbinski, but if they all looked as good as Rango, I could easily be turned.

Before I continue I’d like to make it clear that this post is neither a defence nor indictment of the work Harris and Pegah Faramand did in bringing Prostitutes of God to screen, but rather a jumping off point for a discussion of the considerations needed and problems which can still be encounter long after the cameras have been packed away when documenting people’s lives. OK, so now that’s out of the way on to the discussion at hand.

The main source of opposition to Harris’ presentation of Devadasi (‘Servant’s of God’) sex workers in Southern India comes from the sex worker rights organisation Vaishya Anyaya Mukti Parishad (VAMP), who wrote an open letter to Harris and VBS, calling them out, which begins as follows:

The film-maker Sarah Harris ingratiated herself with VAMP whose members agreed to allow her to film them. What resulted are films that are both insulting to the people who agreed to participate, and misrepresent the culture, religion and context in which the women portrayed do sex work. It must be noted that those portrayed did not sign release forms.

It goes on to highlight various areas where VAMP feel the documentary was lacking in both facts and interpretation. A hot button topic such as prostitution tends to split people into camps, most often; It’s exploitative and should be banned completely vs. this is a legitimate job that has always taken place, therefore its workers need to be protected just like any other workers. It’s evident from their work, VAMP agree with the second of these views and feels that Prostitutes of God is a “sensation seeking” piece of work “that does not depict reality or raise issues related to sex work in any meaningful manner.” As she mentioned in our interview, the idea of sex workers being provided with the support and protection they need is something Harris also agrees with, and her intention with the documentary was to “Shy away from any kind of moral judgment,” (15:47) and “Let the woman’s stories speak for themselves” (14:35). Harris and Faramand reiterated this stance in their live webchat, as well as briefly commenting on VAMP’s accusations. Unfortunately, regardless of Harris’ intentions, VAMP and some of the sex workers featured in Prostitutes of God don’t believe the final documentary comes close to achieving Harris’ goals and were prompted to issue a rebuttal video.

Even if I was inclined to, it’d be impossible for me to get to bottom of the issues surrounding Prostitutes of God and VAMP’s concerns with the film. What is clear, is that a filmmaker, regardless of intent can rarely foresee how their work will be received.

I was curious to know what type of film VAMP would like to see made on the subject and it turns out that the organisation had recently commissioned past DN guest Kat Mansoor from Animal Monday to create a documentary about VAMP’s work in India, which provides a different view of the communities involved in the sex trade.

Save Us From Saviours from adam lavis on Vimeo.

Podcast

There are two situations in which the audio interviews for DN are recorded; live and in person or (by far the most frequent) remotely over Skype.

For the face to face interviews I’m never without a pad, a pen, headphones and my Zoom H4. Despite looking not dissimilar to a taser (which is frequently a good pre-interview icebreaker), I love this recorder. As well as being solid in the studio, it’s perfect in the field. It has two 1/4 Jack/XLR (with optional phantom power) inputs which means you can use pretty much any mic you wish with it, however I tend to let the built in XY crossed pair electret mics do their thing and have never been disappointed. A word of warning however; you can’t hold the H4 and record on the built in mics without including handling noise. I get round this by placing it on a table/solid surface and reminding my guest not to bang, tap or drum on it. Back to the positive, both the memory (SD cards) and batteries (standard AAs) are switchable so no worries about running out of space or power.

The studio set up is a little bit more fiddly and comprises: A Shure 555H Series II mic & boom arm, MacBook running Skype, U-Control UCA202 USB interface, Onyx Satellite mixer, the Zoom H4 and Sennheiser HD 280 headphones. I could easily record the Skype interviews on the MacBook, but I’m paranoid and like the control of using a Mix Minus set up, eliminating the worry of losing an hour of interview if my Mac decides to crash.

I then take the raw recording into Soundtrack Pro for editing and mixing (BTW – getting your head round the Spectral View will make editing so much easier), bounce it to iTunes for tagging, and upload to Libsyn. Hosting the podcast files at Libsyn lets me avoid unexpected bandwidth fees when episodes blow up.

Finally I log into the DN WordPress to create the post, using ImageWell to resize/crop images and TextExpander to take care of the repetitive text and html code. Job done!

Site

If you’ve been visiting the site or reading the full feed then you know that we’ve got a lot more going on than just the podcast, which has meant I spend much more time surfing for films and posting to the site.

I used to do all this from my MacBook but a new addition to my gear and a recent loan are making me reconsider my workflow. You may have noticed the presence of an iPad in the top picture, which in the six weeks since I’ve picked it up has pretty much become my default ‘computer’ – I only return to my MacBook begrudgingly to watch Flash videos or edit audio/video.

My iPad is perfect for checking in with other film sites via NewsRack, watching films on Vimeo, editing pictures with PhotoPad and posting to DN – although I have to use the WordPress web interface as the official iPad app is worse than useless! All I’m really lacking is a decent audio editing/podcasting – tried Caster but it just didn’t cut it – and video editing app.

As I spend most of my time swaddled in Wi-Fi I decided to save the extra £100 for the 3G model and had a vague idea of the possibilities of carrying around a personal hotspot if I ever needed it, which I did a few weeks ago. The kind folks at 3mobilebuzz let me borrow one of their MiFi units which killed that problem dead. I blogged on the bus, on the train and didn’t have to hunt down a Starbucks every time I came to a rest. As long as there was 3G reception I was fine. It’s a forgone conclusion that I’ll be adding a MiFi to my on the go set up. I can see it being particularly useful when El Vez, Neil and I decamp to the London Film Festival later this year.

So those are the workings behind DN. If you have any app recommendations to get me fully committed to the iPad or questions shout in the comments.

The site does indeed please the eyes but there’s something more. Something, fun. It’s a simple idea beautifully realised and instantly Salt Films becomes an organisation I want to have dealings with.

Whether it’s Christina Ricci
“I don’t like her,” Gallo continued. “She’s an ungrateful c- – -. But it was OK. She’s basically a puppet. I told her what to do and she did it.”

Roger Ebert
Chambers might in fairness have explained that I was responding to Gallo calling me a “fat pig”.

or Pete Red Sky
When Gallo returned his attentions to the messy project he’d left behind, it wasn’t Pete Red Sky’s The Funeral Director anymore. Now, going forward, it would be Promises Written in Water, written and directed by Vincent Gallo.

He certainly likes to leave the Earth well and truly scorched in his wake. Well all the above was a mere appetiser for the choice words he dishes out for Steve Soderbergh, Wes Anderson, Spike Jonze, Sofia & Francis Ford Coppola, et al in his Hikari Takano Interview (which you probably want to avoid listening to around the kids, work, any of the people mentioned above).

I’m reminded of Miki Berenyi’s warning in Lush’s Heavenly Nobodies:

But do you really want to meet
The ones who write your dreams
Believe me, it’s a fantasy
You won’t like the reality

Oh well, let’s watch a low res copy of the Honey Bunny video instead and keep admiring from a safe distance.

Vincent Gallo – Honey Bunny on MUZU.

If you’re a filmmaker and looking for a little portable help in pre/production/post then chances are you’ll find it in the Apps for Cinema Artists. I know I can be a little iPhone-centric when it comes to these things, but you’ll be pleased to know the list is completely platform agnostic.

via @adamprocter

That’s the thing with film festivals, you’re literally drowning in screenings, panels and events but such abundance makes finding your way all the more difficult. When it comes to sourcing films to feature on DN, I’m more than comfortable with the scratch and peck around the net’s haystack of video to pull out the gems, but then I have blogs, comments, links, tweets and reviews to show the way. There are 55 features with world premieres (not to mention the shorts) here at SXSW this year, which pretty much negates any of my usual focus narrowing tools.

Of course there are films which are proceeded by a tidal wave of hype and expectation – Kick-Ass, Micmacs, The Runaways, those with directors whose work I already have a weakness for – Cyrus, Four Lions, or just films that have appeared on my radar because of a recommendation or some other forgotten reason – The People vs. George Lucas, Serbian Film, Dogtooth; but in a festival of this much depth that still leaves a lot of discovery to be done. Which also means that I’m barring myself from any repeat viewings; American: The Bill Hicks Story, Trash Humpers and Enter The Void, I’m looking at you!

So for the next 9 days I’ll be making my way through the programme, grabbing as many interviews, clips & pictures as I can and sharing it all here on DN. Watch this space…

I defy you to pay a visit to Christian Annyas’ project The Movie Title Stills Collection and not get sucked in by the parade of ‘hundreds of main titles from feature films, from classic and recent films’. You have been warned!

via @aliarikan

The short film has taken many forms and styles through the years and with the rapid development of technologies and software over the past decade or so, we have seen the medium evolve to a whole new level. In recent years, the equipment needed to create films, whether live action or animation, has not only become cheaper but more readily available, resulting in not only an increase in quantity, but also quality. Animation is one format which has definitely seen a vast change in techniques due to the advancement of tools available for the artist and the increasing popularity of CGI has seen the boundaries between Live Action and Animation become increasingly blurred.

Alex Roman’s full-CG animated piece, The Third and The Seventh, is one such film that strives to push the boundaries between the real and the computer-generated image. The world he creates is so meticulous and rich with detail, it’s hard to believe the spaces only truly exist on a hard drive somewhere. Equally beyond comprehension is the fact that such a stunning piece of filmmaking was created by just one man, a testament to not only hard work and dedication, but the advancements in animators’ tools I referred to above.

On first viewing The Third and The Seventh, I had no idea I was seeing a completely digitally created image and initially thought I was witnessing some of the most vivid and dramatic cinematography I’d ever seen in a short. It was only after realising this was an entirely animated piece that I was truly stunned and have since had to watch the film over and over in disbelief.

Like many debated pieces of art, Roman’s film is bound to split opinions and where many will love and appreciate its style, pacing and atmosphere, many others may dislike it for its lack of narrative, drive or attachment. A few on Vimeo have already questioned the film’s claims to be a ‘FULL-CG animated piece’, dismissing it as ‘too good to be true’.

