The Touch. The Feel. Of Film.

It's nearing the end. The lights are on. The magic is gone. Movies on a flash drive, digitized and pixelated. This is where we've arrived. I knew this day would come, but I didn't know exactly how or when.

I remember when we painstakingly cleaned the 8mm family movies my grandfather had shot. We sprayed a chemical on it and carefully brushed away the dust, dirt and fingerprints. We did this frame-by-frame, reel-by-reel. The process gave me a respect for film and respect for my family's past--long before I even existed. I learned that film was to be treasured and preserved--not cast aside and neglected. In actuality, there may be no way to screen these films in the future.

In past few years, theaters have been disposing their film projectors in favor of digital projectors. This is the future, as much as I hate to admit it. Digital projectors go for upwards of $150,000 or more while an industry film projector will set you back about $35,000-$50,000. That figure's probably less now that theaters are unloading their 35mm projectors to anyone who will take them. It makes me angry and sad. The lifespan of a film projector used to be 30-40 years, but rumor has it that some theaters have apparently even resorted to selling them for scrap. In contrast, digital projectors may last you ten years, but we all know that technology will advance and those digital projectors you buy today will be obsolete tomorrow.

I admit; I'm attached to film. I'm attached to its texture, its richness, its depth, its majesticness, and ultimately, its fragility. With film, every frame-- like every moment of our lives-- flickers only briefly. Moments matter. They make up our past and determine our future.

From beginning to end, film sputters and spools its way to the screen. It works hard to put on a show: running 24 frames per second, 16 frames per foot, and 90 feet per minute. Digital is robotic. Point and click. Hit start. It does what you tell it to do. No emotion. No connection. Functional, it is. Beautiful, it is not.

Traditional studio prints are about $1500. Digital? Not much more than the cost of a flash drive. Although, the upfront cost for digital (projectors) is higher for exhibitors, it's cheaper in the long-term for everyone. Cheaper to shoot. Cheaper to distribute. Cheaper to exhibit. I'm glad that digital filmmaking has brought costs down especially for the independent filmmaker. And the quality of digital is getting better and better. However, there's no question that something has been lost... Cinema Paradiso.

© 2011 by KLiedle

Ssssh... Speaking Of The Library

The bumper sticker says I ♥ My Library. It's stuck to a car that belongs to one of my neighbors. I don't know which neighbor. I've never seen the car's owner. I do know one thing though, we'd have something in common: I ♥ My Library too. In fact, I go to the library more often now (as an adult) then I ever did as a kid.

As a kid, my library card gave me entry to ONE branch library. In Bellevue, Nebraska. The two biggest downers were that it was small and you had to drive there. This was long before I could drive, but long after the days when I could read. I didn't go often. And I was annoyed that the only reason I couldn't check out books in Omaha branch libraries, was because I lived in a certain country that belonged to Bellevue, not Omaha-- which, being a much larger metropolitan area, had numerous branch libraries. Sometimes, I'd sneak by and check out books at an Omaha library but I had to lie and give my grandmother's address. This worked until they started requiring address verification with a drivers license or utility bill. Gosh darn it. I was boomerang-ed back to Bellevue.

Today things are different. In Los Angeles, I can walk to my local library. I go all the time. Probably more often than I need to (or should), but hell, I'm making up for lost time. And when I've exhausted the books in the English language section-- I can choose between a number of other branches nearby. The Los Angles Public Library System is quite extensive. I can check out books, CDs and DVDs at any of these branches I'd like, including Central Library in Downtown L.A.

As bookstores continue to disappear, a library remains a treasured, beautiful place. Sure, we can sit at home and surf the internet and read books on our Kindles and text people we may never get around to actually seeing. The library, however, is a place of community-- a meeting place where children and adults alike can learn about the world in which we live.

I always chat with the librarians there. They all recognize me. No matter how many times I go there, I always discover something new. I lucked out last time. Currently, I have several books by Alice Munro and the book, I Found This Funny, edited by Judd Apatow. If you haven't visited your local library lately, I suggest you do. Because a library is something you may not miss until it's gone, but a world with no libraries is a world I don't want to see.

The Los Angeles Public Library

©2011 by KLiedle

"Another Earth" in the aftermath of tragedy

I’ve always been fascinated by the stars. Curious about what’s out there. Amazed by the sheer vastness of the universe. Rhoda Williams (Brit Marling), a young woman recently accepted into the MIT’s astrophysics program, is similarly transfixed.

At first glance, “Another Earth,” is about the scientific discovery of another planet just like our own. This planetary discovery is the headline story—announced on the radio and broadcast on TV. It’s all anyone seems to be talking about. This, however, only provides the backdrop to the drama that will soon unfold for Rhoda and the people affected by her partying and recklessness.

For Rhoda, the new planet is a curiosity that distracts her far more than it should. As a result, two human worlds collide. “Another Earth” is not so much about an astronomical discovery as it is about the shattered lives left behind by one person’s ill judgment.

