When the going gets tough, trust your actors.

It's been a couple of weeks since "The Second Meeting" was shot. As far as production goes, things couldn't have been more messy. The night before the shoot, my director of photography had to cancel. The day of, I couldn't get access to the room I reserved to shoot in. The room I used to replace it was taken from us. In our third room, with lower quality equipment than expected, and a new DP, things felt disastrous.

However, this wasn't the case. Since completing an edit of this short following Thanksgiving, I haven't really watched this short. I've been disappointed in myself. That's a difficult thing to say, too, because I feel that the acting in this short is the strongest of anything I've done. I want to work with these people on a consistent basis. They're all amazing, and I'm deeply proud of them. I'm glad to have been able to have worked with them.

Watching "The Second Meeting" moments before writing this, I don't feel so critical. The acting shines. It covers the errors made. The acting is so deeply enthralling that I don't find myself being upset at slightly out out of focus shots. In the end, I can finally say that I'm proud of this short.

I think a lot of people feel that way about the work they make, especially collaborative efforts. If you convince yourself that you're the weak leak, that's a hard thought process to overcome. This short was a long time coming. "The Second Meeting" is another meditation on presenting anxiety through film, something I've been experimenting with since my short 275. It feels like it is a closing of that chapter.

But, let me get back on track. We started on time, but with different equipment from what was planned. The battery started dying on us rather quickly. We had a dolly (thankfully!), and my DP, a close friend, really took the lead, filling in on such short notice. That was a lot of pressure. And, of course, in our hurry to complete this under said pressure, there were mistakes made.

Showing this to a few people, I get mixed comments. Some people feel the out of focus shorts feel organic, and make sense considering the material. There was a discussion of whether or not the wide shots should have the sound that they do.

Compromises were made. This is part of a larger project that will be collected with other shorts into a long form film. The version being submitted to that project has slightly different audio. I believe that's the only adjustment. I felt that the audio in the Wide shots (the static-like sound) gives the audience less comfort in viewing the piece. It adds to the feeling that perhaps this is not something that should be seen. Me and my DP (who also edited this piece with me) disagreed on whether or not it was for the best of the film.

I experimented with how to handle the ensemble cast prior to the shoot. Considering it was about a group of people who do not know each other (and themselves), I decided not to do a table read, but meet with each actor individually. The discussions focused on body language, as I had given all the actors detailed backgrounds as to why each person had chosen to go into therapy. I was surprised to see how all the actors seemed to come to a similar conclusion on how this scene should feel (admittedly, rather different from my mental picture of it). I cannot say enough how fortunate I feel to have worked with them all.

So here's to the feeling of failure. All those negative Nancy's out there, like myself, take note. Give yourself some breathing space. Step back from your work. Realize it doesn't make you who you are. There are room for second chances, second thoughts. I think you'll be surprised with what you find. In my case, I find joy.

I hope you enjoy the new flick!

-Matt

Film as mood management

I typically feel at my best when I am working on a film. It simply makes me feel better. Perhaps its the ultimate way for me to deal with how life my be affecting me, positively or negatively (usually negatively). It's my medium of therapy, something everyone needs from time to time.

I see this most in my shorts "275" and "364." They were both direct responses to things that I was feeling. I personally believed that the best way to deal with these feelings and share them with others was to make a film.

In this sense, "364" is very closely related to "275." You can see this immediately in the name, and certainly in the short. Like "275," this new short takes place entirely in a dorm room. They are drastically different, however, and this is due to what I was feeling. It shaped the film entirely. In that sense, these are probably my two most personal films to date.

With this in mind, you'd think that I'd be offended that, for the first time, someone (anonymously) dislikes this short. Despite this film being incredibly personal, I feel as if that's expected. This doesn't have the energy of "275," and it's much more open. It's perhaps a little surprising. Surprise can often mean disappointment.

And that's okay, because perhaps this will touch people that feel the way that I felt while making this film. That's what being a creator is all about. Connecting with those that share what you've experience. Hopefully, it helps others understand.

