Interstellar and the Fear of Non-Digital Projection

As of right now, we are just three weeks away from getting the chance to see Christopher Nolan's highly anticipated space adventure, Interstellar. Already drawing 2001 comparisons from the few that have seen the film, it appears to possibly be marrying the technical wizardry and ambition of Kubrick with the sentimentality of Spielberg (who was originally attached to the project). A series of cryptic, but visually stunning trailers have stirred the hype and major Oscar buzz is flying.  

However, what I want to talk about here has nothing to do with story specifics or awards prognostication. Not too long ago, it was announced that Interstellar would open two days early with 35mm and 70mm screenings in select theaters. It's an exciting proposal and a rare one for a big studio like Warner Bros. to make. Nolan is known to be a strong advocate for film preservation and with the kind of clout he has in Hollywood these days, the fact that he is using the podium to draw attention to film quality should not be surprising. The special screenings are sure to be popular with fans, but it is proving to be a point of concern for some theater owners.

In a recent article by Kevin Jagernauth of The Playlist, it was found that a sizable number of theater owners view the early release as "devaluing the digital push," with one CEO making the claim that "It makes no sense to step back in time."

The reactions are a sad indication of the film business we live with today. While the artistic community celebrates and treasures film showcases such as this one, the suits and moneymen look askance. Now, to be fair, much of the derision is coming from those who did away with old projectors and recently went full digital at the not-so-subtle suggestion of the studios, so the prospect of missing out on a major pre-release must be frustrating. However, to say that this move "devalues" the digital push seems a bit hyperbolic and misguided. No matter how big the early numbers for Interstellar are, there's no way it's going to turn the tide back to traditional projection. It's about the expression of the artist and I feel like some of these folks need to see past the dollar signs and recognize that.

Digital is here to stay, period. Of course, that is until the unfortunate day when theater viewing becomes obsolete and everything (including physical media) instantly goes to streaming and VOD, but for now, digital is firmly set in place and as film lovers, we need to champion the few directors (Tarantino, PT Anderson and Scorsese to an extent) that still flash the extra cash for the privilege of working with film. It may just be ladling water out of a rapidly sinking ocean liner, but I'm glad that some big names are standing up for the format.

I Love Tracking Shots

I have always loved tracking shots. When done right, the fluidity of the camera movement, the timing and work that goes into them results in cinematic magic. Some however are more successful than others; here is a list of my personal favorites.

 Kill Bill Vol. 1

The first time I think I was ever really aware of a tracking shot was in in my all time favorite move Kill Bill. I first realized I liked the shot well before attending film school, and before I even knew what a “tracking shot” was. The almost 2 minuet shot is relatively short compared with some of the other more famous ones, but still worth mentioning. The ambitious shot was done after 17 takes, but was completed in one day. “I got bounced around pretty good,” said Larry McConkey the veteran steadicam operator, “I never actually hit the ground, but I hit just about everything else.” 

Goodfellas

This is perhaps the most famous shot on the list, and the most well known. This iconic opining shot was however actually an accident. At this time in Scorsese didn’t even like to use steadicams, however when he was not allowed to go through the front door, he had to improvise. He decided to do the long shot through the back door to “symbolize Henry’s whole life being ahead of him, doors opening to him. It’s his seduction of Karen and it’s also the lifestyle seducing him.” This shot took eight painstaking takes to get right. 

3


Boogie Nights

This film has two iconic tracking shots, the first taking a page form Goodfellas. It takes us around the Club and introducing us to many of the main characters in the film in a 3 minuet seen. Then next shot was later on in  the movie during a house party, it follows William H. Macy looking for his wife, and ends with the double murder of his wife and her lover, and his suicide. 

Two Masters Talking

So after last week's gratuitously long blog post, I will attempt to keep it concise this week. One of my favorite film directors of all time is Martin Scorsese. Another one of my favorite directors of all time is Paul Thomas Anderson. And lo and behold, here is a talk between them!

In terms of people I look to learn from on a variety of levels (Writing, composition, camera movement, kinetic nature of editing), there are few film makers I try harder to aspire to. Any words from these men (I'd listen to these guys rattle off their grocery list) are gems of insight and it is amazing that there is video of a talk of them speaking with each other. So watch it and learn!!!

Raging Bull and Fear in Film

When you talk about fear in film, it is typically a result of design. The characters, lighting, and camera angles are arranged in a way to intentionally strike fear in you. The character’s alone in the house with the killer they’ve been running from the whole time, or something along those lines. These scenes, even when they work effectively, are fear of what is to come. You aren’t afraid of the teenage girl walking down the hallways of her dark house, you’re afraid of what may lurk around the corner. Rarely, if ever, is the audience in fear of what is happening in that moment. One of the few instances in which I felt legitimate fear while watching a scene was, funnily enough, not in a horror movie.

