First Stills with my Nikkor 50mm 1.8f :)

Went out for some shenanigans with some of you hooligans.

Cool beans.

The "lion" shot

Playing with the Hexanon 50mm 1.7f :)

When I bought my Hexanon 50mm off eBay for 30 bucks, I didn't understand what flange length was. 

Now I understand.

And unfortunately, I am restricted to Macro-style photography with this particular lens.

But, whatever. I still think its really pretty:)

Pool and Glass - Experimental Film

Link: Pool and Glass - Experimental Film

An aesthetic piece. I just tried to make this pretty. Set up one light, shot some different angles, edited, and aided by some simple music from Incomptech.com.

Let me know what you think:)

WAR OF THE WORLDS is a Thrilling, Revealing, Masterful film

War of the Worlds is an audacious, aggressive adaptation. I can see why people would be thrown off at that.

Tom Cruise, in full on "run run run run" mode, is something that apparently people hate.

Spielberg doesn't like a sad, dire ending as much as he likes a hopeful, joyous conclusion. Maybe he could have broken that superficial perception with this film, and I get why some would feel like they got ripped by WOTW's ending.

But, I sincerely think that War of the Worlds is some of the best film making in the 21 century. This is Post-Schindler Spielberg, a Spielberg that is able to weave much thicker, trickier thematic elements and topics into his stories, but is still able to tell the actual stories in his signature, awesome, super duper way.

First, this is a technically superb movie. The visuals are beautifully gritty, in a different way then most other "Gritty" movies. It paints with a broad brush. Roads are glowingly blown out, Contrast is high, blacks are slightly crushed, and more. If I remember correctly, shooting on film, the film makers slightly bleach bypassed the film stock, meaning they skipped some of the more nuanced aspects of chemically resolving the stock, resulting in a truly unique palette of colors (which in turn, results in some incredible reveals in the story). The sudden color of the alien invasion strikes you, as does the red weed that comes into play. But, the film also plays like black and white for a little to. Basically, I have never seen something quite like it, yet it perfectly, memorably fits the many different thematic strands that are explored.

Spielbergian camera movement gives me goose bumps every time, simply because of its beautiful portrayal of storytelling intention, but in a raw, "broad stroke" way. Score wise, John Williams once again does some incredible stuff. Its surprising how restrained he is with even the most intense moments, and how that actually lends to a more dynamic relationship between the visual and musical aspects of the film.

Second, this is a perfect example of what makes Steven Spielberg such a great film maker. I firmly believe that "shaky cam" and its semiotics can only take you so far in a narrative picture. A full, natural understanding of what is or isn't happening in a given scene, ergo, an understanding of the characters, their conflict, and the progression of that conflict can be soooo much more driving and compelling then simply slapping on "shaky cam" and frantic, incoherent editing (there has to be more to it then constant surface semiotics). The ability to clearly weave the characters personal experiences with the bigger spectacle on display is what made Spielberg's Jurassic Park the film it is. That deftness and progression of the character within the set pieces is what made Spielberg's Raiders of the Lost Ark the absolute classic that it is. And that signature Spielberg hand is all over WOTW. Check out this scene:

The Invasion Begins

I get goosebumps! Notice how the scene feeds you with its visual information step by step. Notice the clarity of conflict. Notice the involvement and perspective of Cruise in the scene, and how that plays into what you as an audience experience. It's so tightly woven, yet allowing room to just run with our emotions. Its playing right on that level between awe and terror, as Spielberg is so incredibly good at doing! Because you are never confused about what you are watching, you are able to buy into the characters' because they are watching the exact same thing as you!

For Spielberg, it all comes down to storytelling clarity.

Simply put: In a given Spielberg shot, there is a single intention, and it is portrayed really, really, really stinkin well.

War of the Worlds is storytelling at its finest. It is brilliant. You aren't just watching the actors do their thing. You are right there with the actors, the characters, watching the scene unfold right along with them. He doesn't try covering up that you are watching a sensational story. He milks that, not calling attention to the fabrication, but ensuring that the cause and effect/this happens, SO that happens never stops.

