Most of my blogging opportunities this week will come from finding small bits of downtime to type away on my iPhone. But for this week I'm interested in doing something different.
Maybe there's something you'd like me to talk about, or like my angle on. Maybe I explored something important to you once and never returned to the topic. Anyways, for this week - I'm taking requests. Tell me what you want to see me writing about.
Sunday, 13 March 2011
CATFISH
You have to see this film. It's a documentary. It's it's hilarious, it's sad, it's poignant, it's moving. The film begins with a bunch of unappealing twentysomething guys making a documentary, and by the end they bring together a film full of compassion and heart. I couldn't glance away from this for a second, absolutely riveting -- at times funny, at times bizarre, at times deeply upsetting. Please see it!
Saturday, 12 March 2011
THE OTHER GUYS Are The Same Guys You See In Every Film
I'm writing this as I watch 'The Other Guys.' I wouldn't normally write or in fact do anything whilst watching a movie - but this film is nothing new, I've seen this stuff 500 times before and this film gets released three times a year.
Big-budget comedies strangle themselves. The characters are built on stereotypes; good guys and bad guys, mad guys and sensible guys, black guys and white guys, good choices and bad choices.
This is what the big movies often are; because they're trying to cater for everyone. If you make a movie for 80 million and only seventeen people understand it, you have a problem. The shortcut to everyone 'getting it' is street-wise black men, awkward white men, billion dollar problems and gorgeous woman. I'm 24 minutes into the movie and the beautiful women aren't here yet, but I know Eva Mendes is in it and I'm expecting her soon. The comedy is established, so the romance needs to be plugged in as a device to keep people interested.
The problem with making these movies in this way; is that the jokes have to be amazing and the actors have to be compelling. Wahlberg and Farrell are great at what they do - but the comedy thus far is Wahlberg accusing Farrell of being feminine, and that's about it, and it's old already.
So the film is about 'being a man.' But who relates to that premise? I like rom-coms and I think shooting guns is dumb and stupid. So the story isn't about me, but then who is it about? Who can relate to this stuff?
So we know what's coming. Two desk jockey cops need to prove themselves, overcome their limitations and probably get the girls. We know this story already. So we need something more. If we're not laughing hysterically or desperately concerned about the plight of those involved, then we're detached; we're back thinking about our personal problems and writing blogs instead of focusing on the movie.
They keep doing the joke about Will Farrell being a geek. He loves computers, he loves Photoshop, he loves bad movies, etc-- the joke keeps coming. If this was Billy Wilder he would only have made the joke once, and it would have been funnier.
So Eva Mendes is here now and she's talking about her breasts.
I'm bored, and there's over an hour left.
So I skipped to the end. And the two guys are holding their guns up to the bad guys, Wahlberg is being bad ass and Will Farrell is stepping out of his comfort zones. Don't worry about me giving away the ending, you've seen this film before.
The bad guys are in jail, and Farrell's geekery pays off, and Wahlberg gets the girl.
Big-budget comedies strangle themselves. The characters are built on stereotypes; good guys and bad guys, mad guys and sensible guys, black guys and white guys, good choices and bad choices.
This is what the big movies often are; because they're trying to cater for everyone. If you make a movie for 80 million and only seventeen people understand it, you have a problem. The shortcut to everyone 'getting it' is street-wise black men, awkward white men, billion dollar problems and gorgeous woman. I'm 24 minutes into the movie and the beautiful women aren't here yet, but I know Eva Mendes is in it and I'm expecting her soon. The comedy is established, so the romance needs to be plugged in as a device to keep people interested.
The problem with making these movies in this way; is that the jokes have to be amazing and the actors have to be compelling. Wahlberg and Farrell are great at what they do - but the comedy thus far is Wahlberg accusing Farrell of being feminine, and that's about it, and it's old already.
So the film is about 'being a man.' But who relates to that premise? I like rom-coms and I think shooting guns is dumb and stupid. So the story isn't about me, but then who is it about? Who can relate to this stuff?
