SCREENSHOTS: "FRAME WORK"

As some of you know, I have been in the process of making a movie with my friend Elliott Traeger.

The picture is featuring Tim McCarthy and Cassandra Kramer. Here is a brief synopsis.

"A screenwriter dreams of the first and last day of his relationship with a girl named Anna."

INDULGE ME, WILL YOU?

The more film criticism you read, the more you will find yourself coming across the phrase "self indulgent." The first time I gave any attention to the critique was Tarantino's KILL BILL. I vividly remember reading many reviews claiming the picture was nothing more than a fever dream inside Tarantino's childlike mind. Of course I shrugged off those comments, assuming those who made them were giant wooden sticks in very wet mud. But a few years later I found myself coming across the term once again. This time aimed at a tracking shot in the critically acclaimed film, ATONEMENT (which I have not seen).

The more and more I read, the quicker I came to the realization that I loved self indulgence in the cinema. There is nothing in the world of film that pleases me more than seeing a gifted filmmaker make his or her vision, no matter how esoteric or strange it may be, a reality. Sometimes I grant you, it does not work. Yet, I would rather watch a movie that shoots for the moon over one that plays it safe, even if they over shoot and blow up Mars in the process.

Certain cinematic techniques are frowned upon by a majority of the film-wise public. Tracking shots in particular. I've had arguments over the validity of using the long take, many times ending prematurely with the blanket, "that was just too show off," statement. I ask those people how they feel about guitar solos. Or dishes of food made to look (and taste) like works of art. I think they fail to see the comparison. But is it really that big of a stretch? Sure it'd be great if all camera moves could be as tied to the narrative and as visually stunning as TOUCH OF EVIL's. But that's like asking for all paintings to resemble those of da Vinci.

Film in its simplest form is a manifestation of one or more person's vision. They take what's in their head and use technology to make it physical. In essence, films are thoughts made material. An object for all of us to look at and experience. To break it down into an even more concise statement: Films are dreams made real. When the act of making a motion picture is simply making one's inner thoughts a reality, how could you call it anything but self indulgent?

At one time or another Lynch, Kubrick, Tarantino, Scorsese, Coppola, Bunuel, Gilliam, Godard, Truffaut & Fellini were branded with this label. If I were them, I'd wear it proudly.

...THOUGHTS ON TARANTINO, LIFE AND OUR IDOLS

I'm been thinking a lot lately about what it means to be a filmmaker. How you actually become a filmmaker. I make films. Does that make me a filmmaker? And if so, am I any good?

When I see films by certain directors, I am humbled. Spielberg, Scorsese, the Andersons (P.T. & Wes), the Coen brothers, Coppola and his talented daughter Sofia to name a few.

Most recently I have seen INGLOURIOUS BASTERDS, the new world war two picture by Mr. Quentin Tarantino. For a film that celebrates the joy of cinema so much I came out a bit depressed.

This of course has nothing to do with the caliber of the film. The photography by the great Robert Richardson is stunning. The editing, especially in the perfectly paced underground bar sequence, by Sally Menke ranks among the best in any of Tarantino's earlier films, if not better. And of course, the writing by Tarantino himself is top notch.

The reason I left BASTERDS deflated, even more so the next day when I realized just how great it really was, is because I don't think I have a movie that good in me. To most I may not seem like an over achiever, in fact, to some I may seem like an under achiever, yet, if I ever were to throw my hat in the ring as a filmmaker I would hope to be lumped in with the people like Welles and Kubrick (Why not aim for the heavens?) rather than Ratner and Bay.

This got me thinking about those 4 star filmmakers. About their youth and what they would think when they saw a film they admired. How did Scorsese feel about himself the first time he saw THE RED SHOES for example?

During one of my 10 hour youtube sleuth sessions I came across two videos, both featuring Tarantino, where he talks about seeing films by other directors and feeling that jealously that I feel right now. It's nice to know that no matter how great you are, and Tarantino sure is great, there are always people better... unless you're Kubrick. Then you're pretty much untouchable.....