Jake LaMotta, portrayed in an instantly iconic performance by Robert DeNiro, is a violent man. His work is violent. His home life is violent. His sex is violent. And up until this point, it has done well for him. But as the film Raging Bull goes on, directed by Martin Scorcese in what may very well be his masterwork, what use to empower Jake and be his profession starts to undo him. His compulsions and drives for violence and self-gratification, which initially rewarded him, slowly start to undo him. He’s no longer respected as a heavyweight boxer. He has lost his family. And his relationship with his brother has been torn asunder by his ego and pride. What was once a proud, well-respected man at the peak of physical fitness has been reduced to owning a shitty bar in Miami. He’s overweight and reciting crappy comedy monologues to himself. Soon enough his wife divorces him. Then, to top it all off, he gets arrested for sleeping with an underage girl. He’s thrown in jail like some common sleaze ball.

We have never seen Jake weak. Hell, we haven’t seen him up until this point be anything but a brute.  He is nothing now. His ego, pride, greed have nothing to hold up to anymore. All he has is his violence. His animalistic fury. And he uses it.

“WHY WHY WHY WHY WHY WHY”

                 When I watched this movie for the first time, I cowered in my seat while watching this part. Knives held in the dark, creepy men in masks, long dark hallways. Whatever. That's all technique, not storytelling. But this is pure unbridled anger mixed with fear and self-loathing. I cannot quite articulate what about this scene sticks inside my gut so much. But it’s haunting. It’s a man at his lowest point in his life. When he is stripped of it all, this is how he acts. And that’s terrifying to bear witness to. Surely more fear inducing than any thriller or horror movie I've ever scene. It causes me to worry about man and what he is capable of. 

                An amazing scene, an amazing performance, an amazing film.

A Scene No One Else In Their Right Mind Cares About

There's not much else to say about Martin Scorsese. I mean, come on. The guy's basically film royalty now. He made some of the most artistic films of all time while also making some of the most entertaining ones. This isn't about the guy, his movies, or even his style. Nah, this is about one single shot that over the last four years I have become totally obsessed with. And I'm not sure I've ever met anyone else who's cared about it.

The movie Goodfellas is great. Yeah, what a unique, culturally distinctive opinion. Cinematography is like nothing else I've ever seen. Blah blah blah blah. One shot stands out to me to this day and every time I watch the movie I count the minutes until I get to watch it.

It's a small moment, and it doesn't even stand out to you when you see the movie the first time. But oh ym god, this shot absolutely drips with cool. On an artistic level, it's a perfect melding of story, acting, cinematography and song choice. De Niro doesn't overplay the moment overplayed, but between the steady dolly in, the slow motion, and the blunt blues guitars, you can tell something is about to happen. The story carries an entire plot movement, which could have been an entire scene of arguing between character, and deftly executes it in a matter of seconds.

And the song. Scorsese has a bunch of iconic scenes set to song, but this one just stands out from most. It just feels like some bad stuff is about to go down.

This scene perfectly illustrates how story is not just dialog, which is a lesson I fear many young film makes forget. So much of a film is built on small moments like this, and I think this type of film making is the type that most often resonates with an audience.

The Women of Wall Street

Everyone's seen The Wolf of Wall Street. And if you haven't, you need to get on that. Seriously, watch it. It's a miracle you've been able to hold any sort of conversation with people since its release. Just kidding, I saw it about a week ago. But I mean, look at this face:

Leonardo DiCaprio in "The Wolf of Wall Street"

Anyway, if you have heard of it, you're aware of the certain misogynistic themes that run rampant throughout the entire 180 minutes of the film. But Meghan, it's a biographical film! It's supposed to be funny! They have to stay true to the characters! And yes, I do admit that there's something outrageous and alluring that sets The Wolf of Wall Street apart from the other hundreds of thousands of "Men-Are-Powerful, Women-Are-Sex-Objects" films, but it's interesting to think about how the movie would've actually went if the roles were reversed.

And that's where Los Angeles writer, Nicole Donadio, comes in. A couple of weeks ago, she released a video called "The Women of Wall Street", a parody of the original The Wolf of Wall Street trailer. Line for line, and almost exactly shot for shot, she recreated the trailer, but with a twist. All of the roles switched genders. The concept is more impressive than the actual production of the video, but in my opinion, it was very well executed and edited. First, here's the original trailer:

And here's Donadio's version:

At it's worst, it's a silly parody of a blockbuster film. At it's best, it's a nod to the inequality of women in not only the film industry, but the corporate world as well. What I found extremely interesting were the surprisingly negative comments on the Youtube page. Commenters treated the word and the concept of "feminism" in a very critical light. Although "feminism" has always been viewed as a dirty word (known to many as "the F-word"), I found it alarming how many people took the time to express their hatred for not just the video, but the feminist ideals behind it. Regardless, I'm all for these kinds of videos starting discussions and bringing to the surface some of the issues of gender that are mostly shoved under the rug. Props to Donadio, and I'm excited to see if this sparks any more critical parodies.

And in case any of you are interested, here's a link to a well-written critique on The Wolf of Wall Street from a feminist stand point. Because you know, feminism.

Is pirating movies always wrong?

