Man… I really should have seen The Other F Word in the theater. I know the title popped up on my twitter timeline, but I was just catching up on old eps of The Treatment with Elvis Mitchell and realized I HAD TO SEE IT. All director Andrea Blaugrund Nevins had to say was punk doc, but punk dads? I’m in. Of course, it’s already left the theater here in LA. I guess my Netflix queue’ll have to do.
It’s in limited release, check your local spots. It opens in DC and Philly on 12/2. You can so still see it. And if you’ve already missed it like me, it comes out on DVD at the end of Jan.
n♥
Elivs Mitchell in conversation with director, Andrea Blaugrund Nevins.
A little more backstory on the making of the doc… IFC interview at SXSW
I’m in the middle of my Declan Quinn “I Shot That” film festival.
Connecting the Dots: I was watching the trailer for a some (♥:now forgotten) doc and felt something was missing. Like visually something was off. That’s when I realized that I’ve been influenced by what cinematographer, Declan Quinn, did on “Jimmy Carter Man From Plains.” The way he crafted images and used light with amazing access and limited resources really struck me. There’s an intimacy and energy that’s hard to capture in the moment and on the run. I wanted to know more about how he made it seem so easy and why I was drawn to it. Then, I looked at his body of work and went all “Duh!”
There were all these personal visual reference points. Every time I used to walk into Joe’s Pub in New York, there was a warmth that felt like an old Figgis movie or the way vibrant color was captured in Mira Nair films or the doc realism of “Rachel Getting Married.”
I thought it would be cool to see what’s changed and developed over time. So, I’m watching all the films he’s DPd since “Leaving Las Vegas.”
1995 | Leaving Las Vegas | dir. Mike Figgis
1996 | Carried Away | dir. Bruno Barreto
1996 | Kama Sutra: A Tale of Love | dir. Mira Nair
1997 | One Night Stand | dir. Mike Figgis
1998 | 2by4| dir. Jimmy Smallhorne
1998 | This Is My Father | dir. Paul Quinn
1998 | One True Thing | dir. Carl Franklin
1999 | Flawless | dir. Joel Schumacher
2000 | 28 Days | dir. Betty Thomas
2001 | Monsoon Wedding | dir. Mira Nair
2002 | Hysterical Blindness | dir. Mira Nair
2002 | September 11| dir. Mira Nair | segment “India”
2003 | In America | dir. Jim Sheridan
2003 | Cold Creek Manor | dir. Mike Figgis
2004 | Vanity Fair | dir. Mira Nair
2005 | Breakfast on Pluto | dir. Neil Jordan
2005 | Get Rich or Die Tryin’ | dir. Jim Sheridan
2007 | Jimmy Carter Man from Plains | dir. Jonathan Demme
2008 | The Lucky Ones | dir. Neil Burger
2008 | Rachel Getting Married | dir. Jonathan Demme
2008 | Pride and Glory | dir. Gavin O’Connor
2008 | 8 | dir. Mira Nair | segment “How can it be?”
2009 | New York, I Love You | seg. dir. Mira Nair
2009 | The Private Lives of Pippa Lee | dir. Rebecca Miller
2009 | Neil Young Trunk Show | dir. Jonathan Demme
As this unfolds, it’s already interesting to see how images from years ago still influence what I want to see. I’m a bit of a commentary dork, too, and it’s great to hear Mira Nair frequently talk about how she and Quinn work together or listen to Jim Sheridan bring up the lighting conversations he had on “In America.”
I can’t believe I started this in September. Titles in bold are the films I’ve seen for the first time or seen again. My word, I’m only 9 movies in.
we’ve talked about this, right?the whole fluent in multiple languages thing?…
//via@diggswayne
This is the cutest thing I’ve seen in a while. It’s from Black Orpheus. I, so, need to put it back on the netflix/library list now that I’m deep into Project Polyglot and seem to have forgotten the entire movie.
The adorable kids are great and all, but they aren’t what got me super happy. When I watched the clip, ads blocked the subtitles. At some point I realized that I knew what they were saying. I got all excited and giggly. Then, lost it just as fast. I fell back into English and needed the text on the screen to make sense of everything.
Still don’t recognize or understand every word, even in a child’s convo, but I’ve definitely come along way from being frustrated by and afraid of one of the most beautiful languages on the planet.
I realized as the bus passed and her face on its side caught my eye that I have some questionable cinematic loyalties. My disdain for Twilight’s immense popularity got put in check when it became clear that my heart raced a little faster as the letters on the poster ticked the OMG box. A new Resident Evil. Milla! Milla! Milla!
