The one thing I remember thinking initially when I was trying to make films, you always feel like—you got nervous that somebody else was right who was talking to you. Who was in a position of power, that their opinion somehow was right or better than yours. I could never stop to think that “No, it’s just different. You just think differently than I do and that’s okay. But I’m not wrong.” You can be filled with such fear. And it’s really easy to just get your heart broken and kind of beaten. You’re sort of attempting to make films… It’s a miracle any time one of them gets made. It’s a miracle. It’s a miracle every time a scene gets done. It’s never any less of a miracle or any less difficult… There just should be no fear. Just don’t give a fuck. That’s kinda the best thing to do.
90% of what I post on this blog will be film analysis and qualms I have with film school. I’ll probably be putting reviews of new movies/games/books/anything that I feel is worth talking about. I’ll also be posting any interesting videos/articles I find about cinema.
This blog is for me to help sort of organize my thoughts as well as strengthen my opinions on certain things.
Pauline Kael’s taste tended toward quick pacing and a down-to-earth story that could grab an audience and make it feel something. A movie didn’t have to be hysterically funny to win her over; she found it especially thrilling when a loose, jocular tone somehow eloped with otherwise straight-faced genres—hence her lifelong allegiance to Jean Renoir and Robert Altman and Jonathan Demme. Praising a movie by another one of her favorites, Jean-Luc Godard, Kael wrote that its “fusion of attitudes—seeing characters as charming and poetic and, at the same time, preposterous and absurd—is one of Godard’s contributions to modern film.” Her most withering scorn was reserved for movies that she took to deny the possibility of laughter or pretended they were above it—her blacklist included much of Bergman, most of Kubrick, and pretty much all of Hitchcock.