Interview: Rian Johnson on The Brothers Bloom

On the triumphant return of the Plastic Podcast after a months-long hiatus, Rob talks with filmmaker Rian Johnson about his second film, The Brothers Bloom ...

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Interview: Rian Johnson on The Brothers Bloom

On the triumphant return of the Plastic Podcast after a months-long hiatus, Rob talks with filmmaker Rian Johnson about his second film, The Brothers Bloom ...

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Daily Plastic is the ironically named Chicago-based movie blog from Robert Davis and J. Robert Parks, the same pair who brought you the wearable movie tote, the razor-thin pencil pocket, and that joke about aardvarks. If you know the whereabouts of the blue Pontiac Tempest that was towed from the Plastic Parking Lot on the evening of August 7th, 2008, or more importantly if you've recovered the red shoebox that was in its trunk, please contact us at your earliest convenience.

Davis is the chief film critic for Paste Magazine, and you can send him messages via Twitter. At this moment he is seated in a movie theatre or watching a DVD screener or eating a homemade cracker with his daughter while sipping puerh, or two of the above. Meanwhile, Parks, whose work has appeared in TimeOut Chicago, The Hyde Park Herald, and Paste, is molding unsuspecting, college-aged minds in the aforementioned windy city. Media types are warned to stay clear of his semester-sized field of influence because of the distorting effects that are likely to develop.

The © copyright of all content on Daily Plastic belongs to the respective authors.

“In the humble opinion of the host of this broadcast, humorists and politicians should be adversaries. It’s good for the country.” Harry Shearer

Malcolm Gladwell's critique of Free that appears in the latest New Yorker is a sharply and persuasively argued counterpoint to Wired editor Chris Anderson, whose new book (which I haven't read) expands on the adage that says "information wants to be free." If it does, Anderson seems to ask, what does that mean for our economy? Well, it likely means that anyone who has been making money on the scarcity of information needs to find another source. Newspapers, for example.

Gladwell's comments about the cost of running YouTube are witty, although they may not apply to journalists who work on a much smaller scale. But his overall argument concludes with this somewhat saggier bit of logic about the drug industry:

The expensive part of making drugs has never been what happens in the laboratory. It’s what happens after the laboratory, like the clinical testing, which can take years and cost hundreds of millions of dollars. In the pharmaceutical world, what’s more, companies have chosen to use the potential of new technology to do something very different from their counterparts in Silicon Valley. They’ve been trying to find a way to serve smaller and smaller markets — to create medicines tailored to very specific subpopulations and strains of diseases — and smaller markets often mean higher prices. The biotechnology company Genzyme spent five hundred million dollars developing the drug Myozyme, which is intended for a condition, Pompe disease, that afflicts fewer than ten thousand people worldwide. That’s the quintessential modern drug: a high-tech, targeted remedy that took a very long and costly path to market. Myozyme is priced at three hundred thousand dollars a year. Genzyme isn’t a mining company: its real assets are intellectual property—information, not stuff. But, in this case, information does not want to be free. It wants to be really, really expensive.

The adage "information wants to be free" doesn't imply that the owners of the information want it to be free. The history of the information age is littered with companies who fought tooth and nail against such an idea, and that history is still being written, with new examples every day. I'll smile at his poke at the metaphor's anthropomorphism ("But information can’t actually want anything, can it? Amazon wants the information in the Dallas paper to be free, because that way Amazon makes more money.") But it's just a descriptive phrase, like saying the molecules of a gas want to be far apart, which doesn't mean we should give them them vote.

His coup de grâce about the drug companies who make expensive products for a niche market contains a joke that misreads the word "free." Information wants to be free from constraint, which probably, eventually means free of cost, too, but that's a side effect. Gladwell ignores the fact that the drug companies can make expensive drugs only because they've been able to control the information for a brief window.

Amazon wants their raw material for the Kindle (information) to be free (to them), and drug companies want their products (information, essentially) to be expensive (to their customers). There's nothing confusing about that, but what the adage implies is that when the raw material is information, keeping this status quo will be difficult. Selling information for a price will eventually be hard. If information wanted to be expensive, there'd be no need for the patent battles that drug companies are waging to keep it bottled up and no waiting period for a generic drug. Unconstrained, those molecules eventually leak out, and how long can artificial constraints remain effective?

I'm not sure what I think of Anderson's thesis, but Gladwell's example, taken a bit further, makes the case that he's trying to debunk.

Steve Earle as Walon in The Wire, Season 1, Episode 7: One Arrest

Singer-songwriter Steve Earle pops up here and there in all five seasons of The Wire. Half way through the first season, he makes the first of several appearances as Walon, a recovering addict and a Narcotics Anonymous mentor and sponsor to one of the series' major characters. At the end of the second season, Earle's song "Feel Alright" is the prominent backdrop for the season-capping montage. (Every season ends with one; the one that closes the season about blue-collar dock workers belongs to Earle.) And in the fifth season, Earle opens every show with a cover of the Tom Waits song "Way Down in the Hole."

