THE OBENSON REPORT

Covering Cinema From All Across The African Diaspora

ATTENTION: I'VE MOVED!!

attn


Read all my fabulous blog posts at the following fledgling new site: www.shadowandact.com.


Go there now for all the glamorous details, and be sure to subscribe to it!

Cheers!

Tambay

#48 - Announcing Film Screening Series; Bloggers Roundtable No. 2



Recorded Monday, April 6th, 2009
TRT: 60 Minutes.

- Aaron Ingram and Curtis John of ActNow Foundation and writer/director talked about the upcoming quarterly film screening series at BAM Cinemas.

- And, another bloggers roundtable. I was joined by
Daryle Lockhart of TheBlackBoxOffice.com, Karen G. of ReelArtsy.blogspot.com, Jo-Issa of BlackFilmAcademy.com, and Sergio Mims (Ebony/Jet film columnist).

Topics we discussed:

- "She's Gotta Have It" 23 years later. Would it still impress as it did the year it was released?
- Cuba Gooding Jr and Terence Howard lead ensemble cast in George Lucas's Tuskeegee Airmen film.
- Angela Bassett gets behind the camera for the first time, adapting Percival Everett's novel, Erasure.
- Taraji P Henson, Kerry Washington, Angela Bassett, and other black actresses. Who's getting steady work? Why/why not?
- "Medicine For Melancholy" VS "A Good Day To Be Black & Sexy;" distribution and box office compare/contrast.


Listen below, or download via the iTunes store. Just search for "Obenson Report."



PODCAST - Episode 47 - Bloggers Roundtable



W/ guest hosts:


Invisible Woman (Invisible-cinema.blogspot.com), Daryle Lockhart TheBlackBoxOffice.com), Karen G. (ReelArtsy.blogspot.com), and Sergio Mims (Ebony/Jet columnist).

Show notes:

0:00 to 10:00 - Introductions
10:00 to 20:00 - Tyler Perry Incorporated?
20:00 to 35:00 - More on the plight of Indie black filmmakers
35:00 to 40:00 - Lionsgate's acquisition of a script based on Ntozake Shange's For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf
40:00 to 46:00 - Jill Scott solves crime in The No. 1 Ladies Detective Agency
46:00 to 50:00 - Queen Latifah is Just Wright for a romantic comedy
50:00 to 60:00 - Mos Def battles Christopher Hitchens on Bill Maher's show

Listen below, or download via the iTunes store. Just search for "Obenson Report."



SHORT SHOT - New Short From “Waltz with Bashir" Animation Director

As the international community debates the closure policy in the Gaza Strip, the director of animation of the Oscar-nominated Waltz with Bashir has some harsh messages to convey in his new animated short about Gaza.

During the past 2 years, Israel tightened its grip on Gaza, almost completely restricting the passage of goods and people both to and from the Strip.


PRINT - All-Negro Comics!

print


Hmmm... this is very interesting. I wasn't aware of All-Negro Comics, until I read the below article about its auction.

All-Negro Comics was America’s first-ever comic book, written, illustrated and published entirely by African-Americans, aimed primarily at African American readers. This was in the late 1940s, by the way.

My brief research revealed that there have been relatively few mainstream comic books published by and intended primarily for black audiences. These include Negro Romance (1950) Negro Heroes (1947 - 1948), the venereal disease educational Little Willie (1949), Fast Willie Jackson (1976 – 1977), and a line of comics published by DC Comics in the 1990s (including Blood Syndicate, Hardware, Icon, Kobalt, Shadow Cabinet and others).

According to the AP, the single issue of All-Negro Comics is up for auction.

A copy of All-Negro Comics No. 1, as it was called, is up for sale by comics entrepreneur Stephen Fishler. He says the comic is very rare - lasting one issue in 1947.

All-Negro Comics sold for 15 cents and was the brainchild of a black Philadelphia journalist, Orrin C. Evans.

The comic book, featuring such characters as detective Ace Harlem and Hep Chicks on Parade, is for sale as part of the online ComicConnect Event Auction. It began Feb. 27 and continues March 13, 14 and 15.

