Cinematic Life

Notes From Hollywood #1

noreply@blogger.com (Michael) — Tue, 24 Jul 2012 19:22:00 +0000

I've decided to start sharing little thoughts and journal entries I've kept over the past few months leading up to my departure from the real world and after I landed here in paradise. A little glimpse into my mind and experiences....

July 23, 2012 12:33am

Falling Asleep In Hollywood

Sometimes falling asleep in Hollywood is impossible. Whether it's the drugs, sex, or alcohol that keeps your brain racing, no matter the vice, you're fucked. Other times maybe it's the thoughts of what you left behind, because rarely is anyone actually FROM Hollywood.

When I think about the time I've spent out here thus far, I'm shocked. I guess that's why I'm starting this new "journal" to share with the world. The idea is that one day I can look back on this and have a reminder of the life I lived out West. Hollywood is the Devil's playground, if you believe in that sort of thing. I've gotten to taste the top, and I'll tell you that no matter what anyone says or what you've heard, it's all worth it. It's worth the pain, suffering and struggle any Hollywood hopeful endures, and most of all it's worth the sleepless nights.

My best advice?

Stay awake in Hollywood. Sleep when you can afford a vacation.

-Michael

In Retrospect: Lloyd Kaufman's Influence

noreply@blogger.com (Michael) — Wed, 04 Apr 2012 12:34:00 +0000

In the 1980s a hero was born out of the toxic waste ridden cesspool known as Tromaville, New Jersey. A hero who has no pretty smile or swashbuckling attributes, but only a hideous disfigurement and his trusty mop. Lloyd Kaufman created “The Toxic Avenger,” because of his pure hatred for Hollywood. Hollywood had done Mr. Kaufman wrong, and he felt that a true auteur must stand out amongst the people and strike back for all that is sex and violence, and created what would eventually become a revolution.

When I first met Lloyd, he spoke so much about the wonders of being an independent filmmaker that I forgot all about his hatred for mainstream Hollywood. Sure, he’s good friends with the likes of Quentin Tarantino and Peter Jackson, but you will never find him dining with Spielberg or Michael Bay. Tarantino and Jackson both have a couple things in common. First, they both broke the mold of average Hollywood by being original and going past the known censorship to create something never seen before. Go watch Jackson’s “Bad Taste,” and tell me if you still think “King Kong,” is cute. The second thing they have in common is much more important to the basis of this essay. Without Lloyd Kaufman, neither of them would have ever broken the mold in mainstream media. Furthermore, without “The Toxic Avenger,” we would never have had “Reservoir Dogs,” or “Braindead.”

When released the New York Times article “The Toxic Avenger” (1985) by Stephen Holden who said this about the film;

“The Toxic Avenger,'' which opens today at the RKO Warner Twin and other theaters, may be trash, but it has a maniacally farcical sense of humor.”

That farcical sense of humor is why we have films like “There’s Something about Mary” today. It is an important part of film history and the evolution of film altogether that has been looked over by film viewers and schools alike.

I’m not going to go real deep into why this movie is so great, because it isn’t great. Take it for what it is, a trashy B-movie full of gore and sex that is too long and is

reminiscent of an Ed Wood film. Now, take it for what it was meant to be. Lloyd didn’t want to make a great film that used cutting edge technology or great acting; he wanted to do something different. “The Toxic Avenger,” was made to prove to Hollywood that Kaufman cannot be censored and that anyone can make a movie.

Within the actual film are parodies of classic films that Kaufman grew up with or loved. That is the only mainstream aspect of this film. The main story and action in this film will go down in history as cheesy, stupid, boring, gross and perverted. It will never be taken for what it is. It is a call to action for anybody who has ever wanted to make a movie and never thought they were good enough. It proves that you don’t need fancy equipment or fine actors but simply passionate people who love what they do. Hollywood lacks passion these days.

“The Toxic Avenger,” is meant to be viewed by adults and teenagers who have been the underdogs their entire lives and just want that one boost to make them who they wish to be. It’s about coming of age and becoming the man, or monster, you have been working towards for many years of your life. Now, granted, the film does not exactly paint out a fairy tale version of these delusions of grandeur. It contains no ballroom dancing or singing teacups and is not directed by some guy named Walt. What it does have, however, is a nerdy guy who has nothing in his life but a worthless job. This character is something many of us can relate to, even if we aren’t nerds. We have all had points in our lives where nothing has been enough and all we want is to be apart of something larger. The character get’s his wish and transforms into the iconic creature now internationally known as Toxie. In essence the basic idea here is that we all want something but then once we get it, we realize that maybe we were better off before.

That brings us to the next moral of the story; work with what you have. So he becomes a monster superhero and has to live the rest of his life in seclusion, sticking to

the shadows. He now has a life of crime fighting and a face that makes Freddy Krueger piss his pants. Clearly, that is not what the hero of the film truly wanted, but it is what he got and in order to survive he has to make it work, which he does as there are many sequels.

“The Toxic Avenger” can be taken in many different ways. In one way, it is a slapstick horror comedy full of gore that uses cheap jokes and sex to force a giggle out of its viewers. To the people who see it as nothing more than that, I pity you for your ignorance. The way I perceive “The Toxic Avenger” is as a groundbreaking piece of art that paved the way for future filmmakers to speak their minds and go with their hearts. I see Kaufman as a visionary, not a villain, and through personal experience working with him; I know my beliefs are true. In his book, “Make Your Own Damn Movie,” (2003) he says:

“So, knowing full well that the road you are about to embark on is long and painful, will probably require you to be publically humiliated on more than one occasion, and will require your total obsessive attention for over a year, is it worth doing? Absolutely. “

That very statement says a lot about “The Toxic Avenger,” because Kaufman was doubted on numerous occasions. Nobody thought this movie would ever get made, and the hell he went through making it was probably not worth the hell he has gone through since. Yet, he still stands by his dreams, much like the character of Toxie who fights for the greater good and takes chances to achieve the final outcome of success.

Lloyd Kaufman once questioned me on what I believed success was. After answering with the usual answer of making money and forcing my vision on others he replied with a sentence that has stuck in my mind ever since.

“Success is not about money, or women. It is not about how far you rise on the charts or how many people watch your art. It’s about being happy. I am happy therefore I am successful.”

Many people do not consider Kaufman as a successful man, but the genius of Kaufman is that he cares not about what others think, but only knows how he feels.

Something else that Troma Entertainment helped create is a safe Indie distribution network. Before Troma, it was difficult for Joe Blow Filmmaker to get his film distributed, and for some of TV and Film’s most revolutionary filmmakers, Troma was their saving grace.