One of the greatest challenges production companies have to face is pirated films. In the U.S. it is illegal to download or copy a film without proper authorization, but what if that was the only way you could view the movie? Hear me out for a minute. Hypothetically speaking, lets just say the film "Wolf of Wall Street" by Martin Scorsese comes out in China. You being from the United States have not had the chance to see the film yet but you really want to, all the sudden you hear it's band to be viewed by the country for "extreme scenes of nudity, sex, debauchery, hedonism and cursing". Of course this being a free country that would never happen, but Kenya is another story.

As you may have guessed, Kenya banned the oscar nominated film, "wolf of Wall Street", for the reasons listed earlier. In response, many people in Kenya decided to respond by pirating the film. "Wolf of Wall Street" was being sold for $0.57 on the dollar to Kenyan illegally  but is that wrong? Many would argue yes, no matter the rules of the country, you cannot steal a film whether that is your only option or not, and some could argue that if they ever want to see the film this is what they must do. Honestly, what would you do if your only option to see the movie was to purchase it illegally for $0.57? Ultimately breaking the law of any country is not a good idea in terms of ethics and moral code, but what to you do when they just don't seem fair? 

Those who get fought purchasing the film can face a fine up to $1,160 or several years in jail. Although people feel Kenya is unfair for their policies you could also say they could be right. One of the arguments to why Kenya bans the film is for the protection of their Women and Children. It's easy to say it's wrong of the country to restrict the people of such art but one could understand the reasoning why. At the end of the day it all comes down to why you believe and your ethical code. Is Kenya at fault for disallowing the film or is their reasoning unjust? 

Film Challenge

The Sundance Institute Short Film Challenge is a competition in search for people who demonstrate “an optimistic story about individuals and communities who are overcoming poverty and, hunger, combating diseases, or improving health.” It’s an organization in partnership with the Bill and Melinda Gates Foundation in hopes to start a conversation about the affects of poverty and hunger around the globe. This article particularly peaked my interest, as it should yours (I’m talking to all you film and T.V. people out there) because it combines filmmaking and world issues.

As you advance through what ever you wish to pursue in life, you should never be closed off to what is going on outside of your personal bubble. What this competition is to me is a way to use my passion for the bettering of the world.
There will be five chosen films which will premiere at the 2015 Sundance Film Festival, and each of which will receive a $10,000 grand prize, as well as a trip the film festival as a guest of the Bill and Melinda Gates Foundation.

As an Ithaca college student, it is very easy to be cut off, or not care, about the harsh realities outside of our “bubble”, or the subjugated communities in which so many reside.

This challenge is one that every filmmaker should take part in at one point or another, whether you are a freshman film student or an accomplished director like Scorsese.

You have till July 1^st, 2014 to submit a short of your interested!

It is our obligation as human beings to utilize the opportunities you have been given, achieve your most optimal version of success, and share you prosperity with those who are not as fortunate as you.

The Departed

Martin Scorsese has made dozens of incredible films, many of them being classics. But the one that earned him is one and only Academy Award for Best Director and Best Picture was his 2006 film, The Departed. Set in South Boston, Billy Costigan (Leonardo DiCaprio) is assigned to be an undercover cop in the Irish mob run by ganglord Frank Costello (Jack Nicholson). Collin Sullivan (Matt Damon) is a criminal working for the Irish mob and Costello, who has become a Massachusetts State Police Detective. Both Billy and Collin attempt to gain information about the organizations they have infiltrated. However, both the police and Irish mob become aware of the moles inside their organizations and Billy's and Collin's lives are suddenly put into danger. Each man must work quickly to find the other man and take him out before they get taken out by the organizations.

With an amazing cast featuring Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winston, Vera Farmiga and Alec Baldwin, The Departed is an outstanding film that everyone should go see, if you can get past the abundance of violence and cursing that is in the film. This film simply has it all. A great cast, great cinematography, great editing and a great script. It is one of my personal favorites and every time I watch it, I am sitting at the edge of my seat.

I think my favorite part of the film is the scene on the top of the rooftop, (SPOILERS AHEAD). Both Billy and Collin have found out that the other is the rat in the organizations. Billy told Collin to meet him on the top of the roof and when he arrives, Billy arrests Collin. Detective Brown, played by Anthony Anderson, also comes to the rooftop because he knows who both Billy and Collin are. Billy takes Collin down the elevator at gunpoint and as soon as the elevator doors open, Barrigan, who is another detective working for the Irish mob, puts a bullet through Billy's head and Detective Browns. Collin then puts a bullet through Barrigan's head, making sure that there are no loose ends. This scene is very intense and you do not see the murders coming at all. I jumped in my seat when I heard the loud bangs.

Also just as a side note, my brother actually works in the building where this scene was shot.

The Departed is a terrific film and I think it is Scorsese's best.

Hugo

A year of two ago I read, wait no, I should say watched a book, called Hugo! This book was not written but drawn. On every page was a new illustration telling a story about a boy and a mystery after the death of his father and the discovery of something his father was working on when he died. Over the Thanksgiving break I saw a trailer for the new movie "Hugo" produced by Martin Scorsese. I'm specifically excited to see this one mostly because I loved the new form of book media and the story as well. I also trust Martin Scorsesi's work and the animation in the trailer looks wonderful! I really hope I get the chance to go see this. If any one sees it before I do let me know how you liked it!!