Apparently, within the pages of this single issue you'll find: a violent detective story; followed by a fairytale for little children; then an adventure about a Tarzan-like African hero; and finally, a sex-comedy about two opportunistic tramps.

I'd love to get my hands on this!

Anyone familiar? Read the comic book? I'd love to get some first-hand opinions.

Check out more images from its pages below... including the inside-front-cover which details the career of publisher, writer and president of All-Negro Comics, Inc., Orrin. C. Evans: “Former reporter and editor in the Negro newspaper field. Over a period of more than 25 years, he served with the Afro-American newspapers, the Chicago Defender, the Philadelphia Tribune, the Philadelphia Independent, the Public Journal and the American and Musician and Sportsman’s Magazine. He also has been a contributor to the Crisis, official organ of the National Association for the Advancement of Colored People.”

(click to enlarge)




via FORBES & ODDBALL COMICS

PODCAST - # 46: W/ Aaron Ingram (ActNow Foundation) & Pete Chatmon (Premium)



Podcast #46

TRT: 60 Minutes


Episode Notes:

- Tambay briefly waxes on the economy and Rush Limbaugh's recent comments.

- Guest, Aaron Ingram, founder and operator of ActNow Foundation, a Brooklyn-based, black-owned and operated non-profit film and theatre company.

- Guest, Pete Chatmon, writer/director of Premium, and founder and operator of the Double 7 Film family of ventures, as well as the 2008 Tribeca All Access award winner for his upcoming film, $Free.99.


Listen below, or subscribe and download for FREE via iTunes. Just open up iTunes on your computer and search for "Obenson Report" in the iTunes store, where you will also find archives of previous shows.





Cheers!

MONDAY FUNNIES - Have You Seen Jesus?

What's even more humorous about this compilation is that the Jesus they all claim to have seen is the conventional, western, man-made depiction we've all seen in various pieces of artistic renditions of the man. How convenient...

SHORT SHOT - Evangeleo

short


Figured I'd start taking a closer look at short films by black filmmakers, since worthwhile features are severely lacking!


I've highlighted a few already - most recently Hug, by Khary Jones, which was a Sundance 2009 selection, and will also be at South By Southwest this month.

I just watched an atmospheric 20-minute horror short called Evangeleo by Brandon Harris.

Brandon is a Brooklyn neighbor of mine, and writes for several outlets, notably Filmmaker magazine, Spout Blog, and Hammer To Nail, amongst others. He's also one of the other bloggers featured in a documentary that I was also in - Indie Film Blogger Road Trip, by Sujewa Ekanayake. Riding the bus on my way home this evening, I ran into Brandon, and, amongst other things, asked him where I could see his short film (something I'd been asking him since we first met last summer). And he let me know that the entire film was available for screening on its IMDB page. Once I got home, I got on my laptop, headed for IMDB.com and checked it out. And you could do the same.


By the way, during the film's shoot, the male lead, Irungu Mutu, lived a floor above me in my apartment building. And his sister, an artist with growing fame, Wangechi Mutu, is my landlord.

So, it feels like a family affair :o)

Here's a direct link to Evangeleo, a horror film, which Brandon states was inspired by Bill Gunn's 1973 classic Ganja & Hess, a film I've mentioned previously on this blog.

WARNING - it's not for the squeamish.

I would embed it here, but IMDB foolishly doesn't allow for that, so here ya go:
EVANGELEO

SUNDAY FUNNIES - Don't Make Barack Obama Angry... You Won't Like Him When He's Angry...

The Rock Obama lives! Haha - this was funny! Fans of the Incredible Hulk will appreciate!

From last night's Saturday Night Live episode:

SCREENING SIGHTING - A Dry White Season


The first studio film directed by a black woman can now be screened for free via Hulu.com - Martinique-born Euzhan Palcy's A Dry White Season, which she also co-wrote.

The 1989 film stars Donald Sutherland as a white South African schoolteacher, ignorant about racism in his country, who becomes involved when his black gardener is killed. Marlon Brando and Susan Sarandon co-star.


Certainly not Palcy's best work - for that see her debut, Sugar Cane Alley - but, still worth a look, if only for its above significance.

Watch it in full below.

