Film commentary & review
FILMS OF THE 2000′S – Or why I love film !
This the baddest ass montage of film clips I’ve ever seen. Props to Paul Proulx over at Vimeo.
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I haven’t posted in sometime; duty calls. I ran across this older list from 2007 from another site and just loved it. I would have added and/or omitted a few of thse, but who can argue with this one ?
This post is via Altiustutasarim. Here are the first 5 on the list, click the following link for the rest of the artyHERE.
1. Robert Duvall, Apocalypse Now (1979): You smell that? Do you smell that? Napalm, son. Nothing else in the world smells like that. I love the smell of napalm in the morning. You know, one time we had a hill bombed, for twelve hours. When it was all over I walked up. We didn’t find one of ‘em, not one stinkin’ dink body. The smell, you know that gasoline smell, the whole hill. Smelled like… victory. Someday this war’s gonna end…
2. Jack Nicholson, A Few Good Men (1992): You can’t handle the truth! Son, we live in a world that has walls, and those walls have to be guarded by men with guns. Who’s gonna do it? You? You, lieutenant Weinberg? I have a greater responsibility than you can possibly fathom. You weep for Santiago, and you curse the Marines. You have that luxury. You have the luxury of not knowing what I know – that Santiago’s death, while tragic, probably saved lives; and my existence, while grotesque and incomprehensible to you, saves lives.
3. Marlon Brando, On The Waterfront (1954): Remember that night in the Garden? You came down to my dressing room and you said ‘kid, this ain’t your night. We’re going for the price on Wilson’… You was my brother, Charlie. You shoulda looked out for me a little bit so I wouldn’t have to take them dives for the short-end money. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum. Which is what I am. Let’s face it.
4. Samuel L Jackson, Pulp Fiction (1994): The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.
5. Michael Douglas, Wall Street (1987): The point is, ladies and gentleman, is that greed – for lack of a better word – is good. Greed is right. Greed works. Greed clarifies, cuts through and captures the essence of the evolutionary spirit. Greed, in all of its forms – greed for life, for money, for love, knowledge – has marked the upward surge of mankind. And Greed – you mark my words – will not only save Teldar Paper but that other malfunctioning corporation called the USA.
Home is Where the HAUNT Is. Hollywood’s Scare Affair with the Haunted House
Callaghan
Hollywood’s Scare Affair with the Haunted House By Callaghan
Every community has one, or so the rumors say. Surely you’ve heard tell of your own hometown’s version. You know the “condemned convalescent home” or the “slice ‘n dice bed ‘n breakfast”, or even the “vexed axe lady”. Whatever it was.
It didn’t take Hollywood long to realize that the INT. HAUNTED HOUSE – NIGHT was a setting that audiences would keep coming back to. And they would not have to spend the night inside (as their neighborhood chums as doubled-dared them to back home.) No sir, here in the theatre’s dark spooky auditorium, those brave souls would only have to spend an hour and a half, maybe two…
From The Cat and the Canary to What Lies Beneath – from Old Dark House to Session 9…
How do you know which phantasm flat you’ll want to visit? Which spectral suburbs are not to be missed? Welcome to Callaghan Haunted Tours. If you’ll look out the window to your left, you’ll see…
Haunted House Films
The Shining
#1 The Shining (1980)
The Overlook Hotel does act as a temporary residence…Which is good enough for me, but not so much for the Family Torrence.
Haunted By:
-Lloyd the Bartender
-The Grady Family
-Bathtub Broad (shivers)
-Bear Suit Guy (shivers harder)
Poltergeist
#2 Poltergeist (1982)
“They’re here,” said Carol Anne way back in 1982…and “they” subsequently never left our collective consciousness.
Haunted By:
-The “T.V. People”
-Evil Clown Toy
-One Crazy Tree (that used to scare me shitless)
The Haunting
#3 The Haunting (1963)
Director Robert Wise showed the Haunted House fable in all its chilling glory…Quite the departure from his films “The Sound of Music” and “West Side Story”.
Haunted By:
-The Hill House Posse
The Changeling
#4 The Changeling (1980)
One of the scariest films ever, I kid you not…Carried on the acting shoulders of one George C. Scott.
Haunted By:
-Girly girl
Beetlejuice, Beetlejuice, Beetlejuice, !
#5 Beetlejuice (1988)
One of Tim Burton’s most bizarrely bad ass creations, Beetlejuice has the unusual power to scare the laugh out of you.
Haunted By:
-I can’t say (seeing as that would be three times)
-Adam
-Barbara
The Legend of Hell House
#6 The Legend of Hell House (1973)
Considered the “Mount Everest” of haunted houses, Hell House is well worth the climb.
Haunted By:
-My Man Belasco
-A Surprise Guest
The Others
#7 The Others (2001)
Proof positive that lackluster remakes are not the way to go if you want to tell a good Haunted House story today.
Haunted By:
-A Great Big Spoiler Alert
The Innocents
#8 The Innocents (1961)
A How-To for crafting good, rounded gothic ghost tales on-screen is this.
