Well I’m just very pleased about this. The Downtown Film Festival Los Angeles has given my film, Yellow Plastic Raygun, the award for Best Experimental Film. I was having quite a nice week attending various parties and screenings at the festival. Its use of multiple locations in the heart of downtown Los Angeles gives one a real sense of taking part in the life of the city and being involved with something that’s helping to foster the exploding art and film scene in downtown. Most of the short films were screened in the new Civic Center Theater at the intersection of First and Main Streets, in the shadow of the famous City Hall tower that has appeared in so many crime shows and film noir classics. I attended the screening of my own film this past Saturday evening and was amazed at seeing it large since I had put so much work into it on small monitors. What’s great about the Downtown Film Festival is that it shows a wide range of filmmaking styles, crew sizes and budgets. They show films made with lots of production resources right alongside films made by individual artists working with inexpensive HD cameras and even cell phone cameras. I am very proud to have won this and I look forward to more great festivals in downtown Los Angeles from the people who put this together.
Category Archives: Film Comment
Yellow Plastic Raygun Selected for Downtown Film Festival Los Angeles
The Downtown Film Festival Los Angeles has made my latest short film, Yellow Plastic Raygun, part of their official selection! So if you are in Los Angeles on Saturday, September 11, 2010 and you want to see an evening of short films, come by the Civic Center Theater at First and Main Street right across from the City Hall building. The shorts program starts at 10:00 pm. Here’s a link to the festival schedule.
I am very happy about this. I like the idea of a film festival right here at home where I can go and hang around with some other insane filmmakers. It should be an interesting Saturday night.
Jean-Luc Godard Interviews Woody Allen
Jean-Luc Godard interviews Woody Allen… sort of. What is clear to me from watching this video is that Woody Allen is an ordinary thinker. Jean-Luc Godard is not. And frankly I’m not certain who is funnier. I think this is a devastating dismantling of Mr. Allen. It’s bordering on open mockery. Watch how Allen looks at Godard. He hasn’t the slightest idea what’s going on. Every single answer Allen gives is perfectly expected and we’ve heard all of them before from a hundred other filmmakers. Godard’s questions however, come dropping out of the bottom of a 747 that’s flying without a pilot.
Jean-Luc Godard’s New Trailer is the Entire Film!
Film director Jean-Luc Godard has made one of the sharpest comments on copyright, piracy and film advertising that I have ever seen by releasing a trailer for his upcoming new film, Socialisme, that is actually the entire film in super-fast forward for 1 minute and 7 seconds. This is wit and intelligence like no other filmmaker in the world can muster. Once you see the opening presented to you by the films of Godard it becomes very difficult indeed to get up the energy to go watch highly paid American film stars mug and smile their way through belabored mega-scripts that seek opportunities to display Coke bottles and laundry detergent alongside Aston Martins and designer shoes. You begin to see that the Hollywood product is in reality just a very large catering operation and that movies are made with approximately 10 to 20 times the resources actually required to make any given film. American films, even the ‘independent’ ones, are shot from exactly the same point of view and think that movies are about telling stories. They are conceptually still living in the 19th century. They all adhere to the ‘beginning, middle and end’ framework and they uniformly lead to a ‘climax’ and a ‘resolution.’
Godard, on the other hand, functions in the present, treats film as an actual art form, and always uses a unique point of view that cannot be pinned down or turned into a style. He is death to James Cameron. He murders people like Woody Allen. He makes Scorsese look like the heavy-handed New York buffoon that he is. Godard makes films by persuading people to give him money on the basis of totally fake scripts, then shows up with a note pad and a bunch of confused actors and decides literally on the spot what he might want to be making that day and hopes for the best when it comes to fitting his material inside the structure of a project he might happen to be working on. In short, he works just like an artist is supposed to work. He works from himself. The fact that we have been misled by a century of industrial product aimed at showing us Paul Newman’s teeth is not of any concern to him.
