PENCILS DOWN! THE 100 DAYS OF THE WRITERS GUILD STRIKE (2016, doc)

November 6, 2016

pencils-down Greetings again from the darkness. This documentary from director Brian S. Kalata (a successful Location Manager) details the 100 day strike of the Writers Guild of America, and more interestingly, provides a peek behind the curtain of the business side of the entertainment industry. It’s an industry that continually cries financial wolf, while green-lighting the construction of new theatres and producing ever-bigger budget projects. Though this documentary won’t clear up any of the voodoo economics (to borrow a phrase), it does shed some light on who the power players are and who are the ones typically drawing the short straw.

On November 9, 2007, 4000 picketers joined the rally outside the Fox Studios as the WGA strike began. Numerous interviews with industry insiders provide us a basic education on what makes the entertainment world unique when it comes to labor disputes. Here, the leading studios … competitors, mind you … bond together to go up against each of the separate unions (DGA, SAG, WGA, Teamsters, etc) at contract time. Historically, this has resulted in contracts that heavily favor and maintain the largest piece of the pie for the power studios – now run by major media conglomerates, rather than the hands-on studio heads of early Hollywood (Mayer, Warner, et al).

What made this particular strike more interesting was the strong support the WGA received from its members – both past and present, the acting community (SAG), and the viewing public, thanks to an online media blitz telling the story. At the heart of the negotiations was this (at the time) new and rapidly expanding digital media. The studios claimed they didn’t have a business model yet for streaming, iTunes, Netflix, etc, so this was all to be categorized as “home video”, which short-changed the writers from previous contracts.

Those being interviewed include Alan Rosenberg, Harlan Ellison, Howard Rodman and Patric Verrone … all key players in the strike and the vision for the WGA. Each is very forthright in the past shortcomings of contract negotiations, as well as how they felt this strike offered the first real opportunity for fairness.

Labor issues are commonplace in most industries, but the fascination here is derived from the creative artists going up against powerful corporate forces. Even with a show of solidarity between the various entertainment unions, the cause is severely impacted when the DGA cuts their own deal. The film acts as a primer on both entertainment economics and labor relations … two topics we rarely have much access to, though we only get the labor (writers) side of the story.

The film trudges through the different stages of the 100 days, and makes it clear that the WGA felt back-stabbed by the DGA at a time when the industry was in danger of having its most important event canceled … Oscar night. In the end, the writers got their “toe in the door” for digital media, but Julia-Louis Dreyfus said it best … “Without the writers, we are speechless.”

 

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Posted by David Ferguson

FINDING BABEL (2016, doc)

October 27, 2016

finding-babel Greetings again from the darkness. Tracing one’s roots, or family tree, has become much easier in the internet age, and the process has made for a few interesting documentaries. Andrei Malaev-Babel is an acting teacher at Florida State University, but more importantly, he’s the grandson of famed Jewish-Soviet writer Isaac Babel. Director David Novack tracks the grandson’s journey in re-tracing the steps of the elder Babel’s writings and subsequent arrest/imprisonment/execution.

Isaac Babel is one of the best known post-Russian Revolution writers thanks to his “Odessa Tales” and “Red Cavalry”. He was often critical of the post-revolution society and leadership, and it was his play “Maria” that was the final straw that resulted in his arrest, torture and, finally, execution in 1940. His grandson wants to know the full story … especially what became of the volumes of unpublished work that was seized and “lost” during Stalin’s Great Purge.

Liev Schreiber narrates and reads excerpts of Babel’s work throughout the film. It’s these passages that Andrei and Novack use to make the subtle comparison of then and now … much of today’s Russia is not so different from the oppressive Soviet Union of the 20’s and 30’s. Andrei meets with those who have researched his grandfather, as well as those who have been influenced by his work. There are exceptional clips of a 2003 discussion with Andrei’s grandmother Antonina Pirozhkova who provided much insight before her passing at age 101. This is a woman who was brilliant and tough in her own right.