“But Troma has not only influenced blockbuster producers. Many original and talented directors have been influenced by the B-movie counter-culture which Troma is a part of, and some say they own a debt to Troma, because the New York based studios proved that an alternative cinema was viable. Indeed, the success of many low-budget gore movies, and especially the outrageous Troma films, have shown that independent directors could survive outside the Hollywood system and its fixed canons. For instance, Quentin Tarantino, who happens to be a Troma fan, has paid tribute to the genre with From dusk till dawn, which is both a parody of Tarantino’s own style and a parody of zombie-blasting movies. Peter Jackson, another supporter of Troma, whose super-production Lord of the rings is going to be released in a few weeks, was once known as a science fiction B-movies parody maker, with Bad Taste. Thus, Troma is often considered to be the best of low-budget filmmaking, and as a model of inspiration for many. Many talented movie technicians volunteer to work for Troma, and accept a lower wage, because they enjoy the freedom of creativity they have with Troma.”

After receiving some success, Kaufman and the Troma Team decided to launch TromaDance, the ultimate independent film festival geared towards film students and anyone with a camera.

“As an alternative to Redford's Sundance, the Troma team has created the "Tromadance Film Festival". It takes place every January in Park City and Salt Lake City to give filmmakers a free, high profile alternative showcase to screen their films during the Sundance events. TromaDance has no entry fee, no admission fees and is organized on a non-profit basis. TromaDance relies on small sponsors and volunteers, which allow TromaDance to remain truly independent to a large extent. TromaDance is also a good way for organizations to raise their profile among the film industry, the mainstream media and the general public, all of whom are concentrated in Park City during TromaDance and Sundance.”

When watching a Troma film, you will not find great use of camera angles or acting that shines far above Brad Pitt and John Travolta. You will find raw filmmaking at it’s finest. A film that has no standards, and a film that strikes back at the industry it calls daddy. It is the wicked, redheaded stepchild of film history, and one that continues to leave its mark today. “The Toxic Avenger,” has acquired a vast and loyal cult following that spans over every country on every continent. It is loved by many and hated by most, but it still does what it was meant for; it inspires individuals to think outside the box and do something no one expects. That is it’s magic, and that is why is succeeds as both a film and an important piece of revolutionary filmmaking.

-Michael

What I've Learned: Business Plan Part 2

noreply@blogger.com (Michael) — Fri, 23 Mar 2012 15:33:00 +0000

After reading various experts in the field of business plan development, I have made the decision that providing a business plan to investors in the film industry is completely up to the producers of the film. For some films, the producers can name drop, and investors will leap at the opportunity to fund a certain director's vision.

In the business world, having a business plan is a crucial piece of acquiring funding for a project and/or start-up company. In the film world, it is more-so essential when dealing with rookie filmmakers and producers who are still trying to make names for themselves. I feel that Mr.Sahlman's advice was the most crucially important advice for any prospective filmmaker.

He says that it the most important aspect of a business plan is who the people are that you are working with. He also states that the risks, opportunity, rewards and content are extremely important because that helps determine whether or not investors would care to fund your project. In the end, that's all that really matters, and is the main reason why anyone would create a business plan.

In the film industry, as I am quickly learning, it is more about who you know than what you know. A good friend of mine told me that it's 90% who you know and 10% what you know. This is why in many pitches and business plans, filmmakers attach names to their projects, and then pitch them to various producers and studios. Having any sort of celebrity power behind your film, can make or break your entire production.

Overall, I have learned that a business plan is extremely important when it comes to acquiring funds for a particular project. I am actually working on various plans right now, some of which are film based and are crucial in finding funds. I have also learned that the company you keep speaks a lot about the type of investors you will attract.

-Michael

The Importance of A Business Plan

noreply@blogger.com (Michael) — Thu, 01 Mar 2012 20:58:00 +0000

In every major industry it is extremely important to have an expertly crafted business plan that you can present to potential investors and/or producers. In the film industry, we use business plans to pitch film projects to prospective studios or investors. This plan normally gives a decent amount of information regarding the project that will help tell producers/investors/studios why they should invest or back a particular project.

Harvard has long been a leader in the world of business education, and will always be considered one of the top Ivy-League schools in the world. So, to get some insight into the importance of having a business plan I decided to look into William Sahlman who is a Chair at the school. Along with his high ranking position at Harvard, he is also involved with various investor firms and an advisor to different private investors.

(Video on Business Plans)

Mr.Sahlman has written multiple publications and articles on business plans and his expertise in that field of work. One of his more notable articles is one that he wrote for the Harvard Review titled "How to Write a Great Business Plan." According to his years of experience and the business plans he has put together, he has noted that the most important aspects to a successful business plan are the people, the opportunity, the context, the risk and the reward. Much of this may seem like a lot of common sense, and as he breaks each component down it becomes clear as to why that is, but he also goes on to say something very interesting. Mr.Sahlman writes that the biggest downfall to a business plan is arrogance, mostly due to inexperienced writing.

Another expert in crafting a business plan who I looked into is Philip Schlein who was once CEO of Macy's California. For him, some of the more important aspects of a business plan or pitch are the actual team building the team and the business model. He states that it's important to let investors know what sort of structure your business will have and how their money will be used. More importantly, it's good to let the people who are giving you money know how they are going to get their money back.

In the film industry, these experts shine brighter than ever, because all film producers and investors are worried about where their money is going and how they are getting it back. Everyone who invests in a film is more concerned about their ROI than about the actual film. Also, having a greatly structured crew can make or break a production.

-Michael

Industry Revolution: How the entertainment industry can work together

noreply@blogger.com (Michael) — Thu, 16 Feb 2012 17:12:00 +0000

One of the major issues I see within the entertainment industry is the lack of respect many artists have for each other. I'm not talking about competition, because that's a healthy entity that will never leave this industry. I'm talking about the fact that just recently music and film have really begun to come together and do something other than music videos.

("It Might Get Loud"a 2008 doc about music and creating art together)

This industry is such an amazing opportunity for creative individuals to team together and change the way lives are lived. Music and Film needs to work together to change the industry as a whole, because if we don't we will lose the industry we love to the conglomerate corporations who govern over us. One of my classmates has started a revolution with his new website, www.CollabAve.com, which is going to make a huge splash in the industry.

Basically, what his site does is connect independent artists with independent audio engineers who will then mix their tracks and the artist can choose with mix he/she wants to go with. It's all about connecting the little guys together to help create lasting networks of indie artists and take some of the power away from the labels. Everyone thinks they need a label or a studio backing them in order to be successful, but in reality those entities tend to make things harder.