If James Cameron showed up at my door with a contract to be in his next film, I would shove him backwards off my front porch. But I would fly to Europe to stand in the background of a Godard film for free.
Film: 21-87
Another film by Arthur Lipsett, the filmmaker who is the subject of an upcoming animation by Theodore Ushev. This one is called 21-87 and it’s a masterpiece. It seems to have something to do with trying to see how people are deadened somehow by the modern world. The filmmaker uses documentary clips in a mix-up with collage audio that unsettles the viewer. What is this life force behind us? And why do we keep trying to behave like machines?
Film: Very Nice, Very Nice
Here is a well-known film by Arthur Lipsett, the filmmaker who is the subject of an upcoming animation by Theodore Ushev. It’s called Very Nice, Very Nice. It features a layered collage soundtrack with still photos and film clips. It conveys a general sense of unease and remoteness in urban people of 1961. I like it with the possible reservation that it relies too heavily on photographs. I think it’s very tricky to use still photos in a film and pull it off and I’m not sure that Lipsett is entirely successful. It’s good, but has a static quality, a reserve that I don’t fully admire. The filmmaker is too well-behaved and does not pull the trigger.
Film: Die Schneider Krankheit
This 2008 film was written, produced and directed by Javier Chillon of Madrid, Spain. The director of photography was Luis Fuentes. Artistic direction by Ángel Boyano. In the fifties, a Soviet cosmonaut chimpanzee crash-lands in West Germany. Within weeks, a deadly virus has spread across the country and confounds all the scientific experts. The film is composed of entirely original footage made to look like a fifties documentary or newsreel. The very first shots with the camera tilting down through the trees to show us the crash site at long range is a nearly prefect rendition of old documentary style right down to how the camera would move. You have to really know what you are doing to come up with shots like that. Very fine work.
This is science fiction that is a deadly accurate portrayal of the calm, governmental, ponderous yet urgent, carefully-framed and full-of-import quality found in mid-century documentary films. The humor is sly and builds its effect gradually. It’s also somewhat frightening.
Found at No fat clips!!!
Film: Sign Language
Oscar Sharp made this beautiful short film in London. It stars Jethro Skinner as Ben, the ‘board guy.’ The performance is endearing and full of intelligent energy. The film was shot in HD by Anthony Gurner. I love the way the people have all these colors in their clothes and then the colors are repeated in the backgrounds. The colors of this film stand out brilliantly. I also enjoy the film’s subject matter. Many people do jobs that they are simply very happy to have and they find themselves truly and fully present in their moment. It’s one of life’s little important lessons.
Filmmaker Jonas Mekas on Living in Poetry
This is a clip from a documentary film, Meanwhile, a butterfly flies, about filmmaker Jonas Mekas. He shares a few thoughts about culture, country, poetry and what those things really are.
Jonas Mekas Film: As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty
Jonas Mekas is one of our great independent filmmakers. He spent years writing a film column in the Village Voice. He founded the Anthology Film Archives in New York City. He makes lots of films with small cameras that he can carry almost anywhere he goes. That is, by the way, how filmmakers should be working today. If a filmmaker needs a truck, he or she is making a commercial. I found this via the exceptionally brilliant underground film site, Bad Lit.
Bob Dylan’s Pink Christmas People
I love Bob Dylan’s recent album, Christmas in the Heart. Listened to it many times on Christmas day. This is his video for Little Drummer Boy. The people do seem awfully pink but maybe it’s just my eyes playing tricks on me.