Haunted By:
-Miss Jessel
-Peter Quint
-Eerie Atmospheric Filmmaking
Burnt Offerings
#9 Burnt Offerings (1976)
Who woulda thunk that a Bette Davis, Oliver Reed and Burgess Meredith flick could be so disturbing?
Haunted By:
-One Bitch of a House
House on Haunted Hill
#10 House on Haunted Hill (1959)
With this being a Haunted list, I was enticed…to include the irreplaceable Vincent Price.
Haunted By:
-B Movie Goodness
-Things That Go Awesome in the Night
Happy Halloween From Cineobscure!!
Cheers,
Callaghan
Zack and Miri Make a Porno – REVIEW
Callaghan
Show East is already abuzz this year, before it has even officially begun. Of course, those in the film distribution and exhibition industries are getting ready to be dazzled by the latest and greatest “picture show” technologies, same as every year. Sure, the studios are sending some of their best star power (and above-the-line talent) down to Sunny Florida for a week of hobnobbing with theatre owners. Nuthin’ new there either. What is different this year is the fact that an “NC-17” film is being peddled and promoted…well as close to an NC-17 flick as veteran Show Easters (or is it “Show Easterners”) have ever experienced, anyway. And that is exciting; or more appropriately that is titillating.
Enter “Zack and Miri Make a Porno”. A few days prior to the screening, I was asked by a member of the Weinstein Company team what my favorite Kevin Smith movie was up to that point. Seldom being at a loss for words (as many of you can attest to), I played along.
“Mallrats,” says I, “Mallrats represents what Smith does best. It shows that he knows how to tell a good dirty joke, and I am a man who loves me a dirty joke. I honestly think he may have swayed a bit too far from that ranch with his last couple a’ three films. I, for one, wish he would come full circle and be that Kevin Smith again. ”
Perhaps it was more of an answer than he was expecting. Okay, definitely it was more of an answer than he was expecting. Regardless, he smiled a big company man smile and said simply, “You won’t be disappointed.” What can I say…he wasn’t lyin’.
Yeah baby.
Zack and Miri has put the wind back in its Captain’s sails. I can only hope that Skipper Smith follows this wind to the next creative island or archipelago. But I digress.
Porno is easily one of the funniest comedies to come along in a coon’s age. Keep in mind, I have been something of a Comedy Curmudgeon for the last several years, saying everything short of “the genre is dead” (Okay, maybe I did say that after all). In any case, if this film is any indication, comedy is bouncing back. Set in the ‘Burg, the story follows platonic flatmates Zack and Miriam (Miri) who just can’t get seem to break free of the funk that they’re in. This all changes when they attend their 10 year high school reunion, which acts as the inspirational catalyst they need to end their woes by making a, you guessed it…porno.
Seth Rogen, with all do respect, has been party to some of those very comedies whose overall punch-line I just did not get (The 40 Year Old Virgin, Knocked Up, etc.) But after seeing him shine as title character Zack, I gotta say I’m now a big fan. I see him being a comedic force to be reckoned with for some time. His no-bullshit delivery as Zack was a bull’s eye for me. He was able to keep the character in check, never letting it get too over-blown (which would have been so easy to do.) Rogen proves that he has real comedic chops and tip-top timing.
Zack and Miri.
Elizabeth Banks (as the adorably desperate Miri) also won my heart faster than you can say “Iron City Beer”. Her performance is well-crafted yet subtle. In a funny way, Rogen and Banks together reminded my of a vintage screen comedy duo (think Burns and Allen) with their set-up/pay-off banter. Nice chemistry all around. Don’t be surprised if this is the beginning of more co-starring gigs for them. Not to mention Miri’s moment of bliss…wow, what acting! I know what you’re thinking…what woman doesn’t know that little bit of theatrics. But I shit you not, I don’t think Stella Adler herself could have taught that any better.
The cast is rounded out by Craig Robinson (the heir apparent to Bernie Mac); View Askew regulars Jason Mewes and Jeff Anderson; and Traci Lords (yes that Traci Lords). Justin Long and Brandon Routh also are along for surprisingly successful turns at comedy. I couldn’t help but think that Routh sounded more like Clark Kent here (as gay former-classmate Bobby Long) than he did in Superman Returns. Weird. Anyway, the entire cast pulls together very well as an intracule ensemble. Oh, and you’ll never think about Glengarry Glen Ross the same way again.
So, go see this flick. It is a fun and exciting communal experience. Like I said, I like a good dirty joke as much as the next guy…and “the next guy” to me was choking on the free Snowcaps that the Show East cats were handing out for the screening. That’s just how funny Zack and Miri Make a Porno really is. So here’s to you, Kevin Smith, for going back to that voodoo that you do so well..now, let’s go ahead and 86 that Jersey Girl Part II idea that’s rolling around in your head. Now Mallrats 2 on the other hand, hmmmm….
