actors and astronauts

"The Road" Review (SPOILERS)

2009-11-12T09:13:00.000-08:00

I was fortunate enough to snag a ticket to see "The Road" at the Egyptian theater on Hollywood Blvd. Friday night.

I am a huge fan of the novel, and a huge fan of Viggo, so I was quite excited. Not to mention, an hour long Q&A was held afterward that was one of the most informative sessions of its type I've ever been lucky enough to attend.

Fans of the novel will be happy to hear it is a rather close adaptation. Not much was changed from the pages, as much as...shifted slightly. Certain scenes in the novel that felt endless, were passed through quickly, and vice versa- shorter scenes in the novel were expounded upon and fleshed out for the screen. That wasn't always a bad thing, it was quite moving to see longer moments between the man and his wife, and the filmmakers expanded that world without adding too much exposition and backstory feeling forced.

Much like the book we never see why or how the world as we know it ends, we only see the emotional responses from those attempting to survive through its destruction. The filmmakers were faithful to not "Hollywood-ize" the story and add too many trite action sequences or focus to heavily on the conflict between the cannibals and our two protagonists, which was refreshing. I'm sure we all had fears that this steady and moving novel could've been adapted into something like "2012" or "Doomsday", but I assure you it was as "slow" (in a good way) and marinating as the book.

When I look at films I never say whether they were good or bad (especially not films of this caliber) more so I look to see what good and bad elements existed within the piece.

There were many good elements to me in "The Road". Starting with Viggo, he was absolutely stunning. He wasn't just intense and emotional and jarring and heroic all at once, he was much more than that- he was subtle. There were moments where the choices he made as the man- were very surprising and rewarding as an audience member. Charlize and Viggo attained an intimacy within the flashbacks that you don't often see between "husband and wife" characters. I felt deeply that Viggo's character's heart was being wrenched from his body when his wife decided to leave the family, he showed a vulnerability on screen that was truly heartbreaking. The young boy who portrayed Viggo's son was wonderfully natural and seemed to move through the scenes with ease, although it didn't feel like the filmmakers captured as rare of a performance as say Tarsem did with Catinca Untaruin in "The Fall". I won't criticize the young actor because he achieved most of what was on the page, I just can't help but feel there were moments and nuances that were missed by the camera that would've helped me feel even more for the boy.

Other good elements included Robert Duvall reminding us all that he really is a treasure. Not since "The Apostle" have I been so convinced by one of his performances. Another point where the film deters from the novel's page is during an exchange between "Eli" and the man. At first I wondered if we needed what was later explained to be an improv between these two actors. But after reflecting back on the film I do agree with the Director's choice to leave the invented scene in.

To me, the only (dare I say) "bad" element to the film adaptation of "The Road", was that it doesn't stand out as a film, as much as the book stands out amongst other novels. It isn't shot particularly unlike many other films, it isn't edited particularly uniquely, and the score doesn't add to the movements on screen as much as it detracts. As a cinematic experience, it is adapted in a quite standard manner- but that may not be a bad thing for most viewers. I don't want "The Road" hyper-stylized and shot by Darius Khondji, I just wanted a little more intention behind what the lens revealed to us and when.

The film didn't seem as focused on nurturing a mood and atmosphere as much as it felt focused on the performances at the center of the story- which truthfully are enough to elevate this film to near greatness. I just think back to the compositions and framing in some of the great mood works of cinema and I can't help but feel like "The Road" should fit into that catalog. "No Country For Old Men" even feels and moves the way the novel feels and moves. There were shots that were rested on during "No Country" that gave your eye time to read all of the detail from the characters and environment surrounding them. "The Road" feels slightly less grand and sprawling then the book (not in what was on the screen, as much as how it was filmed). The camera wasn't used as much to dwarf and alienate the man and boy as much as I felt Cormac did with his words. Truthfully, there wasn't a single shot or sequence that felt masterfully crafted- the scenes just felt "filmed" very generally. Closes, mediums, wides, closes, mediums, wides. The landscape didn't come to life as much for me as some of the other audiences members felt like it did. But that's my personal preference and I understand it may not be everyones. When I read the book I imagined the hand of Kubrick or Malick tending to the material and that was my vision for the film- but alas, I wasn't the director! The talented John Hillcoat was.

The film was remarkable in numerous ways, and a slight let down for me in far less numerable ways. The Q&A was engaging and Viggo proved himself to be one of the most feeling and insightful actors of his generation. Their words after the film were inspiring to me as I am an aspiring filmmaker myself. I haven't achieved nearly what these craftsmen have, I have only created one feature so far entitled "The Mother of Invention" but we are still engaging in similar battles. John Hillcoat talked about fighting for elements of the book to remain integrated into the film and how even he had changing opinions on what to include and leave out. I know that the minute amount of experience I've had in trying to find distribution for my tiny comedy is nothing compared to adapting a pulitzer prize winning novel- but the core struggles are the same. Executives want to shape your vision, agents want to define your artistic identity, and everyone believes they know what needs to change about your project in order for it to succeed. Hearing Viggo's and John's opinions on Hollywood was affirming to my more optimistic side that it is in fact possible to create something relatively pure and untainted in this current artistic landscape.

As my last point- I will address the infamous "baby scene". For the readers of the novel I'm sure you know what I am speaking of. While the scene is in the movie, the shot of the baby is not. The director stated that he fought and fought to keep that scene in only to realize later on in the process that it was unneeded. After viewing the film I would agree. John stated that as viewers we have already seen the horrors in the basement and experienced the depravity of this new world. To see the baby as graphically as they intended to show it, seemed like a "rewind" to a previous emotion and moment (in the words of the director). So even though it is not shown, I don't feel there was a compromise made to the integrity of the book. We also still hear the boy ask "What is that?" which sent a chill down my spine as I expected to see what he was staring at in the coming moment.

So take heart fans of the book, and prepare yourselves for a gathering of remarkable performances when "The Road" comes out later this month!

This Providence Plagiarism

2009-11-10T12:29:00.001-08:00

This is a letter I recently sent to everyone I know associated with the band :

This is Andrew Bowser, music video director and editor.

I am ashamed at the lack of integrity coming from This Providence and their record label. I submitted a treatment for their song "Keeping on Without You" in early October.

The band/label/management passed on my idea and moved on with another director.

