Monday 29 October 2007

Don't Look Back In Anger


Sent a week before its release date (2nd Oct 2007) but only received this morning, after having to pay an £11+ custom charge (enjoy your money for nothing, bastards), I now have the pleasure of upscaling this R0 beauty, courtesy of an artist who, along with Terence Davies, should be funded by some rich, gay connoisseur before their productive life completely wanes.

Sunday 28 October 2007

...Will Become Tomorrow's Memory.

Harmony Korine Masterclass: NFT1, London Film Festival, 28th October 2007 (pic slightly blurry as I was some distance away and he's allowed to move).

Gotta love the casual nature of "celebrity" watching that goes on at these events. There I was, standing opposite the entrance to door 4, patiently awaiting the already running late Harmony Korine masterclass, when, much to my shock, out walks Mike Leigh and friend. Leigh positions himself less than half a meter from me whilst he and his pal begin to discuss the pros of the film they'd just witnessed (just looked at the LFF website and it appears to be The Strange One (1957); Ben Gazzara's debut acting role). I, of course, wasn't paying much attention, instead, had those nasty "fan boy" thoughts circulating; the subtle butting in with any random question that would spring to mind. It wasn't until another shifty-looking fellow beat me to it, causing Leigh to retort "excuse me but I'm having a conversation with my friend here" that I figured, well, I like Leigh but he's not in my Top 50 favourite directors, so I can hold out.

Harmony Korine, however, is! and I was grateful for the relaxed tone of the afternoon (on the back of drowsy medication). You never know when you attend these masterclasses whether the artist is prepared for serious, intellectual stimuli or, as was the case with Chris Cooper (at the Edinburgh Film Festival this year), restrained and seemingly unwilling to expand on even the most simple points (think The Office-type intensity for the audience). That's not to fault the man's acting abilities but in terms of public speaking and subject matter, you'd be better off reading basic coffee table books on 'performance'.

I could go through the event, piece by piece (as, for the first time, I actually made notes) but that would end up as bullet point information to which not everything is relevant or necessary; instead, I shall mention one of the more comical moments (certainly, in telling these stories, Korine broke from the curse of his nervous interviewer, who constantly said "ya know", and was able to come to life in an unrestrained way; much akin to his fragmented film making).

Ok, on the set of Julien-Donkey Boy (1999), during the family dinner sequence in which Ewan Bremner's character recites a "chaotic" poem, causing his father (fantastically played by Werner Herzog), to retaliate with "I don't like all that artsy-fartsy stuff", before himself describing the "go ahead punk, make my day" reference from Dirty Harry (1971) as something that is "unpretentious" and "good", we might notice a simple detail such as the grandmother (Harmony Korine's actual grandmother), appearing to be constantly staring at her glass (in the film, this type of reaction would seem commonplace). The reason for this reaction as it turns out, was because prior to shooting, Harmony's grandmother's hearing aid had fallen out and ended up in her cleavage but, unable to speak fluent English, there was a commotion as to its where-abouts. As the sound emitting from the device was a loud 'ringing', the first person to cotton on was Herzog, who (and this was best described by Korine - I'm paraphrasing here), "lunged himself at my grandmother, literally grabbing at her titties; his hand was right down the parting until he pulled out the hearing aid. From that point on, my grandmother couldn't look at Herzog without feeling total embarrassment." Haha!

Korine's advice to aspiring film makers was (based on his own method, of course): "watch a lot of films and live your life. Get involved in petit crimes..." (he was definitely serious about the last comment too).

Finally, as a cinephile, I should mention his influences: Buster Keaton, the Marx Brothers (Gummo being the name of the "failed" Marx brother) and of course, Werner Herzog. On a more contemporary basis, Carlos Reygadas was the only name to emerge, whilst he briefly panned Kevin Smith as an (obvious) example of why his peers provide no interest. In fact, he said he was more in line with contemporary artists such as Paul McCarthy and Mike Kelley than film makers.

Fuck it! I ended the night as a total "fan boy"; getting my DVD of Gummo signed and having my picture taken with the man. I shook his hand and wished him all the best. A good night, overall.


PS. For an excellent article on Harmony Korine, I recommend reading Benjamin Halligan's chapter from New Punk Cinema (Edited by Nicholas Rombes), entitled: What Was the Neo-Underground and What Wasn't: A First Reconsideration of Harmony Korine.

Today's Harmony...

