Rockwell the Inspiration for Duncan Jones' 'Moon'

WHOA! This movie is a mind-blow.

Let me start by saying that I am quite unfamiliar with the genre of science fiction. When I read about this movie I didn't think, 'Oh what a cool sci-fi this movie will be.' SO it was a surprise to me when during the Q&A at the West Coast premiere of the movie at the SFIFF Sunday night so many questions and answers had to do with the sci-fi genre (themes borrowed from other movies, etc).

When I first started watching I immediately thought of Herzog's 'Grizzly Man' because of the perspective issue. We see astronaut Sam Bell ( Sam Rockwell) talking to a camera (The U.S.) back home. SO I thought of the idea of only being with yourself and the camera, the relationship formed there, and the perspective of the camera. Timothy Treadwell was alone in the wilderness with his camera, Sam is alone on the moon with a camera...
Well not completely alone. Kevin Spacey plays a robot friend.

Sam Rockwell gives quite a performance. It turns out the movie was inspired by him. Jones wanted to work with Rockwell, and Rockwell had ideas about wanting to play a working class hero type...

The moon setting is especially notable! I found myself wondering about why and how they decided to make it look the way it did and how the set worked. I learned during the Q&A it was built as a miniature model, and that's probably why it looked so beautiful. Often we see Sam driving the rover over the surface of the moon and it appears in slow motion, moon dust filling the dark air, which is only lit by the out-of-place man made machinery in outer space...


Whoa! Googling Duncan Jones just now I found out from Wikipedia that he is the son of David Bowie. Full circle. Last week at the SFIFF I watched Crude, in which David Bowie's wife and supermodel Iman Abdulmajid plays a key role in creating press buzz around a huge Chevron oil spill in Ecuador.

I'm not going give away anything about this movie, but I will say that it's soul-wrenchingly sad. About 3/4 way through I wanted to give up. At one point Sam says, "I just want to go home." And then earth comes into view.
But instead of giving up I became intrigued by the plot, and started questioning my own sadness- curious about why I felt so sad by this subject.
Sadness turned to curiosity.

Jones made the movie on a 5 million budget. and with only 30 days to shoot. 450 special effects shots. Damn!!!

Go see it. Be boggled.
Opens wide release June 12.

Coppola, American Zoetrope Founders Thrill San Francisco Crowd

Forty years ago Francis Ford Coppola, George Lucas, Carroll Ballard, and Walter Murch moved to San Francisco from Los Angeles, and founded the film company American Zoetrope. Three years later Coppola made ‘The Godfather.’



Accompanied by their wives, last night the men sat around on stage at the world-renowned Castro Theatre, telling the story of how it all began.
Zoetrope was $30,000 in dept before Coppola did ‘The Godfather.’ Worried about the debt and knowing that Coppola was “the only one of us who knew how to get a job” Lucas pressured Coppola to take the offer he had to direct ‘The Godfather’. Coppola said, “George was telling me to do the Godfather. ‘Do it however they want you to,’ he said,” to a chuckle from the sold-out audience.
“So thanks, George, for telling me to do the film,” Coppola said.

It turns out the studio had huge objections with how Coppola wanted to make it (Little did they know). They were opposed to Al Pacino and especially to Marlon Brando. In order for Brando to be cast the studio required that he do a screen test, that he do the part for free, and that there would be a million dollar bond for him in case he damaged anything. When shown the screen test of Brando, who Coppola described as “a brilliant man,” the studio was astounded.

Coppola, who made the1988 feature ‘Tucker’ about a maverick car designer and his ill-fated challenge to the auto industry, had a few words to say about the fall of the auto industry. “It’s heart breaking. America has spent decades making beautiful cars.” And on a broader note about the fate of the economic crisis, “Hard times will bring us closer together personally.”

Moderator David D’Arcy asked the group if there was any hesitancy to the idea of moving from the booming movie industry in Los Angeles to much smaller San Francisco. Overall the men said there was no hesitancy and that one of the reasons to leave Los Angeles was to leave all the legal and industry. “Why should the person who edits the sound not mix the sound?...Being in San Francisco was more like being in school…We wanted to be film makers.”
Coppola’s wife Eleanor spoke up. “This [San Francisco] is really about people who want to make films…In Los Angeles there are so many parties that revolve around things that really are peripheral to film.”

