Tonight You’re Mine Has Appeal for its Target Audience But for Few Else

Posted on May 15, 2012 by admin

Tonight You’re Mine is the tale of two rock musicians (Luke Treadaway and Natalia Tena) who happen to meet shortly after arriving for a huge, outdoor music festival. While displaying their instant and mutual dislike for each other an eccentric stranger handcuffs them together in order to make a point and teach them a lesson. Before anyone can stop him, the man quickly disappears, and despite attempts to free themselves the pair are stuck to each other’s side for the next twenty-four hours. Through thick and thin, performances and bathroom breaks, and even a night with their significant others in tow, the two manage to have a good time and even learn to like each other as they develop a natural attraction. That is until she discovers they didn’t have to stay attached for as long as he led her to believe. Was it a big joke to him, and is she really as upset about it as she seems? Or will they find a way back to each other before the end of the event? The ending is probably every wannabe-rocker-girl’s dream. However, I suspect it’s less than satisfying for the sincere musician, girl or boy.

The upside is that Tonight You’re Mine does an impressive job of capturing the unbridled energy of a massive, live event. Set amongst one of the largest outdoor festivals in the world, the film literally has a roaster of 100,000 ready-made background players who seem to flow freely about and around the main cast, giving the film a truly authentic atmosphere teeming with sex, drugs (drinking any way), and rock n’ roll. Director David Mackenzie uses documentary-like footage of the actual festivities to good effect. There are shots of throngs and hordes of people listening to music and generally milling about interspersed amongst the montage sequences of the hero and heroine as they participate in the festival. And lead actors Treadaway and Tena do a good job portraying the successful pop/rock star and the up-and-coming grunge rocker. Their respective personas feel authentic in every detail including their highly charged stage performances. Unfortunately, that’s pretty much where the positive aspects of the film end.

Sadly, there are several aspects to the film that just don’t work, and the most important one is the implausible set up of the two leads being handcuffed. It’s not a bad concept, say for a screwball comedy. However, the actual implementation here (meaning the way it was captured on film) is extremely awkward and heavy-handed. I just don’t believe that no one couldn’t, or wouldn’t have stopped this oddball stranger who very slowly and meaningfully links the squabbling duo together as he makes a speech about the true meaning of music bringing people together. Nor do I think it’s realistic that not one of the other five people standing by had the ability to stop the guy from speeding away (in the mud) on a golf cart. And then there’s the fact that out of all the equipment used to put up the stages and fences, etc. for the festival, there’s nothing that can break the small link of a handcuff. There’s a very feeble attempt made (not once, but twice) to obtain bolt cutters. Neither failure is satisfactory. It seems only logical that someone involved with the location would have bolt cutters. It’s a basic need when dealing with temporary fencing, let alone any road crew.

Then there’s the moment when Treadaway indicates to his band buddy that he doesn’t want to be released from bondage, but we don’t know why. There’s no indication either way that he’s falling for Tena or just a schmuck messing with her. And the moment she discovers the truth seems very rushed and thrown together, like suddenly the filmmaker needed a complication to force the film to a final climax. And Treadaway’s creative plea for forgiveness lacks emotion and sincerity because of the lackluster editing. Here, the actor is not allowed to achieve his moment of inspiration, but rather appears to be delivering what’s called for in the script. Some of this could be due to the improvisational nature of the film (many of the supposedly intimate moments suffered from this). Lacking strong direction the actors are left to fend for themselves when what’s really needed is some solid guidance from either a completed script or a director with a solid vision. Some close ups of Treadaway during his thinking process would have helped too.

Ultimately the audience is robbed of an exciting ending that should have been generated by an “aha” moment like there is in When Harry Met Sally. Instead, Tonight You’re Mine just rushes together what’s suppose to be a cool rock n’ roll fairy tale ending. One that the heroine from the beginning of the film wouldn’t have liked, but now embraces like some kind of wannabe, grunge Cinderella. It might have worked, and could have worked if only it had been handled more gracefully. Although, I don’t suppose the target audience will mind very much. There are just enough elements of the festival itself to satisfy their entertainment needs. What bothers me is that I feel the film had far greater potential for appealing to a much broader audience. And by just doing what appears to be a “good enough” job, the filmmaker committed a disservice to himself and the audience that could have been.

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The Perfect Family Falls Far Short of Perfection

Posted on May 12, 2012 by admin

The Perfectly Family is based on a pretty simple premise. From the very beginning we learn that a devoutly Catholic woman is nominated for one of her church’s top awards. Promised the blessing of absolution if she wins, the dedicated churchgoer tries her best to present her family as “perfect” in the eyes of her peers, refusing to accept (let alone see) those closest to her for who they really are, lifestyles and all. This is hardly an earth-shattering situation. In fact it seems like a rather dated conflict in which to base a feature film. However, these situations do still exist, and just because it isn’t an original concept doesn’t mean it couldn’t still work given the right circumstances. Unfortunately, The Perfect Family has not been provided the right circumstances regardless of the impressive cast led by the incomparable Kathleen Turner.