Audience & "The Social Network"

I’ve been slow to write my thoughts on “The Social Network,” and because of this, I’ll focus more on what I think is the very interesting and important conversation I’ve seen grow online. First, however, I should say that I’m a big fan of David Fincher. I think he is an excellent director and has made every production he has been apart of better. However, I feel like on “The Social Network,” like “The Curious Case of Benjamin Button,” what shines more often is various elements that aren’t the direction. It doesn’t really feel like Finch puts a stamp on “Network” (with the exception of the more darkly lit scenes, winking back to the literally dark, dark, dark, dark “Fight Club.”). 

To the viewer, what is most noticeable is all other details of production. In ways, it’s great, but it also means his direction is forgotten. There’s always debate as to where the “style” of a film should be. Should it be part of the film? Hidden? Upfront and in your face? If there is one thing I constantly noticed, it was the impeccable editing of this film that really keeps things high paced and complicated. It was beautiful and is one thing I expect to hear more about as the year goes on.

“The Social Network” is an incredibly smart film, and is incredibly rewarding for those who study film. Culturally, the film is as much about the past as it is about the present. How far haven’t we come? The same goes for film, itself. The writing and music especially nod to films of the past. I loved the score by Trent Reznor and Atticus Ross. While it highlights Reznor’s tremendous growth as a musician since his incredible “Year Zero” record, it also takes from various musical motifs from other important film. The score is rooted in the music of Apocalypse Now, with it’s dramatic and thunderous synth  pounds. There were moments where I truly wondered if someone in the film would whisper something akin to “the horror.”

Then, there’s the incredible writing of the film. The writing is tight. It’s faster than anything I’ve ever seen (which, again, it partly due to the tremendous editing). It’s quick, it’s also fairly digestible. While the film is rooted in the self-serving technological advances that have created the environment in which internet businessmen thrive, the script hearkens back to themes that have been in film and plays for years and years.

And this is where we get to the complicated issue of presentation and representation. There has been much discussion as to why the women in this film are so two dimensional. Why are there only two women who are given more than a couple of lines of dialogue? Sorkin has argued that he is doing a good thing. He wrote the script to highlight the intense sexism that still exists in our business and elite societies. Sure, these women are caricatures, but men in these circles still view these women as such. It is not to say that they are two dimensional, it’s just that these groups only allow for women to be this way.

Many have called out the creators of this film for sexism in the female representation. As much as I feel representation is important, I do feel that whether a filmmaker is consciously attempting to do right or wrong, it ultimately lies in the audience. If the audience views these women as attractive, acceptable, and realistic, then this is a problem. I, however, did not. I thought the relationships between the men in this film were especially interesting in relation to how they treat women. It reminded me of early film-noir, where men were constantly trying to gain the approval and love of their fellow men while using women as pawns and trophies. Sorkin discussed looking back to Greek tragedy, at a time when the society believed that the only true peers were men amongst men. True partners, intellectually and sexually, were of the same sex. The women were left behind.

Perhaps Sorkin argues that today this is still the case? When looking at the rampant sexism that covers various parts of the internet, it’s hard to disagree. However, while I tend to think that this film has done good, that is only because I see the way in which women are treated in this film as a problem. How does the majority of the audience feel? That’s hard to say, and certainly even more difficult to gauge as to how much responsibility Sorkin really has over how the audience will interpret his characters. It’s a struggle every serious filmmaker must battle.

In the end, though, I’m not saying the script is entirely without fault. I found the character of Zuckerberg to be utterly appalling (In a good way, as far as the film goes). The attempt to make his character sympathetic within the last five minutes was terrible and completely let down the film from being a masterpiece. How can one person not notice all the lives he has damaged with his brilliance, yet care for one individual? Can you call it caring? Or is he simply looking for his greatest unattainable trophy?

To me, this is what is what “The Social Network” showed best. Technology has altered our sense of community. Community is ourselves. Nothing else matters as long as we succeed. We succeed by proving to other successful people (men) that we are equals. Then we must either form alliances in the sake of self interest or betray them to control them. It is personal imperialism. And what are we to do?

The Positives of Being Rushed: My New Short

Now, in a perfect world, you have time for everything. In a world where you have a budget, where you have a film crew-you have a schedule. But, being the college aged kid that I am, you often have to wing it.

My most recent project was for my Directing class. I was hoping to have a crew of, at the least, an additional person from the class to help me out. A three person crew would have been beautiful. But, connections were not established in time.

The project's guidelines were as follows: One monologue, three varied performances of the monologue by the same actor. Each variation must be one shot.