But the appearance that makes me smile the most is the one in which Earle's face and voice are nowhere to be seen or heard. It's buried in the tenth episode of the first season, in a familiar bit of dialogue:

Jimmy McNulty: Why New York?
Omar Little: Must be something happening out there, man. Too big a town, know what I mean?

By the way, in case you missed this tweet from Darren Hughes: Alan Sepinwall is writing detailed synopses and analyses of The Wire, episode by episode. They're a great way to revisit the show. Sepinwall is churning up lots of new ideas.

Fox
The Lost World (Hoyt, 1925)
Disney / Pixar
UP Concept Art
Disney / Pixar
Rendered Still from UP
Erika Bók in Béla Tarr's Sátántangó

Look at this image from Béla Tarr's film Sátántangó. In one long tracking shot, a girl named Estike played by Erica Bók walks down a dirt road, and the camera tracks backward in front of her. Often we can see what must be — barring an unlikely digital effect or an overly elaborate crane — the freshly made tracks of the camera dolly, clearly visible on the ground behind her. We accept them without question because they make sense within the story: maybe they were made by a cart or by a vehicle that recently travelled down the same road.

In other words, a mark made by the machinery of cinema has an internal explanation within the narrative, and it's only when we stop to think about how the film works, technically, that we even notice it. But that's exactly what Béla Tarr's films ask us to do, especially the 7.5-hour Sátántangó. They ask us to stop and think, to meditate on what we're seeing, and he gives us plenty of time to do that with shots of people walking for minutes at a time.

Lately I've been interested in films that, intentionally or not, allow the evidence of their production to harmonize with their themes. Such evidence isn't an error but an amplification, a subtle echo, a brush stroke.

The first issue of Unspoken Journal appeared today, and it's dedicated to Tarr. I've contributed a rumination on Sátántangó.

While Sátántangó is often described as a detailed self-contained world, like all films it shows evidence of the filmmaking process, sometimes unintentionally as in the photographer’s reflection, sometimes playfully like the visible brush strokes of the Impressionists, and sometimes individually in an active viewer’s mind. What is most unusual about Sátántangó is that the film itself seems to mingle with its own themes of external, quasi-spiritual forces. As the characters react to foreign elements, the cinematic machinery breaches the narrative hull, hinting at something outside the film: the filmmaker, viewer, and apparatus of its art.

Read more at Unspoken Journal, edited and assembled by Yvette Biró, Edwin Mak and HarryTuttle. The issue is full good stuff.

Slobodan Pikula / Summit Entertainment
Mark Ruffalo and Adrien Brody in The Brothers Bloom

On the triumphant return of the Plastic Podcast after a months-long hiatus, Rob talks with filmmaker Rian Johnson about his second film, The Brothers Bloom, starring Rachel Weisz, Adrien Brody, Mark Ruffalo, and Rinko Kikuchi.

0:00 Intro: Where Have You Been?
4:10 Interview: Rian Johnson on The Brothers Bloom
21:17 Outro

Further Reading

Alex Descas and Claire Denis on the set of 35 Shots of Rum

After jotting down some initial impressions of Claire Denis' wonderful, warm-hearted new film, I sat down for a conversation with Denis in Toronto. As Stephen Holden wrote in the New York Times recently, 35 Shots of Rum is "a movie of few words and little psychology that relies mostly on the physical vocabulary of faces and bodies to convey feelings too complex to be verbalized."

That's often true of Denis' films, and when I talked with her I found that this one has a very personal connection, as well. She spoke about the great Japanese filmmaker Yasujiro Ozu, about her grandfather, and about the interplay of work and family that appears in Ozu's films, in her own film, and even in her band of regular collaborators.

35 Shots of Rum plays March 13 and 15 at the Walter Reade Theatre in New York as part of the Rendez-Vous with French Cinema series.

• • •

Robert Davis: I saw your film yesterday for the first time, and I'm going to try to see it once more before I leave Toronto, just because I always feel like your films take a little bit of time. I like to figure out how to watch them. It's such a beautiful movie.

And what I discovered as I was watching is that it's an homage to Late Spring and Ozu!

Claire Denis: Yes. [smiles] I think I would not have been pushed or—

I've been dreaming for many years of making an homage to Ozu, and this particular film was possible for me to use as an homage to Ozu, because actually it's the story of my grandfather and my mother. She was raised by her father. And once I took her to see a retrospective of Ozu, and she really had a sort of shock to see that film [Late Spring]. That was like maybe ten, fifteen years ago, and I told her, "Maybe, once, I will try to make a film like that for you."

On the other hand I was a little bit afraid, and when I saw Hou Hsiao-hsien's film, the film he made in Japan—

RD: Café Lumière?

Denis saw the Hou film when she was in Toronto in 2004 with her previous film, The Intruder. I spoke with her shortly after the screening, but I didn't realize then what an encouragement his film had been, and maybe she didn't either. I do remember thinking that Hou's film was unusually sparse. Simple, even. And that seems to be what nudged Denis toward her long-considered Ozu project: simplicity is the key. — RD

CD: Café Lumière, the homage, I thought maybe it's simpler to make an homage to Ozu. Maybe my shyness should be reconsidered. Maybe it's possible.

