The Academy Awards 2012: Meryl Streep's Fabulous Evening

By E. M. Foster

Going into last night’s Oscars, I wasn’t feeling too invested. Sure, there were some decent movies that had come out, but the usual buzz with the awards season this year just has been all the enthusiastic. In fact, it has been more of a dull murmur. Between knowing that ‘The Artist’ would sweep up, and Billy Crystal returning as host, The Academy Awards just didn’t seem as glamorous as usual.

For most of the evening there were few surprises, and while enjoying the acceptance speeches and clips from films I had missed, there wasn’t much grabbing my attention- and then Meryl stepped in.

By far, the biggest surprise of the evening was Meryl Streep’s win of Best Actress for her role in Iron Lady. For those of you who do not understand what a shock this really was, it is important to note that Viola Davis from The Help was slated to win the award, and Meryl being nominated was, well, nothing new. This year marked the veteran actress’s seventeenth nomination. That’s right, seventeenth (see below for list of her other Academy Award nominations over the years). Of the seventeen nominations, Meryl has won three times, including last night’s win. In other words, Meryl Streep only gets nominations because she is Meryl Streep- but is not really expected to ever win.

Besides feelings of shock and amazement, many people were upset by her win (no one in the group I was watching the awards show with was, though, as we screamed loud enough that the people 7 floors down probably heard our excitement). While personally excited for one of the classiest women in history to win, I understood where the haters are coming from. Iron Lady had mix reviews, and for the most part, didn’t provide the same full picture as The Help did. Between the two, it could fairly easily be argued that The Help was a better film overall, and had a greater audience backing it up. More so, Viola Davis really did give an excellent performance- one that equally deserved recognition as best actress.

Meryl Streep, with all her wisdom, humbleness, and class, gave a stellar speech. She was not boastful, and accepted the award gracefully, thanking mostly her husband and her make-up artists. Essentially, one of the greatest actresses who ever lived was thanking the little people for helping her succeed. It’s such a rarity that someone as iconic as Meryl would ever think of people like her make-up artist for an Oscars acceptance speech, but really, I guess that’s what makes her so spectacular.

That moment of seeing Meryl Streep winning Best Actress saved the Academy Awards for me this year. It was a twist that no one saw coming, but everyone adored in the end.

In case you missed the show last night, here is a blog that is both a witty and an informative play by play to the evening’s events: http://www.amanaboutfilm.blogspot.com/2012/02/man-about-film-presents-oscars-2012.html

Check out the Oscars website for full list of winners: http://oscar.go.com/

Below is a full list of nominations and wins Meryl Streep has had over the years (all Best Actress unless otherwise noted):

1978 The Deer Hunter- Best Supporting Actress- Nominated

1979 Kramer vs. Kramer- Won

1981 The French Lieutenant's Woman- Nominated

1982 Sophie's Choice- Won

1983 Silkwood- Nominated

1985 Out of Africa- Nominated

1987 Ironweed- Nominated

1988 A Cry in the Dark- Nominated

1990 Postcards from the Edge- Nominated

1995 The Bridges of Madison County- Nominated

1998 One True Thing- Nominated

1999 Music of the Heart- Nominated

2002 Adaptation-Best Supporting Actress- Nominated

2006 The Devil Wears Prada- Nominated

2008 Doubt-Nominated

2009 Julie & Julia-Nominated

2011 The Iron Lady-Won

Photos From:

http://skyliving.sky.com/oscars-on-sky-living/oscars-2012-nominations-are-out

http://cdn.buzznet.com/media-cdn/jj1/headlines/2012/02/meryl-streep-oscars-2012-red-carpet.jpg

Short Film: Kiwi! by Dony Permedi

By E. M. Foster

The short film for this week was not chosen for its intricate plot details, or for its spectacular animation, but for its genuine simplicity. Kiwi! by Dony Permedi is actually his final thesis project from 2006, and it shows what a creative mind he has. Where Permedi lacks in graphics, he makes up for in character and heart. Throughout the 3 minutes of this short, we are led through the short story of bird who is literally willing give everything to accomplish his dreams- more so, it is a story that is able to draw out emotion and empathy without the grand gimmicks of modern film.

