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i’ve just handed in my latest article for the IFP. in essence it’s a piece that questions how easy it is to assess the quality of a film (or any work of art) in an age where hype is everything. the article starts out with a proposed set of rules and then attempts to qualify them. these rules are as follows -

rule 1. (to kill expectation)

go into the film without having read or watched anything. trailers are acceptable, as they are sometimes created by film directors themselves, though even that sometimes is questionable.

rule 2. (to kill projection)

assess what the film is trying to say or achieve within the realm of what kind of movie it is trying to be. do not project your own expectations. let the film dictate the level of expectation, be that tonally, narratively or conceptually.

then, assess how well you think the film reaches whatever goals it set out to achieve.

rule 3. (to kill hype)

don’t talk about the film with anyone who has not seen it, except if you’re encouraging them to go see it. only discuss the film with those that have seen it, and discuss it hard. that’s what it’s there for.

you can read the rest of the article here.

we’d like to thank gus mantel for allowing us to use his incredible animated gifs to illustrate the piece. you can view more of his work here.

to accompany the release of 65daysofstatic’s new record, a rescoring of the 1972 science fiction film silent running, i have written a fairly in depth article that discusses the creation of the artwork. the article is the third in a series that i’ve written for the independent filmmaker project and you can read an excerpt of it here -

so a week passed, the hurricane was about to hit and i knew where i had to go with this. i chose not to run the idea by the band, mostly as I simply had no idea whether i could successfully pull it off any way. i’d never really drawn spaceships before and whilst i had an inkling of how i was going to do it, i truly expected a messy failure of some description to result from it. sitting down at my machine as people along the brooklyn waterfront were taping big Xs in their windows like hundreds of fox mulders with too many unanswered questions, i began to piece things together. all of the while i couldn’t stop repeating over and over what sara goldfarb says at the beginning of the film requiem for a dream, as her son is stealing her television to pay for drugs -

“this isn’t happening. and if it should be happening, it would be all right. so don’t worry, seymour. it’ll all work out. you’ll see already. in the end it’s all nice.”

by which i think my brain was saying that sometimes you have to trust there’s a reason for your motivations, because sometimes your subconscious is simply way ahead of you.

you can read the rest of the article here.

the website for the feature film PAVILION went live today, and along with it my second blog article for the IFP in which i discuss the process that went into making the site. we were also fortunate enough to be asked to handle the film’s posters and the credit sequences. the article discusses this and explains why our treatment on all fronts aimed to reflect the very minimal, atmospheric nature of the film.

here’s an excerpt -

my co-worker zach referred me once to a film (portrait of jason, 1967) where a man is sitting there smoking a cigarette for pretty much the entire film. that’s it. talking about this on the way to get lunch one day we agreed that in a film like that, where that’s all that happens, the small things turn into huge events. zach then stopped, scratched his head and thought for a moment, whispering to the air in front of him, “what was it that happened in that one…”. i stopped too, waited, and then finally he said “ah yes, he ran out of gas on his lighter. huge deal!” we both laughed and then stepped inside jimmy’s, our regular lunch joint.

so to reiterate, pavilion really is one of those exact films. it’s almost fair to say that if you blink or cough, you could miss the entire ‘reveal’ at the end of it. there are tiny fragmented shards of dialogue that tell you what’s happening whilst all the while you’re watching the most detached, beautiful and mesmerizing footage of kids feeling out the moments in those long, long, useless days of our youth. in fact what i said when i came back from the bathroom after tim had screened his movie for us was ‘congratulations’. congratulations for capturing that feeling of the abstract, aimless ennui of what it was to be young, with almost no sense of responsibility at all.

you can read the rest of the article here.

caspar has been invited to write a monthly blog for the independent film project. the first article went live on monday and it’s on the subject of trust. here is an excerpt -

in terms of the work i do for version industries, i have a healthy obsession with narrative and pathos, and feel that one should inherently lead to the other if you’re going to win the trust of your audience, whatever the medium. for this very reason i try wherever possible to tell a story with each project, be it a website, a record cover, a poster or a music video. i don’t mean a ‘story’ in the ‘fashion magazine’ sense, i mean a story with characters, scenes, events and climaxes. now of course it doesn’t have to be a sad story to be a good story, but without a sense of pathos somewhere along the line, you won’t glean any real loyalty for your work. take the funniest film you’ve ever seen and there’ll be a moment of sadness sitting right at the heart of it, and whether you like it or not it’s that moment that grounds everything else. why? because sadness feels more true than happiness. we might only recollect the happy memories and we certainly don’t have much memory of pain, but it’s a fact that it’s the sad moments that help us lower our defenses, bring us together and help us trust each other. trust being fundamental if you are an artist trying to earn the respect of your peers and garner support from your audience. it’s trust that leads them to follow your progress and consequently support for your next piece of work, be that financially or other.

you can read the rest of the article here.

thanks to the ladies and gents at topspin, we were asked to do a talk at the IFP independent filmmaker labs last week because of our work on tronsoundtrack.com. on thursday morning i spoke to a room full of documentary film makers hoping to find their way in the online world now that their various projects were nearing completion and needed some kind of apt promotion.

the talk went extremely well, which is surprising given it was literally the first thing of this kind that we’ve ever done aside from giles’s PACA panel discussion back in ’08. we’d like to thank rose vincelli and jonathan reiss for considering us for the task and for making us feel so welcome throughout the process. it’s looking like we’ll be doing more of these talks in future now that we’ve gotten a feel for it. we’ll try and post on twitter or similar when such things are about to occur. you know, should you want to come say hi or whatever.

i’d also very much like to add that i had no idea who jonathan reiss was when i met him over email, in person or when he introduced my talk. i mean i thought his name seemed familiar, but i never would have guessed this was the same jonathan reiss who’s work i have been in awe of for years. you see this is the man who directed the famously ‘banned’ happiness in slavery video for nine inch nails. a video that literally changed the lives of my friends and i when we first saw it in the 90s. few music videos come close to it in terms of sheer power, brutality and brilliance. suffice to say i thanked him not just for myself but for all the people out there who i know would want me to do the same, given half a chance.

you can view the filmmaker labs press release here.