Rhoda, gifted in the sciences, is not unlike John Burroughs (William Mapother), a composer, gifted in the arts. They are both highly intelligent people in their primes and at the cusp of something new. For Rhoda, it’s MIT. For John, it’s a second child. The ensuing accident irrevocably changes their connections to the world, themselves, and their disciplines.

In the aftermath, John becomes a near-recluse in his slovenly-kept home where he drinks too much. He is no longer a successful musician, a composer and a Yale professor. He no longer has a beautiful family with a baby on-the-way. That was his life before. This is his life after.

Meanwhile, Rhoda is released from prison and takes a low-level maintenance job in which she has little contact with people. At work, she’s paid to clean up after others, but all she feels compelled to do is clean up after herself. On the 4th anniversary of the new planet's discovery and thus, the anniversary of the accident, she reaches out to John in an attempt to pay for her sins in some human way. In the end, another Earth, a duplicate existence looming in the night sky, offers the possibility of a new beginning for them both.

How does one apologize for causing such a catastrophic event in someone’s life?

If you were to meet yourself, what would you ask yourself?

“Another Earth” explores more than it explains. It asks big questions, many of which it can’t answer. It contains some over-dramatized moments, but you come away appreciating what it's trying to say. It's about the healing power of music and the scars that life brings us. It's about apologies, resurrections, redemptions, rebirths, and getting to know yourself and your place in the world. In the end, I dare say, “Another Earth,” like a glimpse of heaven, is a very moving and spiritual experience.

Video/ Embedded from Youtube
Written content/ © 2011 by Kliedle

Emma Stone's Hiccups

As a redhead (as we've come to know her) or her natural blonde, it seems like she's everywhere these days. Whether it's ducking in and out of magazine shoots or lighting up the silver screen, Emma Stone's certainly keeping busy. Just this summer, she'll make appearances in no less than three films: Friends With Benefits, Crazy, Sexy, Love, and The Help.

For most actors, this would be highly annoying. It would not only scream overexposure but elicit responses of "Ugh...vomit", "Go away already", and "Gimme a break..."

But when it's Emma Stone we're talking about, it's hard to feel that way because she's so darn likeable. If you threw Julia Roberts and Cameron Diaz in a Tilt-A-Whirl and added a touch of Scarlett Johansson's raspy voice, you'd get glimmers of Emma Stone-- laughing heartily, a little too loud and a little too long.

She's got a presence that's hard to ignore and the beauty, talent, and charisma that makes it hard to look away. In the beginning, people were calling her the next Lindsey Lohan, but she's proved far too overqualified for that. If Superbad put her on the map and Zombieland made us ask, "Where have I seen her before?," then it was Easy A that put her on the Star Map.

Her performance in Easy A showcased a surprisingly well-written script (penned by former casting director, Bert V. Royal) and orange-kissed direction by Will Gluck. Seriously, oranges. Count them.... At any rate, I can't imagine anyone else nailing that role in quite the same way she did. She owned Olive all the way. Drama Queen.

Plus, you gotta love a girl who was so passionate about performing that she put together a power-point presentation cued to Madonna's Hollywood to convince her parents to let her go to Hollywood. How could they say no?

Flashback to more than a year ago...
I'd been camped out at El Torito for hours, freezing my butt off. Shooting nights in winter (even in L.A.) sucks. In a futile attempt to stay warm, I'd been drinking tea, copious amounts of tea. Green tea, herbal tea, herbal tea, green tea. Alternating. Trying to avoid the coffee.

The redhead sitting across from me was also sipping tea (green tea), taking a break between shots. She'd been shooting a pivotal scene for her character with lots of dialogue and, on every take, she had to slug a big, sloppy gulp of water. As Hannah, she plays a law student in the soon-to-be-released Crazy, Stupid, Love (then merely called the Untitled Dan Fogelman Project.) Waiting patiently, taking it all in, she couldn't have been more polite or professional. That is, until the hiccups erupted. Eyes wide, a twinge of panic crossed her face.

"I have the hicc--" she started to say. [Hiccup] Another one.

No doubt, she'd swallowed a lot of air with those gulps of water. Most everyone was focused on the next shot. They were ready to go: Camera set, Let's roll. [Hiccup, Hiccup...] She stood up, got to her mark. Then, 1...2...3... [Action!] she held her breath and did the work, as if to say, "I'm in control. Hiccups be damned."

Unlike those hiccups, Emma Stone's here to stay. But let's face it-- that's not a bad thing.

Now, she's all brightly colored and black-and-white with all the costume changes in the July issue of ELLE magazine and Vanity Fair's August issue. Snagged the covers for both. Damn straight. [It's a rare person I can both envy and root for in equal measure.]

As for that Stella Mccartney dotted tulle blouse and the sunshine yellow Versace ostrich feather dress she got to wear in ELLE?* That I can hate her for. But it won't last. That is, unless she goes all truffle fries on us.*

* Attn: Stella Mccartney and Donatella Versace: Will accept donations of cast-off wardrobe from above-referenced photo shoot. Or if you have ready-to-wear in dire need of someone to wear it, I'm your gal.