The journey takes us through Ukraine, Paris and Odessa (where a statue is being constructed in his honor). Andrei looks through the criminal file, though once again, the file with writings is conspicuously missing. He also visits the mass grave where his grandfather is supposedly buried, and we learn that Isaac’s charge of treason was later reversed … unfortunately many years after his execution. Andrei’s journey through Isaac’s 1920 diary blends well with the various stops, but we can’t help but think that as viewers, we are witnessing personal and emotional times that we should not necessarily be seeing … absolutely fascinating, but so very private.

 

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Posted by David Ferguson

BEFORE THE FLOOD (2016, doc)

October 23, 2016

before-the-flood Greetings again from the darkness. Ten years ago Al Gore became a climate-change icon thanks to the Oscar-winning documentary An Convenient Truth (from director Davis Guggenheim). With this updated warning, the climate change crown is passed to Leonardo DiCaprio, and rather than just speak to the topic, he takes us on a worldwide journey to show us the effects.

The film is bookended by DiCaprio’s speech to the UN general assembly after he was named UN Messenger of Peace on Climate Change. It’s a reminder that the mega movie star has long been an environmental activist … and yes, before you scoff, he does acknowledge that his carbon footprint is probably larger than ours (an obvious understatement – unless you also travel by yacht and private jets, and own multiple mansions).

DiCaprio’s personal story about Bosch’s “The Garden of Earthly Delights” hanging above his crib (seriously, how many parents think this is acceptable artwork for a toddler?) acts as a visual to his message that we are on the path of virtual destruction to the earth that we now know.

The power of celebrity in on full display as DiCaprio scores interviews with such luminaries as UN Secretary General Ban Ki-moon, President Obama, Elon Musk, John Kerry, and even Pope Francis. There is also a clip of his long-ago interview with then President Clinton (Bill, not Hillary). However, it’s not the talking heads that have the most impact here. Rather, it’s the first-hand look at the Canadian Arctic, the disappearing glaciers of Greenland, the sunny day street flooding in Miami, the destruction of Indonesian Rain Forest to capitalize on the palm oil market, and the eroding coral reefs. The film plays like a Tim Burton Travel Channel series … each stop more nightmarish than the previous.

His passion is obvious, though his knowledge less so. DiCaprio understands the power his celebrity brings, and he joins with director Fisher Stevens (known mostly for his acting, but also an Oscar winning director for The Cove, 2009) in this attempt to bring the urgent message to the masses. As they state, we are beyond simply changing lightbulbs, and the key is a shift from fossil fuels to renewable energy … a shift that China (not the U.S.) has taken seriously.

With generic solutions like “consume less” and “vote better”, the film mostly avoids controversy … though it does acknowledge the slick and well-funded ‘campaign of denial’ by those who profit mightily from a fossil-fuel dependent world. We see an impressive map/video screen tracking ocean currents, temperatures, etc. and there is a chart comparing electricity usage by U.S. citizens vs other countries (we are energy hogs, in case you weren’t sure). The ending message hasn’t changed much in the past 10 years … “It is all up to us”.

watch the trailer:

 

 

 

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Posted by David Ferguson

DOOMED! THE UNTOLD STORY OF ROGER CORMAN’S THE FANTASTIC FOUR

October 15, 2016

doomed Greetings again from the darkness. Most people over age 30 remember the release of Tim Burton’s Batman Returns, the sequel to his 1989 hit. The film’s budget was $80 million, which seems remarkably low compared to the $250 million (or more) budget of today’s superhero and comic book film adaptations. Putting all of that in perspective, and providing the best ever look at low budget filmmaking, comes this documentary from director Marty Langford. It’s a look back at the ONE million dollar production of Marvel’s iconic The Fantastic Four (the same year as Batman Returns), and how backroom negotiations provided a stake to the heart of those involved.

