|
|
Aging "Gracefully"
As I approach the age of 65, there is a surprising relief at not being invited out as much as I used to. To be sure, I'm still out at night more than most of my contemporaries. I used to be in maybe 3 nights a month; now it's 5 or six. But ths Christmas season brought it home. A friend asked over lunch one day, "So, are you going to lots of parties?" And I said, "no." And I was I was not only relieved but almost happy about that. So, on Christmas weekend, I went to a Christmas eve party where there were mostly familiar faces; the day after Christmas I went to an afternoon movie with a friend; and Christmas day I spent with my former wife, going to church, having dinner and playing Scrabble (at which I won for one of the rare times in my life). Each night, I was home before 8pm, and a good part of the rest of the evening was spent talking, or perhaps connecting with friends and family from over the years. It all felt a little like savoring a fine wine.
The Cashmans
Last week was Christmas Eve and the Cashmans (Christy and Jay) had their annual party at their magnificent home in the Back Bay. As usual, there were the gospel singers (this time imported from Connecticut), and the hosts were wonderful, perhaps enjoying the a=party as much as the people they invited. Certainly Jay and Christy, together nnow for over 8 years, continue to send off vibes that they enjoy each other. The beautiful Christy could become a contemporary Isabella Stuart Gardner. Both she and her husband seem to enjoy hosting, and both have been generous in allowing others to use their home. I recently had a staged screenplay reading there and five years ago, she threw me a 60th birthday party that drew l75 people. There was a confortable feeling there, in spite of the vastness of their home. And there were familiar faces, Jay's family and business associates and Christy's relatives and film friends On the film front, there was a sense that all projects any of us are involved with are taking longer to get off the ground than they should. But that is the state of filmmaking in Massachusetts, and, anyway, it was Christmas Eve, and it wasn't time to do business. But it was the time to bask in the glow of the generosity of spirit that is the Cashmens.
NORTHAMPTON INDEPENDENT FILM FESTIVAL
After a conferance call today, I am struck by the fact that the more the Festival needs to become special, the more the conversation goes to use the same formula for "success" We can=t all be trying to do the same thing. Northampton is a unique New England community, and peop[le who attend the Festival from outside fall in love with the city. I still feel that the Festival not become a showcase for independent film, but become a referendum n the state of independent filmmaking.
ON THE WATERFRONT - a double standard
:ast week,, when I was looking for a movie to see, I realized that wather than see some half-baked new film, I would rather sit through a film I knew was good, even though I had already seen it at least 30 times. Fortunately, I had already seen most of the good films in release {THE INCREDIBLES, SIDEWAYS, HOTEL RWANDA, THE AVIATOR, HOUSE OF THE FLYING DAGGERS, KINSEY}, `and, to be honest, there wasn't much left (MEET THE FOCKERS?)
And it held up - powerful filmmaking in every senes. This, in spite of my problems with the naming names politics (my family was scarred by Joseph McCarthy_and even my familiarity with the script, it was better than any film I've seen this year. Not that it doesn't have problems. Character relationships are pushed in your face, and the last sequenc e, the time frame is all off. Togo from a government hearing to dead pigeons to going to the dock for an assignment (aren't dock workers usually picked in the morning?), and the script is manipulative.
Nevertheless, this is great filmmaking, and it is interesting that those who overlook the flaws in ON THE WATERFRONT, do not overlook similar similar flaws in two excellent American films that also deal with crime and have heavy emotional impact, THE ROAD TO PERDITION and MYSTIC RIVER
It reminds me of when I was on a panel with otherwise astute film critic Gerals Peary. He was trashing groundbreaking filmmaker Lars von Trier for his treatment of women, yet has no problems with the classic racist film BIRTH OF A NATION. Both BREAKING THE WAVES andBIRTH OF A NATION are great films. So too, should the admirers of ON THE WATERFRONT excuse its flaws while condeming similar flaws incoparably excellent films.
Gary Marino
One reason theMILLION CALORIE MARCH documentary might work is the subject himself. Apart from his determination to take off over 200 lbs, he is both personable and funny. Anyone could spend l-l/2 hours watching him on screen.
MILLION CALORIE MARCH
I never would have believed that a project developed almost entirely outside the film community would have so much potential. Gary Marino, who, 4 years ago, weighed 397 lbs not only vowed to take off weight, but formed an organization to create obesity awareness. Earlier this year he walked from Jackonville Fla to Boston, with a crew. He was on the Regis show at least three times, Fox News, a big write-up in USA Today, and local publicity all along the coast. Now, slimmed down to 245 lbs, he wants to make a movie. Thge march is both a physical and a metaphysical journey, but he wants to conclude by running the Boston Marathon, and get down to l90lbs. And it looks like he's getting the funding.
FILM FESTIVAL DIRECTORS
Since reginal film festivals don't really make any money; their communities wouldn't miss them if they were gone, why do so many directors (myself with BUFF included) persist? Is it vanity? Is it masochism? It xcertainly , in most cases, not about the love of film or the support of emerging artists. Any why is there so little vision?
VERA DRAKE
After the flamboyance of TOPSY TURVY, which was vastly enjoyable, it was good to see Mike Leigh return to form with VERA DRAKE. He is a major filmmaker, and he trusts the audience's intelligence and humanity. Although some have complained about its pacing, his long takes not only give the actors the chance to register a range of emotion within a shot and allow the audience to contemplate the ironies and contradictions within the situation. And there are no reaction shots to tell us that to think. I remember that magnificent l2-minute overhead shot in SECRETS AND LIES at the backyard party which revealed so much about the characters and the situation. And. what's happened to the normally astute reviewers at The Phoenix, who only gave VERA DRAKE two stars. One of their conmplaints. fiance Reg.s statement that this was the best Christmans he has ever had was thoroughly prepared for by his appreciation of Mrs.
drake's "setting a fine table>" Not unlike Cassevetes, to whom he has often been compared, leaves it to the audience to put otogether the competing emotions.
