October 18 haiku.

Rain window-tapping
Wind rattles weak tree branches
Coffee steam curling

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October 17 haiku.

Behind a window
Covered with butcher paper
An empty storefront

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3 things about Andrew Fleming’s THE CRAFT

The Craft [1996]

1. “What’s going on? Are you girls getting high?”
2. A jukebox that plays nothing but Connie Francis records.
3. Python bannister.

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October 16 haiku.

So difficult to
Brush my teeth, slip into bed
Farewell to the day

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October 15 haiku.

She avoids the seat
Where the wet umbrella was
Resting just before

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3 things about Michael Caplan’s ALGREN

Algren [2014]

1. “The true voice of the people belongs to the inarticulate.”
2. “Walking into his apartment was like walking into a scrapbook.”
3. Playing at the beach. An enormous belly, spindly legs.

Featuring nearly 200 amazing photographs by Art Shay, this documentary is playing at the Chicago International Film Festival.

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About that trailer.

For about a month now, off and on, I’ve been working on putting together a trailer for the movie. And I can tell you that in many ways it’s been tougher than editing the film itself. I can see why most filmmakers, if given half the chance, don’t cut their own. Having to compress the themes, mood, and characters of an entire feature film into about two minutes of screen time is sort of agonizing. It’s fun too, because you have the freedom to do whatever you want. But that’s also what makes it so hard.

Anyway, it’s coming soon. So keep your eyes peeled.

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3 things about Stephen Cone’s THIS AFTERNOON

This Afternoon [2014]

1. Outside, on the back steps, the hum of an air conditioning unit.
2. An empty hallway, twice.
3. She walks over and sits down near him. “Do you mean that?” He’s not in the frame.

A leap forward. In using improvisation as a tool to fashion the screenplay, Cone has finally begun to move beyond his own preoccupations; or rather, used them as leavening to explore other themes. The predictability of the plot (such as it is) is a slight disappointment. Watching the events unfold exactly as foreseen. But plot is not really what this movie is about. It’s about the intimacy of these two characters, captured close up. What happens to them isn’t exactly the point. The 66-minute running time makes this clear: the perfect length to watch them come to life.

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October 14 haiku.

Awash in orange
The pavement glows as the sun
Sets after the rain

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October 13 haiku.

A portly man a
Mound of dry cleaning and a
Treacherous crosswalk

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