this could easily lead into another “how in the hell did The Departed win best picture?” rant, but i’m not going to go there.

instead, let me just say that Children of Men is incredible.

i’d read about it a month or so ago in American Cinematographer and have been itching to see it ever since. unfortunately i didn’t make it to the theatre in time to see it on the big screen, but thankfully it’s out on dvd.

so much of this film was wonderful. the story, the theme, the acting, the cinematography, the directing, the directing, the directing. incredible. Alfonso Cuarón has a Felini-like ability to choreograph a sequence and his long-takes were perfect for the documentary-feel that he and Emmanuel Lubezki actualized masterfully.

there’s something wonderful going on with Latin American cinema and i’m very glad to be able to experience it.

the dvd extras include a really great minidoc that’s also not to be missed.

definitely see this film. you’ll be glad you did.

things are moving along steadily on the writing and development fronts at 36invisible so far this year.

in the works is a feature-length documentary (currently submitted for a major grant—fingers-crossed) and two feature-length narrative screenplays (both in various stages of revision).

Red Letters will also be touring with IFCT in the UK, Los Angeles, Orlando and New York City in the coming year and we’re definitely looking forward to that.

stay tuned.

This year the academy basically robbed Babel and Alejandro González Iñárritu of best film and best director respectively.

Best director? Yes Marty deserved an award, yes his body of work needed to be recognized, yes his films are masterful and unique, yes i attended the same grad film program that he did and will probably be chastised for this comment, but directing is about making choices and Iñárritu’s were flawless (yes even the casting of Pitt for that particular role). Marty, on the other-hand… not so much. The final image of the Departed (the rat) is just one such example.

I won’t go on about best film.

yesterday nova and i went to the moma as part of her birthday celebration. we hadn’t been since the renovations and were really looking forward to it.

preparing myself to once again experience the bacons and duchamps and the other pieces of art that have inspired me so much before, i was more floored when i discovered a new source of inspiration that, for some unknown reason, i had never seen before: gerhard richter.

i can’t really describe what i was feeling as we walked into the gallery that contained about fifteen of his “blurred” paintings, from his October 18, 1977 collection, but it was something definitely incredible. something clicked.

coming home and immediately doing some research on him and his collection, i found a wonderful quote that speaks volumes.

“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” —Richter, ‘Notes 1973′.

i believe the same is true for film as well.

i saw this film opening night (thank you nova!) in nyc and am amazed i haven’t posted about it until now.

if you haven’t seen it already, go while there’s still time!

open your mind and tell yourself that you’re not seeing a traditional movie, but instead are going to experience a piece of cinema by a master artist.

also, remember that Lynch shot this film on consumer grade mini-dv cameras (sony pd-150) and did a blow up to 35mm for theatrical release. some of the photography (especially the first sequence and the poland sequences) are simply stunning (i wonder if these were the shots where peter demming, asc was brought in to light?). however, the “less cinematic shots” serve their part as well. they’re incredibly arresting and definitely add to the “experience” that Lynch is so amazing at creating.

do I wish the film was shot entirely on 35mm to allow for the beautiful images i love so much from his previous work? i admit that i do, but i also realize that the film would have a completely different feel and i absolutely appreciate the beautiful things he’s done with digital video (and has proven are possible).

inland empire is an incredible experience. support this independent film!

check out: inlandempirecinema.com for more information and venues.

seriously.

so i’ve done some upgrading here and i think i’ve caught all possible problems, but let me know if you experience any strange behavior or otherwise.