Category Archives: Films

Video

To the Academy: Consider the Women

In honor of my daughter, the film editor. Right now her work is mainly for the small screen, but I’m confident she’ll move on to the big ones.

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Moments of Ecstatic Passion

Just last week I was able to hear Werner Herzog in conversation with film students at UMass.

What was so cool was Herzog’s advice to film students to read, read, read the world’s great literature. Here’s his “Rogue Film School” reading list.

•    Virgil: Georgics
•    J.A. Baker: The Peregrine
•    Hemingway: The Short, Happy Life of Frances Macumber
•    Diaz del Castillo: The Conquest of the New Spain
•    Warren Commission Report on the assassination of JFK

Interesting assortment, no?

Someone asked why his films featured only, or nearly only, male characters. He spoke about screenplays he’s written with female leads that he hasn’t found funding for yet. I noted to myself that the film industry is still predominately a “white guys rule” world. Though women are up and coming, especially in documentary.

Discussing his Antarctic film Encounters at the End of the World, he described the impossibility of explaining the enormity of the continent. Making that film, he realized you don’t explain the world in film, you name the glory. He showed a clip where that seemed to happen. Here’s the trailer, which opens with a Russian song that “names the glory.”

The books on his reading list are all about naming the glory.

His remarks on editing struck a chord with me, as I spend most of my writing time selecting what works, cutting what doesn’t. Most of what I write ends up on the cutting room floor.

Here’s his process. He goes through all footage with editor in a sitting or two, and keeps a log with rough time indicator. He notes what’s there and puts ! or !! or !!! by footage times that he thinks are really good. Three exclamation points for footage that he feels life wouldn’t be worth living if he left them out.

Then he selects only the footage with the exclamation points and makes that into a film. He says the best footage will fit together. You don’t have to worry about preparing an arc before hand, or outlining. What is most important is the tone of a film, and using only the footage that “names the glory” keeps the tone consistent.

The most important thing for a filmmaker is to know “the heart of man.” Life experience tells you where to look, what to ask your subjects, how to find “moments of ecstatic passion,” “moments of illumination.”

He doesn’t think of himself as an artist, he thinks of himself as a soldier.

True enough. To be a filmmaker–or a writer–one does have to combat all the obstacles the world imposes, including critics and the demands of an overly commercialized market place. In the process one suffers wounds the “slings and arrows of outrageous fortune.” At times one must make tactical retreats. And then again one “takes arms against the sea of troubles” and moves forward.

Yeah, Shakespeare had that “moments of ecstatic passion” thing down pat.

Memories of Empire

Amherst is great. A couple of weeks ago Paul & I saw John Sayles introduce his film Amigo at Amherst Cinema and answer questions after viewing.  It took him a long time to find the funding. He had to focus on a village to encapsulate a very large experience, which he wrote about in a sprawling 900-page novel A Moment in the Sun . He eventually found a portion that told a story he could fit into a space small and intimate enough to make a low budget film.

Here is Sayles on modern parallels with Amigo at Amherst Cinema.

And here is a link to his own blog post on the trip to Amherst.

The World as It Should Be

Tintin at Sea

Over the holiday, I saw three movies that I really liked. Tintin, Hugo, and The Descendants. Of the three, I found Tintin to be the most unusual. This New York Times review by Charles McGrath pinpoints some of the reasons why. And this New Yorker review by “Front Row” blogger Richard Brody teases out a few more reasons why.

McGrath points out that Tintin is an unusual adventure hero, having no extraordinary powers. Brodie underlines the lack of violence and murder despite the tremendously fast pace of the film.

These two reasons are probably why I enjoyed the film so much. It was tremendously charming and fast moving, without ever creating the anxiety that adventure films usually do, even though there was plenty of fighting and numerous explosions. Part of this was the result of the visual beauty of the film.

It’s always nice to see someone win superhuman struggles without having access to superhero strengths. It appeals to my sense of justice in an unjust time — the world as it should be, not as it is.

Blue

Encounters at the End of the World

Diver under the Antarctic Ice

Diver under the Antarctic Ice

Paul and I watched this fantastic documentary film last night. I expected a ho-hum, “good-for-you” learning experience. Not so with Werner Herzog! It is a fascinating exploration of the strange creatures, including the humans, who live in this world of ice and extreme solitude.

Among the highlights: divers under the ice, scientists scaling the crater of a volcano into a magma lake, a deranged penguin running into the endless void.

Haunting, eerie, and mind-blowing.

Films of 2008

My favorites:

  1. Frozen River
  2. Happy Go Lucky
  3. Trouble the Water
  4. Slumdog Millionaire (sorry Brit)
  5. Across the Universe (on DVD)

Why did I love these films? They were unusual, had that quality of “strangeness”* that sets a work of art apart from the merely “extremely well done.”

*Harold Bloom’s term/The Western Canon. Despite many disagreements with Bloom’s argument, I can adopt “strangeness” wholeheartedly.