Cheers,
Callaghan
Cine Rating: 
“Blue” Language on the Silver Screen – !@%$#%@
Callaghan
Colorful language has long been an important tool for movie makers. Sure, it has been used as a gratuitous placeholder or as a shocking spacefiller from time to time. (Bad Santa’s bottomless bag of F-Bombs comes to mind.) On the other hand, the use of swearing has lent itself to an authentic sense of realism for many a genre (think any crime or police drama since the late-sixties). Sometimes, just sometimes, profanity can be a beautiful weapon…a weapon crafted by the blacksmith artisans (aka the writers), and wielded by the (not always so) heroic Sir Actalot on screen. In the rarest of occasions, the perfectly written explicative perfectly delivered can go well beyond the purpose of merely driving the character’s point home. It is in these instances that, instead of the dialogue reflecting how “real people” talk, we the audience are schooled in the proper use of the profane.
During the silent era, Douglas Fairbanks would hurl a “cocksucker” or a “son of a whore” (or worse) at his on-screen adversary, knowing full well that the final print would instead include a title card that read “You Scoundrel”. He and other leading men of the day were forced to curb the obscenities, however, when some deaf lip-reading audience members became flabbergasted by what they “heard”. The infamously feared Hayes Office was officially born in the year 1922. As all content censorship was largely voluntary for the next eight years, however, the occasional colorful adjective would still rear its dirty head. Then came the early 1930’s, and with them the Production Code was rolled out. Starting in ‘34, all films had to adhere to said code in order to get the all-important Seal of Approval. Make no mistake about it, some of our greatest films were produced over the next thirty years. All the same though, movie swearing went largely into the dark ages…or into the fucking dark ages, as the case may be.
Join me now, fellow filmphiles, as we take a look at the decades that followed. Along the way, let us examine the unforgettable moments in colorful language that exploded right off the screen and into the pop culture itself.
The Essential Ten
Great Moments In Cinematic Cursing History
#1 Gone With the Wind (1939)
“Frankly my dear, I don’t give a damn.”
It may seem tame by today’s standards, but David O Selznick had to fight a long drawn-out battle with the Hayes Office just to insure this now-classic “damn” was left in. Keep in mind, this is the same period in which Sir Laurence Olivier (for his title role in Shakespeare’s Henry V) was forced to change the line “Norman bastards” to “Norman dastards”. True story.
#2 Who’s Afraid of Virginia Woolf (1966)
“Look, sweetheart, I can drink you under any goddamn table you want, so don’t worry about me.”
This Elizabeth Taylor/Richard Burton tour de force caused the language restrictions long imposed on Hollywood to come crashing down. The Production Code Administration reluctantly granted the film a Seal. The reason? Virginia Woolf was acknowledged as “reflecting the tragic realism of life”. This also laid the groundwork for films to be separated into either “general audience” or “mature audience” categories.
#3 The Last Detail (1973)
“Welcome to the wonderful world of pussy, kid.”
Jack Nicholson is a presence, plain and simple. As Navy lifer Billy “Bad Ass” Buddusky, he delivers Robert Towne’s colorful dialogue with unabashed frankness. This comedy showed moviegoers everywhere what “swearing like a sailor” was all about.
#4 Serpico (1973)
“You stupid fuck! You didn’t know me? You fired without a warning, without a fucking brain in your head? Oh, shit. I buy one, motherfucker, I ain’t buying it from you.”
I’m sure many of you will be surprised that Scarface wasn’t included on a list involving profanity. Sure Tony Montana rendered nearly 200 versions of “fuck, but I have come to see Scarface’s potty mouth as somewhat cartoonish. On the other hand, Pacino’s earlier portrayal of real life NY policeman Frank Serpico was a game changer in poignant realistic grittiness of the tongue.
#5 One Flew Over the Cuckoo’s Nest (1975)
“Well, I don’t want to break up the meeting or nothin’, but she’s something of a cunt, ain’t she Doc?”
Jack strikes again. One of the most memorable characters of the 1970’s, Nicholson’s McMurphy is anything but looney. Talking about being ahead of its time…the word “cunt” is still considered by many the last real taboo left in our lexicon. Now imagine uttering it on a major film nearly thirty-five years ago, and winning the Oscar in doing so. That’s crazy…ah, no offense, Chief.
#6 Arthur (1981)
“Perhaps you would like me to wash your dick for you…you little shit.”
Okay, basically at this point along our trek, anything goes. It was the 80’s after all, and colorful language was becoming more and more mainstream. Nearly all foul language was becoming fair game. That is, of course, until it is spoken with dirty eloquence by legendary Shakespearian thespians like Sir John Gielgud. Playing butler Hobson to Dudley Moore’s drunken millionaire title character, Gielgud takes no guff whatsoever.
#7 Full Metal Jacket (1987)
“I’ll bet you’re the kind of guy that would fuck a person in the ass and not even have the goddamn common courtesy to give him a reach-around. I’ll be watching you.”
Okay, there’s real…and then there’s REAL. I don’t care how many method acting classes you have taken, or how long you’ve been at the Actor’s Studio honing your craft; nobody but nobody could have breathed life into the role of Gny. Sgt. Hartman the way R. Lee Ermey did. Quite simply, you can’t teach that stuff. Ermey steals the show so completely, that the second half of the film is fairly forgettable without him (except of course for the Vietnamese hooker’s immortal utterance of “me so horny” and “me love you long time”).