Lucas said, “We were all desperate to make movies.”

The four couples seemed truly pleasured to be on stage reminiscing about their lives and projects together, and the San Francisco audience, who lined up around two corners for hours in advance to see the event, were just as thrilled. “Can we bring the house lights up to see the beautiful faces of the audience?” Coppola jollily requested at one point.

Often the group teased one another. Murch said, “Lucas used to say- ‘Why am I the only one with a vision around here?’”
And Coppola and Lucas joked about Lucas’ writing skills back in the day. Lucas said he was more of a visual guy, didn’t think you needed anything else besides the vision.
“Like a script,” Coppola joked.
Coppola didn’t believe Lucas couldn’t write, and made Lucas write a screenplay for a job.
“But then you read it and said no, you’re not a writer,” Lucas said to Coppola. They all laughed along with the audience.

Ballard piped up about how these days more often than not the director has nothing to do with the writing of the script, rather the director comes in without any prior knowledge of the script and then takes over. “We were under the notion that if you were going to make a film you’d write it,” he said.

Coppola talked about his latest project, ‘Tetro’ (premiering later this month in Cannes) which is in black and white. “With black and white it’s different because it’s the light that’s used to separate, since there’s no color. No one will buy black and white movies. It’s hard…. For awhile if you wanna do it [make movies] you have to have a day job.”
“It’s fiction but it’s filled with personal memories,” he said about the film.

Coppola said there are really only about four films he made that are the ones he really wanted to make, from his own personal ideas. He noted Rain People, Conversation, Rumble Fish, and Youth Without Youth. "Film should be personal. Each person here, we're all unique and that unique perspective is reflected in what we create... which makes it all the more beautiful."


“The curse is that people just don’t go and see them,” he said.
“If you don’t have that kind of violence, or thrills and spills, the audience just won’t come.”

This review is also published on filmfestivals.com

'Everything Strange and New' Showing at SFIFF

For the last time tonight! at 6:30 at kabuki cinema as part of the SFIFF. It was shot in Oakland.

Two minutes in I wanted to skip back to the beginning because I was stopped in my tracks by the style of film making. I wanted to watch it over so as to catch every detail.

This is a BLEAK movie. And man, the film making is incredible at illustrating bleakness.

Eerily slow zooms and dolly shots (which my cinema major roommate says is a trend right now) come one after the other and don't stop. Voice over has a huge role in this bleak illustration too. Often the camera holds on one vacant, nonliving space in the protagonist's daily life (like parts of the construction site where he works, or the empty street he lives) while we hear voice over of him talking about his life, or of he and his wife arguing. slow. silence. pain. monotony of daily life.

The shot that brings us down the most is a frequent long shot of protagonist Wayne, walking. Just walking. But he walks so slow, in no hurry, without any cares, not looking forward to anything next. Silence. Walking. After half a minute we are depressed too. Because we can feel it. We fear it for ourselves.

Director Frazer Bradshaw says on the film's website that his goal is to "create work that opens viewers to themselves."

While watching and after, I did spend some time assessing parts of my life (I guess to make sure it isn't going where Wayne's is). And though while watching most of the film I was quite depressed and down, today I feel extremely happy. Coincidence? Purging?

Bradshaw says further "I hope that viewers will reconstitute characters and events for themselves, bringing their own ideas and sensibilities to bear. In shaping my stories and characters, I leave important narrative and emotional spaces to be filled by the audience. My characters develop naturally, as if they absorbed what the audience imagines about them. I leave moments of silence so that viewers can employ their own motivations in driving the film's emotional content."

WHOA. I'd like to talk to Bradshaw more about this. I feel like that's exactly what this film did.

'Everything Strange and New' gets scarily depressing. (AT least that's how I feel?) Wayne and his wife detest each other. They're unhappy. There is no smiling and there aren't any birds chirping. Then suddenly, out of nowhere, Wayne and his wife embrace in a thick hug. Love and hate at the same time? I'll keep watching.