Personally, I found The Third and The Seventh not only mesmerizing and breathtaking, but also a little touching and profound. A tribute not only to architecture and nature, but also to a digital art often seen as cold and clinical.

I’m often drawn to short films as they offer filmmakers the scope to attempt things they never could over a longer duration and this is certainly the case with The Third and The Seventh. Its charm and appeal is something, which might wear off over an extended period. Narrative pieces dominate the short film world because of the readily made involvement and participation they provide for the viewer. However, I hope there’s always a place for inventive experimental shorts as exhilarating and inspiring as Alex Roman’s.

The Third & The Seventh from Alex Roman on Vimeo.

Esther May Campbell has released the September DVD Film +CD of soundtrack + recipe book (yes recipe book!), all bundled in an elegant little package – a steal at £12.

I’m yet to get my hands on one, but my birthday and Christmas are only a few weeks away *cough*…

If someone was to ask me who my current favourite director was, despite some close opposition from Jim Jarmusch, Lars Von Trier and Park Chan-Wook, I would have to pick Michael Haneke. Although, I have to admit my discovery of Haneke’s films was somewhat by chance. When I was younger I was very much interested in controversial films (and to an extent I still am) and I had a bit of an obsession with watching cinema that shocked and somewhat offended its viewers. Upon the discovery of one of these films, my friends and I would pass them around the group, trying to out-shock one and other and always trying to take it to the next level. Then one day, a friend living down my street bought me his two latest finds, Man Bites Dog and Funny Games. Although Remy Belvaux’s tale of a camera crew following a serial killer was shocking, I knew I had witnessed something so much more than that with Haneke’s Funny Games. This was a beautifully crafted piece of cinema, that instead of just wanting to shock its audience, chooses to make the viewer question their part in the proceedings.

After watching Funny Games, I not only wanted to instantly watch back what I had just seen, but also wanted to find out as much as I could about its director. Haneke has gone from strength to strength throughout the noughties and would have to be a top runner for ‘Director of the Decade’ if there was such a prize. In 2000 with Code Unknown (Code Inconnu) Haneke produced another provocative piece of filmmaking, where once again the director challenges his audience with excessively long-takes and straight to camera dialogue. A year later, the Austrian filmmaker received his first major award at Cannes, when he received the Grand Prize of the Jury, for The Piano Teacher (La Pianiste). A film in which Isabelle Huppert gives a performance of great magnitude as Erika, an uptight piano teacher bursting at the seams with sexual frustration and bizarre erotic impulses. In 2003 with Time of The Wolf (Le Temps Du Loup), the director turned his hand to the apocalypse movie and showed how it should be done by creating a film full of human despair and unanswered questions, instead of over the top special fx. Two years later with Hidden (Cache), I think Haneke’s genius was finally acknowledged when this account of surveillance and paranoia won the Best Director prize at Cannes. Hidden went on to win not only the converted prize of El Vez’s Film of 2006, but was also recently announced as the Film of the Decade by The Times. In 2007 the director took the controversial step of bringing his seminal 1997 film, Funny Games, to the masses by making a shot-by-shot, English language remake (often referred to as Funny Games US). Some Haneke fans saw this as an insult to the original film, believing that there was no need to remake such an outspoken film. Whilst I agree in some part, I also understand what the controversial director is attempting with the remake and what he’s trying to say about violence in American cinema.

“I’m trying to find ways to show violence as it really is: it is not something that you can swallow. I want to show the reality of violence, the pain, the wounding of another human being.

Recently a friend and critic who recently watched FUNNY GAMES US said to me ‘now the film is where it belongs.’ He is right. When I first envisioned FUNNY GAMES in the middle of the 90s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American Cinema, its violence, its naiveté, the way American Cinema toys with human beings. In many American films violence is made consumable.” – filmstalker

Haneke’s latest film, The White Ribbon (Das Weisse Band) is being hailed by many critics as the director’s ‘masterpiece’, an opinion which was certainly supported when the movie scooped the Golden Palm at Cannes ’09. I think to label The White Ribbon as Haneke’s masterpiece is somewhat unfair to the rest of his back catalogue, all of which are masterpieces in their own way. Although I may not agree that The White Ribbon is the director’s greatest film (I need another viewing to be honest), it is without doubt, yet another example of truly innovative filmmaking from one of cinema’s most distinctive voices. Again, the Austrian auteur chooses not to provide straight forward answers to all the questions he sets, but instead lets the audience of The White Ribbon formulate their own conclusions and readings.

In a rare personal appearance at the BFI recently, the director revealed that he “Doesn’t want the audience to look through his spectacles, he wants every member to look through their own individual spectacles”. Personally, I think the director’s films don’t leave you with any choice but to read them through your own point of view and form your own unique interpretation. Haneke’s films don’t conform to a Hollywood structure and they don’t treat their viewers as idiots either. His films will never just lay down a straight 1+1=2 formula, more like 1+1=whatever you want it to equal! After watching Funny Games the audience has no real idea why what happens, happens, but does it matter? After watching Time of the Wolf, we have no idea what has happened to the earth, what apocalyptic event has left society in this state, but does it matter? In Hidden, we never find out who has been sending the recordings, but does it matter? It’s the same with The White Ribbon, we never fully get the answers a lot of viewers might expect, but surely this is the most exhilarating thing?

In a recent interview with Geoff Andrew, for Sight and Sound, Haneke described his films as made “for adults” and then went on to declare that because of this they “may not appeal to most of those who go to the cinema these day” and I would have to agree. Intellectual, thought-provoking films are unfortunately a minority in the film industry and many people just go to the big screen for a bit of fantasy and escapism (not that there is anything wrong with that in itself). It’s just a shame more people won’t be up to the challenge of Haneke……although maybe the Ron Howard remake of Hidden will alter this, then again, perhaps not!

Even though the man himself stated he dislikes trailers, here’s a trailer for The White Ribbon anyway.

I’ve never been a big fan of TV, especially TV drama, I usually find it pales in comparison to film in all aspects of production. So when it comes to the choice of putting on a DVD or flicking through the endless channels of dross that we have available now, I’ll always reach for a film to provide some challenging entertainment and inspiration. Don’t get me wrong, there have been some exceptions, Freaks and Geeks was never given the credit it deserved and The Sopranos is for me, up there with gangster classics like The Godfather and Goodfellas. More recently, Channel 4′s Red Riding trilogy has made a massive leap in closing the gulf between TV and Cinema, by consisting of three films that would be as home on the big screen as they are on the small screen.

If you’re a regular visitor to Directors Notes, then you’ve probably already seen my passion for the first (1974) and second (1980) parts of the trilogy and I wasn’t at all disappointed by Anand Tucker’s final installment – 1983.

Like with the previous two films, the acting from Tucker’s cast is exceptional and from supporting actors to lead performers there isn’t an average performance in sight.

In this final part of the trilogy, David Morrisey makes the leap from his bit roles in both 1974 and 1980 to lead actor and main focus of 1983 with great finesse and conviction. His portrayal of Detective Chief Superintendent Maurice Jobson radiates all the signs of a man fighting a battle with his conscience as he comes to the realization, that the corruption he’s involved in is deeper than he ever could have imagined. Morrisey’s character is an almost perfect portrayal of a man on the edge, you want to hate Jobson for all that he’s involved in and all he turns a blind eye to. However, Morrisey manages to bring a little hope to this desperate character; where you know you should be waiting for Jobson’s downfall, you find yourself wishing for his redemption.

Visually 1983 returned to the dark cinematic stylings of Julian Jarrold’s 1974, instead of the cooler Docudrama style of James Marsh’s 1980 and like Jarrold’s film, Tucker’s imagery is stunning and betters a lot of cinematography I’ve witnessed at the cinema recently. It was pleasing to also find out that the look of the film was achieved using a digital camera, although I’m not sure if the Red One can be compared to other digital cameras. Tucker sticks to a distinctive palette (much like 1974) of muddy browns and slate greys which fit the period and feel of his film exactly.

The use of light, streaking across shots or dazzling/blooming from light sources in another flourish the filmmakers add to the visuals and one that could be interpreted many ways.

After intensely viewing all three, I’m glad the trilogy lived up to my expectations, as they were high after seeing the cast and production team involved in the project. I think one of the TV channels would have to pull out something very special to give me a better small screen viewing experience this year and I wouldn’t even be surprised if the films gatecrashed my Top Ten at the end of the year.

However, there’s a thoughtful post about it over on the cowfish blog that’s worth checking out if the idea tickles you.

Visually Gomorra is soaked in the bright sunlight of Naples and is a film that’s aesthetically striking, with its vibrant palette of yellows and whites. However, I have to question the choice to put the subtitles also in white! There were times during the film where I lost minutes of dialogue due to the white subtitles being washed out on stretches of beach or camouflaged by white washed walls. I know traditionally subtitles are always in white and usually it’s the right colour to use, as white stands out against the majority of other colours, but does this always have to be the case? Surely someone watched the subtitled version of Gomorra before it was released and if so, did they not think at any point – “these subtitles are really hard to read!”

In a Foreign language film subtitles are a necessity, not an extra and in my opinion they are as important as the audio itself. So why isn’t more care and attention paid to the poor old neglected subtitled?

Don’t get me wrong, not every film underestimates the power of the subtitle, there are some shining examples out there that show how a film can use the subtitle to it’s advantage.

Night Watch (Nochnoy Dozor) with it’s ‘in the print’ subtitles is one such example. I remember seeing Timur Bekmambetov’s film at the cinema and just being totally blown away by the time and effort that had been spent on the subtitles. Instead of just using static lines of text for the viewer to read, the director made the choice to have text that interacts with his film and adds to the visuals (instead of distracting!). Night Watch’s subtitles appear all over the screen, come from behind pillars and are occasionally even made of blood. “We thought of the subtitles as another character in the film, another way to tell the story.“, why can’t all directors feel like this?

