¡Átame!

Tie Me up! Tie me Down!

by

Pedro Almodóvar

The story follows Ricky, a psychopath who has just been released from a metal institution. He remembers a girl he used to date and decides to find her, tie her to bed so she'll get to know him. But the girl, Marina, happens to be a porn start. Ricky tracks her down in the studio she's being filmed. Despite failing to catch her attention, our hero goes to her apartment and brakes into. He carries out his simple plan- ties Marina to the bed, tells her they are going to get married, but doesn't force her to sleep with him. Of course the heroine is slightly addicted and has an unbearable toothache. This is the type of situation where Ricky can stand out as a reliable boyfriend and proves he can find her drugs. Not surprisingly, these 2 charming characters fall in love little by little. Filled with hysterical, comic and bizarre settings, Tie me up! Tie me down is an extreme pleasure to watch. The screenplay, original to the roots, is the type of charismatic Spanish fiction that can be easily bought into for reality.

This is also Antonio Banderas' ticket to Hollywood, but to be fair, I prefer him in his Spanish films. The charm and danger he usually portrays is somehow lost in every American film I've ever seen him in. It also has to be pointed out that the intimate scene of Ricky and Marina is absolutely hilarious. The director has managed to prolong it by also putting some entertaining dialogue. I recently finished a book on Almodovar, and I must say his plots are crazy, as well as enormously entertaining. All his characters are bright and vivid, full of passion and flaws. As a contemporary storyteller he makes a wonderful use of gestures, characters' appearance and hair, their quarrels and make-up.

Sound design and back to editing!

Copola's "The Conversation" intended to give us some insight into sound design and how it drives the narratives forward. It is an immense editing tool and creates phycology in the picture. For Monday's class we had to come up with specific sounds we connect with the scene of a young woman spending the night in Dracula's castle. All our suggestions stem from already established conventions from earlier films using such soundscape. We also watched a scene from "The English patient", where the use of sound or silence creates unbearable tension. At least with me, it played with my nerves to the maximum. Walter Merge, who we need to read about, gets under the phycological profile of the Nazi officer, trying to reflect his way of thinking through sound.

In the afternoon we discussed some options and alterations from the 3- act- structure with Richard, and came to the conclusion that it undoubtedly makes the screenplay more interesting, but also requires a lot of experience to create such piece. Most of my favorite directors brake the 3-act-structure, but they've all made at least 20 feature film, from which the first ones are not very successful. But eventually you learn the lessons and start playing with the narrative much smarter. I personally prefer bringing an unusual element to the narrative, but it doesn't always work, or it take ages to fit it properly.

On Tuesday we continued with the research approaches, heard some entertaining stories of what could go wrong :) I don't know if it is just Roman Polanski and Woody Allen, but I start to think the old directors are twisted.

And now let's talk about the best part of the week- editing! Back in the DTU, we started with AVID. I like it much more than Final Cut, because it seems more reliable not to crash whenever it wants. Avid will definitely not let us down, besides it's easier to use. I strongly hope this year we have more editing classes filled with rich content, unlike last year when we barely touched Final Cut.

I'll end up with the last beat of the week- Friday, when we watched Life on Mars and talked about themes of a few successful Scottish shows. I have to admit I quite enjoyed Life on Mars! Why not even watch it again, when I find some free time. Dissecting such shows is quite helpful for us to establish the subthemes that positively bring hue to the series' profile.

In the mean time, this week, just like the previous one was busy with preparation on "The Golden Rule". Fingers crossed the weather is good next Saturday, so our race can take place.

"Why is the editing good? Because there is not much cutting"

On Monday we looked at theories of editing with Andy. Basically, it covers the aspects in which editing can covey a meaning, manipulate it or even exaggerate. Eisenstein and Murch are 2 of the great editors, but both have a different approach. We went a bit further into "Strike" to analyze how Esenstein generates feelings through images, particularly in the slaughter scene. Even though we don't see the workers being shot, by the image of the slaughtered cow we know what happens. Now there are some new books on editing in the library, and it was strongly recommended we read Sydey Lumet's tips on the subject.