Frantic orchestral interludes accent.

I recommend this movie. The film making is incredible, so much that it's maybe a bad thing because it's all I could focus on. It shows that Bradshaw has experience as a director of photography for over 200 productions.

This post is also posted at fest21.com.

Jean-Michel Cousteau

I saw Jean-Michel Cousteau, son of the obvious, speak at the California Academy of Sciences Nightlife Thursday night.

Twas great!



First of all, what a brilliant idea the nightlife series is. Pay less than half the usual admission, maybe check out an illuminating lecture, order a drink or two and mingle among the fish with other San Franciscans who appreciate California Academy of Science style values. I'm in! If you haven't checked it out yet I highly recommend.
Even though a beer is seven dollars, you have to admit the Greenest museum in the World is (at least ONE of) the coolest places you've had a drink.

On to the important stuff. I think Jean-Michel is trying to bring the idea of saving our oceans back to pop culture. I'm not sure if it ever was a part of pop culture. But the Green movement is, and so now maybe that can mean oceans too. I never hear people talking about how polluted our oceans are and what a big deal it is. I never talk about it either. In reality our oceans will not be full of life anymore if we don't act now.

Ever think about how much money and thought we put into space exploration compared to how much we put into exploring our own oceans here on earth?

The reason I say this about Jean-Michel is because his show Ocean Adventures has a new special, Call of the Killer Whale, that's premiering this Wednesday, April 22 (Earth Day) on PBS nationwide, and the show is fantastic! We got to see snippets Thursday night. Full of drama, and real drama at that. This messed up shit is actually happening! I think because of the right mix of perfect timing (Earth Day, and the Green movement getting bigger all the time) awesome (underwater video camera action), drama and emotion, and celebrity too, the show will bring some buzz.

Before going to bed I was setting the radio alarm for the morning and heard a familiar voice on KQED- Jean-Michel being interviewed by Michael Krasny. And finally Thursday he also made an appearance at the Commonwealth Club for an interview, which means next week, he'll be on fora.tv.

Phone Books Are Such a Waste of Paper

Right? These pages have been sitting in our apartment lobby for weeks because nobody wants them.

After all, I don't even remember the last time I used a phone book to look up the number or location for something when I could just google it instead. And I think it was less then half a year ago when we got a new set, which have been sitting on the fridge until I replaced it with one of these...

Hmmm I guess during generations before us if I met a Harold Jones at the grocery store say, and then later was thinking how nice he seemed I might look him up in the phone book, call and say it was lovely meeting him, and maybe we'd become friends?

I think now if I met Harold at the store, he would probably only say his first name - "Hi I'm Harold." And I'd do some facebook and google stalking, maybe even second guess my first impression of him, and try to find out more about him before calling to make sure he wasn't "some weirdo," or something.
Ok slight exaggeration hopefully.

On a contradictory to saving paper and different note, I just signed up to receive the NY Times on Sunday, in a sort of effort to fight for the survival of journalism. I also love the Sunday NY Times. The culture reporting is like solid gold. And what a lovely Sunday to lay around with different sections of the paper fluttering in the breeze of open windows, or a Bay, all day...



-ha I just realized the Sunday New York Times is #46 on Stuff White People Like-

But at a mere $3.40 a week because of a 50% off special right now, and accounting for costs of things like paper printing costs, the driver's wages and gas for the delivery truck to get to my apt, I'm not even sure my subscription will help.

Sutro Baths Then and Now Portrait

Here's a portrait of the Sutro Baths I made for our first assignment in Sam Green's doc class last Spring at USF! Sam gave us a list of places to choose from in the city, and I chose to do a portrait of the baths (named after San Fran's 24th Mayor, Adolph Sutro) because I have always been intrigued by the eerie history of the Cliff House and it's surrounding areas.

For this assignment I was really interested in sound mixing, from sounds found online to the music included and the sounds recorded live at the Baths. Thanks for the Marcus Guenter Sky. Enjoy...

Dmitry Orlov, Expert on Collapse

I'm convinced.