Last year, around this time, I made the short film Poetic Justice, about a team of famous poets in an action movie fighting Grammar Nazis. It’s here.
Observe the uncorrected fish-eye lens. Observe the poor sound quality, and occasional failures of dubbing over. Observe the lighting. It’s all poor. The acting is, over all, decent. The script, in my humble opinion, is awesome. But the film seems painfully low-rent.
It’s too sophomoric — not in the college sense of the word, since I made it when I was a junior, but you get the point. Then, I was an apprentice. A junior filmmaker, if you will. In both senses of the word, this time. Anyway. I digress. My point is, I love the script, but dislike the rest. So this spring, I’ll be remaking the film.
This is happening in tandem with another film that won’t be happening: Flux|Flow. The anime-inspired time travel story ended up being too difficult to pull together in one semester, and the guys behind it are busy themselves. I am planning on using their cinematography skills for my remake, though. And their style is pretty classy:
And none of this has anything to do with the film fest selections for this semester, which include both my buddy cop one and the Flux|Flow guys’ untitled one.
I’ve been thinking a lot about the Buddy Cop film genre, as you may have noticed on this blog. While attempting to script my own version of one, I realized that I needed to understand the typical structure of a Buddy Cop friendship, in order to make sure my film hit the right beats. This chart was the result.
Fun fact: romantic comedies follow the exact same chart.
A campus, on which people have jobs. Probably.
Here’s a recent HackCollege post I wrote.
Is it worth it to work at your college while taking classes at the same time? You know the short version of this post (Pro: you get money. Con: you have to work more.) but every job is different, and some might be more suited to your taste than others. Here’s a rundown on the typical campus jobs selection.
There’s another post I was mentioned in, too, if you want to hear every single mention of me on the internet.
I’m playing the lead in the first episode of a TV show web series, Flux|Flow, that should be available by the end of the year. I’ll try to get more information on it up here soon. For now, here’s a still from our first weekend of shooting:
In December 2012, all the world’s a stage.
The first poster for my action poet film, Poetic Justice. From left to right, we have Emily, Charlotte, and Anne Bronte; Will Shakespeare, the team leader; Robert Frost, the muscleman; Emily Dickinson, the female; and Edgar Allen Poe, the emo one.
“At first, you might think box office numbers are down because of all these unoriginal films. But that’s actually backwards. In fact, unoriginal movies are being made BECAUSE numbers are down. Let me explain:
Hollywood filmmaking is an investment business—studios give money to filmmakers hoping to make more money back. Now put yourself in the shoes of an investor. When times are good, you have extra cash flowing in, and you can invest in riskier investments where many fail but a few hit big.
But when times are tight, one failed investment can sink you, so you’re more inclined to turn to safer investments. And in movies, the safest investment you can make is in either a sequel or a story built from an existing franchise with a large fan base. In other words, making a sequel is Hollywood’s way of playing it safe. Because right now, original stories are just too risky.”
Excerpted from Has Hollywood Lost its Way? | Short of the Week.