Richard was in the afternoon with tutorials. Mine was fine, might want to continue with one of the ideas, but is desirable to think of new ones as well.

On Tuesday Zam continued with the scene selection exercise. We all had to read our treatments and become the directors. With A streetcar named Desire it was a bit difficult for

me to decide how to lay out all the information. The confusion started from reading and listening to many interviews and comments on the film. At some point it was made clear that the director didn't want the lead actress at all, and it was a happy accident it all worked out well in the end. So I had to pretend everything was fine with my casting.

The second part of the class was breaking down the restaurant scene in The Godfather. Zam had the script prepared for us and we studied the difference between what was intended to be done and what was actually shot and put together. I find it quite useful to study scenes like that in terms of their strong character and influence. Later on, we continued with Patt Garrett and Billy the kid. We discussed 2 versions of the opening scene and which edit works best. It was hard to choose, because the original one has a more powerful saloon scene, while the second cut is more clear in terms of getting what is going on. I have watched that film before for editing purpose, and I found it hard to follow. There are a few vivid scenes in my head but generally it didn't catch my interest (as most westerns fail to achieve)

Wednesday was a day off for us and Thursday kicked off with sound! I must say Cammi tries to explain the principal of good recording and manages to catch our interest. In our films so far, sound has always been an issue and showing them to someone else usually receives comments on the same flaw.

Стачka

Strike is considered Eisenstein's best achievement, so I was anticipating some type of surprise. The title is quite straightforward- it examines the rising of the masses, their unity and attempt to bring change to the life of Russian working class. At the end, their effort is mercilessly smashed by the police, factory managers and the person who manipulates everything- the tsar. The film examines the relationships between the people within power and contrasts them with the working class majority. The first are presented as blood-sucking creatures, obese, soulless and never happy, while the latter tend to win our sympathy with their heroic solidarity and selfless battle for a better life. Their unity generates a powerful force, so the ruling class is left with no other option but to try and divide them, spreading spies and corrupting the leaders of the movement. Throughout the film, the viewer is gradually convinced that the workers are in a state of neglect, with no protection from the government and its services whatsoever. They are not only helpless, but also totally replaceable according to the ruling circles, so their mass destruction at the end seems like an excusable remedy for the government.

Strike is made of 6 parts, each one examining the cause and effect of the event itself, and presenting us with numerous characters, sometimes difficult to follow or understand. In my view, the director consciously avoids to point at just one person as a leader, to create a broader picture of the strong unity and equality between the comrades. With the power of montage, he manages to reinforce their desperate situation and manipulated lives. As a whole, the film is difficult to follow especially by audience, that is not familiar with the events in Russia from that period.
Eseinstein uses immense symbolism in a number of scenes, to suggest general attitude to a matter or the outlet of the strike.
An interesting film to watch once in a lifetime, but "Battleship Botemkin" is better in my view.

Week 2

It's just the second week, but it already feels like the middle of term. We are moving with a much faster pace than last year, and it is especially tangible referring homework. Everyone gives us homework.

On Monday we had a class with Andy, discussing Art Direction, design and how much it can contribute to telling a visual story. I believe we all rediscovered the significance of the art department. Highlighting that design is synergetic with story, it probably works that way mainly when the director has a clear vision and gives detailed treatments to all the departments. This is something we are learning to do in Zam's classes. Coming back to the main point, the films we looked at in terms of Best Art Direction for 2004 are some of my favorite ones. I realized I have watched all of the Oscar nominated ones, maybe because they do stand out enormously from most of the rest made that year.
In the afternoon we had Richard with a revision of screenplay structure, characters, goals, THEME (one of the difficult ones). We spend some extra time on theme to discover how little we are actually aware of it. Richard tried a new excersice, deviding us in 3 groups,all having to put together a puzzle of scipt's cuttings. We should do more of it to practise structure. The new homework is comming up with a premise that goes against the structure in some way, but we need to decide which element exactly will still work if turned upside down.

On Tuesday we had Adam and TV content creation class. It was pramarily concentrated on our new projects and how to make a successful show, which resembles the assets of Shameless, Teachers or Death Proof.
The second class on that day was with Zam. We continued the analysis of our favorite scenes. For next time we need re-embody the directors of these scenes (mine is Elia Kazan) and write treatments to 3/4 departments, considered most important for the achiving the effect of the scene.