At 4.15pm today I'll be in the same room as the director of these contemporary masterworks:


Unfortunately, time has not permitted me from seeing his latest offering, Mister Lonely (the premise reminds me a little of Roeg's Insignificance (1985) but I'm positive the execution will be immensely different), but it'll be definitely something I pick up on DVD as soon as released. Korine is one of the few American directors working today whom I have utmost respect for.

Friday 26 October 2007

(Slow) Recovery / Brighter Day

To cut a long story short, when I was at secondary school, I suffered from what I called "unprescribed insomnia", that is, I never felt the need to see a doctor to explain my consistent sleeping defects, some nights two hours, other times 72 hour blocks, the situation was insane but I felt it worked to my advantage by allowing me extra time to watch so many films (maybe 6 a night). The situation changed when I became employed, with 6am wake-ups, 9 hour days, by the time I got home (whether that would be through lifts or its alternate, a lengthy bicycle ride), I had no stamina to, for example, last through a 90 minute film without falling asleep before the halfway mark (in this case, it could be days before watching anything again, which, in my view constitutes a non-productive existence). After 2 years and 3 months in the 8 - 5 routine, I then became a "mature" (22 or 23) student at University and that's where my sleeping patterns began to become erratic. In social terms, a typical university student (aka. Nosferatu) sleeps during the day and arises at night whereby sleep might come into play sometime between 2 - 8am... this is a problem for me as I pretty much awake between 6 and 7am every morning (force of habit), regardless of what time I go to bed the night/morning before. Bed at 10pm, awake at 6. Bed at 4am, awake at 6. A built in alarm clock with unalterable factory default. So, I tended to swing between the two states of (un)conscious (insomnia and narcolepsy).

Fast forward to Monday's screening of the new Rivette film and by the time I had reached the cinema (film started at 4pm), I was absolutely exhausted, almost to the point of delirium. Prior to the film's opening credits, I spent the time trying to find a comfortable position in a part of the cinema where the seats are only OK, suffice to say, I thought I had found it slightly outstretched with my head resting against the back of the chair (no headrests). Not good. A day later I suffered the consequences and through a combination of fatigue (which I had gone to see the doctor about - looking like a leftover from a Romero film), and the evils of a stinking cold, it seemed my body couldn't repair the damage my "sitting" position had caused a few days before. Drowsy, passive and any movement around the lower back region ready to cause disembowelment have meant my incapacitation for the last three days. So rarely do I get ill, the last trip to the doctor was for the rare condition amongst healthy young people known as pneumothorax (aka collapsed lung), that was a year ago and before that, must be something like 3-4 years... up to 5 year increments.

In other news: I received Edward Yang's A Brighter Summer Day (1991) on a dual layer DVD+R from AsiaFilm, this film has no official distribution in any English speaking country (or, to my knowledge, *any* country as an official release). Sadly, on the reverse is written:

This Brighter Summer Day DVD is published by Asiafilm.com
This masterpiece film is not currently being distributed in any video format worldwide, so we are making this available as a service to film lovers. If you know how we can contact Edward Yang to try to distribute BSD on DVD in North America, please contact us at (940) 497-FILM. Thank you and enjoy!

Unfortunately, as of 29th June 2007, there was no way of reaching Mr. Yang. R.I.P.

[with thanks to Jonathan Rosenbaum for pointing me out to this DVD via his page on the cinemascope website]

Monday 22 October 2007

Goatfucker Grierson on MySpace

Completely forgot that I'd set up a MySpace profile for my new harsh Noise project, certainly feels very strange listening to VBR(V2) rips streamed (doesn't sound nearly as good but hey).
Only two non-album tracks up at the moment, both of which have fuller titles than displayed on the page (it's odd, you can write a long album title but the song name is restricted character-wise).

For reference, the track titles actually are:

- Circumcision: Rabbi's Excuse To Suck A Little Boy's Cock
- 14th October 1981: Birth of a Holy Cunt

Government Alpha is listed as an inspiration (probably the biggest) and he's accepted my friend request... wonder if he's heard my material, though!

Goatfucker Grierson @ MySpace

In other news: Today I head off to the London Film Festival on the back of Friday's screening of Hou Hsiao-Hsien's Le Voyage du ballon rouge and catch Jacques Rivette's new mini-mammoth, Ne touchez pas la hache.