#8 Die Hard (1988)
“Yippee ki-yay, motherfucker”
Who could have predicted it? Who woulda thunk that a cop thriller starring a fairly popular television actor would go on to create a brand new subgenre? Furthermore, who would have believed that word “motherfucker” could sound so unimaginably cool coming from the lips of a white guy? Did Bruce Willis’ smartass remark to supervillain Alan Rickman become a national catchphrase years before “show me the money” and long after “go ahead, make my day”? Fucking-A right it did.
#9 Goodfellas (1990)
“No. No, I don’t know. You said it. How do I know? You said I’m funny. How the fuck am I funny? What the fuck is so funny about me? Tell me, tell me what’s funny!”
Certainly, if you look at the numbers, Casino outswears Goodfellas by nearly 25%. That’s all fine and dandy, but the dialogue in this Scorsese offering in infinitely more dynamic for the collective consciousness. Joe Pesci’s barraging of Ray Liotta is the stuff of legend. It will be remembered long after Pesci is as dead as Tommy DeVito.
#10 Pulp Fiction (1994)
“Say what again. Say what again! I dare you, I double dare you, motherfucker. Say what one more goddamn time.”
Samuel L. Jackson is the profanity poet laureate; the vulgarity Da Vinci; the motherfucker maestro. His true artistry is in the fact that even his most colorful lines are delivered seamlessly and are anything but contrived. It doesn’t hurt matters that Tarantino also happens to be one of the finest dialogue writers of the last quarter century. The two together? A match made in Heaven…or, if you will, a match made along “the path of the righteous man”.
Cheers,
Callaghan
AFI’s DISRESPECT AND SHUNNING OF THE HORROR FILM.
AFI. The American Film Institute. Recently gave us yet another list, the 10 Top 10. Covering categories from Comedy to Drama to Animation and Western, Sports and Mystery. Noticeably off the list ? The category of Horror.
Horror and the art of scaring audiences has been around for a hundred years, not too mention old legends of folklore and Fairy Tales for children. The genre is a staple of Cinema and storytelling as a whole. Why the omission ?
Nate Yapp put it nicely over at Classic Horror with the following word bite on AFI’s Top 100 (100 Years, 100 Movies)
A scant four horror films were worthy of the AFI’s mention: Psycho (#14), King Kong (#41), Jaws (#56), and The Sixth Sense (#89). Significant amongst the omitted is Frankenstein, which held the 87th slot on the same list ten years ago.
I’m not sure which I’m more annoyed with — the poor representation of the genre in general, or the dropping of what I consider to be the cultural milestone in Hollywood Horror. I’m not going to dig into their other selections; each film on the list has its champions and they have spoken. It’s just a bummer that the AFI’s creative think tank is treating horror like the poor cousin. Given the glitzy Hollywood focus of the list, I’m not expecting Night of the Living Dead to make the cut, but why not Rosemary’s Baby? If not The Texas Chain Saw Massacre, what about The Exorcist (which is not a film I enjoy, but it made #3 on the AFI’s own 100 Years… 100 Thrills list)?
1922’s Nosferatu
Makes no sense to me and is a virtual slap in the face to all moviegoers. We’re not talking about harcore horror or cultish fanboy stuff, I’m talking about omitting some of the greatest films in history, films that scare people and leave legitimate impact on them.
Whether outright horror (looks like, tastes like, feels like; it must be …) or horror sub-genres, Great, great films have been made that are screaming for attention
Four films listed on this one, and not a single category of respect in their latest 10 Top 10. I personally don’t even consider Animated Films to be real films (it’s my own spin) and am wondering how they could not come up with the Top 10 Best ever horror films for the respect of the genre.
Many a director has gotten their start in horror while others, even great ones have built entire bodies of work in the subject matter.
The Masta
Masters of the genre:
John Carpenter (The Thing, Escape from New York, The Fog, Halloween), Alfred Hitchcock, forever known as the Master of Suspense (The Birds, Psycho) , Brian De Palma (Carrie, Dressed To Kill, Sisters), Cronenberg (Rabid, The Brood, Scanners, Videodrome, The Dead Zone, The Fly), George Romero (The Dead Trilogy), Sam Raimi (The Evil Dead Series), Dario Argento (Suspiria), Lucio Fulci, Wes Craven (The Last House on the Left, The Hills Have Eyes, A Nightmare on Elm Street), Rob Zombie (House of 1000 Corpses, The Devil’s Rejects) and Richard Donner (The Omen)
Not too mention, notable Directors who got their start in Horror
Peter Jackson (Bad Taste, Heavenly Creatures, The Frighteners) and Steven Spielberg (Jaws) come to mind. I would love to see Steven tackle a legitimate horror film.
Which brings me to my (and it seems many) all time favorite horror films. It takes a lot to scare m in a movie, to really have any kind of serious affect. I’m making this list an unofficial AFI list, it is authoritative.