Another film that takes full advantage of the subtitle is Bienvenue Chez les Ch’tis, a movie that’s charm and humour largely comes from the language used by the Northern characters in the film and something that could’ve easily been lost in translation. Thankfully though the subtitles transfer the humour excellently and instead of taking away from the film, it’s in the subtitles where most of the humour can be found.

So please take note all directors and subtitlers, enough film-goers already use the subtitle as an excuse not to watch a foreign language film (I hate hearing the “it’s like reading” excuse), give your subtitles the love and care they deserve.

Calling all Londoners, people who live near London or anyone planning to visit London anytime, you have to check out the fabulous Prince Charles cinema. A favourite of mine for sometime now, this venue is not only a classic old school cinema showing a fine mix of films, but is also a bargain (especially when you consider its location!)

Just off Leicester Square, the PCC charges a maximum of £5 a film and with it’s red draped interior, double ‘love’ seats and Pearl & Dean adverts it is the perfect venue for all cinemaniacs. I think my favourite thing with this cinema though, is before every film it shows, it displays a message to its audience asking them not to talk throughout the screening and for once these audiences actually take note (a lot of big chain cinemas don’t even seem to display these messages and if they do, no one seems to take note!)

I spent last Sunday at the PCC seeing a couple of films, starting with Tarsem Singh’s The Fall followed by Dennis Gansel’s Die Welle (The Wave), an interesting pair of films.

The Fall was almost perfect Sunday afternoon viewing, a light fantasy tale that’s extremely pleasing on the eye, but a little lacking in the content department. The Director Tarsem Singh (or just Tarsem as he is credited) comes from a background of music videos & commercials (his most famous video probably being R.E.M.’s Losing My Religion) and this background shows in his latest film. This is the director’s 2^nd feature and its release comes eight years after his first, The Cell. In my opinion, The Fall is a vast improvement on his debut feature, however, both films display what a wonderful eye the director has, for not only the imagery of his films but also the fantasy worlds within them. The opening sequence for The Fall is one of the best I have seen all year, featuring stunningly rich Black and White imagery that almost leaps off the screen, these opening titles really set the tone for the rest of the film. However, I have to admit, although the rest of the film was visually stunning, the opening was so aesthetically pleasing, I was virtually praying for another sequence like this within the film. It’s quite hard to talk about this movie without talking about the visuals, but story-wise it reminded me of a cross between Terry Gilliam’s The Adventures of Baron Munchausen and Rob Reiner’s The Princess Bride; unfortunately story-wise is where this films falls down. The story is somewhat heartfelt and touching in places, but throughout I was really yearning for some tension or drama, which never came. I think in the case of The Fall, style really won over content…..but what style!

I’d been dying to see Die Welle (The Wave) for a while now, as it has one of those stories that instantly grabs your attention whenever you hear about it. However, in almost total reverse to The Fall, where I heard so much about its visual style, with The Wave I had no idea what to expect visually at all and I have to admit I was a little surprised. Style wise it almost reminded me of an MTV movie, hip young school kids, segments of fast paced editing and lots of loud ‘rebellious’ rock music. Apart from the dark undertones, at times I did feel as if I could be watching Coach Carter or Freedom Writers, young kids from different social groups all brought together by one person, one interest (yeah I know! sounds like you’ve seen it all before, right?). However, the main interest point in this film, is what unites the kids and this is what sets The Wave apart from other high-school movies (especially as this story is based on a real life incident). Echoes of Nazi Germany are bound to reverberate throughout the film and I’m sure that’s the point, however, with the unusual subject I would have expected a more unusual film. This is where The Wave crashes (sorry for the bad pun! – but I did resist using one with The Fall!), the real life story was such a interesting social experiment and no-one could predict the outcome, whereas the film is all too predictable.

Anyway, the point of this article wasn’t to talk too much about the films, but, highlight the fantastic venue that is The Prince Charles Cinema. There don’t seem to be enough independent cinemas anymore, so we need to support the ones we still have………before they’re all gone.

It seems like only yesterday, I was kicking back with my slippers and pipe listening to the first episode of DN, when MarBelle interviewed good friend of the show Justin Doherty about the short Clandestine. Directors Notes has come a long way since this first show and I think the majority of our regular listeners will have noticed improvements not only to the Podcast, but also the site, over this time.

My input into the site mostly involves lurking in the background, sniffing out new films and posting my occasional rambling thoughts and opinions (and boy can they be rambling, as you’ll probably find out over the next couple of paragraphs). Being a technical person, my interview skills are pretty lacking to say the least and lets not even get started on how whenever my voice is recorded I suddenly sound like some mockney barrow boy. So to be honest, I’m more than happy to keep dwelling in the background, as I think MarBelle has got his interview/presenting style down and is sounding more and more like a smooth Jazz DJ every day (NICE!).

Even though I am pretty strongly connected to the DN site, I do honestly believe that even if I wasn’t, I’d still be an avid follower, as there aren’t many places out there where you get to see such a variety of Independent films, let alone get to hear about the process of making them. If I wasn’t involved in Directors Notes I shudder to think about the fact that I might not have got to see some of the jaw dropping, mind-altering films that we’ve covered over the last 100 episodes. I think every film we’ve covered, in podcast or post, has been put on the site because we really believe that the films not only deserved to be out there gaining recognition, but also truly need to be seen. We believe these are films that must be viewed, must be shared and must be discussed, whether they will simply leave you with an uncontrollable smile on your face or leave you pondering your very existence on the world.

I like to think in someway, we’re playing our part in making the Independent film world a bit more accessible to its adoring public. Back in the day if you wanted to see films of this ilk, you’d have to go deep into London to an Arthouse cinema or buy yourself a Tartan/Artificial Eye DVD – both of which I still do regularly by the way (I love my rows of Tartan/Artificial Eye DVDs – you know what I’m talking about MarBelle). So hopefully, we’re bringing a fine slice of Indie film to your computer/ipod screen, which you all enjoy and best of all…….it’s FREE!

Anyway, that’s enough rambling, hope you enjoy the site as much as we do. Please any comments, feel free to post them, we’re always interested in what you have to say.

Here’s to another 100 episodes, keep up the good work Marbelle.

Rice and Peace
El Vez

Our schedules list free entry film festivals right across the planet, all of which will accept both submission and screening copies on either small gauge film or inexpensive and accessible DV media. And, to help you plan with ease, the closing date for each festival is clearly shown.

So you can put the money you save towards that new camera you’ve been lusting after instead!

In an industry that is often cutthroat and ruthless, I think it is always worth giving publicity and a lot of respect to those artists that decide to give something back to all us fellow creative types. It is with this in mind I wanted to bring to everyones’ attention the great act of giving from director Bruce McDonald, who with his latest film The Tracey Fragments decided to let all us budding editors have a play with his footage by making it available for re-editing.

Unfortunately, I was too late with my discovery to actually get hold of the footage and have a go at editing something for myself (and from the looks of things it might have only been available to Canadians). However, the entries are definitely worth checking out, as this kind of competition and the publicity that comes with it means they’re always worth entering, whether you want to showcase your skills, practice your editing techniques or just compare your work with that of other editors.

Tracey: Re-Fragmented made available all the footage from the shoot of the film for users to download and re-edit their own related projects including music videos, new trailers or to re-edit the entire movie themselves.

The re-editing initiative also has a competitive element with Bruce McDonald and his editors selecting the best from Canada to win an Apple Final Cut Pro prize pack. The winning project will also appear in the bonus features on the DVD release of The Tracey Fragments.

The entries can be viewed online now. I’d also recommend checking out The Tracey Fragments trailer while you’re at it, looks pretty interesting.

Something has happened to PBS favorite Charlie Rose. The erudite conversations and sober intellectualism have been replaced by an absurd world where illogic, inane dialogues, and open hostility rule. The one-on-one interview between Charlie and his guest begins as usual but quickly goes awry, so much so that Charlie is warned that, somewhere, a man named ‘Steve’ is not happy. But who is ‘Steve’ and why is he angry? And why does the mere mention of his name stop Charlie cold? Using appropriated footage from a single episode of Charlie Rose, filmmaker Andrew Filippone Jr. creates something both disturbing and farcical in “Charlie Rose” by Samuel Beckett.

Long term listeners will know that we’re big fans of our buddy Seth Hardwood’s Jack Palms crime mystery podcast series. Well Jack Palms Sunday has finally rolled round and our chance to help Seth shake down the Amazon charts by buying a copy of Jack Wakes Up.

Check out the Jack Palms promo:

and you can grab a pdf copy of the book to read whilst you’re waiting for your copy to get shipped out to you.

Past guest Robert Seidel (DN065) puts his experimental approach to animation to work on a canvas worthy of his talent. In his own words: “processes: living paintings” is a 35 by 16 meter full facade projection with a corresponding light choreography, ambient music and synced sound effects shown on the 2/2/2008 in Jena, Germany.

Not satisfied with a continuous repeated loop, Seidel created a 17 minute ambient soundtrack that shifted constantly to create singular experiences with each viewing. Clever stuff!

The stills and videos look great, but do make me feel a pang of jealousy at not being able to stand out front and experience the piece first hand.

View the King of the Gypsies short

Whilst you’re at it, why not also check out the Le Donk Trailer, another Shane Meadows, Paddy Considine collaboration.

I’ll be tinkering here and there over the next couple of days so if you notice anything that disturbs your usual DN experience, give me a shout so I can figure out how to unbreak it.

Every time there’s a WordPress rev, I start to ponder updating the site with a new template. It’s not that I don’t love the Drunkey Love theme we’re currently sporting, but as things stand my coding skills leave rather a lot to be desired and Drunkey Love hasn’t been updated since late 2006 which means much like a kid forgotten by the school bus, the tail lights are moving further and further into the distance leaving us stranded by the roadside.

If you’ve seen any kick arse templates that work well with video and images be sure to give me a nod.