So we know what's coming. Two desk jockey cops need to prove themselves, overcome their limitations and probably get the girls. We know this story already. So we need something more. If we're not laughing hysterically or desperately concerned about the plight of those involved, then we're detached; we're back thinking about our personal problems and writing blogs instead of focusing on the movie.
They keep doing the joke about Will Farrell being a geek. He loves computers, he loves Photoshop, he loves bad movies, etc-- the joke keeps coming. If this was Billy Wilder he would only have made the joke once, and it would have been funnier.
So Eva Mendes is here now and she's talking about her breasts.
I'm bored, and there's over an hour left.
So I skipped to the end. And the two guys are holding their guns up to the bad guys, Wahlberg is being bad ass and Will Farrell is stepping out of his comfort zones. Don't worry about me giving away the ending, you've seen this film before.
The bad guys are in jail, and Farrell's geekery pays off, and Wahlberg gets the girl.
Thursday, 10 March 2011
Following Your Own Path
Becoming the artist you are, getting to the you that is really the best you can be, is a really bizarre thing. Because you find yourself inspired in the weirdest places -- like a Dylan bootleg from '83, or a rom-com flop starring Jennifer Aniston; and it's strange because --- how can you build a career based on influences that no-one cares about?
But of course you can. In the extended cut of "Almost Famous" there's a great scene, I think between William and Russell, where they talk about loving a moment in Marvin Gaye's "What's Happenin' Brother", it's a small 'woo', one of those accidents that got left in--- but it's the best thing on the record.
Those are the little things that inspire us, the little things that make us who we are. If you don't like "Casablanca" but you do like "Just Friends", so be it -- that's you. Some people spend years denying they like "Just Friends" and as a result deny they love mainstream rom-Coms and therefore never let their creativity explore rom-coms and thus never reach their potential. I'm sure you all have examples where you've fought against your natural skills/instincts/interests.
I know quite a few actors who turn away from their strong points-- it's very self-destructive.
Embrace it. I'm not into "Star Wars" and I'm not into "The Matrix" so I don't really go there, it's not my ticket. Having a wide range of influences and knowledge is of course great and important; but you just gotta make sure you take care of what you love. If your skill as an actor is being a scary gangster, or being a quirky girlfriend-- you could shy away from it or you could become the best quirky girlfriend that ever was by constantly working on it. It's like right now, this theory I'm exploring of "doing stuff for the 1%" -- it might be nonsense, or it might be worthwhile; either way I'm battering away at it until I exhaust it. I'll be the authority on being creative for the 1%. That's how we all need to be about our niche things, about the things we love.
You can be pretty good, maybe even great; at doing things well like many others--- or you can absolutely nail and own the one area you're personally drawn to. There's room for a master of suspense like Hitchcock, or for a powerful woman to give Streep some competition at awards time, or for a screenwriter who can make a script read like poetry. Whatever it is you're good at or want to be good at, that's where it's at; even if no-one around you gets it yet, even if everyone says "I'm telling you there's no market for transgender thriller rom-coms!" they're right. But they're right because you're not great yet, you're still pandering to the 99%. When you nail the thing you really want to say, after years of learning, writing and redrafting, then they'll get it--- you'll have mastered your work, mastered you, and when you show everyone else who you are, they'll see themselves.
But of course you can. In the extended cut of "Almost Famous" there's a great scene, I think between William and Russell, where they talk about loving a moment in Marvin Gaye's "What's Happenin' Brother", it's a small 'woo', one of those accidents that got left in--- but it's the best thing on the record.
Those are the little things that inspire us, the little things that make us who we are. If you don't like "Casablanca" but you do like "Just Friends", so be it -- that's you. Some people spend years denying they like "Just Friends" and as a result deny they love mainstream rom-Coms and therefore never let their creativity explore rom-coms and thus never reach their potential. I'm sure you all have examples where you've fought against your natural skills/instincts/interests.
I know quite a few actors who turn away from their strong points-- it's very self-destructive.