Simplicity tells a story better than any gigantic explosion or surprising plot twist. While such film devices are entertaining, works as strait forward and heartfelt as this allow the audience to connect with the character on a very basic, emotional level. In the end, connection to the creation is what is needed for a great film to come about, and Permedi manages to accomplish that goal through the story of a small, flightless bird.

Check out Dony Permedi's other work at his site below:

http://www.donysanimation.com/

Crooked Little Vein, By Warren Ellis

By E. M. Foster

Up to this point, I have spent my post talking about television and film. I want to make something clear- media includes a lot more. Whether that be books, poetry, photos, newspapers, etc.. media are forms of communication that can widely influences the public. For as often a movie is watched, a book or newspaper should be picked up, too.

Now that I have finished my short soapbox rant, I want to introduce you to a novel I recently finished. Crooked Little Vein by Warren Ellis is a mixture of both shock and delight. This is the first contemporary fiction novel by Ellis, who is better known for his graphic novels. The cartoonish, edgy background certainly comes through in this book, particularly with absurd and over sexualized situations popping up every other page- situations that could only have happened in real life and now are being exploited in fiction for the entertainment of readers. That’s not a complaint, but a salute to a book that had my jaw dropping and my lungs hurting from laughing so much.

Based on the back cover description, I was misled into believing this was potentially a mystery adventure about a hidden part of the United States’ Constitution that could redefine American values. Yes, while that is the underlying storyline, in actuality it is about private detective Michael McGill- a guy who is constantly down on his luck and dealing with the fact that the ridiculous and the evil will eventually find him. Yet, somehow Michael survives in his fucked up life.

Overall, I give this novel top marks. It is not the most difficult read, and at times seems a little sporadic, but the writing style is sarcastic and straight-up. Ellis plays enough with the theme of ethics and morality to give the story and characters some depth. Fair warning, this is not a novel for the faint of heart or overly religious. And the prudes of the world? Don’t pick it up unless you want to be squirming in your chair the entire time. As for everyone else- read and enjoy!

Below is an Amazon link to the novel with more reviews and descriptions, and a link to Warren Ellis’ site:

http://www.amazon.com/Crooked-Little-Vein-Warren-Ellis/dp/0060723939

http://www.warrenellis.com/

Photo from:

http://www.fatalrobotcosplay.com/wp-content/uploads/2008/07/crooked_little_vein_paperback.jpg

Oldie but a Goodie: Young Frankenstein (1974)

By E. M. Foster

Recently, a friend referenced the classic line, “Could be worse. Could be raining.” from Young Frankenstein. This film is a Mel Brooks gem, and really one that seems sadly forgotten by my generation. Honestly, I understand that ghouls and monsters should be reserved for Halloween, but Young Frankenstein is a comedic film for any time of year. Growing up, Gene Wilder was only Willy Wonka in my eyes- until I saw this movie (and later Blazing Saddles, but that’s a different post…). Seriously, the dialogue is great, the jokes are classics, and overall, it is just perfectly casted and really well produced.

Below is the trailer:

Now, for those of you who are unfamiliar with this hilarious masterpiece, it follows the story of Dr. Frankenstein’s grandson (Wilder). After years of trying to escape his family’s legacy, the young Frankenstein inherits his grandfather’s castle. There, he meets an array of interesting individuals, including Igor, Inga, and Frau Blucher. Upon discovering his grandfather’s diary, he decides to recreate the reanimation experiments- thus creating another Frankenstein’s monster.

I have selected several scenes from the film to share, although don’t ask me to pick a favorite- that would literally be impossible due to the fact that I start laughing and don’t stop until the film is finished.

The first is an iconic moment in film, and shows what is arguably the classiest monster ever seen on screen. Here, young Dr. Frankenstein is showing off his newly created monster, with a rendition of ‘Putting on the Ritz’.

One of the best things about Mel Brooks, was that he was not above dirty jokes- and in fact, he is probably one of the few filmmakers who could get his actors to deliver the lines perfectly.

