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ba-hons-film-blog · 3 years

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Representing the Real - Week 2:

Lecture Videos:

Gates of Heaven:

I thought there was good use of setting to give insights into the characters (how one character was surrounded by trophies, another by electronic devices and a third with practically nothing). I also liked the way the camera just held on to the subject and let them speak - evident by the pauses and ums and ers - as opposed to only taking except from the conversations, or covering them up with random clips that would prevent you from seeing the subjects facial expressions and mannerisms as they spoke. Some people might argue that it feels a little flat and boring - just holding on the same person with an unmoving camera - but I thought it gave you time to really get a sense of who that person was.

Biggie and Tupac:

I thought there was an interesting subject in this documentary, and I did like the reflexive approach the documentary took, showing us the process of making the documentary (such as seeing Nick Broomfield on the phone trying to get an interview), but I personally found that the goofy character of Nick Broomfield to be at odds with the topic, which slightly took me out of the documentary. While I enjoyed the comedy of this slightly wacky character, I felt he sometimes overshadowed the actual topic of the documentary. Additionally, while some of the voice over added to our understanding of what was happening, some of it was just describing what was happening on screen or was not too relevant (take a humorous but unnecessary metaphor about how his cameraman seemed to be on a distant island).

Overall, I am in two mindsets about this documentary. Do I think the documentary was entertaining? Yes. Did Broomfield’s actions cause other people to react in ways that revealed more about themselves? Yes. But my issue is it sometimes felt more like a parody, like a less extreme version of “I’m Alan Partridge” or “The Ali G Show”, then anything else, and sometimes I felt entertained for the wrong reasons. I feel my issue is more with Broomfield than anything else, and otherwise I do generally enjoy this type of documentary.

High School:

I liked the rather observational approach of this film and the lack of any voiceover or an interviewer, and how it just observed its subjects going about their lives. I liked the way it captured the largely mundane nature of school life, and found myself relating to the scenes being displayed. I was slightly taken out at points by the examples of continuity editing, which reminded me these scenes weren’t 100% real, but otherwise the film felt very naturalistic.

Man with a Movie Camera:

I thought this was quite an unconventional documentary, that seemed more interested in creating a sense of place and an energetic feeling than telling a story. I enjoyed the stylistic flourishes (for example, when the man is standing on top of the movie camera) and the rapid editing, and particularly likely the shots of the train rushing past. I think it created a good sense of this particular town, and touched on issues like the rising industries in Russia, the different classes and the movie making process itself. Ultimately, I’m not completely sure what this movie means, but I thought it was a very unique and thought-provoking work.

Nanook of the North:

I enjoyed the clip I watched of this movie, although it sometimes felt more like a how-to guide for building an igloo than a real reflection on that kind of lifestyle. Despite knowing the film was staged, I didn't feel this too much. Sometimes the camera felt too conveniently placed as opposed to capturing the action by chance, and sometimes it seemed like the subjects were playing up for the camera, but if I didn't know it was staged I doubt I would have suspected. I also thought the music helped to create a lighthearted, whimsical tone, which I liked.

Our Documentary (Ideas, Roles and Style):

After discussing our reservations with last week's idea, we came up with two new ones, one of which we feel very strongly about.

Idea 1:

The first idea is to do a documentary about Eden Court Theatre, a creative arts centre in Inverness, which is very significant to the local community but has been struggling during the Covid-19 pandemic.

The positives of this idea are:

With regards to filming, it is accessible to Ben and Jack

Ben and Jack already have a personal connection to this place, making them good choices to tell a story about this place (of course, I don't have this connection, but I think it's good to have one person to provide an outsider's perspective)

With lots of people having ties to this location, and my two colleagues knowing a number of these people, we would likely be able to find someone who would be willing to star in this documentary

However there is one main shortcoming: our idea is about the importance of this building in the community, but the brief states we have to focus this on a person, not a building. Of course, we can choose a particular person to focus on (someone at the top, someone who works there, or just someone like Ben or Jack who has gone there in the past), but there is the worry that, through using this person as a way to investigate this building and its significance, it may feel like the subject isn't actually the focus and we are not doing proper justice to their character, only touching on the aspects related to Eden Court. This could be avoided by generally trying to cover all of their characteristics but is still a risk. There is also the worry that our potential subjects, while being lovely people, aren't the most interesting subjects.