Now weeks later, I see the premiere of the music video for said song. There are numerous elements syphoned from my treatment and implemented into the final video.

-Desert landscape setting
-"Junkyard" setting
-Dirty and tired lead characters "searching for one another"
-Sullied old photographs of lead characters
-Lead singer waking up on his back surrounded by trash (and photo of girl)

Excerpt from my treatment :

"We open on a shot of Dan's eyes as he awakens in the middle of a
junkyard. He is lying flat on his back and across from him in the dirt
is a photograph of a beautiful young woman. She is wearing a polka
dotted dress and is smiling brightly."

I understand that you took what you liked and removed my narrative in
exchange for something more non-linear and impressionistic- but this
plagiarism is still wrong.

This isn't the way music videos are to be made. I should have received compensation from the label if you were going to utilize ANY of the elements from my treatment.

-Andrew

"Jimmy Tupper VS. The Goatman of Bowie"

2009-10-22T00:12:00.000-07:00

JTVSTGMOB
This Summer I embarked on an experimental film project that would dabble in the genre of “found footage horror”. The inspiration for this film came after I watched the film “Fireproof”. It takes a lot to offend me, but “Fireproof” did it, and in a big way. Most people I know who have viewed the film say the same thing “Well it was cheesy, but its heart was in the right place”. I would agree that it was “cheesy” but I’m not so convinced the filmmakers' hearts were in the right place. I believe that the Gospel is true. It’s the most important truth I know. Jesus Christ came and died for our sins. He is Lord and Savior. What offended me was that these filmmakers decided to take the most “true” thing about this existence and wrap it in a story that felt manipulated and false. The world reflected in “Fireproof” felt staged to me. The fights didn’t hit the way fights hit in real life, the angst didn’t have the depth angst truly has, and even the friendships shown seemed very superficial.
Throwing your computer out the window doesn’t free you from demonic bondage. When a man confronts another man who he assumes has been having a relationship with his wife- it doesn’t normally end so calmly. It would be one thing if the filmmakers were making a fantasy film that used metaphor and allegory- but for all intents and purposes “Fireproof” is attempting to reflect the world we live in.
Unfortunately, when you take the genuine emotion out of these “real world” experiences, you dehumanize them until the entire message of the film seems like propaganda. The last thing I want the world to see the Gospel as is propaganda. God moves in miraculous and mysterious ways. I’m not saying he can’t snug everything in your life together with supernatural quickness. The Lord can redeem anything, and bring victory into everything. That being said, the filmmakers went one step beyond showing the Lord’s wonder and sovereignty. They made the mistake of moving their characters in such a way that would please our will and our want, not encourage our trust in the Lord. What if his buddy died on the tracks that day? What if the love dare book didn’t work? What if even after getting saved the relationship between the Mother and Caleb still needed years of restoration and healing? What if it was months before Catherine heard from the Lord? Or, if it was immediate, show me how that happened. Show me the Holy Spirit knocking her off her horse on Damascus road. Show me, don’t just stitch it together and tell me it’s somewhere between the cuts. It doesn’t come across as reality to me. It doesn’t seem wise to me to insert the Gospel into a film that appears to have such a facade. I thought about the film for days before forming an opinion on it, and then it dawned on me. As Christians we’ve become so obsessed with sterilizing what we view and what we emote, that we’ve (as artists, specifically filmmakers) lost touch with even the conflict within ourselves. We don’t know how to write about the human condition anymore. It’s like these filmmakers are afraid to say the truth, that even as Christians we have flaws. We struggle and we break down, and we mess up. In almost every Christian film I’ve seen, everything is just a little too perfect. As soon as a character becomes saved not only do they get eternal life, but all of their problems in this life are eradicated. That’s dangerous business, and it’s not even biblical. By the end of the film every problem Caleb had has been solved. Even problems we don’t really see addressed somehow get ironed out. I expected Caleb to walk out of his house at the end of the film and exclaim “Woah! My car’s been repainted too!!” Why do Christians feel the need to polish their art this way? Why can’t our art be an honest expression of who we are and where we are and not a “prettied up” version of what we all would like the world to look like? This kind of reaction doesn’t even come from a “hardened cynic”. Again, I know first hand that the Lord can do anything. He healed me from a mental illness I had struggled with since I was a child, and he did it in one night. My issue is with the lack of freedom “Christian Artists” are given, and the lack of freedom they exercise. Oddly enough, I don’t like an excess of “F” bombs and foul language in the movies I watch. As a director I will never show nudity in a film, and I hesitate to show explicit violence even in an historical context.
Which leads us to ”Jimmy Tupper vs. the Goatman of Bowie”, my tiny entry into the “horror” genre. After viewing “Fireproof” I realized that “Christian Film” needs a shot in the arm. The idea wasn’t meant to simply titillate a conservative audience, but rather to investigate. What’s better, making a film that is devoid of intimacy and knowledge of the human condition? Or a film that expresses what it is truly like to be lost and without spiritual anchor or guidance. How does the world sound? How does the world feel? What does anger look like? What does fear look like? “JTVSTGMOB” is an extreme example that will hopefully lead other Christian filmmakers to meet somewhere in the middle. Is it intentionally off base? No, not intentionally. Is it off base? I’m not sure. That’s what I am investigating, and here’s the most important thing- I am more than willing to be wrong. As an actor I will portray characters that are not believers. They have no grounding in a faith or a moral code. The characters in “JTVSTGMOB” are just these types of people. It’s important for me to attempt to understand people unlike myself. It helps breed compassion and understanding for me. As an actor, stepping into their shoes is one way I do that. Is it right? Again, I am investigating that. That is the exact purpose of this film, I am looking into a part of myself. It is an angry part of myself, a scared part, an ugly part, but it is an honest part. It uses metaphor and a monster as a symbol, but there is no lie in this film, and I'm proud of that. It is a sacrifice of sorts in the Christian art world. I don’t believe every film needs 300 “F” words, but we certainly do need a more realistic approach to how dialogue is written. A lot of my films may go the “Lost” route and choose to abide by a “PG-13” code without compromising the tangibility of raw emotion, however “JTVSTGMOB” is not one of those films. It is meant to be messy, and real, and sit at the other end of the spectrum, far far away from “Fireproof”. If the Holy Spirit is on something, people will be touched. I believe the Lord has used “Fireproof” to bring healing and newness to couples worldwide. Has it reached the mainstream? Arguably, no. My films are meant for everyone but especially those who won’t be stepping foot willingly into a Christian bookstore any time soon. My heart is to serve the Lord, and I believe in a weird way (and again, quite possibly ill-informed way) that “JTVSTGMOB” serves him. It is me trying to make sense of what I am doing here on earth as a Christian and a filmmaker. It is me crying out with characters full of torment that need purpose and direction and life. It is me saying there is something else we need from our Christians in the art world. It is me attempting to bring a level of vulnerability onto the screen so that others could match that vulnerability (and even surpass me). It’s much deeper than what it seems. I hope any viewers we may have will see its heart and have grace on me as I learn and grow as an artist.