Scarlett Johansson Has Made a Magnificent Short Film: These Vagabond Shoes
I spend a lot of my very limited brain capacity wondering why Hollywood directors don’t run around with small cameras making their own little movies for YouTube. Scarlett Johansson has made an excellent short film called These Vagabond Shoes which puts on display her obvious interest in and love for true cinema. The person who has uploaded it to YouTube has somehow squeezed the image from widescreen to standard, but the film shines nevertheless. I’m not sure why there’s a Russian overdub either, but just ignore it. I think Ms. Johansson should upload the film herself properly and if she does, I’ll change the video link. She has made a film that I’m certain is exactly what she wanted to make. It’s her personal expression of a fleeting and elusive subject. The film’s about being alone and damn well liking it. Kevin Bacon plays the film’s main character who gets dressed at just past 4:00 pm to leave his apartment and take a trip to a nearly empty Coney Island. The film contains only small incidental sounds and very minimal dialog. Its beauty lies in the attention to tiny details of behavior. The multiple clocks in Mr. Bacon’s tiny apartment, all precisely set. His careful re-tying of his shoe. His placement of a hat upon his head and his hesitation when locking his door behind him. These are the details of the lone person who sets out upon a small but important voyage through the terrifying public space. Mr. Bacon’s character puts on the armor of his attire with a resolute dread that I can remember from my own time alone. Ms. Johansson knows exactly what she’s doing. Her character’s trip to Coney Island where he will purchase a hot dog and sit on a bench by the sea is a seeking out of the pleasure of being alone with one’s very own self and the not knowing what will come of that. The uncertainty and the wide open strangeness of possibility when one is all alone in a very busy and enormous world is too much for most people to face.
Kubrick’s 2001: A Space Odyssey is a Beacon For a New Decade
Read the following remarks at your own risk. The post begins one way and finishes in another.
The online film journal Senses of Cinema has an excellent essay by Pedro Blas Gonzalez called Stanley Kubrick’s 2001: An Existential Odyssey. He examines 2001: A Space Odyssey from an existential viewpoint. He focuses primarily on astronaut Dave Bowman’s journey in the film toward not only a far-flung physical destination, but also his journey as a human being on a path toward knowledge, an unknown future and ultimate change or evolution. I’ve always viewed the Bowman character as being exceedingly emotional and noble in spite of the fact that he barely moves a facial muscle or changes his vocal tone. He seems on the surface to be little more than another machine on board the giant Jupiter-bound space ship. But he is in fact full of tiny, barely perceptible emotions and concerns that make him perhaps the greatest representative character for the human species in film history. The Bowman character completes his mission of discovery by surmounting incredible obstacles, included the most powerful example of artificial intelligence ever devised by humankind. But he does this without ever losing his capacity for anger, despair, love, fear, or wonder.
We’ve lived through what I consider to be the single worst decade in the history of the United States, including the time of the Civil War. In 2000, the country willfully elected to the presidency the most uneducated, unintelligent, disgusting, drunken, irresponsible, uncaring, warlike, criminal and religious fanatic in its history. The damage done to our own self-image, to our sense of wonder in the face of the magnificent unknown, to our drive forward technically, scientifically, artistically, and morally, to our own self-respect and our dignity in a world teeming with slavery and murder and starvation – well this damage is going to be exceedingly difficult to repair. We’ve seen the drive for knowledge turned into something that is suspect, something that religion should argue with and fight at every turn. This is the legacy of the first decade of the twenty-first century. The tragic crime committed by half of the population of the United States to elect – twice-over – the closest thing to an authoritarian leader we’ve ever had will not be wiped clean by voting for new candidates. These awful people are among us. They work with us in offices, in grocery stores, on farms, selling insurance, selling cars, investing on Wall Street. They are all around us and they are waiting to destroy again. They want us to be dumb and mute. They want us worshiping in their churches. They want women to answer to them for how they use their bodies. They want us to ignore the greatest scientific thoughts ever had and to replace them with tall-tales from an ancient book of children’s stories called The Bible. It has been my mission over the past year to fight these people and to rid this web site of them (thousands and thousands of them, by the way), and to break their web links by using aggressive and insulting language at every possible turn. I freely mix children’s stories and games with brutal assaults on this ignorant and dangerous population within our nation. After 15 years of experience with children’s web sites, I have decided that they are rubbish. They serve little purpose and make a pretense at wholesomeness and clean language which only does a disservice to our children who must grow up with the strength and knowledge to eradicate the foolishness that has prevailed over the past decade. I have no concern for who I may insult, including my own authors who may or may not want their content removed because of my strong views. My candle is a blowtorch and I turn it on barbarians with joy. The only effective way to fight them is to get excited about discovery and knowledge again – to do what Star Trek says we should do:
…to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no one has gone before
Yes. We won’t get there by watching imbeciles like James Cameron film tales about white guys invading blue guys. 50-some-year-old adolescents pretending to be great directors don’t give us anything worth knowing. Artists like Kubrick do. Films like 2001: A Space Odyssey do. We need to take this next decade and use it to elevate ourselves beyond and out of reach of the poor lost savages we see around us driving their pick-ups, their SUVs, thumbing through their Bibles and Korans, and going to movies like Avatar. Let’s try thinking again. Go rent 2001. Watch it. Wonder. Think.