Years ago, I was clicking aimlessly looking for something to still my hand and mind, when I came upon some cable channel that figured out a new way to steal a couple of hours of my time, repeatedly.
(Sci-Fi+Action-y+GunsandZombies) x MILLA + 1/8 CausticMichelleRodriguez vs. TheMan/TheSystem/TheCompany = Fun Times!
So, I watched. Kinda liked. And watched, again. Kinda loved.
Are we talking 5stars on Netflix? Come on, now. No. I don’t expect a “cinematic tour de force” from Resident Evil; I expect a good time. Have they even all been that? Well, actually, no. But it’s the possibility that it could be as good a whole as all the kick-ass elements that sucks me in. I guess in some ways I just want the first five minutes of the Matrix repeated in different ways with different people for 90 minutes.
I dig the Resident Evil series. I just do. I want to see some girl kicking zombie tail and going after “The Man” for causing the destruction of, you know, errything. Unless there is something so disturbing that it makes me uncomfortable and it unwatchable, besides Ashanti*, I’m in.
This thing I have for Resident Evil, is it Twilight tent and sleeping bag love? Enough to spend days in line for tickets or something? Ummm, I don’t do that. Or let’s be clearer, the last time I slept out for tickets Prince hadn’t changed his name yet and he could get me to do anything.
It’s funny how I start to overthink the fact that I just like something. It’s as if scary fun can’t be enough and I’ve got to slag the object of my affection a bit in the process. How can I have “No Shame,” yet still be trying to save face?
Let me watch the trailer and get hyped again. brb.
That worked.
Yay! Resident Evil: Afterlife is playing at The Arclight. We haven’t talked about how really special I am about where I’ll venture off into the darkness, have we? Maybe later.
Tonight, I’m going to finish watching Architectures 5 and maybe, Un Prophète with the director’s commentary while sipping on yuppie Night Train aka Two Buck Chuck. But, for real, can it be Friday? Now.
Since I’m feeling all open, I’ll admit to my other head-scratcher and publicly pout about the ones that did me wrong.
Another Questionable Allegiance & A Couple of Painful Betrayals Underworld: Yes. Period. Umm, Hi Kate. Can you tell Bill I said, “Hey?”
Alien/Aliens: Nothing exists in my world post-Fincher. And that one hurt. Alien vs. huh? Seriously, why? And please don’t even think about a prequel. Please.
Hellraiser: After Pinhead In Space aka Hellraiser IV:Bloodline, I got off that ride. So did the everyone else. Hello, Direct-to-Video.
Mission: Impossible to get me back into a theater. Wait… Did you say Simon Pegg?
Departures is such a sweet and gentle rumination on life, death and forgiveness. While the trailer plays to the funny/heart-warming bits in the 2009 Academy Award® winner, the deeply moving film weaves a wide range of emotions with deftness and sincerity.
This truly is a film I’ll be thinking about for a long time.
I think I keep trying with HBO’sHow To Whatever in America because Victor Rasuk is in it. I’m not blaming the other kid, but there’s something about Rasuk’s presence and ease on screen that just draws me in. I can’t help it. He does vulnerable, funny, cocky, eager and ambitious so well.
Honestly, Raising Victor Vargas is one of the best coming of age stories on film. It’s so regular, normal LES. It really is the everyday life of kids growing up and growing up on the lower east side. Especially, being kids of color and it having nothing to do with drugs, guns or violence.
I’m about to go watch it again. If you haven’t seen it, please do. I promise you won’t be disappointed.
for a few seconds, i thought* about skating again.
marc johnson (image via chocolate skateboards)
I’m kinda into skateboarding. I’m intrigued by how so many ideas and passions are interconnected through its culture.
I love a good skate doc. I love a great story. I need to know how it all started and I need to know why. After a friend took me to a screening in NYC of Dogtown years ago, I had to see everything.
Netflix and I hung tight until I’d seen as many docs as I could get my hands on. The good and the not so good. I watched a lot of skaters**, but I wouldn’t watch the skate videos. I wasn’t that into watching the action of it. For hours.
Here’s one reason why. I have this thing I might have told you about called secondhand embarrassment. A component of said condition is the onset of freakish sympathy pains. The last thing I want to see is some guy repeatedly not landing a trick. It hurts me to watch folks come down on a handrail wrong or, I don’t know, see heads meeting concrete.
It’s not that I didn’t like the act of skating, I was just particular. In Dogtown, they were able to capture, in still images and in motion, these moves that made it look like the entire crew had consulted the wind to choreograph this beautiful dance. I hadn’t really seen that in other videos I, briefly, watched post-vert dominance.
Since moving to LA, I see kids skate all the time. I guess I started paying more attention to the every day beauty of it.