The main fault lies with the film’s inexperienced first time director. I hate to do anything other than cheer for a new female voice in the male dominated world of moviemaking but The Perfect Family fails to live up to its potential, and to me that shortcoming is due to the director. With only a single short film under her belt Anne Renton certainly does an able job of helming a low budget independent. However, the charming young filmmaker falls far short of demonstrating the skills required to provide the right leadership necessary to make the most of a small budget. The compositions aren’t quite right, the editing is often a bit off, the performances feel more like rehearsals, and the whole rhythm of the film is terribly inconsistent. The result is an uneven film that feels like it should either have been left to the Lifetime Channel, or given a firmer hand to steer it down the road to indie fest success, rather than be released in major markets.

I suppose it wouldn’t matter so much if it weren’t for the considerable talent with which Renton had under her watch. Working against the script and some truly awkward moments in the production Turner (Romancing the Stone, Prizzi’s Honor) rises above the material as the matriarch, “Eileen”. Turner’s character has over the years turned a blind eye to her family rather than accept them for the imperfect people that they are. This is a role that could have easily been depicted as an over zealous bible thumper, but it’s Turner herself that makes any part of Eileen work. Her sheer presence lends a much-needed air of believability to a woman who knows who and what she is and likes it. You can feel her difficulty in understanding why anyone wouldn’t want to be the same way, including allowing the church to do one’s thinking, especially when it comes to complicated or uncomfortable issues.

With a stronger director The Perfect Family could have been a much more memorable film, but sadly it is the previously mentioned shortcomings that will inevitably cause it, and Turner’s performance to be seen by very few. Likewise, the rest of the performances by Emily Deschanel, Jason Ritter and Michael McGrady also suffer from the common mistakes made by an inexperienced filmmaker. They’re all good and very likable, but you just can’t help but feel as if you’re watching a rough cut rather than a polished film. No doubt, in time and with a few more films added to her resume, Renton will become a director worth watching. For now, however, I’d wait until her next film comes out before paying to see one.

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Headhunters is a Must-See Suspense/Caper Film of the First Caliber, Worthy of Earning the Title of Best Film of the Summer, if Not the Year

Posted on April 30, 2012 by admin

Touted as the next Stieg Larsson (The Girl With The Dragon Tattoo), author Jo Nesbo is enjoying an unprecedented success as a Nordic writer. His novel, Headhunters is already set for the Hollywood treatment, even before the Norwegian film adaptation has hit American theaters. Although, having seen the film that really comes as no surprise since less then half way through the screening I knew somebody in Los Angeles would be jumping to remake it. I just didn’t realize they had already jumped.

I’m not going to give a break down of the plot because it’s too much fun experiencing the clever “Hitchcockian” storyline as it unfolds (I don’t know why so many reviewers neglect that consideration). What I will tell you is nothing more than what the film sets up in the first ten minutes of screen time. The immensely appealing Aksel Hennie (an actor who looks like he could be the offspring of Steve Buscemi and James Spader) plays a diminutive, yet dapper bon vivant who works as a successful headhunter in the cutthroat world of Norwegian recruitment consulting – we’re talking Fortune 500, CEO level here. He negotiates the hiring of men who make millions on their severance packages and gets a tidy salary in return.

However, his lifestyle (complete with a ridiculously fashionable house and even more fashionable wife) requires more than even his impressive income will allow. So, he uses his unique position to obtain information about his client’s personal possessions, and then arranges the theft of only the most valuable art objects. The trouble comes when he tries to steal an extremely rare painting from a man he doesn’t realize is a former mercenary. That’s when his supposedly “final big score” goes horribly wrong, and mercilessly continues to go from bad to much, much worse. Apparently, there’s a lot more to this ex- mercenary than just his military training, and the more Hennie learns the more he realizes the odds are already well staked against him.

In a fashion reminiscent of North by Northwest and To Catch a Thief, director Morten Tyldum (helming only his third major motion picture) takes Hennie on an exhausting, nightmarish ride as a man on the run, unable to appeal to authorities or loved ones for help. He may not be a Cary Grant, but Hennie certainly holds up as a Jimmy Stewart in The Man Who Knew Too Much, or even Robert Cummings in Saboteur, as the hero on the run who must quickly think on his toes in order to survive one outrageous turn of events after another. And newcomer Synnøve Macody Lund is wonderful as the gorgeous blonde wife (ala Grace Kelly or Eva Marie Saint) who may or may not be a femme fatale collaborating to ensnare her increasingly paranoid husband.