Now, he and I have seen the opportunity for us to work together and help spread the revolution that we both believe in so deeply. So, we have begun interviewing industry professionals in the independent music industry to raises awareness for indie artists. Using my filmmaking skills, and his website, we are able to join our two industries together and do our part to bring people up to date with what is really going on in entertainment. These few interviews we have done have inspired us to turn what was once just a simple promotional campaign for his site into a full fledged documentary highlighting indie music and artists.

Film Rant: How the industry snubbed a film based on rating

noreply@blogger.com (Michael) — Wed, 01 Feb 2012 23:38:00 +0000

SHAME is not a film about ordinary people in ordinary situations. It is not the "feel-good" comedy of the year, nor is it the next big budget Hollywood blockbuster. It is a film about people many of us encounter on a daily basis. It is about the real world, and the trouble some people in the real world have. Writing about sex addiction is one of the most taboo and harsh undertakings for any screenwriter or author. It isn't like everything else that we've seen a thousand times over, it's a fresh new subject that the United States of America has deemed untouchable. Sure, you can show someone getting their face devoured by a creature of unknown origin, but as soon as you start talking about the most primal and basic factor of human nature, we all shut our eyes in disgust.

Praised as one of the best films of last year, and making a huge splash in the realm of cinema, Steve McQueen's masterpiece of control and insanity has become a critic favorite. However, unlike the other films to gain praise (besides the equally snubbed Drive), SHAME hasn't received any Oscar nods. Even with Michael Fassbender's performance being called haunting and fantastic, the film still can't seem to catch a break.

Let's travel back in time a little, to a time when Hollywood was struck with an equally controversial film (for it's time). A film that challenged both critics and viewers alike because of it's adult subject matter and X rating.

Midnight Cowboy is a film with sexual themes, an X rating, and an all-star cast, all the same attributes that SHAME has (besides of course the X rating which is replaced with NC-17). However, Midnight Cowboy won three Academy Awards, including the coveted Best Picture Award.

Now, I could sit here and break down each film scene by scene, and go over the fact that SHAME is the Midnight Cowboy of today's cinema. Or, I could stress that you go out and watch both films, make an opinion for yourself before you let the "standards" of this nation and it's ratings board make your mind for you. Fassebender's performance is haunting, tormenting and so raw that if you told me he was an actual sex addict, I'd believe you.

The core of the issue here, is not the Academy or the ratings board, but the topics we have declared unclean or taboo. Sex is a natural human act, and the abuse of such should be examined in the film format and presented as is. It shouldn't be watered down, just like the violence of many Hollywood films are not watered down. It's become okay to show all this blood and guts on television but any mention of full frontal nudity and everyone looks the other way.

When did sex become so bad? When did the human body become such a dirty sight? We should be embracing these new films that push the boundaries of what we've seen before, not turning them away.

-Michael

The Oscars: My Rant

noreply@blogger.com (Michael) — Wed, 25 Jan 2012 21:50:00 +0000

My first post on The Oscars was my personal picks for this years categories, based on what I've seen so far. For this post I wanted to take a little artistic liberty and rant about how I feel about the Academy, and a couple of films I feel were snubbed for specific reasons.

The Academy Awards. When I was a child, the showcase was the pinnacle of success within the film industry. The more involved I got in the industry, and the older I got, the more I realized that the Oscar was nothing more than a status symbol for the elite. Now, whether or not I want an Oscar is another story, but the fact remains that over the years the award has lost much of its prestige.

There were many great films in 2011, many of which have been nominated for awards. One of my favorite films of the year, The Artist, is even up for Best Picture as well as many other awards. However, the Academy strikes again, snubbing two of my favorite actors and my favorite film of the year.

First off if Steve McQueen's newest film Shame, which stars the amazing Michael Fassbender in an extremely difficult role. The film is all about a man with one of the most difficult addictions to write about; sex addiction. Everyone can write about drugs and alcohol but writing about the most primal human addiction is one of the hardest and most taboo subjects today. Shame wasn't nominated for anything, even after receiving rave reviews for both the actual film and Fassbender's performance. The reason why the film wasn't nominated for anything is simply because it is rated NC-17 due to the subject matter.

There was a time when films like Midnight Cowboy won numerous awards even with an X rating. This was a time when the Academy stood for more than the greedy ideals they preach today. Today, if you are not backed by numerous financial big shots, you have no chance at ever making any sort of dent in the Academy Awards.

My favorite film of 2011 was Drive, starring the amazing Ryan Gosling, who was also snubbed at the 2011 Academy Awards. Gosling has received a ton of praise and numerous other rewards for his performance, and many critics have said that Drive was the film of the year. However, for some reason, Drive wasn't nominated and nor was Gosling.

All in all, the Oscars have lost so much of its prestige over the years that I feel the best way to get back at the Academy is to beat them at their own game. We as filmmakers need to create better films that will challenge the Academy and change their views.

The Oscars: My Picks

noreply@blogger.com (Michael) — Wed, 25 Jan 2012 16:54:00 +0000

Part one of my two-part blog segment on the Academy Awards, which has always been a wishy-washy subject within the film community.

I will keep this first post simple, and spare you of my stubborn criticism on the Oscars...save that for the second post! I wanted to post my personal picks for this years Academy Awards based on what I have seen so far.
BEST PICTURE
"The Artist" Thomas Langmann, Producer

LEAD ACTOR

Jean Dujardin, "The Artist"

LEAD ACTRESS
Michelle Williams, "My Week With Marilyn"

BEST DIRECTOR
Terrence Malick, "The Tree of Life"

SUPPORTING ACTOR
Jonah Hill in "Moneyball"

SUPPORTING ACTRESS
Bérénice Bejo in "The Artist"

WRITING (ADAPTED SCREENPLAY)
"The Ides of March" Screenplay by George Clooney & Grant Heslov and Beau Willimon

WRITING (ORIGINAL SCREENPLAY)
"Midnight in Paris" Written by Woody Allen

ART DIRECTION
"The Artist" Production Design: Laurence Bennett; Set Decoration: Robert Gould

CINEMATOGRAPHY
Emmanuel Lubezki, "The Tree of Life"

COSTUME DESIGN
Mark Bridges, "The Artist"

FILM EDITING
"The Artist" Anne-Sophie Bion and Michel Hazanavicius

MUSIC (ORIGINAL SCORE)
"War Horse" John Williams

MUSIC (ORIGINAL SONG)
"Man or Muppet" from "The Muppets" Music and Lyric by Bret McKenzie

SOUND EDITING
"Drive" Lon Bender and Victor Ray Ennis

Entertainment Law Podcasts

noreply@blogger.com (Michael) — Wed, 14 Dec 2011 19:33:00 +0000

Brian Alves does the entire entertainment industry a favor by posting fantastic podcasts dealing with numerous legal issues regarding film. For this blog post, I chose two of the podcasts found on the iTunes store.

