Produced by Peter Flax, the series of video testimonies opens with these simple words: “Seventy years ago, the Holocaust ended. Only 11 people who lived through it remain from the world of entertainment. Now, in gripping video testimonials, Oscar winners, actors, Dr. Ruth and even Judy Garland’s hairstylist tell their personal stories, filled with hope and horror, one last time as their themes of genocide, displacement and discrimination continue to resonate today.”
Posts Tagged ‘Humanities’
My review of the new Godzilla film seems to have sparked some real response, and in the comments section, I added these thoughts, which I think should be repeated here. In response to a number of people agreeing with my assessment of the film, and some people disagreeing, I added these final comments on both the film, and on reviewing films that I’m not fond of – something I don’t enjoy doing.
“I took no particular pleasure in doling out a bad review of the film — and I really went in expecting a genuine return to the roots of Godzilla, so to speak. But we have to keep these things in perspective. On one level, the whole thing is ridiculous – I mean, who really cares if a Godzilla reboot works? On the other, the original film was such a serious and potent metaphor for the nuclear decimation of Japan in 1945 that to see the whole concept turn into just another monster movie is a real betrayal of the 1954 original.
Pop thought it may be, the first Gojira had depth, which this film lacks; then again, I wish Edwards would go back to smaller, more thoughtful projects, but now that Hollywood has him in its grasp, there’s little likelihood of that. The 2014 Godzilla reminded me most strongly of Ataque de Pánico! (Panic Attack!; 2009), a short film made by another spfx wizard, Fede Alvarez on a dimestore budget, which also led to another Hollywood deal.
So it’s like this; make one good film with no money, then Hollywood snaps you up, and you make one bad film after another which is totally compromised by studio/exec interference, but they’re still hits because the studios have sunk so much money into them that they can’t afford to let them die, so they promote the hell out of them, and thus they become ’successes,’ and so you do another.
So I’m waiting for Manoel de Oliveira’s next film, which will have no money, lots of ideas, and will no doubt challenge and engage me more than this — but circling around all of this for me is my conviction that the 1954 Gojira and Oliveira’s The Strange Case of Angelica (2011) are roughly approximate in seriousness of intent, and that a stronger case needs to be made for Ishirō Honda in the first film. The genre really doesn’t matter here; it’s seriousness of intent.” As Honda himself famously noted, “monsters are born too tall, too strong, too heavy—that is their tragedy,” and that’s the tragedy of this film, too.
On Martin Luther King Day, it’s both appropriate and fitting that a newly discovered speech by Dr. King has been released to the public, and presented in a video that allows one to follow along with Dr. King’s speech, as an audio track, while also viewing the text he is reading. As Ashley Hupfl reports in USA Today, “the New York State Museum has unearthed a long-lost audio recording of a 1962 speech from the Rev. Dr. Martin Luther King, Jr., state officials announced Monday. An intern found the recording as museum staff worked on digitizing thousands of audio and video recordings in its collection, [and it] has been posted to the museum’s website.
‘This is a remarkable treasure,’ state Board of Regents Chancellor Merryl Tisch said in a statement. ‘More than 50 years later, Dr. King’s voice has come back to life.’ The speech was recorded Sept. 12, 1962, at the Park-Sheraton Hotel in New York City, where Gov. Nelson Rockefeller had convened his state Civil War Centennial Commission. It was delivered at a dinner celebrating the 100-year anniversary of the preliminary Emancipation Proclamation [. . .]
During the talk, King previewed many of the themes he would return to the following year in his ‘Letter from a Birmingham Jail’ and his ‘I Have a Dream’ speech at the Lincoln Memorial during the March on Washington. The online exhibit includes a manuscript of the speech and the original event program. The audio is the only known recording of the 1962 address.”
As Paul Shirey reports on the website JoBlo, “director Martin Scorsese has already created a legacy of films that will long be remembered, revered, studied, and admired for a long time [ . . .] With the ever-changing landscape of film seemingly at a crossroads of change, particularly in the mass affordability and availability of filmmaking tools, the world of cinema is entering a revolutionary period, which Scorsese has taken heed of. As such, the director has penned an open letter to his youngest daughter, Francesca, about his optimism for the art of film, but with the caveat of remembering what’s most important in applying the craft. It’s an inspiring and thoughtful piece, especially for budding filmmakers.
I’m writing this letter to you about the future. I’m looking at it through the lens of my world. Through the lens of cinema, which has been at the center of that world.
For the last few years, I’ve realized that the idea of cinema that I grew up with, that’s there in the movies I’ve been showing you since you were a child, and that was thriving when I started making pictures, is coming to a close. I’m not referring to the films that have already been made. I’m referring to the ones that are to come.
I don’t mean to be despairing. I’m not writing these words in a spirit of defeat. On the contrary, I think the future is bright.
We always knew that the movies were a business, and that the art of cinema was made possible because it aligned with business conditions. None of us who started in the 60s and 70s had any illusions on that front. We knew that we would have to work hard to protect what we loved. We also knew that we might have to go through some rough periods. And I suppose we realized, on some level, that we might face a time when every inconvenient or unpredictable element in the moviemaking process would be minimized, maybe even eliminated. The most unpredictable element of all? Cinema. And the people who make it.
I don’t want to repeat what has been said and written by so many others before me, about all the changes in the business, and I’m heartened by the exceptions to the overall trend in moviemaking – Wes Anderson, Richard Linklater, David Fincher, Alexander Payne, the Coen Brothers, James Gray and Paul Thomas Anderson are all managing to get pictures made, and Paul not only got The Master made in 70mm, he even got it shown that way in a few cities. Anyone who cares about cinema should be thankful.
And I’m also moved by the artists who are continuing to get their pictures made all over the world, in France, in South Korea, in England, in Japan, in Africa. It’s getting harder all the time, but they’re getting the films done. But I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are now at a crossroads.
Audio-visual entertainment and what we know as cinema – moving pictures conceived by individuals – appear to be headed in different directions. In the future, you’ll probably see less and less of what we recognize as cinema on multiplex screens and more and more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can’t predict.
So why is the future so bright? Because for the very first time in the history of the art form, movies really can be made for very little money [emphasis added]. This was unheard of when I was growing up, and extremely low budget movies have always been the exception rather than the rule. Now, it’s the reverse. You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass.
But with all the attention paid to the machinery of making movies and to the advances in technology that have led to this revolution in moviemaking, there is one important thing to remember: the tools don’t make the movie, you make the movie. It’s freeing to pick up a camera and start shooting and then put it together with Final Cut Pro. Making a movie – the one you need to make – is something else. There are no shortcuts.
If John Cassavetes, my friend and mentor, were alive today, he would certainly be using all the equipment that’s available. But he would be saying the same things he always said – you have to be absolutely dedicated to the work, you have to give everything of yourself, and you have to protect the spark of connection that drove you to make the picture in the first place.
You have to protect it with your life. In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.
This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the inner light, as the Quakers put it.
That’s you. That’s the truth.
All my love, Dad”
About the Author
In The National News
Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.
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