On a recent trip to London, I decided to take a trip to one of my favourite cinematic haunts and visit the Prince Charles Cinema in Leicester Square, to see Alastair Fothergill’s documentary, Earth.

Although I was really looking forward to the movie and I knew I was going to enjoy it, my main reason for selecting this movie, above the many others on offer in Leicester Square, was that of technological intrigue. Knowing the movie had been shot in HD, I was dying to have a look at not only how this format looked on a giant screen, but also how using more lightweight, transportable equipment would benefit the shoots.

Anyone who has reservations about HD should really see this movie, I’m a big fan of the look of Film, but I was absolutely stunned by the cinematography on show and the quality of the image. You could argue that the majesty of nature was the real reason for this movie’s stunning visuals and I’m sure that with cameras sporting a much lower resolution or dynamic range than used in the movie, you could still shoot beautiful footage at some of the breath-taking locations in Earth. However, the 40 specialist camera crews used in the making of this feature must really be credited for the closeness we get to some rare and often dangerous creatures, along with the striking shots they get in these situations. It’s hard to pinpoint exactly which section of cinematography impressed me most throughout the movie, as I was consistently wowed and in awe of the camera work on display. The use of time lapse photography was one particular favourite feature of mine. Nature / Wildlife documentaries always seem to show the true magic of time lapse and this was no exception, not only was this method of shooting used to show the life of our planet, but also the how it is evolving (I didn’t want to say dying, too morbid!) due to climate change.

Another section of the movie where specialist shooting really paid off was the filming the great white sharks battering their prey out of the water to deadly effect. To capture one of this planet’s deadliest and quickest hunters in action, the camera men employed specialist cameras which shot continuously on a four second loop, meaning this swift act could be played back at a speed our brains would find easier to process and enjoy.

The use of infra-red cameras to capture a night time lion attack on a group of elephants at a watering hole was probably a necessity, the look and feel of the section added to the tense battle that was slowly erupting. Helicopter mounted aerial shots, swimming with whales and extreme weather conditions, whilst providing even more challenges for the camera crew involved, also added to the inspiring cinematography on show.

As you could probably tell, I could talk about the cinematography in this movie pretty much non-stop until we’re all tired of hearing about it, but the main reason I wanted to wax lyrical about this movie, was because I believe without HD this movie would not have been as effective. I’m purposefully avoiding using the word possible, as obviously wildlife movies and films shot in extreme conditions have been made using Film and go back as far as Robert J Flaherty’s Nanook of the North in 1922, when I’m sure cameras were massive in comparison to today. However, just think how much more demanding this movie would have been to create if it wasn’t shot on HD. By using HD the filmmakers must have saved financial resources (HD is arguably cheaper to shoot on), human resources (would they have been able to have 40 camera crews all armed with film equipment?) and on top of this, the lightweight, portable nature of the HD camera meant that the crews could get closer than ever to their unpredictable subjects.

Personally, I couldn’t wait to get my hands on a HD camera after watching Earth, it really inspired me to push my camera skills and test the kind of shots I could get from the Sony Z1 (admittedly full blown HD’s smaller HDV brother). Now if only someone would fly me out to some of these exotic locations, maybe I could rival some of the HD footage the BBC Wildlife crews shot. For all you aspiring camera operators, lovers of stunning of imagery or admirers of the splendour of nature, this movie is a treat to behold. For all of you with doubts over HD, this should ease those worries and provide some positive points for the world of High Definition digital video. Finally, for all of you who aren’t aware exactly what climate change is affecting, then this is definitely a must.

As a Lutonian and a devoted film fanatic, I rarely get excited about the choice of films I get to view in my hometown. However, once a year I get 11 days to get truly excited about, the Filmstock festival. For those of you that don’t know what Filmstock is…shame on you!

But Fear not, here’s a brief history. Neil Fox and Justin Doherty, another couple of Lutonians with a great passion for the movies, conceived Filmstock in 1999. However, instead of moaning and whinging about the lack of decent films to watch in Luton, Neil and Justin actually did something about it and the first Filmstock began in the summer of 2000. Over the 8 years Filmstock has been running, there have been visits from legends such as Barry Norman and Ray Harryhausen, preview screenings from Christopher Nolan and Jason Reitman, as well as lots of special screenings (Jaws in the Pool, Romeo + Juliet in a candlelight church). This year’s Filmstock has moved back from the summer months and into the first couple of weeks of November, I mean who remembers Guy Fawkes anyway. As usual, the Fox and Doherty collaboration has outdone itself with what’s on offer to the film loving public:

• 94 shorts from nearly 20 different countries
• Polskistock – Filmstock embraces Luton’s ever expanding Polish community with a collection of films fresh from Poland
• Filmschlock – Filmstockers unite and discuss the worst films to ever grace the big screen
• Le Voyage dans la Lune – A night where live music meets film
• An Endurance session of extreme cinema
• A collection of Experimental films
• Documentaries both Short and Feature length

Over the 11 days I took in as much Filmstock as possible, instead of giving you a round up and review of the events, here’ s my festival diary:

Day 13
As a bit of research (yeah I’m getting all professional and serious about my postings now!) I went down to one of Neil & Justin’s Filmelab events, to hear them talk about setting up and running Filmstock (and also got the added bonus off watching Julien Temple‘s excellent The Future is Unwritten - hopefully you’ve already read that post though). Neil’s the one to take the stage tonight and it’s obvious within 5 minutes how much he truly loves films, The Clash and films about The Clash. I think the most important thing Neil gets across tonight is that although they put a lot effort into conducting Filmstock, there’s no reason we shouldn’t be able to put on similar events ourselves. Instead of asking others to screen particular films, why not put on a screening yourself? He’s got a good point!

Day 1
Filmstock 8 has now begun! The bar is buzzing, a lot of mingling is going down and everyone is talking about films. Awesome!I leave my mark on the Filmstock wall, which I’m pretty proud of.

I pick up my pass, say hello to Neil and Justin and sample a couple of beers from the full stocked bar. I turned down my ticket to the opening film tonight, as I’ve already seen Robert Rodriguez‘s ready made cult classic Planet Terror, I enjoyed it and it seems to go down very well with the Filmstock audience. Since Filmstock has not only a selection of world films, but a fine selection of world beers, I feel it also my duty to sample these along with the films, well it’d be rude not to!

Beerwatch – Punk IPA (had to be done for the name and label) & Lone Star

Day 2
I start my 2^nd day at Filmstock with short films and live music, in my eyes an almost perfect combination. La Voyage Dans la Lune is a night of engaging visuals and intriguing music featuring the likes of “Don’t Move, Play Dead!”, Creeping Jaw Society and DJ Engram. In particular, the music of “Don’t Move, Play Dead!” [MarBelle: band member Ginger John has long been a friend of Directors Notes and in fact provides the theme music for the show. He's still bloody great though!] really hits the right notes tonight, they play haunting melodies over a twisting, looping short film. The tunes keep coming through the night, as do an array of visuals, the people seem happy.

Anyone who knows me will know my love for short movies and every year the short film programme at Filmstock is something I really look forward to. The first session of shorts gets us off to a good start, the quality of the films is high, but to me one movie really stands out head and shoulders above the rest:

La Desgracia Ilega En Sabres Papel Madera – A quirky little short from Argentina, that for many reasons reminds me of Amelie, in both style and story. Director Andy Feldman delivers the story of Hernan, a boy with an irrepressible need to pull a silly face every time a camera is near, with great panache and bags of laughs. Even from the moment I saw the title sequence, I knew I was going to really enjoy this film and I did.

There were some other good films in the session and in particular Hello my Name is struck a few good notes with me, shot in crisp black and white and with a funny little story, it’s worth a watch.

Beerwatch – Sierra Nevada Wheat Beer & Sierra Nevada Pale Ale – Decided to work up from the bottom of the list. Lets see how long that lasts though!

Day 3
Unfortunately, this is the one day of Filmstock I don’t make! As it’s one of the 2 main short film days, I’m pretty gutted. Had a couple of friends go to the sessions, so I talk with them later in the day. They say the day was a real success, saw lots of films and the beer was flowing. In particular everyone seems to be raving about short film Hooded, hopefully it’ll win an audience award and I’ll get to see it again Sunday.

Day 4
Ok, so yesterday I obviously didn’t see any films, none at all! Today I make up for that with a couple of short film sessions, again the quality is really good. Not everyone hits the mark, but the when they do, they really hit hard.

English Language (with English Subtitles) definitely gets the El Vez award for film of the day. Tim Plester writes, directs and stars in this tenderly offbeat comedy about love and communication or lack thereof. As an actor Plester is hugely watchable as Mulligan (a typically English man), with a lack of dialogue from his character throughout the film, he still manages to convey a full range of emotions and makes Mulligan a truly believable character. As a Director, he flicks between styles and mediums with ease, effortlessly switching from sharp black and white images used dominantly throughout the film, to rich, warm tones of super 8 home movies. It’s as a writer though where Plester really makes his mark and the real star of this movie is his ingenious use of subtitles.

A crazy tale of boring jobs, deadly insects and masturbation at work makes Sucker – Keir Black an entertaining watch. The story is definitely the biggest attraction of this twisted short, as we come to find out how a jaded car park attendant wakes up with a strangers finger in his mouth.

Beerwatch – Blackened Voodoo (what a name!)

Day 5
There’s only one thing that can spoil a film festival right on my doorstep…WORK! So over the next five days I’m not only going to attempt to squeeze in films after I’ve finished my day job at 5pm, but also a bit of film watching in my lunch break. Taking advantage of my first lunch break of the week, I head down to Filmstock to watch the first half of Statysci/Extras – Michal Kwiecinski. As the film is repeated Thursday lunch time, if I stretch my lunch a little I should be able to see it in two instalments, not ideal viewing, but better than missing it. The first half of the film is very intriguing, as we get to see how a Chinese film crew, shooting a movie in Poland deals with a totally different culture and misjudged impressions of a nation. Definitely looking forward to the next half.