The first podcast I am going to review is about using the poor man's copyright, being recorded in public and suing for not being included in the credits of a film. I want to talk more about the poor man's copyright and the credit issues than being recorded in public, because in my experience if you are shooting a serious production, you will have waivers and releases to cover all issues. If you are shooting guerilla style, like most of us independents than you will have to live by the rules of run and gun.

Poor man's copyright is something I have often considered, especially in the earlier stages of my career but I have always just paid the $20 to the WGA East and registered each of my screenplays. For those of you who don't know what poor man's copyright is, it is the act of using the registered date of the post office to state that you have had that intellectual property for a certain period of time. One of the things I liked most about this portion of the podcast was the fact that this type of copyright is not protected under any provision of copyright law. Many independent filmmakers and screenwriters are unaware that this is not a very stable form of protection and if you are serious about your work, you should bite the bullet and pay the money.

Suing for not being on the credits of a film is something I have never actually looked too far into until now. Actually, it's something that I feel any realistically serious members of a film production company should be knowledgeable in. Normally, in my experience, on a film shoot everyone is required to enter their names as they would see fit to appear on the final credits of the film. If, for instance, a PA or other often overlooked employee does not enter their name for credit use, I feel like you can not really blame the production for this. The fact that anyone would actually sue because their names are not included in the credits is a bit absurd, unless or course it is a members of the above the line crew. So, the fact that this podcast even brought up the fact that this exists in the film community is very interesting, and makes this podcast very valuable.

The second podcast is something that I have a little bit of experience with, and it focuses on working with SAG actors, standard forms, and something outside the box with interning at law firms. I never thought about interning at a law firm in this industry, but after taking the Advanced Entertainment Law course at Full Sail University, and listening to this podcast, I have decided that for anyone who wishes to be a Producer or Unit Production Manager, it would be extremely important to get some law experience.

The forms talked about in the podcast, or more-so how to find these forms, is an interesting piece of information for prospective filmmakers. You have to remember, most of the people who are listening to the podcast are going to be students and indie filmmakers who don't have immediate access to an entertainment lawyer. For me, I have access to all the forms, releases and waivers I would ever possibly need via my school, my lawyer, and other resources I have gathered through networking.

Working with a SAG actor/actress can be the best set experience of your life, or the worst. They can bring a sense of professionalism and style to your film that smaller actors can't but they also bring with them agents, fees, and regulations that are talked about in the podcast. Working with a SAG actor is beneficial to the reputation, and often times, the final look of your film, but it also requires a lot of work on the above the line crew's shoulders. Many SAG actors require at least one of the producers on the film to be registered with the Producer's Guild, and this can cause some roadblocks for indie filmmakers and crews.

They talk about some of the steps you have to take with contracting a SAG member to work on your film. There are many things to consider, such as whether or not it is realistically in your budget to have a SAG member on your film. Another thing, is the persons representative, and whether or not they are going to be on set. This can cause tremendous amounts of stress to other members of the cast and crew.

Overall, I feel like anyone who has some sort of financial backing, or wishes to one day work in the studio system, could benefit from listening to these podcasts. Legality is often overlooked by independent filmmakers, and can many times get them into trouble and get their production shut down.

-Michael

Infamous Hollywood Court Cases

noreply@blogger.com (Michael) — Tue, 29 Nov 2011 19:25:00 +0000

I wanted to take the time to go over some of my favorite, and the most influential, Hollywood court cases. One of which is very recent, and the other two are classics but still extremely relevant to the industry today.

Case Number One:

The British Board of Film Classification vs. Tom Six

http://www.ifc.com/news/2011/06/director-tom-six-respon.php

http://www.slashfilm.com/uk-film-board-bans-the-human-centipede-ii-full-sequence/

After director Tom Six released his film, The Human Centipede, much of the film world was both shocked and curious as to what he would do next. In various interviews he promised a sequel to his infamous work that would not only blow the original away but also be the most depraved and disgusting film of all time.

Shortly after completing the second film, he began releasing it to various film boards for ratings and edits. The British Board of Film Classification, who have a reputation for being harsh on film ratings, watched the film and refused to give it a rating. They then did something that is extremely taboo in the film industry, the released the entire plot summary and key details of the film to the press. They called the film unwatchable and harmful to its viewers, quickly banning the film from release in the UK.

The ban isn’t what angered Mr. Six, but the fact that they took immature measures and released all of the key plot details to the public before the films release. He immediately took measures into his own hands and took the fight to the film board. After various meetings, both legal and non-legal, the film board wouldn’t budge and kept the ban in place. Director Six bit the bullet and made the film entirely black and white which ensured him a much wider release than he was going to get.

Now, I don’t like Tom Six, nor do I like any of his films. I think he is talentless and uses shock purely to shock the audience without any kind of cinematic essence. It’s fine to make a crazy film about disgusting people, but there has to be some sort of cinematic factors involved in order for the film to mean anything to me. I do, however, side with Mr. Six when it comes to the plot details being released to the public. I feel like that is a real problem, and not only does it set a dangerous precedent for films to come, but it also takes away much of the magic in the film industry.

Case Number Two:

United States vs. Paramount Pictures Inc.

http://supreme.justia.com/us/334/131/case.html

http://www.digitalhistory.uh.edu/historyonline/us_paramount.cfm

The second court case I want to touch on, isn’t as recent as the previous, but it is one of my favorite legal cases in the history of the film industry, because I feel like it is just as relevant today as it was in 1948.

The justice system went after film studios that not only owned movie theaters but also showed only the films they produced. This created major problems within the film industry, because there was no such thing as independent films at this point, and with the studios owning the theaters, there would never be indie films. It sounds a lot like a monopoly, because it was basically setting the precedent for one. Even with the positive decision of this case, we still see major corporations owning movie studios, newspapers and television channels, which is just as bad as them owning the theaters.

This case was not only the end of the golden age of the Hollywood studio system, but also a huge step for independent filmmaking. Without the decisions made by the court at this time, people like Roger Corman, Lloyd Kaufman, and Dennis Hopper would never have been able to create an indie movement throughout the 60s and 70s.

Case Number Three:

Ruggero Deodato vs. The World

http://www.imdb.com/title/tt0078935/faq

http://www.thefleshfarm.com/cannibalholocaust/cannibalmain.htm

In the world of horror filmmaking, there are many lines you do not cross. The biggest of these “taboos” is of course, the snuff film. No matter where you go in the world, in the film industry the snuff film is often noted as an urban legend, or a strange form of pornography sought out by the financially elite.