And then there’s the suave and sophisticated Nikolaj Coaster-Waldau (Nightwatch, Game of Thrones) in the role of the perfect villain. He relentlessly pursues Hennie with the cool charm of a modern day James Mason (I can’t seem to keep away from the Hitchcock references). Although his character contributes to the moody atmosphere as the story progresses, the director manages to play his emerging evil against Hennie’s increased vulnerability, maintaining an undertone of light-heartedness throughout the picture.

Even in the most chilling moments, when death and destruction abound there is a touch of black comedy that plays nicely between the well-matched contenders – an element abandoned by today’s Hollywood filmmakers. Let’s hope that those handling the American remake won’t lose site of this, or any of the other many elements that make Headhunters the exceptional film that it is. Of course, the original is so good I really can’t see how remaking it could possibly be a successful venture. I’m betting that it won’t.

Headhunters has already opened in Los Angels at The Landmark 12 on Pico near Westwood Blvd. It’s also currently playing at three theaters in New York City; the Empire 25 Theaters, the Beekman, and the Sunshine Cinema 5. The film will continue to open wider across the Los Angels area as well as the rest of the country throughout the month of May, so be sure to check your local listings and seek this gem out before your only option is to settle on the Hollywood version. If you do, you’ll certainly be missing out on one of the best suspense thrillers to hit the screen in ages. And until Hitchcock returns from the grave this is the best you’re going to get in shocks, surprises and playful dark humor. Who could ask for anything more from a summer film?

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Fightville is an MMA Documentary with a Lot of Heart That Throws a Lackluster Punch

Posted on April 20, 2012 by admin

I love a good documentary, one that informs, educates or even draws you into a world you’ve never seen before. Fightville is not one of these documentaries. It’s particularly heartbreaking because it has so much potential for being exactly that, but falls far short of that goal. It’s actually frustrating watching the film, having your interest peek (however slight) only to have the filmmakers not complete the process of providing the audience with a fulfilling experience. If you’re already a fan familiar with this world then you’re likely to really enjoy this small journey. However, most people are not and will remain unaware of the intricacies of a fascinating sport after viewing Fightville.

My main problem with the film is that it seems that the filmmakers have taken a lot for granted. The film just jumps right in with an unknown voice describing a world that has yet to be defined. The film is obviously about fighting, but what kind and at what level? It seems like it takes forever before we, the audience are told that we are entering the lower echelons of the world of Mixed Martial Arts, and that we will be following a couple of coaches as they train two young men of potential. But what level are we starting at? What is the ultimate goal beyond winning the next fight? What are the heights to which these athletes can rise? If I’m not mistaken this is the sport of Tito Ortiz and one could ultimately end up competing in Las Vegas in front of enormous crowds for outrageous amounts of money, but I could be mistaken and no one in the film has bothered to provide this frame of reference.

What is great about the film is the story of these dedicated trainers and fighters. There is a passion expressed through their words and actions that is infectious. Gil Guillory is an aspiring P.T. Barnum type whose whole family (from his wife to his young children) participates in the grass roots promotion of the fights he sets up. Tim Credeur is obviously an experienced fighter (although we are not told about his past) who is dedicated to grooming the next generation. His gym may be located in a strip mall, but he expects nothing less than total commitment. Dustin Poirier and Albert Stainback are the two young fighters who we follow as they train and fight, sneaking peeks into their personal lives along the way, and yet we are given very little information. It’s more like hints and suggestions.

Because these men are so determined you really want to rout for them and see them succeed. Sadly, you just don’t get the full feeling of emotion you should from either the successes or the disappointments because it just hasn’t been explained thoroughly enough what’s exactly at stake, if anything. The fault has nothing to do with the subject matter, but lies squarely with the filmmakers. The material is obviously there. I just think it was handled haphazardly, resulting in a less than stellar representation of an exciting sport. Which is really too bad since this may be the first and only introduction many people have to one of the fastest growing sports in the world. After watching Fightville they’re going to be left wondering what all the fuss is about, instead of joining the excitement.

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Roundtable Interview with Morgan Spurlock About His Latest FIlm, Comic-Con Episode IV: A Fan’s Hope

Posted on April 5, 2012 by admin

The Roundtable interview for Morgan Spurlock was nothing too fancy. The perks were minimal, but the company was good. Besides myself (you’ll hear me at the beginning asking who the costumer is) there were about 10 others at the table. Among them were Gill Pringle, a British freelance journalist (she’s the one with the accent) and Sandrine Sahakians of TVequals.com. There were many good questions, and the conversation flows pretty nicely throughout due in large part to Spurlock’s ease and charm (he even compliments me on a “very good question” at one point). His companion for the interview, Holly was no slouch either. She is one of the subjects followed in Comic-Con Episode IV: A Fan’s Hope. And yes, she showed up in her specially designed costume that she made for Comic-Con in the movie. This turned out to be a lot of fun. I hope you enjoy listening to it. Just hit the play button above and kick back and eavesdrop.