WHAT I'M WATCHING - The Game & The Killing



As I stated in a previous post, I've been consuming a lot of cinema lately -
specifically films that I think can be of some inspiration on whatever script I'm working on. I tend to do that while I'm writing; it all helps tremendously, as I'm sure many of you writers would agree!

As I jogged this morning, my mind continuously working as usual, I reached an epiphany! Why not share what I'm watching on my blog?!

Brilliant, right? :o)

Anywho... so, instead of writing full-length reviews of each film, I'll instead keep each to succinct paragraphs.

Call them my 5 cent reviews!

In the last 2 days, I've seen The Game and The Killing, in that order. Here we go with my 5 cent reviews of each:

The Game -



David Fincher is undeniably very good with mood and atmosphere - camera work, lighting, production design, sound design, soundtrack, etc. And those elements made
The Game far more watchable for me than it would have been, without them. It's an interesting premise - one that we've seen in many films before and after (you'll find similarities with films like Fight Club (also a Fincher work), and even Frank Capra's It's A Wonderful Life). And, billed as a thriller, I certainly was riveted for a significant portion of the film; however, it's one of those films that, as I thought more about it after I saw it, the more preposterous the entire story seemed. I was willing to buy what Fincher and company were selling for some of the movie, but whatever anticipation is built up in the first hour, gradually dies in the second hour, leading up to the twist ending, with scene after scene demanding more and more of the viewer's suspension of disbelief/belief. In the end, it felt like much ado about very little - a pretty picture with something genuine to say, but just not very well thought through and executed. Not a bad film - I'd certainly take The Game over countless other studio pictures. This is my second time seeing it by the way. The first time was the year it was released - 1997.

The Killing -



Stanley Kubrick's 3rd feature, made in 1956. He was just 28 when he produced it. I mention his age, because, it's quite an impressive piece of work that any filmmaker, aged or novice, would gladly have on their resume; and to think that it was written and directed by a 28-year old is simply awesome! The film is a detailed account of a heist gone bad. Sound familiar?
Resevoir Dogs, maybe? And others I can't think of at the moment. Also, it's told in a somewhat non-linear fashion. Again, sound familiar? Resevoir Dogs, Pulp Fiction, et al. Not that Tarantino was directly influenced by Kubrick's film - in fact, I can't say, since I haven't read anything stating the affirmative - but the similarities can't be ignored. At around 90 minutes in length, the film feels much shorter, which is a good thing in this case. It moves along quite briskly, forcing you to keep up, which isn't all that difficult to do; and it's just plain FUN to watch! I had a wonderful time taking it all in and was engaged for the entire 90 minutes. The cinematography is excellent - a Kubrick staple as we would see in his later works - including what we could call trademark lengthy dolly shots that follow the motion of an actor in a scene, as well as some unconventional camera angles. I love black & white film stock, especially when it's so rich and contrasty as it is here. The urgency in the soundtrack overwhelms slightly, but it worked throughout. I would strongly recommend The Killing for anyone interested in Kubrick's earlier films, or anyone who loves a good heist movie. Given the advances in techonology we've seen since its day, the film feels dated in some sequences; but, that can be resolved quickly by simply placing the characters and story in context. This was my first time seeing it by the way. I ordered the DVD immediately after.

Dazit!!

I'll be catching at least 2 more before the end of the weekend, and I'll share my thoughts after.

Have a good day!

FILM REVIEW - Watchmen

review


No, not from me... I haven't seen it, and I've already expressed some ambivalence in seeing it. Maybe when it's on DVD.


For now, check out fellow blogger V-Knowledge's full review of it; his thoughts reaffirm many of my preconceived concerns.

Here's a snippet:

Like the super-powered Dr. Manhattan, Watchmen is a lifeless, unfeeling & emotion-devoid film that ironically suffers from what many fans desired in the first place: being too faithful and reverent to its source material.

'Nuff said! :o)

By the way, he gives it a 3.5 stars out of 10!


Read the rest of his thoughtful analysis HERE.

WANTED - Where Are They Now?

wanted


Christopher Scott Cherot, Wendell B Harris Jr, Cheryl Dunye, Cauleen Smith, Matty Rich, Julie Dash, Theodore Witcher, Seith Mann, etc, etc, etc...


