To anyone shitting on Macklemore:
Pulling up an incoherent tweet from 5 years ago is the most immature shit to do. If we were all the same people we were on twitter 5 years ago this would be a shitty world. Also, I see people saying that he’s a bad guy because he doesn’t physically or financially contribute to causes. 1. Prove it. Pull up his private tax records and fucking prove it. 2. Let’s say it’s true, 100%; he still writes music on a hugely influential mainstream level with positive social messages in a genre of music full of ignorant, homophobic, misogynistic dickbags. He spreads messages and tries to makes change, but people are so determined to dislike him that they’re literally digging around the internet for things to pin on him. I don’t give two shits about him either way, but it pisses me off to see everybody be jerks because they want to be. I don’t like his music, but I think his intentions are better than anyone else in that category. And don’t chalk everything up to fiscal philanthropy. He’s made more of a difference with his music than any of us have with any amount of money. Let’s not be so shallow.
I’m learning a bunch of shit about coffee, but my 21st is coming up and I need to be more well versed in beer, spirits, wines, and whiskeys, and I’m cooking at work, but I want to know EVERYTHING about food and cooking and ahasdhdflasj fklas; I WANT TO KNOW EVERYTHING ABOUT EVERYTHING.
Anonymous: congratulations! is there any way we can watch your short film? i remember the stills you had published were so great
Thanks!! And as of now, I’m resting over break and doing a bit more scoring and color correction, but the final product should be up right as 2014 is rolling around! :)
So my production professor evaluated my short film….
You’ve demonstrated a great deal of cinematic restraint in the telling of this particular story that in some directorial hands could potentially become melodramatic. Here you eschew overt dramatic flourishes for the mundane, and it’s your awareness of how the day-to-day actions and rituals we busy ourselves with have a great deal of emotional weight. More so it’s how these rituals and actions become embedded within our memories, and in this story you effectively use memory as a narrative vehicle for conflict and emotional catharsis. You also demonstrate an acute awareness of the temporal and spatial dimensions in cinema, how a story can maneuver and exist in both present and past without confusing the narrative or the viewer. To achieve these transitions from present to past you make good use of screen direction (how the character is framed and direction he or she is looking) and sound bridges to create seamless passages that are less about narrative structure then the emotional arc each character is experiencing. The boiling teakettle scene is a great example of this as we see the young woman look in one direction, the action motivating/triggering a memory. Then the teakettle sound is introduced creating a seamless sound bridge to the past as you cut to a frame (her pov) sans any characters, and we assume the teakettle is in the present but then the frame fills up with both the young man and woman. The moment is still somewhat ambiguous but then a sound cue comes in, punctuating the emotion she’s experiencing as she recalls a happier time. It’s both simple and complex filmmaking, and it takes a delicate and very controlled hand to achieve this. There’s another interesting cut that comes, right after she returns to the present, as she walks off screen right, and then you cut to the young man’s pov through his windshield as he travels in the same direction she exited screen. Again, it’s simple yet complex strategies to maneuver not only between past and present but also between the two character’s emotional states. The scene in his car, using the radio as a temporal vehicle (no pun intended) to transport him/us back into a happy memory also works on this level of non-linear storytelling, using memory to create conflict. Other formal strategies that need to be acknowledged are: your use of silence, or rather the idea of quiet, to create subtle dramatic tension, particularly in her make-up/hair falling out scene, the use of each character’s pov looking up (her to the fan, him to the sky) as a means to signal their respective desire/need to escape the present, the wide, bold compositions that are slightly compromised (in a creative way) by the hand-held camera, expressing/suggesting unease and discomfort, and your awareness of how light and darkness create dramatic tension. Your filmmaking is very delicate and sensitive to the dramatic weight having cancer can bring to a story. Perhaps the only slight misstep in the entire film is ending with the image of the two characters looking at each other, which flirts with a cliché, if not forced, emotional resolution. Better to end on the CU of their hands clasped, leaving the viewer to find his/her own emotional resolution. This is exceptional work Austin. A+”
I need a therapist or outlet for my aggression. I wonder which is cheaper…
Portrait story with Alicia Vikander as Marlene Dietrich photographed by Paolo Roversi, for ACNE PAPER.
an actual product description I just found on Amazon…