3 Favorite things!!!

2009-03-16T16:38:00.001-07:00

What I've been into lately...

I've been watching the MTV animated series based on the comic- SO GOOD!

Why didn't I see this when it came out?

New Yeah Yeah Yeahs!!!

55 Hours on an Amtrak.

2008-11-23T15:19:00.000-08:00

About two weeks ago, I took an Amtrak train from Arkansas to Los Angeles.

This is kind of a running log of what I experienced.

I boarded the train at 7:06 am out of Texarkana AR. I said goodbye to my mother and grandmother and plopped my bags down on a big blue chair.

The first thing I noticed was the amount of young children on this car. A couple of 3 year olds, a couple of infant twins, and a handful of 8-10 year olds.

The twins belonged to a young woman with a shaved head. She was big, but looked to have only gained the weight recently. She had a swastika tattoo on her right shoulder which she wasn’t making any attempt to hide, and a tattoo on her scalp too blurred to make out. She was pretty but seemed angry and sad.

Her kids were cute, they each sported little Mohawks and camouflage pajamas.

The loudest child was a kid whose name (as near as I can figure) was Andre. He would yell just for yelling’s sake and kept our whole car awake all night with screams and cries. He would run around in his diaper and yell at other passengers, and try to climb up onto the overhead luggage rack. “I want my daddy, I want my daddy” he’d scream on a constant loop. He'd also steal your food.

The skinhead mom loses her temper every 5 seconds. Screaming F words and GD’s at her kids as if they were teenagers. At numerous points over the ride other passengers told her to get ahold of her kids and get ahold of her temper. She didn’t take too well to either suggestions.

At one point when I was neary asleep. Someone was yelling at the skinhead mom- “This train is supposed to be relaxing and joyous” to which she replied “I don’t know where you’ve been, Amtrak is miserable it’s always been miserable”. I couldn't agree more.

Now the mom of Andre is saying “I smell sh*t”. Awesome. So do I.

Most of the trip had just been loud kids, angry moms, angry passengers, and a couple of semi-crazy people talking to themselves. One guy in particular kept alternating between saying “Otis Spunkmeyer has too many calories” and singing Rihanna’s “Take a Bow”.

Early last night the train came to a stop in Temple Texas.

The routine stop soon grew longer and passengers started to wonder what was delaying us. I started to overhear murmurs that a woman was raped on board and that the train had to wait for police to arrive. Sure enough, a group of teenagers who had been riding the train since NY (and had been drinking on the train since NY also) had been involved in an assault downstairs in a dressing room.

A young woman was accusing one of the youn men of rape and the train had to stay in the station until FBI could arrive as Amtrak is federally owned and operated. This caused both excitement and unrest amongst the passengers. People were thrilled by the fact that a crime had been committed in their train (the teenagers were actually passengers on my car) but also incredibly perturbed at the delay. No one seemed concerned about the crime or the victim. Many people had heard that the woman had been assaulted by her boyfriend and they deemed that somehow less deplorable. Otis Spunkmeyer had heard they were looking for a lost cell phone that the woman had in her possession at the time of the attack- so he went searching throughout the train explaining to everyone what he was doing and how he was helping the police investigation.

Earlier that day I had struck up a nice conversation with a gentleman from Illinois in the dining car. For parties smaller than 4 they seat you with other passengers, so I ate my veggie burger with him and an older gentlemant from New England. The older man had to wait until the next station stop just to get up and move back to his seat, the rocking of the train had knocked him down one too many times earlier in the trip.

The middle aged man had just left Illinois where his mother had passed away. He had promised himself that after his Mother was dead he would move to be closer to his two daughters in Texas.

He used to work for Universal in Hollywood and dealt in guest relations. He told me a story about driving Richard Dreyfuss around because his daughter was having a birthday party on one of the soundstages. He said he was on coke for most of his films in the 70's.

He also told me about a phonecall he received once from Eva Marie Saint. Oh man. His roommate in Hollywood was a sound guy who went on to work on "Goodfellas" and numerous Clint Eastwood films. He Told him once that he worked on a picture with Faye Dunaway and Jon Voight and couldn’t decide who the bigger Diva was.

As the train was stopped in Temple I went down to the café to get a hot dog. The middle aged gentleman was there and was himself enjoying a drink and a snack.

I sat down with him and we talked more about other celebrity encounters of his. The café attendant was asking that everyone remain in the café car who had alcohol since she was in trouble for allowing alcohol to somehow get into the hands of minors earlier than night (the kids involved in the assault).

I looked around the cafe, a couple of hispanic men with beers in hand, and another young white guy with a Heineken. In a few moments a young black man came down and ordered a beer. The café attendant wouldn’t serve him and claimed it was because she saw him with the party earlier who was now under investigation.

He called "bullsh*t" on that reasoning and kept saying “I aint with them, I aint with them, it says Samuel Brown on my ticket and that’s all I’m with, Samuel Brown is all I am, I aint them, why aint there names on my ticket?”

He went and got an Amtrak attendant. She came down to the café. The café worker and Amtrak worker explained to the gentleman that they were only serving passengers who were old enough to not be carded. Men and women that were clearly of age.

Samuel Brown was 28, there was a young white guy (no older than 25) nearby sipping a Heineken. The last thing I wanted was for Samuel Brown to see that and freak out. The café worker was white, but the Amtrak lady was black.

He stormed off one last time yelling "bullsh*t" and went back to his seat. I returned to mine and listened in on the woman two seats back explaining what she heard happened concerning the attack. The rape, the teenagers, the alcohol, the missing cell phone, the boyfriend, the rapist, all involved were now in the custody of the Temple police. One woman exclaimed “This is a movie, we must be on film right now, somebody make a movie of this!”.