10. Salem’s Lot
‘Salem’s Lot is a 1975 horror novel written by Stephen King, and was the author’s second published novel. The title King originally chose for his book was Second Coming, but he later decided on Jerusalem’s Lot. The publishers, Doubleday, shortened it to the current title, thinking the author’s choice sounded too religious.
I don’t think there’s ever been a film that scared me more that was a Made For TV movie. Directed by Tobe Hooper, this film left scars on my child hood ass.
9. The Texas Chainsaw Massacre
The Texas Chain Saw Massacre is a 1974 American independent horror film written, directed, and produced by Tobe Hooper and Kim Henkel. So bizarre it could happen. Which is exactly what makes a horror film scary. Realizing that it could be you.
8. Carrie
Carrie is a 1976 American horror film directed by Brian De Palma and written by Lawrence D. Cohen, based on the novel by Stephen King. The film and the novel deal with a socially outcast teenage girl, Carrie White, who discovers she possesses telekinetic powers after being subjected to both physical and mental harassment by her peers, teachers, and her mother. The film stars Sissy Spacek, Piper Laurie, Betty Buckley, Amy Irving, Nancy Allen, William Katt and John Travolta.
Regarded as a watershed in the horror genre and is arguably one of best feature film adaptations of a Stephen King work.
7. Rosemary’s Baby
Rosemary and Guy Woodhouse move into an apartment in a building with a bad reputation. They discover that their neighbours are a very friendly elderly couple named Roman and Minnie Castevet, and Guy begins to spend a lot of time with them. Strange things start to happen: a woman Rosemary meets in the washroom dies a mysterious death, Rosemary has strange dreams and hears strange noises and Guy becomes remote and distant. Then Rosemary falls pregnant and begins to suspect that her neighbours have special plans for her child.
6. Jaws
Favorite film of all time, first film I remember seeing. My brother asked me “Jaws ? A horror film?” I said “Can you go in the ocean and not think for just one moment that Bruce is coming?”
5. Night of the Living Dead
Played to death in the public domain, I remember seeing this growing up and being mesmerized by how freaked out I was.
Here, watch the entire film for free
4. The Exorcist
Ain’t no intro needed
3. Psycho
2. The Shining
1. Halloween
Senses of Cinema adds Peter Jackson.
Quick update, I’m working on my screenplay this evening.
Check it out, I absolutely love Senses of Cinema, an online zine journal devoted to serious and eclectic discussion of cinema. The reviews, Daily Reports from the festival circuit, Feature Articles and Cinémathèque Annotations on Film, awesome. But best of all, is their ever growing database of Great Directors.
On the set of The Lovely Bones.
Never mind they have yet to include my man Quentin Tarantino on the list (maybe their waiting for me to make the case?), but they just added Peter Jackson to their latest issue. I have been a fan of Jackson for what seems like ever, from the early witness of Bad Taste, the zombie blood bath schlock of Braindead (Dead Alive), the masterpiece Heavenly Creatures, the definite inspiration of The Frighteners or the complete genius epic of the Lord of the Rings Trilogy.
Senses of Cinema contributor Matthew Stephenson, gives a short, but exhaustive dossier on Jackson (I too used to make World War II films in my, damn it.)
I have watched Jackson grow, taking quantum leaps from Braindead to The Frighteners with Heavenly Creatures being the bridge. The guy is pure Auteur and a gifted storyteller. Hailing from New Zealand, and at one point rejecting the call from Hollywood to stay put, he has become a directing legend, winning the Oscar 3 times for Directing, Best picture and Screenwriter (2003’s The Lord of the Rings: The Return of the King).
I felt Jackson fell flat on his face with his King Kong remake. He took out the sense of adventure and inserted over the top sequences that shattered the realm of plausibility. This may be a good thing, a reality check with a man fresh off of the Oscar’s. Maybe this is why James Cameron hasn’t helmed a project since winning Titanic gold ? Don;t get me wrong, I dig the film, but it isn’t making the list on any point.
Next up for Jackson ? The Lovely Bones, a story of a young girl, after being brutally raped and murdered, watches the effects of her death on her family from Heaven. Based on the best selling book by Alice Sebold, I’m hoping for an R Rating on this one.
Anyways, here’s that Senses of Cinema page on the man. Now, how can I get my man Tarantino in there ?
INDEPENDENT SPOTLIGHT – BERLIN
The set design on Berlin is simply wonderful.
In the independent spotlight series, I want to showcase films with a true indie spirit. A film, made by ‘no one’, on a limited shoestring budget, the guerrilla filmmaker. Films that come to mind that fit this mold include ONCE, a small Irish Film that won this years Best Song Oscar, PRIMER, a 2004 science fiction film about the invention of time travel. Written, directed and produced by Shane Carruth, and completed with a budget of just $7000 and the last DVXFEST winner O2 (Shameless plug for Fat Monster).
