by Sandy | May 26, 2014 | Arts, Entertainment and Music, Blogroll, Directors, dvd, Film, Movies
2014 is the 25th year anniversary of Spike Lee’s terrific film, “Do The Right Thing”, 1989. The Academy of Motion Picture Arts and Sciences will celebrate the event with the writer-director and members of the cast at two special screenings in LA on June 27, at the Bing Theater, and in Brooklyn on June 29 at BAM.
Director Lee has made so many films since 1989, but, “Do” is his most celebrated film so far – it’s included on the American Film Institute list of the 100 best movies of all time. Shot in Brooklyn, NY in 9 weeks, the movie tells the story of a hot day in Bed’Stuy, when pent up anger and over boiling resentment combusts into violence in a matter of minutes.
The stellar cast includes Spike Lee, Danny Aiello, Ossie Davis, Ruby Dee, Giancarlo Esposito, Bill Nunn, John Turturro, Rosie Perez, Martin Lawrence (film debuts for both Rosie and Martin).
“Do the Right Thing” – 25 years (amazing how time flies )
by Bob Martin | Apr 4, 2014 | Art, Directors, Movies
Gillian Anderson “The Fall”
Women criminal investigators have become a staple for television series. In most cases, they are seen as having some unusual or rare ability, like Poppy Montgomery in Unforgettable or Emily Proctor in CSI: Miami. Gillian Anderson as Detective Superintendent Stella Gibson might be a bit upsetting for viewers in the US. She has no special talents other then her ability to think and being unapologetic about being a woman. Bravo.
“We don’t Judge”
People who do dreadful things are more complex then we could ever imagine and The Fall, a British Crime Drama about a serial killer is full of complexities. He is the kind that person, when found out, will shock his neighbors, family and have cable news reporters resort to the list of former FBI Profiler to recite their poorly conceived rhetoric about what goes on in the mind of a killer. This is being played out today (shooting at the Navel Facility in DC) and the truth is that dangerous psychopaths are never profiled until it’s to late.
Real crime investigators judge people and that is the reason why there are so many mistakes made. They are looking for what they know and not for what they can learn. In The Fall, there are a ton of opportunities to follow old and proven patterns, and the writers have very cleverly moved us off that track. The first five episodes have not brought us any closer to understanding Detective Gibson or our serial killer Paul Spector, played by Jamie Dornan. There is a new season underway for 2014 and I hope that the writers continue to avoid the “usual traps” and keep things fuzzy. It makes for a bigger mystery and maybe something we can learn about our own judgement.
by Bob Martin | Dec 19, 2013 | Culture, Directors, Film, Movies
Lupita Nyong’o
The film “12 Years a Slave” is a remarkable film and different from previous films that I’ve seen about slavery. The injustices of slavery are evident and yet unknown to its practitioners. It’s a world they live in, because someone said it was OK.
There is no righteousness in “12 Years a Slave”. Steve McQueen is not relentless in his depiction of the cruelty of slavery in America. He is not gratuitous with the use of words, sex or violence. It is an even portrait of the times. We get the picture quickly, cruelty is what human beings have learned and now practice. We do what we can get away with or mimic what has been done to us. It is how we’ve learned, sadly. Unlike Sgt Witt in the “The Thin Red Line” we don’t question ourselves before we act. Why are we doing this?
“This great evil. Where does it come from? How’d it steal into the world? What seed, what root did it grow from? Who’s doin’ this? Who’s killin’ us? Robbing us of life and light. Mockin’ us with the sight of what we might’ve known. Does our ruin benefit the earth? Does it help the grass to grow, the sun to shine? Is this darkness in you, too? Have you passed through this night?” ..Witt, The Thin Red Line
The Hero’s Journey
Solomon Northup’s is metaphorically Pinocchio or more correctly following an abbreviated version of “The Hero’s Journey“. Solomon is naive because he believes that he is free and will be treated like all free men. He is unaware of the evil that lies in the south (The Unknown), because he can’t see it in the north (The Known). McQueen paints a picture of reality. The sky in the south is no less beautiful than the sky in the north. There are no visual manipulation or distinct musical cues. The people in the south believe that they have been given the right to own other people. The people in the north believe they have the right to declare others free. Where do these “rights” come from?
