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Thursday, 22 April 2010
Friday, 2 April 2010
LD 1
'Look, I'm not a cool guy or anything, I haven't been on a date in twelve years, but I would love to waste your time for a couple of hours. What do you think about that, can I do that, is it possible?'
Larry David
Larry David
Friday, 12 March 2010
An innocent girl, a harmless drive. What could possibly go wrong?
'Buckle up, son! This is the real world out here!'
'License to drive', the never talked about 1988 film starring both Corey Haim, Corey Feldman and a then unknown Heather Graham, remains one of the funniest films of all time, whilst also representing the issue that a driver's license respresents individualism, liberation and freedom. This all may seem like an over exaggeration but when a film has a clear set out idea, that begins with Les Anderson, (before there was Mr Anderson in Matrix, who stands for so much less in comparison to Les) chained to a school bus and his attempt to escape this kind of future for his life, and his dream of getting the girl and the car. Because in life, without a license, you have nothing...
'Les, that license in your wallet, that's not an ordinary piece of paper, that is a driver's license, and its not only a driver's license, it's an automobile license, and it's not only an automobile license, it's a license to live, a license to be free, a license to go wherever, whenever and with whomever you choose.'
There's too much for me to say really about 'License to drive', for me it is a brilliant film, clear in what it is about, what it is trying to achieve in it's genre and style, it uses childish techniques at times, empathising certian sounds and edited cleanly with some old fashioned flip cuts in places. Whilst I might make it sound, as if the film takes itself too seriosuly (and maybe the filmmakers did) far from it coming across like that in the film, as the script is direct, funny and of course the performances shine through, with Corey Haim brilliant as the young kid with the American dream...a joy to watch everytime and a film which deserved to be known.
Of course, one of the most famous films of Haim's career is 'the lost boys' (1987) which displays the idea of being, acting and feeling differently to our parents and siblings, it is at the end of the day, essentially a good old fashioned, fun -vampire-killer-slasher film, made to better standards to ones in the genre today.
In 1986, 'Lucas' showed adolescene in one of the best possible ways as Roger Ebert once described...
'License to drive', the never talked about 1988 film starring both Corey Haim, Corey Feldman and a then unknown Heather Graham, remains one of the funniest films of all time, whilst also representing the issue that a driver's license respresents individualism, liberation and freedom. This all may seem like an over exaggeration but when a film has a clear set out idea, that begins with Les Anderson, (before there was Mr Anderson in Matrix, who stands for so much less in comparison to Les) chained to a school bus and his attempt to escape this kind of future for his life, and his dream of getting the girl and the car. Because in life, without a license, you have nothing...
'Les, that license in your wallet, that's not an ordinary piece of paper, that is a driver's license, and its not only a driver's license, it's an automobile license, and it's not only an automobile license, it's a license to live, a license to be free, a license to go wherever, whenever and with whomever you choose.'
There's too much for me to say really about 'License to drive', for me it is a brilliant film, clear in what it is about, what it is trying to achieve in it's genre and style, it uses childish techniques at times, empathising certian sounds and edited cleanly with some old fashioned flip cuts in places. Whilst I might make it sound, as if the film takes itself too seriosuly (and maybe the filmmakers did) far from it coming across like that in the film, as the script is direct, funny and of course the performances shine through, with Corey Haim brilliant as the young kid with the American dream...a joy to watch everytime and a film which deserved to be known.
Of course, one of the most famous films of Haim's career is 'the lost boys' (1987) which displays the idea of being, acting and feeling differently to our parents and siblings, it is at the end of the day, essentially a good old fashioned, fun -vampire-killer-slasher film, made to better standards to ones in the genre today.
In 1986, 'Lucas' showed adolescene in one of the best possible ways as Roger Ebert once described...
"Haim ... does not give one of those cute little boy performances that get on your nerves," wrote Ebert. "He creates one of the most three-dimensional, complicated, interesting characters of any age in any recent movie. If he can continue to act this well, he will never become a half-forgotten child star, but will continue to grow into an important actor. He is that good."
I remember seeing it at a young age, (it was an after midnight fill-up-the schedule screening on ITV) I haven't seen it since but have never forgotten it, how much I felt for Lucas and what he was trying to acheive and prove, to himself, to the girl he lusted after and the world around him. It was a powerful film for me and I look forward to seeing it again.
As with many shocking deaths in life, they always leave at a point when there is so much left behind, his mother battling cancer and talk of a career comeback, to name a couple in Mr Haim's life. Corey Haim once said...