I thought about it.

The woman who was doing the explaining was a redhead with two redhead toddler daughters who made far less noise than the skinhead babies and Andre. There was also a group of young Hispanic kids who were insanely well behaved. One of them, a 3 year old girl, had to be the prettiest child I had ever seen.

The only thing weird about those kids, was the fact that they sat all three in a row (ages 3, 5, and 10) watching “The Last King of Scoltland” on a portable DVD player.

After 3 hours of waiting in Temple, we started to move again. The train had been investiagated as a crime scene and people were talking about men walking around in blue gloves, digging through dressing rooms and bathrooms.

We stopped a while later and they added cars to the train. It was loud, clanking and clunking for at least an hour. In the morning we were headed in the opposite direction. This meant to the skinhead mom- that we were no longer headed toward Los Angeles. She flipped out, yelled for an attendant and started screaming "I have to get to LA!! I HAVE TO!!". The attendant explained that we were still on track in the right direction, cars were added to the train and we were about to turn our chairs around so we'd be facing the direction we were headed.

Over the course of that day- I started noticing a big man who was becoming more and more intoxicated as he would move about the cars. He said a couple of weird things to me and other passengers and at one point asked if I grabbed a dude's butt that I had just walked by. I hadn't, he didn't believe me.

Late that night we stopped again, more cops came on board. The big man was arrested for drunken and disorderly conduct. He was escorted out of the train kicking and screaming. Teenagers on board were laughing at how "Ghetto" this train had become.

The next morning a black woman stood up and said "I don't know if yall white folk have heard yet, but now that Obama's President- yall need to report to the cotton fields for orientation"

Yikes, I turned behind me to see if the skinhead had heard- she wasn't there. Phew, I guess she ran to the cafe for a bit.

When she did return, someone accused her of mistreating her kids. She started yelling "You don't know me, you don't know us- you're a thief! I'll tell everyone you've been stealing from them!" I have no idea what she was talking about. Neither did anyone else on the train. I kept worrying, is this gonna amount to some race riot on the train? So many arguments, nobody getting sleep, so much anxiety and social tension. I contemplated getting off the train in El Paso- 10 hours from LA. I thought I could rent a car and get there without the freakouts and arrests.

I decided to stick it out, and finally- 55 hours later we arrived. Back in Los Angeles.

I can safely say I will never ride Amtrak again for longer than 10 hours at a time, unless I'm armed- then I'll consider getting on for longer.

Zeppo Jonas 1 and 2

2008-11-23T15:17:00.000-08:00

Zeppo Jonas Introduction from Andrew Bowser on Vimeo.

Zeppo Jonas releases new single from Andrew Bowser on Vimeo.

Some new videos!

2008-11-17T14:52:00.000-08:00

I thought I'd post some videos we've been working on lately.

Justine and Gary (Shot by Michael Eller and Andrew Bowser, Edited by Andrew Bowser)

Justine and Gary from Andrew Bowser on Vimeo.

"The Medicine Man" by The Hush Sound (Shot by David Larkins, Directed and Edited by Andrew Bowser)

"Medicine Man" by The Hush Sound from Andrew Bowser on Vimeo.

"The Grey Man" by Copeland (Shot, Directed, and Edited by Andrew Bowser)

"The Grey Man" by Copeland from Andrew Bowser on Vimeo.

"The Mother of Invention" Trailer

2008-10-28T15:53:00.000-07:00

The Mother of Invention Trailer from Lawnmower Sounds on Vimeo.

A Smattering of videos...

2008-10-28T15:51:00.001-07:00

I wanted to post some of my videos here on my blog. Some are older, some newer...all enjoyable?

Brink Wedding from Andrew Bowser on Vimeo.

Thank you famous people from Andrew Bowser on Vimeo.

HSM 3 and other crappy things I love.

2008-10-26T01:06:00.000-07:00

I haven't posted in a while. I watched HSM 3 the other night at a theater in Annapolis Mall and quite enjoyed how cheesy/lovable it was. It's amazing that these films have been so lucrative. I'm a sucker for "guilty pleasure" pop music, and I'm a sucker for what seems to be a new genre (or maybe not new at all) "Teen Fantasy" films. We all know nothing like this exists in real life- but the tweeners see these films as utopia. Maybe in some alternate reality high school will be this way for all of them they think. Maybe we all have a little Troy in all of us.

Maybe, that's not the case. Either way, it's fun to pretend.

OTHER CRAPPY THINGS I LOVE :

1. Demi Lovato's album "Don't Forget"

2. Halloween Donuts

3. Straight to Sci-Fi channel "Pumpkinhead" sequels

4. Gossip Blogs

5. South Park season 12

Sweeney Todd

2007-12-22T01:46:00.000-08:00

The musical of Sweeney Todd has been a favorite of mine since a very young age. I first heard the score when I was going through my "Sondheim phase" at age ten. Now, I wouldn't recommend going through a Sondheim phase unless you LOVE getting made fun of in school- but I went through it and fell in love with Todd, Into the Woods, Gypsy, A Funny Thing..., and more.

Todd was always my favorite, I loved its darkness, it's brooding nature. Singing the score to Todd made me want to be a singer just as Beetle Juice and Batman made me want to be a director. I used to draw the Todd logo on binders, it reminded me of the Joker meets a "Scary Stories to Tell in the Dark" drawing.

To see Todd and Burton come together in many aspects is a dream come true. However over the years I have lost faith in Burton. Not just miss after miss, but utter failure after utter failure. Big Fish, Planet, Charlie, Corpse Bride, Sleepy Hollow. I love Sondheim, I love Tim Burton- the last thing I wanted to see was a failure featuring the two combined.

And fortunately...I didn't see that! What I saw was a commendable, near great- imagining of the musical that's very near and dear to my heart. There were some bad choices made, but some great ones also. I don't know that this film succeeding makes me believe in Burton again- because the source material was so solid. If he had jacked this up- it would've shown him to be completely inept. This film belongs to Sondheim- the score soars and Depp and Carter carry it well. Depp doesn't erase the memory of George Hearn for me, and no one can erase Angela Lansbury as Lovett- BUT I did find that the performances in the film were new and different enough- to distance the Broadway memory I had of the musical.

I love musicals, always have. I got giddy watching this film. I thought the casting was spot on- even down to the character of Anthony Hope who I feel could be easily miscast.

