Travels: STEEEEVE! [Day VI]

Wherein I become a much more useful player in Six Degrees Of Kevin Bacon.


I'm down here because I Know People.  This is not through any particular skill or exceptional quality of my own; it is merely an accident of birth and subsequent neighbourly mingling.  This was brought home to me rather forcefully when Mary pulled me along to the premiere of Seeking A Friend For The End Of The World, a film written and directed by one of Dana's very good friends both in the industry and in real life, Lorene Scafaria.

As I have long suspected, for those involved above the line a film premiere is a sort of adult Prom, an opportunity to put on a pretty dress and get in a limo with your friends and drink champagne somewhere fancy.  I am frankly surprised they didn't all pack up afterwards to go camping in the Santa Monica Hills and zip their sleeping bags together.  The atmosphere certainly supported it.

Outside the theatre there was a red carpet set up, with a secondary 'lane' for regular film-festival goers whom nobody was interested in photographing.  There was a small river of paparazzi between us and the real stars [including Dana, Lorene, and an extremely pregnant and pretty Diablo Cody, whom I was too nervous to talk to], and a sort of unofficial third lineup across the street.  I thought at first that they were just observing the cacophony, but as soon as the actors appeared they revealed their true colours.  "STEVE!" they bawled.  "KEIRA, KEIRA, I LOVE YOU!"  A chant went up after a few moments: "Sign this, sign this, sign this!"  The actors gave no indication that they heard any of this nonsense, and I don't blame them in the least.  I'm sure they're coached not to cop to this in public, but I imagine the press junket is very few celebrities' favourite part of the job.  The photographers were hardly more polite: some of the writers and less-seasoned red carpet walkers looked downright shellshocked by all the noise.

I could get really cheesy and describe my experiences before and during the afterparty as Seeking A Friend For The End Of The Film, but I won't, because that would be declasse and God knows I am eternally bound to classiness.  After some theatre lobby nervousness, Dana handwaved me in to a very strange bar where the shot glasses had LED lights in them and cater-waiters were swanning around with mysterious looking puffs that turned out to be crab cakes.  Her kind assistant Kate let me stick close to her and gawk surreptitiously at all the finery, but it did strike me that perhaps the function of these parties is less to exclude the unworthy and more to give the people who do have face recognition some time where they can celebrate their achievements in peace.  I imagine there are very few places in urban North America where Keira Knightley can just sit down and have a friendly chat in a restaurant without being semi-consciously interrupted by a stream of well-intentioned admirers.

It was a very surreal experience.  For me, that is.  Not for Miss Knightley.  I suspect she is fairly acclimated to the LED-infused shot glasses.

Notes from an American premiere.

The film itself is a sort of apocalypse-meets-Lost In Translation-meets-Punch Drunk Love-road-trip... thing, and I was pleasantly surprised by it.  Steve Carrell does downtrodden, passive Everyman [an archetype I'm not particularly fond of] with appropriate hangdog aplomb; Keira Knightley is basically playing a quirky Dream Girl [again, something that tweaks a lot of film critics].  That said, they brought a lot of humanity to the characters and they have good onscreen chemistry.  And I'll admit, I did find myself tearing up a bit during Carrell's confrontation with his father, played by Martin Sheen.  The writing can be darkly funny in parts, and I reckon it's worth a watch even though the predictable last act/love story and uneven tone does bring it down somewhat.

Cheers
Julia

General: On Moving

We were talking in class today about maintaining unity of time and space when writing a scene.  The rule of thumb is that within a script, scenes should be self-contained, with all the action occurring in one place and in linear time.  Films break this rule all the time, of course, but that's the principle they want you to work with when you start out.

It occurs to me that one of the reasons the unity of space-time is so integral to filmmaking is because - like the three act structure and character that arises from conflict - it reflects the way we live our lives when there are no cuts.  We can't skip forwards or backwards in time, can't snap our fingers and move from room to room.  Life is very slow and very solid.  At least in the day to day sense.

But in the broader arc of life, the long eye, we don't have the same respect for space as we do time.  We move ourselves not just from room to room but from house to house, city to city.  We can collapse the continuum and start a new scene somewhere else.

Pretty cool!
Cheers
Julia

Film: X2 - The Limits Of Power

I re-watched the first ten minutes of the film X2 today.  Though I don't remember much about the the movie, the opening scene stuck with me from my first viewing some five years ago, and I was pleased to see that it held up to my remembrances.  The premise is simple, for anyone not familiar: the scene is an assassination attempt on the President in the Oval Office by a superpowered mutant, and it's less that three minutes long.