Who else am I leaving out?

They are all black filmmakers from the last roughly 20 years, whose first films (whether shorts or features) attracted enough attention, whether locally, or internationally, engendering growing excitement and anticipation amongst film lovers everywhere, of promising careers ahead for each of them; but said promising careers never really fully materialized - certainly not in the same fashion as some of their white counterparts, like Steven Soderbergh, Quentin Tarantino, Bryan Singer, Darren Aronofsky and David Gordon Green, amongst many, many others.

Barry Jenkins and Dennis Dortch are both relatively new to the mix, with both still basking in the successes of their debuts; so, it's too early to make any predictions on either of them, which is why I didn't include them in the above list; however, I'm sure there are audience expectations of each, now that we've been exposed to their individual works.

Where are they all now? What are they working on? Are they still in the business, or have they given it all up altogether and gone into some other industry? Etc, etc, etc...

I heard Christopher Scott Cherot was working on another feature last year, but I know nothing about it, and can't find very much on it either.

Of course, I think we all know Wendell B Harris Jr's story by now. Check out his interview with Black Box Office from January, if you haven't already.

After Watermelon Woman in 1996, Cheryl Dunye directed 3 other features, including 2004's My Baby's Daddy, her only studio film.

Cauleen Smith, to my knowledge, didn't direct any other films after her debut, Drylongso in 1998. In the early 2000s, a script she completed was being shopped around for financing. I recall seeing it listed as a Tribeca All-Access Project a few years ago, and being very excited for her and for what I hoped would be a film I would eventually get to see. It was titled I Am Furious Black, with a synopsis that read, "A loner detective investigates the homicide of a media-shy graphic novelist who sabotages her own career to the detriment of her family, friends and business partner."

As for Matty Rich, I'm sure we're all somewhat familiar with his story. 1994's The Inkwell was his last film. I have no idea what he's been up to since then.

Julie Dash was a member of the late 70s/early 80s movement we now refer to as the Los Angeles School of Independent Black Filmmakers, which also included Charles Burnett, Haile Gerima and others, whose films were the antithesis of the films of the era in which they "came of age" - specifically the Blaxploitation decade. Dash's premiere opus, 1991's Daughters Of The Dust, was included in the National Film Registry in 2004, a coveted, considerable honor to be bestowed upon any film/filmmaker. She's directed some TV programming since Daughters, most notably 2002's The Rosa Parks Story, which starred Angela Bassett. But, not much else that I'm aware of. I'd love to see anything else she's done since her debut. Daughters was certainly an auspicious start.

Theodore Witcher practically disappeared after Love Jones, an unbelievable feat, given just how successful that film was and has been. I don't know any black person in this country who hasn't heard of, or seen Love Jones. And it repeatedly shows up on "Best Of Black Cinema" lists from coast to coast. So, what happened? I don't know. One would think the success of his first film would have made it easier for him to make his second, but maybe the studios just weren't biting hard enough.

Seith Mann is the only one on this list whose "career maker" was a short film - 5 Deep Breaths, a deftly-handled 20-minute film that aimed to challenge black masculinity. That was in 2003; the film singlehandedly catapulted Mr Mann to an almost assured Hollywood career, after playing at just about every major film festival that exists locally and across borders, including being the only American short film that played at the Cannes Film Festival the year it was accepted. Filmmaker magazine named Mann one of their 25 new faces of independent film in 2003. The IFP gave Mann the Gordon Parks Awards for Emerging African-American Filmmakers. A year or so later, a feature-length screenplay he wrote, titled, Come Sunday, won two development awards from the IFP, and it certainly looked like Mann was on his way. Since then, he's directed a lot of TV programming, notably a few episodes of the hit HBO show, The Wire, as well as Greys Anatomy for ABC, Heroes, Cold Case, Entourage, and others. So, clearly, he's working, and hopefully getting paid well! Although I certainly hope that we get to see his work on the big screen someday soon, and he doesn't get stuck directing for television for most of his career. Not that he'll have failed if he does stay in television primarily; I'd certainly love to be working in the industry in any manner. However, I'd say that the writer/director of 5 Deep Breaths deserves a grander stage!

