Is that MY script on screen!?
Hmm. Okay. Let me collect all my little pieces... I kind of fell apart in the theatre today.
I saw Me and You and Everyone We Know and it was unusual, which is my most emphatic way of saying that it was worth the watch. The characters are unusual and honest, and the film feels like a snapshot of the present, with no intention of predicting a future of giving its viewers any handle on the past. It's okay with not fully explaining many things, and leaving characters half-explained. I am giving it credit for doing this instead of assigning filmmakers that responsibility, perhaps, because I am in this situation myself. I am trying to figure out if I can really give out a person's life story in the time alloted to me. Can some characters be significant and others just supporting characters. Will that make this an ensemble film? All the answers I was looking for were there in Me and You and Everyone We Know.
In fact, there were too many answers, if you know what I mean. I saw After Midnight and this happened to me. I saw The Best of Youth and it happened to me, and I saw Jules and Jilm, and Masculine Feminine and now Me and You and it's happening again. I am constantly seeing my own film in films I see. It's not that I am influnced by these films as much as it is me seeing my own film in these films as I am watching them for the first time. This leads to relief (Okay, if they can think of it, then my ideas mustn't be that bad) and then dry-heaving (fuck, people are going to think I totally got "inspired" by this, and then embarassment (okay, Im clutching Jess's hand - who I came to watch the movie with - too damn hard.. she just screamed a little bit) and then depression (the logical end to any emotional state-string for a drama queen). And then I just sink deep into my seat, trying to keep my jaw from falling to the floor as these filmmakers just keep making their films more and more amazing. Suddenly the prospect of going home and working on my own script isn't that exciting!
Another big realization I came to today was the importance and immense respect for cinematography in these films. Not that I didn't respect it before but I was just okay with settling for half-ass cinematography in my own films because I just rely on the audience accepting that aspect about my film considering my budget and so on. So the question is, should I wait with this script so I get the proper financing (which won't happen unless I have my first student film done) or should I shoot this film to get teh next one set up? This Miranda July film was so well pre-prod-ed.. the cinematography was on the money, if you know what I mean... :)
Poof! Midterms are kicking me ass... Im still finishing papers. Got to get back to that,.. then my Zen like state shall demolish this thing called me script. Leave a comment, suds
I saw Me and You and Everyone We Know and it was unusual, which is my most emphatic way of saying that it was worth the watch. The characters are unusual and honest, and the film feels like a snapshot of the present, with no intention of predicting a future of giving its viewers any handle on the past. It's okay with not fully explaining many things, and leaving characters half-explained. I am giving it credit for doing this instead of assigning filmmakers that responsibility, perhaps, because I am in this situation myself. I am trying to figure out if I can really give out a person's life story in the time alloted to me. Can some characters be significant and others just supporting characters. Will that make this an ensemble film? All the answers I was looking for were there in Me and You and Everyone We Know.
In fact, there were too many answers, if you know what I mean. I saw After Midnight and this happened to me. I saw The Best of Youth and it happened to me, and I saw Jules and Jilm, and Masculine Feminine and now Me and You and it's happening again. I am constantly seeing my own film in films I see. It's not that I am influnced by these films as much as it is me seeing my own film in these films as I am watching them for the first time. This leads to relief (Okay, if they can think of it, then my ideas mustn't be that bad) and then dry-heaving (fuck, people are going to think I totally got "inspired" by this, and then embarassment (okay, Im clutching Jess's hand - who I came to watch the movie with - too damn hard.. she just screamed a little bit) and then depression (the logical end to any emotional state-string for a drama queen). And then I just sink deep into my seat, trying to keep my jaw from falling to the floor as these filmmakers just keep making their films more and more amazing. Suddenly the prospect of going home and working on my own script isn't that exciting!
Another big realization I came to today was the importance and immense respect for cinematography in these films. Not that I didn't respect it before but I was just okay with settling for half-ass cinematography in my own films because I just rely on the audience accepting that aspect about my film considering my budget and so on. So the question is, should I wait with this script so I get the proper financing (which won't happen unless I have my first student film done) or should I shoot this film to get teh next one set up? This Miranda July film was so well pre-prod-ed.. the cinematography was on the money, if you know what I mean... :)
Poof! Midterms are kicking me ass... Im still finishing papers. Got to get back to that,.. then my Zen like state shall demolish this thing called me script. Leave a comment, suds
posted by Sudhanshu at 2:56 AM
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