We are shown a quote from Stan Lee: “The movie was never supposed to be shown to anyone.” It’s a quote that we understand by the end of Langford’s story, but still makes little sense. In 1992, producer Bernd Eichinger realized his rights to these famous Marvel characters were expiring at year end. He contacted the master of “B” movies, Roger Corman, who gave his production team one weekend to come up with a workable plan. What followed was the “movie magic” that we rarely glimpse. Even with that low budget, the script was written, the movie was cast and shooting began (with no rehearsal) … the ultimate rushed production.

The documentary connects the dots between Eichinger, Corman, Troma Entertainment, Marvel Studios, Neue Constantine Films, and Avi Arad; however, the real heart and soul comes courtesy of the interviews with the actors and production crew who were so involved. Looking back with nostalgia, pride and frustration, these folks clearly represent the “get it done” attitude that is so crucial in low budget filmmaking. Their disappointment in never having the film released is evident a quarter century later in their words and their faces.

In what could be described as a conspiracy … though more appropriately as yet another clash in the age old art vs. business battle … the cast and crew were manipulated into believing the film would be released. Many made publicity appearances at festivals, and a trailer was cut and shown in many theatres. Unfortunately (for all but a few), the production was merely a ploy to drive up the demand and cost for the rights … as Avi Arad envisioned a slick, high-budget version of the franchise (there have been two failed versions in the years since).

Some of those interviewed include director Oley Sassone, editor Glenn Garland, Joseph Culp (Doctor Doom, son of Robert Culp), Jay Underwood (Johnny Storm), Alex Hyde-White (Reed Richards), Rebecca Staab (Sue Storm), Michael Bailey Smith (Ben Grimm), and Carl Ciarfalo (The Thing). We mostly get the viewpoint of those who were so close to the film, though there is a brief clip of Roger Corman claiming he was under the impression that it was a legitimate film project … this despite his healthy cash out.

Since a copy of the film was “rescued” by the director and editor, it has become something of an urban legend among the comic book fan base … a cult film that never had its day on the big screen. The best comparison might be a bootleg version of a deep cut of a Springsteen song in the 1970’s. Everything gets released today, but in those days, studios had a way to control what was seen (and what wasn’t). This is a well made documentary on an unusual topic – and a reminder that the artists just want their work seen, while the business side just wants the money.

 

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Posted by David Ferguson

STARVING THE BEAST (2016, doc)

September 29, 2016

starving-the-beast Greetings again from the darkness. Our founding forefathers have been the focal point of many conversations during this political campaign season, and now Thomas Jefferson and John Adams (along with Abraham Lincoln) are keys to one side of the debate explored by director Steve Mims’ latest documentary. The movie kicks off with James Carville’s commencement speech at LSU as he reminds the graduating students of the vision each of the three iconic Presidents had for public higher education … visions that are now under attack.

The debate in question boils down to a contrast of philosophies: should public higher education continue to be treated as a societal investment in its citizens, or should students be considered consumers of a commodity (education) with public universities being self-sustained profit centers? It’s the ultimate clash between politicians struggling with state budget shortages and those in the world of academia, which has remained mostly unchanged for almost 150 years.

Five highly-respected state research universities form the basis of this research: University of Texas at Austin, University of Wisconsin – Madison, University of North Carolina- Chapel Hill, University of Virginia (founded by Thomas Jefferson), and Louisiana State University (LSU). We learn about the Morrill Act of 1862, a 500% tuition increase in the thirty years 1980-2010, and Wisconsin Governor Scott Walker’s attack on a fundamental core of the education system … tenure for professors. Other topics include CATO Institute, Texas Public Policy Foundation, and “the disruptor” Jeff Sandefer (founder of Acton School of Business) and his “Seven Breakthrough Solutions”.

This is a documentary designed to prompt awareness and discussion. Both sides of the debate receive a fair shake, though the filmmaker’s stance is pretty obvious. An example of “disruptive innovation” is shown with US Steel and its refusal to adapt to market demands for cheaper, lower quality steel. The point being … market change occurred, but the change made things worse, not better. Pan Am airlines is also a case study in how a company can refuse to adapt to market changes … they held tight to “old ways” until Pan Am no longer existed. Such examples are why there is no easy solution to the question being posed. Arguments can certainly be made that our education system has fallen behind that of other countries, but do we really want a populace where the humanities become a relic of the past since they don’t readily fit into the equation for a valuable and productive profession?