Any post about Young Frankenstein must include a mention, homage, and general worship to Marty Feldman and his portrayal of Igor, the creepy, loveable hunchback.

The lists of great scenes from this film goes on and on, and if it were legal, I’d just post the entire movie here. I encourage every reader to see it. To end on a pun, the only thing that could make not seeing Young Frankenstein worse, is that it could be raining.

Short Film: 'The Cat With Hands'

By E.M. Foster

Films have always been a big interest of mine. I love intricate story telling, the variety of ways a script can be interpreted, and the true way that a director can become the auteur of his or her work. What is more impressive than a feature film or full length documentary, though, is a short.

A short is film that does not normally run more than 15 minutes, and tells a story with a specific meaning. Think of the Pixar shorts that are often featured before the Toy Story films. There is a direct emotion or theme being presented.

From this point on, I will be sharing one short a week with you all. They are great starters to look at for people who are new to film studies, and often show a directors best work (think about, all a director's time and effort go into 3-15 minutes rather than 90-120 minutes).

This week's short is called 'The Cat With Hands' by Rodger Morgan. It is a surreal film, and quite honestly, terrifying. I love the intricate set, the detail to costuming and casting, but more so, the beautiful mix between the animated and the live action. At a little over 3 minutes in length, this film conjurs up the tingling sensation I can only compare to the feeling of a monster living the closet when I was a child. It brings an entirely new meaning to "Cat got your tongue?"



Check out Rodger Morgan's interesting other work here: http://www.robertmorganfilms.com/

Long Takes: Children of Men

By E. M. Foster

In a world dominated by fast pace media, a long take is rare. On average only a few seconds per shot is spared, so shots lasting longer than 10 seconds can seem like a lifetime. This is large in part due to the fact that long takes can become rather boring if not done well. That being said, long takes done well are stunning, and if done right, can even make the viewer not notice the missing cuts.

To bring in an example, I want to share one of the most remarkable long takes I have ever seen. I cannot even imagine the how long this took to plan and choreograph. It comes from the film Children of Men, directed by Alfonso Cuaron (also known for Pan’s Labyrinth, and Harry Potter and the Prisoner of Azkaban). 4 minutes of strait shooting. A seemingly impossible, mesmerizing shot captures the audiences attention from the first second.

http://www.youtube.com/watch?v=QfBSncUspBk&feature=related

(I cannot embed the link- but click on it, it'll be well worth your time!)

The next is another long take from the same film. For this scene, in particular, the long shot makes sense. It gives the feeling of real time, and a sense of urgency constantly builds with the passing seconds. Again, the choreography and blocking with this shot must have taken days, if not weeks, to plan out.

There is one cut, actually (see if you can catch it), but the actual shots were filmed at once, and then pieces were edited together to get the blood of the screen before the end of the shot.

For those of you curious as to how some of these takes are done, below is video of the time and effort put into it!

Super Bowl Commercial Techniques

By E. M. Foster

It’s that one special time of year again. That’s right, Super Bowl night. Actually, Super Bowl Commercial night is more like it. One Sunday of the year, advertisers can rejoice, knowing that their attempt at creative and humorous commercials will actually be viewed by the millions of people who would normally TiVo through the ads. Let’s face it, depending on the team you support, or your overall interest in the game (or lack thereof), the commercials really do end up being the best part of the evening.

As a current Wisconsinite, and converted Packers’ fan, my viewing interest this year entirely lies in the commercials. This got me thinking- what makes a Super Bowl commercial so successful? What is it about these short clips have still have me invested in tuning into the big game? As a way to attempt to analyze this thought, I have pulled together some techniques and examples I have observed over the years:

Bob Dole Pepsi Commercial

Super Bowl Commercial Technique 1: Having some form of satire is good, particularly if it involves comparing a certain “little blue pill” to a “little blue can”.

Fed Ex Castaway Commercial

Super Bowl Commercial Technique 2: Having current pop culture references to overrated films that your company had the leading product placement in creates consistancy. (And is it just me, or does this mock Tom Hanks look a bit like the current Geico cavemen?).

Brittany Spears Commercial

Super Bowl Commercial Technique 3: Having over the top production value, a cheesy choreographed dance routine, and a pop superstar never hurts.