I think my initialy list above should be longer than it is; but, again, I can't think of any other names that belong; so, feel free to throw out any that I missed who fit the criteria. And if you have any further info on anyone mentioned here, do share. Or if your name has been mentioned, inquiring minds would love to know what you've been up to.


INTERVIEW - Wendell B Harris Jr

int


I'm certain most of you are fully aware of my love for Wendell B Harris Jr's 1989 Sundance Grand Jury Prize winning opus,
Chameleon Street, so I won't even bother with an introduction!

Check out part 1 of an interview Black Box Office had with writer/director/actor Harris, earlier this year, at January's Sundance Film Festival, where Chameleon Street screened in the the festival's "From the Collection series" - an annual feature in which two retrospective screenings of influential feature-length films from the Sundance Collection are presented, paying tribute to what they deem significant works. Steven Soderbergh's debut, Sex, Lies & Videotape rounded out this year's pairing.

Here's a snippet of the interview:

Take us back to 1990. You’ve just won the Grand Jury Prize at Sundance, everybody’s talking about your movie…what happens next?

WBH: There’s a little money when you win that prize…5 thousand dollars . I don’t know … maybe it’s more now . But you know, the real prize is that Hollywood opens their doors to you. You get meetings with everyone at every major studio. And I had many meetings about my movie and lots of other projects . Many meetings , many dreams .

Did anyone buy your movie?

Not the movie, but the remake rights.

Remake rights?

Yes, Warner Brothers paid something like $250,000 for the rights to remake “Chameleon Street”. The next thing I knew, there were meetings with all these Black actors. Wesley Snipes. Arsenio Hall. Will Smith. Sinbad.

SINBAD? in “Chameleon Street”?

Yes. You see, the studio wanted to remake the story into different movies that were hot at the time. For Wesley Snipes, it was going to be a “car chase” movie. For Will Smith and Arsenio, comedy. And for Sinbad…what’s that movie he did with Schwarzenegger?

“Jingle All The Way”.

Yes. That’s the one. They wanted it to be like that. A comedy with a warm ending. And action. All the treatments had to have more action.


Read the rest of his juicy revelations HERE.

WTF - Brazilian Girl, 9, Has Abortion Despite Church's Objections

Not film related, but shit like this pisses the hell out of me!

Yes, I know abortion is illegal in Brazil - the country with the most Roman Catholics in the world; but, thankfully, judges are allowed to make exceptions if the mother's life is in danger, or the fetus has no chance of survival.

I say "thankfully" because, in this case, the mother/victim is a 9-year-old girl carrying twins!! Her stepfather is suspected of raping her, and has been jailed.

The poor girl underwent an abortion yesterday, despite complaints from Brazil's Roman Catholic Church.


The pregnancy, which was in its 15th week, posed a serious risk to the girl, who weighs 80 pounds. But the Archdiocese in northeastern Brazil, said the girl should have carried the twins to term and had a Caesarean section.

"It's the law of God: Do not kill," the attorney representing the diocese said!


So, this nitwit would rather have a 9-year old girl, who's already suffered more than enough, after being raped by her stepfather, live with the pregnancy (twins!!) through the entire term, and then, if that weren't challenging enough, have to be scarred yet again, and undergo a complex, risky surgical procedure in a Caesarean section?

This is a child!

URGH!

Somehow I'm not so sure the God he believes in would concur.



via AP

TRAILER - Limits Of Control

trailer
The brand-spanking new trailer for a film that's on my "to-see" list this year - Jim Jarmusch's
Limits Of Control which stars Isaach de Bankole as a "mysterious lone criminal undertaking a job in Spain."

It's scheduled for a May 22nd release.

Check out my previous post on the film
HERE, and then watch the trailer below.

From the little shown within it, I'm instantly reminded of Ghost Dog, for obvious and not-so obvious reasons:


POLL - The "Black" Classics?

poll


As I've done with my last few posts, I'm changing the format of my blog a little; I'm still covering black cinema, but as opposed to my almost android-like reporting and commenting on the film news of the day (regardless of how I felt about it), I'll instead focus specifically on what's of interest to me in the world of cinema and ideas... like the following.