Disruption for the sake of reformation can be a good thing if the exchange of ideas and beliefs is done in a logical and precise manner. Of course, in our world, logic is often overridden by emotion … money and profit vs. a societal investment in each generation. Is it “immoral” to rob the next generation of this opportunity, and is that even what’s happening? Numerous interviews (with some smart folks) and clips are offered to drive home just how complex the topic can be … and the strong mindset for each side.

Producer Bill Banowsky was on hand for a post screening Q&A. He was the founder of Magnolia Pictures, and his father was a University President – so the topic is important and personal to him. Well made social issue documentaries such as this are crucial sources to those of us attempting to cut through the tabloid-style journalism that has overtaken mass media. Conflicting ideologies can make for some terrific discussions, and in this case, it’s a subject vital to our societal approach to future generations.

watch the trailer:

 

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Posted by David Ferguson

SILICON COWBOYS (2016, doc)

September 20, 2016

silicon-cowboys Greetings again from the darkness. After countless projects spotlighting Steve Jobs and Apple, it’s about time the tech-nerdy Texas entrepreneurs behind Compaq get their moment on the silver screen. Filmmaker Jason Cohen turns his camera on Rod Canion, Bill Murto, and Jim Harris … none who have the persona or magnetism of Mr. Jobs … and tells the story of how they took on Goliath IBM at a time when most wouldn’t dare.

Taking us back to 1981, the 3 friends (and Texas Instruments co-workers) quit their jobs to start a new company – only they have no real plan on what that company should be or even what industry it should be in. There is a re-enactment of a conceptual drawing of a mobile computer on a diner’s paper placemat … a drawing that helped them secure a big investment from Ben Rosen at a time when Venture Capitalism was non-existent for technology companies (yep, 35 years ago).

Those early days of a slow developing Silicon Valley featured more hobbyists and non-commercial efforts than anything going on these days. Mobile computing was not really even a product category when Compaq stuck a handle on their case … the visuals of businessmen toting them through airports is comical. This was truly the beginnings of the home computer era, and even the tech start-up. The film serves as a historical perspective of the times, while also documenting how Compaq fits into the evolution of the personal computer.

It’s pretty easy to draw comparisons to the great and powerful IBM ignoring the “little guys” to the 1970’s when GM and Ford overlooked Honda and Toyota. It’s always easy to chuckle at the arrogance of big corporations, and when Compaq computers were more compatible with IBM software than IBM computers were, it’s a real head-scratcher. The dawn of “clones” were more than a thorn in the side of Big Blue (IBM), and eventually it got worse for them. Head-to-head advertising campaigns of IBM’s Charlie Chaplin vs. Compaq’s John Cleese further emphasized the contrast between those out of touch with those who clearly understood the market.

Normally a movie that spends much of its time interviewing such down to earth guys as Canion, Murto and Harris, would feel like it’s dragging, but the historical significance is such that contemporary comparisons to Dell, Google, Apple and Facebook keep it briskly on track. Though the electronic background music seems out of place, many viewers will enjoy watching a true story where the nerds win!

 

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Posted by David Ferguson

THE FIRST FILM (2016, doc)

September 19, 2016

first-film Greetings again from the darkness. How do we handle challenges to historical achievements that have been accepted as facts for more than a millennium? Film classes have long taught that Thomas Edison and the Lumiere brothers were the pioneers of moving pictures. Director David Nicholas Wilkinson has worked for 33 years to prove that Louis LePrince actually beat them to the punch with his own camera and “movies” produced in 1888 Leeds. When LePrince mysteriously disappeared in 1890 he became the industry’s first tragedy/mystery, leaving him with no place in history … something Wilkinson is trying to correct.

