Tag Archives: Filmmaking

Bringing the Real and the Imagined Alive: Remembering Michael Apted

Apted at the Peabody Awards in 2013 (Photo: Anders Krusberg)

When you talk with your filmmaking peers, it comes as no surprise they have always have a few filmmakers they follow closely, perhaps someone who isn’t necessarily a household name… or even necessarily an art house movie theater name.

Michael Apted was one of those filmmakers for me. He died at the age of 79, earlier in January (I’m just getting to writing this post now). You can read obituaries and remembrances from the BBC, the Guardian, Variety, and NPR among others.

One part of his career you see mentioned again and again is the Up series, documentaries made at seven-year intervals looking at a particular set of Britons starting in 1964. It has become –as I recall one reviewer putting it– “a time-lapse film of human lives.” It’s simple, straightforward, and extraordinary.

Apted continued to make fiction and non-fiction films for the rest of his career… and the fiction films included a James Bond spy film and an installment of the Chronicles of Narnia. His filmography is rightly described as “eclectic.” And with a background in both anthropology and theater, with a love of films and history, you can perhaps begin to see why he was one of the filmmakers I followed.

For those of you who have seen my biennial Favorite Films sort, none of his fiction films ever make it into my top 50 and –by virtue of me wanting each feature to stand on its own– that eliminates the Up series from competition (its heft comes from the whole package after all). But I would be hard pressed not to find something interesting an energizing about every single one of his movies. In part, I think it’s because he always finds ways to bring forward truth in the fiction.

Nowhere is this more on display for me than the natural double-feature of Incident at Oglala and Thunderheart. The former is a thought-provoking documentary about shootings and subsequent trials at the Pine Ridge Indian Reservation in 1975. The latter is Hollywood mystery thriller with Val Kilmer, Sam Shepard, and Graham Greene, among others, oh so clearly inspired by the real events, but distinctly different.

There are always bits worthy of note in all of his films. For instance, in 2001’s Enigma, you get a good breakdown of how codebreaking actually works versus the typical “hack the Internets” silliness sometimes on display in films.

Still from 2001’s Enigma (cinematographer: Seamus McGarvey)

So while my biggest disappointment is how the Up series will continue or end (something several people are now wondering), there are plenty of other films, big and small, I was hoping might pop up there.

Time to revisit some films…

Warner Bros. Decides to Upend Theatrical Releases

Just shy of two weeks ago, Warner Brothers decided to drop a bombshell by saying that all their 2021 films would simultaneously go onto their streaming service, HBO Max, along with theaters, as reported in industry publications, Variety and Hollywood Reporter.

Some of the 2021 film slate (photos courtesy of Macall Polay/Warner Bros.)

This announcement broke a certain segment of the Internet the Thursday it dropped because –shockingly– Warner Bros. evidently didn’t let any of their producing partners know.

And that’s a big deal, not simply from being courteous to your business partners, but there are hundreds of millions of dollars at stake since a big way production companies and above-the-line people get money is through profit participation in the theatrical ticket sales.

Now, Warners evidently wants to mitigate this by generously estimating what the ticket sales might have been and paying the profit participants thusly as they’ve done for the director and star of Wonder Woman 1984.

Of course, this may mean money is left on the table as far as directors, stars, and producing partners are concerned –to say nothing of potential problems with existing contracts. Director and lover of the big, big screen, Christopher Nolan is reportedly furious. And the director of the new version of Frank Herbert’s epic saga is absolutely incensed — in part, fearing that this move might tank the possibility of this kicking off a proper Dune franchise (a lot of books have been written in this series).

If you know The Business, a weekly news show about the entertainment industry led by veteran report Kim Masters, you might expect they have something to say about it and they do.

The week of the announcement, they devote much of the opening segment to it (where it really drives home how much Warner Bros. did not tell anyone this was coming). And the episode this past weekend is all about it.

We knew there would be more and more of shift to streaming in the next few years, but what falls out from this attempted unilateral shift by the Bros remains to be seen.

More on Getting Back to Set

Earlier this week, Cirque Du Soleil announced it was filing for bankruptcy and Broadway said it was going to be shuttered until January 2021. It’s grim for folks in the entertainment industry.

Still people are trying to figure out how to get some productions back in gear, especially film and TV. Last week, I shared some guidance the film industry has been working on.

This week, catching up on Scriptnotes, I heard their late May roundtable about getting back on set which I figured would be useful too.

Short version? It’s not a bad time to be in animation.

Video

Happy Centennial, Ray Harryhausen

Somewhere in the Heavens, and in glorious Dynamation, Ray Harryhausen is celebrating his 100th birthday.

There’s nothing I can say that can surpass what many, many, many people in the film industry can say about Ray Harryhausen, so I’ll simply link to two videos. The first, a tribute made on his death:

The second, a review of all his creatures, set to music you know you want to do stop action animation dancing to:

Guidance for Filmmaking in a COVID World

Starting last Friday, Hollywood began starting to tentatively resume work since basically all major productions shut down.