I don’t remember the exact sequence of events that led Yeah Right!to the top of my Netflix queue, but I’m glad it was there. The DVD is ancient at this point, but the timing of when I got it was perfect. Because while watching it, somehow, everything changed.
After it clicked, all the guys were really interesting. But, there was something about Marc Johnson. The way he skated was aggressive and graceful. Not necessarily elegant, but aware. Seriously, I could watch him skate all day.
The first two clips below are from Lakai’s 2007 masterpiece Fully Flared. There’s an effortless precision where balance seems to be a post-trick afterthought. While his presence is draped in skill and technicality, interestingly, Johnson reminded me of a dancer. A tap dancer. If the 70s era Surf/Skate kings (and Queen, Peggy, I see you) were ballet, than Marc and this generation of street skaters are following in Savion’s footsteps. Thumbing their nose at convention, using tradition and technology to forge a new landscape.
The Epicly Later’d below is, also, worthy of multiple viewings. Because it’s interesting. He talks about the pressures and challenges of his experience as a pro skater. (♥: Mmmm hmmm. ) Stop it. There are clips from Wednesdays with Reda on The Berrics, too.
Okay. I think I need to go look for more Marc Johnson clips.
Nikki♥
*Remind me to tell you about the last time I was actually on a skateboard and why the thought of skating goes out as quickly as it came in.
**I watched a lot of skaters because… they’re hot. My kinda hot. See, I said it, again.
taking the time to make note of a few things that make the days extra sweet.
Do you ever smile at the clouds? I can’t help but be amazed by the beauty of the sky.
Apparently, I’m in hyper-adoration mode for tangelos and Sandra Juto… The comments on her wrist worm giveaway remind me how small the world is and how great the internet is at connecting people. It’s just everyone listing their favorite movies. It warms my heart a little when someone else talks about how much they love Me and You and Everyone We Know, Before Sunset, Strictly Ballroom and all things Almodovar.
Esthero… One of my favorite singers, ever ever, posted a song that leaves me with a tear stained face. There’s such beauty in its simplicity. Black Mermaid stirred something. It not only made me happy, but it moved me to use those moments, so easily wasted, doing what I’m here to do.
Nikole Herriot, of Forty-sixth at Grace, makes and photographs such beautiful cakes. I want to make more cakes. I want to make lots of pretty cakes. I want to forage for antique bundt tins. (♥: Okay, breathe.) Innnnnn. Ouuuuuuuttttt. Thx. I needed that.
Still working on booking a trip to visit relatives while the William Eggleston exhibition is at the Art Institute of Chicago. I don’t really own a coat. So, I just need it to be, you know, warmer.
Uh-oh! I can get a bit of stellar photog right here in Beverly Hills. Gursky at the Gagosian opened last week. Sweet!
Counting the days…The Art of the Steal opens this weekend here in LA. It looks like I’m about to get on an emotional roller coaster. Dr. Barnes and his collection changed the way I see and appreciate art.
Ahhh, the art of making me happy. It’s a challenging craft that I’m learning to practice every single day.
i kept asking, for real?, like the screen was going to respond.
Yay! I saw The Cove last week and was mesmerized. It really played out like a great spy flick. More Bourne than Bond. It was all clandestine operations and night vision cameras to show you what was going on in the one tiny area in one tiny town in Japan. And how we play a part in the senseless slaughter of dolphins. And how we can be a part of making a change.
I’m not chaining myself to anything. I’m not a ‘Save The Whales’/PETA kind of person. But, what’s great about The Coveand Food, Inc. is how they encourage you to know more about the treatment of animals by just telling a compelling story. Not beating you over the head with rhetoric, guilt or hysteria. The choice is your to make. You’ve been informed.
The great thing about the docs is that they will hopefully get more exposure because of the awards coverage. Both have helped the evolution of my understanding of the role I play in the treatment of animals, either actively or passively. I’m thinking more about how we share the planet.
See The Cove. And if you haven’t seen Food, Inc., please do. Watching both films is time well spent.
So, Ryan Bingham and T Bone Burnett won the Oscar for Original Song. During his speech Bingham said, “I love you more than rainbows,” to his wife. Now, it seems on twitter people are snickering because of it. It didn’t sound sappy to me because I thought he was doing what I did A LOT last year. A take on the sketch below from Little Britain USA.
This is so not safe. Nor is it for the faint of heart. It still slays me.
Still surprised by my Real Housewives of Hollywood & Vine moment. But, I've got fruits+veg to photograph before I go into the ofc.#notime4bsabout 13 hours agofrom webReplyRetweetFavorite
