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Ken Burns is our Hero

In Uncategorized on September 30, 2009 at 3:44 am

@ GM's preview of The National Parks in Central Park

@ GM's preview of The National Parks in Central Park

This week is the PBS screening of THE NATIONAL PARKS and if you aren’t watching it, you had better start re-evaluating your priorities.

Austin and I had the pleasure of attending GM’s preview of Ken Burns’ new 12 hour documentary in Central Park on Wednesday (VIP style, bien sure) and I must confess, I actually squealed when I saw Mr Burns.  He stood but 5 feet away from us, greeting friends and colleagues.  His hair was perfectly feathered.  His jeans were rugged, but clean.  Oh yes, I was smitten.

The whole night was incredible. The food and drinks were delicious; the performances were surprising and highly entertaining. My favorites were Alison Krauss (of course) and Peter & Paul (sans Mary, sadly).  Peter & Paul had such amazing joy that it was contagious. And seeing as how theirs were the songs on which I learned how to play guitar, I was filled with nostalgia.

However, the greatest surprise of the night was meeting the dashing James Nations of NPAC.   He informed Austin and I of a new mine, Pebble Mine, which is on the boards to begin construction just outside Lake Clark National Park in Alaska.   This is a BIG, BIG PROBLEM because it will destroy one of the LAST natural salmon fisheries on EARTH.   As Northwesterners, Austin and I have a huge soft spot for all things West Coast, but especially salmon.  Be sure to stay tuned here to learn more about this issue.  And if you are jonesing to support some independent film, look for the documentary Red Gold. We have to keep an eye on this planet of ours, people.


Screening at Landmark!

In Documentaries on September 16, 2009 at 6:57 pm

screening at Landmark on 9/23

A documentary we are cutting (right now) called TEN TALENTS will be screening at Landmark Theatres next Wednesday night (Sept 23).  Click here to get tickets: http://washingtondctentalents.eventbrite.com/

the Chop Shop reel

In Uncategorized on September 10, 2009 at 6:52 pm

Here is our latest reel! Enjoy!

The Asian Long Horned Beetle

In Documentaries on August 28, 2009 at 9:11 pm

For the past few weeks, Emily has been editing a documentary with David Schneider of 202 Films for Martin and Kelly of the Hamburger Company. It has been a fun couple of weeks slogging through the footage of Worcester Massachusetts to uncover the story within.  We are in the final stretch and we look forward to posting up some of the documentary on the site.   And hopefully we’ll be able to edit some of the mockumentary concepts we’ve been tossing around that all involve the beetle!


In The Films in Our Lives, Uncategorized on August 25, 2009 at 12:08 pm


We as an audience sometimes fall victim to disregarding talented actors because they are the best part of shitty film. We qualify their performance by saying that he/she ‘were good, but…’, which is an attempt to distance ourselves from liking something that we deem unlikeable, whatever the reason.

A Perfect Getaway , which is not a shitty film, stars Timothy Olyphant and Milla Jovovich, actors who have fallen into this category often in their career. (Hitman, The Girl Next Door & Resident Evil, The Messenger)

I will not argue the fact that these films are good or bad, or that I’ve seen them all and enjoyed them. (Well, not The Girl Next Door it’s absolute shit, but I really loved Timothy Olyphant.)

Timothy Olyphant: probably best known for his portrayal of Seth Bullock in Deadwood, and that more than likely he was born with a Cheshire Grin. His first noticeable role was the villain in Scream 2. (Which more or less was a knock off of the villain that Matthew Lillard played in the original.) He played the unnamed hitman in Hitman. A pimp in The Girl Next Door. A pissed off computer tech in Live Free or Die Hard. He’s played the gamut of villains, high & low, and always been the best part of those films.

He has spent the better part of his career wasted in films unsuited for his talent. ‘A Perfect Getaway’ is a great role for him. It plays off his villainy, as no one trusts a man who smiles too much, they seem to have something to hide.

‘Outstanding!’ Nick (Olyphant’s character) smiles. But it’s more like ‘Out.Standing!’ (The period is properly spaced.) The key to every Olyphant performance is reading his smile. Is it joy? Is it masochism? Is it the fact that he knows he’ll get away with it?

There is revelry in his performance.

And there is too little joy in cinematic performances; film actors seem to think that you have to be tortured to be believable. (Benecio Del Toro, have some fun, you’re really talented.) Or you have to be careless to have fun. (Transformers, I’m looking at you.)

Olyphant is measured.

Milla Jovovich: model/actress not always a great combination. Rule of thumb, model/actresses tend to be able to pose like they know what’s going on, but fail to connect with the emotion behind it.

Milla Jovovich is not measured.

Watch The Messenger, she fidgets, emotes, wiggles, and generally suffers from some mild form of Parkinson’s for the duration of the film. She’s almost unwatchable in her movements. (For the sake of your time and energy, don’t watch The Messenger.) Now watch Resident Evil, again, she emotes, she kicks ass, she plays the scenes and according to the DVD Commentary, she also made her outfits. Point I’m making, she throws herself into the roles (literally, if she could, she would), who cares what people think of it.

She’s a committer.  What she lacks, more times than not, is a director to guide her to realistic, human outcomes. That’s is to say, you can present emotions but not the right emotions at the right time.

In fact, watching the Resident Evil Trilogy there is nothing wrong with her performance. There is a lot wrong with the script, the direction, the leaps of faith. But she follows the path of her character come hell or high water.