Wednesday was a class based on new research approaches. I'm glad we are doing this, but after we have a new online database in the Academy, it's much easier to make a research on films or directors.

A camera test awaited for us the next day. It was not that difficult, mainly technical questions we've all covered. Afterwards there was an introduction to the new, more serious tripods we are going to use.

And finally, Eisenstein's Strike ended our week.

Hable con ella (Talk to her)

Full of sensuality that creeps under the skin, Almodovar's film centers round two tragic women and the men who love them. Benigno and Marco first meet at a theater where they still don't know each other. Afterwards, series of events put them together in a private clinic and they form a friendship, around the 2 women in coma they are taking care of. Despite having a nonlinear structure, the screenplay still follows certain rules. This film is an interesting example to study, because it's one of the few foreign films to win an Oscar for a best screenplay. After braking it down, it becomes easier to understand how the director has organized the bits and pieces to create a powerful story.

Both Benigno and Marco have the same flaw and disillusion, that they understand women and their problems so well. Benigno has taken care of his mother for 20 years, and after seeing from his window Alicia dancing ballet down the street, he is infatuated. Alicia has a car accident and is left in a coma. It is the perfect opportunity for Benigno,who is a nurse, to take care of her. This is what he believes he is very good at.

After seeing an interview with the attractive bullfighter Lydia, the journalist Marco is driven by the same passion to help her. He believes she is desperate, and he is the only one who can help. Marco and Lydia start a relationship but 4 months later she is deadly injured in a corrida. Tragically, she is left in a coma too in the same hospital where Alicia is. So far, the characters' flaws are gradually built. Their goal is to save these women, take care of them. But both characters have different circumstances which gives chance to the storyteller to change the goal. Lydia's ex boyfriend arrives at the hospital and takes his place. Marco realizes he can not help her and has to leave. Essentially, it is suggested that these women simply do not want to be saved by these 2 particular men.

Benigno, however, needs protection and guidance too, so the goal subconsciously shifts from one subject to another. Ostensibly Marco has lost the battle, has partly realized his flaw and is ready to leave. Benigno is established as the opposite of Marco- he is stubborn and even more blind to reality. Therefore, by making Benigno reach the darkest low, the storyteller can keep Marco's goal and desire active to save the desperate one. Benigno is the most developed character in terms of obvious flaws. It is logical he might not be able to overcome them, and his character is taken out.

Lydia doesn't survive the coma, but Alicia does. Benigno has caused a crime to her, which happens to be her saving element. After Benigno is gone, Marco has a chance encounter with Alicia. The viewer already knows it's natural to Marco to help Alicia, save her. Because after all, things are not simple. In my view, Almodovar is really good at creating colorful and eccentric characters and interweaving their lives in all directions. As in his other films, sexuality and desire has a central place in the story. I'm very pleased with Broken Embraces and La mala educacion so far. Volver doesn't do the magic for me. However, this director opened my senses for vivid transsexual characters, which makes him one of my favorite directors.

P.S- I've been writing this blog listening to the soundtrack of Habla con ella- absolutely obsessing spanish guitar!

La Grande Illusioin

La Grande Illusion is a film by Jean Renoir which depicts his memories of the First World War, based on his own experience as a pilot. Set in the German prison camps, it creates a rather mild reality in which the prisoners are allowed to receive parcels with food and clothes and are able to entertain themselves. But these are not ordinary prisoners- they are officers and therefore are treated with respect from the German guards. The French officers have a simple moto: "Prisons are to escape from them". They manage to preserve their spirits and form friendships. A few characters are distinguished in the film, and they are almost stereotyped. Renoir offers his social analysis of the French society. Marechal, played by the big star Jean Gabin, is a charming pilot who is representative of the working class. He gets along quite well with Rosenthal, a wealthy jew who is shares his parcels of food with everyone. Rosethal,however, doesn't have an aristocratic background like de Boieldieu, who differs in manners from everyone else. Having said that, these 3 characters are extremely entertaining, each one with his own style. For example, Renoir uses Jean Gabin to establish the working class hero, who is able to convey any type of emotion in a minimalistic way. De Boieldieu is a theatrical actor, standing out from the rest and portraying the symbolic distance between nobility and working class.