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Comic-Con Episode IV: A Fan’s Hope Works as an Excellent Primer for the Uninitiated, and a Lover Letter for Fans of the Biggest Comic Geek Meet Up of the Year

Posted on April 5, 2012 by admin

The latest by documentary filmmaker Morgan Spurlock (Super Size Me, The Greatest Movie Ever Sold) is about the comic book fans that gather yearly at Comic-Con, the world’s largest comic book convention in San Diego, Ca. You may have heard of it and you may think you know all about it, but unless you’re one of the truly devoted you have no idea what this convention is about. Spurlock gained unparalleled access in order to celebrate a uniquely American art form and the devotees who live vicariously through it.

I went to Comic-Con a few years back. Actually, it was the year before director, Morgan Spurlock’s first visit in 2009. I had press credentials and at the time was mostly interested in the convention from the aspect of films, and how the studios were using the comic book haven as a launching pad for the huge summer action films that were like genre based. Therefore, I spent most of my time in Hall H, a gigantic space shuttle size hanger where the really big events such as film sneak peeks are held. I also took some time to peruse the exhibition hall where they have the stalls for vendors selling their wares and studios promoting their product. Overall I was not impressed with Comic-Con. However, after seeing Spurlock’s film I realized I hadn’t really seen Comic-Con at all. Not the real Comic-Con. If only I had seen A Fan’s Hope before I went. It would have been a whole different experience, one that would have led me to a whole new level of appreciation and had me coming back year after year.

Produced by comic book royalty, Stan Lee and fantasy director, Joss Whedon, Comic-Con Episode IV: A Fan’s Hope explores the amazing cultural phenomenon begun over 40 years ago in the basement of a modest mid-city hotel that has grown into an event attended by more than 140,000 fans. In order to capture the true spirit of the people and the place Spurlock wisely uses the traditional tools of the documentary format – talking heads and the roving camera. Everyone including Stan Lee, Guillermo del Toro, Frank Miller, Kevin Smith, Matt Groening, Seth Rogen, Eli Roth and the hottest illustrators of the day have their fan-boy moment starring down the barrel of the camera lens talking about how they turned their passions into professions, and what role Comic-Con played in their own journeys. These moments are as inspiring as they are revealing, and no doubt there will be at least one person you see whose presence in the documentary will amaze you.

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These entertaining interviews are interspersed throughout the film between the stories of five attendees Spurlock has chosen to follow as they gear up for, and then experience, the ultimate geek Mecca. Two are aspiring illustrators of varying talent who hope to impress publishers and be discovered. There’s also an old pro dealer looking for a big sale to save his business, while a young man masterminds an elaborate proposal of marriage. But the most interesting and enjoyable storyline by far is the one about a young and very talented costume and creature designer (Holly) who hopes her creations will win first prize at the annual masquerade. The film actually starts out at her garage studio where she is working on her elaborate entries for the most important contest of her life. The other four subjects are all very interesting, but every time the film cuts back to Holly there’s a giddy anticipation at discovering the latest update in her journey. Through Holly and her friends, we really get a sense of what Comic-Con is for the hard-core devotees.

Of course, there’s also a lot of coverage of the various panels, parades, costumed attendees, and crowds. Man, are there crowds. But the one thing that really stands out no matter how boisterous or frenzied the scene becomes is a constant and overwhelming since of camaraderie where ever the camera takes you. Spurlock has done an exceptional job in conveying the embracing feeling of acceptance here. There is a tangible sense that these people, in all their forms of geeky-ness, have found a home among like minds. That feeling of belonging must be one of the reasons Comic-Con has become one of the largest fan gatherings in the U.S. And no doubt one of the reasons Spurlock felt compelled to document its uniqueness for outsiders to witness, and come to understand. This is his battle cry: Geeks of the world unite – at Comic-Con in San Diego! After you see this film don’t be surprised if your inner Geek longs to join them. I know mine does.

Comic-Con Episode IV: A Fan’s Hope opens Thursday, April 5th in Los Angeles at the Laemmle Santa Monica 4-Plex), as well as in Seattle and San Francisco. For those who don’t live in these cities you can catch the film on VOD April 6th. And the following week you can see the film on the big screen in New York City at the Village East Cinema, as well as in Philadelphia and Boston. No word yet on a wide opening, so the Midwest can take advantage of the VOD or just wait until it gets to DVD.

