INTERSTELLAR (2014)

November 16, 2014

interstellar Greetings again from the darkness. There are probably three distinct groups that view this as a “must see” movie. First, there are the hardcore science lovers – especially those dedicated to space and time. Next would be the core group of Sci-Fi aficionados (those who quote and debate the specifics of 2001: A Space Odyssey, Blade Runner, The Matrix, etc). And finally, those cinephiles who anxiously await the next ground-breaking film of director Christopher Nolan, whose experimental and pioneering methods are quite unique in today’s Hollywood.

Given that I would be laughed out of the first two groups – exposed as less than a neophyte, you may assume that my discussion of this film will not be steeped in scientific or astrophysical theorem. Instead, this will provide my reaction to what has been one of my two most anticipated films of the year (Birdman being the other).

Simply stated, the look of this film is stunning and breath-taking. Its theatrical release comes in many formats, and I chose 70mm. This made for an incredibly rich look with probably the best sound mix I have ever heard. The physical sets were remarkable and as varied as the scene settings: a farm house, a NASA bunker, multiple spacecrafts, and numerous planets. Beyond that, we experienced the effects of blackholes, wormholes and the tesseract. Mr. Nolan’s long time cinematographer and collaborator Wally Pfister was off directing his own film (Transcendence), so the very talented Hoyt Van Hoytema joined the team and contributed sterling camera work, including the first ever handheld IMAX shots. Top this off with Hans Zimmer’s complimentary (though sometimes manipulative) score, and Mr. Nolan has produced a technical marvel of which known adjectives lack justice.

Take note of the exceptional cast led by the reigning Oscar winner Matthew McConaughey (Dallas Buyer’s Club), and other Oscar winners and nominees Michael Caine, Anne Hathaway, Jessica Chastain, Matt Damon, John Lithgow, Casey Affleck, and Ellen Burstyn. Beyond these, we also have David Oyelowo, Wes Bentley, William Devane, Topher Grace, David Gyasi, Collette Wolfe, Timothy Chalamet, and an exceptionally fine performance from Mackenzie Foy (who will forever be remembered as the “Twilight” child of Kristen Stewart and Robert Pattinson).

On the downside, I found myself shocked at some of the dubious and distracting dialogue. At times, the conversations were contradictory and even seemed out of place for the situation, character and movie. In particular, the entire Matt Damon sequence and the Anne Hathaway monologue on “love” both struck me as disjointed and awkward. These and other minor annoyances can’t be discussed here without noting key plot points, so that’s where we will leave it. However, it must be mentioned that the words of Dylan Thomas are so oft repeated, that the phrase “Do not go gently into that good night” can now be officially considered fighting words.

The works of noted Theoretical Physicist Kip Thorne were the inspiration for the story, and even Astrophysicist Neil deGrasse Tyson has come out in support of much of the science in the film. Be prepared for brain strain on topics such as space-time continuum (Einstein’s Relativity of Time), gravity, and the aforementioned wormholes, blackholes and tesseracts. The blight depicted in the first hour draws its look and even some closed circuit interviews directly from Ken Burns’ documentary The Dust Bowl (2012). Beyond all of the science and lessons of human arrogance and survival, I found the story to be focused on loss … loss of home, loss of loved ones, loss of hope … and balanced by the remarkable human survival instinct. Christopher Nolan deserves much respect for addressing these human emotions and desires with the overwhelming vastness of space, and doing so in a time when Hollywood producers would much rather financially back the next superhero or even a sequel to a 20 year old comedy.

**NOTE: (Could be considered a  SPOILER)  If I were sending a crew into space on a dangerous mission to save the species, and my Plan B was to have this group start a new community on a new planet, I would certainly send more than one female on the mission.

SEE THIS MOVIE IF: scientific brain strain is your favorite form of entertainment OR you need proof that Gravity was mere fluff in the realm of space film

SKIP THIS MOVIE IF: your idea of time-continuum is hitting the snooze button on your alarm clock

watch the trailer:

 

 

 

 

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Posted by David Ferguson

MISS TIBET: BEAUTY IN EXILE (2014, doc)

November 14, 2014

miss tibet Greetings again from the darkness. Proving once again that real life provides the most fascinating topics and characters, documentarian Norah Shapiro takes a look at cultural identity and the slow process of exiled-Tibetans adapting to the outside world. Her project takes us inside the Miss Tibet Beauty Pageant … “a pageant with a difference”.