"These are great times we live in, bro, we're jolly green giants walking the earth... with guns"

Sunday 21 October 2007

The Cost of Happiness


I've been giving demonstrations using, so far, the only three HD DVDs I own (The Searchers, Mad Max 2 and La Haine) but the difference between watching a standard DVD on a 37" Widescreen TV designed for 1080p output and a HD DVD is enormous. The image is so alive in terms of detail that what initially seemed beautifully rendered by its predecessor now pales in comparison; imagine if practically every film could not only have "the Criterion treatment" but go that much further and surpass to the point where I very nearly lose track of my senses and want to buy films I have no time for (I haven't, luckily).

That moment toward the beginning of John Ford's The Searchers (1956) where we move from darkness into light by means of a door opening, revealing, quite overwhelmingly, the weight of the Grand Canyon's presence; vast open spaces obstructed by towers of natural rock forms, harsh and impenetrable by design and whose existence is juxtaposed by the surrounding wasteland, awash in infinite golden sunlight. A form of beauty and the beast but whose visual serenity harbours no remorse or sympathy for those who tread its path. During this sequence (and throughout the film), Ford uses landscape as a means for us to understand the conflicting nature of human psychology and he does so by using deep focus so that his characters (and us) are constantly reminded of their bitter, beautiful companion. Short of a remastered 35mm print, the HD DVD/Blu Ray captures this feeling as I've never seen before, no longer do the textures of Monument Valley seem "blurred" or lacking true definition, finally; it's now able to breathe through its almost three-dimensional representation.

A few other interesting things about the next generation's properties (that I'm sure you can find all over the net):

- HD DVD is *completely* region-free (its rival, Blu Ray, has 3 regions as opposed to current standard DVD's 6 zones).
- HD DVD/Blu Ray no longer present problems with regard to issues of PAL/NTSC because they utilise film's standard of 24fps (which, Studio Canal aside means that "pitching" errors present on PAL discs shouldn't occur as the length of the film is now universal as opposed to a 4% speedup currently employed on PAL discs).
- HD DVD/Blu Ray is backward compatible with standard DVDs and does this neat thing called "upscaling" which actually increases the resolution slightly (I've definitely noticed a difference). The only pitfall at the moment is that the players on either camp aren't SD-DVD regionless so you're best off using your old players for playback in that respect.

Currently on order: 2001: A Space Odyssey, The Big Lebowski, The Wild Bunch, Total Recall and Out of Sight.
I also got to choose 5 free titles from 13 options and these should arrive in the next two weeks: Children of Men, Serenity, Black Rain, Tim Burton's Corpse Bride and The Prestige (options were, er, yeah).

Saturday 20 October 2007

Cruising With Turturro (Useless Observation of the Day)

I received the newly remastered DVD of William Friedkin's Cruising today and at first glance; on the rear* cover there is picture of Al Pacino that immediately made me think of John Turturro (excuse the poor scan):


*no pun intended

Wednesday 10 October 2007

Urban Discovery

Urban Trad have got to be one of the best Eurovision Song Contest artists of all time!! (and it helps that Veronica Codesal is unbelievably gorgeous -- Ok, ok, she's the reason I started listening). Folk/Pop at its finest...

That is all.




Tuesday 2 October 2007

On Route To Chris Cooper...


Cairns (right) and his producer caught in a Utopian fairytale.

Monday 1 October 2007

Sunset Stripped

A letter published in the October 2007 edition of Sight & Sound:

Sunset Stripped

With the DVD edition of David Lynch's Inland Empire looming, it seems appropriate to point out one of its film connections that has remained (at least to my knowledge) unmentioned.
At one point the character played by Karolina Gruszka is shown praying, wearing a black veil and looking towards the right of the frame, saying the words: "Cast out that wicked dream which has seized my heart." This is an exact quotation not only from Erich Von Stroheim's Queen Kelly (1931) but also from the film Lynch named as one of his major influences, Billy Wilder's Sunset Blvd. (1950), in which the same scene from Stroheim's movie is watched by Norma Desmond. Just think how rich a point Lynch is making here!
Norma Desmond is Gloria Swanson, who watches herself as a young woman and - according to Sunset Blvd.'s narrator - is "excited about that actress up there on the screen." Add to that the extraordinary scene from Inland Empire in which Laura Dern sees herself on the movie-theatre screen and feels something entirely different from excitement: repulsion, fear, anxiety.
We end up with yet another complex existential conundrum of the kind that Lynch crafts like no other director. Indeed, he knows (more than any other film-maker) one's "wicked dreams" and "seizures of the heart".

Michal Oleszczyk
Krakow, Poland