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Silent House: The First Truly Hitchcockian Film of the Millennium.

Posted on March 9, 2012 by admin

Silent House is that rare film that actually lives up to the hype in nearly every way. Founded on an ingenious and superbly executed device, the suspense drama is presented as if in real time in what seems to be a single shot. While there are some shockingly weak performances by the supporting cast, the outrageously talented Elizabeth Olsen single-handedly carries Silent House beyond the realms of a gimmick into a tour de force bravada performance piece.

Directed by the same team that created Open Water (Chris Kentis and Laura Lau), Silent House begins innocently enough with an image of a lone young woman, Sarah (Olsen) sitting on the rocks of the shore of an isolated lake. The exceptional cinematography provided by Igor Martinovic accomplishes some magnificent feats of visual trickery throughout the film, but none so seamless as the manipulation of the camera here as it moves in one fell swoop from bird’s eye to ground level. The simple yet effective adjustment gracefully transitions the camera’s perspective and draws the viewer immediately into the story, placing the audience in the position of what is to be Sarah’s constant companion. The camera now unites Sarah’s point of view with that of the viewer – what it sees, Sarah sees, and what Sarah feels is authentically projected upon the viewer. Trust me, you will jump out of your seat and feel the flesh crawl on your skin.

What is particularly impressive is the impact of the simple story, which is based on a film by Gustavo Hernández released in Uruguay in 2010. The heroine, Sarah is naturally frightened by the spooky events taking place in her family’s dilapidated retreat house, but due to the remoteness of the location she is unable to access outside assistance of any kind. This may sound like a lot of other scary movies designed to entrap the protagonist in an unrealistic manner, but trust me Silent House works on a whole other level of suspense that never leaves the viewer feeling cheated or cheaply manipulated.

It’s not that our heroine can’t get out because she actually does escape the confines of the house at one point (which provides the audience with a much-needed break from the ever-increasing palpable sense of claustrophobia). But don’t be fooled, this is just a tease. As much as she wants to leave, and as much as the audience wants Sarah to get as far away as possible, screenwriter Laura Lau has skillfully established some compelling conditions that keep Sarah from being able to do so, increasing the already heightened level of anxiety to a frenzy. In fact, the writing and Olsen’s performance are so fine you not only believe the moment Sarah opts to return to the house, you can’t wait till she does. If this isn’t emulating Hitchcock in the best possible way I don’t know how else one can do it?

Silent House is a well-executed mix of mystery and thriller, guaranteed to satisfy even the most jaded fan of the genre. Unfortunately it’s not a perfect film as there is a bit of a let down in quality at the very end of the tale where the story momentarily takes a turn into stale and overused territory. I won’t give it away, but suffice it to say, Adam Trese who plays Sarah’s father is somewhat obligated to a performance that leaves a bit to be desired. However, when you consider the whole of the picture it is a small and pardonable offense. After all, the absolute final moment of the film provides such a powerful release of emotions I have no doubt you will immediately want to see Silent House again, and then again, and then again. Not just to catch all the hidden clues you missed the first time around, but to once again see Olsen’s impressive ability. No doubt she will be one to watch in years to come.

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The Forgiveness of Blood is a Compelling Drama Every Teen Everywhere Should See

Posted on February 25, 2012 by admin

The Forgiveness of Blood, director Joshua Marston’s powerful follow up to his Academy Award nominated first feature film, Maria Full of Grace is a compelling drama about teenagers in rural Albania who are expected by family, forced by circumstances and pressured by tradition to partake in a long standing blood feud. Old fashioned honor and patriarchal authority clash with youthful independence in this modern day story of a young man who strives to maintain his heritage while longing for a more westernized life that exists beyond the borders of his isolated world.

Once again, Marston takes his audience to a world foreign to most American audiences and the result is truly inspiring. Although he story of The Forgiveness of Blood takes place in a foreign country, it doesn’t affect its overall appeal, and should not dissuade anyone from seeing the film. It fact the story is so immersive, once it gets going you forget you’re reading subtitles. The main character, Nik (non-professional, Albanian native Tristan Halilaj) is just like any other high school boy. He’s a popular guy who goofs off with his best friend and has a crush on a pretty girl. His one great ambition is to turn an abandoned shop into an Internet café where he and his friends can hang out and be connected to the modern world.

However, Nik’s idealized dream of a westernized lifestyle comes to an end when his father becomes an accessory to murder. Based on ancient Albanian cultural laws Nik, as the next eldest male, is the prime target for retaliation. For safety sake he and his grade school brother are confined to the house. Even Nik’s slightly younger sister, Rudina (another tremendous local find, Sindi Lacej) is effected when forced to leave the school she loves in order to take over the family business of delivering bread. As the film so deftly depicts it, so goes life in Albania. Sometimes children are forced to grow up over night and no one thinks twice about it.