Embrace it. I'm not into "Star Wars" and I'm not into "The Matrix" so I don't really go there, it's not my ticket. Having a wide range of influences and knowledge is of course great and important; but you just gotta make sure you take care of what you love. If your skill as an actor is being a scary gangster, or being a quirky girlfriend-- you could shy away from it or you could become the best quirky girlfriend that ever was by constantly working on it. It's like right now, this theory I'm exploring of "doing stuff for the 1%" -- it might be nonsense, or it might be worthwhile; either way I'm battering away at it until I exhaust it. I'll be the authority on being creative for the 1%. That's how we all need to be about our niche things, about the things we love.
You can be pretty good, maybe even great; at doing things well like many others--- or you can absolutely nail and own the one area you're personally drawn to. There's room for a master of suspense like Hitchcock, or for a powerful woman to give Streep some competition at awards time, or for a screenwriter who can make a script read like poetry. Whatever it is you're good at or want to be good at, that's where it's at; even if no-one around you gets it yet, even if everyone says "I'm telling you there's no market for transgender thriller rom-coms!" they're right. But they're right because you're not great yet, you're still pandering to the 99%. When you nail the thing you really want to say, after years of learning, writing and redrafting, then they'll get it--- you'll have mastered your work, mastered you, and when you show everyone else who you are, they'll see themselves.
Wednesday, 9 March 2011
Be Supportive, Not Critical
It's easy to be critical. We all have opinions. When we criticise writing, or directing or even acting -- we do it with such authority. But where do we get this authority from?
Spielberg has authority. Meryl Streep has authority. The rest of us don't. Scripts are bad not because rules aren't followed, but because the scripts aren't good. So you need encouragement.
THE ENCOURAGER should be your name, and mine. Creative people don't succeed because of critical people, they succeed in spite of them. It's the positive, encouraging people who truly listen and care and inspire-- they remind us that it's an art form, that within us we have unique ideas and stories.
As an actor -- you need teachers who teach you skills and encourage you to reach far into the depths of who you are; they need to bring that out in you. Actors who get too criticised, too often, stop acting; because they try to please everyone and when they're acting they're trying to do good by the 500 critics who've told them they're awful, rather than the two people that matter: themselves and The Encourager.
We're at our best when we're connecting with something within us. When we turn our curiosity and energy and heartaches into words or performances or beautiful photography. We only get there by believing in the truth of our own ideas and feelings and intuitions.
Critical people wreck that. But they don't GET it, we have to remember that. Create work for the 1% who get you. That's when you entertain people, that's when you touch their hearts.
Spielberg has authority. Meryl Streep has authority. The rest of us don't. Scripts are bad not because rules aren't followed, but because the scripts aren't good. So you need encouragement.
THE ENCOURAGER should be your name, and mine. Creative people don't succeed because of critical people, they succeed in spite of them. It's the positive, encouraging people who truly listen and care and inspire-- they remind us that it's an art form, that within us we have unique ideas and stories.
As an actor -- you need teachers who teach you skills and encourage you to reach far into the depths of who you are; they need to bring that out in you. Actors who get too criticised, too often, stop acting; because they try to please everyone and when they're acting they're trying to do good by the 500 critics who've told them they're awful, rather than the two people that matter: themselves and The Encourager.
We're at our best when we're connecting with something within us. When we turn our curiosity and energy and heartaches into words or performances or beautiful photography. We only get there by believing in the truth of our own ideas and feelings and intuitions.
Critical people wreck that. But they don't GET it, we have to remember that. Create work for the 1% who get you. That's when you entertain people, that's when you touch their hearts.
Sunday, 6 March 2011
1%
"I'm writing about 'The Apartment' all week. problem is, it bores 99% of readers. The good thing? 1% love it. Never forget the 1%."
That was me, on Twitter two days ago. I'd never thought about that until I wrote it, but it's been playing on my side ever since. Blogging is like making a movie; you have an idea and then try and shape it into something that everyone will like.
