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David Poland

By David Poland poland@moviecitynews.com

BYOB 022014

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6 Responses to “BYOB 022014”

  1. EtGuild2 says:

    So I saw “Blood Brother” last night, the documentary about the regular American dude who takes care of kids with AIDS in India. There was an absolutely fascinating meta-documentary that was taking place at the same time as what I was watching on screen involving the main dude’s desire to be liked, and the American desire for charitable works overseas to come with some sort of recognition. There’s a scene where this guy speaks of the horrific, wrenching stories of all these kids, but the focus is on how it affects HIM,. We do not see ONE story of how it affects the children he is speaking of, though images of the children recounting horrors shuffle past wordlessly. To be clear, I have no doubt this guy cares for the children he has dedicated his life to serve. At the same time, I have no doubt he feels that he is committed to a heroic, noble cause, and his jesture is by all means worthy of a documentary.

    Just an unbelievable examination of American narcissism in the philanthropic realm that I felt like either flew over most critics’ heads or they chose to ignore. But it made it the second greatest doc last year for me (Act of Killing) in a year of just superb work (Call Me Kuchu, Gideon’s Army, Herman’s House, A Band Called Death, 20 Feet From Stardom, on and on).

    Anyone else who saw this please comment.

  2. PcChongor says:

    Charity in America is just the 21st century version of paying an indulgence. Gives a nice warm and gooey feeling about helping out with a symptom, while leaving the root cause completely untouched. But at least it’s tax deductible!

  3. Tuck Pendleton says:

    Saw The Spectacular Now the other night. Wonderful, I was blown away.

  4. chris says:

    Sadly, Etguild, I don’t think that phenomenon is so uncommon. Same deal with “Born Into Brothels” and that movie won an Oscar.

  5. EtGuild2 says:

    Finally got around to “The Square.” Transcendent, amazing, must-see and is on Netflix instant. I know it happens again and again in the Oscars with feel-good domestic fluff overpowering world-beating cultural iconography, but “The Act of Killing” and “The Square” are two of the best documentaries ever made. I liked “20 Feet From Stardom,” but “The Act of Killing” is transforming Thailand’s response to the genocide with actual legislation taking place as a result of this film, and “The Square,” is a desperately needed reaffirmation of hope that should be required viewing for neo-cons like John McCain and Lindsey Graham pining for Mubarak.

    A “20 Feet From Stardom” win, god bless Darlene Love and company, would be the biggest travesty this year.

  6. Hcat says:

    So I just want to get this straight about the son of god movie this weekend. It is all repurposed footage from the hugely viewed miniseries. So they worked the church circuit to get them to pay for a movie they have seen in a slightly different form on cable and on DVD? Aren’t people going to feel slightly burned when they realize they bought.a ticket to something they have on the shelf at home?

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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