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Showing posts with label film poetry. Show all posts
Showing posts with label film poetry. Show all posts

Tuesday, February 15, 2011

First Post: Awards Voting Season & Movied Out

Just rediscovered this blog yesterday. Opened it 5 years ago, posted once about an arduous (first) cattle call, that is, *casting* call adventure, then forgot all about it. Self-talking isn't really my thing; self-talking into ether even less. But I'm going to give it a go. My preference is for ideas, topics: technology, films, society. . . . I('ll) try to keep the narcissism to a minimum.

So, first post: The Grueling Film Awards Voting Season: A Sort of "About Me"

I am a filmivore. And it's voting season. So, I'm rushing to go watch some final nominated films right now to be able to cast my Spirit Awards votes before the deadline. [Independent filmmakers, how can you not champion independent film?] After a tally last week, in the last 13 months I've watched about 290 films, all new to me. Previously watched films weren't included in the tally, but I also don't usually actively rewatch films. Excluding *The Devil Wears Prada*, which I feel compelled to watch every time it comes on TV. (I think I relate too closely to the Andy character.) And the first 4 Chapters of *Inglorious Basterds*.

I love film, but I treat it a bit like poetry: impressionistic. Films are experiential and about what general reaction they incite in you. I remember that, my general overall impression. A (hopefully sweet) memory that you don't need to *relive* to relive.

This viewing scrambling is a bit like an endurance test. Last year, I recall dashing all over town to hit several theaters to see *A Single Man*, *The Last Station*, and . . something else all in the same day. For some reason, I missed every sponsored screening and had to go the commercial viewing route. This year, I'm not in NY so IFP screenings weren't even an option. This crunch time, I'm trying to squeeze in *The King's Speech* and *127 Hours*. As well as *Never Let Me Go* (I really like Mark Romanek, so I have high hopes for him). I managed to catch *True Grit* (2010) and *The Fighter* last week (as the lone person in the theater). For a film fan, this season is just an excuse to kick into hyperfilm drive.

After ~300 movies in one year, I'm approaching a February movied-out stage. Few new-runs of interest playing in theaters and at the point of having run out of things to watch on Netflix again (I've seen too much), movie-watching's sliding into feeling like a chore. And when the thrill is gone, it's time to put things on hold.

On the positive side of this, the impatience I feel when watching certain movies continues to make me a different kind of editor and shooter. I like slow, I like contemplative, I like fast, I like it all, but what I don't like is dead weight == > dead air. Anything that is not meaningful to the whole should be cut. Non-thematic repetition is just excess. And there's little that's more unappealing than watching wanton filmmaker excess on film. Anything that gets in the way of cohesion is a detriment to the experience. That bowl of fruit or sky or rocking chair or pretty girl might provide a beautiful frame, but unless it fits the overall tone of your film, 5 langourous cutaway shots of it serve no one any purpose.

"Can" doesn't mean 'do.'