But when you go chasing everyone, you don't truly grab anyone. But when you do what you truly want to do, even if it's for one person, that's when it means something. The problem is, when you do it for the 1%, there's not going to be a lot of support because it doesn't make a lot of business sense.
Film is about business. Every artist suffers. Even most great indie films have a rewritten beginning or a re-cut ending. We're always changing and adapting things to appeal to a bigger percentage. But when the percentage gets bigger, the true satisfaction gets smaller.
The stuff we truly and madly love is rarely the stuff that was made for everyone. You can cook yourself a perfect pie but if you're going to sell a lot of them, you need to package them differently; and you need a recipe that will appeal to everyone.
Magic is made when you do things for the 1%. It's just hard, is all.
That was me, on Twitter two days ago. I'd never thought about that until I wrote it, but it's been playing on my side ever since. Blogging is like making a movie; you have an idea and then try and shape it into something that everyone will like.
But when you go chasing everyone, you don't truly grab anyone. But when you do what you truly want to do, even if it's for one person, that's when it means something. The problem is, when you do it for the 1%, there's not going to be a lot of support because it doesn't make a lot of business sense.
Film is about business. Every artist suffers. Even most great indie films have a rewritten beginning or a re-cut ending. We're always changing and adapting things to appeal to a bigger percentage. But when the percentage gets bigger, the true satisfaction gets smaller.
The stuff we truly and madly love is rarely the stuff that was made for everyone. You can cook yourself a perfect pie but if you're going to sell a lot of them, you need to package them differently; and you need a recipe that will appeal to everyone.
But that's the reality. That's the business. And we all cave. We take out the violent scene to get a lower rating, we hire the famous actor over the right actor to get the funding. By doing it-- we make a living. But we rarely make magic.
Magic is made when you do things for the 1%. It's just hard, is all.
Saturday, 5 March 2011
The Old Apartment - This Is Where We Used To Live
For one week I will be focusing on the film "The Apartment." This is the third in a series of articles.
In the history of humankind, the film camera is a pretty new invention. For whatever its original purpose was -- the main reason soon became: to shut us up and entertain us for two hours (or educate, or brainwash.) But of course, the effects are much longer lasting. In the past, people would die and they would be gone. Now they're living on our giant TV screens. Billy Wilder movies still get new reviews, and people debate who is more natural; Lemmon or Stewart. It's as if they're still here. There's something so strange about that, when you really think about it -- these people still shape and form parts of our lives long after they've exited. Was it meant to be this way? Did nature intend for us to be able to press rewind and bring back the dead?
A motion picture is a snapshot; something created by a bunch of people some time in the past for reasons we'll never fully know. People make movies because they're inspired, or because they want to impress a girl, or because they had three-pictures left on their contracts. There are all sorts of reasons. But these movies last for life and they take on new meanings which had nothing to do with the intentions of the creator's. 'The Social Network' means something now, in 2011, because we're all spending our time on Facebook. But what will it mean in fifty years? What does 'The Great Dictator' mean now and what did it mean when Chaplin made it? 'The Apartment' captured my heart, mind, soul and all-round-attention in a way so few films ever have done. And it leaves me longing--- longing for more Wilder dialogue, for more people like C.C. Baxter. I live my life like a guy who constantly gives back the executive washroom key, and instead holds on to his integrity --- but what does that mean? Is who I am based on the real world or based on a fantasy of 1960? Can I live in this way or will I just wind up with egg foo yong on my face?
Would C.C. Baxter survive in 2011? Would Fran Kubelik go running after him? These questions are stupid, perhaps; as they were the work of fantasy in 1960, just as they are now. But films do hold resonance in the years they are made. They have meaning, they reflect society. But when people like me and you still find meaning in them long after the fact, we're in a minority. On our worst days, we act like we're in on a secret; like we 'get it' -- but holding on to the romance of old is always accompanied by disappointment and a lack of comprehension of so much of what happens in the world around us. Do we watch these movies just for comfort, to console us in some way; or are they useful and meaningful in today's world?
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