Tenzen Khecheo is the film’s focus. She appears to be a pretty typical teenager living in Minneapolis, though we soon enough learn her family history. Her father received one of the rare immigration visas issued by the U.S. to exiled Tibetans. His family later joined him in the states, and Tenzen’s story picks up after his death. She decides to enter the 10th annual Miss Tibet pageant, and is accompanied by her mother and sisters as they head off to Dharamsala in the Indian Himalayas.

The pageant is run by a self-described “small town impresario” named Lobsang Wangyal, who is more flamboyant and publicity-addicted than any of the six women in the pageant. The stated ideal behind the pageant is to empower Tibetan women and provide them confidence and a platform to have their voice heard. Of course, this seems ironic to us Americans who have heard for years that these pageants are the polar opposite of empowering. But this contradiction helps us understand some of the basic cultural differences in the United States (where freedom is abused) versus exiled-Tibet where morals, honesty, kindness, modesty and spirituality are the most adhered to traits.

What follows is more or less a Westernized Beauty Pageant replete with segments of swim suit modeling, personal talent, current events, and photography sessions. And just like in the U.S., scandal, controversy, and accusations of fraud and unfairness follow the announcement of the winners. This ugly scene captures the essence of what we previously heard from those interviewed – competition goes against the nature of this culture. While they are not against modernization and adapting, the idea of becoming more Westernized is quite unappealing to many.

Ms. Shapiro is kind enough to provide a brief history lesson on Tibet, and how the invasion of China led to the exiled community who for years has followed the guidance of the Dalai Lama. We also meet Ama Adhe, a long time political prisoner, who meets with the girls – driving home the difference between those who have truly suffered for their beliefs and those who simply talk a good game. Tenzen Khecheo mostly behaved like a typical American teenager, though she did show moments of humility when she doubted her relevance among the Tibetan women. It’s always interesting to get a glimpse inside another culture, especially one that is in slow transition.

watch the trailer:

 

 

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Posted by David Ferguson

THE WAY HE LOOKS (Hojo Eu Quero Sozinho, Brazil, 2014)

November 14, 2014

the way he looks Greetings again from the darkness. This is Brazil’s official entry for the 2015 Academy Awards, and it’s the feature film debut of writer/director Daniel Ribeiro. With some similarities to Truffaut’s Jules and Jim (1962), it’s a coming-of-age story focused on the adolescent desire for independence, and the awkwardness and curiosity associated with first love.

As the film opens, we meet best friends Leonardo (Ghiherme Lobo) and Giovani (Tess Amorim) as they lazily chat while hanging out by the swimming pool. Their innocent discussion about romance and a first kiss bring to light the naivety of their age and situation. Giovani carries a torch for Leo, but he is clueless to her desire. His blindness since birth is a major reason, but the arrival of new student Gabriel (Fabio Audi) slowly uncovers another obstacle to any future romantic link for Gi and Leo.

To his credit, Mr. Ribeiro never emphasizes Leonardo’s handicap and instead allows the three teenagers to struggle through daily existence riding the roller coaster of emotions so typical for the age. Sure, Leo gets bullied a bit at school by the insensitive jerks we all know so well, but he struggles more with his overprotective mother who has yet to come to grips with her son’s maturity and desire for the next level of independence. The real core of the story involves the fine line between fragility and strength of friendship, as well as the realization of one’s sexuality. These issues are handled expertly and without sermon or grandstanding.

The film has been exceptionally well received at LGBT Film Festivals, and has crossover appeal for those interested in a grounded look at the basic challenges of adolescence.

watch the trailer:

 

 

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Posted by David Ferguson

BESIDE STILL WATERS (2013)

November 14, 2014

beside still waters Greetings again from the darkness. Director Chris Lowell co-wrote the story with Mohit Narang, and there is really no other way to describe it than a modern day redux of The Big Chill (1983). If you are familiar with that film from 30+ years ago, you remember the narcissism, strained friendships, and emotional turmoil that were offset by a best-selling soundtrack. Three decades later we witness narcissism run amok and a crumbled version of friendship, this time offset by the guzzling of alcohol.