I thought there were some effects unneeded (one superzoom through London) and the Title sequence was worse than Spider-man's. But the speed ramps and jolts in the trailer are fortunately not found in the film.

My BIGGEST complaint- is that the famous song "The Ballad of Sweeney Todd" is nowhere in the film.

It's this that is causing me to hold back my complete enthusiasm for the film- I have heard there was a "reason" for omitting this, but honestly- it's glaringly absent for anyone that knows the score. I can see removing it from the opening of the film- but I was aching for it to be sung at the end- or at least over the credits! The absence of this song really bummed me out. It was like waiting for your red rider BB gun on Christmas day and then not finding it under the tree.

And it's not by the desk- IT'S NOT BY THE DESK!!!

Johnny Depp played the character in a VERY different fashion than done previously...but not in a different fashion than was expected. Again, the real magic was in the music.

They really should've sold this film on the music- just come out with Guns a Blazin'. Be bold about the fact that Sondheim's score is featured so prominently.

Next on the list...P.S. I LOVE YOU!!!

An Essay on Film

2007-12-18T09:09:00.000-08:00

Ah...Movies.

Movies. Movies. Movies.

For most they are entertainment, for most they are something to watch on a Friday night while snuggled up close to a warm date.

And still for some, they are all they have thought about creating since they were eight years old. For some they have dedicated their lives to studying film, spent thousands of dollars on an education in the history of film- they do all this because they are destined to make films.

For these individuals there will always be a tear, a gaping chasm between the "moviegoer" and themselves. Quite simply, it's because they know too much.

How can you know something is cliche if you haven't seen the very films it's ripping off? How can you know something is predictable unless you've seen the numerous films prior that have gone down the same beaten path?

The individuals that will redefine cinema will undoubtably have a vision for cinema that is unforeseen by the masses. Don't feel bad for these individuals, don't feel bad that they can't self-lobotomize before viewing art- but rather rejoice! Because they will be the artists bringing you the films you're snuggling up to in the near future.

If we all enjoyed I am Legend, there will never be anything better. But for those that strive for more, for those that see in their heads where film can go in the future- we will make films that soar beyond the low expectations of the modern moviegoer.

For those that enjoyed I am Legend, they will sit...and they will enjoy the next film made the same way...and 10 years will pass and the bar will not be raised for them, the standards will never heighten.

When a chef sits down to eat a meal, they can tell you all the spices that were a part of it- all the ways the supper was cooked and prepared. For a person who just wants to get a full belly- they will simply say "dems was good eatin'!"

As a studied filmmaker, I know the spices, I know the history. A film isn't just a film, it has a recipe and a pedigree. I can tell you why it was made, where it was made- and how long it was "cooking". A heart surgeon knows the heart, studies the heart, knows the ins and outs the arteries and ventricles. We don't yell at them for "caring too much about the heart!"

We need to respect the artists, the creators, as we respect the Professors and the technicians.

A man destined to create will always want more and see more than is on the screen- if he didn't , his destiny wouldn't be in that art.

A lot is subjective...but a lot simply is not. There is a science to film, a language to cinematography. Fans of painting can tell when certain brushstrokes were introduced by certain artists, they can also explain which artists lifted those brushstrokes for the next 100 years. A lover of music can tell you which Jazz musician pioneered a sound that is still influencing modern radio today. A man whose mind is dedicated to creation in cinema will see cinema like no other, he will understand it so deeply- that cinema's flaws will become glaring. Films that trick most, will be mocked by the passionate filmmaker, films that bring in millions, will mean nothing to the passionate filmmaker. Because the filmmaker will see how to make it better, he will know how to take something to a territory that others haven't even seen maps for yet.

I don't want those who disagree with me to change their opinions on films. I want them to respect the differences between the intentions of those groups viewing the films. Don't expect us to view art the same way you do, don't call us names for having passion for greater things. Don't expect us to see world the way you do.

That's how it goes in history, those who change the arts- are ALWAYS dissatisfied with the current state of the arts. I encourage you to read an Art History book.

Who in this discussion can tell me the name of the man who invented the Steadicam without going to Wikipedia?

There's a reality to film and filmmaking as a profession that those on the outside will never understand. The outsiders see it as entertainment, as an escape. We see it as our life's work. God have mercy on me if my life's work is whittled away to mindless entertainment.

We are dedicated to honing our skills, refining the talents. Making music video after music video, short film after short film, researching and writing feature films since we were children. We have been pitching a feature film in Hollywood for 12 months now. We've learned so much, gained so much insight into this industry that you can only gain by DOING it. I can tell you what color the wallpaper was in Akiva Goldsman's office if you'd like. Before you check Wikipedia, he's the man that wrote and produced I am Legend. Some would say "What does that have to do with anything?" It means everything, knowing this industry means everything. Hearing from a producer from inside Weed Road Pictures paints a picture for every film they will ever make. I've heard first hand their opinions on films and I know just why they produced I am Legend. I sat on a couch in an office at Warner Bros. Studios (again Wikipedia if you don't know what that is) and heard opinions and faux insight from the very studio that backed I am Legend. Things become tangible when you're out there, faces matched with names and it begins to make sense just why this industry has fallen so low.

All of this means something, soaking in film, meeting the people that make the films, it is all building toward something- toward eventually expressing ourselves in this format.

If you side on the argument that if something makes bundles of money - than it has artistic worth to any great extent- than I feel sorry for you- because monetary prowess has never been a sign of spiritual or emotional depth.

A film of great worth can also make a great amount of money, but please know that they don't go always go hand in hand.

Don't feel bad for us, because movies aren't meant to mean the same thing to you as they are meant to mean to us.

They aren't meant to be simply enjoyed or not enjoyed- they are meant to help build and refine me as a filmmaker, or show me what mistakes not to make when I helm a feature of my own. What needs to happen amongst friends of mixed interest is that they need to once and for all recognize and respect the difference between the groups. Now, it's not better or worse, dumber or smarter- it's simply different. You are not a heart surgeon, you'll be happy as long as yours keeps ticking. But you won't ever ache to know how it ticks or dream about performing a transplant that saves an infant's life. You'll simply smile if it's ticking.

The filmmaker will never be satisfied, but that is his place- he will always say it could do more and be more. He will desire to know what light was set up where and why. He will desire to see new paths blazed and new genres defined.