BERLIN is a short film with large ambition written and directed by Norm Sanders. Norm is a sort of peer / virtual friend that I have known for years via DVXUSER. I have watched him grow as a filmmaker and have followed closely this new film from him and it is the most mature and polished film yet.
Shot on a microbudget of $4,500, with the largest expenditures being (taking over half) food & insurance (The rest went towards MUA/Hair Stylist kits, MINOR rentals, art direction costs and wardrobe) Sanders added “We got so much free, it should have been illegal!”
“You want me to what ?!”
The film tells a story, set in Nazi Germany circa WW2, of love and betrayal and features Rebecca L. Dunn, Shan Applegate and Sanders. Our story starts off with the introduction of Katherine and Edwin, a young couple who met while Katherine was touring Europe as a singer. Hitler has made the world a difficult place and Edwin, unable to wait for America’s commitment has decided to fly planes in Europe, much to the dismay of his young wife.
As which happens in war, Edwin’s plane is shot down over Nazi Germany and Katherine, hearing that there were survivors, does the only thing she knows. 10 months later, we find ourselves smack dab in the middle of the Third Reich, Berlin. Katherine is working as a singer in The Double Eagle Club as Miss Kate and Her Orchestra.
“Die Nazi, Die!”
Here is where she meets Robert (Shan Applegate) and asks him to do the unthinkable, sneak into the POW camp that holds Edwin and rescue him. As Robert reluctantly agrees, what a man will do for a woman, right ? It turns out, Katherine and Robert have a past and shared some time together. But this relationship went south long ago, still, she has no where else to turn, nor anyone to trust.
Personally, I find this to have feature potential. Although the story is simple enough, and sort of a throwback to a bygone era, I see this as a classic love story with all of the ingredients that make it so mad. Lost love, faith and hope, betrayal and lies. Our characters are interwoven by fate and the choices each makes that lead to a final resolve.
This award winning short film is loaded with Extras, Behind the Scenes, Set Design, Bloopers and trailers and has a wonderful Score by Herman Witkam. The set design, wardrobe and cinematography (beautifully shot by Steadicam Masta Flyer Dan Ayers; Righteous Kill, Bordertown, Nip/Tuck) all lend to the nice feel of this small film. It feels like Berlin, it feels like we’re there all along.
I miss some elements I was hoping to see, Edwin flying or being shot down and especially more of a sense of the Nazi presence. Easier to ask for than pull off, I would love to have seen this film stretched out a bit, giving us a bit more character, especially for Edwin. But nevertheless, I found it a moving story with a payoff I did not see coming, if even it felt as if it was missing that certain motivated ingredient. Although I get the motivation of Robert, I’m afraid that isn’t enough.
I can’t spoil it for you, because the film is worth your time, whether a film buff, an independent supporter or struggling filmmaker, I think you’ll find your time invested worth it.
Cine Rating: 
So go ahead, help a filmmaker out, you can have the DVD at the films official site for a mere $14.95.
Before and After in the selling of Berlin.
The DVD value is awesome. Slickly polished and professionally produced, it puts many mainstream Hollywood releases to shame. I had a chance to sit down with Norm Sanders and grill him on some information on the film, all for you, the struggling filmmaker.
=
1. How did you get the idea for Berlin ?
BERLIN was inspired by the DVXuser SpyFest. When researching “Spies” in Wikipedia, it talked about the history of them used in wars, etc. I then started to think of WWII, and the romantic era that embodies the 1930’s – 1940’s, and wanted to have a film that would stand apart from what I felt would be many James Bond style films. As the script developed, it quickly outgrew the 6 minute festival time limit, so I withdrew it from the fest & ultimately suspended production for 6 months until the time was right to make it, which even included the beautiful fall colors for the exterior shots.
2. What was the budget ?
Roughly $4,500 for production (largest single expenditures being Catering & Craft Services – got an incredible deal/favor by “Catering By Caprice” in Portland – to feed everyone exceptionally well, and Insurance for liability and rentals. Everyone (cast & crew of 70+) made this a labor of love, and donated their time). Total budget was set for $6K, including all post production, DVD replication, posters, etc. Our Exec Producer funded the initial budget, which I’ve since supplemented with my own funds, as I wanted the final product to surpass anyone’s hopes or expectations with regards to final DVD, Posters, number of festivals to submit to (submitted to 13 so far, and doing well), etc.
3. What was the most difficult aspect of production ?
This is tough to answer, as production itself went surprisingly smooth. The stress & planning that went with pre-production, was another story, as well as post production. I did much of the casting & location scouting/negotiating, so there was more than once where we were still missing a CRITICAL location, or cast, right up until 2 days prior to shooting! This, of course, is all covered in the special features in the DVD.
Post production took longer than expected as well, especially as the person that was supposed to handle all the special features ended up not doing any of the post work on the BTS video they acquired. So I had to scramble & set up key interviews, and then add a truck load of additional work to my plate for the final DVD, with regards to editing, etc.
