Speaking of censorship…I responded to Eli Glasner’s choices as the “best” pictures of the year on CBC’s website and my comment was “disabled” because, apparently, the administrators thought I was too mean for pointing out that Eli’s pick for the second best film of 2018 was an ANIMATED SUPERHERO MOVIE.
I took a screen shot of my disallowed, censored comment and you can judge for yourself if I was out of line.
Er, I spot a typo, that line should read “positively Mamet-ian brilliance”.
He’s one of my literary heroes—he and George Saunders are the two best short story writers in the English language.
For a number of years he wrote a column for The Believer and in 2017 Tin House Books (great little press) released a collection of those pieces titled The Tunnel at the End of the Light.
It is, needless to say, a smart, articulate book and I wanted to quote a passage from Shepard’s Introduction to give you an idea of why I revere the man so much:
“The Republican Party has for decades claimed that the American government is the implacable enemy of the American people. This administration (Trump) is working to make that statement true for the first time for a very large majority of citizens.
That leaves the streets, and we can already see what’s in store for us there. The militarization of the police over the past forty years, begun with the war on drugs and amped up a thousandfold by the war on terror, was never really about threats from without and has always been about anticipating threats from within: as in, What happens when economic inequality and political irrelevance become so grotesque that they lead to civic unrest? The solution to the problem, for the Republicans and the corporate Democrats who have held power, has never been, So I guess we should do something to alleviate economic inequality. It’s always been, When the have-nots have nothing left but the streets, we need to be ready to take the streets away as well. And of course the exponential growth of the surveillance state will help with that. Hence our leaders’ seeming lack of concern over the last decade or so about all the metadata about US citizens—citizens who haven’t been suspected of a crime—that’s being hovered up.”
Never mind, if we are to believe the Buddhists, “life is suffering” and there ain’t a whole helluva lot we can do about it. Just pop plenty of Tylenol, drink green tea and hope for the best.
A philosophy perfectly in synch with our do-nothing times.
A lovely bit of news this morning, Hollywood North has posted (in two parts) my critical essay on the films of Canadian auteur and enfant terrible, Alain Marchant. You can find the article here–Hollywood North is an on-line site devoted to Canadian film-making and thus I was pleased that they recognized the merits of “The Toxic Cinema of Alain Marchant”.
I’ve followed Marchant’s career with a kind of sickened fascination for the past 8-10 years and in terms of sheer hubris and poor taste, only Danish director Lars von Trier can compare with Marchant. Have a look at my feature, you’ll see what I mean.
Great weather of late, which helps pick up the spirits. Hard to stay inside, slaving over a desk, with the sun shining and birds singing.
But such is my lot.
Back to work…
I’ve gone through my lists and compiled a roster of favourites–difficult, in many cases, to settle on a definitive order, impose a hierarchy of excellence. Every single selection brilliant in its own right and worthy of inclusion:
Bleeding Edge (Thomas Pynchon)
Purity (Jonathan Franzen)
Stoner (John Williams)
Fat City (Leonard Gardner)
The Book of Aron (Jim Shepard)
Number9Dream (David Mitchell)
Something Rich and Strange (Ron Rash) Short Stories
Gaps (Bohumil Hrabal)
Young Skins (Colin Barrett) Short Stories
The Normals (David Gilbert)
Payback (Gert Ledig)