Idea 2:

The second idea is to do a documentary on Jack’s long time friend, Hunter.

The positives are:

With regards to filming, Hunter is accessible by both Jack and Ben.

Apparently, he is a very unique character, which is ideal for any documentary. According to Jack, he is quite a wild character with a considerable reputation in his home town of Tain, but he is also a very likable and down to earth guy, so hopefully the audience should be both entertained by him and find him to be a likable presence

Jack has approached him about the idea and Hunter responded by saying he would be up for starring in our documentary.

Jack has been friends with Hunter for over a decade, so Jack would know what is most interesting for the audience to find out about Hunter. Additionally, Hunter would likely feel more comfortable doing this documentary and would be more open around his friend. This may not be the case with our potential subject for Eden Court Theatre - while they may know Ben and/or Jack, they‘re bond wouldn't be as strong as Jack and Hunter’s is, and they likely wouldn't be as open

Hunter is well known in the community, so we would be able to get various different opinions on him

Jack has access to lots of archive footage of Hunter, which could be a nice addition to the film

Our current thinking is, since Hunter has said he will be happy to star in our documentary, and it is easier to go with him then have to find someone interesting who has been impacted by Eden Court, that is the direction we will go.

We have thought a little about roles. The thinking is Ben would be the cameraman (as he owns a good quality camera and knows how to use it), Jack would be the director and the interviewer, and I would be the editor (seeing as I wouldn’t be able to physically be there). As for the research and producing roles, these would all be shared. This isn't set in stone, but is our current thinking based on everyone's skills and where they would be in the world.

Style and Group Roles:

As for what style we would be going for, our current thinking is a mix of an observational and participatory approach. Our thinking is we would follow Hunter around over the course of his day, letting him do his own thing, with Jack accompanying him and engaging him in casual dialogue that will cause him to reveal certain things about himself (in essence, Jack is the interviewer, but is never presented as much, instead just being himself and talking to his friend). I imagine we would avoid the use of voiceover, or formally sitting Hunter down (like in “Same but Different” and “Gates of Heaven”). I imagine our style will be a mixture of “A Pigeon Game” and “High School”.

Overall, I think we have an achievable idea that everyone is happy with, and I look forward to seeing how the project develops from here!

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riotatthemovies · 4 years

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So welcome back to another QUESTIONS WITH RIOT!

So here is a nice big post for you to read, see it on my tumblr page and the facebook group and maybe in a new book someday.

I will be reaching out to B movie directors and actors in the next week or so with a handful of (often similar questions) .

They are not real time interveiws , I just sent them the questions and they msgd me back. Because they are awesome people.

Todays guest that I suckered in to using their precious time to answer my questions for b movie film makers is Richard Mogg a fim maker from Vancouver. Richard chilled us with the Massage Parlour of Death! As well as hit us right in the Easter time nightmare of EASTER BUNNY BLOODBATH which just recently released a sequel. Riot at the Movies folks will remember BIGFOOT ATE MY BOYFRIEND that played on the first ever Terrible Two Day best a few years ago. On top of all that he is a writer of a few of the most detailed go to books on the genre of shot on video and low budget underground film makers.

Lets get to the questions

ADAM RIOT : SO RICHARD, IF YOU WERE GIVEN A MULTIMILLION DOLLAR BUDGET WHAT WOULD YOU DO? GO CRAZY?

Mogg: To be honest, I'd split it - but only half of what you're thinking. I'd take half and make THE ULTIMATE sci-fi Extravaganza! Then I'd make a whole bunch of small independent features. So yes, I'd make my GALAXINA but with a bunch of cheese to go with it.