4. The production design of the Hall is amazing, how did you go about creating this ?
I believe you’re speaking of the Cabaret setting. Much of this was stock, as the restaurant, Hubers (Portland’s oldest establishment since about 1887), is all original or refurbished 1910 decor. From there, our Art Department simply had to redress some of it by taking away or hiding anything modern, replacing a picture of the original chef/owner with a picture of Hitler, adding Nazi flag/banners, and creating the old sign showcasing the singer & band.
The wardrobe, designed & provided by Jay Lance, also helped to further sell the entire production, especially in that room, with it all being authentic period outfits, right down to the real Nazi/SS uniforms, etc.
Finally, the stage was set up with two small risers, and some instruments & old microphone donated by a couple of local schools.
5. Would you do anything different if shooting this one again ?
Absolutely. I can’t imagine a single filmmaker that wouldn’t want do do something differently, after learning in such an experience of what could have been done better, etc.
For me, the biggest thing would come down to allowing more time for shooting, and doing more pre-production/shot planning with the DP. During the entire phase of pre-production, our DP was actively working in LA on the 2nd season of THE RICHES for FX. He flew back both weekends to shoot this on his own dime. Seriously! But since he wasn’t around prior to production, there were some growing pains here or there, or shots we’d have to combine or sacrifice, once we were both able to be on set at the same time & actually see what I wanted vs. what was possible, both in setting as well as time allowed.
6. Is there anything you were unhappy about in the final result ?
Since I was personally in the film, and I’m always my own worst critique, I could point to my own performance … but I think that’s common for most everyone.
But the ONE thing that bugs me most in the film is this ONE slow motion shot, where the character Robert looks at this German Police Officer, and a Gestapo, that eye ball him in the club. I hang on that shot for FAR too long, and it just nags the heck out of me every time I see it. I thought it was a cool shot, so that’s why I initially held it for as long as I do, but should have cut it in half of what it is, as it makes the moment bigger or more crucial than it should be. In other words, that shot/edit takes itself too seriously, and should have been off the screen much sooner.
Again, learning from the entire experience, there are all kinds of things I could nit pick at, but thankfully I can still say that even after seeing the film so many times now, it’s still a project I’m proud of, and enjoy having people watch & experience.
7. What’s next on the pipeline ?
As BERLIN makes the festival circuit and continues to pick up “Official Screenings”, and awards and/or “Official Nominations”, I have two features of VERY different story lines/genres that I’d like to see made, both of which can very easily be done for $500K or less, with exceptional production value. So it’ll be a matter of finding the backing for those to be able to move forward …. hopefully the success of BERLIN will have a hand in that.
In the meantime, to stay active, I’ve got a short (or two) that I’m working on for the current DVXuser TwilightFest, due at the end of October.
8. What advice would you give to aspiring filmmakers ?
If you’re like me, and you’re going to produce your own work as well (the only way to guarantee that what you direct will ever be finished), then I would give the following tips, which is also in a way Sales 101 (being good at sales, I believe, is CRUCIAL to being an effective Producer):
If you don’t ask, the answer is already “No”. (NEVER assume someone wouldn’t be interested in your project, but when you DO approach them, be confident & articulate of what you’re trying to accomplish).
Leave no stone unturned. (Sometimes the coolest opportunities come out of the most unexpected avenues, so network, network, network).
Stick with it, and never give up. (It’s hard enough to START a project, but then to actually see it through – many drop out … don’t be one of them).
If you think you can’t, you’re right (a quote from the guy who started Ford Motor Company, and it’s true), so believe you CAN, and don’t let anyone tell you differently.
Mistakes are good, IF YOU LEARN FROM THEM! Make each project better than the last, or in my opinion, you’re wasting yours & everyone else’s time.
And be sure to check out the productoin journal here !