As Far as the Eye Can See (Robert Bausch)
Cain’s Book (Alexander Trocchi)
The Commissariate of Enlightenment (Ken Kalfus)
Strong Motion (Jonathan Franzen)
All That Outer Space Allows (Ian Sales)
Highrise (J.G. Ballard)
Three Men in a Boat * (Jerome K. Jerome)
The Price of Inequality (Joseph Stiglitz)
The Ethnic Cleansing of Palestine (Ilan Pappé)
Theodore Rex (Edmund Morris)
Colonel Roosevelt (Edmund Morris)
The More Beautiful World Our Hearts Know is Possible (Charles Eisenstein)
Werner Herzog: Conversations (with Paul Cronin)
Orson Welles’ Last Movie: The Making of “The Other Side of the Wind” (Josh Karp)
Arms: The Culture and Credo of the Gun (A.J. Somerset)
My Father and Myself (J.R. Ackerley)
When in Disgrace (Budd Boetticher)
“Hard to Be a God” (Directed by Aleksei German)
“Amores Perros” * (Dir. Alejandro Inarritu)
“Leviathan” (Dir. Andrey Zuyagintsev)
“Sightseers” (Dir. Ben Wheatley)
“Valerie and Her Week of Wonders” (Dir. Jaromil Jires)
“Blue Ruin” (Dir. Jeremy Saulnier)
“Winter Sleep” (Dir. Nuri Bilge Ceylan)
“Gomorrah” (Dir. Matteo Garrone)
“Amarcord” (Dir. Federico Fellini)
“Boyhood” (Dir. Richard Linklater)
“L’il QuinQuin” (Dir. Bruno Dumont)
“Time Crimes” (Dir. Nacho Vigalondo)
“The Devil’s Backbone” (Dir. Guillermo del Toro)
“The Enigma of Kaspar Hauser” (Dir. Werner Herzog)
“What We Do in the Shadows” (Dir. Taika Waititi; Jermaine Clement)
“Berberian Sound Studio” * (Dir. Peter Strickland)
“2001: A Space Odyssey” * (Dir. Stanley Kubrick)
“Chinatown” * (Dir. Roman Polanski)
“Closely Watched Trains” (Dir. Jiri Menzel)
“Jodorowsky’s ‘Dune'” (Dir. Frank Pavich)
“Wild Tales” (Dir. Damian Szifron)
“Satyricon” (Dir. Federico Fellini)
“Ex Machina” (Dir. Alex Garland)
“Land of Silence and Darkness” (Dir. Werner Herzog)
“Stroszek” (Dir. Werner Herzog)
“Nightcrawler” (Dir. Dan Gilroy)
“Her” (Dir. Spike Jonze)
“Maps to the Stars” (Dir. David Cronenberg)
PLAYLIST (Musical Favourites)
Tom Morello “The Nightwatchman” (World Wide Protest Songs)
Ty Segall “Manipulator”
Porcupine Tree “Up the Down Staircase”
Pere Ubu “Raygun Suitcase”
The Stooges “Raw Power”
Paul Banks “The Base”
Merle Haggard “I Am What I Am”
J.D. Crowe and the New South “Lefty’s Old Guitar”
Best Comedy: Bill Hicks “Salvation: Live at Oxford”
“Rick & Morty” (Seasons 1 & 2)
“True Detective” (Series 1)
“The Mighty Boosh” (Series 1-3)
- Denotes “Previously Read” or “Previously Viewed”
That nasty bout of sciatica (see: previous posts) threw off my summer schedule and I’ve been playing catch-up ever since. Summertime (for whatever reason) is the season when I usually bear down; most of the major projects I’ve undertaken in the past decade were initiated from June-August. Who can figure these things? You’d think I’d be more creative and productive during our infamously long Canadian winters but that just isn’t the case. When the days heat up, so do I.
We’ve managed a fair amount of traveling, as you can tell from the accompanying pictures.
A trip to the sand hills (west side of the province, stretching from Leader, almost down to Swift Current) and we just got back from a few days at Waskesiu Lake (Prince Albert National Park) , hanging out with some people very dear to our hearts. Two very different ecosystems—we’re blessed with a variety of them in this big, tall province of ours and Sherron and I are determined to visit as many as we can. I’d really like to get a good look at the huge sand dunes on the south side of Lake Athabasca but that’s way up in the boonies, inaccessible to those whose wallets are on the thin side. I’m drawn to desert climes—there has to be a reason why three of the world’s major religions have their origins in the dry, pitiless environs of the Middle East. Something about a wasteland, something to do with privation, life/existence whittled down to the bare minimum.