Daniel (Ryan Eggold, TV’s “The Blacklist“) has organized a reunion of his childhood friends back at the cabin on the lake where they shared many a summer. Daniel’s parents recently died in a car accident, and none of his “friends” showed up for the funeral … hence, the crumbled version of friendship. As they begin arriving at the cabin, we immediately categorize each: Tom (Beck Bennett, “Saturday Night Live“) is the wise-cracking slacker, James (Brett Dalton) is the TV Reality Show celebrity, Martin (Will Brill) and Abby (Erin Drake) are the high school sweethearts stuck in a strained marriage, and Charley (Jessy Hodges) is the free-spirited chick with a lust-filled history. The arrival of Daniel’s old flame Olivia (Britt Lower) is offset by her fiancé Henry (Reid Scott). May the oddballs be ever in your favor.

Sounding like the old man I am quickly becoming, this generation of thirty-somethings left me quite saddened. What made The Big Chill work, was the actual bond that tied the group together. Remember, they all showed up for a funeral … rather than being summoned for skipping one. The original group had charm, personality and was interesting; whereas this group remains focused on their own problems – oblivious to the needs and feelings of others. They find the bottom of a bottle or drugging an adversary to be actual solutions, rather than resorting to the effort involved with intimacy or conversation. Yes, sad I am.

Despite my issues with the possibility of this being an accurate portrayal of this generation, there are plenty of positives with the film. Lovell truly has a photographer’s eye and uses it for much of the camera work … it’s beautifully shot. Also, each member of this ensemble jumps right in to their character and does a superb job (especially Reid Scott). There is also a terrific segment of three conversations edited together that play off each other like some kind of wonderful parlor game. It’s the highlight of the film.

While much of the film plays like a passive-aggressive expose’, the script leaves no room for interpretation or analysis … Daniel actually spells out his true misguided mission. Beginning a movie with references to Gertrude Stein and Ernest Hemingway is often a good start. However, Hemingway’s theory that all generations are lost, doesn’t mean that some aren’t more lost than others. The game of Whisky Slaps works not just as a scene, but also as a metaphor for watching this movie.

watch the trailer:

 

 

 

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Posted by David Ferguson

ROSEWATER (2014)

November 14, 2014

Rosewater Greetings again from the darkness. A surefire method to get attention for a movie is “the feature film directorial debut of Jon Stewart”. The popular comedian/commentator/talk show host makes an exceptional living getting people to laugh and think, so a politically charged story based on real life events should be right in his proverbial wheelhouse. Mix in the fact that Stewart and his show are linked to those events, and now you have some real intrigue.

Maziar Bahari was a Newsweek political correspondent sent to cover the 2009 Presidential election in Iran. His experience led him to write the book “Then They Came For Me: A Family’s Story of Love, Captivity and Survival”, on which the film is based. Bahari was a young husband who left his pregnant wife at home for what he thought would be an assignment lasting but a few days. Instead, by the time he returned home, he had been held captive in Evin Prison for 118 days – suspected of being a foreign spy, and incessantly interrogated and subjected to psychological and physical torture.

Gael Garcia Bernal plays Bahari with a naïve and amiable spirit that contrasts sharply with what we might envision as the traits necessary for success in his line of work. It does work well to allow the viewer a quick connection with the character as we later pull for him during the toughest moments. The film brings light to the importance of a free press, and the dangers inherent otherwise. As the Iranian government accuses Bahari of being a spy, it’s easy for us to understand the blurred line between spy and journalist. Those with the most to hide are often the most paranoid.

When Bahari first arrives in Iran, happenstance leads him to cross paths with a taxi driver who enthusiastically introduces him to the “educated” … the “not Ahmadinejad” faction. These are the revolutionaries working to bring enlightenment to the government through their candidate. As you are probably aware, the election instead brought what Bahari’s mother (Shohreh Aghdashloo, House of Sand and Fog) calls “the same old sh**”. In other words, despite seemingly overwhelming support, their candidate lost in what they can only assume was another fixed election.

Bahari’s personal story is the focus of the film much more than an investigative look into Iranian elections. He films the protests of the election aftermath, and the next morning he is awakened to a search of his personal belongings. The accusations begin with such laughers as having his “Sopranos” DVD classified as a pornography collection. Laughs are short-lived though, as Bahari is arrested and swept away to the prison. The torture he faces is nothing like what we witnessed in Zero Dark Thirty, but the psychological warfare waged by his interrogator (Kim Bodnia) is designed to break down Bahari emotionally so that he admits to being a spy (an enemy of the government).