What is gracious about this film is that it avoids the temptation of Revenge. The audience doesn’t cheer at the end. The “evil people” (the people we are not like) don’t get there upcommance.
Edwin Epps, 12 Years a Slave: Sin? There is no sin. Man does how he pleases with his property.
There are automatic triggers that surface when the subject is slavery. People pick sides, assign blame, responsibility, declare ownership, causes, and race becomes the topic debate. Slavery is at times thought of as a unique and horrific American event, that happened in the past and no longer exist. None of which is true, we call it something else now like Human Trafficking, Unlawful Imprisonment or Forced Labor. Slavery may no longer be legal in the world and people still do what they can get away with.
by Bob Martin | Jun 11, 2013 | Art, Directors, Film, Movies
Just watched (again) The Thin Red Line and the question asked is “Who is Killing Us” I get caught in that question. Are the crimes we inflict each other for some reason and/or for someone. It’s seems insane to think that we do this daily for no reason at all. So what is it about and who is it for? Or are we just simply insane. I wonder why we are so afraid of one another, that there is no middle ground, someone has to lose. Even the winner loses.
Why can’t we, collectively, say we are done.
Terrence Malick..voice over narrative is like someone whispering in our ears while we sleep. But it not a nightmare, it is what we’ve done.
“We were a family. How’d it break up and come apart, so that now we’re turned against each other?”
It use to be that it took many generations for history to align itself with the truth so that the regrets and apologize can acknowledged . The truth is showing up a lot quicker now and I wonder if we will think war is still worth it.
by Cybel Martin | Jan 4, 2013 | Actors, Art, Directors, Film, Photograhy
CYBEL MARTIN for Shadow and Act
JUNE 25, 2012
I saw a recent tweet from a fellow DP. It went something along the lines of “Filming in NYC. That’s a lot of brick”. I understood the frustration. Beyond the miles of concrete and cliched shots, how do you tell a New York story that’s uniquely your own? Without “Men in Black 3” money? You have to think differently.
Why are we discussing NYC?
I am a native New Yorker. I went to New York University for my MFA. I live primarily in New York. The majority of my features were shot in New York. That’s a lot of New York centric. I know first hand what it is like to be released onto the streets with a camera, well meaning PA with bounce card and a director dreaming of “Citizen Kane” or “Remains of the Day.”
And I suspect more no-budget projects are shot in NYC, per year, than anywhere else. This article will help you whether you’re shooting a feature film, short, web-series, music video or promo. If you’re shooting a Nike commercial? Call me.
As mentioned in my first post, “5 Things Cinematographers Look for…” I love when my director approaches with a clear idea for their vision. The next step in the creative process is to take that visual idea and mold it, twist it and spin it until it’s the best representation of your (the director’s) voice and best aesthetic to support the narrative. For example, say your reference material is “The Devil’s Rejects” (I love love Rob Zombie). You decide to shoot your film in the same hectic, visual style but in black and white.
Once presented with your creative brilliance, the producer will take note of your needs and counter offer. Your genius helicopter shot will be reduced to a 7 foot jib. You’re given the resources to shoot film but you’ll only be able to rent two prime lenses.
Keep breathing! Your film will be great. Do this:
1. Get out of your own head and into a different director’s – Your view of New York and what it has to offer is a perception. It’s not the only reality. During pre-production, watch other low budget films shot in NYC. Definitely watch ones not in your genre. Any resistance you have to watching a film because you dislike the cast, dislike the message, dislike the dance numbers, dislike the violence is stifling your inspiration. I am amazed by how much I learn from films I thought I would dislike.