Stan Brakhage Film: Water For Maya
Stan Brakhage was one the most important experimental filmmakers of the 20th century. He used many techniques to make his films, one of them being direct painting on the film itself. This is one of his pieces from 2000. It is very beautiful and goes through several distinct movements during its short length. I am going to post some more examples of his films because I think they capture an essential quality of an artist’s happiness that must be very rare.
Huffington Post Presents Advertiser’s Commercial as News
I go over to The Huffington Post, a site that defines the words ‘mess’ and ‘indecipherable’ better than any dictionary could, looking for some news, and I come across a story entitled Secret Oil Rigs in Los Angeles Uncovered. ‘Ho ho!’ I thought. ‘Here’s something interesting and probably full of nasty secret pollution and damage to our health by oil companies!’ And of course I went stumbling right into the fake news trap. Watch the ‘documentary’ above. Notice how the young fellow doing the talking and walking is dressed kind of down with his jeans and boots. Notice how the camera has a tendency to swoop to his feet. To show the boots. A lot. The documentary, which purports to uncover the hidden oil rigs pumping crude from underneath Los Angeles, is presented on Huffington as being by Palladium Boots. Unless you click on the link, you don’t realize that Palladium Boots is not the name of a fantastic little production outfit making cool films, but rather a boot company selling… boots.
So now we’ve got a major news and political opinion site putting up an article that looks like news about hidden oil wells in an urban center, but is really an advertisement. The implication is that we are going to see the documentary confront issues surrounding these wells. Issues like how many children would die if one of these things blew up next to their schoolyard. Or how many people each year will get cancer because of oil wells nextdoor. Instead we get a guy tramping around LA asking insipid non-questions and only hinting at darker possibilities. We get a smattering of LA history and a lot of amazement at how well-hidden the wells are. Frankly, if you’re in LA for more than 48 hours and don’t know about the wells, you are hopefully just passing through on your way to Orange County. The real problem here is that a film produced as a corporate advertisement cannot confront real issues because the producers don’t want to create any real disturbance. So they dodge all the important questions. You’d think, after watching this ad, that oil drilling in LA is something just dandy. Wonderful! They’re pumping oil from under junior’s school! Lovely! We’re all better off for it!
But we’re just watching a boot commercial. That’s it. It’s not a cool citizen news report or hip internet filmmaking. It’s just a company hawking its crappy boots to nitwits who think they are learning something. A simple illustration of why this is so bad is to imagine your reaction if you found out that I had been paid by this boot company to write this very blog post. You would never trust me again. So what does that tell us about the Huffington Post site?
A smarter idea for this fake-news documentary would be to film a barefoot reporter who walks into the oil company executive’s office and politely asks him if he’d like to sit his own children down next to an oil well for a few years to see if they drop dead of cancer. When thrown out of the oil company’s offices, the barefoot reporter would stagger down the street begging for a pair of shoes. He’d end up with a pair of pink stilettos that fit him perfectly. Just like Cinderella.
That would be my fake-news commercial.