We certainly gain insight into Bahari’s personal struggle to maintain his hope and position. Visions of his father and sister appear to him in his cell and provide advice. These apparitions seem more level-headed and passionate than Bahari was even before his arrest. And therein lies the biggest issue with the movie. We know how the story ends, so the suspense is non-existent. Instead, we are somehow to relate to the daily misery endured by Bahari, but that just isn’t captured in a two hour movie. The closest we get is a remarkable sequence where Mr Bernal (as Bahari) moves to the music (in his head) of Leonard Cohen’s “Dance Me to the End of Love”. This is a man clinging to hope for his future with memories from the past. It’s a very touching moment.

The need for a free press is obvious from this story, but it’s unclear whether another point made in the movie was intentional. Bahari has his camera holstered during the violent election aftermath until he is disparaged by one of the rebels … something along the lines of “you have a weapon and choose not to use it”. This moment raises the question of whether these political correspondents are so concerned about personal danger that they let that affect the stories they tell and the pictures we see. This may be the most powerful question raised by the film, and one not easy to answer.

Lastly, it does seem at times that the movie plays as Jon Stewart’s tribute to Maziar Bahari, which makes us wonder whether Stewart’s burden of guilt from his (unintended) role in Bahari’s capture was the driving force behind the making of the film. It comes across a bit light on issues and heavy on hero-worship (apology). Still, mixing in actual news footage and the role of social media, keeps us from forgetting that this is a real man plunged into a dangerous situation simply because he was trying to show and tell the truth.

watch the trailer:

 

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Posted by David Ferguson

THE PLAYBACK SINGER (2013)

November 14, 2014

playback singer Greetings again from the darkness. Kickstarter campaigns will not allow every wannabe director to realize their filmmaking dream, but it did allow writer/director/producer Suju Vijayan to make her first feature. The film has deservedly enjoyed some success on the second tier Film Festival route, and it’s done so as a pleasant viewing experience without the exaggerations typically seen in the cultural battles of indie productions.

Priya (Navi Rawat from TV’s “Numb3rs”) and Ray (Ross Partridge) are a happily married couple who seem relatively content with their life in Van Nuys, California. She is an immigration lawyer who takes her job to heart, while he is a former teacher searching for his place in life … currently designing a jungle gym (he dropped out of architecture classes) while juggling the demands of beer drinking and pot smoking.  One morning Priya informs Ray that her 20 year estranged father will be staying with them for awhile during his concert tour with other musicians from India.

Ashok (Piyush Mishra) is an obstinate man who proceeds to interrogate the couple on such hot topics as the size of their home, their status as renters, Ray’s lack of a job, Priya’s fashion and work outside of the home, and of course, the couple’s decision not to have kids. The cultural and generational differences are handled in a grounded, believable manner with a tinge of humor as well as insight. Ashok’s overblown ego and pride take a direct shot when it’s discovered that the concert tour is not what he expected. It’s this development that takes the story in an interesting direction … an obvious ending in sight … but interesting still.

Ray and Ashok are forced to spend time together while Priya works, and it’s kind of funny to spot their similarities. Ashok’s marital and relationship track record illustrates a similar self-centeredness and lack of direction to what we witness with Ray. Soon enough, these two are bonding over wine and the creative nature they share.

The story is familiar enough, and carries the banner for the “he’s family” motif. Despite this, the marital strife and family emotions and personality traits are all well written and well performed. Mr. Mishra’s work is especially delightful to watch, and Mr. Partridge bears a striking resemblance to Dermot Mulroney, including the corresponding slacker style. The film covers no new material, but does provide an enjoyable look at family life complicated by cultural and generational differences.

watch the trailer:

 

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Posted by David Ferguson

THE LOOKALIKE (2014)

November 2, 2014

lookalike Greetings again from the darkness. Familiar faces are everywhere in this crime thriller from husband and wife filmmakers Richard Gray (director) and Michele Davis-Gray (writer). The familiar faces make the most of a story with no shortage of characters or sub-plots, though sometimes the movie tries a bit too hard to be gritty and hard-edged.

Jerry O’Connell plays Joe Mulligan, a former basketball star turned club owner and drug dealer. Joe is dealing drugs to pay off his dead dad’s debt to loan shark Luis Guzman, all while keeping his dream of hosting his own cooking show on the Food Network. See, Joe is mostly a nice guy caught up in an ugly world. This world includes his brother Holt (Justin Long) who may not be the straight-laced guy he first appears as, his drug boss Bobby (John Corbett), Bobby’s henchman Frank (Steven Bauer), and William Spinks (John Savage) as the powerful guy who demands a set-up in exchange for a big pay day.