Adam Riot: HOW OFTEN HAVE YOU WRITTEN SOMETHING AND SAID "OH THAT'S SO BAD, BUT I'M KEEPING IT IN"?

Mogg: Actually never... unless it overwhelmingly sucks. I've been writing scripts long enough to know you can write unlimited, but it's smarter to write what you can actually do. So write ambitiously but never against your vision. One time I thought to not include something, but after we shot the film, I was able to edit back in my original idea... so first impulses are usually the right impulses.

Adam Riot: WE DO TEND TO DOUBT OUTSELVES TOO MUCH. OF ALL THE MOVIES YOU HAVE MADE WHAT WAS YOUR FAVORITE? FROM EXPERIENCE OR FINISHED PROJECT, WHAT MADE IT YOUR FAVORITE?

Mogg: My favorite film that I've done is BIGFOOT ATE MY BOYFRIEND, which isn't gory at all but heavy in the awkward comedy I enjoy. But the real reason it's my favorite is that everything seemed to come together. It was the first time my vision matched execution, and the final product was as good/better than I had hoped. BIGFOOT was my 5th feature film, so it took that many tries to get things right - plus I had my all-star cast.

Adam Riot: WE ALL LOVED IT HERE.

HAVE YOU MADE FILMS THAT YOU HAVE NOT SHOWN TO THE WORLD THAT YOU JUST DIDN'T LIKE SO YOU HID IT AWAY?

Mogg: There are films I've done that haven't been released yet, but that doesn't have anything to do with hiding them. Sometimes it seems that opportunities come up and you have to be ready to jump in... my 3rd feature film was shot just as 2013 rang in, but that was the year I found out we were having our first baby. So after quickly moving and getting our lives set straight, I had an empty bedroom while we anticipated the baby's arrival. But did I waste the opportunity of an empty bedroom? Heck no, so I quickly shot MASSAGE PARLOR OF DEATH using the bedroom as a massage parlor. So MASSAGE took the place of that 3rd film I shot (which hasn't been released), but that's the way life happens sometimes. One day I'll release everything but timing and momentum occasionally get in the way. I still have 3 films in the can yet to be released: HOT CHICKS BLAST URANUS, DEATH RIDES OF DEATH (formerly ROLLERCOASTER KICKBACK) and my "exotic" picture JOHNNY GLOBBER.

Adam Riot: I AM ALMOST SCARED BY THOSE TITLES BUT CURIOUS AS WELL. AND LAUGHING THE MASSAGE PARLOR BECAME A BABY ROOM.

WHAT MOVIES IN A MICRO BUDGET GENRE HAVE IMPRESSED YOU RECENTLY?

Mogg: You know, I'm so obsessed with watching older films to see their overall genre evolutions that I don't get to see many "newer" films. Drew Marvick's POOL PARTY MASSACRE was a favorite, as was 2019's MORBID STORIES. I recently caught Dave Castiglione's rerelease of DEEP UNDEAD and it's a knockout with some amazing underwater photography - stuff you just don't see in a lot of micro budget flicks. And that's the great thing about lower budgeted stuff... it's made from the heart using igneous techniques rather than boatloads of money.

Adam Riot: WHAT MAKES YOU LOSE YOUR LOVE FOR INDEPENDENT FILMS, THE PEOPLE? THE MONEY? THE RESPONSE FROM FRIENDS OR BUYERS? HOW DO YOU OVERCOME IT?

Mogg: Wow, LOSE my love? That's a tricky question. I think there are personal turn-offs that might not let me get into a film, but the filmmaking spirit never leaves. Yeah sometimes the people involved are only out to "get rich quick" can be trying, or rip off artists who turn out flicks every week with no investment in their content... that's a turn off. I don't personally enjoy mean-spiritedness in movies, which is why all RickMoe titles are lighthearted and silly. But as a pure business, I think basic indifference and self-righteousness in people infront and behind the camera can really effect the product. But that's true of any business really...

