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Ray Pride

By Ray Pride Pride@moviecitynews.com

Yo La Tengo’s “I’ll Be Around” (4’49″), as seen in Bon Appetit

Video by Phil Morrison.
From Bon Appetit:
Why did you decide to put the recipe, and the rest of the text, over the video?
Ira Kaplan: It was the director’s idea, and we liked it. I think the first thought was that we liked the idea of information–there’s lyrics, there’s lyrics that aren’t part of the song, and there’s the recipe onscreen. I think it’s at a point where the text provides information, but it also obfuscates as well. I don’t think anyone knew until they saw it if it was going to work, but conceptually, it had the capacity of touching on a couple of bases that would otherwise be hard to show visually.
Why the eating scene?
IK: I’m not dying to talk about the meaning of the song, but we felt that it was appropriate to the spirit of the song, and I don’t think in particularly obscure ways… [Bass player] James McNew has made the tortilla before, but we hadn’t made the tortilla soup. So the tortilla was the first part of the menu, then we needed a complete meal.
And were you actually cooking it on-screen?
IK: Oh yeah. We’re not actors.

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 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook