by Jean Marie Carey | 23 Oct 2011 | Animals in Art, Art History
So the Swede Film Festival Tampa was last night at the Muvico in Ybor City.
It seemed like about 100 people and hipsters showed out which mainly included the filmmakers and casts and their friends. Still it was fun in the way that comic events are more entertaining with a group who is into it.
Of course I was one of the animals in Dumbo. Jim Reiman made this film but his voices for the various characters are what blew me away. Adam Kitzerow and Deon Blackwell are especially hilarious in Top Gun and Robb Fladry has incredible fun original music for Weekend at Bernie’s. The Sweded Apocalypto and The Shining were pretty madcap, too.
I think it would be fun to work on a version of There Will Be Blood.
by Jean Marie Carey | 3 Aug 2008 | Art History
Mexican red wolf, courtesy U.S. Department of the Interior
Following, Christopher Nolan, (1998) ••••; Haven, Frank E. Flowers, (2004) ••••; Love Liza, Gordy Hoffman, (2002) •••••; Armistead Maupin’s Further Tales of the City, Pierre Gang, (2001) ••; Disturbia, D.J. Caruso, (2007) •••; The Last Emperor, Bernardo Bertolucci, (1987) ••••
by Jean Marie Carey | 30 Sep 2006 | Art History
In the director commentary portion of Tarnation, Jonathan Caouette introduces himself as the writer, editor, director, and creator of the film, notably omitting the name of its executive producer (and obvious reason this film was ubiquitous at festivals), Gus Van Sant. Only in the commentary does Caouette reveal that a lot of what appear to be linear documentary sequences of his boyfriend coming and going to work and himself talking on the phone were “recreations.” I guess that happens in a lot of documentaries but it’s an annoying technique here, because Tarnation is such a naked plea for sympathy, and very thinly beyond that, a plea for viewers to see how talented and amazing Caouette is, at the expense of his grandparents and especially his schizophrenic mom.
There’s one shocking moment of use of the Magnetic Fields’ “Strange Powers” during a Brooklyn montage, but that was only shocking to me, I think…otherwise, a very self-involved student filmmaker with a powerful patron…
In the director commentary portion of Tarnation, Jonathan Caouette introduces himself as the writer, editor, director, and creator of the film, notably omitting the name of its executive producer (and obvious reason this film was ubiquitous at festivals), Gus Van Sant. Only in the commentary does Caouette reveal that a lot of what appear to be linear documentary sequences of his boyfriend coming and going to work and himself talking on the phone were “recreations.” I guess that happens in a lot of documentaries but it’s an annoying technique here, because Tarnation is such a naked plea for sympathy, and very thinly beyond that, a plea for viewers to see how talented and amazing Caouette is, at the expense of his grandparents and especially his schizophrenic mom.
There’s one shocking moment of use of the Magnetic Fields’ “Strange Powers” during a Brooklyn montage, but that was only shocking to me, I think…otherwise, a very self-involved student filmmaker with a powerful patron…
In the director commentary portion of Tarnation, Jonathan Caouette introduces himself as the writer, editor, director, and creator of the film, notably omitting the name of its executive producer (and obvious reason this film was ubiquitous at festivals), Gus Van Sant. Only in the commentary does Caouette reveal that a lot of what appear to be linear documentary sequences of his boyfriend coming and going to work and himself talking on the phone were “recreations.” I guess that happens in a lot of documentaries but it’s an annoying technique here, because Tarnation is such a naked plea for sympathy, and very thinly beyond that, a plea for viewers to see how talented and amazing Caouette is, at the expense of his grandparents and especially his schizophrenic mom.
There’s one shocking moment of use of the Magnetic Fields’ “Strange Powers” during a Brooklyn montage, but that was only shocking to me, I think…otherwise, a very self-involved student filmmaker with a powerful patron…
In the director commentary portion of Tarnation, Jonathan Caouette introduces himself as the writer, editor, director, and creator of the film, notably omitting the name of its executive producer (and obvious reason this film was ubiquitous at festivals), Gus Van Sant. Only in the commentary does Caouette reveal that a lot of what appear to be linear documentary sequences of his boyfriend coming and going to work and himself talking on the phone were “recreations.” I guess that happens in a lot of documentaries but it’s an annoying technique here, because Tarnation is such a naked plea for sympathy, and very thinly beyond that, a plea for viewers to see how talented and amazing Caouette is, at the expense of his grandparents and especially his schizophrenic mom.
There’s one shocking moment of use of the Magnetic Fields’ “Strange Powers” during a Brooklyn montage, but that was only shocking to me, I think…otherwise, a very self-involved student filmmaker with a powerful patron…
by Jean Marie Carey | 4 Sep 2006 | Art History
This film is criminally underknown, if that’s the right word…despite winning the Grand Jury Prize at Sundance , there just doesn’t seem to be even any underground buzz, not even amid the scifi community. Primer is wholly the creation of Shane Carruth, an actual engineer from Dallas, and he did the entire production – editing, script, direction, music, bulidng the machine – entirely himself. This is a cerebral, non-special-effects-driven science fiction piece which appears at first to be about time travel, but its more accurately should be described as cloning, and the moral (and practical) ramifications thereof.
Carruth, who greatly resembles the other great underrated actor of horror and scifi, Jeffrey Combs from ReAnimator, is a genius, but is frustratingly apparently laying low. He hasn’t commented, even on his own message board, about whether he will make another movie.
were pretty madcap, too.