November 26, 2005
Jim McMahon's been in town this past week, to a.) finally show us his directorial debut (a superior slasher picture called Bloodshed, which nonetheless still isn't finished), b.) location-scout for Yen's next film and c) discuss the signing of contracts for Deadroom (which have been revised once so far and will probably be revised again before we put our pens to them). After staying up until four last night, talking about our respective future projects (he's convinced he's not going to get to work on Drift, but I told him he shouldn't be so sure), he hopped an early plane back to LA, leaving us all encouraged, emboldened and perhaps a little bit aroused over excited about the continung development of our symbiotic directors/producer relationship. I think we're all finally on the same page, as far as understanding our individual goals and needs (of both the creative and financial sort). It's nice to have someone in our camp who not only wants to produce, but is good at it. Or, in other words: he schmoozes so we don't have to.
I ignored my workload this evening and went to the local megaplex to lose myself in some mainstream cinema. I haven't had a theatrical marathon of any sorts in quite a while, and I need to practice for the 24-hour endurance test in two weeks. What I saw was...
Jarhead: I liked this quite a bit; it's a two hour slow burn with some pretty unforgettable imagery (Sam Mendes is undeniably good when it comes to painterly composition), and it climaxes brilliantly in that final, frighteningly orgiastic scene in the desert. I also enjoyed the way Mendes and editor Walter Murch recontextualized Apocalypse Now, which Murch also edited.
Walk The Line: I knew exactly what I was getting myself in for with this, but I'm enough of a Johnny Cash fan to be curious about the supposedly outstanding musical performances by Joaquin Phoenix and Reese Witherspoon. And indeed, when they were singing, the film was wonderful; when they weren't, it was even more turgid than Ray. I thought maybe I'd recommend it for the musical sequences; then I thought I'd recommend waiting for the DVD and skipping to the performance sequences; then I decided the best bet would simply be to recommend listening to the original Cash/Carter recordings in the comfort of your own home. Which is what I'm doing right now.
Pride & Prejudice: I feel a bit embarassed to say that I've never read a single Jane Austen novel; I do, however, generally enjoy the films they inspire. I didn't find this quite so wonderful as Ang Lee's Sense & Sensibility or Patricia Rozema's Mansfield Park, but it's perfectly charming - and absolutely marvelous on a technical marvel. Director Joe Wright frames the film with a magnificent melange of stately dolly shots, Altman-esque zooms and some pretty amazing steadicam sequences.
In consideration of America's massive post-Thanksgiving shopping spree, my brother and I were discussing the root of that awful term 'retail.' It comes from the French word retaillier, which means 'to cut up' or 'to separate.' I began to think about how this etymology connected my aversion to both laissez-faire economics and non-autonymous forms of cinema...but that's another post, and I've got too many other things to write and rewrite tonight. And tomorrow.
Posted by David Lowery at November 26, 2005 01:49 AM
Comments
i got dragged to walk the line yesterday too..the performances were superb, i agree, but i thought the rest of it was at least better than Ray..anytime my wife brings up that movie the phrase 'god i hate that shitty fucking movie' inevitably comes out of my mouth...
Posted by: brad at November 26, 2005 10:38 PM