In A Perfect Getaway she has a little monologue that ends with ‘It’s amazing how much you talk about yourself when you’re on vacation.’ (Paraphrase.) A bad actress would not be able to say that with the right amount of conflicting emotions, she does.

Final point: no one wants more shitty films. What we want is good films that entertain us. Films that we enjoy, films that make us think, films we can walk away from and go on with our day. One way we can do this is find actors whose performances we enjoy, flock to the cinema to support them.

Support Timothy Olyphant and Milla Jovovich.

(Another post could be made to follow Steve Zahn, but he is often referred to as brilliant and a comedic force, neither of these arguments I disagree with. But the case for Timothy Olyphant & Milla Jovovich, is much more interesting to me at this moment.)


In The Films in Our Lives on August 23, 2009 at 9:02 pm


Maybe the thing about Japanese Horror films (J-Horror, as its also referred to) is that its ghosts don’t really do anything. Which is a little untrue, they don’t physically do anything. Emotionally they kill.

And I’d argue that if you we’re faced with a ghost, one that is drawn to you because you are alive and it is not, that’d emotionally scar.

Pulse, the 2001 film from Kiyoshi Kurosawa, is an example of this phenomena. Without getting into to much on this film, mostly because Scott Tobias over at The Onion’s AV Club does an excellent job talking about the film, so let me briefly say that the thought of life after death being a drag, full of monotony and disillusionment is horrifying.

The impact of Pulse comes from its use of plain long shots to unnerve. The longer the take, the more the action takes place in a shocking place on the screen, the more unsettling the film becomes.

Kurosawa (not related) uses his framing, editing and actor positioning to an uncommon effect. It could not be any more different than the flash cutting of American versions of the J-Horror movement. There is a long sequence near the end of the film between a ghost and a human. There is no inter-cutting between the ghost and the human. The ghost, slightly blurred, moves towards the human. The human trips, and continues to look at the ghost. (If you thought death was walking up to you, how would you react?) The ghost moves towards him. The ghosts comes into focus. And what a focus pull. The scariest focus pull I’ve ever seen.

But it isn’t all focus. It’s also in the fact that the ghost moves towards the human from one part of the frame to another. That the minimal cuts are deliberate. The emphasize the presence and physicality of the ghost. They make the ghost real.

There is one other question I’d like to address about the film:

Why the humans die after seeing the ghosts? It’s not as if the ghost’s physically harm the people them meet. They seem to just imprint them with the a feeling of uselessness. A feeling that life after death is tedious. And while that might seem odd that the humans die after being exposed to this, instead of trying to live even happier lives, which is what each of us hope to do, dread and sorrow are powerful emotions.

It can effects the spirit.

And quite literally, ghosts are spirits.

So, if our spirits have no hope, what’s the point?

Filming DC United

In Century Council, Commercials, television on May 15, 2009 at 3:14 pm

Yesterday we had the pleasure of filming Devon McTavish of DC United. He was charming and professional and did a great job on the PSA we shot for the Century Council.  It was great fun!  We’re working on the edit of the Ask Listen Learn spot, and will post it up as soon as it’s finished! Enjoy the bloody cold lousy April weather.


Here is the spot!

We Made This

In Auto Alliance on March 27, 2009 at 4:01 pm

Go to: http://autoalliance.org/ to see our video on the homepage!  It’s so exciting to be part of a such a big movement.

The Films In Our Lives: Let the Right One In

In The Films in Our Lives on February 5, 2009 at 7:09 pm

‘Let the Right on In’ (dir. Tomas Alfredson) is a beautiful film. It belongs in the same sentence, if not breath, with both versions of ‘Nosferatu’, not because of its subject matter, but because of its willingness to take that subject and devout the same intelligence and care that Bergman or Wilder paid to lives of their characters.

Simplifying the story: Oskar is a bullied boy with an absent father and a dismissive mother. Eli (Lina Leanderson, an actress who expresses unimaginable knowledge for someone so young) moves into Oskar’s building late one night, with her guardian.

While Eli lives off the blood of others, she befriends Oskar. Why she does this is up to some speculation.

Alfredson, working from a script by John Ajvide Lindqist, spends a lot of time setting up a realistic world for the characters to live in.  The scene where Eli’s guardian, must go into the snow and find a victim for Eli, is a great example. Pay attention to the time we spend watching a man prepare to murder a stranger, and to the care he takes in gathering the blood. Later, notice the  action he takes to protect Eli when he is caught. His love for his ward hints at an unsettling end for Eli and Oskar’s relationship.

A quick note about the adults in the film. They seem distant or monstrous. I think this has more to do with the fact that Alfredson and Lindqvist have told the story from Oskar’s perspective. His relationship with his parents, strained as it is, relates to how we view all the other adults in the film. They are pieces of his parents’ relationship. It is a strategy that works very well.

In the end, the film is about two people who find each other in a lonely world, and forge a bond.

In another context, it’d be very romantic.

In this context, it’s a little terrifying.

‘Let Right One In’ comes out on DVD in early March 2009. Watch it.

DC Autoshow

In Auto Alliance on February 5, 2009 at 6:39 pm

We were of the lucky few to document the Sneak Peek of the Washington DC Auto show on Tuesday! Here is one of my favorite photographs of the day:McCurdy, Ford Execs, Rep Markey, and Austin

Behind Dave McCurdy, Congressman Ed Markey, the top execs of Ford… there stands Austin.