The set-up is on track until one of the freakiest fatal accidents strikes Sadie Hill, the object of Spinks’ attraction. Desperate for the money, the bumbling drug dummies, decide to find a substitute. Enter Joe’s customer and Holt’s squeeze as the titular lookalike. Gillian Jacobs (TV’s “Community”) as Lacey does a nice job making us believe she is just desperate enough to agree to the job. Yes, desperation is a trait shared by most every character in the movie … even the detective played by the always reliable Gena Gershon. The final character of note is Mila (Scottie Thompson), who plays the “girl walks into a bar” role and proceeds to muddy the water in this big plan.  Both Ms. Jacobs and Ms. Thompson flash the ability necessary for more ambitious projects.

Slow-motion and cheesy music negatively impact some of the dramatic moments and the sex scenes … especially an otherwise effective cross-cut between O’Connell and Long as they seduce Thompson and Jacobs, respectively. Still, for a rainy day mindless crime thriller that won’t require much investment, this one is satisfactory and offers a chance to catch up with some of our most familiar character actors.

**NOTE: If you don’t recognize Jerry O’Connell’s name, you might remember him as a child actor … he played Vern in Stand By Me (1986)

watch the trailer:

 

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Posted by David Ferguson

FORCE MAJEURE (2014, Sweden)

November 2, 2014

force majeure Greetings again from the darkness. No one has sung the words “I’m a MAN” better than the great Muddy Waters, but even he would have been unable to bounce back from the ramifications of the split-second reaction of Tomas when things go awry at a mountainside family lunch.

Writer/director Ruben Ostlund delivers an intriguing and thought-provoking look at gender roles and the definition and expectations of masculinity, especially within a family. What makes a real man? What is a hero? Is our predilection of survivalist or protector hard-wired into our DNA? And what happens to a relationship when the foundation of respect crumbles? Would you believe this film tackles these emotional issues, and does so in such a brilliant manner, that we often find ourselves chuckling (albeit with a tinge of guilt)?

A family vacation in the French Alps takes a turn when, while lunching on a veranda overlooking the ski slopes, a controlled avalanche goes wrong and the café is threatened. Tomas (Johannes Bah Kuhnke) grabs his phone and goes scurrying for protection, while his wife Ebba (Lisa Loven Kongsli) covers the kids and calls for his help. Both are instinctive reactions, and while one recalls George in a “Seinfeld” episode, the other is more in line with what we expect from a parent.

Although the avalanche turns out harmless and the family members are physically fine, the emotional shockwaves of Tomas’ actions reverberate through the family … and even through another couple (Kristofer Hivju, Fanni Metelius). There is a exceptional dinner party scene with the two couples which brings the issue to a head, and it’s excruciatingly painful and funny to witness. This is terrific story telling and filmmaking and acting.

The film is Sweden’s submission for Best Foreign Language Oscar, and it must be considered a favorite so far. Though I’m not a huge fan of the final 10-15 minutes, that doesn’t take away from the questions as the characters try to come to grips with the situation. The filmmakers provide some really nice contrasts between dark humor, disappointment and broken trust.  I challenge you to find scenes of toothbrushing that generate more tension and relationship insight.

**NOTE: I wasn’t familiar with the actors who play Tomas and Ebba, but they reminded me very much of Stephen Dorff and Bridget Moynahan

watch the trailer:

 

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Posted by David Ferguson

NIGHTCRAWLER (2014)

November 1, 2014

nightcrawler Greetings again from the darkness. Many of us still catch ourselves asking “Why is this news?” while watching the local newscasts. We ask this despite knowing sensationalist journalism is the way of the world, and writer/director Dan Gilroy reminds us (in a rare comedy-thriller) … if it bleeds, it leads.

Jake Gyllenhaal continues his progression as one of the most fascinating actors working today. Here he plays Lou Bloom, a fast-talking, self-help studying, ultra-charming sociopath, with creepy bug eyes (thanks to a 20-25 lb weight loss) and an even creepier grin. Mr Gyllenhaal nails the role in a way that reminds of Travis Bickle of Taxi Driver (Robert DeNiro was 33 at the time – the same age as Jake now).