Living in New York City, I'm exposed to numerous specialty film screening series commemorating a specific filmmaker and his/her works, or a film movement, or films from a specific era, or country etc, etc, etc...


Rarely do any of these events celebrate filmmakers, or films, or film movements of the African Diaspora - an idea that I believe is up to "us" to introduce and implement. I'd like to believe there are audiences interested in the kinds of retrospectives I've seen given in honor of films and filmmakers of the French New Wave, or the Italian Neorealists, or even more recently, IFC Center's Mumblecore tribute, and others - except, the French New Wave, Italian Neorealists and Mumblecore will be replaced by the Third Cinema movement, the Los Angeles School of black film makers (Burnett, Gerima, Dash, Clark and others), and, even though it was primarily a literary development, films inspired or influenced by the Négritude movement.

Even the Blaxploitation films of the 70s could be included in the mix - maybe not the most ideal period of films to celebrate, but much could be learned from the lot.

Instead of a Godard or Rohmer retro, how about a Micheaux or Ousmane Sembene commemoration; instead of Fellini, we'll have the likes of William Greaves, or even Melvin Van Peebles (Sweet Sweeback isn't the only film he made in his prime).

Now, there certainly have been events honoring the previous names I mentioned and others, including Spike Lee, and Charles Burnett; but, in my opinion, they aren't regarded in quite the same regal fashion as their European counterparts (although that sentiment isn't only relegated to cinema). Certainly, maybe they don't all deserve to be - but my core point here is that WE need to start exalting our cinematic "treasures" (both the films and filmmakers) in the same manner as other groups do! I'm not suggesting strict imitation, but rather, WE have to claim them and give them the importance they deserve, instead of waiting for "outsiders" to define them for us.

A couple of years ago, when I was running the now defunct Voyager Film Company, along with 2 business partners, we held bi-monthly micro-cinema screenings of films by the above black filmmakers and more, attempting to memorialize both the films and their creators. We felt that they were all being somehow cheated of the same kind of admiration and respect that their non-African equivalents were enjoying, and continue to enjoy - which, in turn cheats their already existing and potential audiences; so, we did something about it.

Currently, myself and a small team of other invested New Yorkers are working diligently on reinstating something identical - a theatre space where we can regularly screen films of interest to us - from previous eras, as well as contemporary works - all while paying tribute to our cinematic heroes.

So, out of curiosity, I have a question for you all: if you were to name 5 films (or filmmakers) of the Diaspora that you would consider important films (or filmmakers) that must be seen by one and all, what would those 5 films (or filmmakers) be? Not necessarily the most entertaining, or the most financially successful (although those could also be included); and not what you've been told is important, but rather your own individual opinions; 5 films (or filmmakers) since cinema's dawn, of the African Diaspora (not only films by African American filmmakers) that you think were groundbreaking in some manner, or were heavily influential on films that followed; films we could label the "black" classics, for lack of a better phrase. What would they be?

I realize we don't have a lot to choose from - but that fact should make your work easier, I'd think. However, if you can't come up with 5, list as many as you can think of. Or if you can come up with more than 5, feel free to do so as well.

Also, don't worry about ranking them in any order, unless you want to.

I'm sure most of our lists will feature many of the same films, but that's ok. I'd just like to get some sense of how varied our ideas are. There are no right or wrong answers.

Fire away and let's discuss...!

RANDOM - Thespian Love

random


I just finished watching There Will Be Blood for the umpteenth time - the 2007 Oscar nominated, P.T. Anderson directed, Daniel Day Lewis starrer (a role for which he won the Academy Award for best actor, and deservedly so!).

Each time I watch that film, I marvel at just how engaging and even suffocating Lewis's performance is. He's practically the entire freaking movie; and without him, I'm not so sure that the film is as compelling as it is with him in it.

Could another actor have pulled off such a sublime performance with the same material? Maybe... although, I'd say that theirs would likely be a different film altogether - not necessarily better or worse... just different!


So, it inspired some further thought in me regarding similar circumstances in which an actor's/actress's performance is so overwhelmingly good, that the film they're in would likely fail if they weren't cast in the defining role.