Italian filmmaker Ruggero Deodato released the most infamous and controversial film of call time, “Cannibal Holocaust” to huge censorship and international hatred. His film depicts a film crew that travels to South America to document the world of a cannibal tribe hidden deep within the jungle. The film, when studied, is actually about human nature and how so many of us in the film industry make it our goals to exploit and humiliate that which we don’t understand.

Upon releasing the film, the director was immediately arrested for snuff filmmaking, and forced to prove each special effect used in the film in front of a judge and jury. Nothing like this has ever happened in the film industry since, mostly because the effects today are all digital and the proof is on hard drives, but in the 70s this was a huge deal. He was quickly released from custody and the film was banned in over 20 countries. The major difference between this case and the case involving Tom Six is that this filmmaker was actually arrested for making a snuff film, while Mr. Six was fighting the ban on his film.

-Michael

Interview With Sarah Martin

noreply@blogger.com (Michael) — Fri, 11 Nov 2011 13:27:00 +0000

I recently had the chance to ask Sarah Martin a few questions about artist management, and what it's like to deal with many high profile artists. She was kind enough to take the time out of her busy schedule and give me some real insight into her industry.

Did you do any college schooling before entering the entertainment industry?

I did… I went to a small liberal arts college and got a communications degree.

Who are the artists you manage or work with?

I’ve worked with a ton of acts since being in management: Rob Zombie, Guns N’ Roses, Morrissey, Les Claypool (Primus), Static-X, DEVO, The Monkees, Jurassic 5, and some smaller acts like Beta Wolf, and Kyle Nicolaides.

How did you get into the entertainment industry, and what made you choose your current position?

When I was in highschool, I loved music, and thought I wanted to be a rockstar. Then I decided I better have a backup plan. When I was in college, I decided it was important to get an internship. Using monster.com, some one found my resume. It turned out to be Madonna’s film production company, Maverick Films. After that internship, I got into favor with a temp agency that serviced only the entertainment industry. I would spend a few days-weeks at different companies and try to make friends with the people I met. One of the executives I met while temping (at VH1) was a producer at E! Entertainment by the time I graduated. She got me a job as a production assistant on a TV show. One day we were filming an episode that had a guest host, who was a fashion designer. I convinced him that day that I should be his assistant, and after a year of working for him I was frustrated with how I was being treated and left the company. I got BACK into temping, and was placed as an office assistant for a music management firm. At that time, I had no idea what a manager did for a music artist, but I knew I liked being around music and learning the business side of things. The rest is history.

Have you ever had to deal with a very demanding artist, or do you have any stories that stand out from dealing with high profile artists?

I can’t go into details, but most successful artists are demanding and particular about how they want things. The best thing is to just listen, and stay calm, but at the same time empathize and show you care about what it is that they want. If you mess up, and they’re angry, it’s okay to take responsibility. Sometimes people respect you more for that.

How hard is it to balance your personal life with such a demanding job?

I have a husband, and I definitely appreciate that he is understanding of my demanding job. You really have to be intentional though, when you do have time with the people you care about, to make it quality time.

Rob Zombie is a big name, how much pressure do you deal with on a daily basis?

Definitely if Rob calls and wants something, that becomes the priority. Same is true for my boss. He’s been doing this a long time and demands a lot of the same attention and respect that the clients would. They both rely on me to be a jack-of-all-trades, renaissance problem-solver. So that can amount to quite a bit of pressure some days. I’m blessed that usually they are pretty cool to me.

How hard is it to break into artist management?

I’m not sure, since I got lucky and fell into it. I mean, anyone can manage an artist, it just depends if you’re good at it. I’ve met managers that were good in a meeting and good at selling their artist, but not good at follow-thru and details. I’ve also seem the other way around. I’ve seen managers who start out by just finding an act they believe in, and going door to door with them. I’ve also seem managers who start out grabbing coffee for bigger managers, and then slowly start showing they have promise. What’s harder than breaking into management, is being a good manager. What’s VERY difficult in the current landscape, is breaking a young band.

Any advice to students trying to get into the entertainment industry?

Be likeable and tactful. You do have to be aggressive and sell yourself some times, but you also have to learn how to not come on too strong and turn people off. BE A GOOD LISTENER. You will learn the most this way. Be a hard worker. If you have a boss, make him/her feel like you care about their business as much as they do. Read a lot about marketing and branding, because artists don’t make a lot of money just selling records anymore, you have to create a brand.

Another Reason Horror Needs a Change...SAW 3D...

noreply@blogger.com (Michael) — Thu, 27 Oct 2011 01:55:00 +0000

Let me start this off by letting all you readers know that I am not the biggest fan of the Saw franchise. That being said, I am a huge fan of everything horror and I decided to give Saw 3D a chance.

I think the biggest problem I’ve had with the franchise is how unreal the films seem to me. For instance, in the first film all the good doctor has to do is shoot someone he’s never met to save his life and the life of his family. That’s too easy, and I don’t see any humans besides monks and nuns not pulling the trigger. Maybe it’s just me, but I’d react differently in certain of the franchises situations.

That being said, I’ve always been a fan of gore, and the Saw films always have a good share of violence, blood and guts. Saw 3D is no exception; the violence is plentiful and often humorous, besides the occasional pinkish tinted blood which sent me into a fit of hysteria. The film will keep most mainstream gore-fiends satisfied, but fans of underground horror will be disappointed.

The 3D in the film is a gimmick and was clearly used only to raise ticket prices, which always pisses me off. The effects are super cheesy, and after a TERRIBLE opening scene, add a more comedic element to the film. Honestly, I felt like I was watching a B-movie, when I knew the budget behind this behemoth was astronomical as always.

The filmmakers behind Saw 3D were in it for one thing, and one thing only; money. They clearly don’t care about intelligent audiences or keeping the franchises fans pleased. They threw in scene after scene of random 3D deaths, terrible acting, and a horrible plot. This film contains one of the worst screenplays I’ve seen produced by a mainstream studio in a long time. The actors all seemed like the only prior experience they had were bad pornos and films even my good friend’s over at Troma wouldn’t put out.

This film reminds me of an ideal I was starting to loose sight of. Independent filmmaking is a must to keep cinema out of the trashcans and into the minds of intelligent moviegoers. As more and more of these terrible big films are being put out everyday, it is time for us as moviegoers to demand more from the studios.

Negotiating with George Clarke

noreply@blogger.com (Michael) — Mon, 17 Oct 2011 20:19:00 +0000

I recently worked at the 2011 Freakshow Horror Film Festival, which was a great opportunity for me to sit down with a large group of filmmakers and talk about the industry and what being an independent filmmaker is really like. One of the filmmakers, George Clarke, had flown all the way from Ireland to screen his latest film "The Last Light", which took home a best actor award. We became friends and spent a day at Universal Studios talking about negotiation techniques and different aspects of film making.