Three other movies came to mind while watching this: Network (the lack of a conscience approach to ratings), Drive (the stylistic camera work and loner lead character), and Body Double (a fascinating Brian DePalma film from years ago). Rene Russo is the veteran news woman who encourages and enables the Bloom character to use his “good eye” to pursue the money shots … defined as anything that strikes fear into the suburban world.

Gyllenhaal is all in for his role as Bloom. Nightcrawling is the label given to stringers (private cameramen) who compete for the video that will lead the newscasts. Bloom’s google-based training has turned him into a Tony Robbins type who blows through dialogue at a speed every bit as fast as he drives his red Dodge Challenger to the next tragedy. Bloom is the epitome of charm in the wrong hands. Think Ted Bundy with a camera. While Bundy actually committed the murders, Bloom blurs the line between recorder of history and influencing the criminal action. He also delivers one of the first on screen ‘chasing a car chase’ scenes.

This is Dan Gilroy’s directorial debut, though he has written over films, including The Bourne Legacy, which was directed by his brother Tony. Dan also wrote my of my favorite rarely seen films entitled The Fall (2006). Dan Gilroy is married to Rene Russo, and her calm, yet equally sleazy, presence works well with the quirky, in-your-face Gyllenhaal character. Cinematographer Robert Elswit (known for his work with Paul Thomas Anderson) beautifully captures the nighttime energy of Los Angeles, as well as the brutal and savage crime scenes.

Gyllenhaal is the real deal here, and somehow makes this frightening monster believable as a guy who could walk amongst us every day (or night). Early on in the film, his character is asking for a job and spouts off a line that includes a bit about being “raised in the self-esteem movement so popular in schools“. It’s our first glimpse of his psychosis which is also grounded in reality.

SEE THIS MOVIE IF: you want to see the extremely rare comedy-thriller OR you want to see Jake Gyllenhaal’s wildest performance yet

SKIP THIS MOVIE IF: the actual nightly news is creepy enough for you … no need to see how it could be even worse

watch the trailer:

 

 

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Posted by David Ferguson

SHOWRUNNERS (2014, doc)

October 30, 2014

showrunners Greetings again from the darkness. It’s simultaneously “the best job and the worst job”. While not a definition of a TV Showrunner, that is certainly the best description. With the recent renaissance of TV, and the competition between networks, cable and the internet, an incredible level of creativity and freedom has produced a more cinematic effect on the small screen. Whose broad shoulders are responsible for what we watch? The Showrunners, that’s who.

This is a behind-the-scenes look at the process of getting a show to air, and then struggling to keep it there … it takes an enormous amount of talent and a ton of good luck. We learn that 84% of new TV shows fail, and it’s important to note that good shows often fail – not just bad ones. Director Des Doyle presents an extremely impressive succession of interviews. These are the writers, producers and showrunners of some of TV’s most innovative shows: JJ Abrams (“Lost”), Joss Whedon (“Buffy the Vampire Slayer”), Terence Winter (“The Sopranos”, “Boardwalk Empire”), and Janet Tamaro (“Rizzoli & Ives”) just to name a few. This who’s who of showrunners generously share their insight and observations on the business that more than a few call “a grind”.

Especially interesting is the concentration on the writing process. We go inside the writer’s room and hear discussions on the importance of looking at the entire season, rather than a specific episode. We learn the importance of “quality scripts on time”, meaning the writing must be good and must come fast – episodes frequently air within a month of filming. Joss Whedon advises writers to focus on moments, not on moves. Collaboration is crucial, and while nothing beats an actor who embodies a particular role (Michael Chiklis in “The Shield”), never lose sight that writing is the heart of TV shows.

Discussion of the various outlets (networks, cable, internet) leads to an explanation of how TV writing has evolved. Some shows are now designed for the increasingly-popular “binge watching”, while network shows are still in the business of “selling ads”. Another significant shift is due to Social Media. TV is described as now being like the theatre – immediate feedback is available (Twitter, Facebook). While ratings are still important, interaction between the industry and viewing public is now standard operating procedure.

It’s not often we are allowed behind the curtain in the entertainment business, but this one should be mandatory viewing for anyone with an itch to become a TV writer. You should know the stress and insecurities that accompany the talent and ego. You should understand the time pressures and the lack of recognition that often follows even those who prove successful. You should also know that for those who have it in their blood, nothing else compares. This is truly “the art of running a TV show”.

watch the trailer:

 

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Posted by David Ferguson

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