That's how invention occurs- when someone sees something that for years prior simply wasn't there. One day film will be reinvented by those who saw what most thought...was simply never there.

In all my reviews of films and all my criticism of films I NEVER insult the viewer calling them "diseased" or ignorant. I criticize the artists behind the camera and the talent in front- because it is there jobs that I feel I could do better.

Do not try to convince or condemn someone out of a mindset or thought process.- that is presumptuous and unfair.

As far as the "then do it yourself!" directive...I assure you brothers, we're well on our way.

"I am not Legend" review

2007-12-15T17:15:00.000-08:00

Clever title right?

It seems like no filmmaker knows how to finish anymore. They can execute great beginnings, even keep the suspense through the "second act" of a story. But by minute 80 it falls apart. This film is a failure. It's a failure for numerous reasons- one of the greatest reasons is its deviation from guts-having. The bottom line is, why doesn't anyone have the guts to be original? Is it that horrifying a thought to just end a film on a NEW note as opposed to the note that is continually played by films with far less visual appeal and budget?

Also, on the topic of the overuse of CG. Um...I am Legend overuses CG. It's not as simple as "the creatures looked lame" it's more like..."the creatures looked like Casper the friendly ghost quality CG...like the Ricci version of Casper...and his uncles or cousins...or whatever the other three ghosts were...the CG sucked in that movie..."

Hmm...that was a succinct point.

Why did I have faith in F. Lawrence? The "I'm like a bird" video? Who knows. Let me say this...the movie ends with Will Smith finding out that he is not in fact "Legend"- but rather that there are many men still alive in a colony in Vermont.

Okay...so...F you "I am Legend" just call yourself "Will Smith and some other dudes are still alive...THE MOVIE".

It wasn't even a "plot twist" it was a "plot cop-out". This movie was castrated from frame one, with no cojones intact from the book or graphic novel interpretation. This movie was a eunuch. JUST GO in a DIRECTION...hollywood filmmakers and hollywood stars. Take us SOMEWHERE instead of meandering around in mediocreville waiting for the next train to sameplacetown.

There are some well constructed moments in the film, I trusted it through Sam dying, I trusted it through Robert losing it on the edge of the piier however...as SOON as the female character and her son are introduced- I lost interest in this movie like I was watching Miami Ink without Kat Von D. There was no point to the film existing from that point on. No point in the tension that was built- no point in the atmosphere and mood that was built- and no point in Will Smith's teary-eyed action hero performance.

The film was a waste and a disappointment. However, what was not a disappointment was the trailer for this film...

Now, it may not be how I would portray the Joker if I was Nolan. I miss the angular face and sharp chin from the comics. I still want to know what Crispin Glover or Vincent Gallo would have done with the role. But the TRAILER, the edit, the pacing and execution of shots- was breathtaking and suspenseful like no trailer I've seen since...the trailer for Batman Begins.

I watched the 6 min. prologue as well and hmm...perfection.

That's it for now...until P.S. I love you...

Music videos with Commentary

2007-07-30T17:37:00.000-07:00

I have decided to go through every Music Video I've directed and record honest, candid commentaries for each of them- no matter how obscure. I hope you enjoy hearing the stories behind these productions.

MAYLENE AND THE SONS OF DISASTER

AMBER PACIFIC

GYM CLASS HEROES 1

SPEECH

ARMOR FOR SLEEP

FORGIVE DURDEN

Transformers...Lamewads in disguise!

2007-07-03T00:41:00.000-07:00

Transformers…also known as “Everything that is wrong with American cinema today”

It’s ironic, that this film came from the man whose name is synonymous with American cinema – Steven Spielberg. Or is it? Maybe it’s fitting? Maybe this is proof that the dinosaur’s age of ruling this artistic landscape is fast approaching its end.

The film was an insult, it expected us to act like the character’s onscreen- wide-eyed Americans watching in slow motion as big things fly overhead, or big things fight overhead, or big things explode overhead. It doesn’t want us to question; it simply wants us to stare in awe. Well I refuse. These men are ruining modern film with giant 200 million dollar funded blows of immaturity and slanderously mis-directed car commercials.

Grown men made this film, not little kids amused by smashing Tonka trucks into each other on the sidewalk in front of their house- but grown men, aged men, filmmakers who know the craft better than most if not all who pick up a camera. Yet, this is what they give to us. I remember a day when Steven was the man responsible for epic action-adventure films with soul, with heart, with strength and depth of character. Films like Indiana Jones, Jurassic Park, and Close Encounters of the Third Kind. Don’t be tricked into believing that a fun “popcorn” movie also needs to be devoid of anything intellectual or emotionally engaging. Remember that films can be all things, and not just mind-numbing distractions. They can have action and romance, they can have thrills and laughs, and they can have high excitement and deep meaning.

Transformers, unfortunately has none of those things. Well you may laugh, if you think a Transformer saying “My bad” is funny, or a Transformer saying, “This looks like a chill place to kick it!” is funny. I don’t think it’s funny, because I actually liked…the Transformers back when they were robots in disguise, not Finding Forrester in disguise.

This film along with Spiderman 3 is proof that these aging filmmakers need to be ushered off into the retirement ward- and allow new blood to breathe fresh life into stories and visuals that dance across our silver screens.

Or they need to take a drink from whatever magical vitality inducing chalice Martin Scorsese’s been sipping from.

I want a Transformer’s film like the animated film, one that is about…well Transformers. Not “People arguing: The movie…with two transformers fighting at the end.” I want something that blows my mind, not something that looked unfortunately what I would imagine a Michael Bay directed Transformers movie to look like.

When did Jon Voight forget how to act? How can any director have the power to drain Turturro’s talent?

Why didn’t a consultant let Bay know that…high school’s not like Saved by the Bell anymore. The blonde jock that hates Sam for…no apparent reason. But he’s a jerk so the chick will get with the good guy in the end. I think to save money they actually just inserted footage from an already existing episode of Degrassi Junior High.

The film was severely unbalanced, cutting away to a tiny robot fight while Bumblebee slaughters Barricade? Good idea. Cut back to : Barricade down. Hmm, would've been a nice fight to see.

When they give us a fight, it's the messy excuse for a “climax” shot in downtown LA that ended with “Push the box into my chest!!!”