The evening brings us a Filmelab (Film Education for Luton and Bedfordshire) event called Past-Caring, a time travel trilogy made by young people as part of the First Light Movies scheme. Unfortunately, I don’t make it down for the event, which is a shame as I thought it was a good idea and would have liked to support the event.

Beerwatch – None (didn’t know if a beer on my lunch break was a good idea, looking back now I think it would have been!)

Day 6
From the moment I started writing this diary, I decided I was going to be honest and to be honest; I’m not a massive fan of experimental cinema. I like my boundaries and preconceptions to be pushed and challenged, however I also need something to keep my interest from waiving. A lot of the films in the Filmstock experimental session tonight were very well made, but not many managed to hold my attention for their full duration. I know the point of these films is to experiment with the form of film and as art their aim is to provoke a reaction from their audience (whether that reaction is positive or negative), however I felt too many of the films were too random and wandering for my tastes. Canidae – Chapter 1 – Robin Van Rijn [MarBelle: Robin joined us for an interview in EP 026] however, was one film I did enjoy on a visual level, the mix of images combined effectively and along with a hypnotic soundtrack, it managed to entrance me for its 25 minute duration. On the other hand, the last film in the session seemed almost as if it was made to test my patience, over at least a dozen points I thought the film was going to end, however, the false endings kept coming and my interest in the film was totally gone. I rarely walk out of a film before it ends, however with the start of the Endurance session looming I left the last film playing with the lonely street sweeping poet mumbling on about a paedophile puppet.

I knew the Endurance session was going to make for an interesting night and I always believed over the years I had exposed myself to some of the extremer moments of cinema…I was wrong! I arrived at the screening to find it already three quarters full, however I managed to find myself a nice coffin sized space to lay on the floor…did I forget to mention this session involved laying on our backs watching the films projected on the ceiling? After getting myself reasonably comfortable, I tried to get my brain adjusted to my new viewing angle and settled in for some family fun.

Film 1: We Fuck Alone - Gasper Noe – The pounding heartbeat and strobe effects of Noe’s film is so disorientating, it’s almost like someone has slipped something into my drink. It’s a full on assault of the senses and the barrage of masturbatory images makes this a pretty extreme start to the endurance session.

In between the first and second film Justin warns people about texting whilst the films are on. I wonder to myself exactly what these people are texting during the film:

CANT TALK! LAYING ON MY BACK WATCHING A GUY WNK ON THE CEILING! LOL!

Film 2: Cantata in C Major - Ronnie Cramer – It’s nice to see a submitted film in the Endurance session and Cramer’s idea is a good one. Using scenes of screaming from classic movies, he builds a ‘scream opera’ which builds to a crescendo over 11 minutes. Too be honest I was a little disappointed with the film though, I felt the editing could have been snappier and the screaming could have been at more consistent level, instead of the peaks and troughs it hits through the movie. It definitely could have been a more extreme experience, but top marks for the experimentation Mr Cramer.

Film 3: The Right Side of My Brain (Richard Kern) – A black and white piece of experimental/extreme cinema from the eighties, Kern’s film wanders through its female leads internal monologue as we experience her love/hate relationship with sex. Personally, I connected with this film least out of all those on show tonight, I found the structure too lose for my liking and the imagery wasn’t anything I found inspiring either. It did feature Henry Rollins though, which is always a good thing (He’s a liar, yeah he’s a liar!)

Film 4: Haze – Shinya Tsukamoto – We follow the story of a man who wakes confined to a tiny concrete room, he has a life threatening stomach injury and no idea where he is or how to get out. A film of intense horror and paralysing claustrophobia, this is certainly a film that can push its audience to its limits. This is definitely the right film to watch lying in a dark cold room on your back! One particular scene involving a rusted pipe had me shuddering on the floor. A lot of the audience left after Haze, I wasn’t sure if this was a reaction to the film, or just because they were so disorientated from the experience, they just forgot there was still one film left.

Film 5: Aftermath – Nacho Cerda – In regards to subject matter, this is definitely the most extreme film of the bunch. Dealing with the life of a morgue employee and his particular work related perversions, if you’re looking at extreme cinema and how the viewer will react, then a film with necrophilia and dogs eating human organs is a good choice. However, if you look past the subject of this film, it is a well made piece. With a slow pace that’s quite unusual in extreme cinema, it exhibits the work of a filmmaker confident with his subject matter.

Beerwatch – Charles Wells Banana Bread Beer (Banana bread and Beer – two of my favourite things!)

Day 7
For the start of the evening I decided to actually miss the screening of Mojave Phone Booth and head to my local Cineworld. Paris Je T’aime was playing as a one of the Art Wednesday screenings and I’d been wanting to see it for a long time. When I got down there I found out the screening was cancelled, that’ll teach me for abandoning my local film festival. Lesson learnt!

The night of Day 7 featured a double bill of documentaries focusing on some of the unseen lifestyles of modern day China. Beijing Bubbles focused on the struggles of wannabe punk rock musicians, as they try to live out the ultimate dream of becoming the next rock n roll superstars. Although funny in places, I found it hard to really like the film as I didn’t particularly care for the subjects. Their desire to become the next Jim Morrison or Sid Vicious made me sympathetic to them, as I felt it was a dream they would never fulfil. At the same time, I also felt a little angry with them and wanted to give them a shake and shout “go out and find your own identity!” I suppose everyone needs to have dreams though and I think I probably shared a lot of theirs when I was younger, that last comment was probably the old man in me coming out. The film was fairly well made though, had a certain punk ethic to its creation and the cameras were always in the right place at the right time to pick up all the best action. I found the second part of the double bill Women at the Wheel a lot more likeable, not that I didn’t like the first part, I just related and connected to this film more. Throughout this documentary we follow the lives of female taxis drivers in Xian, a medium sized town in China. Unlike in Beijing Bubbles where some of the attempting rock stars chose to live a life of poverty to chase their dream, in Fang Yu’s film these women cab drivers work long hours and at times put their lives at risk, just to make enough money to survive. I found throughout the film, I really cared about the subjects of this documentary; their jobs were not glamorous, at times it was dangerous, yet they all seemed to have come to terms with their situations as they knew it was necessary to support their families. The positive spin they seemed to find in their life and their glass half full approach was something I really found inspiring and this is definitely a film to make you glad for what you have. The film making again was nothing spectacular, however, the filmmakers got us very close to our subjects and it almost felt at times we were living their lives with them. The thing I enjoyed most about the films tonight and the thing I often enjoy about documentaries is that a lot of the time we get a glimpse of a life/world we may never get to see if it wasn’t for these films.

Beerwatch – Sun Lik, Sleeman Honey Brown Lager & Three Hearts Stockholm fine Festival (I was thirsty tonight!)

Day 8
My plan was to watch the second half of Statysci/Extras on my lunch break today. Unfortunately, this never happened! My lunch break slowly dissolved away sorting problems at my computer, as it often does. I guess I may never find out how this little Polish gem of a film finishes. If anyone out there knows, get in touch.

“These are the journals of Kenneth Maya: artist and psychotropic man.”

Absentia is another cinematic treasure the boys at Filmstock have managed to uncover. This science fiction puppetry epic is definitely one of a kind, produced on a budget of £5,000 over a two year period, it really is a marvel to behold. The story follows reclusive artist Kenneth Maya on an inward journey as we are taken to the depths of the human soul and beyond. I was totally stunned by this film, the array of materials used to create the film and the level of detail was amazing and in particular the use of videoed human mouths overlaid on the puppets, worked to great effect. However, this film wasn’t just an aesthetic pleasure for me, the story and dialogue was like a cross between a Chris Morris sketch, an episode of The Mighty Boosh, a David Lynch script, a Pink Floyd album and the film Innerspace on Acid. At times hilarious, often disorientating, always original, it was great to watch a film where the story challenged its viewers so much. If you get a chance to see this film, take it, you may never see anything like it again!

Filmschlock is an event that’s been running at the festival for the last 2 years and is back once again this year due to public demand. The bar area is full of people waiting with great anticipation for a night that celebrates all that is rotten in cinema, as Justin says “if you’re here for anything except Schlock, you’re in the wrong place, this isn’t the award winning films.” The night plays out with great humour and the audience really joins in with the spirit of Filmschlock, people are shouting at the screen, busting ribs with laughter and are generally amazed by the level of cinema on show. Tonight we get to witness R.Kelly in a closet, Hulk Hogan in speedos, Predator Island and The Horrible Doctor Bones, it’s so bad it’s almost good, but not quite. It’s good to see a Film Festival that’s not afraid to have a bit of fun and really a night like this should be inspiring to all the filmmakers out there. If films like this are getting made, there is hope for us all.

Beerwatch – Brok, Zbur (A good Polish double)

Day 9

After a week of watching and writing about films, my eyes and head have started to get tired, so tonight, I choose to watch only one film and save myself for the long weekend ahead. Body/Antibody – Kerry Dye & Jordan Hoffman is the film I chose, an independent feature from USA that focuses on Kip Polyard and his battle to overcome his OCD. The script is razor sharp with lots of twists and turns, however, like with many independent features, the acting lets it down in places. On his own the lead Robert Gomes is very watchable, his obsessive compulsiveness is very believable and his awkwardness and discomfort around other people, is so real it’s almost hard to watch at times. It is when Kip starts a relationship with his new neighbour Celine (Leslie Kendall) that I started to have problems with the film. The initial scenes the two characters share are almost like they could be cut together from two separate movies, the actors appear to be delivering lines to an empty space instead of each other. To me the relationship between the two is totally unbelievable for the majority of the movie, it is only in a kinky sex scene involving some pincers Kip has fashioned for himself that chemistry between the two finally clicks. Along with this, I also had problems with the character of Andy, played by Frank Deal this character was supposed to be the villain of the piece, yet I didn’t find him at all threatening and again couldn’t believe in his character. Apart from the problems I had with some of these characters, the film was still an enjoyable piece and shows what you can achieve with a well written script.

