self-analysis as an art form

Caveh Zahedi's I am a Sex Addict is another great American film that takes chances in a era that seems to have turned its back on this so-called poppy cock. Yes, this is another film shot on a shitty mini dv camera (I am seeing a lot of these lately) so you film purist can pass this one by.

Caveh is not new to the world of Cinema, I just haven't gotten around to seeing his work. I first heard of him when I saw Waking Life. He was the guy in the "Holy Moment" sequence. A high point in a movie with many peak moments. This new film of his is what you would call an autobiographical Docu-Drama. He re-enacts scenes from his life, mostly concerning his addiction to prostitutes.

Using old footage and new staged footage he has put together a wonderful and engaging look at himself; with all his flaws kept firmly intact. There is explicit sex but it is done in such a playful way that it doesn't detract from what is essential an updated version of Annie Hall. He really has cracked the Woody Allen code on this one.

His self-depreciating humour and observations really draw you to his character (which is essentially him). I found myself being truly moved during several sequences in the film. It's so great that a filmmaker can give so much of himself and not come off as self-indulgent.

The way he wraps up the picture is also a masterstroke. He alludes to Orpheus and the Sirens, with some wonderful animation, to give us a quick recap of what we just witnessed. With a lesser filmmaker this would have been a sucky pat ending but Caveh really hits all the right marks. I am so glad a film like this exists.

go to his website

http://www.cavehzahedi.com/index.html

Inland Empire

Can't wait to see the new David Lynch Movie. Here is a great review of Inland Empire. Hope this inspires you as much as it did me.

never speak it's name

There are things just don't say when we are in certain company. If you are with your parents you don't talk about your proclivity for wearing ladies undergarments and if I'm with one of my guy friends I never say "you know that part in The Devil Wears Prada". These are all minor foibles compared to what I am about to lay on you. If you are talking to people in the Broadcast Industry then you must steer clear of one particularly heinous acronym.

I regularly read several of the indie filmmaker websites to try to get the lowdown on what type of gear is availible in my price-range. Right now there is an inexpensive format called HDV - high definition video. This is a very efficient way to get a high definition image on a mini DV tape. Many argue it's not true HD but it looks a hell of a lot better than standard definition video.

These tapes can be purchased for $4-$10 a piece and they can record an hour of footage. the cameras are anywhere from 1500 to 12000 dollars. The one I am eying up is around the 5000 dollar range(the Canon XH A1). Everyone should be really excited, right?

Well they aren't.


Sure this technology has it's drawbacks but I've seen the images and they look great. If you see these images on a 42 inch HD plasma you will be too. For documentary it seems like a perfect fit.

But there is a problem.

Yes, in the broadcast industry you never admit you are filming your project on HDV. Why is HDV getting such a bad rap? There is Standard Definition (SD) and then there is High Definition (HD). In between these two formats HDV protrudes like a canker sore on your prom date. I wager that if you gave one of these industry types a project done on HDV they wouldn't be able to distinguish it from real HD.

Back in the 90's when I used to record bands, the recording industry hated these terms -- project studio, Home recording and four-track. If you were a proponent of those you weren't professional. Basically if you didn't spend a ton o' cash recording your album at a industry sanctioned recording facility they didn't want to have anything to do with you.

What the hell does professional mean anyway?

The thing is, in the audio and video world they have standards. Who sets up these standards? Accountants. These financial wizards are always finding creative ways to keep their bloated machine alive. The rental houses, the overpriced post production facilities...the old guard. As independent filmmakers we are in a powerful position. We can afford to shoot, edit and deliver high quality films. They don't like this because all they can control is the broadcast and distribution of your original work. These are things they should only be doing in the first place. So, when you say you are filming on a 5000 dollar camera and not a 100000 beast (that takes several people to run, rent and insure) they get scared. They feel they are being left out. Where's their peoples cut? They point out all of the drawbacks of your format and act as if theirs' is bulletproof. There is no perfect format or camera for that matter. All formats are temporary anyway, nowadays even more so.

I say employ the same technique the US Navy does: Don't ask, Don't tell. Just deliver the final cut to them in 1080i (the standard format for HDTV broadcast) so they can play it on their precious channel. Chances are they won't notice as long as it shows up on their monitors in 1080i everyone should be happy. Remember these are not technical people and most of them can't tell the difference.

Go out now and shoot your original idea (i can't stress that enough) with whatever you can get your hands on. Thankfully even the sub 5000 dollar cameras are way better than what was available for ten times that only 5 years ago.

I am a filmmaker not a film-developer or someone who lunches. I want to be actively making films not just writing proposals for overpriced TV shows that have a great chance of not getting made. That is what HDV allows me to do and what is so bad about that?

Mona and I are going to make our Rock Documentary on our puny HDV cameras...and guess what...it's gonna look great because it's who's doing it, not what you use. The thing is, the opportunity is here right now and waiting around for a better camera is a great way to avoid making a film.

For more info go to these sites

www.hdforindies.com

www.freshhdv.com

http://www.bluesky-web.com/prosumerhd.htm

What kind of Fuckery is this?

Even though the Cover Art is harshly inspired by Flashdance, the contents of this Amy Winehouse CD is pure 60's soul...and boy did they get the sound right. I like retro but when people try to rehash the classic sounds they usually get it wrong. Even my friends are guilty of such failures. In this case she's got the voice, the songwriting talent and the sound down pat. Not an easy task but she and her crew pulled it off. Jack White only wishes he could attain the heights this album has reached.

Is everyone hip to this in Canada already? Am I the last one to get into this? Well, it doesn't matter because I'm hooked for good. This is one of the few album I can say I could recommend to my parents. I could recommended it to my music snob friends as well without "Guilty Pleasure" prefacing that statement. I know Colin and Terry at the Hive will dig this, big time (if they aren't into it already). I can understand how some may hate this but I won't engage in any debates with those folks. She's done an amazing thing with this album in my opinion and that's all that matters.

Hope for Canadian Cinema?

The real coup here is that the Tracey Fragments is opening the Panorama section of the Berlin film festival. The Review of this New Bruce MacDonald movie is on Cinematical...and wait...it's sounds promising. Looks like if there is hope for Canadian Cinema, it will come from the East. Terrry M's UBC prof wrote the book it's based on, so there is a West Coast connection in this as well. The real success of the films seems to have been from the direction style not the original text. In the wrong hands it sounds like it could have been after school special material or worse: video poetry.

I really hope I like this movie cause Bruce stays at the Hotel all the time and he is an awesome guy (so down to earth and approachable). I will also point out that the review is from an American website so there is no nepotism going on.

here be the link

http://www.ciwww.cinematical.com/2007/02/08/berlinale-review-the-tracey-fragments/

The Long Blondes

I don't usually go in for this sorta thing but this takes me back to the nineties and I was really given' er in the nine o's; this was my decade. I'm reminded of bands like Elastica, Sleeper, Echobelly or even Late-Era Lush. Looming over all those band is the inescapable Pixies reference. The slightly surfie guitar riffs, the mobile bass licks and the wanna be wipe out drums are most likely to conjure up images of Black Francis' cash cow. This is not original but it's fun and it's creating some much needed light in my slate gray life (i'm just talking about the weather, it's February in Vancouver after all). Sure, I like the allusions to French 60's film starlets and Scott Walker but mostly I like the energy of this album. These songs are a great soundtrack for running through the streets of East Van. I may even go see them live it they come around these parts.

No, we don't rent rooms by the hour

I have officially reach a low point.

I am speaking of my job at the hotel. Thankfully I only work there 2 days a week. In the past 6 years I have been asked to do many things for the guests. It's my job, I'm a Bellman; the last line of defense in the war on customer service. I don't mind taking people's mail out, picking up a copy of the Globe and mail for them or even parking their cars in the underground lot. These are all not technically part of the service the Hotel provides but I do it for the guests anyway.

When I arrived at work Sunday the Bellman (I'll refer to him as X) who I was relieving says to me "Have fun with room 507". I asked him why and he said, "you'll find out." Just as he was leaving the switchboard rang...and what do you know, it was 507...

"Can you bring up some condoms?" A woman asked.
"sorry, we don't have any here, you'll have to go to the corner store".
There was a pause and then she hung up the phone. Right away the switchboard lights up again and it's 507.

"Can you go to the store to get those condoms? it's an emergency".
"I'm sorry I can't leave the building". I lied
"Wait someone wants to talk to you".
A man's voice now comes on the phone.
"There will be a huge tip in it for you if you go to the store".
"Er, ah I'll see if someone else can go for you." I look at X and the other two people who were working at the front desk. They all start laughing at me and then X leaves.

I'm holding the phone, not knowing what to say and from the back office the Mangager yells, while laughing at me, "just go do it, no else is gonna go for you."

"This place sucks" I yell and storm out to the corner store.

I buy the aforementioned unmentionables and take them up to 507. I knock on the door. The door opens, just a crack and she grabs them from me. "You're so sweet".

And she slams the door.



Story's over right?

Not a chance.

They phone the front desk again. This time they want BAND-AIDS!!!!???

I take up some and once again have to slip them through the crack. "Sorry, we're naked". and she slams the door.

Prepared for almost anything when the phone rings a third time she asks for 4 beers and adds "Make it fast, we're running out of time."

I take the beers up, this time they let me in. She's wearing a hand towel and a big beefy guy with a thorn tattoo on his upper arm is lying on the bed. Thankfully he has a sheet draped over his condom landing pad. As I survey the room I can only imagine the sexual-tsunami that caused this mess. I set down the beer on the 2cm's of clean space the room had to offer and I get the female of this dynamic duo to sign the bill. I leave and see they've left me a 15% tip. Not exactly the huge tip I'd expect (and was promised) for being their own personal condom valet.

The night goes by slowly. I talk with the regular guests (both in frequency and mental state) and go about my Bellmans' duties.

Of course, they call the front desk again. This time they want to know if any "High-End" restaurants deliver. I guess our restaurant isn't good enough for such royalty. I tell them I'll have to call them back. I do the bare minimum of research and then tell them NO. She says "It's OK, we're going to get dressed and go out."

They can do that? I wasn't aware they had such powers.

They go for dinner. When they come back, get undressed and just before they get down to their nasty business, they call down for another order of condoms (their first delivery included 6) and 4 more beers.

This time I pawn off the dirty task onto the Security guard who just got on shift.

He comes back just as I am taking the beers up so I throw the contraband on my tray and go up to their love-nest. When I get there she tells me they just got married. I a say "really"? cause I don't believe them. I think they were offended. Then she makes some comment about them being our most notorious guests. I couldn't argue so I said nothing and left. At this point I usually say to the guests "If you need anything just call the front desk." I conveniently became mute.

That was the last I heard of them. Later that night though I was told that the security guard found her running naked through the courtyard. He had to cover her with his jacket and take her back to her room.

A true low in my personal history at the Sylvia.

Cast of Rob on Bob clean up in Mexico

You might recognize these folks (Bob, Cathy, Marilyn and Barry) from a little film I did called Rob on Bob. No cliff diving or Bullfighting took place this time. Some livers may have been abused but that's about it. That 130 pounder was caught by none other than Bob.

Roc Doco Research

I just saw Gimmie Shelter as part of my research for the Ladyhawk Doc.

This is touted as not just another Rolling Stones concert film and boy did it deliver on that. Can't tell you enough how I enjoy the Maysles Brothers approach to documentary. They don't use narration and are very econmical when it comes to titles. What you get is a feeling of actually being there without any heavy handed manipulation.

One of my favourite parts was the scene where they are in muscle shoals studio mixing wild horses. It's just genius how Albert Maysles picked up on all the subtle things that where going on an commited them to film. Don't get me wrong this is a big doc culminating in the stabbing at Altamont but all along they managed to keep it at a very small human level.

The transfer thanks to Criterion, is stunning. The visuals are crisp and the new 5.1 surround mix is amazing. That subwoofer I got at christmas really made me feel like I was there during the live segments.

It's not all The Stones, there are a couple performances by The Flying Burrito Brothers and Ike and Tina Turner. The later was just breathtaking. All Mick has to say after seeing Tina Turner lay emotional waste to the audience is "it's nice to have a chick around once and a while." His way of dealing with being severly upstaged.

It's pretty sad that it took me this long to see Gimmie Shelter but hey I finally got around to it and am all the better for it.

The Good, The Bad and the Queen

i grew up on Blur. One of the first things i remember when I moved to Vancouver in the early 90's was walking into a club called Luv Affair. I heard this song There's no other way just wash over me.

It was a defining moment. I knew I wanted to find out who that band was and be a part of what that music represented. It must of had something to do with just moving from Edmonton, knowing I didn't want to be a part of what that city had to offer and looking for a place I could fit in.

I had wanted to break away from tradition and with a band like Blur I found they could open me up to another way of living. People would say if you like Blur, you'll like so and so. A few years later I quit my restaurant job of 4 years and started working at a record store. Modern Life is Rubbish came out and further solidified my love of these wacky Britons. I worked with a British guy who helped me understand all the UK-centric references on this album. He claimed it was album of the year and I couln't argue with him. It was a great antedote for the glut of grunge music that was surrounding us at the music store.

Later when I was in Thailand (around 1994) a British girl gave me the Parklife tape and that became the soundtrack for most of my trip. Cocky and cockney, this was not an album for North Americans who couldn't handle a little accent in their vocal delivery. This didn't stop Boys and Girls from being a huge international hit. Aside from that one track, though, the rest of the album was mostly ignored on this side of the pond. Once I got to Korea and started teaching English The Great Escape came out and I mostly kept that in my walkman and used it as a shield as I took the subway to my next teaching gig. This was the height of their slickness and they needed to change or they would become too mainstream for their own good. I guess they knew it, too, as seen from what they did on their next album when they went all lo-fi on our asses. When I started The Hive the S/T Blur album came out and we found ourselves disecting and trying to reverse engineer those sloppy sounds they were offering up.

Now comes The Good the Bad and the Queen. This album is the first thing I've liked from Mr. Albarn since that self titled Blur masterpiece. I've only had a few listens but this album has the makings of a Rube Lubener approved classic. A darker dubbier and more soulful version of Blur. With the help of Paul Simonon (the Clash), Simon Tong (The Verve) and Tony Allen (Africa 70 and Brian Eno's choice for one of the most important musicians of the last 50 years)they conjure up some of the bleakest pop you're likely to hear. I thought intially this effort would ram your head with noise but it's far more restrained and sparse (and all the better for it).

The confluence of ideas that brought about this album also gave us Children of Men. The world sucks and the future is not friendly. I think this as I write Dr. Tomorrow's treatment and think technology only allows us to spread our pain around in quicker and more mobile ways. There is no centre therefore we are clinging to the edges. There is no middle so we are slipping to left and right. A album like this helps me to focus on my creativity. I like to listen to it as I write and wash the dishes.

The sound of the album has touches of Air, The Clash and the British ska from the early eighties. There is still Damon's barhouse piano and Carnival keyboards but they are so depressingly drenched in post-apocolytic studio tweeking that it comes across as ancient and modern. It's very much a product of him being fed up with the perfection of modern music. The songs don't end as much as fade off into the abyss.

If you're looking for something to compliment your gorrilaz album, this aint it. I like my stuff depressingly anti-mass-consumerist; it makes me happy. Hopefully it will do the same for you.