The action was so bottom heavy- it was as if by the time the screenwriter got to the last 30 pages he realized…”Dangit, I don’t really have any Transformer’s in the movie…the movie called Transformers…”

So he shoved all the T’formin action into an overcrowded bloated fallout in the last moments. I’m glad they spent 20 min. paying homage to Harry and the Hendersons by showing how hard it would be for Transformer’s to hide around a suburban home though. I guess that gave the writer time to make his masturbation jokes, also something I desperately wanted from a Transformer’s movie. I also don’t want to see a Transformer’s movie where a tiny pair of glasses matters so much.

Anyway, back to the ending…

Why couldn’t Prime push the box into Mega’s chest? Why didn’t Mega just swipe Sam out of the way and make him a greasy streak on a brick wall?

Well, the same reason Tom Cruise’s son didn’t die in War of the Worlds. These older filmmakers are afraid to infuse their films with the very sense of realism that enlivened their fantasy projects of old.

Just because Michael Bay is the king of cliché’s doesn’t mean we should accept that as “style”. Critics say he’s aware of how formulaic his films are and that’s why he excels and creates movies that relate to us on a base human level.

That’s fancy talk for “Dumb Americans like shiny things and slow-motion explosions and Bay’s been milking that for years now”.

I’m not tricked, I’m dying to see the face of cinema altered, I’m dying to be included in a change within the arts that will spring from artists bored and bitter by the mundane and repetitive. This film is another nail in the coffin of original innovative moviemaking.

Everyone should line up early, get their popcorn, remove brain accordingly if hoping to enjoy.

Sneak peek...

2007-05-09T01:43:00.000-07:00

MAYLENE AND THE SONS OF DISASTER coming soon...

The best music video ever created by anyone...ever...period.

2007-05-07T20:07:00.000-07:00

Say it aint so.

2007-04-20T11:11:00.000-07:00

I was full of such nervouse excitement as I sat in that theater. Waiting anxiously to see my boys! Venom and the web-head together on the silver screen at last.

Then I watched the film and realized...they replaced one of the most menacing villains of all time with...a girl...with a babydoll...a delicate little porcelain baby doll.

That wasn't Venom, that was something I wanted to forget all too quickly. Do over! Please Raimi do over!

The film would ramp up in goodness and the crash down in lameness, over and over again. Franco would bring it, Topher would bring it (as Brock pre-Venom) Dunst would get me teary-eyed- and then they would cut to a DANCE NUMBER.

Oh wait, that was a typo I meant to say DANCE NUMBER. Oh that's what I said? Oh man, I guess it wasn't a typo- I mean it should be a typo, there SHOULDN'T BE a dance number in Spiderman 3. But there is.

There's also no momentum from the Brock storyline, fake depth to Sandman's, and no real movement or emotional shift in the film as a whole.

They try, don't get me wrong- the film wasn't a flagrant disregard to what we know and love about these comics- wait, you know what? No it was. It was totally an F you to anyone that gives a rip about Venom or Petey's origin or Gwen's involvement in his life.

There were some great moments, some truly touching moments, some truly hurtful moments- they had me for a greater part of the film, but when they lost me- they LOST me.

I need to forget I even saw it and just move on...maybe Tim Story will blaze it with FF2...oh wait, it's humanly impossible for him to blaze anything. Dangit.

Well maybe the guy that made Transporter will blaze Hulk...oh wait...Dangit.

Well maybe in ten years they'll re-boot the Spidey franchise and we'll finally see the comics onscreen- instead of whatever it was I saw last night.

I'm sorry...

2007-03-22T12:09:00.000-07:00

...but Lost is going so very strong, so VERY strong. Last night's episode was hard to watch because my face was melting off from the molten blaze sauce being poured out from the shows WHITE HOT perfection.

Every moment, Jack and Kate, John and Daddy, Alex and Sayid, Ben and John...such gooey rich goodness. It was like a delicate (or not so delicate) ballet of doom and destruction, played out against and elegant yet aggressive backdrop of despair and revenge.

The looks, the glances, the pauses, the steps, the explosions- all executed with such a confident sense of storytelling and direction.

Lost, truly you are...like the wind...through my tree...I feel your breathe on my face...your body close to me...I can't look in your eyes...YOU'RE OUT OF MY LEAGUE!!!

Anyone?

Next music video project...

2007-03-20T14:57:00.000-07:00

If you know who this dude is...

...then you know who were making a music video for this month.

The Host

2007-03-19T11:52:00.000-07:00

This movie did so many things right, so many great decisions were made that challenged me during the viewing of this film.

There were also numerous decisions that perplexed me, and even turned me off to certain moments and elements the filmmaker brought into the story.

Some of the elements that I wasn't particularly fond of may have been due to culture differences, I wasn't prepared for moments of comedy that seemed a little innapropriate. Then again, when I pictured the film in english- some of the jokes seemed right out of a Larry the cable guy special.

But apart from the moments of humor that I could've done without- The Host was a really well executed film- with certain flaws that I feel kept it from being perfect.

There were things in this film, certain shots, certain well-paced sequences that I don't think could've come from an American filmmaker. At least, not a mainstream American filmmaker. Over here, genres are so processed, they are so clearly defined that a film that straddles the line between numerous genres is often looked at as confusing, muddy, or unsellable.

I shouldn't say it couldn't have come from an American filmmaker, I suppose I should say it couldn't have come from an American studio.

The film follows a Korean family as they attempt to rescue a young family member from a mutated creature that has been habitating in the local Han River.

The greatest performances come from the little girl who has been kidnapped by the monster, and her somewhat dimwitted father who struggles to be taken seriously by everyone around him- including his own family.

The reveal of the monster is clever and subtle. The score was at some times distracting and fellini-esque. The action was solid and believable. The special effects were at best- passable (never impressive) and at worst- Sci-Fi original quality.

It's a film that's worth seeing. I found myself wishing there were more "Hollywood" moments. I hate to say it, but my American sensibilities weren't served fully- and that may be a credit to the film and it's unwillingness to submit to predictability and cliche.

Demo Reel

2007-03-18T02:16:00.001-07:00

Check it.

From the genius behind Dawn of the Dead...and some car commercials...

2007-03-10T02:55:00.000-08:00

300.

Imax style.

40 feet of suck.

I think I saw a Mariah Carey video that might have had more slow-motion shots than in this film...or maybe it was Enrique Iglesias...meh, either way- their music videos were better than Zack Snyder's newest failed attempt at being something more than a commercial director.