We first started talking about what is was like when he brought his first screenplay to the United States in search of a production company. He told me that when he sat down with the executives, they all loved his script and talked very highly about it but when it came down to business they wanted to give him small cash for complete control over the entire production. George used his BATNA, which was the fact that he knows his craft and could easily do the film on his own, to try and get more money and more control over the production. However, the executives didn't want anything to do with that idea, so George took his script back home to Ireland and filmed the most media covered film in Irish history.

He told me that when negotiating it is important to have a solid idea of what you want out of the deal, and not to stray far from that idea. Standing your ground is the most important part of any negotiation, and when the other side doesn't budge, you simply move on. He looks at Hollywood like one giant ocean full of big fish and sharks that won't hesitate to swallow you whole and end your career from the start. George said his best advice would be to find whichever company will give you the most and then consider their offer.

Sometimes it is very difficult to seperate the people from the problem, but according to George it is best to know who you are talking with, do your homework, and go in prepared to fight for your art.

-Michael

Film Rant: Finances

noreply@blogger.com (Michael) — Wed, 14 Sep 2011 20:34:00 +0000

Finding financing for a film can be one of the most stressful and nerve-racking tasks you will ever do in your life. If you aren’t Spielberg you may not be able to get any investments at all, and this can very easily kill your spirits.

For independent filmmakers, finding a good source of funding can make or break a film. It is so hard for an unknown filmmaker to try and get any source of funds for their films because the industry tends to overlook smaller budget films. The whole industry is a giant web of conglomerates who own the studios that make the films along with the theaters that show them. This monopoly the elite have in the industry is making it harder and harder for filmmakers to get started.

For my documentary, Hardknock Dreams, I started a web campaign to help raise some funds for the film. Unlike most films, however, I have not been trying to raises money to make the movie, but to buy some fight footage from ESPN. The entire film is about a professional boxer friend of mine, and the fact that ESPN wants $2,000 per minute for footage of his fights is absurd. It’s just another roadblock in the advancement of indie filmmaking, because ESPN wants to get more money stuffed into their pockets. If they really thought about it, they’d realize that this is an opportunity to not only showcase their coverage of a fight but also help promote their network and an upcoming athlete.

Networks don’t care about you, they don’t care about what you want or how you feel. They don’t care about your film just like they don’t care about mine, and that is one of the harshest realities of this industry. As a kid, I would gawk at the TV and wonder about how awesome it would be to be a filmmaker. Now that I’ve pursued that dream, I realize that while it is one of the most amazing careers in the world, its also one of the most stuck up careers and is full of greed, lust and stupidity. There is less of a want for originality in Hollywood, because they don’t want original, they want the same crap over and over. If you go to a theater and watch a crappy film, you’ve just given them a reason to continue to make crappy films because it pays.

I’m not saying that every single big budget production in Hollywood is fueled by this crazy greed, but I would go as far to say that 90% of the filmmakers in Hollywood have forgotten why they ever wanted to make movies to begin with. They’ve lost sight of the dreams that once drove them into this industry, and have replaced the dreams with a numbing greed that is more powerful than anything in this world.

-Michael

Inside (A L'interieur) - Real French Horror

noreply@blogger.com (Michael) — Thu, 01 Sep 2011 18:06:00 +0000

The French do something special with horror film making, something I can’t quite put my finger on. Maybe it’s the fact that they aren’t afraid of ratings, or maybe it’s just the way they intricately frame all of their shots. French filmmakers seem to treat each shot as a canvas, and all of them are trying to create their ultimate masterpieces. Much like Martyrs and Frontiere(s), Inside is an extremely strong horror film.

The film’s simplicity is equivalent to the original Halloween while still maintaining a modern amount of violence to keep all the gore lovers satisfied. Along with the Carpenter-esque lighting and shots, the film’s editor, Baxter, is rising through the ranks as one of the top editors of today. This film, along with Piranha 3D and Haute Tension showcase Baxter’s ingenious editing skills. Of course, both the directors and Baxter are working with scenes composed by one of the genre’s greatest cinematographers of recent years, Laurent Bares.

The plot behind Inside is a deeply disturbing, and intricately pieced together story about loss and revenge. Revenge seems to be a reoccurring theme in French cinema, and Inside is no different. The anger behind the revenge in this film is, however, very different from anything I’ve seen before. It deals with a fragile and innocent aspect of everyday life that will touch a nerve on almost every viewer; childbirth.

Once again, French cinema delivers a serious of extremely strong performances by an ambiguous cast. The lead females portray two opposite characters with similar goals. One, a depressed woman who wants nothing more than to give birth to her child and have a peaceful Christmas in a rage filled France. The other, a sadistic woman with horrifying plans to get herself a child no matter what she has to do. The outcome is a dirty, gory, bloody and dramatic mess that will leave all of its viewers cringing in their seats and loving every second of Inside’s cinematic genius.

Inside is a film I will go back to again and again. Not only for its entertaining display of intense violence and rage but also for its well executed scenes and amazing cast and crew. It’s something I’d love to see more of here in the States.

TED Talks: Jakob Trollback

noreply@blogger.com (Michael) — Thu, 25 Aug 2011 01:57:00 +0000

When searching through the TED database, I was focusing on finding a talk I hadn't heard before that still had relevance to the film industry. I chose this interesting talk done by designer Jakob Trollback. Jakob took a song that contained different instruments and spoken words and tried to create a music video based more around the music, rather than having a concept or narrative story. The result is a mind-bending spectacle of lights, sounds and words that looks less like a music video and more like an acid trip.

The idea behind this is that sometimes it is best to think outside the box, and use a more experimental approach to filmmaking. Music videos have always been more of an experimental entity within the film industry, giving young filmmakers a chance to perfect their craft. I feel that music videos are also great networking opportunities for likeminded individuals to meet up and get creative together. Many famous directors have started out doing music videos for influential artists, and some continue to do music videos throughout their careers.

This talk also shows that even people who are outside the film industry have the ability to be creative and make artistic videos. Even though this had no narrative and relied on colors, sounds and images to get the emotional expressions across to the viewers, they still succeeded in creating something extremely artistic and original. I would love to see him make a music video for something more along the lines of his chosen visuals such as house music and/or electronica.

Overall, what I got out of this TED Talk was that creativity comes in many different shapes, and anyone has the ability to be creative. You don't have to play by the rules 24/7, and sometimes being strange and out of the box is not only refreshing but also influential.