So that’s me done for the day, a quiet one film night, but I’ve got the feeling I’ll be seeing a lot more over the final weekend.

Beerwatch – Tatra (Sticking with the Polish brews…they’re GOOD!))

Day 10
As well as short fiction films, Filmstock also celebrates short documentaries and the early part of day 10 has nine of them on show. The screenings are well attended again and like the other short sessions, the quality is very high, even though not every film hits the mark. For me the stands out films were:

Absolute Zero – Alan Woodruff – An account of the grim and ironic death by freezing of a man trapped inside a refrigerated meat wagon on a train. A documentary with a bit of a narrative twist towards the end makes this an engaging watch.

Evilution – Libbey White – A hypnotizing mix of animation, archival footage and footage of a man who believes the theory of Evolution is totally flawed make this documentary a little one sided, but ultimately very entertaining. It is certainly blessed with its own unique sense of style.

What a Freegan Waste – Craig Rook – An intimate look at the Freegan culture in both the UK and the USA, this documentary provides an informative and compelling insight into a lifestyle many will have never heard of, let alone understand. The ‘characters’ in this documentary are instantly likeable and entertaining, the style flips from almost point of view camera work to animation smoothly and most importantly the films provides us with a message without seeming overtly one sided. [MarBelle: El Vez interviewed Craig on EP 064]

The evening of this penultimate day brings Last stop for Paul, a funny yet touching road movie which follows an unusual trio of backpackers around the world. The most likeable thing about this film, was that instead of pretending they were at certain global locations, like many low budget films might do, all the places shown on the film were the real locations. There was none of this shooting in the desert outside Las Vegas and pretending it was the Sahara, watching this film was almost like visiting the places yourself. Obviously this not only added to the believability of the film, but also provided some great scenery for the camera to focus on. However, not satisfied with making sure all his locations are real, writer, director and star Neil Mandt also ropes in lots of locals to play characters in the film. In Vietnam we get bunny girls in a bar, Thailand we get a machete wielding boat driver and in Jamaica we get a man who explains the phrase “Batty Face”. Although some of the acting in the film is a little ropey in places (and I’m not talking about the locals), as a movie it has a lot of charm and is hard not to like. Really this was a good choice for a Saturday night film, lots of laughs, great scenery and nothing too deep for the brain to process.

Beerwatch – Taybeh, Quilmes & Alhambra

Day 11
Last day of Filmstock 2007, here’s hoping they saved the best for last. Filmstock day 11 kicks off far too early for a Sunday, but I drag my arse out of bed and my still half asleep self down to the hat factory for the 11.30 screening of Que Le Viva La Lucha, a documentary focusing on the world of Mexican wrestling. The film is a nice light start entertaining to watch and it’s interesting to see how seriously Mexican’s take their wrestling.

The part of the day I was eagerly awaiting though, was the screening of the Audience Award Winning Shorts, basically the best of the best of the short films screened this year. Every year Filmstock gets it’s audience involved with the short sessions by getting them to vote for their favourite film of every session and as I’d missed a few short sessions this year, I was very excited to see what made it through.

Session 1 Winner: La Desgracia Ilega En Sobres Papel Madera – Andy Feldman – The measure of a good film is often in the second viewing and I enjoyed Andy Feldman’s film equally as much second time round. It’s still funny, still well acted, still well made and the plot still seems strikingly original.

Session 2 Winner: Thirty Five Candles – Stephen Briggs – This slice of black humour sees Shane, a 35 yr old Australian hulk of a man who stills lives at home with his mum, receive a birthday present he’ll never forget. It’s definitely a funny little film, the character of Shane is one designed to be laughed at and laugh we do. I like to see a bit more originality in short films, the character of Shane seems like we have something we’ve seen before, but the film is well made and well acted so I can’t really knock it.

Session 3 Winner: The Vaudevillian - Bryan Nest – A bizarre film looking at how a ventriloquist struggles to copes when he loses his job at a circus, how he adjusts to the outside world and how his unusual relationship with his dummy becomes strained. A tale of morality, Nest’s film is expertly made, the costumes and props are well designed and give a real feeling of the time period the film is set. Again for me, the unusual plot of the films is what makes it so watchable, another original idea, well scripted and well acted. Seems to be a bit of a winning formula!

Session 4 Winner: String – Naomi Wright – An almost silent short, which takes us on the quest of one man, on a journey to find the end of a piece of a string. Such a simple idea, carried out with great drive and a nice twist at the end. I must admit though this film did annoy me! Only the other day I was talking to a fellow filmmaker about an idea for a short I had, an idea where a men is on a relentless journey to find the end of a piece of string. I knew it was such a simply idea someone must have done, but the most annoy thing was Wright’s film was much better than I could have ever imagined mine to be.

Session 5 Winner: The Phonekeeper – Stine Michelsen – definitely has an original plot! Focusing around Valdemar who lives and works in an answering machine, Michelsen’s film wins points for individuality. A quirky idea which translates well to the short film format, this is an enjoyable, yet undemanding film to watch.

Session 6 Winner: New To Laundry – Isa Totah – Almost like an extended scene from a comedians sketch show, Totah’s film was highly amusing and very easy to watch . Focusing on laundry, men’s feeble pick up attempts and male camaraderie this film had something that everyone in the audience could relate to, no matter what gender, race or religion.

Session 7 Winner: Hooded – Adam Randall – A dark comedy from the UK, this was one of a couple of films screened at Filmstock this year, that dealt with the subject of the ‘hooded’ youths that now line the streets of the UK. Randall’s film is well executed and his comic timing is spot on, however with a nod to the western in this tale, it does have a bit of a moral tale, which in my opinion only adds to it’s appeal.

Session 8 Winner: Seeking Wellness Part Two: Daddy’s Time - Daniel Schneidkraut – If there was one short film on display at this years Filmstock, that I’d recommend to up and coming low budget filmmakers to watch, this would be it. The film consists of two shots and a slideshow of old family photographs for it’s whole 24 minute duration, yet it managed to keep me totally engrossed throughout. The acting is superb and even in the voiceover the lead actor manages to portray a wide range of emotions, whilst the children acting in the piece tell us so much without ever uttering a word. Schneidkraut’s film is scarily believable and his basic approach to film making just adds to that believability, it’s a almost like we have a disturbing view into the life of this very dysfunctional family. Whilst speaking to Justin about this film, he brought up a good point, if this is Seeking Wellness Part Two, is there a Seeking Wellness Part One?

Session 9 Winner: Anonymous – Cristian Pozo – A wickedly stylish piece, Pozo’s film just oozed class from both it’s narrative and aesthetic pores. The film reminded me of Barton Fink one minute and Fight Club the next, the editing was relentlessly mesmorising and overall the film was absolutely beautiful to behold.

Session 10 Winner: English Language (with English Subtitles) – Tim Plester – As with La Desgracia Ilega En Sobres Papel Madera, I was really looking forward to my second viewing of this film and just like the aforementioned film it was just as enjoyable second time round. The word quirky must have been invented solely for this film, Plester really exploits the medium of film for all the right laughs and his use of subtitles should win awards for ingenuity.

Session 11 Winner: Soft – Simon Ellis – This bitterly realistic film is another film, like Hooded, that deals with the ‘threat’ of the Hooded youth on the streets of the UK. However, unlike Hooded, this film takes a more un-nerving look at the subject of gang mentality and in particular looks at how it feels when a man is unable to protect his family.

This year Filmstock closes with Wes Anderson’s eagerly anticipated The Darjeeling Limited. It’s a good choice for the festivals final film as Anderson’s sense of flair, originality and creativity perfectly compliments the ethos behind Filmstock. I wouldn’t say it’s the director’s best work (then again it’s up against some stiff competition), but its still an inspiring piece of filmmaking, which stands head and shoulders above many films that try to replicate Anderson’s quirkiness and individuality.

After Wes Anderson’s film draws to a close, we head off back to Neil’s and Justin’s office space in Luton, for an apres festival party, one last moment of film talk, mingling and world beers before we’re done

A tired & emotional looking Neil & Justin at the Filmstock closing party – Thanks to Adam Procter for the photo

Beerwatch – Tuborg, Hite (Not really a great deal of choice left on the last night, but Hite the South Korean beer is especially good! Wish I would have discovered it earlier!)

Ok so that’s it for Filmstock for 2007, my eyes feel strained, my beer belly expanded and my brain is swimming with inspiration, looking forward to next year already.

As part of the warm up for the Filmstock Film Festival (which starts today – Thursday 1st November), its originators Neil Fox and Justin Doherty have been running a series of screenings and events under the name of Filmelab. It was at one of these events on a recent Friday night, I had the pleasure of being invited into the life of late great musician Joe Strummer, in Julien Temple’s latest film Joe Strummer: The Future is Unwritten.

As a friend of the one time Clash front man, filmmaker Julien Temple provides a very personal account of the erratic and unpredictable talent that was Joe Strummer. Through interviews from a wealth of friends and celebrities from the world of music and film (including Johnny Depp, Steve Buscemi, Bono, Matt Dillon and John Cusack to name a few), Temple shows us the lighter and darker side of Strummer. Although this personal touch does add a certain warmth to the film and we almost feel as if we, the viewer, are sitting around the fire joining in this celebration of Joe’s life, I did feel a little like I wasn’t being shown the whole story and perhaps some of Joe’s darker moments were being bypassed a little; saying that at one point in the film, Strummer is described quite aggressively as a ‘coward’.