Read all the guidance and take it slow, people.

This does mean a fair number of changes, from face masks for audience members to ending buffet meals on set. The industry has created a pretty detailed white paper (note the link is a PDF) that covers recommended actions from personal hygiene to food on set to particular production concerns.

For those of us that aren’t major studio productions, this is still good information to bear in mind.

Have you made your movie yet?

Online creativity is abounding, and it’s not just clever memes and personable actors giving us a positive news boosts. People are making movies.

In the past month, the 48 Hour Film project, a competition I’ve frequently done, has had a series of stay-at-home competitions.

So now indie filmmaker extraordinaire Roger Corman, who’s still sharp as a tack in his 90s, wants to see your short film. Seriously. He said so.

But better do it quick. You have less than two weeks.

Hangin’ with the Velocipastor

This week, I joined the Streaming Nonsense crew in their mission to review lesser known films available online. This time, we looked at The Velocipastor. Is it everything you want from a disillusioned-priest-becomes-dinosaur-and-fights-ninjas movie? Give a listen.

McQuarrie on Making Things and Playing the Lottery

Moving on from trying to make hobbies conspicuously unproductive, there’s the notion on not waiting on one’s creative aspirations and making things.

I wrote a longer post a couple years ago about this need to do and complete creative works, in part referencing the column above. Time is finite for us mere mortals, so you need to figure out where to feed your creative side while life happens. Maybe it’s on the job, maybe it’s outside it. For many of us indie filmmakers who –surprise, surprise– don’t do filmmaking full-time (see life happening above), that’s quite a task.

One of the notions you’ll see in the links above is the idea to just go ahead and do it. Carpe that diem, even if it annoys Latin scholars that you just mangled that phrase. Mister Keating has your back. Alea iacta est and maybe this time it’s a natural 20.

So, on the one hand, it’s nice to see an industry professional mirror some of those sentiments, which is what Christopher McQuarrie did on Twitter back in October. Not being a Twitter power user, I only picked up on it when someone posted No Film School’s recap recently in a writer group.

Christopher McQuarrie

The main thrust of his tweet thread is that those asking him for where to find an agent, read their script, etc., are asking the wrong questions, because on one level, it’s about submitting to the status quo of “the lottery,” the often random way one finds success and builds a career in Hollywood.

That he notes he realized that he was asking the wrong question and after winning an academy award no less (surely winning the lottery), made me sit up and take notice. In fact, hearing some of the same notions from someone who is absolutely “in the system” and has “won the lottery” that I hear from indie folks encouraging each other was striking.

The whole thread is worth reading, but I wanted to highlight some parts. One is the overall implication that he has played –and won– the lottery, but all that gets you is the ability to play the lottery again. This squares entirely with repeated anecdotes I get from people that Hollywood is a very binary environment, where you can be a one or zero at any time as far as various people believe.

And another implication is that if you’re not making something, you never get to be a ‘one’ in anyone’s eyes. And sometimes that something is not seen hardly at all, or it is seen and judged lacking, yet you focus on the “execution and not the result.”

That’s what I liked about him going beyond the oft-repeated idea of “doing what you love” You have to execute and keep on executing until you there’s more people that find you to be a “one”

On the Wordplay site (where the “Never Wait” column comes from), they mention writing a script is like writing your own lottery ticket. But McQuarrie makes the point several times how making a film, making more than just a screenplay, is actually giving you more chances.

“And it’s infinitely harder to sell a screenplay than it is to sell one’s proven abilities.”

~Christopher McQuarrie

I love that he closes with the notion that the business isn’t something to be broken into so much as you are the business to be acquired, that the creative folks we might look up to like-as-not made their own luck, and many –if not all– of them failed spectacularly along the way.

So make the movie. Do the thing. Don’t wait.

Snowball Fight!

Earlier this week, an under two-minute short film hit YouTube that takes the humble snowball fight and amps it up to 11.

It should not surprise anyone that this is directed by an action film veteran, David Leitch, whose name may be familiar to those who’ve seen John Wick (he was the uncredited co-director). He’s gone on to direct additional action movies and he brings substantial experience as a stunt performer and coordinator to those film… and to this one. Just check out the behind-the-scenes spot they did as well:

As you might expect. Discussion of this short has spiked among many of us indie filmmakers — and after the initial amazement, some do grumble that the film an anything-but-low-budget product from a full film crew, including an experienced stunt team, that’s training these child actors. Oh, and it’s all a big commercial for this iPhone too. (Spoiler alert: all those fancy camera rigs you saw them slip the iPhone into cost extra!)

I get it. This wasn’t an indie effort. And those corporate resources are definitely something to consider if one is trying to shoot a similar looking project. But what are some of the coolest things about the short film? For me, it’s the story, that simple concept of taking a snowball fight and making it an epic battle — because don’t many of us remember the snowball fights of our youth as such? And think of how much drama is imbued with every clearly thought out shot!

