So much catching up to do...
First a shout out to all the *new* babies:
and in baby news of the filmic kind: much love, respect and well wishes to NATHAN. He's (finally, after YEARS of hard work and dedication) is shooting his first feature as we "speak". And, he's shooting on the RED camera. I wish I was in Cali right now!! (besides the fact that it's 90 there, and brick here w/snow flurries this a.m.). But, for real, I can't wait to see this film!
Second, apologies to all those who kept checking my blog to find nothing. No excuses, just lots of work and distractions (it's hard work to be a wife and mother of 2).
I have also been trying to spend more time doing things that fill my soul. My husband said that I seemed to be going down a dark, boring, lonely, and isolated academic road that was way too movie-less. So.... thankfully... the MSP International Film Festival arrived just in time!
I went to see:
It was a trip to go back in time. The most powerful thing about this film (besides PE itself), was the old footage. PE recreating Abbey Road, fighting in the airport, shows with many (primarily white) hands waving in the air. [why is it mostly white kids that check for PE?). The doc could have used more interview footage (I got tired of the intercutting between talking heads [of the same dudes: Henry Rollins, dude from Rage, Beasties, etc] and the same performance footage. The film could benefit from more footage (I wonder if Def Jam owns most of the old archival stuff?), and another tighter edit. Wish I could have directed (and/or edited) this doc. Definitely will go in my archive when it's out on DVD.
This documentary by my FAVORITE DP in the world Ellen Kuras. This film was 23 years in the making (that's dedication!), and was the first Kuras directed (with the film's subject Thavisouk Phrasavath). Ellen was supposed to be at the screening but she was in CT shooting Sam Mendes' new film = ( But, Thavi was in the audience. He deservedly got a standing ovation when he surprised us with his presence. He led a powerful q&a; I was inspired to go edit. He and Kuras met 23 years ago when he worked as a translator on a film she was shooting about a Laotian family. That family dropped out of the film, but Kuras asked Thavi his story, and the rest is history (literally) shown in this documentary.
How can I find that kind of dedication. 23 years!! [Not that I want to work that long on one film.]
The film is "directed" by Melody Gilbert (Urban Explorers, A Life Without Pain, and Whole). I put directed in air quotes because the doc is actually a collaborative project by Carleton students in a year-long documentary class. Melody was their teacher.
They did a q&a following the screening, and Twin Cities filmmaker Melody gave the space for the students to speak. Then why, I wonder, does she take sole directorial credit for this work? It's troubling.
This is a real concern to me. How can the project reflect an absolute collaboration of the teacher and students, but only the teacher gets directorial credit. I should have raised my hand.
The film was really funny and got my daughter thinking. Mom, she said this morning. I don't think I could go without my computer. And I KNOW, that you wouldn't be able to either!
Full Disclosure: I will be teaching digital storytelling in the cinema and media studies dept (CAMS) at Carleton, spring of 2009. I'm excited! Carleton students, as I've been told are hard-working, dedicated, and passionate. This is apparent in both the video, and in the stories they told post-screening (working through winter and spring breaks to finish the film!).
I've also been watching lots of DVDs:
Juno (aiight; not really worthy of all the hype)
Martian Child [i love john cusack!]
and many others...
I'm going to try to post daily (at least weekly) from now on.. it can be like my "morning pages". (see THE ARTIST'S WAY).