-Michael

James Gunn's Super: A Flawless Entry into Vigilante Cinema And An Example of A Great Screenplay

noreply@blogger.com (Michael) — Sun, 21 Aug 2011 17:43:00 +0000

Many filmmakers have struggled to bring the raw emotion and psychopathic minds of vigilantes to life. The few that have been successful, such as the classic “Taxi Driver,” have set the bar very high. What sets films like “Taxi Driver” apart from popcorn flicks like “Kick-Ass” and even “The Punisher,” are fantastic screenplays and the human element brought to life through expert character development.

James Gunn, who got his start with Lloyd Kaufman and TROMA, has crafted a comedic masterpiece that will have you laughing and feeling for the protagonist. What makes Gunn’s film so special is the screenplay, which is fast-paced and in your face, yet still allows his characters time to breathe and develop. Along with some great over the top action sequences and dark humor that will go over most of the mainstreams heads, “Super” is an amazing film.

A lot of people want to know how to write a screenplay, and my best answer is for them to read great screenplays. That way, they can get a hold on formatting and flow. Gunn's screenplay for "Super" is an amazing look at story structure and character development.

(James Gunn, Ellen Page and Rainn Wilson)

Playing the hero is Rainn Wilson, who everyone will recognize from his role of the US version of “The Office”. Rainn’s performance in this film truly captures the character and aids dearly in bringing Gunn’s script to screen. When Rainn cries, we cry along with him, and when he fights, we find ourselves yelling at the TV screen hoping for his survival. If Rainn put in this caliber of performance in a mainstream film, he would be bombarded with critical acclaim.

The supporting cast is also very strong with some industry favorites like Kevin Bacon and Michael Rooker playing the bad guys. Ellen Page does a wonderful job as the hero’s sidekick, and in many of the more intense scenes, her foul mouth plays as the comic relief, keeping the dark humor alive. Liv Tyler stars as the catalyst that sends Rainn onto his quest for heroism. She steps outside her usual roles of “nice-girl,” and into the harsh, drug addicted character portrayed in “Super”. There are also cameos by both director James Gunn, and the ever so wonderful Lloyd Kaufman.

The film not only provides laughs, shocks and tears but it also looks amazing doing so. Shot on a RED camera, which is quickly becoming the go-to set up for independent filmmakers; each scene is expertly colored and rendered to be more beautiful than the last. The colors pop and the flashback sequences stand out as both interesting and lovely. Gunn clearly knows what he’s doing here, both behind the camera and while writing the film.

Overall, “Super” is a fun and dark ride into the world of a vigilante. The acting, screenplay, and cinematography set this one above par for independent films. You will find yourself laughing, crying and cheering for the hero, expertly portrayed by the ever so awesome Rainn Wilson. I, for one, am extremely excited to see how Gunn follows this one, and will look forward to everything he does in the future.

Atrocious: A Labyrinth of The Mind

noreply@blogger.com (Michael) — Sun, 21 Aug 2011 00:54:00 +0000

Last night I went to a midnight screening of Fernando Barreda Luna's newest film, Atrocious. It's not only his newest film but also Spain's newest entry into the genre The Blair Witch Project singlehandedly created. Found footage films are usually hit-or-miss with me, either I'm thoroughly terrified or laughing at the goofs. Coming in at 75 minutes, Atrocious starts out slow, and then as it enters it's vicious and fast-paced third act spins a web of dark plot twists and horrifying scares.

Much of the film takes place inside a labyrinth made up of hedges that is located outside a remote home in Spain. The protagonists of the film are a brother and sister team who shoot films that investigate various urban legends. Atrocious takes this brother and sister film crew to a family home that is haunted by the ghost of a small girl who once got lost in the expansive and confusing hedge maze. Needless to say, as the two begin to venture into the secrets of the maze, people go missing and mysteries are uncovered. The film ends with a very intelligent twist that makes up for the 20 plus minutes spent running around in the dark screaming.

Overall, the film was a strong entry into the genre, and while not as good as REC, it still stands strong as a fun and frightening venture into the mind.

-Michael

WGA: Protecting Writers And Building Networks

noreply@blogger.com (Michael) — Mon, 08 Aug 2011 15:58:00 +0000

Every time I finish a screenplay, the first thing I do is send a PDF to the WGA East and copyright my work. Every writer I know agrees that paying the $20 dollar fee to protect your work is worth it, and every writer agrees that the WGA can be trusted.
The WGA is a union that represents writers of television, film and any other entertainment medium. For years, they have been helping young writers like myself further our careers by not only protecting our original works but also bringing all writers together at yearly conventions, summits, and classes that help writers network. Networking is the key to success in this industry, because it is never what you know but always who you know. Sometimes, who you know isn't good enough either, so it's good to know a handful of respectable leaders and professionals in the industry.

The WGA has gone on strike numerous times throughout history, as all unions do from time to time. The most recent strike of 2007-2008 had a huge impact on television. Numerous shows were cancelled and/or shortened due to the labor conflict, and to an outside eye the strike may have seemed immature and unnecessary. The WGA has always stood up for the writer and his/her best intentions, so when they strike, it's almost always because of a serious conflict that needs resolution.

-Michael

Cowboys & Aliens: Another Film of Convenience

noreply@blogger.com (Michael) — Wed, 03 Aug 2011 00:59:00 +0000

I had very low hopes for this film going in, so when I walked out of the theater with anger and disappointed, I wasn't the least bit surprised. I will give the film some credit, up to the first alien attack, I was throughly entertained and thought it was a pretty awesome flick. Then, the film fell into the Michael Bay school of filmmaking, full of convenient situations and last second saves by random characters. Not to mention the entire Olivia Wilde character was there for nothing more than to add a pile of convenient safety to a group of cliche characters. Sure, Daniel Craig and Harrison Ford were both excellent in their specific roles, and Sam Rockwell played an excellent bartender, but the acting alone can not save this film!

It's a rental, and a bad one at that.

S&Man: A Look Into The Underground

noreply@blogger.com (Michael) — Sat, 30 Jul 2011 20:12:00 +0000

After hearing a lot about JT Petty’s newest film, S&Man, I decided to get my hands on a copy and see it for myself. The film starts out in a narrative documentary style, exploring the culture of underground horror films. Petty travels to a horror convention where he meets up with a new young filmmaker who goes by Eric, and is the filmmaker behind the S&Man series of films.

Things start to get weird, as Eric grows more and more partial to Petty and his crew, but the more Petty pushes to get into Eric’s mind, the more defensive Eric gets. It becomes clear that something is wrong with Eric, and the film takes a turn away from fact and into fiction, while still providing a lot of insight into voyeurism and extreme filmmaking.