Adam Riot: WE ALL KNOW THERE NEEDS TO BE SOMETHING MORE THAN MONEY. YOU HAVE BEEN MAKING WITH A LOT OF DIFFERENT PEOPLE, HOW DO YOU FEEL FRIENDSHIP IN THE INDEPENDENT FILM WORLD IS IMPORTANT AND HOW HARD WOULD IT BE WITHOUT CLOSE FRIENDS?

Mogg: Great question. Close relationships and treating people with respect is everything. Acknowledging that everyone counts and their efforts are never taken for granted is key to longevity and happiness in this business. It's true, in independent filmmaking many (perhaps all!) people involved in making films don't get paid financially... maybe they do it for a credit or recognition or even just to have fun, and we as the audience need to know that people really do put their blood, sweat and tears into these movies. Sure there are straight up jerks running around with a camera, but when you start seeing the same people out there having fun and KEEP TRYING, you really get to feel that they're being honest with the audience. Making movies IS fun - even when you're against problems - but a positive, uplifting leader can make the world of difference. And I think that positivity can draw others together. So making close friendships is really the sign that you're doing things right.

Adam Riot: WHAT'S YOUR THOUGHTS ON THE STREAMING SERVICES, DIRECT DOWNLOAD, TUBITV THAT KIND OF THING?

Mogg: ANY OPINION? Well I'm trying it now for the first time with EASTER BUNNY BLOODBATH 2: NO MORE TEARS. I went thing route (direct streaming through Vimeo) because I needed to have quick access for viewers before Easter. But also because of this damn coronavirus pandemic. So being able to have audiences access something instantly without waiting for physical mail was very important. But in general, I'm a physical media type of person. I WANT a VHS/DVD/BLU copy on the shelf to look at, admire, hold. I don't think I'll ever get away from that need to hold a film... because when everything is digital, it almost feels like it doesn't exist. Delete and it's gone forever!

Adam Riot: FOR THOSE READING RICHARD MOGGS EARLY WORK IS ON SRS IS AVAILABLE ON TUBITV NOW.

IS THERE A CHARACTER YOU SHOWED THE WORLD THAT IS ON THE TOP OF YOUR WANT LIST TO BRING BACK?

Mogg: 100% our Federal Bigfoot Investigator John Saurius (played by the incredible Kirk Munaweera) is a character I'd bring back for EVERY film. He's so applicable to any story, and he carries a comical vengeance (his dick was torn off by Bigfoot). But I'd like to see him lead a film completely too... he sorta does with EASTER BUNNY BLOODBATH 2: NO MORE TEARS, but I'd like to bring him in in a bigger way for our upcoming Noir picture.

Adam Riot :I do hope to see the son of the kung fu kid or something (smirk)

YOU HAVE WRITTEN SEVERAL BOOKS ON THE SHOT ON VIDEO GENRE, ONE THAT'S NOW BASICALLY THE GO TO ENCYCLOPEDIA FOR THE GENRE AND ON THE TWISTED HORROR LOVE FOR CHRISTMAS. IS THERE SOMETHING ELSE ON THE DRAWING BOARD/TYPING BOARD?

Mogg: YES! And thank you for asking! I learned a lot writing "ANALOG NIGHTMARES" and even more with "GIFTWRAPPED & GUTTED" and the door is always open for another... maybe even a revisit. But the next writing project excitedly being discussed is turning some of my own films into novels. And not just the movies written as stories... but actual novels based on the ORIGINAL SCRIPTS of the films we've made, including much more graphic ideas. For example, sex scenes were originally written in our early films that (of course) our actors weren't too interested in performing for no money... but NOW! Now we can really write in detail the spicy hot sex always intended! And same goes for the gore!