"I want to be the guy they talk about when they talk about comebacks," he said three years ago. "I want people to learn from me, see I'm human, and understand that I make mistakes just like they do, but it doesn't have to consume you. You've got to walk through the raindrops, and that's totally what I am trying to do."
R.I.P.
http://www.guardian.co.uk/film/filmblog/2010/mar/10/corey-haim-lost-boys
Tuesday, 22 September 2009
Do the right thing (Fight the power)
Twenty years ago, 'Do the right thing' was released, a film that focuses on racial tensions within a block of Brooklyn.
Today, if you ask someone about a film which tackles such a subject, they'll probably mention Paul Haggis's Oscar winning Crash, a propagandist tale about race relations in LA.
Mr Lee pointed out in his BFI independent interview (21/09/09@NFT), that the film was inspired by New York at the time, which doesn't in that form today. However, the issues still remain in our world and still to Mr Lee today, a black film director, working in America.
A trademark director, with his direct monologues, conveyor belt tracks and introductions to a Spike Lee joint.
Whilst 'Do the right thing' must not be confused as a film that's saying 'you're racist', it is talking about one's fear of the opposite race, love for peace within humanity and the hatred of the truth.
In one scene, Mookie, played by Spike Lee, asks Pino, whom his favourite basketball player, actor and singer are, who all turn out to be black people. Pino, a man living in shame from his friends mocking, in fear of the black men in the neighbourhood and using racism as a shield, can't justify his answer except by only saying 'it's different.'
This interview, was one of the greatest live interviews I have ever seen with a filmmaker, of how, like Spike Lee's skin colour, racial tensions within humans, will sadly never change.
Do the right thing, ends with two quotes, one by Maritn Luther King and Malcolm X. I shall end this entry, same as the film.
Violence as a way of achieving racial justice is both impractical and immoral. It is impractical because it is a descending spiral ending in destruction for all. The old law of an eye for an eye leaves everybody blind. It is immoral because it seeks to humiliate the opponent rather than win his understanding; it seeks to annihilate rather than to convert. Violence is immoral because it thrives on hatred rather than love. It destroys a community and makes brotherhood impossible. It leaves society in monologue rather than dialogue. Violence ends by defeating itself. It creates bitterness in the survivors and brutality in the destroyers.
- Dr. Martin Luther King, Jr.
I think there are plenty of good people in America, but there are also plenty of bad people in America and the bad ones are the ones who seem to have all the power and be in these positions to block things that you and I need. Because this is the situation, you and I have to preserve the right to do what is necessary to bring an end to that situation, and it doesn't mean that I advocate violence, but at the same time I am not against using violence in self-defense. I don't even call it violence when it's self-defense, I call it intelligence.
- Malcolm X
Today, if you ask someone about a film which tackles such a subject, they'll probably mention Paul Haggis's Oscar winning Crash, a propagandist tale about race relations in LA.
Mr Lee pointed out in his BFI independent interview (21/09/09@NFT), that the film was inspired by New York at the time, which doesn't in that form today. However, the issues still remain in our world and still to Mr Lee today, a black film director, working in America.
A trademark director, with his direct monologues, conveyor belt tracks and introductions to a Spike Lee joint.
Whilst 'Do the right thing' must not be confused as a film that's saying 'you're racist', it is talking about one's fear of the opposite race, love for peace within humanity and the hatred of the truth.
In one scene, Mookie, played by Spike Lee, asks Pino, whom his favourite basketball player, actor and singer are, who all turn out to be black people. Pino, a man living in shame from his friends mocking, in fear of the black men in the neighbourhood and using racism as a shield, can't justify his answer except by only saying 'it's different.'
This interview, was one of the greatest live interviews I have ever seen with a filmmaker, of how, like Spike Lee's skin colour, racial tensions within humans, will sadly never change.
Do the right thing, ends with two quotes, one by Maritn Luther King and Malcolm X. I shall end this entry, same as the film.
Violence as a way of achieving racial justice is both impractical and immoral. It is impractical because it is a descending spiral ending in destruction for all. The old law of an eye for an eye leaves everybody blind. It is immoral because it seeks to humiliate the opponent rather than win his understanding; it seeks to annihilate rather than to convert. Violence is immoral because it thrives on hatred rather than love. It destroys a community and makes brotherhood impossible. It leaves society in monologue rather than dialogue. Violence ends by defeating itself. It creates bitterness in the survivors and brutality in the destroyers.
- Dr. Martin Luther King, Jr.