Off the top of my head, here are some low budget films shot in NYC. I’ve also included films with a healthier budget yet an innovative shooting style that increased their production value: (in no particular order) Half Nelson, Pi, Little Odessa, Living in Oblivion, She’s Gotta Have It, Tiny Furniture, Laws of Gravity, Just Another Girl on the IRT, Midnight Cowboy, Taxi Driver, Barefoot in the Park, Chop Shop. Naked City, Party Girl, Smithereens, In America, Kids, Fresh, Rope, Pickup on South Street, Shaft, Brother from Another Planet, Desperately Seeking Susan, HBO Subway Stories, Straight Out of Brooklyn, Requiem for a Dream, Day Night Day Night, Guide to Recognizing Your Saints, The Visitor, The Imperialist Are Alive.
2. Declutter your New York experience – This city can be visually overwhelming. I think when filmmakers attempt to capture everything they see, it ends up looking like an “I Love NY” PSA. It’s through the repetition of specific colors, architecture, lights and exclusion of the extraneous that creates a visual style.
My director, Kevin Baggott for “Flora’s Garment Bursting Into Bloom”, was in love with Christmas lights. Not only did the story take place during the holidays but it represented something more to him. The story of a man falling in love with a transgender woman was at times tense and brutal, but the Christmas lights brought some levity. I remember taking walks, throughout Manhattan, in the hunt for streets and shop windows with the most lights strung. We remained focused on holiday lights in non-touristy areas. The lights were also used for various reasons in the interior locations.
You can create a lot of texture in your film by focusing on color (I always think of that red wall in Spike’s “Do The Right Thing” ) or costume design (Mobolaji Dawodu, the Costume Designer on “Restless City,” blew me away)
Does your film take place in DUMBO? You’ll obviously have shots of the bridge. Find other bridges in NYC to shoot. Use it as a metaphor. Bridges connect people. Bridges are a way out. A way to invade. Yes, I can overthink things but these considerations will strengthen your film.
3. Make Your Restriction The Aesthetic – This is my credo. Low budget means plenty of restrictions and relying on favors from friends and family. If you can only afford two lenses? Shoot the entire project on one lens and use the other for a pivotal scene.
Every DP remembers their first feature. Mine was “The Dregs of Society” by Rich WIlliams. We shot on Super 16mm, in 12 days, with over 20 different locations, in three different boroughs and over 15 actors. We worked 12 hour days (or less) and always broke for a respectable lunch. I credit my director with not only being creative, but being a creative problem solver and having a very efficient 1st AD living in his head.
For my part, I knew our time was limited and found inspiration in Mary Ellen Mark photographs. The photos I gravitated to tended to be wide shots of a person with a lot of personal effects in the frame. I felt I knew that person intimately. For Dregs of Society, most of our coverage was static wide shots. We relied on props and production design to underscore our eccentric characters and their dialogue. When time permitted, we went in for close ups etc and some very fun handheld.
4. Expand on Your Locations – One Twitter account I love to follow is @nyscout. He is a New York based film Location Scout. I was excited to see him featured on CBS Sunday Morning. Even though I am a native NYer, I have not heard of half of the places he mentions. If you are shooting no-budget, your interiors will probably be your own residence or office, or that of a personal friend. However, your exterior shots can be visually dynamic and different from other films. There are a lot of bricks, but also a lot of community gardens, boat houses, cemeteries and music stores.
One of my favorite films is “Medium Cool” by Haskell Wexler. Many scenes were filmed during the 1968 Democratic National Convention. So you understand why I was thrilled to film “A Ticket For Hope“ during the 2009 Presidential Inauguration in Washington, DC.
You can also chose a location with a special event and incorporate that into your film for major production value. It doesn’t have to be a huge event with tight security. It can be the Mermaid Parade or Ninth Avenue Food Festival.