Adam Riot: EASTER BUNNY BLOODBATH 2: NO MORE TEARS IS ONLINE NOW AND ITS A VERSUS TITLE. TELL US A LITTLE ABOUT THE MOVIE AND TELL ME WHAT VERSUS TYPE MOVIES IMPRESSED YOU IN THE PAST.

Mogg: YES! EBB2 is a "BIGFOOT VS BUNNY" sequel! So there's an amazing climax where the two beasts meet for a showdown to the death! After shooting BIGFOOT ATE MY BOYFRIEND, I knew that the only way to bring Bigfoot back would be to pair him against and equal of physical strength... and the Bunny hit me like a ton of bricks. Plus it was great fun revisiting 2010's EASTER BUNNY BLOODBATH which isn't the best film around but was my first feature length film (which I lovingly say "taught me all the mistakes I wanted to teach myself"). So in making this sequel (after making tons of other films), I was able to re-examine my early approaches and redo things from a new standpoint. It was also fun to reuse some of the old musical cues and try to match the style of the first film. But I think the biggest difference was in the editing, because I have become a much more experienced video editor since then... learning how to better time things for a greater payoff. But as a versus film, I felt it was important to focus clearly on the Bunny storyline first, then bring in Bigfoot almost unexpectedly at the end - surprising the audience. And that's sort of the way I cut films, leaving the end to play out in a zany over the top fashion (anyone who made it through TEENAGE SLUMBER PARTY NIGHTMARE can see this). But I do love THE TOXIC AVENGER III's pair off with TOXIE and the DEVIL...

Adam Riot: Thanks so much Richard, now every get his books and get your Easter and rent or buy Easter Bunny Bloodbath 2. Stay Safe and Stay Awesome

Rent or download Easter Bunny Bloodbath 2 here https://vimeo.com/ondemand/bunny2/

Ps I will post a review of Easter Bunny Bloodbath 2 tomorrow on my social medias as well as the Riot at the movies instagram. Regardless you know I think you should see it too.

#rickmoe #richard mogg #easter bunny bloodbath #bmovies #thank you #riot at the movies

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biofunmy · 5 years

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How ‘Jane the Virgin’ Made a Better Man of Justin Baldoni

For five seasons, fans of “Jane the Virgin” have swooned over the transformation of Rafael Solano from playboy hotelier to doting baby daddy and the wokest bae in Miami.

But for Justin Baldoni, who plays him, that evolution wasn’t just an act.

“What’s interesting about the journey of Rafael as a character is it in some strange way resembles and intersects with my journey as a man,” he said. “I explored masculinity, digging into the parts of myself that are uncomfortable, and learning about equality and privilege. And it really cracked me open.”

It’s still anyone’s guess whether Jane (Gina Rodriguez) and Rafael will get their happily-ever-after in the CW telenovela’s finale on July 31 — the “after” including the return from the dead of Michael (Brett Dier), Jane’s first husband, and a series of unfortunate events that keep derailing her wedding to Rafael.

Wherever the soundstage sun sets, Baldoni’s offscreen metamorphosis is ongoing.

Baldoni, now 35, began directing music videos and commercials when he was about 21, even giving up acting at one point — his résumé includes soapy stints on “The Young and the Restless” and “The Bold and the Beautiful” — to make documentaries. Following his feature debut, “Five Feet Apart,” in March — starring Haley Lu Richardson and Cole Sprouse as cystic fibrosis patients who are in love but who dare not touch — Baldoni will soon begin preproduction on “Clouds,” about a teenage cancer victim. Both connect back to stories in his digital docuseries, “My Last Days,” now shown on CW and SoulPancake, that follows terminally ill people as they come to the end of their lives.

He’s also banging the drum for “Man Enough,” a collection of online conversations with other men on topics like “fast cars, fast women,” “I have a long history of hurting women” and “men and women can’t be friends.” Those dialogues prompted Baldoni’s 2017 TED Talk, titled “Why I’m done trying to be ‘man enough,’” which more than five million people have watched. And next year his wife, the actress Emily Baldoni — with whom he has two children, Maiya, 4, and Maxwell, 20 months — will host a spinoff that expands the brand into femininity.