Now obviously there are countless cases in America where teens are forced to give up their childhood existences in order to aid their families, but that’s exactly the point. What I particularly love about The Forgiveness of Blood (and I really, really love this film) is the immediate accessibility of the story regardless of language or region of origin. Marston and co-writer Andamion Murataj boldly tell their well-written tale in a bare and straightforward manner. Because of the universally understood conflicts facing all teenagers, there is no need for heightened melodrama, and fortunately the filmmakers do not submit to that temptation. There are no subplots of Nik’s classmates organizing a political descent, nor is there an attempt to transform his innocent puppy love into a variation of Romeo and Juliet.

Instead, Marston and company faithfully trust that US audiences (and others elsewhere) will relate to a young man’s struggle to become his own person while being forced to comply with the wishes of his elders. However, unlike James Dean’s character in Nicholas Ray’s Rebel Without a Cause, Nik’s situation has far more dire consequences than being grounded; if he disobeys he could be killed and there’s nothing anyone can do about it. Of course Nik becomes frustrated and lashes out at his siblings as well as his mother who tries to get him to understand that he is no longer a child and must face his responsibilities as a young adult. And that is what this film is ultimately about: the responsibility of being a part of a family and how the dynamics of one can change drastically when under traumatic influences.

There is one particularly astonishing scene that dramatizes this point and obliges me to encourage all parents to see this film with their teenage children. It’s a moment late in the conflict that shows the relationship between Nik and his parents at its absolute worst and best at the same time. Nik’s father (the amazing Refet Abazi) sneaks out of hiding in order to see his beloved family. Because of heightened emotions, what should be a happy reunion quickly turns into a heated altercation typical of most parent/child relationships. It is truly one of the most beautifully touching and heartbreaking depictions of a father’s anguish ever produced on screen, and something every teen should seen if only to get a slight understanding of what it means to be a parent.

As a result of his father’s selfless sacrifice Nik abandon’s his childish ways, and truly grows up. He decides to face the situation like a man and attempts to resolve the blood feud himself with mixed results. The conflict has ended, but not the way anyone had anticipated, which is the perfect ending to a film involving teens. After all, not everything has a happy ending, let alone one that can be easily defined. The conclusion is purposely vague (in its way), which gives The Forgiveness of Blood a refreshing dose of reality missing from most American films of the same vain, and will undoubtedly leave an impression upon the viewer regardless of age, culture, or nation of origin.

 

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Ten Things Every Actor Should Know To Help Themselves on That Next Gig

Posted on February 21, 2012 by admin

 

It doesn’t matter how long you’ve been in the business, there are probably a few things you still need to know before the next time you step into base camp. Things you’re not likely to know unless someone’s bothered to take the time to tell you. If you’re a seasoned pro it’s likely that most people think you already know what you need to know and therefore would never presume to offer you advice. And if you’re a first timer just breaking into the biz, then it may be a case of people believing it’s just best if you learn things for yourself. But I figure if someone shares this information ahead of time it will save many people a lot of hassle, frustration, embarrassment, and possibly even someone their job.

1) How to Up Your Rate: If you’ve already booked the job and someone is calling to check your rate, don’t be afraid to ask for more than you usually get. Granted, this rarely happens. Someone should have already taken care of this bit of business, and usually through your agent. However, just know that if they have already booked you they aren’t going to even consider replacing you unless you ask for something outrageously different from your usual quote. And even then they’re going to counter offer first. This is particularly important to know for day players (that’s cast members that are not contracted for the run of the show). This happened to my brother-in-law and he was able to establish a higher rate that he then used for all future bookings. His agent was grateful.

2) Sign Out for Your Fitting: If you have a fitting for your wardrobe you should sign out on an Exhibit G form with an Assistant Director (AD). If you are not a regular cast member and this takes more than two hours you are suppose to receive additional pay. But no one will know how long you’ve been there if you haven’t signed out, and be sure to check the in and out times for accuracy. This is your money, so you should look out for it. People make mistakes all the time. It doesn’t hurt to take a picture with your phone either. Sounds extreme, but it’s not really. In fact it’s very common to do so, especially in the world of Stunts. If you’re embarrassed just roll your eyes and say it’s for your agent.

3) Bring Your Identification: Be sure to bring either your Passport, or a Driver’s License and Social Security Card. The AD needs to check them for the paper work. If you don’t like to carry your Social Security card with you, a copy you possess (and keep) is acceptable, and you may not know it but an expired Passport is considered a valid form of ID, and a safe option to carry around that you don’t have to worry about losing. A Passport is especially useful for children who seldom have anything more than a birth certificate and Social Security card (both items fall under the same category on the work form, and so do not sufficiently fulfill the requirement of two forms of ID).

