Citizen Kubrick

Jon Ronson has a fascinating article called “Citizen Kubrick” in The Guardian today about Stanley Kubrick‘s archive. It’s an amazing look into the massive amount of research that the filmmaker conducted with each of his projects. Each Kubrick film is precisely constructed and assembled together. I never get the sense of anything accidentally being included in one of his films. Jan Harlan‘s documentary, A Life in Pictures gives a picture of the man and his work, but Ronson’s glimpse into the Kubrick-designed boxes filled with photographs, letters and other more exotic artefacts from the artist’s life show the attention to detail that made each of his films so breathtaking. The article comes just before the opening of The Stanley Kubrick Exhibition at the Deutsches Filmmuseum and the Deutsches Architektur Museum. I wish that I could go, but the Web site has great photographs and information about the exhibition.

March 27, 2004 , , , , , ,

Mr. Death

Mr. Death Unofficial PosterErrol Morris is a gifted filmmaker who carefully constructs his stories in a deliberate and highly-entertaining fashion. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. tells the story of the man who began by designing and repairing electric chairs and then moved into researching the use of poison gas in WWII Nazi concentration camps, which resulted in his downfall. It’s a fascinating story of how pride and vanity can take people into directions that you could not predict. As with all of Morris’ work it tells both the story and provides insight into the way that we construct reality and truth. The critical thing in any documentary or research is in asking the proper questions. Morris asked the right questions to tell the story and Leuchter did not in his illegal research which has been used to deny that the Holocaust occurred. It’s one of the best documentaries that I’ve seen in how it constructs the story and deals with so many issues and potential pitfalls in the story. Morris and his way of constructing a film is a source of inspiration for me and he’s influenced the way I see filmmaking because presentation and re-presentation of reality is much more complicated than it seems.

March 26, 2004 , , , , , ,

Standing in the Shadows of Motown

Standing in the Shadows of Motown PosterI’ve been lucky enough to work on documentaries that gave me a chance to meet and learn about amazing people and stories that I would never have known about. When you work on a documentary you have a chance to preserve the story and lives of people and that’s what makes working on documentaries so wonderful and difficult. I finally was able to see the film Standing in the Shadows of Motown on the weekend. The documentary tells the story of the Funk Brothers, who were the heart and soul that made the Motown sound what it was. I’ve always loved Motown songs and heard many of them on Danny Finkleman’s CBC Radio show Finkleman’s 45s, but I never thought about how the Motown sound originated. The most obvious answer is that it came from the session musicans who played on all of the songs. They are an amazing group of incredibly talented musicians who never received proper credit or appreciation of what they accomplished. What’s amazing to watch is a band reassembled after many years and it seems as if they never took a break from playing. The film features a perfect blend between interviews, recreations and performances by the Funk Brothers with a near-perfect structure that kept me entertained and left me content. One of the great music documentaries.

March 22, 2004 , , , , , , ,

New Brunswick Filmmakers’ Cooperative is 25!

About 21 years I first found out about the New Brunswick Filmmakers’ Cooperative in Fredericton New Brunswick and today the Coop (as I will always know it) is 25. On March 1, 1979 the Coop came into being and the media arts scene in New Brunswick has never been the same. I owe the Coop so much (including my dues for this year) and it is inseparable from my own development as a media artist. Pretty much everything I know about filmmaking has come from there and it’s also probably the reason that I teach now.
The role of the Coop has changed dramatically over the past 2 1/2 decades. At first there were artists who needed the equipment to make their films. The reduced cost and portability of 16mm film equipment and the involvement of the National Film Board of Canada made it possible for a small group of artists to start telling their own stories in their own way. When I first walked into 51 York Street it was with my friend Kevin Holden who was working on a film called “Just Say Hello” which was part of New Brunswick’s Bicentennial celebration. I remember seeing the Steenbeck and learning how film was edited. I began recording sound when Doug Sutherland had no one to record sound for a scene on his short film, “Smoke.” I remember Dave Clarke, the first coordinator of the Coop. I remember my good friend Tony Merzetti the second and current coordinator of the Coop and the person who taught me so much about filmaking and lighting and editing that it couldn’t be crammed into any film school anywhere. The Coop is also where I met my friend Errol Williams who gave me a chance to work with him when I took a workshop and heard him talk about a documentary that he wanted to make about Willie O’Ree. During a break I told him if there was any way that I could help him I would. He’s given me a few chances to work with him and it’s always been fun.
So on the evening of the 25th birthday of the Coop I’m a bit sad that I can’t be there, but so proud that I’ve been able to be part of such an amazing organization that has helped so many people tell their stories. Now I’ll raise my glass which has some of the Scotch that was given to me as a present when I left the Coop a few years ago. Cheers and see you all soon!