Also, this film has a knack for stunning thematic imagery. Several moments left me in awe at what I was experiencing, not only because of the beauty/composition of the shot, but because of what place it served in the story. A flaming train, Tripods coming over a hill, clothes falling from the sky. These all serve a place in the cause and effect of the story, giving us a reason to hold on to that image, to think about that image, to experience that image.

It's stinking good storytelling.

But, the actual story....

Boy golly. I'll keep this short and just link to an article that explains it a lot better then I do.

This is the third thing.

Essentially, Tom Cruise is playing Ray, a bad father, a selfish man...that used to be the bees knees back in his day. He is, in fact, barely likable. Cruise is playing against type, and it is really brilliantly done. Because, in addition to the reversal of character, Ray never learns to be selfless. He doesn't become a good father. He doesn't save the world. He instead learns what it means to be selfish. He learns that he can't be a good father to his son. All of this is situated in this tale of survival, wherein you are never given a reason why Ray and his family should survive instead of another family or person.

Ray eventually commits a full on, pre-meditated murder for his own "selfish" needs. So is selfishness necessarily bad? What is selfishness's responsibility in society? What is selfishness/selfish?

This is the hard reality of society after 9/11. It's dark. It's confusing. And you have to applaud the film for talking about those issues.

But, in the end, you do have reconcelation. You have a lesson learned.  People have changed...and that's what a story is about. Simply put, the great thing is that it all connected. The story has meaning, has symbolism, and the charecters are a reflection of that. 

Here is another article that talks about this, and a lot more. It also addresses the problems people have with the ending (pg-13 rated):

Devin Farci's Review of War of the Worlds

In conclusion,
I think this is one of Spielberg's best films. It is a masterfully made example of what a narrative movie can do, taking you on a thrilling ride, but not stopping there. War of the Worlds uses that ride to argue its pathos, and strives to really talk about societies hard, dark realities. It can be admired on so many levels. I strongly encourage you to pick up a Blu-Ray copy, turn up the sound, and watch this story. Its gonna stick with you.

RATATOUILLE is special special

Ratatouille: A film about the essence of art that I dig soooo hard when I revisited. Here's 4 points as to maybe why-->

1) The sequences of action and discovery are truly stunning, in the sense that they are always playing an incredibly purposeful role in the story, while one upping nearly every single other action movie in recent memory in composition, construction, and thrill.

2) the music I love so hard cuz it's awesome cuz of its main theme and it's Michael Ghicinno. Simply, the music fills in the atmosphere of the Paris the movie portrays, but in a meaningful, constantly evolving way. Soooo good:):):):):)

3) The characters, like in most every other Brad Bird dir. film, all feel living. The actions they take are fully motivated by the characters, the story of their drama and conflict, rather then the simple plot of the film. This results in a film where it sings to you through honest character drama, rather then constant plot intrigue or questions. You really don't care about the "antagonist" in a "good vs evil" sense; the arch of the rat, the boy, and their relationship is what truly matters in the end, because that is the story of the film. Of course there are plot holes, but they really don't matter in the Paris the film creates. The story about a rat, a boy, and a Paris kitchen, although a completely absurd premise, ends up being the farthest thing from absurd as the characters become people in their fullness of purpose.
For me personally, the contrast between how the premise sounds and how the films works is awesome. Function over form to the totes.

4) This film really carries a hefty point of art. I saw the entire film as an exploration of art and it's place and purpose in society. This is what great movies do. The story is a story, but it is also a theme, a message. That message, that through line, that point matters. Ratatouille I believe excels in that. It really blew me away with how much weight it carried pertaining to arts and artists. Google "critic speech ratatouille" to see a little of what I mean.

Actually, just watch the movie again. Yes, it's about a rat who wants to learn how to cook in a Paris restaurant. Yes, a man is controlled by a rat through hair tugging. But that is the form of the movie. I encourage you to look beyond to it's function. There is sooo much there:):):)::))::)):):):))):):)::))::)):)