While I was prostrate with back pain there wasn’t a whole lot I could manage. I either dozed (I was on quite a few pain killers), watched Adult Swim ‘toons (“Rick & Morty” was a favorite distraction) on a borrowed iPad or roughed out storyboards for a couple of film projects I’ve been pondering for at least ten years. If I had to pick one thing to slot in at the top of my “bucket list”, it would be writing and directing a full-length, independently produced movie. Both of my scenarios could be shot on a shoestring here in Saskatchewan and neither would be over 70 minutes long. If an hour and change was good enough for Val Lewton, it’s good enough for me.
I won’t go into detail, but one of them is intended as an homage to German “Expressionist” films of the 1920s and the other is an end-of-the-world saga that’s also a nod to weird, obscure 1970s flix like Jodorowsky’s “El Topo” and Monte Hellman’s “The Shooting”.
But I felt it was important to at least get them down on paper so once I was able to sit at my desk again, I typed up my notes and concocted two film “treatments” (30 pages each) that summarized the plots and major characters. Done.
Now I find myself in a strange, unfamiliar place, at least as far as I’m concerned:
I have no pending projects, no looming deadlines, self-imposed or otherwise.
My desk is clear.
I can’t recall this happening before. Now what do I do? Aye, that’s the question…and over the coming weeks I’m going to be feeding a lot of ideas and odd notions into the ol’ hopper. Possible stories, short films, visual projects (collages, etc.). I have no inkling of what I’m going to tackle next, not the slightest clue. That’s exciting. And terrifying. Mostly terrifying. How does a workaholic keep from going absolutely bonkers when he has nothing to engage him? Well, if you’re Sherlock Holmes, you might resort to a seven per cent solution of cocaine. That’s not to my taste but the thought of just sitting around, doodling, allowing my mind to wander holds little appeal either (God knows where it might meander off to). So I think for the time being I’ll be doing what I can to recharge my mental batteries by reading challenging books, watching good movies, feeding my imagination as many words and images as I can. Keeping it occupied, satisfying its insatiable curiosity.
I’m hoping the anxiety I experience as I anticipate the days ahead will fade. It’s important to keep reassuring myself this is not a writing block, this is a fallow period following eighteen months of back-breaking labor on, count ’em, three major projects (including a tribute book I compiled for Sherron in honor of her 50th birthday in June). No matter what I undertake—a painting, a film, a poem—it will be a creative endeavour, an expression of my spirit. I must have faith that this brief pause is some sort of object lesson; perhaps it will inspire some humility (wouldn’t that be nice?) or lead to a period of honest, unfiltered reflection. All the masks and pretensions stripped away, a ruthless appraisal of who I am and what I have or haven’t achieved.
If I’m fortunate I’ll come away with a clearer understanding of my purpose, the reason I’m here . ‘Cause Mr. Dylan is right: “It may be the Devil or it may be the Lord/but we all gotta serve somebody”.
Speaking of whom, it’s high time I had a few words with the Boss, got some new marching orders. A whole different job description might be in order.
Just pray I don’t get the sack…
(Click on images to enlarge)
One of my heroes, Ray Harryhausen, died yesterday.
Here’s a link to my tribute on Cinema Arete.
God bless you, Ray…
My son Sam and his creative partner in crime Sean Newton have finally posted their short film “Torched”.
The folks who’ve seen it are universal in their praise.
Find out why…and discover two young film-makers with a very bright future.
Michael Bay, your days are numbered.<p><a href=”http://vimeo.com/62587166″>Torched</a> from <a href=”http://vimeo.com/overactiveimagination”>Overactive Imagination Studios</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>
Be sure to pop over to my film blog and check out coverage of this year’s edition of Silence is Golden.
The format is a cineaste’s dream: a classic silent film is chosen for screening, with live accompanying music from the Saskatoon Symphony Orchestra. This time around, it was Douglas Fairbanks in the 1920 adventure “Mark of Zorro”.
An evening to remember…