So, yes, I get that this is a commercial ploy to want us to go get this latest iPhone, but that doesn’t mean it isn’t motivational. Because a lot of filmmaking ingenuity is in the planning. True, execution is hard and can be made easier by big budgets and crews, but none of that is insurmountable. And for stunt coordinators? I might know some people.

Scorsese Follows up Regarding Marvel

Last month, I wrote about how accomplished filmmaker Martin Scorsese termed the many, many Marvel films as “not cinema.” His colleague Francis Ford Coppola joined in, going further in calling the films “despicable.”

Superhero fandom has not been kind. (Thankfully, some superhero actors keep on being superheroic, so there’s that).

Martin Scorsese

On Monday, Martin Scorsese wrote an opinion piece in the New York Times about the interview that kicked this all off — and where he was coming from in his comments.

I appreciate him taking the time to explain his viewpoint. He’s eloquent, passionate, and has an absolute love of film. If you’ve seen him in interviews and especially from some of his segments on Turner Classic Movies, this man loves cinema — all types of cinema — and I don’t think it’s at all controversial to opine that he’s contributed greatly to cinema through his films.

But while I agree with many of his observations, I don’t agree with the breadth of his conclusions.

Films are made more by committee these days. They are tested and –more likely than not– drained of anything that might be “controversial” as the studios continue to be risk averse in a way that really doesn’t avoid risk (see the box office disappointment of the latest Terminator film). Filmmakers who want to find a voice, tell a singular story, or otherwise be unexpected do find an uphill battle in the face of the studios near monolithic insistence on their vision. And I don’t doubt that the majority of filmmakers would love to make films for the sizable silver screen versus streaming.

But I feel Scorsese is conflating this studio stubbornness and corporate zeal to eliminate “art as risk” with its current method of promoting this blandness: superhero movies.

And there’s a lot of nuance in here, because he clearly understands and loves all sorts of movies. He identifies Hitchcock films as the thrill rides of his day, but I think he discounts the character, craft, and sheer enjoyment one finds in superhero movies. He’s entirely fine to say, as he does, that superhero movies are not to his taste — I just don’t think it’s fair to say superhero movies are in poor taste.

To give an example using the rough equivalent of the “superhero” film of his time growing up: imagine if Studios not only favored Westerns, but they insisted on franchises of Westerns and any new idea was met with, “But can it be a Western?” I can’t imagine Scorsese would enjoy this state of affairs any more than the state of affairs with superhero films — and he’d probably say some of the same things.

And you know what? He’d be right that the studios are too dismissive of anything done for art’s sake. He’d be right that many a Western is weighed down with hoary tropes and is more of a thrill ride that a film that engages you on all levels, but he would not be right that westerns are second-class films as a genre or type by virtue of being Westerns. Amid the slickly produced, forgettable ones, there’s early classics like “Stagecoach” and more meditative affairs like “High Noon,” character-driven action like “Winchester ’73,” and operatic takes like “Once Upon a Time in the West.”

Likewise, he’s missing all the character and nuance that you find in films like “Captain America: Winter Soldier” and “Black Panther.” Action sequences don’t take away from the tale of a man who dedicated his life to serve finding the institution he served has been betrayed from within. CGI armored rhinos don’t negate the nuance of a son coming to terms with things his father never told him as he tries to find a way to lead his people. I get that superhero films are thrill rides –the comics they’re based on have fight scenes and action sequences more often than not– but just like the Hitchcock films and Westerns of old, they’re not uniformly disposable trifles.

I suspect it’s hard not to conflate studio attitudes with superhero films because Scorsese is such a phenomenal, singular filmmaker. The studios are playing their superhero-franchise-over-everything-else card and that’s an impediment to precisely what Scorsese longs to do, (and what he’s done very well doing). He wants to make art. He understands that it’s show business, but he’s knows there’s art in the show and he’s presented with a bunch of drudges who feel showing art is bad.

And I bet if he was able to make all the films he pleased, he’d still be sad on behalf of the next generation of filmmakers.

For anyone who dreams of making movies or who is just starting out, the situation at this moment is brutal and inhospitable to art. And the act of simply writing those words fills me with terrible sadness.

~Martin Scorsese

Like I said above, this guy loves art. Think of his appearance as Van Gogh in Dreams: he’s a painter who wants you to paint. He implores you to paint for the sheer joy of painting. I think he’s just forgetting there’s other paintings that are artful, even when they’re paintings the studios are trying to mass produce.

“ars gratia artis” indeed.

I’m so looking forward to The Irishman, but I’m also looking forward to several superhero films. There will be art in both I’m sure (and I still find myself coming back to Kareem Abdul-Jabbar’s piece in response to Scorsese).

Everyone take it down a notch and enjoy some movies already.