How quick-cutting obscures.

Quick-cutting used to be a tool used by clever low budget filmmakers to help disguise the absence of expensive production design and special effects. And it worked. But now, paradoxically, it’s used even more often by big budget filmmakers; and the result is that the viewer cannot fully experience, let alone appreciate, these movies’ expensive production design and effects.

This state of things is something I’ve thought a lot about before, but it was really illustrated for me by watching John Carter. (Not a great movie by the way, but I’ve also seen far, far worse.) As the imdb trivia page informs us: “About 1,800 costumes were designed–383 yards of cloth material were used to design the Thern costumes, while Dejah’s wedding dress, cuffs and crown had 120,000 Swarovski crystals attached by hand.” Impressive. And all but unseeable because of the movie’s unthoughtful (or, more likely, overthought) staging and ADD editing style. Compare that with, say, Cleopatra. Another expensive bomb; an awful lot of its budget also ended up on screen, but is actually showcased in a way that allows your eye to linger. Cleopatra’s entry into Rome is still unmatched for sheer ridiculously over-the-top, gaudy spectacle. Because you can just sit there and take it all in.

Disney could have saved itself a lot of money by using cheaper costumes and plastic beads. We wouldn’t have been able to see them anyway.

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3 things about Andrew Stanton’s JOHN CARTER

John Carter [2012]

1. Cracking the ice to water the horses.
2. Several instances: pointlessly cutting from a medium shot to a wide angle shot, briefly, and then back to a medium shot.
3. He emerges from the body cavity drenched in the creature’s blue blood.

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3 things about Terry Gilliam’s 12 MONKEYS

12 Monkeys [1995]

1. Grizzly outside City Hall.
2. Frank Gorshin’s sideways cigarette plant.
3. Insurance.

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3 things about Jack Bernhard’s DECOY

Decoy [1946]

1. She jiggles her jewelry at him and says, “Do they have this trash on your level?”
2. “Don’t let that face of yours go to your head.”
3. Improperly folded sheet on the corpse.

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3 things about André De Toth’s CRIME WAVE

Crime Wave [1954]

1. Working late at the animal hospital, wearing a holey sweater.
2. In the apartment building’s corridor stands a very sad plant on a table.
3. They end up in a crumpled heap at the bottom of the stairs. Timothy Carey’s leg stuck through a window frame, white sock, black shoe.

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Lost and found.

I haven’t been working on the film much lately (moving to a new apartment after 12 years is a concentration killer) but there is an exciting development. Courtesy of the 16mm mag reels that I used for editing all those years ago, I’ve been able to recover the missing sound from those key scenes. What a relief. I can now press on with all possible dispatch.

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from a notebook

“Jazz shouts its sorrows at us, and we don’t give a damn. That’s why it’s fine, real.”
–Erik Satie

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3 things about Victor Fleming’s THE WIZARD OF OZ

The Wizard of Oz [1939]

1. Fresh crullers.
2. Her broomstick has red stripes on the upper handle.
3. A giant spraycan of Witch Remover.

3 other things.

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“They got to the bar of the hotel by taking an elevator in the center of the mall.”

That’s the opening sentence from “Nightcap,” an excerpt from my long-lost unpublished novella Tiny Apocalypse, which appears in the brand new issue no. 5 of Graze magazine. It’s really something to see this story live again. Kristopher Schmelzer specially took some gorgeous photographs to accompany the story and Carolyn Tubekis contributed a beautiful design. I couldn’t be happier! You can buy a copy online or find it a retailer near you. And it’s only $10.

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3 things about Warren Beatty & Buck Henry’s HEAVEN CAN WAIT

Heaven Can Wait [1978]

1. Nobody wears trainer’s shorts (or a loud tie) like Jack Warden.
2. She drinks vodka straight from the carafe.
3. James Mason: “I’m going to have to take charge of this case personally.”

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