'How I Got Lost' Trailer.

I really, really, really, really like the look of this film.



Seems to be doing a few film festivals at the moment, not sure when I'll actually be able to see it, hopefully sometime soon!

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Should they really be making all these Holocaust films?

When 'Schindler's List' came out it touched everyone in a way that I don't think any film ever had before. It proved that a film can have a lasting effect on its audiences. It proved that a film can make a difference in the world. The one thing we know for sure about the Holocaust is that it must never be forgotten, and what better way to do that than have the world's most successful film director Steven Spielberg making it.

I do a lot of work with Holocaust survivors, and I have been involved in some film projects about it too, but I often find myself asking; should all these films be getting made? There was a time when I would always have said a definite yes. I've done work in schools where I've seen children having absolutely no knowledge of the attempted extermination of the European Jews and it brings me to the conclusion that we should keep on making these films, keep on getting them out there.

I didn't like "The Boy In The Striped Pyjamas," it seemed distastefully Hollywoodified to me. But then, I was doing a workshop with Holocaust survivors in a school last year and the students were really passionate about it. These children were beginning to have interesting ideas and lots of compassion towards Germans, whereas I remember when I was in school we were all "I hate Germans!" which was based mainly on ignorance and stereotyping.

Let's cut to the chase though. The Holocaust films coming out of Hollywood today aren't being made to honour the memory of the millions who were tragically lost. They're being made to line the pockets of the producers with lots of money. Far from being like Steven Spielberg, crying during scenes whilst filming in Krakow, Poland-- they're sitting in their warm Hollywood studios raking in the cash.

From a storytelling perspective, the Holocaust is gold. There are so many millions of untold, complex stories-- and they all revolve around the power, relationships, good versus evil, alienation, confusion, heartbreak, death, etc. Everything you could want from a story you can get, easily, every single time - whenever you venture into the events of Hitler's Final Solution. But this doesn't make it okay.

I find myself asking that a lot now whenever I see a World War two film. Is it okay when a stupid, pathetic horror film like "The Unborn," takes the Holocaust and uses it as a device to illicit more emotion from its audience? Is it okay when Quentin Tarantino has revengeful Jews running around scalping people's heads for fun in 'Inglorious Basterds'? Is it okay when Tom Cruise and his co-stars are playing Nazi's but have perfect American accents, in 'Valkyrie'? You see, the Americanisation of the Germans in 'Valkyrie' wasn't so that people could understand the events better, it was so that the film would be more marketable.

The Holocaust survivors are still here, with us. They are still coming to terms with what happened and they are still sharing their stories. When they share them, there is nothing more heartbreaking or profound. When you hear a Holocaust survivor tell you how their family got shot in front of them, how their kids were taken away-- the importance of it hits you. It impacts your life in ways you couldn't imagine. I don't feel it is fair to these people to turn the death of six million Jews into big screen fodder that lines the pockets of filmmakers with millions and millions of Dollars. The subject is too important for that.

Do I think films should be made on the subject? Yes. Films like 'The Counterfeiters,' help us understand, they help us learn and they help us grow. In the film, Salomon Sorowitsch and Adolf Burger are two Jews who are counterfeiting bank notes for the Nazi's. They do it to survive, it's their only choice. But the two characters are caught in their belief systems. Salomon does what the Nazi's want, because he feels it's the only way he is able to survive. Whereas Adolf has major problems with it because he feels it is unethical and helping the German war-effort. The palpable conflict between the two characters is mesmerizing and you can't help but put yourself in their place and question what you would do. That is powerful filmmaking -- and it's important filmmaking. Perhaps the difference is that this film, like the incredible 'Downfall,' was made in Germany by German filmmakers. The German attempts to understand their history through these films in recent years is remarkable, gut-wrenching and moving. The films are important. The same, I feel, cannot be said for the constant Holocaust themed movies rolling off of the Hollywood production line.

It's time to stop and think. The Holocaust MUST be remembered and we MUST find ways to make sure future generations learn about and feel about the Holocaust. But we must do it right.

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The Bizarre Nature Of Creative Juices.

Yesterday, the Director Of Photography of my latest film was coming round to grab some footage and take a look at the rough edit. And I was like 'Aghhhh, this film looks like crap.' So to make myself feel better, I rushed to polish up a montage scene I'd been meaning to do. It looked great. And then the DP showed up.