Immediately I had an idea to write. I knew who I wanted to work with (a wonderful woman who I knew personally and also saw perform in a rendition of the Vagina Monologues). I knew that I'd need extras for some scenes.

Well, when filming eventually happened, the extras were out of town. We basically have to do all that we can in one day (the first two scenes). In the end, not having extras worked. Planning a scene by the river, I wanted to pan from two joggers running to our main character, alone by the river. I thought it would show how alone she was. But, what I discovered, was having no one there best showed what I thought having extras would.

Another instance of issue was scene 3. I wanted to do a retrozoom on a couple doing something (Okay, not that planned out...), but...logistically, it just wasn't working. In other words, My movement would be in a chair, and the person helping me (my girlfriend) couldn't move my fat ass. Understandable!

In the end, a slowed down zoom actually works really well. I knew when writing it, however it would turn out, that I needed Merzbow music over it. It's beautiful.

I had many apprehensions about my performance. The actor, Maggie, was phenomenal and a treat to work with, but I just felt that I personally had let the film down. Then comes the day of presenting the final product to my class.

Professor loved it. Just goes to show you that sometimes preparation is for the birds. Or...whomever has to work on the fly. Oh, pun town!

Recession Summer

At least, my most recent short, Recession Summer!

This past summer, I had two or three scripts lying around that I wanted to make into short films. I wanted to use the time that I had. Of course, things came up, as they always do, and barely one film was finished. That film was the one above. Instead of searching for actors (I really couldn't), it was shot with friends. I was a one man crew. It was really fun to make. Are there problems, sure? But, I also think there's a lot of good in this.

Enjoy. Comments are always appreciated. Sharing is definitely appreciated.

A preview of Recession Summer

My summer began frantically. I often have a clock ticking in my head, and it's been going off ever since I knew I wanted to be a filmmaker.

"I have to make movies," I told myself. "I have to make them right now." That kind of pressure turned out to be really unhealthy. Where did it come from? Well, the imminent sense of death. Bullshit 2010 prophecies didn't help my neuroses.

I've begun to slowly realize that I have time, and as Wilco has stated, every generation thinks it's the last. I will die, but probably not soon. The world will probably end, but we've got some time (although that's no excuse to not be active in making this a better world. Conversation for another entry...).

This all does not change that fact that I really enjoy creating film. It makes me very happy. I become addicted to it. This summer, I made it a goal to finish at least one of three ideas I have been concocting. It has been successful.

My addiction to work has allowed me to make a teaser trailer for the very first time. I'm contemplating having a little preview amongst friends, as this was a very intimate shoot that was more out of love than anything technical.

The film is about unemployed college students. I think it's something many people can relate to. I decided to do it because I think there is a particular sting to the idea and concept of unemployment in Michigan, where I live. I'll discuss this more once I officially put the short online. For now, enjoy the tease!

Support Street Fighting Man

There's a lot of stories about Detroit in the news today. Mostly bad, some good. They often talk about the broad implications of certain policies expected to go into effect, or policies that have damaged the city. Frequently, reporters and journalists discuss the decreasing population and the crime that is rampant in the city.

There are other stories that come from the suburbs, where non-Detroiters (like myself) talk about how they can renovate the city, make the public transportation better, revive the economy of Detroit. Without paying for city taxes, I'm sure...

But rarely do I see a story like the one that Andrew James is trying to tell with his next documentary project, Street Fighting Man. It's a personal tale of a group of citizens that decide to take the city's problems in their own hands. They are Detroiters. They are making their city a better place.

These are the kind of stories that people need to see, and as a suburbanite that wants to try to do what's best to help the city, I believe that one of the important things that people can do is help support filmmakers like James show what happens in Detroit today on the personal level. More and more in Documentary film, there is a sense that "personal is political." While this might not be Andrew James intent, so many many issues can and most likely will be at play in Street Fighting Man, and the delicacy with which James handles the subjects (some footage is shown at the kickstarter site as incentive to back the film) is in many ways beautiful. It's tragic, but beautiful nonetheless.

This is why I've decided to pledge $30 to back Andrew James' Street Fighting Man. As a Michigander, I want to see this film be made. I ask you to please check out the preview of the film and see if you too can support the film.