Volkswagen Commercial

Super Bowl Commercial Technique 4: Kids, even dressed up like villains, are always adorable and a top seller. Always.

E-Trade

Super Bowl Commercial Technique 5: Boardering on the edge of funny, cute, and a little creepy, will keep the viewers not only guessing how they are feeling, but also have your product engrained in their heads (for better or for worse).

The last Super Bowl Commercial Technique I couldn't find an example for, and that is because it is so simple: It just needs to be entertaining. Really, the best commercials are a little quirky, strait to the point, and overall just fun to watch. So, as I am about to head out to a friend’s place to catch the game, I look forward to what this year’s commercials will bring.

Enchanting Original Programming

By E.M. Foster

There is nothing better than a fresh idea. It doesn't matter if the idea is absurd, unrealistic, or just flat out ridiculous- a new idea is original. In a time of copies and variations on story lines and characters, having an original, genuine creation is something to talk about. That is why it is necessary to give notice to two new television shows, Once Upon a Time (ABC) and Grimm (NBC).

These new shows really do stand out in the humdrum world of prime time serial dramas. While each has their flaws, and are clearly still gaining their footing, their premises are innovative enough to have captured a recurring audience. Let’s look at Once Upon a Time. Private investigator, Emma Swan (Jennifer Morrison, best known from House) is led to the small town of Storybrooke, Maine by her son Henry (Jared Gilmore, best known from Mad Men), who she had given up for adoption years ago. Once there, Henry reveals to her that the inhabitants of the town are, in fact, under the influence of the Evil Queen's curse. The townsfolk are actually classic fairy tale characters who have had their memories wiped, and have been banished to Storybrooke, where they will never have a happy ending

(it’s ok, my immature side giggled, too).The only person who can break the curse is Emma, who also happens to be Snow White’s and Prince Charming’s daughter.

Really, that is in a nutshell of what has been going on so far this half season. The story is told through current time and flashbacks of the characters’ fairy tale lives. The flashbacks add a depth to the fairy tale stories that has never been explored before on television. For example, Mary-Margaret (Ginnifer Goodwin, best known for a slew of RomComs and as Margene on Big Love; she is also the best actress on Once by far) is actually Snow White, and let me tell you, who knew that princess was such a bad ass. Her back story portrays Snow as

independent, tough, and a little conniving.

The intricate story work of piecing together who the characters are, and how they have come to know each other, is truly fascinating. While at times the show can come across a little cartoonish, and a bit over-the-top, there is enough going on to maintain a viewer’s attention and intrigue them to return the next week.

The other, much darker fairy tale show that has come up is NBC’s Grimm. Taking a cue from the real Grimm brothers, the show revolves around their creepy worlds and stories- but in modern time. Officer Nick Burkhardt (David Giuntoli, best known from Privileged) begins to see strange visions while working- seemingly ordinary people suddenly turn into hideous monsters. This frightening ordeal does not make sense until a visit from his aunt reveals that he is actually from a long line of Grimms. The stories of monstrous creatures his ancestors wrote are far from fiction, and only Grimms have the ability to see them. It becomes Nick's duty to hunt down these evil creatures to keep humankind safe.

This crime and fantasy drama is quite visually stunning, and has a great mix of edgy dialogue and humor to keep an audience entertained from start to finish. The only major flaw is the obvious use of CGI to instantly morph people into creatures, but with the creative story lines, it can easily be overlooked.

While Giuntoli has done well in his first leading television role, the clear breakout star is Silas Weir Mitchell (best known from Prison Break), as reformed “Big Bad Wolf” Monroe, who enjoys tea and Pilates. His performance is both comedic and dramatic, adding yet another layer and dimension to not only the character, but also Grimm fairy tales themselves.

What makes Grimm so spectacular is that it does not create creatures to fit the show’s purpose, but instead stays true to the source material. Even the names of creatures are accurate, going back to the German vernacular of the time. Many of the literary references made, and the connections between the characters’ and their personalities, show thoughtfulness in the script’s writing.