5. Browse Photo Books – Low budget filmmakers can learn so much from photographers, especially “street photogs”. I highly revere the photographs in “The Americans” by Robert Frank. When I first learned about him in school, the emphasis was that he captured the “true” (whatever that is) essense of America because he was not from here. He observed what we could not. That concept of not being able to see what is in front of you fascinated me. A dear friend and talented photographer, Joanne Dugan, teaches a course at International Center of Photography called “On Seeing What’s Right in Front of You”. She and I often have the discussion on how to film NYC with fresh eyes. I find her approach very liberating.
There are several extraordinary photographers who have focused on New York. A recent find that might be useful is“New York in Color” by Bob Shamis. This is a collection of different photographers. You can start your search here and see who inspires you.
Feel free to mention below any links to films, photographers, tricks and tips etc that have been beneficial to you in filming NYC.
Photograph above is a production still from the film, “Jackie” directed by Tamika Guishard and DP’d by yours truly. Courtesy of uber talented photog, Quinn Miller-Bedell.
Chat film with me @CybelDP.
by Bob Martin | Dec 27, 2012 | Actors, Art, Concerts, Directors, dvd, Exhibits, Film, Movies, music, Writing and Speaking
Christoph Waltz and Jamie Foxx
Quentin Tarantino, the over hyper creative genius, and his new film Django Unchained flirts with mastery. The film is maybe 15 min too long but its close enough(more about the 15 min later). If you’ve seen a ton of movies in your life, you will find a reference to just about every one of them in Django Unchained, that’s what Tarantino does, except in this one “The Guys with the White Hats” loses out. Directors like Sergio Leone, Alfred Hitchcock, George Stevens, Tim Burton and many more have contributed unknowingly to this creative effort and again this is no knock on Tarantino’s creative talents, it is his creative talent in using themes we are all familiar with and in some cases turning them upside down that makes us laugh and maybe even think.
The film makes no pretense that the story of Django is based on anything remotely true and yet still is able to paint an ugly picture about this country’s past. The movie is often hilarious, heart breaking (for some of us) and outrageous. Tarantino has created an African America Super Hero who rides a horse that mimics Trigger and thus slaps down the fable of “Guys with White Hats” being the good guys. There is room here for a sequel(s), the son of Django Part 2.
The movie is gory, so if you find vampires, Bruce Willis, Jason Bourne or Bambi disturbing you should avoid Django and not see it. The dialogue at times is that of two 9 year old inner city kids acting out scenes from a movie, with a child’s emphasis on vulgarity. As promised, the wasted 15 min: Cutting the number of times the N-word is used in half to about 70 would make the film shorter giving Tarantino his masterpiece. Spoiler alert, no other movie that I’ve ever seen has approached the subject of Black Slavers (Blacks who enslaved other Blacks) and while its not gone into in great depth it has not been swept under the rug either and I am not sure how open Black America is to this fact. In addition Stephen (Samuel L. Jackson) is an important and complex character in the film, similar to, but a more repulsive, Colonel Nicholson (Bridge on the River Kwai) who are both blinded to their own culpability.
Django Unchained is enormously entertaining and not a source for cultural or political debate and yet people will feel a need to see it as some referendum about current, past or future events. What can be debated is that Tarantino got to do a film that no African American director would be allowed to do, and that should be debated (and not with me). Django is a movie, just like Les Miserables, Jack Reacher, Lincoln and Silver Linings Playbook are all just movies. Django just happens to be really good.
- Django Unchained: A love Story (visionarywateringhole.wordpress.com)
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- Django Unchained is a heroic love story
- http://sonofbaldwin.tumblr.com/post/37790755920/to-be-unchained
2014 is the 25th year anniversary of Spike Lee’s terrific film, “Do The Right Thing”, 1989. The Academy of Motion Picture Arts and Sciences will celebrate the event with the writer-director and members of the cast at two special screenings in LA on June 27, at the Bing Theater, and in Brooklyn on June 29 at BAM.