So, assist me in generating a list of films that meet the above criteria; essentially actors/actresses whose performances elevated the overall caliber of the film they starred in - taking "C" level scripts and turning them into "A" level movies.

I'm blank at the moment - other than the one I just mentioned.

So, gimme some more...!

LA-DI-DAH - Vertigo... Figuratively

la


From time to time, I have days like this when I lack the drive to post entries on my blog.


I have my usual routine, which includes, reading through all my blog subscriptions, via Google Reader, looking for any worthwhile news to mention and/or comment on.

I'm not sure what it's like for the rest of you out there, especially those who manage similar niche blogs; but, for me, everything I read just starts to look and sound the same - the same group of 10 or so names involved in the same often unoriginal retreads of films I've already seen countless times. Or it's the op-ed piece by John/Jane Smith on some race-related aspect of the industry, whether positive or negative. Or it's the rantings of a minority actor/actress/director/writer/producer, expressing their unhappiness with certain industry inequities.

I get bored with it all. I feel like I've seen and heard it all before, and I'm inturn left uninspired, even as I try to beef up each entry with as much substance as I possibly can.

What's the point of it all, I ask myself?

What's there to really look forward to?

Quite frankly, there are moments when I'd love to shut it all down and invest my time in more personal ventures - something I've done at least once previously, only to return months later to reboot it all over again, as some of you will recall; however, I have to admit that there is something addicting about the act of blogging, especially as you witness your audience's continuous rapid growth. My site is certainly not as popular as some others, but I've seen my daily number of visitors (as have my subscribers) grow tenfold what they were about a year ago, when I first started blogging actively. So, I feel obligated to keep my content fresh, to satisfy my readers so that they inturn return, and my numbers continue to climb.

But maybe taking a break is OK once in awhile, and I shouldn't allow doing so to feel like a letdown.

I've toyed with the idea of a consolidation of sorts with other bloggers - essentially, those of us who blog about black cinema combine our blogs into a single massive portal - but I have yet to act on the idea. It's still something that I think would be beneficial to all of us - the bloggers as well as the readers.

Doing so distributes the task of keeping the site's content updated, so that it isn't entirely in the hands of a single editor, as it currently is for many of us.

I'd love to hear your individual thoughts on that.

Regardless, as I've said previously on my podcast, and probably on this blog as well, cinema just doesn't move me as much as it once did - specifically the cinema that I consume. Over the last 5 or so years, there've been so few films that have left much of an impression on me - both mainstream and independent. I go to the theatre, pay my $12, sit through 2 hours of uninspired, mostly generic work.

Filmmaker Peter Greenaway said about 2 years ago that cinema is dead, and his solution thus far has been to incorporate other kinds of media into his process, turning the movie-watching experience from a mostly passive one to an active one - getting the audience involved by creating a more challenging, albeit unnecessarily convoluted (IMHO) experience.

His last project, The
Tulse Luper Suitcases is a perfect example - a film that's even more unorthodox compared to the already contrarian Greenaway's previous projects. The end result is more of an extended art installation piece than anything we would traditionally refer to as cinema.

But, I say, maybe what we need to do is the opposite - strip cinema down to its barest essentials, and start all over again (a reinvention we could say), returning to a time when story is what really mattered - no gimmicks, no adornments; just compelling characters in equally compelling situations that speak to the proverbial human condition, whether in humorous, dramatic, or scientific ways.

Or maybe it's just me, and I need to work through whatever hurdles are in my path.

Or, maybe I should heed Gandhi's famous quote, and be the change that I want to see; essentially, shut the fuck up and make some movies - the kinds of movies that I believe the industry severely lacks.

Well, I'm certainly making an effort to do so, as are many other filmmakers I know.

Obviously, the process is much easier spoken about than completed.

However, I'm sure that by tomorrow, I'll be back to blogging about whatever is in the ether - maybe even by this evening, after I've watched a film or two from yesteryear that reinvigorates me.