Once Upon a Time and Grimm are perfect examples of original television programming, and is something I wish would be embraced more. Both shows are brilliant twists on the classic fairy tales, and I look forward to see what directions each series will take. You can catch Once Upon a Time on Sundays at 8/7c, and Grimm Fridays at 9/8c.

Pictures from:

http://filmmusicreporter.com/2011/12/11/fall-2011-television-music-roundup-part-5-abc/

http://www.usatoday.com/life/television/news/story/2011-10-20/once-upon-a-time-grimm/50846052/1

www.nbc.com/grimm

Title/Opening Sequences: Describing an Entire Television Show in Under 30 Seconds

By E. M. Foster

Despite the growing amount of television programming in this modern age of 2000 channels, there has been a recent decline in proper title sequences. This is a sad fact- as a good, well produced title sequence can describe the overall story and theme of a show in 15-30 seconds. Modern title sequences, specifically those on premium programming, are often as visually stunning as the show they are opening. To further explain their importance, and their brilliance, below are some of current televisions best opening:

True Blood

Ah, True Blood… The creepy, campy HBO smash hit about vampires and werepeople, centered on the love life of Louisiana waitress, Sookie Stackhouse. The opening is sinful, seductive, and compelling. Each shot describes the atmosphere and general feel of the show, while at the same time drawing parallels to real societal issues (example: the similarity between “Vampire Rights” and LGBT Rights). Let’s not forget the song, either. “I want to do bad things to you...” could be True Blood’s tagline.

Dexter

Breakfast has never been more violent. Using extreme close-ups, canted angles, jump cuts and bright colors against contrasting backgrounds, simple behaviors like shaving, tying a shoe, and eating breakfast becomes uneasy to watch. The meticulous nature in which each act is performed is a clear nod to the serial killer-- Dexter’s morning is just as routine as the way he slaughters a person. There is also a clear feeling of entrapment, even with key lighting being on each of the objects. It is a dark and enclosed view, despite being in the bright light, reflecting Dexter’s split life.

The Walking Dead

This title sequence is a classic bringing-the-viewer-up-to-speed-with-what’s-going-on (i.e. the great Zombie Apocalypse) sequence. It is moody, grimy, and gives an overall sense of fear and hopelessness. The abandoned highway of cars, the broken pictures, and the muted color scheme create dark confusion within a viewer’s mind. The anxious music only adds to the hurried feeling of needing to run from danger (aka cannibalistic zombies). The way the sequence is shot and edited in a surrealistic method pays a stunning homage to the series graphic novel beginning.

American Horror Story

If this doesn’t evoke the heebie-jeebies in a viewer, well, I just don’t know what will. In what is arguably the most terrifying opener on cable, the sequence is a series of shots describing events that have taken place in the Harmon family’s home. Blood, dead/aborted children in pieces lining shelves, a floating christening gown- all are puzzle pieces that only come together after watching the season. The use of shadows and single-source lighting gives the tingling sensation of feeling as though one is constantly being watched and preyed upon. It is a violent, offsetting tribute to the classic horror genre.
Note: The producer of American Horror Story has released information about the second season, stating it will be an entirely new story, involving an entirely new theme and family, which creates exciting possibilities for a new opening sequence!

The Big Bang Theory

The sitcom. With its under 30 minute airing, the time allotted for an opening sequence is cut in half (if not, removed entirely, and replaced with a quick picture of the title).Luckily, shows like The Big Bang Theory are able to make meaningful, fun opening sequences to match the light nature of a situation comedy. In a quick, catchy tune, a montage of Earth’s history is summed up. It ends with a shot of the main characters chowing down on some Chinese food, which is most likely a hysterical commentary on modern society, leaving the viewer wondering, “How far have we really come?”

The Office

A mocumentary about an office and its employees, this show’s title sequence is both informative on the characters and describes the setting. From season to season, small adjustments and changes have been made, mostly in a way to keep viewers up-to-date with who is still in the show, and who may have been “fired” or “promoted”. The shots of Scranton help to create a community feeling that adds to the idea that the office workers are their own odd family. What is most memorable, though, is the tune. It continues to stay consistent with the show, and is what first comes to mind when people think of The Office.