I think there are plenty of good people in America, but there are also plenty of bad people in America and the bad ones are the ones who seem to have all the power and be in these positions to block things that you and I need. Because this is the situation, you and I have to preserve the right to do what is necessary to bring an end to that situation, and it doesn't mean that I advocate violence, but at the same time I am not against using violence in self-defense. I don't even call it violence when it's self-defense, I call it intelligence.
- Malcolm X
Friday, 11 September 2009
Way down in the hole (The Wire: Part two 4-5)
I've never seen anything like it. Just when you think you know what to expect, 'the wire' takes it and slams it upside down in your face.
No establishing shots, until the very end. No montages, until the very end. No satisfaction of letting its guard down, to finally give the audience what it wants, what all TV shows give audiences, until the very end. 'The wire' never gives the audience what it wants.
Unlike most TV shows, screen time is usually equal amongst cast members. In 'the wire', some characters may pop up for a second, disappear entirely for a season or even skip a couple of seasons and then pop their head in suddenly just to say hello.
Intelligent right through to the end, demanding the attention of the viewer and challenging them at every word spoken and shot taken. With each season, capturing not only the world of Baltimore, but also the world we are living in today.
One the best pieces of TV, I have ever seen, and demands a second viewing and maybe more.
'you happy now bitch?'
I certainly am.
The wire continues.
No establishing shots, until the very end. No montages, until the very end. No satisfaction of letting its guard down, to finally give the audience what it wants, what all TV shows give audiences, until the very end. 'The wire' never gives the audience what it wants.
Unlike most TV shows, screen time is usually equal amongst cast members. In 'the wire', some characters may pop up for a second, disappear entirely for a season or even skip a couple of seasons and then pop their head in suddenly just to say hello.
Intelligent right through to the end, demanding the attention of the viewer and challenging them at every word spoken and shot taken. With each season, capturing not only the world of Baltimore, but also the world we are living in today.
One the best pieces of TV, I have ever seen, and demands a second viewing and maybe more.
'you happy now bitch?'
I certainly am.
The wire continues.
Saturday, 22 August 2009
The meaningless-X factor
With the new series of the X factor starting today, its stands a good chance of nominating viewers, newspapers and conversations over the next few months until christmas, where the winner will probably once again grab the christmas number one spot.
As the judges make their comments, the contestants cry and pray to get through each round and the great British public watch in laughter and excitement, an important week in Afghanistan regarding it's future, still remains unannounced regarding it's winner in the election.
Whilst shows such as X-factor, Britain's got talent and American Idol were basically created by the mind of Simon Cowell, they only have one meaning in the place of the world and that is that without them, Afghan Star wouldn't exist.
Afghan Star, is essentially X-factor in Afghanistan. The only difference being and it's a massive one, is that whilst all Simon Cowell shows are about one person's dream to become rich and famous, (quinessentially, it's means nothing) Afghan Star is about the native people singing to escape from their reality, watching the show in an escape from the harsh realities of war, how even though it is a popular show, it is also a dangerous one, where singing is putting your life at risk, within a dictated and dominated country.
I would rather watch Afghan Star.
As the judges make their comments, the contestants cry and pray to get through each round and the great British public watch in laughter and excitement, an important week in Afghanistan regarding it's future, still remains unannounced regarding it's winner in the election.
Whilst shows such as X-factor, Britain's got talent and American Idol were basically created by the mind of Simon Cowell, they only have one meaning in the place of the world and that is that without them, Afghan Star wouldn't exist.
Afghan Star, is essentially X-factor in Afghanistan. The only difference being and it's a massive one, is that whilst all Simon Cowell shows are about one person's dream to become rich and famous, (quinessentially, it's means nothing) Afghan Star is about the native people singing to escape from their reality, watching the show in an escape from the harsh realities of war, how even though it is a popular show, it is also a dangerous one, where singing is putting your life at risk, within a dictated and dominated country.
I would rather watch Afghan Star.
If you want to know more, follow this link to read more about the fascinating documentary http://www.afghanstardocumentary.com/watch_sm.html
Friday, 7 August 2009
Life moves pretty fast. You don't stop and look around once in a while, you could miss it.
John Hughes defined a decade in the 80's, where no filmmaker since has been able to capture the role that is of a 'teenager.'
I think I saw 'the breakfast club' first, I had heard alot about it growing up and one night when it was on late on BBC1 in the early nineties, at around 11.25pm, I finally witnessed and understood a part of film culture I had never experienced before. The film had humour, reality, a philosophical and thought provoking style, a direct and honest approach, which I hugely enjoyed. 'Do I stutter???'
