Already once rejected after exhaustive hearings for a federal environmental review Panel, Taseko Mines proposes to mine our minerals at Teztan Biny/Fish Lake and then to impoverish our children by removing them without consent or comparable compensation. The Crown now has privileged the company with a new chance to impress yet another Panel with yet another round of hearings on this failed project. With the greatest respect, I would bring some issues to the Panel’s attention.
On May 22, the Saanich and Songhees indigenous people, whose territories host much of Greater Victoria, will ask their guests to honour the area’s most notable landmark by calling it with the same name as they do, PKOLS (p’cauls.) Settlers now call it Mount Douglas. Restoring the indigenous presence here would be a strong symbol of cultural unification or sharing.
Roger Deakins is as close to “cinematographer royalty” as one can get Hollywood. The Coen Brothers favourite has lensed such movies as, “Barton Fink,” “The Big Lebowski,” and “Fargo,” as well as “The Shawshank Redemption” and “Skyfall.” Below is an interview Deakins did with “Cinematographer Style.” Highlights include his explanation of how different lenses affect the audience and his personal approach to choosing lenses.
Danny Boyle recently took a few moments to discuss the current state of cinema. His comments address the lack of “sophisticated, complex and pleasurable movies” being made for adult audiences today. Like Steven Soderbergh last month, Boyle is reflecting a growing sense of dissatisfaction within the ranks of the movie-making and movie-watching community.
Steven Soderbergh delivered an impressive speech on “The State of Cinema” at this year’s San Francisco Film Festival. Soderbergh begins by separating films into two classes: cinema and movies. Unfortunately, as Soderbergh points out, “cinema” is an endangered species. The drive of his speech is devoted to asking the question: why?
Before April 1862, the indigenous population of what became British Columbia had no reason to think that its relationship with settlers would be any different from its mutually beneficial experience trading with the HBC. Then, suddenly, everything changed.
Great opening movie scenes usually satisfy several audience needs or demands. They are entertaining. They are emotionally engaging. And they establish an honest “contract with the audience.” That is, they lay ground rules for the experience the filmmaker is promising to deliver, in terms of tone, style and content. This contract does not mislead, over-reach or promise something the movie will not deliver.
Apart from students of technique or cultural context, Robert Bresson’s movies tend not to connect with larger audiences. Nor do they seem timeless. Some need to be seen more than once for a proper understanding and appreciation. Modern audiences are likely to find his films boring or little engaging. In our quest to understand how to make great movies, we ask: why? Below are five Bresson traits that make audience enjoyment difficult:
David Fincher always makes an effort to include creative title sequences in his projects. For “House of Cards” the director picked Andrew Geraci, owner of District 7 Media, to shoot a complex time-lapse sequence of Washington DC. In a recent interview, Geraci talked about working with Fincher:
No filmmaker sets out to make a bad movie. When a movie is bad, then, it is usually not from a lack of trying. Instead, it is more the product of a disconnect between how a filmmaker thinks an audience will respond and what actually works. Below is a list of some common filmmaking techniques that are surefire ways to lose audience interest.