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Jun. 6th, 2005 01:02 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
taerowynWell, I said I was going to write this yesterday. How shockingly out of character for me...I procrastinated.
Anyway, the Hal Hartley goodness. The sad truth, that should come as no surprise to anyone...![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
schwa242 should totally have been there instead of me. I mean, I liked it, but it's definitely more schwa242's thing than mine.
So, The Girl from Monday, spoiler-free. He's still shooting on DV, like he did with The Book of Life, but it's not quite as frenetic. He's still having fun with shutter speed and dutch angles and added a new twist with stills, but it was much better paced with the whole feel of the film and didn't leave me as jarred as it did in "The Book of Life."
The story/concept was all kinds of cool and it was neat to see somebody do a really good sci-fi story without CGI. It can be done people and it can be done well. The social commentary was spot on and hilarious in some places. Just a really good, off-beat movie.
As for the Q&A after...There were obviously a lot of film students in the audience asking what equipment he used, where he got the funding, why did he go for this style vs another, etc. One question that I was interested in was where he found the actors, cause it was odd for me to see Natalie from Sports Night in the movie. I hadn't realized she'd been in another of his films several years back. The lead guy is Bill Sage, an old Hartley alum, and the Girl from Monday used to be a model (Hartley's wife is a designer and he produces her runway videos, so he picked the girl from one of those and convinced her to do the movie).
Found out that Heinlein was one of his inspirations, which made me like it even more, cause hey... Heinlein.
There was a question about the scoring and how he does all the scoring for his movies (something I didn't know) and how had it developed over the years. He said something along the lines of "I wish I could make movies the way I make music." Meaning he likes how music can just wander and flow and not need to go anywhere and then sometimes it can go somewhere and tell a very specific story.
That's the one's I can remember. Did find out that he used to teach some classes at Harvard and that he's trying to make his move to Berlin permanent, apparently he has friends there, there's all sorts of culture and a good arts scene, and people are very willing to fund his movies...more so than here.
Anyway, the Hal Hartley goodness. The sad truth, that should come as no surprise to anyone...
schwa242 should totally have been there instead of me. I mean, I liked it, but it's definitely more schwa242's thing than mine. So, The Girl from Monday, spoiler-free. He's still shooting on DV, like he did with The Book of Life, but it's not quite as frenetic. He's still having fun with shutter speed and dutch angles and added a new twist with stills, but it was much better paced with the whole feel of the film and didn't leave me as jarred as it did in "The Book of Life."
The story/concept was all kinds of cool and it was neat to see somebody do a really good sci-fi story without CGI. It can be done people and it can be done well. The social commentary was spot on and hilarious in some places. Just a really good, off-beat movie.
As for the Q&A after...There were obviously a lot of film students in the audience asking what equipment he used, where he got the funding, why did he go for this style vs another, etc. One question that I was interested in was where he found the actors, cause it was odd for me to see Natalie from Sports Night in the movie. I hadn't realized she'd been in another of his films several years back. The lead guy is Bill Sage, an old Hartley alum, and the Girl from Monday used to be a model (Hartley's wife is a designer and he produces her runway videos, so he picked the girl from one of those and convinced her to do the movie).
Found out that Heinlein was one of his inspirations, which made me like it even more, cause hey... Heinlein.
There was a question about the scoring and how he does all the scoring for his movies (something I didn't know) and how had it developed over the years. He said something along the lines of "I wish I could make movies the way I make music." Meaning he likes how music can just wander and flow and not need to go anywhere and then sometimes it can go somewhere and tell a very specific story.
That's the one's I can remember. Did find out that he used to teach some classes at Harvard and that he's trying to make his move to Berlin permanent, apparently he has friends there, there's all sorts of culture and a good arts scene, and people are very willing to fund his movies...more so than here.