CAST
KATHERINE – Rebecca L. Dunn
ROBERT – Shan Applegate
EDWIN – Norm Sanders
GERMAN SS OFFICER – Joe Rosanek
GERMAN SOLDIER #1 – Reid Phillips
GERMAN SOLDIER #2 – Aaron Truman
GERMAN WAITRESS – Teresa Decher
CABARET PROPRIETOR – Paul Kisser
ANGRY WIFE – Megan Powers
CABARET PATRON – Joe Grigsby
OLDER KATHERINE – TBD
OLDER ROBERT – TBD
EXTRAS
Orchestra Member – James Donaldson
Orchestra Member – Tim Oakley
Orchestra Member – Alex ____
Orchestra Member – David ______
Orchestra Member – Brady Patterson
Orchestra Member – Clayton Peirce
Cabaret Bartender – Keith Korter
German Civilian – Andrea Krecklow
German Civilian – Garrett ______
German Civilian – Flossy McShane
German Civilian – Lauren Green
German Civilian – Karen Grosskreutz
German Civilian – Donna Rapp
German Civilian- Desiree Mariscal
German Civilian – Ted Grigsby
German Civilian- Tiffany Cook
German Civilian – Sam Kimpton
German Guard – Mack _____
German Gastapo – Matt Dotson
German Police Officer – David Smith
CREW
Norm Sanders ……………… Writer / Editor / Producer / Director
Rebecca L. Dunn ………….. Writer / Co-Producer
Dan Ayers ………………….. Director of Photography
Herman Witkam ………….. Composer, Sound Editing & Mix, German Translator
Bree Dennis ……………….. 1st Assistant Director
Susan Funk ……………….. Production Supervisor
Amanda Russell ………….. Script Supervisor
Ryan E. Walters ………….. 1st Assistant Camera – A Cam
Isaak Lane Koval ………… B Camera Operator
Brad Reeb ………………… 1st Assistant Camera – B Cam
Adam Resare …………….. 2nd Assistant Camera (A/B Cams)
Jerry Turner ………………. Digital Input Technician
Matt Semchee ……………. Key Gaffer
Fro Waters ………………… Key Grip
Peter Hermes …………….. Swing Gaffer/Grip
James Eubank ……………. Art Director, Graphic Artist, Carpenter
Oakley Design Studios ….. Prop Fabricator
Tim Oakley ………………… Prop Master, Graphic Artist, Carpenter
John Kirkley ……………….. Set Dresser, Carpenter
Valerie Powers …………….. Prop Fabricator
Tavia Onstad ……………… Art Department Assistant/Runner
Ken Kupelian ………………. Sound Mixer
A.J. Brooks …………………. Boom Operator
Erik Griekspoor ……………. Sound Designer, Foley Artist, Sound Editing & Mix
Jay Lance ………………….. Historical Consultant, Wardrobe, Props
Paul Sutfin ………………… Wardrobe Assistant
Rose Barclay ……………… Key Hair Stylist & FX Artist
Miranda Sutton …………… Hair Stylist
Stephanie June Johnson .. Key Makeup Artist
Tarah Shuler ……………… Makeup Artist
Kristina Quevedo ………… Production Assistant
Tyler _________ …………… Production Assistant
Denise Gibbs ……………… Extras Coordinator
Steve Armenakis …………. VFX Artist
Jeremy Tuttle …………….. Graphic Design Artist (Poster, Promotional)
Hans de Koomen ………… German Translator
Amy Asivido ………………. Lyrics/Song Writer
Juliana Tobon ……………. Onset Still Photographer
Kevin Hayes ……………… Behind The Scenes Videographer
Krysta Kelley ……………… Catering
Darcy Robertson …………. Craft Services
SPECIAL THANKS/VENDORS
Huber’s (Cabaret Set/Location)
City of Vancouver, WA (Officer’s Row Set/Location)
Vancouver National Historic Reserve Trust (Officer’s Row Set/Location)
Charlotte Swartwood (Officer’s Row Set/Location)
Monte’s Pump (Old German Barn Set/Location)
Gear Head Grip (Electrical/lighting & Grip)
235 Studios / Ryan E. Walters (Camera Package)
Koval Productions (Camera Packag)
Bryan Edwards / 7th Trumpet Productions (Camera Equipment/Monitors)
Nelson Entertainment (Sound Equipment)
Roosevelt High School (Orchestra Instruments/Props)
Wally’s Music (Orchestra Instruments/Props)
Cromwell’s (Tuxedos for Orchestra Members)
Portland Roasting Coffee (Craft Services)
Peter Corvallis Productions (Stage Risers/Park Bench)
REVIEW – The X-Files: I Want To Believe
The X-Files: I Want To Believe is the newest installment of the highly popular franchise. Six years after the show ended, and eight years after the last film, Mulder and Scully return to the big screen.
The film takes place six years after the series ended. Mulder is still in hiding from the FBI. Scully is now a doctor at a Catholic Hospital. When an FBI Agent disappears, a former priest Father Joe (played by the always great Billy Connolly) leads the agents on the case, Dakota Whitney, and Mosley Drummy (Amanda Peet, and the horribly miscast Xzibit, respectively) to a torn limb. Whitney, desperate to find the agent calls in Mulder and Scully due to the strange circumstances surrounding Father Joe’s claims.
The film was a “B” episode of the series at best. I’m a huge X-Files fan. Recently, Wal-Mart has been having a sale on the DVD’s. $20 a piece! I’ve been scooping them up when I have the scratch to do so. I grew up on the series. It helped influence me as a storyteller. The storylines of the show (the first five or so seasons) were great. From the government conspiracies, to Deep Throat, and the search for extraterrestrial life. Being such a big fan, I was even more disappointed with the film.
***SLIGHT SPOILER***
When Mulder and Scully first enter the FBI headquarters, the camera shows a picture of our current Commander in Chief, and the X-Files theme immediately kicks in. What the hell? Seriously? Come on Chris Carter, was that really necessary? Fine, you don’t agree with the man, but save the bull for someplace else.
***END SLIGHT SPOILER***
Outside the storyline, the film was really well put together technically. Great cinematography. The lighting was great, and helped keep the mood of the film throughout. The audio was a bit off at times. The levels were off in a few scenes, but not enough to where you couldn’t make out what was being said. You just had to listen more intently.
Overall, in my opinion, if you’re a fan of the show, I suggest checking it out, just because it’s The X-Files.
Rating:
