So, You Want To Make A Film?

I recently spoke to a friend who I hadn’t spoken to in ages, time and distance being the main reasons. But at the moment, that doesn’t matter and we were able to catch up. One the stories I told them about was how I made a film, back in 2017 and it wasn’t completed until a year later. They told me how they had been involved with a few filmmakers who had asked favours and they’d obliged but vowed to never again agree to such favours. One filmmaker had asked to use their flat and they’d said yes, even though it was because the flat was perfect for a drug den (mildly insulting). That particular film was shot years ago and still wasn’t finished. After hearing this, I felt slightly better about the last film I made.

Despite the pain and aggro that the post production of the film had caused, I was happy to see it finished and proud of what was made. This didn’t quite outweigh my disappointment that the post production on this 10-minute film took over a year to finish and this meant momentum was lost, as well as interest. There wasn’t a chance to send it off to festivals which was the aim and it looked like there wasn’t a future which was such a shame considering the effort that so many people put in. My personal story about what happened will end up sounding bitter so I won’t relate it hear. I do wish I had just taken sole ownership of it at one point, then the film might have had a better future but too late now. My main thought, after my friend told me about the unfinished drug den set film was that, there must be so many filmmakers out there who have plenty of stories like this. Where do all the unfinished or abandoned films go? There are so many filmmakers with ideas out there, all wanting to make films, have them up on the big screen, see their stories play out but as making a film and getting everyone involved is one of the hardest and most rewarding things I’ve done. 

I am not an expert. But when it comes to making low to no budget films, who is? Anyone undertaking a project/film, short or feature, will learn from experience. My minimal experience on other people’s projects was different to my own films as situations and leadership varies from project to project or film to film.

Making a film is about three different things; having an idea, convincing people to help you make this idea become reality and actually seeing the idea through to sometimes the bitter end. This may be a bleak or over simplified way of explaining how films get made, but in my own experience, this has been it. Where, as it is possible to make a film on your own, with just you holding the camera, acting all the parts if fictional, cutting it together later and uploading it to whatever site you subscribe to, if you want to make a film that is a bit more up market, you will need a crew and cast/contributors. You will also need to complete a **** ton of paperwork if you want to do things at a slightly professional level. A handshake agreement might work with one or too family members but contracts are needed, just in case. Filmmaking is a collaborative form of art and to be honest, that’s part of the fun (and stress). I applaud anyone who makes a film (whether the end result is good or bad) just because I know how bloody hard it can be. But I would also say to those who want to make a film, proceed with caution.

A few things I can advise or suggest, obviously, you don’t have to listen to me, this is just from what I’ve experienced. Work with people you trust 100%. Establish whether the film is for fun or has a purpose. Compromise if you have to. Films cost money, expect to go over your budget or budget for extra. Don’t be rude to people doing you a favour, especially if there’s no money involved. Accept that things go wrong and you have to improvise. Not everyone is going to like or watch your film, even after all that hard work you put it, accept this, a weight will be lifted from your shoulders.

So, while we’re in lockdown and either thinking about making a film or making your next one, you have plenty of time to be pre-production. They’ll be lots of ideas out there just waiting to be realised after all this has calmed down and wish luck to all the filmmakers out there.

Still Lost in La Mancha

The ill-fated production that started back in 2000 is quite the different one that eventually was released in 2018 at festivals and general release in January this year. The story behind the now infamous film that director/writer Terry Gilliam tried to make for 30 years may be the better one. Although there are redeeming moments, actors and of course the design, the Gilliam fairy tale flare, the film isn't quite what you would have hoped for.

Previously published on Vulturehound HERE.

Within the film industry, there are certain films that gain a reputation due to controversy, infamy or some strange tale of behind the scenes. But there are some films that known through film history because of their problems and back luck that plagued them. ‘The Man Who Killed Don Quixote’ was nearly 30 years in the making before it was finally completed and released in January this year (in the UK). Director and writer Terry Gilliam started working on the film back in 1989, secured funds in 1998, started shooting in 2000 but due to a string of unfortunate events, the production was shut down. Fast forward to 2018 where the film made its way to Cannes and a standing ovation. It seemed that Gilliam had finally had his dream realised. Until the reviews were released.

Having gone through a few rewrites before and since the ill-fated production in 2000, the story was settled as this; Toby, a successful commercials director returns to shoot in the same region of Spain a decade since he shot his graduation film featuring all local non-actors, ‘The Man Who Killed Don Quixote’. After travelling back to the village, he finds that the old man, a cobbler, when they first met, believes that he is the real Don Quixote. From the moment these two are reunited, they end up on a trail of weird and maybe no so wonderful adventures together, Don Quixote believing Toby to be his squire and companion, Sancho, causing further problems for Toby.

It’s unfortunate to immediately feel as if the film has indeed gone through changes, mostly due to the segmented nature of the story and how it plays out. There are too many ‘pocket’ stories with minor characters that either feel too long or pointless and actually provide little impact to the film and story on the whole. The original story had Toby travelling through time and meeting Don Quixote in 16th Century Spain, which would have been more exciting and playing on the ‘man out of time’ genre. Instead, Toby flits between dreams, reality and his own delusions, not mention his own mental breakdown, unless you can explain the ending any differently.

One of the main saviours of the film is Jonathan Pryce, a frequent collaborator of Gilliam’s and thankfully an excellent character actor. From the moment we meet Javier the cobbler, just like Driver’s Toby, you know he’s something special. He embraces the full force of Quixote and his delusions of grandeur as well as the smaller moments of vulnerability where his facade is broken. Literally filling the armour of other great actors before him. You don’t doubt that Pryce was right for this role. Flitting between terrifying and playful, Pryce and Driver’s chemistry is also fun to watch and their scenes alone are by far the more interesting and entertaining. Driver too can be commended, again taking over from previous actors, playing Toby as someone who is equally lost and needs a purpose. It’s just such a shame this cast wasn’t given the story to go along with their talent.

Terry Gilliam has an eye for the fantastical and fairy tale like images but likes to twist and turn his stories into something bigger and bolder, not always achieving what you could only guess at what’s in his head. His last few films tried to go above and beyond but fell flat. ‘The Man Who Killed Don Quixote’ feels as if its clinging to the past, where maybe it should have stayed. The look and feel of the film is mesmerizing but not quite enough to bring back the magic of his earlier films.

Best Served In Hot Desert Sands

Why serve your dish of revenge cold when you could serve it up in a long weekend in the desert with literally buckets of blood.

Coralie Fargeat's debut feature film is a genre film that does exactly what it says in the title yet still is one of the best films of 2018 and feels like a new take on the male gaze drenched revenge thriller. This was one of the first films to be showcased by Birds Eye View's Reclaim the Frame campaign which has now reached new heights even in the current state of things.

'Revenge' was given the limited edition treatment by Second Sight Films recently, in the form of a delightfully shiny new Blu-ray release, with poster and booklet featuring new artwork. As I do very much enjoy special editions, I have loved the past releases from this distributor, appreciating that 'Revenge' was given this attention.

Usually a dish best served cold, but in this case, it is the blistering desert heat where the action takes place. ‘Revenge’ could easily have slotted into the hideously named ‘rape revenge’ sub-genre but this bloody tale of revenge is more gory thriller and than a B Movie after thought.

Screened as a part of Reclaim the Frame, Birds’ Eye View’s new audience development project, which showcase films, made by women, ‘Revenge’ is the first of four and certainly leaves an impression. Carolie Fargeat’s feature film debut does exactly what it says on the tin but actually twists convention while still following a formula. With the most heard words on set being ‘more blood’ you can expect and won’t be disappointed by how bloody and grim the characters get throughout the film.

Young beautiful Jennifer (Matilda Lutz) is whisked away to the desert for a ‘weekend of passion’ by her wealthy married lover Richard (Kevin Janssens). But events take a turn when his two hunting friends show up. Jennifer flirts and dances with the men, entertaining the group in the evening but in the morning, while Richard is out, one of them rapes her, while the other just watches. Traumatised, Jennifer wants to leave but instead of defending her, Richard becomes panicked, worried that she will expose their affair. Having too much to loose, the men leave her for dead in the desert, but Jennifer is a far more deadlier than anything the men can hunt.

The film hits it’s beats but enters a whole new territory when Jennifer switches roles with the men, she becomes the hunter and they her soon to be victims. Although named revenge, this story is also about how resourceful Jennifer is, she’s a survivor.

Due to its subject, the film has been said to be released at the perfect time, in the midst of the Time’s Up campaign and has be hailed as being a new lease of life on the tired out genre. The character Jennifer goes through stages in the film, where the audience plays along. At first she is judged by her behaviour, then she is pitied and finally rooted for, in the hopes she will get revenge on the men who harmed her. In the earlier scenes, Jennifer wouldn’t seem like she would be able to run around the desert barefoot covered in blood carrying a rifle, she takes the audience and the men by surprise, a twist you’re happy to see coming.

For a film that does exactly what it says on the tin (a gory revenge story) it may seem predictable but with unusual terrain, evil people to hate, an unlikely heroine and surprisingly bloody scenes, it more than satisfies and exceeds expectations and hopefully will serve as a turning point for the genre.

Because 'Angels' sounds better?

Last year I made my 'Charlie's Angels' (2000 & 2003) fan zine before the latest in the franchise, rather than a reboot, was in cinemas. It took me a while but I finally got to see what all the fuss was about (the cast) and why critics and audiences weren't so keen on the film.

The fact that Elizabeth Banks directed made a huge (and better) difference and change from the tone of the previous male gaze galore films which I both love and hate. But that didn't mean that the latest escaped the 'costume' moment and the utterly pointless dance routine sequence AND weird creepy hitman. At least the latter for something to look at.

Previously published on Vulturehound here. 

Back to in the early 2000s, having three big name actors star in a blockbuster action film was nothing new, even when it was three women taking centre stage. The McG ‘Charlie’s Angels’ film were received relatively well, well enough to spawn a sequel in 2003, but the thought of these rather weakly written, innuendo filled, male gaze galore films being made today is doubtful, seeing as Hollywood is trying its best to show women can be action heroes without dressing in ‘sexy’ outfits and fighting in impossible shoes. Sometimes they find a balance, sometimes they fall flat on their face, like any other ‘dumb action film’. When it was announced that ‘Charlie’s Angels’ was being rebooted, again (after the failed TV series in 2011), there seemed to be hope that the angels would rise up, especially as Elizabeth Banks would be directing. But unfortunately, box office and audience reactions means that the angels probably won’t fly again, just yet.

The Townsend Agency, now expanded across the globe, with many Bosley’s and Angels, called upon for missions with different teams. Rebellious and carefree Sabina is teamed up with humourless and straightforward Jane for a mission in Hamberg when Elena, an engineer and programmer turns whistle-blower on her company’s latest project, a tool that can be weaponised. When the mission goes wrong, Elena becomes more than just the client but learns what it takes to be an ‘Angel’ while the team try to find out what’s actually happening and who is really behind weaponised tech and trying to sell in.

Instead of the announced reboot, the film is actually a continuation of the McG era films, even going so far as forgetting that Bill Murray and Bernie Mac played Bosley but literally erasing them from the film and inserting Patrick Stewart’s face into ‘past photos’. Making Stewart the original Bosley and making him retire early on in the film sends red flags almost immediately, which is a shame as from this moment on, the film is very predictable. Some reboots or late sequels try to make a film all about a new character but the film luckily doesn’t fall into this trap and keeps the ‘getting to know’ the new characters simple, with random information given out during the film as it’s not about them, it’s about the story, which is still enjoyable, even though its predictable.

Elizabeth Banks who stars, acts and wrote the screenplay is the best part of the whole film. Her character has layers, is amusing and being a formal angel herself, has the grit about her too. However, the actual active angels are stereotypical annoyances. Kristen Stewart desperately plays up the ‘wild card’ character, going as far as yelling lines that didn’t need to be. Ella Balinska plays her character as a robot for most of the film, vaguely letting lose when she’s supposed to be flirting, she really doesn’t seem like she is having any fun at all during this film. Naomi Scott is probably the most decent out of the three, playing the ‘newbie’ and genius engineer she has more to do. But Banks really saves the day here.

Ultimately the film is just fun. There are no mind-blowing moments, intricate plot points or anything more than skin deep happening, it’s just a fun action film with women as the leads. It is worth noting that there are no romantic sub plots, except maybe one tiny scene with the actor who is in all those Netflix films, it’s nice to see him breaking out of the small screen. But be prepared to going back to basics, complete with shady evil English ‘bad guys’ and a tattooed assassin who I wish we’d got to know more about. Overall, the film will keep you entertained and wondering if we’ll see this ‘franchise’ again in a few more years.

Comfort Zone

Everyone has their own comfort zone and what their go to films, TV, books and music are. But my comfort zone has stretched no farther than what I watched last month. I'm sure there are a billion other posts are there like this one, but this one is mine.

I'm admiring all the other bloggers and film writers out there who are continuously writing. Those who are able to get past any personal issues that may get in the way of their writing. Anyone who can carry on despite there being less 'new' content to talk about. I not only admire and commend you all but I envy that ability. I haven't been consistant with my writing since January (moving house stress, starting new job stress, having guy problems, feeling demotivated then lockdown happening) and I've tried a few times to get back on the writing horse but haven't been very successful. I have been working on other side projects (latest zine - coming soon) and other interests (tarot readings - if intrigued ask me) but my love of film has been diluted of late and this isn't because of all the pre lockdown things, its literally been because of lockdown. I know I'm not the only one out there feeling like this and there really isnt a magic cure for this very odd variation of writer's block. So instead I've retreated into my comfort zone of rewatching films that I find an easy watch or could have on in the background and TV shows that make me laugh no matter how many times I watch them.

To try and get me out of this comfort zone, I have watched a few films I haven't seen before whether I wanted to (hopefully my Charlie's Angels review will be up soon, either here or on Vulturehound) or because I'm watching it with my friends (my uni friends are still having our film nights/days over zoom) or because I was so intrigued I made myself watch it (The Platform on Netflix, its horrible but very good) and finally I made a pile of all the films I own that I haven't watched yet BUT that pile was then tidied away when I reshelved my collection. Instead of watching all the films I wanted but didn't have time before I have rewatched 'Ready Player One' and 'Oceans 8' many many times as they are both easy watches.

But the real comfort has been TV. In between watching 'Tiger King' over a few days and managing to cram in 'The Pale Horse' and wait impatiently for the next Mandalorian episode, I've rewatched 'Brooklyn Nine Nine from seasons 3-6 twice. I have also rewatched Schitts Creek seasons 3-5 twice, not including when I watch the entire show the first two weeks of March before lockdown. These two shows have taken the place of my favourite go to comfort show, 'Parks & Rec' which I regularly from seasons 2-7 (first season isn't great). I have watched the latest season of 'Kim's Convenience' in the middle of all this but otherwise its been title of your sex tape jokes and enjoying David's quips and outfits.

The need for comfort TV or films is having something familiar and reliable, you know how it ends and you know what to expect which is what I've needed in these very uncertain and terrible times. My attention is also not fully needed as, again, I know what happens. BUT I have avoided my Lord of the Rings marathon, even though these are my favourite films and this is the perfect opportunity to rewatch them. But I have avoided the films and others as they deserve my respect and full attention. It may seem an odd way to look at it but that's just how I'm feeling right now.

I actually had several posts planned out, which I wrote out last month, here's hoping that my motivation returns and I can steer myself out if this block as no matter how many crumpets and gin I consume, its not changing my state of mind. Hope you're all doing better than me out there!

March Watch List

 Emma

Jane Austen adaptations are really a dime a dozen. There are stand outs and there are those that are screaming out to be made, again, maybe. But 'Emma' wasn't one of them. Surprisingly this is Austen's most adapted novel and is very unlike all her other stories. The major exception is that Emma Woodhouse is wealthy and stays so throughout. She's also rather full of herself, at times selfish, rude and careless. But those are only her bad qualities, she will happily share her good ones. Although we've seen Emma very often on the big screen, small screen and the youtube screen, this fresh faced adaptation is a very welcome addition to the collection. Not only do you actually feel the 'heat' between Emma and Knightly (Emma Approved also gets this chemistry, but its modern day) but you also feel like connection between Harriet and Farmer Roberts which is a new and again welcome exploration (again except in Emma Approved - which deserves its own post really). A fine film which I really wish was given a better chance at the box office. 4/5

Issi & Ossi

As Netflix originals go, they are hot and miss, BUT I think this sort of rom-com-dramady gets it just right with a simple but convoluted set up and equally confusing execution with two great leads. Rich girl Issi who isn't academic in any way wants to go to go a fancy cooking school BUT her parents don't want that. Boxer Ossi is stuck working in his mum's ill fated petrol station and losing time training for a big fight as well as trying to keep his recently released grandad from turning to crime again. He needs money to make his big career making fight to happen, she needs a 'dodgy' boyfriend to annoy her parents SO they make a deal. But like all rom-coms with a similar deal set up, you can guess what happens next, well except Ossi's grandad's rap career taking off. It's light, silly in all the right places and such an easy going watch, especially in these lockdown depressing times. 3/5

A beautiful documentary about life long friends supporting each other through their transitions. My full review is over at Vulturehound and can be read HERE.  5/5

Ralph Breaks the Internet

As Pixar sequels go, I will always watch Toy Story, although I think that story is done now, I never liked Cars or its spin offs, literally the worst and I liked Monsters University, thought it was hilarious and clever despite obvious plot issues. But Wreck-it Ralph, which I didn't think was the strongest films in the bunch, was an odd one to give a sequel to. I still think it. But two best friends on a journey together with self discovery and very funny jabs at Disney and every inventive way to show the internet behind its scenes, it wasn't bad. But that virus making worm guy will haunt me for sometime. 3/5