I often download and watch movies on my 3.5-inch iPod Touch screen. It's certainly not the most ideal way to watch a movie, but it keeps me occupied during my daily New York city subway commute. I would read instead, but it's difficult for me to focus on print on the subway, so I read when I'm at home. On my iPod Touch is certainly not how I usually screen films; it's just another tool I use, thanks to Apple. I prefer the theatrical experience over all others. Interestingly, I rarely watch films at home - whether on cable TV or rentals.

When I'm writing, I tend to watch films that I think could inspire what I'm writing in some way - whether in story, or style, or both. For the past few days, I've been reacaquanting myself with Hitchcock's magnificent works. I've never really grown tired of them, and watch each with the same anticipation and thrill as I did upon initially seeing them.

So, this weekend, we'll see another new crop of 10 to 20 films in theatres across the country, whether in very limited or very wide release, and I just might be present for 1 or two of them, if I can muster up the required enthusiasm to do so.

If not, I'll instead be at home, or in some hole-in-the-wall cafe in New York city, working on my own hopefully worthwhile contribution to the marketplace.

So it goes...



via MY HEAD

RANDOM - It's All About The Branding!



BrandChannel.com is a cool site that lists all product placement found within studio feature films, going back to 2001.


Something to pay attention to next time you sit down to watch a movie, and to later discuss, when you and your pals go to Starbucks afterward and order Frappuccinos, oblivious of the fact that you might be doing so because a character in the movie you just saw was drinking one.

For example, in the 2002 hit Barbershop, according to BrandChannel, brands featured in the dramedy include the following: 360 Style, All, Bear Credit, Bentley, Big Daddy, Burger King, Cadillac, Cadillac Escalade, Chevrolet, Chicago Tribune, Chock Full O’Nuts, Cocoa Pebbles, Cristal, Dentyne, Durex, Ebony, Ecko Unltd, Fred Perry, FUBU, Gatorade, Gillette, Grape-Nuts, Hennessy, Herbalife, Honda, Huggies, Intl. House of Pancakes, Kodak, Krispy Kreme, Lucky Tiger, Lugz, Master Lock, Meoshe, Mercedes, Miss Sixty, MUG, Nilla, Now and Later, Oldsmobile, Oprah Winfrey, Oreo, Pelle Pelle, Pepsi, Planters, Pure Playaz, Range Rover, Red Lobster, Samuel Adams, Savoy, Sean John, SnackWells, Toyota, Triscuit, Tropicana, Us magazine, USA Today, USPS, and Viagra!

You can tell who the target audience of the film is, without even knowing what the film is about, or who is in it, just by looking at the brands featured in the film :o)

Or how about 2004's You Got Served? Featured brands include: Adidas, Aquafina, Cadillac, Casio, Converse, Ecko Unltd, Fiji, Girbaud, Jordan, K-Swiss, Mecca, Motorola, MTV, New Skool, Pepsi, Portland Trailblazers, Reebok, Schott, Shady, Sony, Tropicana.

Comparing the brands featured in the above 2 films, you'll notice some crossover - both films featuring a lot of similar clothing and shoe brands, which obviously tells us something about who the target audiences of both films are.

This is all useful info I think. I feel like so much analysis could be done with this data to reveal lots of interesting facts about the business and how audiences are mapped. It would be interesting to look at the box office totals of each film as well, and determine what the combination of that data with the branding data would tell us.

The website's most recent film covered is Madea Goes to Jail. Featured brands include: Acura, Apple, BLUE BIRD, BMW, Cadillac, Chevrolet, Chrysler PT Cruiser, Clorox, Coca-Cola, Craftsman, Dell, Dexter Laundry, Die-Hard, Ford, GE, Hostess, Kenmore, K-Mart, LifeGas, Maersk, MasterCard, Minute Maid, Mistic, Nike, Philips, Pontiac, Rainbow, Ruffles, Ryder, Schweppes, Sunbelt Rentals, Tabasco, and Volkswagen.

Lots of car makers, aren't there? What does that tell us about what the film's producers think about the film's audience?

None of these occurences are coincidences, by the way... these companies pay good money to have their products featured in each of these films. Some film financing is made possible by agreements between producers and companies interested in product placement.

Check out BrandChannel.com for breakdowns of other films. It's not a complete list, but there's enough there to keep you busy for awhile.



via BRANDCHANNEL.COM