Technically, I really felt the way in which Temple constructed his film, almost told us as much about Joe as the people being interviewed. Strummer was a man infamous for not living life to its rules and it’s almost like Temple employed the same approach to his filmmaking. This film strayed away from a lot of the classical rules of filmmaking and by employing an almost punk ethic to its approach, really captured the spirit of not only Strummer and the Clash, but the whole punk movement. In particular, as a bit of an obsessive perfectionist when it comes to filmmaking, I found the shakily shot still images and interviews lit by campfire, particularly inventive. As a musician, Strummer was almost revered, much like John Peel, for the love he showed to a wide variety of world music and this love always shone through in his music. Again Temple almost seems to have borrowed this ethic for his filmmaking, just as Strummer would borrow from Reggae & Rockabilly in his music, this documentary borrows from fiction films and archive footage to tell its story. Temple constructs a scrapbook of moving imagery from the period and in one particular impressive move, uses the story of Animal Farm to relate to Strummer’s life.

I’d say watch this film if you want to be inspired into taking an alternative approach to documentary filmmaking.

I’d say watch the film if you’re a big music fan.

Finally though, I’d say watch this film to enjoy the pure entertainment that was Joe Strummer.

Amidst the two weeks of screenings and events that was The Times BFI 51st London Film Festival sat the calm oasis of the filmmakers’ breakfasts, which along with being a perfect opportunity to load up on coffee and croissants for the day, meant that I got to speak to some of the directors with their films fresh in mind.

It’s rare that cinema takes a step back from the perceived God complex persona of the all mighty surgeon to consider the difficult and weighty decisions these people have to make every day of their careers and often with mere minutes of deliberation. I spoke to Geoffrey Smith about his documentary The English Surgeon which follows the work of neurosurgeon Henry Marsh as he travels to the Ukraine to assist his friend and fellow neurosurgeon Igor Kurilets.

Showlinks
The English Surgeon
Geoffrey Smith
London Film Festival
Nick Cave
Your Life in Their Hands
BBC Storyville
JVC HD251
Pinewood Sound
John Hillcoat
The Proposition

Every month the guys at Digital Heaven release a free video podcast called ‘Hot Tips’, which features Apple certified trainer Martin Baker letting us viewers in on all his time saving secrets. Personally, I love the podcasts, they are really well put together, Martin obviously knows what he’s talkng about and I honestly end up using most of the tips in my day to day editing. My only little complaint would be that they don’t do them often enough……..I WANT MORE!!

Has anyone else noticed how the majority of Television minutes dedicated to the movies recently seem to be assigned to the all conquering ‘List’? Every week we seem to have a new list of top movie moments, decided by some unknown panel, yet we the movie viewing public rarely get a say in these lists.

Whether it’s the 50 Scariest moments in Film, The 20 most Tear Jerking moments in the movies or the 29 worst Sequels in Cinema History, every week it’s something new and now, finally, someone has decided to give us a say.

The BFI has launched its Listmania competition in conjunction with the publication of Faber and Faber’s Ten Bad Dates with De Niro: A Book of Alternative Movie Lists. This competition finally gives us, the regular film going public, a chance to decide on your very own top ten lists, however weird and wonderful we decide to make them. Whether you want to choose the 10 best CGI moments in film, the 10 Worst Kevin Costner films ever made (I think I wouldn’t know where to stop) or the 10 goriest deaths in movie history. Not only is this competition a chance for you to share your particular likes and dislikes of film, but 10 lucky winners will be invited to present their lists at a special event organized by the BFI as part of the Times BFI 51st London Film Festival. Personally, I’m writing up my list of the top ten Steve Buscemi cameos as we speak.

Update
MarBelle butting in here, so as El-Vez mentioned above, the BFI organised a special event for listmania at the London Film Festival at which I’m currently sitting – yep got to love the combo of a laptop, wireless and an overriding OCD nature for being able to update your site in real time.

Along with book editor Richard T. Kelly a panel comprising Ryan Gilbey (film critic of the New Statesman), novelist Matt Thorne (Eight Minutes Idle, Cherry) and author and film critic Anne Billson (Suckers, Stiff Lips) are kicking about the draw of composing lists so we can agonise over their relative positions as if our lives depend on it. You only have to look at our Films of 2006 posts to see just how much hand wringing goes into it.

So anyway ten people were chosen to present their lists to us and battle it out for the position of the best top ten list…see we even have to make lists about lists.

The list makers & lists are:

• Adam Fergus – We Have All the Time in the World
• Beverly Hetherington – Top Ten Characters Who Knit in Movies (Have to admit, this was my favourite)
• Henrik Hansen – Top Ten Otherwise Wonderful Films Let Down by Naff Endings
• Sally Harlow – Growing Up in 60s/70s in Essex – Films That Left Their Mark on Me…
• Shamini Sriskandarajeh – Top Ten Actors Who Sing in a Film, which is Not a Musical
• Steve Rutherford – Top Ten Movies That Did Not Pass the 10 Minute Test
• Trine Malde – Top Ten Song Performances in Film
• Hope Dickson Leach – On the Other Hand – Top Ten Cinematic Changes of Mind
• Fraser MacDonald – Ten Video I Rented as Pubescent Teen in the 80s
• Nick Cox – Top Ten Great Cowards

I know it’s hard to believe, but Directors Notes has now celebrated its first birthday and to commemorate this milestone, I’ve actually decided to write something (something I’ve been promising to do for a while now)!

It seems like only yesterday MarBelle was giving birth to this little baby web venture and having sleepless nights as it had it’s first teething problems and adjusted to it’s new environment. However, now it’s passed the momentous 1yr mark since the site was launched, everything is ticking along nicely, we’ve reached episode 53 and we are constantly looking at ways to help the site grow and improve.

Since Directors Notes started in 2006, we have spoken to numerous film-makers from not only all around the country, but from all around the world. Personally, I’d like to thank all the filmmakers who took time out to talk to MarBelle and allowed us to show all the amazing films, we’ve been lucky enough to have on the site. Hopefully, all you out there who visit/subscribe to Directors Notes have been inspired by at least one of the film-makers we’ve featured. I know throughout the last 53 episodes I’ve been inspired numerous times:

• Jerome Olivier (Missing Pages) made me want to get into ‘Fotomation’ (it looks so cool)
• Lana Schwarcz (The Upper Hand) made me want to hang out in strip clubs with puppets
• Mark Craig (Talk to Me) made me wish I’d kept all my voicemails
• Robin King (Ten Thousand Pictures of You) made me swot up on my Post Production skills
• Robin Shaw (Phenomenal Xmas Irn Bru) made me go and buy a can of Irn Bru (but it didn’t taste good!)
• Guilherme Marcondes (Tyger) made me wish I’d made that
• Pikapika made me learn how to right back to front

To be honest every film and every film-maker we’ve featured inspired me in some way or other and being involved with the whole Directors Notes adventure has really motivated me to develop my creative skills. Hopefully, all you out there enjoy the site as much as we do and please keep coming back, subscribe to the podcast and let us know what you think about we’re doing. Only another 17 years and we can take Directors Notes for its first legal pint!

I’m quite proud of myself for seeing as many films as I did do last year seeing as I was busy being very large and pregnant for most of it, and trying to sit still in a cinema seat for an hour or so was one of the most uncomfortable things ever! I don’t think that accompanying me to the cinema was one of MarBelle’s favourite things either, as he had to put up with me fidgeting, putting my legs up on him and getting up to go for a wee every 5 minutes. Nice.

The following films are the best of what I saw in 2006. I would like to add that I tried to sneak in The Proposition but MarBelle wouldn’t let me as I saw it the year before last at a film festival. If you haven’t seen it yet you need to see it as soon as possible and check out Ray Winstone’s performance. Bloody great.

1. L’Enfant (Jean-Pierre Dardenne and Luc Dardenne) – It rocks, definitely my type of film. It manages to be grimy and gritty and beautiful all at the same time. And it’s set in Belgium so it’s social realism with a continental twist.

2. London to Brighton (Paul Andrew Williams) – Again, my type of film. I thought Lorraine Stanley was excellent as the prostitute, her character reminds me of Kathy Burke, one of my all-time favourite actresses. I love the fact that the nasty men get their come-uppance as well – that’ll learn ‘em. This was also the first film that Caleb went to see at the cinema, thanks to our local doing parent and baby screenings. It’s probably rated so high not just because it is a really good film but also because it was my first cinema outing post-baby, and I had forgotten just how much I loved going.

3. Sympathy for Lady Vengeance (Park Chan Wook) – Oh my God, I had forgotten just how much I enjoyed this film and I so need to see it again. Looking back I think that I liked the violence and the fact that there was a lady in charge.

4. The Cave of the Yellow Dog (Byambasuren Davaa) – The second feature film from the director of The Story of the Weeping Camel. The tales of nomads and their animals get me every time. Lovely stories, beautiful locations, and both tearjerkers.

5. 13 Tzameti (Gela Babluani) – Amazing story that had me on the edge of my seat. I wanted to buy this film as soon as the end credits rolled. This was one of those that I hadn’t heard much about and whose plot didn’t really grab me, but was the only film showing at the time. I am SO glad that I saw it.

6. Rize (David LaChapelle) – Man, look at them go! Apart from some of the most extraordinary moves that I have ever seen, this documentary was a really interesting social commentary on a movement that has been around for some time now. The history of Clowning and Krumping is looked at as well as the styles that have evolved from these roots. I loved the different gangs explaining what they were about and the battles. That clown make-up thing is freaky though.

7. Hidden (Michael Haneke) – Great film from a director that I need to check out more, especially after reading El Vez’s top 10. I’ve only seen Code Unknown which was amazing and which, on reflection, I probably enjoyed more than this film. Hidden was thought provoking and beautifully shot however and I just loved the interior in the dining room.

8. Walk the Line (James Mangold) – I’m really into films that tell the story about someone’s life and this film was thoroughly enjoyable showing Johnny Cash at his best and worst of times. Great music and a great man. Made me cry (again, it doesn’t take much).

9. Capote (Bennett Miller) – See above. Although this wasn’t about Capote’s life per se, it does focus on one particular period. I love Philip Seymour Hoffman and his capacity to play such different characters constantly amazes me. This film made me start reading In Cold Blood the very next day.