** Truffle Fries: If I have to explain it then obviously, you need to check out ELLE's July 2011 cover story on Emma Stone.

© 2011 by KLiedle

Will Pete ever learn? ~the Web #3

Newest episode of It's Always Smoggy In L.A., "the Web #3"

The gang is forced to go to Anger Management-- Thanks again, Pete.
Keep the violence at a minimum and watch the damn episode, ya hear?

It's Always Smoggy In L.A. - 'the Web #3' - watch more funny videos

To vote for your favorite episodes and
for more It's Always Smoggy In L.A.

go to Funnyordie.com

Quick Takes: Pre-Production

Quick interview courtesy of Smoggy Blogspot featuring Scott Vogel, creator of the series, It's Always Smoggy In L.A. The focus was on pre-production, but it also gets into what it's like working on the micro cinema level.

Alissa Cohen: What are some of the things you focus on during pre-production?

Scott Vogel: I try to get familiar with the script all over again because usually by the time we move into production, it's been 3 or 4 months since the the script was finished and you get caught up in other things, like casting, wardrobe, shot lists and so on... Sometimes you forget to just sit down and really read the story again to remember where the important beats are, how to hit the dynamics and so on...

Beyond that, pre-production's about trying to find the right actors for those particular parts and, if possible, get in a good half-day rehearsal before the shoot.

AC: DIY filmmaking is never easy. At a minimum, what crew positions must you have on-set? What can you get away without? What would you like to have, but don't?

SV: Smoggy shoots are generally at the bare-bones minimum. We get by with just a camera man, sound mixer and assistant director. Sometimes there's a script supervisor or production assistant. Other times, not. What would I like to have? I've worked The Office and Curb Your Enthusiasm, and to me, those shows have the perfect-sized productions: about 15-20 people covering the basics. Most shows have anywhere from 40 to 60 people or more. For what we do, that would be silly, but a crew of 10 would be bliss.

AC: What excites you most about It's Always Smoggy In L.A.?

SV: The most exciting thing about It's Always Smoggy In L.A. to me, is the formula. There are basically no rules beyond keeping the general themes of the show consistent. Other than that, the sky's the limit and we're starting to really explore.

© 2011 by TSV Productions, It's Always Smoggy In L.A.
Published with permission from Smoggy Blogspot

LACMA: Beyond Tim Burton

There's been a surge of visitors to the Los Angeles County Museum Of Art [LACMA] lately. Since May, the renowned art museum has hosted a major retrospective of filmmaker and artist Tim Burton. This proves that there are way more Burton fans than I ever thought. Sure, Burton's unique and quirky-goth is interesting, but it also brings to question-- What about the museum's permanent collections and exhibitions?

I wandered down to LACMA yesterday via rail and bus-- which takes some planning here in L.A. [For L.A. residents: Metro Rapid 780 drops you off directly across from the museum. It couldn't be more convenient.] I spent the next couple hours enjoying Free LACMA day [ free general admission to the museum's collection on the 2nd Tuesday of every month] And I never set foot in the Tim Burton exhibit. Sure, I may have enjoyed it, but...

LACMA has an extensive collection of art that kept my eyes and mind entertained throughout the afternoon. I started off carrying a map of the collections, but in my opinion, it's better to just walk around and discover what the museum has to offer. Some of my favorite collections were those of European art, Egyptian art, relics, and artifacts, and Japanese art. The museum has a whole room full of Picasso-- including drawings, bronze statues, and a sculpture or two. None of which escaped what I call, the "phallic Picasso touch." One of his bronze sculptures, which at first glance looks like a multi-tentacled alien, is titled The Cock. [Nice, Picasso. I'm sure you thought long and hard about that title.]

The Egyptian Art and relics from Iran boggled my mind. Several pieces date back to 1500 BC and are in pristine condition. A mummy casket, decorated with strings of Egyptian art is on display. [ So much for that mummy resting in peace... ] The cat figurines the Egyptians sculpted were beautifully crafted and highly detailed. One Egyptian figure was flashing the devil's horns with his hand as if to say, "Think you're so advanced? It started with us."

Japanese Art is housed in a separate building, full of light. It's a picturesque setting for woodblock prints and statues of Asian descent, but not so good for taking photographs-- too much glare. Some of my favorites there included classic artwork from Tsukioka Yoshitoshi, one of the masters of Ukiyo-e, a type of woodblock printing. I also had fun posing with a samurai warrior in full costume and capturing light with a Buddhist statue.

All in all, LACMA is perfect for a day trip. Whoever thinks museums are boring, should give it another try. And if you're going for the Tim Burton exhibit, leave yourself enough time to contemplate the other collections that this outstanding museum has to offer.

LACMA is located at 5905 Wilshire Blvd, Los Angeles CA 90036

© 2011 by KLiedle