In a phone call from Cannes, France, where he spoke about masculinity to an audience of advertising and marketing executives, Baldoni talked about his quest to become a better man — and why he has no regrets.

These are edited excerpts from the conversation.

The suspense is killing me! What do you think of the way “Jane the Virgin” is wrapping up?

In any TV show, especially when you have a love triangle, you can never please everybody all the time. And of course there was some pushback from people upset that Michael came back and a lot of uncertainty around how that relationship ended. But I think that the writers did a really beautiful job of using telenovela tropes and twists and magical elements to create a dynamic season where all the characters got a moment to shine. At the end of the day it’s a love story, and I believe it plays out nicely.

We still don’t know whether you and Jane will end up married, but you performed a blessing at Gina’s wedding to Joe LoCicero in May. Should we assume that you and Gina will stay in touch?

Absolutely. We’re not going anywhere. We’ll be friends for life. That was a beautiful, beautiful experience. Gina’s my soul sister.

You were freshly married when you started the show and then had two children in the next five years. Did that affect the way you played Rafael?

Oh God, yeah. We got pregnant and I started thinking about what life would be like for my daughter, and then I started openly sharing on my social media these thoughts and feelings, and I was labeled a feminist. Then I had to really figure out what a feminist was. I realized, well, I am a feminist because I believe in the radical notion that women are people.

A big credit to [the creator Jennie Snyder Urman] for allowing me to play a character that actually learned and grew and got feedback from the women in his life and became a dynamic man that wasn’t afraid to show his feelings. She never wants to ask me about anything because she’s very competent and she knows her characters and where she wants to take them. But I can’t believe that no part of Rafael was influenced by Justin.

You’ve been directing for more than a decade. But how did you find the time to juggle “Five Feet Apart” with “Jane”?

When I made “Five Feet Apart,” I had to jump back on the show and shoot the final season but I still had to edit the movie. [The CBS series] “Scorpion” had just been canceled and we shared a hallway with some of the dressing rooms. So we ended up renting three of the dressing rooms next to mine, and I moved in my editor and postproduction into those rooms. So for the whole first half of the final season, I was bouncing between these super heavy emotional scenes with Michael coming back and then editing my lighthearted “Five Feet Apart.” [Laughs] I was basically living at the studio until early 2019, which is why I just took my family on a one-month vacation.

About five years ago you came up with the idea called “Man Enough.” What inspired that?

It stemmed from conversations that I would have with guys in the locker room, where so many problems started and silence became complicity — and that eventually had to change. Right before [the sexual assault charges against Harvey] Weinstein, I took this all over town. I told people, I really believe that masculinity is going to be something that we’re going to be talking about, and let’s have this conversation and be vulnerable with each other. And everyone kind of laughed at me. Nobody got it. So I funded the whole thing myself.

You’re open about your adoration of Emily on social media. Does that make you a Wife Guy?

I have issues where we start uplifting our wives because suddenly it’s cool. So I’m probably not the right person to ask about that. Movements are important because that’s how we reach the masses. But at the same time, I would love to see it being done quietly also. It’s one thing to do something publicly and to show a picture of your wife and how great she is, but it’s another thing to make sure you’re treating her that way in private.

Now that you’re primarily focused on directing, what kind of stories are you looking to tell?

I would say if a project makes me laugh and cry, it’s something that I’m going to be very interested in — specifically social justice and giving people opportunities to tell their stories that maybe haven’t had that chance because of myriad reasons, whether it be the color of their skin or the place that they’re from. Because I was one of those people that had the door slammed in my face over and over and over again when I was wanting to make content that made us feel good. And I believe that there’s a whole generation of people out there that are having that door slammed in their face. And I want them to know that my door is open.

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