10. Grizzly Man (Werner Herzog) – I probably shouldn’t have laughed when Timothy Treadmill got eaten, but c’mon, I think we all think that he may have deserved it. You’re just too scared to say. I have a morbid fascination with wanting to hear that tape as well, sick or what?

]]> http://www.directorsnotes.com/2007/01/25/miss-d-films-of-2006/feed/ 0 http://www.directorsnotes.com/2007/01/23/el-vez-films-of-2006/ http://www.directorsnotes.com/2007/01/23/el-vez-films-of-2006/#comments Tue, 23 Jan 2007 18:09:23 +0000 El Vez http://www.directorsnotes.com/2007/01/23/el-vez-films-of-2006/ ]]>

For me, writing a top ten list always starts off as a fun little way of reviewing all the films (or music) I’ve enjoyed throughout the year, but then somehow always evolves into what seems like one of the most important decisions of the year….What films to include? What films to leave out? What order to put them in?

2006 was another good year for films, but for every good feature film I saw at the cinema, I saw an equally good short film online and I believe not only the quality of short films improved throughout the year, but also the places to view them online.

Anyway, these are the ten films from 2006 that I thought deserved viewing and really made an impact:

1. Hidden (Michael Haneke) – After watching Haneke’s Funny Games I didn’t think it would be possible to be shocked even more by this director, but he managed it with Hidden. A truly unsettling film, focusing on paranoia, celebrities and the gulf in social class. Haneke is slowly becoming a true maverick of modern day cinema, continually reinventing himself and pushing the boundaries.

2. Sympathy for Lady Vengeance (Park Chan Wook) – The first of two South Korean films in my top ten for the year and a brilliant end to Park Chan Wook’s ‘Vengeance Trilogy’. Everything about this film filled me with inspiration as a filmmaker, from the opening titles to the ingenious transitions between shots. A visually stunning film with a plot that would make Tarantino wet his pants.

3. Brick (Rian Johnson) – Not only an inspiration to independent filmmakers working on a tight budget, but also an inventive piece of filmmaking, mixing a modern high school drama setting with a Film Noir plot and dialogue. One of the highlights of the film is a superb leading performance from Joseph Gordon Levitt.

4. The Host (Bong Joon Ho) – The second South Korean film in my top ten, The Host is an outstanding new take on the Godzilla style monster movie. An absolute roller coaster ride from start to finish, this film is much more than just an action movie, delivering frights, laughs and political messages in one swift punch. The special effects are excellently orchestrated and the film must easily win the ‘best opening sequence of the year’ award (if there was one).

5. The New World (Terrence Malick) – Seems almost more like a poem or work of art than a film, this visually stunning piece from Malick had me mesmerized and entranced for it’s entirety. Along with his other recent film The Thin Red Line Malick once again reminds us just how beautiful a film can be.



6. Children of Men (Alfonso Cuaron) – The first of two films in my top ten directed by a Mexican. Personally, this bleak futuristic look of the Earth in turmoil, as the human race begins to crumble, is how a Science Fiction film should be. Cuaron’s use of long takes using one ever-flowing camera movement add to the gritty realism and believability of the film (and they also look great).

7. Pan’s Labyrinth (Guillermo del Toro) – The second film in my top ten directed by a Mexican. Del Toro’s earlier work (in particular Cronos and The Devils Backbone) had already, in my eyes, made him a master of the modern day horror film, but with Pan’s Labyrinth he took it to a whole new level. A brilliant mix of Fairy Tale Horror, cut with the brutal setting of the Spanish Civil War makes this film essential viewing.

8. The Three Burials of Melquiades Estrada (Tommy Lee Jones) – A reinvention of the Western Border story, featuring a modern day non-linear narrative, seen in writer Guillermo Arriaga’s other recent work (Babel, 21 Grams & Amores Perros). Not only does Jones do a excellent job in directing his first feature, he also puts in one of the performances of his illustrious career as grizzly, no-nonsense cowboy Pete.

9. The Proposition (John Hillcoat) – Another reinvention of the Western genre, Hillcoat’s graphic depiction of outback life in the late nineteenth century is as equally shocking as it is beautiful. Cult singer songwriter Nick Cave’s script is as poetic and haunting as his lyrics, whilst the brilliant performances from Ray Winstone and Guy Pearce really drive this story home.

10. Little Miss Sunshine (Jonathan Dayton & Valerie Faris) – Excellent black comedy featuring a very dysfunctional family embarking on a road trip to try to fulfil young daughter Olive’s dream of becoming Little Miss Sunshine. The whole cast of the film is superb, the script is belly ache funny and if The Host wins ‘best opening sequence of the year’ this this film must surely win ‘best dance sequence of the year’ (and in my opinion cinemas funniest scene of the year).


]]> http://www.directorsnotes.com/2007/01/23/el-vez-films-of-2006/feed/ 0 http://www.directorsnotes.com/2006/10/30/we-join-the-pikapika-party/ http://www.directorsnotes.com/2006/10/30/we-join-the-pikapika-party/#comments Mon, 30 Oct 2006 01:45:55 +0000 MarBelle http://www.directorsnotes.com/2006/10/30/we-join-the-pikapika-party/ ]]>

So after our interview with the Pikapika guys, we just couldn’t resist having a go ourselves…and now we’re completely hooked!

If you watched the video that went along with the Pikapika interview you’d have caught this already and know how crappy it looks next to the real thing, but hey it was our first attempt (of many I’m sure). If you haven’t watched the Pikapika video below, shame on you because it’s great!

Either way, click on the image above to see what we did with a few spare minutes, a camera and two cheap and nasty LED lights, then why don’t you switch off your TV set and go and do something less boring instead?


]]> http://www.directorsnotes.com/2006/10/30/we-join-the-pikapika-party/feed/ 0 http://www.directorsnotes.com/2006/09/01/neil-labute/ http://www.directorsnotes.com/2006/09/01/neil-labute/#comments Fri, 01 Sep 2006 10:39:02 +0000 El Vez http://www.directorsnotes.com/2006/09/01/neil-labute/ ]]>

I was surprised to see that one-time independent film pioneer Neil LaBute has attached his name to the remake of the cult 1973 film The Wicker Man, and was instantly sceptical about the need to remake such a popular and well loved film after having to sit through needless other Hollywood horror remakes (The Fog, The Hills Have Eyes and The Texas Chainsaw Massacre). However, just hearing LaBute’s name again (he hasn’t made a film for around three years now), almost instantly sparked replays of his debut In the Company of Men in my mind.

For those of you who haven’t had the pleasure (or, some may argue, intense displeasure) of seeing this film, the plot revolves around two company executives who, on a six week business trip, decide to reek revenge on womankind (in the form of deaf typist pool worker Christine), for all the pain that women have caused them over the years. Many find the film uncomfortable to watch and deem it pointless or cruel. One reviewer claims,“It’s a film that simply showcases human cruelty. And don’t tell me I didn’t get it, cause there was nothing to get.” I for one look at this film as I would a piece of art. It was made to evoke a reaction from its viewer (be it positive or negative), and like most effective pieces of art, LaBute’s film certainly sparks discussion.

In the Company of Men is an example of an independent film made with very little money. LaBute found ways around financial restrictions to create a film full of depth and intrigue that not only achieved financial success but also received critical acclaim. A major factor in this success was not only LaBute’s casting, but the performances evoked from his key players. Thrusting Aaron Eckhart into the lead role of Chad was not only a brilliant decision on the director’s part, but also a defining moment in Eckhart’s career. LaBute knew Eckhart from his time at Brigham Young University, where he had already starred in some of LaBute’s plays. Eckhart’s performance (which was his first on-screen lead role) proves that you don’t necessarily have to pay ‘big bucks’ for a first class performance from your actor. Eckhart managed to bring his character to life, making him charming and likeable one minute, yet pure evil the next. One female viewer even marched up to a somewhat surprised Eckhart in the street one day to declare her hate for him. His performance was rewarded by receiving Outstanding New Talent at the Satellite Awards and ‘Best Debut Performance’ at the Independent Spirit Awards in 1998, which must have gone some way in making up for this previous ear-bashing. Although Eckhart’s performance was the show stealer of the film, it wasn’t LaBute’s only astute piece of casting on a shoestring budget. Both Stacy Edwards (as Christine) and Matt Malloy (as Howard) gave assured performances which added immeasurable believability to the film. Edward’s performance as typist Christine was so believable that I for one struggled with the realisation that the actress wasn’t actually deaf. LaBute not only proved that lack of money needn’t be an obstacle in casting for a movie, but also that working closely with actors can be very advantageous.

The plot of a film is obviously another essential ingredient of filmmaking. With In the Company of Men LaBute had a tried and tested script (his theatre production of the same story had already won awards). His script showed originality and with controversy on its side was bound to attract attention (as well as being an independent filmmaker’s wet dream). This character driven piece required no fancy post-production, special effects, computer graphics, extravagant locations, stunt men or over the top action sequences, which in turn, resulted in none of the excessive spending that is required for the majority of today’s films.

Basing a plot around a minimum budget is no way to go about planning your independent film however – you may end up with not only very little financial output but also very little story. LaBute had the right script for his independent film debut as he had a story he felt passionately about – and this shows. In the end, LaBute shot his film over a total of eleven days and managed to spend only $25,000 (although after it was accepted into the Sundance festival an extra $225,000 was spent on post-production). His ability to keep costs low without having to comprise his vision for the production was instrumental in making the film not only a critical success but also a financial one. The film’s takings at the US box office were impressively close to the $3 million mark, almost ten times the initial output, and LaBute’s production managed to pick up numerous awards on the festival circuit, including prizes at the Edinburgh, Sundance and New York Critics Circle film festivals. Even if as a viewer the film offends you, then you at least have to admire LaBute’s directorial skills. His determination not only shows how we, as independent filmmakers, could go about getting our films made on limited budgets, but also that dedication can get you a long way in this industry – according to Eckhart, “Neil even mowed the neighbor’s lawn to help finish the film.”


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