You may have heard other arguments for Eadweard Muybridge, William Friese-Greene and Wordsworth Donisthorpe, but it comes down to limiting the definition to a single lens camera capturing live action on film for playback. Director Wilkinson includes the 3 surviving snippets of scenes recorded by LePrince: a small gathering of friends/family walking around, LePrince’s son Adolphe playing an instrument, and a Leeds street shot of moving carriages.

To prove his theory and secure LePrince’s place in history, Mr. Wilkinson meets with film historians, researchers, academic experts, museum curators, and even a patent lawyer. The patents are key because LePrince had secured his U.S. and England patents, but the laws worked against him and his supporters once he disappeared. Details are presented in all aspects … some concrete, scientific and impressive; others more speculative and circumstantial (as you would expect 125 years later). Wilkinson is willing to do what’s necessary to make a clear point as evidenced by his searching a graveyard for a specific headstone (to establish a timeline of the “walking” footage).

Two of the more interesting sequences occur when Wilkinson visits the actual room in the oldest house in Manhattan where LePrince’s moving picture was to be shown; and his trip to Memphis, Tennessee to meet with LePrince’s great great granddaughter to share evidence, artifacts and stories. The three main theories surrounding LePrince’s disappearance are profiled. Was he murdered (possibly a hit by Edison)? Did he commit suicide? Was it all a plot to steal his patents? With no body, no witnesses and no evidence of a crime, the LePrince disappearance is the first unsolved mystery of the movie business.

It seems Wilkinson presents enough hard evidence to justify adding LePrince into the discussions around the birth of movie making. The unsolved mystery adds an element of intrigue, and makes for a more interesting movie. Mostly Wilkinson is to be admired for his 33 year obsession, for finishing his project, and for bringing attention to one of history’s forgotten players. Beyond that, the tongue-in-cheek manner in which he chooses to end his film allows us to appreciate his efforts and keep it in perspective.

 

 

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Posted by David Ferguson

KAMAPI! FOR THE LOVE OF SAKE (2016, doc)

August 21, 2016

kampai Greetings again from the darkness. No matter your country of origin, drinking in a social setting inspires a unifying call for the group. We Americans proudly bellow “Cheers”. In Spanish, it’s “Salud”, while the Germans say “Prost” and the French “Santé”. You might have guessed from the title of this documentary … the Japanese say “Kampai!” as they toast their cohorts and raise a glass of Sake, also known as Japanese rice wine.

Filmmaker Mirai Konishi promises a look at the fascinating and somewhat mysterious world of brewing sake. His approach is to gain insight from three different individuals who hail from quite disparate backgrounds and are now fully immersed in all things Sake. John Gauntner is a U.S. born writer/educator/researcher whose publications are world renowned as the best available on the subject. Philip Harper is a British gent who is Oxford educated and the first non-Japanese master Sake brewer (Toji). He spends roughly 60% of a year in a dark, dank environment perfecting his own label of the drink. Kosuke Kuji runs an inherited century old Japanese Sake brewery that has been in his family for multiple generations.

We are informed that Sake is the national beverage of Japan and has been around for many centuries, creating historical and cultural significance. Unfortunately, the film offers little historical perspective, so we don’t learn how and why Sake became so ingrained in the fabric of Japan. Instead we focus mostly on the three fellows noted above and how their passions and commitment to Sake helped drive not just their own interests, but that of the industry. One other segment offers a glimpse inside the North Carolina based brewery looking to capitalize on the growing Sake trend. Unfortunately, per numerous reports, Blue Kudza went out of business shortly after this segment was filmed.

A cursory description of the process – gathering ingredients, preparation, fermenting, tasting, etc is interesting enough, and the personal stories add enough heft that we don’t realize the missing historical perspective until the movie ends. We are left anticipating a Sake tasting party, yet no more educated on the true significance of the chilled, warmed or room temperature beverage (it can be served all three ways) being hoisted as the patrons exclaim “Kampai!” and the screen fades to black.

 

 

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Posted by David Ferguson

THE LOST ARCADE (2016, doc)

August 13, 2016

lost arcade Greetings again from the darkness. Webster’s definition of “arcade” is how director Kurt Vincent chooses to start his documentary. While video arcade is the most widely used version, it was the alternative description of the word “passageway” that caught my eye.