4) Check In: As soon as you arrive in base camp, whether on location or at the studio lot, make sure an Assistant Director (AD) knows you are there. If you are dropped off by a shuttle ask the driver to call the AD on the walkie. Do not assume the AD will somehow know that you are there, or come looking for you. While I was working on a show at the Warner Bros. lot a shuttle from parking brought an actor from parking. He found a trailer with his name on it and went inside to wait. After he had been late for over an hour it was discovered that he had taken the wrong shuttle that had delivered him to the wrong show’s base camp that just happened to have a character’s name the same as his own. If he had bothered to check in with someone (anyone) he would have discovered his mistake, and there would not have been a need to rush him through the works (hair, makeup and wardrobe) in order to get him ready in time. He was rattled which led to a less than pleasant acting experience on his part.

5) Check Your Contract: Once you are in your room take a look at your contract. If there are any mistakes be sure to let the AD know right away so they can be fixed before any shooting begins. Honestly, it’s not a big deal to take care of, but it is a big deal to find out after you’ve been shot on film that you haven’t signed something because you think it needs to be changed. A big problem can be a little one as long as production knows about it, but a little problem can become a big one if the higher ups find out about it later. The AD can get fired for this even if it turns out not to be a big deal for the production. I know. I was when an actor didn’t like the wording of a confidentiality clause on the last page of his contract. However, he didn’t say anything until hours after telling me he had signed his contract I noticed the missing signature. Unfortunately, this was after he had been shooting in picture. He didn’t think it was a big deal, and still has no idea I was let go the next day.

6) Check Your Wardrobe. Even if you don’t like to wear it until after Hair and Makeup or after rehearsal, it’s a good thing to know that it fits and is in fact the wardrobe you are suppose to be wearing. Again, things can be fixed during your prep time if need be, rather than holding up the works for every body because you didn’t try on your wardrobe. This caused a massive delay on one of the shows I was working on. The actress didn’t want to wear her dress to rehearsal, and through the proper channels was given permission not to do so. However, because of that no one noticed the bits of green in her dress until everyone was all ready to shoot Green Screen (whatever was to be projected on the background would have bled through the green parts of the dress). Wardrobe searched frantically to find an alternate that was appropriate for the scene while production tried to shoot something else. No one was happy.

7) Holler for Help: Don’t assume the AD will be checking in on you soon enough. If you need something and the AD isn’t around don’t be afraid to stick your head out of your dressing room door and call for them. That’s what they’re there for; to make sure you have what you need to get ready for shooting. And it can be anything, big or small. It’s not a big deal to get you a cup of tea. It is a big deal to wait, as you swing by crafty to get your own tea once you’ve been called to set. Even if you just want an update. Remember there are only so many ADs on and around set, so they may not check on you immediately unless they know you need something. Help us help you.

8 ) Be Sure an AD Knows Where You Are: Whether you’re on the set or off the set, the ADs needs to know where you are in case you’re suddenly needed for shooting. Whether you’re going off stage for a smoke or back to your room for your cell phone let an AD know. It’s especially useful for them to know where you’ll be at lunch in case they have to bring you back early, and useful for you to know when lunch is scheduled and where it’s supposed to be. If it’s getting close to lunch and you’re not needed an AD can break you early, but don’t sit around waiting to hear about lunch, check. And once you’ve had lunch and find yourself sitting around at catering while everyone else has gone find a teamster (driver) and ask them to call an AD to find out how soon you’re needed in touch ups. There’s always a teamster nearby wherever there are vehicles, from semi-trucks to picture cars. They may not have a walkie-talkie, but they have a cell phone and can get a hold of another teamster who does.

9) Tell Someone If You Nap: This may sound a bit silly, but if you decide to take a nap be sure to let the AD know. We’re not trying to be your mom, but think about it. It just makes sense. Depending on how long you end up resting as you wait to be called, Hair, Makeup and Wardrobe may all need to see you again. In which case the AD will need to let the 1st AD on set know to allow for extra time when anticipating the need for you on set. It’s certainly no big deal – if you need to rest then you need to rest. The AD just needs to know what could effect your appearance so they can prepare properly so that you and everyone else won’t end up being on set any longer than necessary. The same goes if you decide to pick up a game of basketball or do anything else that might cause you to perspire. Makeup and Hair can probably fix you in a jiffy as long as they know what they’re dealing with. The same goes for the AD.