And he liked what he saw from the roughest of rough edits. We chatted some more, threw ideas around-- and then I closed Final Cut Pro. But as I did, it asked me if I wanted to save my changes. I figured I'd already saved my montage bit so I said 'No.'
So the DP went home and that was that.

And then today, I jumped back onto the edit, only to discover, of course, that the montage scene wasn't there. I was immediately grumpy and angry and began throwing my weight around. But luckily I don't weigh much so it wasn't a big deal. Anyways, I got my head together and set to work.

But I couldn't! I couldn't edit the scene, because I knew I'd already done it. I kept going back to it again, but my head was like "No! No Way! You've done this! I don't want to do it again!." I threw one shot into the edit, and I was immediately told, by myself, "This sucks, this looks like shit. Yesterday was better!."

This kept happening and I just knew I wasn't going to get it done today so I gave up. Instead, I felt a desperate urge to watch a movie. I chose 'Reign Over Me.' Not totally sure why, I just really fancied it.

I watched twenty minutes of 'Reign Over Me.' It was definitely the right choice as I was loving it and connecting with it deeply. But then, suddenly, these wave came over me. A wave of purpose and feeling and creativity. That voice in my head had changed his tune rapidl. He was saying 'go and edit! go and do it now!' And I suddenly felt certain I could get the montage edited even better than yesterday. At this exact same point the Dave Matthews Band song 'Two Step' sprang into my mind. YES! The perfect music to go with this scene! (of course, I won't be able to afford the rights to it but it serves as a good temp score for my composer later on).

I edit. I edit quickly. It looks GREAT.

And I can't help but be a little fascinated by my process. Probably because I have no idea what my process is. Did I need to watch twenty minutes of an Adam Sandler flick? Did I need to go through that, 'this looks like crap!' rampage in my head or could I have skipped past it? Was it something about 'Reign Over Me' or could it have been another film? Why did the DMB song enter into my mind today and not yesterday? If I had remembered to save my work yesterday, I wouldn't have had to re-edit it today-- so would I not have thought to include the DMB song?

I'm not suggesting you can answer my questions, I just find the whole thing pretty fascinating. If I could figure this all out maybe I could edit films ten times as fast.

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Reasons why 'Home Alone' is possibly the greatest film ever.

In case you've forgotten, here are some magic moments which help explain why 'Home Alone' is amazing.

Culkin miming 'White Christmas' in the mirror.

The party that never was.

Joe Pesci covered in feathers.

John Candy continuously talking about Polka music.

Culkin saying to the cashier; "Ma'am, I'm eight years old. You think
I would be here alone?" (scrunches face) "I don't think so"

"I'm gonna give you to the count of 10, to get your lying, yellow, no-good keister off my property, before I pump your guts full of lead! "

People continuously crashing into the statue.

Last, but not least - my favourite moment...
"Fuller, go easy on the Pepsi!"

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I make films for you.

You may think you're ruining me, but you're spurring me on.

You think you can undermine me, you think you can tell me I'm not strong enough, or not talented enough, you can say whatever you want.

You think I don't work hard? Well that's just fine.

You think I just sit around watching films? Well that's just fine.

My life will be filled with beautiful films that I've created. I'll have the art, the money, the women, the big house, the love, the friends.. and I'll do it all for YOU.

YOU, the one who tells me I should get a real job.

YOU, the one who tells me that I'm not going to make it.

I see your hate.

I see your jealousy.

I see your pain.

It gives me vision.

It gives me strength.

It gives me determination.

You could be right;

I may just be nothing.

But I am giving it everything.

I am giving it everything.

Nearly everything I do, on nearly every single day, is in some way related to, or because of; the very things I am focusing my career and my life on. You can tell me it's pointless, you can tell me I don't know what I'm doing, you can do that little chuckle you do when I show you my work, you can even tell me 'your idea has been done before,' - but I will not react with anger, or hate, because I am not the same as you.

You can stay on the platform,

because I am taking the train out of here.

it's a train full of dreamers and workers and singers and writers and dancers,

and we're getting the train out of here.

we know where we're going.

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