Petty interviews a few different doctors who specialize in voyeurism and sexual deviants. He also gets a lot of insight from cult filmmaker Fred Vogel and Toe Tag Pictures. Vogel is responsible for some of the most graphic films to date that are the closest you can legally get to snuff. He provides JT with a firsthand account of a snuff film he watched and the effect it had on his life. These real accounts are interlaced with insight from scream queens and filmmaker Bill Zebub along with fictionalized stories from Eric about his S&Man films.

My favorite part about this film is the way it makes you think. Petty does a great job at making you feel weird about watching extreme horror films. He drives deeply into your psyche and then rips it apart when things turn out for the worst. Are we all just voyeurs? Do we all have that little voice in the back of our heads urging us to look into the fire just to catch a glimpse of a burning corpse? Petty does a great job of convincing us that as humans each of us has a yearning to view violence, but he also reminds us that when you see so much violence and chaos on screen you become numb and eventually, for some people, the only way to feel the rush of horror films, is to act out in violence. Do we all secretly lust for blood?

Horrible Bosses: The Formula Works

noreply@blogger.com (Michael) — Wed, 13 Jul 2011 00:31:00 +0000

This weekend my girlfriend and I sat down in our favorite local theater and enjoyed another comedy that travels down the same path as films like The Hangover and Knocked Up. In most genre's this is a problem, because seeing the same formula used over and over again can make for a boring and simple filmgoing experience. However ever since directors like Judd Apatow brought raunchy, no-holds-barred comedy back into the mainstream, I have been enjoying what Hollywood has been producing as far as comedies go. What sets these films apart in my mind is not only the hilarity, but also the heart that each story has.

My favorite part of Horrible Bosses are the bosses themselves, especially Colin Farrel who plays a very convincing coke-head. Along with the hilarious bosses are the protagonists of the film, my favorite of the three being Charlie Day whose unpredictable character brings many laughs to the film. He's come a long way from the $200 It's Always Sunny pilot.

As I watched the film I couldn't help noticing that the weakest link in the entire cast was Jason Bateman. Now, I love Bateman, I think he's hilarious especially in Extract, but here I kept wanting to see Paul Rudd in his role. Don't get me wrong, Bateman plays a great role, but I couldn't help but wonder how much funnier the film might have been with Rudd. Along with that, I also felt that althought Jennifer Aniston is gorgeous in the film, I would've liked to have seen Kristen Wiig in her role.

All in all, the film is really funny, hilarious at parts and I highly recommend it to anyone with an open mind who wont take offense to any of the prude jokes that make up the majority of the film.

-Michael

Uwe Boll is a Problem

noreply@blogger.com (Michael) — Fri, 01 Jul 2011 15:29:00 +0000

How Uwe Boll still finds work in the Entertainment Industry is beyond me. He has crafted some of the worst films I've ever seen, and I love bad movies, and continues to have a voice and name in Hollywood. After watching Bloodrayne, Alone in The Dark, and my personal favorite of his films House of The Dead you will quickly understand why I have such a quarrel with Boll still being accepted in his chosen industry. Recently, he's taken another step in the asshole direction when he attacked Terrence Malick's latest film The Tree of Life along with Malick's career and Lars von Trier.

When asked about The Tree of Life in a recent interview with Screen Junkies, Boll stated that he hated the film and called it a piece of shit. He went on to say that Malick is one of the most overrated directors of all time along with Lars Von Trier, and said that after Breaking The Waves Lars von Trier's films are all crap.

I suggest you head over to Screen Junkies and read the whole interview. Why Boll feels necessary to put down some of the industries most innovative and fresh filmmakers is beyond me. He is obviously jealous of their achievements, but attacking actual artists when he has produced some of the crappiest films of all time is a dick move. Maybe Hollywood will wake up after this latest outburst and finally put Boll in his place.

-Michael

Building A Film Crew

noreply@blogger.com (Michael) — Wed, 29 Jun 2011 01:11:00 +0000

Often, the biggest problem I see in most modern day films, is the inadequacy of their film crews. Production companies often settle for mediocre and cheaper crews instead of investing where it counts. I'd like to go over two crucial different things to consider when choosing your film crew.

1. Know your vision
If you're directing or producing the film, make sure you have a very clear vision in mind, and not only do you have this vision but make sure it's something you can display to your cast and crew. Hitchcock always knew what he wanted, when he wanted it, and how he wanted it executed. Many people complained about his methods, but he created some of the greatest films to ever grace the screen.

2.Know your crew
Director Christopher Nolan not only has the aid of his screenwriter brother to bring his visions to life, but also the aid of his favorite cinematographer, Wally Pfister, who has stood by him on all of his greatest films. Nolan and Pfister work great together and they have a chemistry that is unrivaled in the film industry. This is key to Nolan's success. Know your crew and only hire people you know can get the job done. This won't always be your friends and family and many times it will be people you can't stand. If they get the job done and they produce a good product, you can put egos aside and create art.

Knowing your vision and crew seem to be the simplest things to remember when making a film, but they are often looked over. Remember to keep these two factors in mind whenever you begin pre-production. The right crew and clear vision can create masterpieces that audiences will look to for years.

-Michael

I Saw The Devil: One of 2010s Best Films

noreply@blogger.com (Michael) — Mon, 27 Jun 2011 22:16:00 +0000

If you're a fan of the watered down Taken, don't mind the culture of a foreign film and can stomach a more honest and brutal approach to revenge films, I Saw The Devil will blow you away. Director Jee-woon Kim's bleak portrayal of the places our emotions take us is a shocking and thought provoking journey into Hell. The story is a simple and often looked over venture into the genre of film known to moviegoers as "Revenge" films.

Ever since the 70s when Wes Craven expertly crafted The Last House on The Left, directors have been giving us a glimpse into the life of a victim and the revenge they pursue. Never, until now, have I felt completely satisfied with a Revenge film. Now is the perfect time for this film to surface into the mainstream via Netflix and break the molds of the current film industry. American audiences have been hand-fed watered down and censored films for far too long and it is time to show violence for what it is. Violence is not something you can strap a PG-13 rating on, it is harsh, brutal and oftentimes extremely emotional.

I Saw The Devil shows the darkest spots of the human spirit, and how the loss of a loved one can transform a man into a monster. The genius in this film is not only it's expert cinematography and acting but more-so the morbid glimpse we get into the killer's mind. Much of the film is shown from his perspective, instead of the main character who gives anti-hero a whole new meaning. When the protagonist shows up, he moves much like the creature in Alien. He is strategic, intelligent, and resilient.

It will shock you, disgust you, and scare you but more than that it will grab you and at many points, move you. If you can't handle the ultra violent nature of this film, then please spare yourself and go watch your favorite news programming.
-Michael