You know, slow-motion doesn't always add tension or emotion (although I'm sure Zack Snyder wishes it does) especially when it's just...people walking in slow-motion, or guy eating sandwich in slow-motion.

Here's the lesson to learn :

You can't hide lack of story depth and directing skills in laborious over-stylization that we've already seen in ads for Xbox games and fifteen Subaru commercials that aired during the superbowl.

There's not even a point in comparing 300 to other films, because this "collection of moving images" doesn't even qualify as a film. It was a slew of fight sequences lazily strewn together to decieve audiences into thinking they were watching little more than an experimental art project gone lame.

If anything, the film exposes Frank Miller's writing to be what it's always been : supremely mediocre. The journey from comic to screen is always an awkward one for Miller's words. Actors never quite know how to deliver his lines (remember Britanny Murphy in Sin City? Or EVERY CHARACTER IN 300?).

Man that speech in the end was comical. In fact I laughed out loud more at this film than Reno 911 and Wild Hogs combined.

"What proffesion are you?"

"I'm sorry? Oh...potter...I make po-

"And what profession are you?"

"Uh, oh, I'm a sandwich artist at Subway I-"

We get the point. Got it. Soldiers. Right on. There should be a drinking game where you have to take a drink every time there's a shot of Gerard Butler turning around in slow-motion and saying something along the lines of-

"Alright...we're gonna have to bring it Sparta! Now think about this day...you're gonna want to remember it..I mean...wooh, big day guys...HUGE day...I mean in the big picture THIS day in particular wi-"

ALRIGHT!

This movie should have been called "Remember the Spartans" and Denzel should've coached Gerard on how to give a proper pep talk.

Oh and...will someone tell the makeup artist who did Freddie Rodriguez' fake muscley arm in Lady in the Water to stay away from hunchback effects in the future? Thanks. Also, the man/woman from The Crying Game did not make a convincing Xerxes, I think he was supposed to be cast as Buffalo Bill in the musical adaptation of Silence of the Lambs.

Am I scottish? Am I english? Am I actually a Spartan? Gerard Butler couldn't decide, I guess it didn't matter at the end of the day. What matters is that Zack Snyder, if left unthwarted- will next ruin The Watchmen for everyone while John August gears up to ruin Shazam...all the while Tim story is feverishly at work ruining Fantastic Four.

Any other comic properties left to ruin? Groo perhaps?

"They're kind of a big deal"

2007-03-07T16:46:00.000-08:00

Could anything happen to make me more sick of the music video business?

Here's how it works- for those wondering. Label, management, someone calls you and tells you to think of an idea for a music video. All the while impressing upon you how important their client is...

"They have an upstream deal with Warner Bros. so..."

or

"They're opening for FOB this summer so..."

So...so...so WHAT? So I should think harder? I should create a concept somehow keeping the fact that their getting big in mind? The reason that is told to me by people, is to automatically put me on a tier lower. It's as if to say : "Andrew, some people are going to be shedding limbs to get this job so..."

So I have to care. What's funny is that- half of them don't go on to get "big" or "blow-up" and the ones that do, are still making sucky music videos today. They happened to be 250k worth of suckiness (which some would see as a victory for the band...I see as a travesty for our American artistic landscape).

So I ask the management, or label "bros" (they're always my best friend at first) if there's a specific direction they want me to go in creatively, they always respond one of two ways :

Either

"No man, just bring it, Bowserize it, we want to see what you got in that noggin of yours!"

or

"We're thinking like a TRL meets MCR meets Boys like Girls meets Summer-time jam with a twist of Ok Go! mixed in and a splash of Nelly (grills not Fertado) to be safe"

WHAT THE CRAP ARE THEY TALKING ABOUT? You know what? They don't even know what they're talking about. Inside every manager or label exec is a quivering naked child who doesn't know the first thing about the creative process to begin with. They don't know where ideas come from, how they form and gestate. They have no clue how to execute any ideas they do have- but they are good at yelling, and making demands that reference artists from 40 different genres.

So I listen to the song, get inspired, write a treatment.

and...they...are...SO NOT INTO IT.

After telling me that I could freakin' Black Stallion it, no fences no boundaries...they bring in the restraints.

"Yeah, Andrew, man not at all what we were thinking."

"Oh you were thinking something? Because you either told me you had no ideas, or your ideas made less sense than Million Dollar Baby winning best picture two years ago"

They spin me something about the lead singer being really into some artistic movement involving sculptures of purple lions dressed like Native American medicine men...and they want me to represent that flow...but without ever showing a lion...because there's no budget for a lion.

My point is I am always led in a direction that I can't go. They say "Do something violent without the violence!" or "Do something yellow without the yellow!"

These people are certifiably and unfortunately insane. Yet they run businesses, successful ones at that. Without ever actually knowing what they want ..."It's just...there's a dog in my head, and that's just not the dog"

Or they send me a link to a video that they want me to "do something like".

WHAT IN THE WORLD DOES THAT MEAN!!??

Never NEVER am I sent a link that is actually attached to a good video mind you, no they send me the latest Boys like Girls video, or the latest Darren Doane video or Shane Drake trainwreck.

You can't be inspired by something that is actually worse than anything you would ever accidentally step in while walking through a dog park.

You can only draw inspiration from things that ELEVATE you, not things that would require a frontal lobotomy to even sit through. The best inspirations don't even come from things you've seen, they come from your IMAGINATION, they are things yet UNSEEN...that's why it will be innovative, that's why there's geniuses in this world- they create things that we have yet to be exposed to 3,000 times in a row.

So we back and forth, they ask me to compromise and make something that doesn't make sense, or make something that caters to the lowest rung on the ladder- or they just say "this isn't gonna work"

You know what people? I knew that before you even called me.

What's the point?

2007-03-07T11:21:00.000-08:00

What's the point of having a blogspot? The answer is simple, I want yet more places to type my unashamed unabashed opinions on art, society, and the world at large. Myspace just isn't enough people!

Also, I am in complete admiration of John Kricfalusi's blog, I visit it all the time and soak in every word and animated frame (even if I don't understand some of the more technical aspects of his opinions!)

This blog will be almost exclusively dedicated to my opinions on film, music, etc. As well as act as a more intimate running update on creative projects I am involved in (or pretend to be involved in). Enjoy! Welcome to my blogdom!