At one point there was a Bomb the Music Industry documentary in the works. Is that still happening?
Yeah, that’s still happening. I like music documentaries a lot and all the ones that I think are really interesting take place over a long period of time. And Sara Crow (the director) felt the same way. So I think that’s where we’re at—if the documentary came out today, there really wouldn’t be an ending. There’s a lot more to capture. It’s funny because since the Kickstarter campaign people have been like “Where’s the documentary?” But [Sara] doesn’t want to make a documentary in just a year and half. Like, fucking Dig! took like eight years to make. I think Some Kind of Monster took three or four years to make. And those movies are awesome. So I think to make it a really good movie people just have to be a little more patient.
-Megan Seling interviews Jeff Rosenstock in The Stranger this week. Check it out!
Sara Crow is so cool. Better believe I’ll be the first to see this when it premieres at the Gene Siskel Film Center (even if I’ve already seen it).
about the object in the shining-- i am a huge fan of the movie, and i've seen a few documentaries that talk about the object. no one knows for sure what it is, but while some have theorized that it is some sort of intentional subliminal-meaning object, the usual answer is that, as you said, it was something that functioned to make the blood flow work properly.
I’m more for practical theories because I know filmmakers and their teams to be flawed no matter how meticulous they are, and that is part of the beauty in creating something that works so well. The fact that they were using a miniature set lends to the greater possibility of small pieces becoming dislodged, or the necessity for something like a cork. However, I like the idea of it being thought of as intentional because it shows how absolutely dedicated Kubrick’s fans are to analyzing his films and believing in their perfection (and, of course, how powerful his films are).
Have you noticed the object falling out of the elevator in the elevator of blood seen in "The Shining"?
Check my blog. It lends the scene a new, more terrifying aspect. Tell me what you see?
I’ve been watching this clip over and over and all I can really think of is that it’s some kind of sluice to direct the blood that either detached itself from the mini-set or was shot off at the beginning of the blood stream like a cork to create pressure, which gave it that violent cascade.
I love how certain directors and films affect their audience so much that they theorize like this, though - I want to be a filmmaker like that someday!
is there any film that you've found so disturbing that you couldn't revisit it?
also! how influential has chicago been on you as a filmmaker?
There have been a few; the only one I can think of right now is Svankmajer’s Little Otik. It didn’t even give me nightmares, it just made being awake and watching it very uncomfortable, and perhaps the days that followed. Stop-motion always makes me feel a little uneasy even if the content is comedic. If I think of any more movies that disturb me, I’ll post ‘em immediately.
Chicago’s a pretty notable hub for independent and young filmmakers just starting out. I haven’t interacted too much with the film community because I haven’t really set off on my own productions yet, but the people I have worked with and for have all been super-fun and supportive and very talented. I think Chicago is a great starting point for any filmmaker looking to network and get their first gigs, or for commercial work through the awesome production and post-production houses we have here.
What's your opinion on the latest 3D trend? Is 3D here to stay?
I’m all for 3D (totally gonna see Conan, not sorry) and I definitely think it’s the technology of the now. Still, I think IMAX will outlast 3D in terms of big cinema camera tech. I wonder what my cinematographer friends have to say about this?? They know much more than I do on this topic.
This answer is usually changing, but I always fall back on The Passion of Joan of Arc by Karl Theodore Dreyer paired with Richard Einhorn’s “Voices Of Light” soundtrack. Part of it is the surprise that a score written for a film 60+ years after it was made could fit so well, though the film by itself moves me so deeply with the gorgeous impressionistic set design, use of shadows and space, and camera movements that were well ahead of their time. Marie Falconetti is sublime as Joan - she looks like she was sobbing for months before filming even started. I actually haven’t watched the film in a long time, so I should definitely revisit it, but this also means I should be watching more movies to challenge this long-standing favorite. There are so many movies I haven’t seen…
I’m in the process of trying to queue up some film responses and plug a very talented friend, but I have nothing to write about in the meantime. If you’ve got any film-related suggestions, moviemaking stories to tell, aspirations or dreams, even personal introductions (or personal questions), I want ‘em!
Your post about the 48HFP screening basically described how I felt about our screening last year. I was pretty unhappy with the film we made. (Also my team was the youngest and I was the only female team leader as well!) But knowing the mistakes we made the previous year was really helpful going into this year's competition. So I'm sure you realize this, but I just wanted to say that it's definitely worth the experience! :)
Awesome, thank you so much :) It’s always a learning experience, and I don’t think feeling negatively about it is at all a bad thing as long as it motivates me to do better. I tend to be extremely pessimistic, so that’s just one of the many things I want to work on for next year.
Congrats on your 48Hour film! Is it up online for others to see? I’d love to check it out.
We definitely didn’t win anything last night, but I am very proud to have worked with such a hard-working cinematographer. If any of you live in Chicago and are looking for an ambitious and talented DP to work with, look up this guy.
The cons of last night: - Our audio was too quiet and our image was too dark - We were competing against some very seasoned and well-equipped professionals who had a grossly unfair advantage - I was petrified and near tears the entire time I had to be in front of people for the Q&A
The pros of last night: - Actually “competing” against said very seasoned and well-equipped professionals with the unfair advantage, as if we were their peers - Brian and I were definitely the youngest of the filmmakers, and I was the only girl (among the filmmakers shown last night) - Amanda Peters, the organizer of Chicago’s 48 Hour, is a total sweetheart lady and definitely knows how to deal with young and pissed-off filmmakers as well as a dead crowd
On a less optimistic side, the whole “but at least you finished it and made something, that’s an accomplishment, right?” sentiment is total bullshit; though I appreciate my friends and family and fellow tumblrers for their esteem, I feel statements like that totally undermine the pain of this experience, which I need to feel. I didn’t spend all that money that I barely have to “finish” something - I did it to compete with a piece that I am proud of, and I don’t think Brian or I are particularly proud of how our film screened last night. This isn’t a particularly negative experience, though, as it makes me want to work really hard to actually make something great next year and provide as much support for my team as I can. I’ve learned many lessons from this past week and I aim to implement them into my work as well as my daily life. I hope this will make me stronger as a person and a director/crewmember.
Thank you guys so much for your support. I’ll keep you posted on any future projects I’m able to tackle.