PONY TROUBLE
In spite uneveness and a difficult personality behing it, Warren Lynch's PONY TROUBLE has got possibilities, if no more than from a combination of originality, perversity and determination.
AVIATOR
After the disaster of the misshapen GANGS OF NEW YORK, Scorcese and DiCaprio are back on track in this biopic of Howard Hughes. More later
Are Regional Film Festivals about to become an thing of the past
With rising costs, decreasing sponsorship, and the proliferation of more mediocre films as well as mediocre film festivals, are the comminity-based regional film festivals becoming obsolets?
New festivals seem to crop up at least acouple of times a month. When I last checked California alone has more than one every weekend. But what are these festivals for. Ideally, in smaller communities, they serve to bring films that the people in the community would not otherwisegeta chance to see.The problem is, that many of these festivals are run by people f9r vanity purposes, people who know very little aboutfilm, and who set upflawed selection processes.\
I will probably elaborate of this later.
Staged Screenplay Readings
At a meeting with local actor Bob Pemberton, we began to set up a staged reading of Christina Sartori's script about a gay hitman, MY HIT MAN. This kind of ezercise is a valuable part of the development process. The reading is only about doing a rewrite. With the proper balance of participants, the feedback can be very helpful as to charachter, motivation, structure, et.. More later.
Number 2 Pencil
Yesterday< I did something I rarely do - get in front of a camera. The makers of OVERSERVED (a Todd Phillips kind of raunchy humor film that was often sophomoric, but one which I actualy liked) have spend five weekends shooting a comedy about a doofus who turns his life around and gets elected class president. I got the part of the principal who makes the announcement of his victory. Big deal. The only other parts I've consented to have been a grouchy cashier at a sleazy loquor store and a war mongering parent who gives his kids action toys. But it was good being on the set and seeing how Joe works. I liked the improv style and the way he could find new shots and fresh dialogue on the spot. Just as in his next film he's adding nudity at my suggestion (I;m reminded on one of the producers in Preston Sturges SULLIVAN'S TRAVELS), I also can claim responsibility for the "coed bathroom" part of the winner's acceptance speech. Hardly dignified, but fun anyway.
Best Film of the Decade So Far
Wang Kar-Wei.s IN THE MOOD FOR LOVE, on of the best films ever about unrequited love, and Pedro Almodovar's TALK TO HER, which, among other things, deals with miscommunication in love. Frpm America, nothing independent, but tw0 floomily fatalistic films, ROAD TO PERDITION, and MYSTIC RIVER, so fatalistic that a friend watching it on television last night kept calling me to ask if what she thought was going to happen was really goint to happen.
Pomodoro
In a week of falling ceilings, towed cars, potential clients not responding to proposals, and a dog who overdosed on pain killeres, a visit to the newly opened Pomodoro (the same ownership as the restaurenat on Hanover St. in the North End) proved to be an oasis. Owned and aggressively managed and hosted by this wonderful Irish woman, Siobhan (whose last name I still don't know) who owns the great Irish pub Matt Murphy's (featured in Maureen Foley's film AMERICAN WAKE)it is the Italian bistro that Brookline needs. Friendly, reasonable priced, amd with an outstanding bruschetta, it makes for a thoroughly satisfying evening out. It also passed muster from my compansion, whose brother-in-law used to be the food critic for the Globe, It is on Harvard St., only three doors away from Matt Murphy's, where I often have client meetings. I can see a wonderful synergy developing here. But the key to success in Siobhan herself, hard working, friendly and extremely savvy in terms of community relations. I wish her well.
Producers
Why is that whenever a producer expresses interest ina project I'm representing, he than spends more time pitching me on his own project?
Has my mind turned to mush. I've liked 8 films in a row
Having recently watched an interminable number of low budget independent films, perhaps it has been a relief to see films that can command a big screen. Perhaps my tolerance of mediocrity has increased as well. Certainly tolerance of FINDING NEVERLAND, wherein Johnny Depp has a role that is less flamboyant than usual, but in a character that has no range within a film that has no vision (it required a Fellini of AMARCORD, a Kusterica of UNDERGROUND or Tim Burton) and GARDEN STATE, a rip off of THE GRADUATE and HAROLD AND MAUDE, which is suitable only for mid-20 somethings that are in the first stages of falling in love, has me wondering. On the other hand, I was glad to see the near great Hong Kong crime film INFERNAL AFFAIRS at the Brattle. Gritty and intense, it combines the best of Hollywood low budget B-movies of the 50;s with the best of John Woo. I hope the Scorsese remake with (yawn) Leonardo DiCaprio isn't as big a disaster as GANGS OF NEW YORK was. Kudos to the Brattle programmers, Ned and Ivy, who consistently bring exciting movies at box office risk. KINSEY avoids most of the cliches of the biopic and has excellent acting and art direction, and some clever humor. Watch for the gripping HOTEL RWANDA, which has its heart in the right place, and by all means see HOUSE OF THE FLYING DAGGERS, the most engaging of the recent martial arts megahits.
FINDING NEVERLAND
For a film about a visionary, the direction of this film shows a total lack of vision.
Independent Film Now
Stay posted for my thoughts on the deplorable state of independent filmmaking in America.
Why is BIG FISH thekey to understanding the future of this blog? .
|
|