The film had a profound effect on me, these five characters each spoke to me in ways that any individual could understand, regardless of your nationality or where you were from. At one point in the film, Andy asks Alison 'is it bad? parents?' which I think out of context seems a little confusing if you haven't seen the film but that one line, shows how much John Hughes understood about the pressures of growing up and being a forever mirror to your parents. 'His name is Blane? Oh! That's a major appliance, that's not a name!'
Today, the teen-angst genre that Hughes defined in the eighties is today no more, dead. Filmmakers since have tried to capture it but have all failed due to a real lack of understanding it. One filmmaker that may come close is Richard Linklater, with films such as Dazed and Confused. 'It's better to swallow pride than blood.'
For anyone who has never seen a John Hughes film, take your pick, how about a teenger's frustration at her parents forgetting her birthday, whilst fancying the school prince and getting constantly hit on by the school geek. How about two guys wearing bras on their heads whilst creating the woman of their dreams. How about a day when life is deemed more important than the four walls of a school classroom. The frustrations of travelling, a Romeo and Juliet story with the rich and poor, a three way love triangle, the fun of having a house all to yourself or how individuals connect, despite their vast differences. 'You had to be big shots didn't you. You had to show off. When are you gonna learn that people will like you for who you are, not for what you can give them. Well, in your race for power and glory, you forgot one small detail.'
Today we have...'she's all that' and Freddie Prince Jr...I don't think so! What the teenage world of today don't understand, unless they've seen John Hughes films, is that he created, shaped and defined the teen angst genre, it dies with him. The end.
Maybe I haven't been clear enough...in fact, I made a mistake, John Hughes didn't define a decade, he defined a generation.
"Many filmmakers portray teenagers as immoral and ignorant, with pursuits that are pretty base," Hughes told the Chicago Tribune newspaper in 1985. "They seem to think that teenagers aren't very bright. But I haven't found that to be the case. I listen to kids. I respect them. I don't discount anything they have to say just because they're only 16 years old."
R.I.P. John Hughes
I think I saw 'the breakfast club' first, I had heard alot about it growing up and one night when it was on late on BBC1 in the early nineties, at around 11.25pm, I finally witnessed and understood a part of film culture I had never experienced before. The film had humour, reality, a philosophical and thought provoking style, a direct and honest approach, which I hugely enjoyed. 'Do I stutter???'
The film had a profound effect on me, these five characters each spoke to me in ways that any individual could understand, regardless of your nationality or where you were from. At one point in the film, Andy asks Alison 'is it bad? parents?' which I think out of context seems a little confusing if you haven't seen the film but that one line, shows how much John Hughes understood about the pressures of growing up and being a forever mirror to your parents. 'His name is Blane? Oh! That's a major appliance, that's not a name!'
Today, the teen-angst genre that Hughes defined in the eighties is today no more, dead. Filmmakers since have tried to capture it but have all failed due to a real lack of understanding it. One filmmaker that may come close is Richard Linklater, with films such as Dazed and Confused. 'It's better to swallow pride than blood.'
For anyone who has never seen a John Hughes film, take your pick, how about a teenger's frustration at her parents forgetting her birthday, whilst fancying the school prince and getting constantly hit on by the school geek. How about two guys wearing bras on their heads whilst creating the woman of their dreams. How about a day when life is deemed more important than the four walls of a school classroom. The frustrations of travelling, a Romeo and Juliet story with the rich and poor, a three way love triangle, the fun of having a house all to yourself or how individuals connect, despite their vast differences. 'You had to be big shots didn't you. You had to show off. When are you gonna learn that people will like you for who you are, not for what you can give them. Well, in your race for power and glory, you forgot one small detail.'
Today we have...'she's all that' and Freddie Prince Jr...I don't think so! What the teenage world of today don't understand, unless they've seen John Hughes films, is that he created, shaped and defined the teen angst genre, it dies with him. The end.
Maybe I haven't been clear enough...in fact, I made a mistake, John Hughes didn't define a decade, he defined a generation.
"Many filmmakers portray teenagers as immoral and ignorant, with pursuits that are pretty base," Hughes told the Chicago Tribune newspaper in 1985. "They seem to think that teenagers aren't very bright. But I haven't found that to be the case. I listen to kids. I respect them. I don't discount anything they have to say just because they're only 16 years old."
R.I.P. John Hughes
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