The prisoners of war bond together from the very beginning and dig a tunnel to escape. Unfortunately, they are moved to 16 other camps. The final one is a fortress commanded by a German aristocratic officer- Von Rauffenstein. He can not help but form a friendship with Boieldieu, both realizing that their class is inevitably doomed after the war. While in the fortress, de Boieldieu decides to make a sacrifice and help the other 2 French officers to escape. He consciously take this decision,caused by the lack of desire to wait and experience the miseries after the war. Von Rauffenstein never looses his admiration to his French friend.

In the third part of the film, Marechal and Rosenthal have escaped, but their affinities are tested by many obstacles. However, they stay together and meet on their way Elza (Dita Parlo), a German widow living alone with her daughter who offers them shelter. Marechal and Elza fall in love, even though they speak different languages. Renoir implies that the relationship between 2 people from different nationalities can be stronger than from the same nationality but different social class. It is also interesting how he plays with the title of the film, giving us an option to think what the illusion is. Maybe it is about the illusions of the prisoners that the war will soon be over, or that Marechal will come back to Germany and see Elza after the war.

By all means Renoir manages to create a social realism in his film and engage us even 70 years after its making. In the DVD special edition, there is a comment by the director that he intended to present the Germans as normal human beings full with nobility, in the time before Hitler.
In 1937 the film wins the best film award in Venice, and a few years after it's banned.



Renoir is one of the rare examples of coming from a family with and extremely tallented and famous father, thousands of opportunities to meet with leading arstists, consequently forming himself as one. His family is full of cinematographers, film makers, painters and actors.
In his early career, Renoir was influenced by the social realisim in French literature (Balzac, Zola) which he manages to develop and successfully portray in his films. His way of telling a story is quite easy to follow with witty and amazigly entertaining dialogues, an approach that has been taken forward by some later French filmmaker.

Back to blogging

Dear blog,

I haven't blogged for a while, because I was busy enjoying the summer. On a few occasions I was thinking about you, giving rise to a strange desire to share my thoughts on the films I've seen. However, something was always preventing me from doing it. But now I'm back in the Academy and we have to be friends again.

So what has happened so far?

On Tuesday we were introduced to the new first years, they seem nice. We were also informed there are many, many, many restrictions to kit use, absence and so on. It feels a bit like the army (or at least that's what my friends say).

In the afternoon we started taking a closer look at factual content, how to make a basic research and also discussed how much we actually know about factual film making. Frankly speaking, it is not an easy task to create a documentary which is engaging enough. One of the most memorable ones that I've seen is "The most hated family in America", by Louise Theron and the one about homosexual politicians in the US (was it called "Outrageous"?)"I am looking forward to these classes and hopefully we'll be able to make a short 5 min documentary about an original topic, based in Glasgow! I don't know why, but I keep thinking about the bluefin tuna scandal, since it's everywhere in the newspapers. Maybe a field trip to Monaco is a good idea to explore the subject in a greater detail.

On Wednesday was the first class with a young director, who is interested in our choice of favorite movie scenes. I still haven't shown mine, but I'm dying to do it! I guess I'm just a bit afraid of what the other classmates will think of it. It's from "A streetcar named Desire". I find every scene in this film perfect, and I want to show it because of the incredible performance of Marlon Brando and Vivien Leigh. At first I was wandering between the opening scene of "Hiroshima mon amour", because it's extremely beautiful and the second scene in "Last tango in Paris". The second film is quite delicate and one scene probably won't give even slight insight of what is going on. And since Hiroshima is only available on video tape, Elia Kazan's film will do.

On Thursday we were off, and Friday was the first class from the new cinema module. It is concentrated on European cinema and how from being influenced from American one, became a factor of a new genre and style that Hollywood seems to be trying to imitate nowadays. Even though it's hard to encompass even a small part of the interesting European films in this class, I still think we need to watch some more French films.