March 1, 2004 , , , , , , , , , , , , ,

Remembering the Web That Was

About a week ago my son asked me for some help with redoing his Web site. He’s seven years old and he likes to do things that everyone else in the family does and since most of us make Web sites that’s what he wants to do. He already has some locally hosted stuff. He wanted to blog so I set him up with Movable Type which he used a bit and then he saw me working on this site and he wanted to use what I used, which is Blosxom, so I set him up with Blosxom which kept him for a while longer. Then he wanted to change the look of the site and he asked me how I did it. He wanted to use HTML, like me, but I didn’t have time to teach him so I started thinking about the books in the computer bookcase and thought of Jennifer Niederst‘s Learning Web Design. I gave it to my son and he started reading and coding with BBEdit. Then he wanted more control over the look and layout of the site and asked me how I did that. I told him about CSS and then he wanted to learn about that and I discovered the CSS palette in BBEdit that makes things a bit simpler.

This got me thinking about how things were when I started making Web pages and how wonderful it was when I found out how to do things. The first book that made things easy and understandable was the now out-of-print Designing for the Web. I still have the book and it actually holds up pretty well. It was my constant companion when I first started teaching Web design to people. Then I moved on to Web Design in a Nutshell which is still my favourite printed reference.

Now I don’t read a lot of books about basic stuff since I’m trying to do more with CSS and focussing on the content and less on the presentation since sometimes working on the look is a great way to delay writing. It was neat in the old days because there weren’t as many Web sites and many of the questions weren’t “how” to do something, but “if” something was possible to do. It was fun because everyone was learning and trying things out. There was the constant push to cut things down and to wrap your head around a different way of thinking to code stuff. Now I code stuff by hand with BBEdit’s help and I really like it. I’m closer to the code and by trying to code stuff cleanly and to standards it isn’t as big a deal to do a redesign in terms of needing to redo lots of pages.

I’m also realizing how many design and coding principles that I’ve assimilated into my own practice. I don’t look a lot of stuff up and firmly separate out the content from the presentation. In a funny way I think that many of the practices that I follow are all aligning… the same for thinking about teaching, editing, writing and creating almost anything. I think about what to say, how to say it and then playing around with the presentation. The simple version is “think, plan, make it work, and make it pretty.” When I don’t follow that process is when I get off topic and spend more time exploring a technique and less time exploring ideas.

Seeing my son build his pages made me remember how wonderful it is to see something appear in a browser after you code it. The sense of wonder that made the Web so special. The amazing feeling of seeing a new page and figuring out how it was done and checking out the code to confirm what you thought. In some ways it is a bit of magic – seeing behind the curtain at the machinery inside. I’d forgotten about a lot of that and now I’ve got a little bit of it back thanks to my son asking a few questions.

November 30, 2003 , , , , , , ,

A Personal Journey with Martin Scorsese Through American Movies

I just finished watching “A Personal Journey With Martin Scorsese Through American Movies” which was codirected by Scorsese and Michael Henry Wilson. In one of those odd coincidences I was looking through DVDs at a store and found this one by accident. I’d heard about the film and seen the book and always wanted to see it, but never spent a lot of time looking for it. When I saw it in front of me I had to get it and I’m very glad that I did.
While it is a 3 part series that is over 3 1/2 hours, but it seemed to zoom by. Scorsese talks about his deep love for movies and the movies that influenced him. What is great about it is that he does touch on some of the classics, but what is most interesting are the more obscure films and directors. What I realize as I see more films is that there is an amazing body of work out there that doesn’t get seen very often. Many times the most interesting work is happening in the margins or in the corner of a bigger film. The documentary alos has interviews with directors about their films and filmmaking. It is the beginning of another list of films and directors for me to explore. Scorsese is one of the great directors and is able to translate his deep love of movies very well to the screen in this documentary as well as in every film that he makes.

November 8, 2003 , , , ,