10) Sign Out. Once you’ve wrapped, be sure to change out of your wardrobe first, and then go to the Hair and Makeup trailer for any clean up, but most importantly be sure to sign out with the AD. Remember that your final out time is based on your set dismissal. So regardless of how long it takes for you to say goodbye, you only get an added fifteen minutes added to your out time. That is unless there’s specialty makeup involved in which case you get an exact, to-the-minute dismissal when you step out of your trailer to leave. These times only really matter if you’ve worked longer than 8 hours. Then you go into overtime and that can make a substantial difference to your paycheck. Once gain, it’s a good idea to take note, if not a picture of your in and out times. And save a Call Sheet from the day. Not only will you have a list of all the names of the people you worked with during the day, but you’ll have all the necessary contact information (usually listed on the front, upper right hand corner) in case you need to get a hold of the production later on.

There’s probably a million and one other things that could be good to know for working on a film set, but that’s where your own experience will come in. That and a healthy dose of humility, meaning if you don’t know something just ask about it. It’s never a bad thing to admit you’re still learning about being on set. Things change all the time, so no matter how long you’ve been at your career it’s important to understand that there’s likely always something to be learned every time you book a gig. If you’re lucky, and talented, then you’ll be spending a lifetime at it, and more than likely you’ll pass along some much needed information to an AD or two along the way.

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Oscar Nominated Short Films in Theaters Now

Posted on February 10, 2012 by admin

ShortsHD working with Magnolia Pictures is releasing this year’s Oscar® Nominated Short Films to over 200 theaters across the United States and Canada beginning Friday, February 10th, 2012.

Due to the popularity of last year’s theatrical release of the Academy Award nominated Documentary shorts audiences will now have the opportunity to see all three categories of short films before Oscar night on February 26th. These three separate theatrical programs (Documentary, Live Action and Animation) will screen across the country, accessing and entertaining an audience they might not otherwise reach.

I’m a huge fan of the short format, and strongly believe in its essential place among the film world. For years the Academy has played with the idea of eliminating the categories all together, succumbing to pressure from those that believe them to be antiquated modes of filmmaking left over from the days when movie houses actually showed shorts as part of their daily programs. However, due to a surge in public interest in recent times the Academy has rethought this suggestion and has retained the honorable format. After all, many a great future filmmaker has begun with the production of a short film, and those efforts should be duly awarded.

Having just finished watching all of this year’s fine nominees I can whole-heartedly recommend each and every one without reservation. The diversity of subjects and presentation will undoubtedly appeal to a wide scope, providing something for everyone. The animated shorts are touching and definitely family-friendly. I’m particularly found of The Fantastic Flying Books of Mr. Morris Lessmore, which is about a Buster Keaton like character who lives a life of quiet beauty among a playful group of books. And the live action films offer a nice variety of plots, ranging from heart-warming (Raju, my pick for Oscar) to out-right hilarious (Tuba Atlantic). The short documentaries are particularly moving with subjects that are issue oriented and of immediate interest. I dare anyone not to be uplifted and moved by these poignant expressions of feeling, especially The Tsunami and the Cherry Blossom, my pick for the Oscar.

Although, I must say I wouldn’t be surprised if The Barber of Birmingham takes the prize come Oscar night. It is a particularly inspiring short documentary about an 85 year-old man who has lived and watched the social events that have changed this country’s view on the African American’s place in our society from the Civil Rights Movement right on up to the election of President Obama. It’s a magnificently compact film that elicits a feeling of pride and tugs at your heartstrings at the same time. I just think it may be too short to grab the statuette. It feels as if it should be longer than its 18 minutes. It seemed to end rather abruptly and left me wanting more, which I felt could have been accomplished.

In Los Angeles the Animation and Live Action shorts will be at The NuArt Theater in West LA and Regency Theatres’ South Coast Plaza in Santa Ana. The Documentary shorts will begin screening later this month on February 17 at Laemmle’s Music Hall 3. Also on the 17th you can catch the Documentaries at the Egyptian Theatre in Hollywood. And still later, on the 24th, the Egyptian will be screening the Live-Action nominees, as well as the Animation nominees (check theaters for exact schedules and ticket pricing).

I urge you to take advantage of this opportunity and see these wonderfully entertaining films. Not only will you undoubtedly have a terrific theater going experience, but you’ll also have a leg up on your office Oscar pool. Think about it. Here’s three points no one ever gets (unless it’s with a wild guess) because most people never get the chance to see them, but you do. Just think how smart you’ll look. It’s a win-win situation!

Along with the theatrical run, the nominated short films will be released individually later this month on iTunes beginning February 21st. The release will also be available via cable’s Movies On Demand (MOD), distributed by In Demand and will be available via Comcast, Time Warner Cable, Brighthouse, Cablevision and Cox Communication.

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