In the 1970’s and 1980’s, video arcades were seemingly everywhere … peaking in 1981 with 24,000 locations throughout the United States, with the largest venues being in Times Square. Rather than take on the collapse/transformation of an industry, Mr. Vincent instead focuses on one particular NYC arcade – Chinatown Fair. The video footage shot inside the arcade prior to its closure offers up an intimate look at the atmosphere; a racially diverse group of youngsters bonding and socializing within an ecosystem that the outside world didn’t understand (or care much about).

Placing your “next” quarter in line on the cabinet may have guaranteed you an upcoming time at the controls, but this can be viewed as the Land of Misfits with the gamers flocking to groups of their kind. These were the folks who didn’t fit in with the more physically active groups at rec centers and on playgrounds, but instead thrived on the late night gatherings amidst the electronics beeps and flashing lights.

We meet Sam Palmer, the immigrant from Pakistan, who owned Chinatown Fair for decades. This father figure often hired his most loyal players to help run the place, and we hear the personal stories from a couple of these – one (Akuma Hokura) who was rescued from a life on the streets, and another (Henry Cen) who later opened his own competitive arcade in Brooklyn. It’s perfectly accurate to describe this as a social community, and maybe not a stretch to call it a society unto itself.

Space Invaders, Pac-Man, Frogger and Street Fighter are just some of the most popular arcade games that finally gave way to home gaming – beginning with the 1986 introduction of Nintendo home systems. This development made gaming much more convenient for the masses, but also destroyed the social community of the local arcades.

We meet the guy who tried to re-open Chinatown Fair as a knock-off of Dave & Busters with an emphasis on family entertainment. However, as someone in the film states, “nostalgia is not really all that profitable”. Mr. Vincent’s film is a time capsule look at what made arcades work, and it’s very interesting to learn that Chinatown Fair played a role in a DeNiro/Streep film, an Old Dirty Bastard music video, and even an episode of David Letterman’s show. Going back to the opening definition, it’s easy to see how a generation used the local arcade as a passageway to finding a social life and interacting with others … something that had previously been more challenging for them.

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Posted by David Ferguson

MISS SHARON JONES!

August 10, 2016

Dallas International Film Festival 2016

miss sharon jones Greetings again from the darkness. Being described as “the female James Brown” is a double-edged sword. On one side, the talent and stage presence must be obvious. On the other side, the burden of expectations that can never be eclipsed is always present. Soul/Funk/R&B singer Sharon Jones doesn’t much care about any of that … and in this documentary we witness both her strength in life and her powerhouse performances on stage.

Filmmaker Barbara Kopple is a two time Oscar winner (Harlan County USA, 1976 and American Dream, 1990) and here she presents not so much a music or concert documentary, as an intimate look at how a person can be inspired and driven by music to fight through life’s challenges – and even cancer. In 2013, Miss Jones was diagnosed and much of the film follows her through head-shaving, chemotherapy and the battle to regain her voice and strength.

Born in North Augusta, South Carolina, Sharon was raised in Brooklyn. Her background was anything but privileged, and as an adult she spent years working as a Corrections Officer at Rikers Island, while continuing to sing in her spare time. A record producer once told her she was ‘too black, too fat, too short’ to make it, but she just kept singing … releasing her first album at age 40.

Sharon’s spirit and energy are the core of the story here as even after her cancer diagnosis, she carried the pressure of needing to get back to singing and performing so that her band members in The Dap-Kings could earn a living and feed their families.

Her NYC comeback is impressive and life-affirming, but the highlights are clips of her earlier stage performances … and the most incredible in-church performance you are likely to ever witness. In 2014, she won her first Grammy for “Give the People What They Want”, and Ms. Kopple’s film shines a spotlight on an incredible talent and spirited lady who deserves much more than to have a cult following and be “underappreciated”. Perhaps the film will open some eyes, ears and hearts.

watch the trailer:

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