RD: What was the fear, do you think? Just that he's a master, that he—?

CD: No, my fear was that I'd be fulfilled with my love for his film and therefore not create a real relationship with my film. I realized this was a little bit stupid, because the minute I was in the film and with my characters and actors, I can't say I forgot Ozu, but on the other hand I was concerned by that story, those characters.

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Laika / Focus Features
  • Neat: David Bordwell observes that the Coraline animators took an unusual approach to perspective and depth cues. (via Where the Stress Falls)
  • Troubling: New Yorker Films is closing. The loss of this major DVD and theatrical distributor, whose roster is heavy with the work of international master filmmakers, could have a significant impact on what we can see in the States. Related: the history of New Yorker Films was discussed on The Leonard Lopate Show two years ago. (via Long Pauses)
  • Uncertain: Paul Starr gives the difficult problem of newspaper viability a thorough, rigorous examination in The New Republic. Remember that Roger Ebert called the newspaper film critic a canary in this coal mine. But here's another point of view, about magazines, from Cathie Black.

Visit Daily Plastic tonight to follow and participate in our live commentary of the Oscar broadcast. We promise no remarks on fashion or hair, except in extreme circumstances.

The Academy of Motion Picture Arts and Sciences
F.W. Murnau's Sunrise (1927)
Brian Darr recently researched the history of the Academy Awards, which were first issued in 1929, and he compiled a slide show about the Oscars that played before the San Francisco Silent Film Festival's Valentine's Day screening of Sunrise.

Cynics like me think of the Academy Awards less as a celebration of quality filmmaking than as a promotional tool, both for the nominated films, which coincidentally tend to come into the marketplace just at the time when "Awards Season" hype puts their titles on people's tongues, and for Hollywood as a whole. But it wasn't always so. Announced 80 years ago this week, the first-ever Academy Awards for the 1927-1928 business year were decided upon not by a large voting pool but a small cabal of judges in a smoke-filled room, handpicked by Academy of Motion Picture Arts and Sciences founder (and Metro-Goldwyn-Mayer studio chief) Louis B. Mayer. The surprising thing is that the winners really were some of the best cinematic achievements of the year.

The best two books I know that provide a behind-the-scenes, unofficial history of the Academy Awards are: Inside Oscar by Mason Wiley and Damien Bona, and Behind the Oscar by Anthony Holden. Read them! — BD
Louis B. Mayer

Mayer had instigated the creation of the Academy as a means for staving off unionization efforts in Hollywood. As the story goes, his attempts to use MGM workers to construct his new Santa Monica beach house were foiled by a 1926 union contract which made studio laborers prohibitively expensive to employ for outside projects, even those strong-armed by the Big Boss. Mayer was outraged; he had been able to use MGM art director Cedric Gibbons to design his beach house because designers, as well as writers, directors, actors and producers, had not yet organized into guilds. By inviting prominent members of each profession into a fraternity (and it was mainly men at first; Mary Pickford was one of three women among the founding 36 members) known as A.M.P.A.S., Mayer staved off the further alphabet-souping of Hollywood talent into the S.A.G., D.G.A., W.G.A., etc. for several years.

Awards were an afterthought in the initial A.M.P.A.S. meetings, but they soon grew to become a crucial strategy of studio/employee relations. "I found that the best way to handle [moviemakers] was to hang medals all over them," Scott Eyman quotes Mayer in his biography of the mogul. "If I got them cups and awards they'd kill themselves to produce what I wanted. That's why the Academy Award was created." This quote might help explain why that first year, the statuettes (also designed by Gibbons) were often given out for a body of work, not for a contribution to a particular film. For example, Janet Gaynor won the first Actress award for her work in three films: 7th Heaven, Sunrise and Street Angel. German star Emil Jannings won the Actor statuette for two roles he played during his brief stint in Hollywood: The Last Command and The Way of All Flesh, which is the only Academy-Award winning performance in what is now considered to be a "lost film" — if you find it please inform the Academy Film Archive!

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Laika / Focus Features
Henry Selick's Coraline

During the opening credits of Coraline, a thick sewing needle, manipulated by a vaguely sinister, vaguely mechanical praying mantis, pushed out of the screen at me as it zigged through the seams of stuffed dolls. Yes, I said, tapping the temple of my theater-issued, circularly polarized 3D glasses: these things are workin'.

But then a funny thing happened. Or didn't happen, actually. Once the mechanized seamstress passed the 3D test with flying colors, the movie rarely poked out at me again. Maybe the button-eyed character known as the Other Father reached his spring-loaded hands toward Coraline (and the camera, and me) a couple of times, but for the most part this is not the kind of 3D movie that tries to exceed the limits of the screen and get in your face. Instead, it does something I'd never seen before, something far more captivating: it maintains the consistent illusion that we're looking at a moving diorama just on the other side of the screen.

The in-your-face effects of many 3D films have a pretty narrow field of movement, approximately the size and shape of the old Tempest arcade game, a pyramid seen through the bottom whose edges will instantly jerk needles or fists or pistols back from your nose and flatten them into two dimensions whenever the hovering objects touch the illusion-destroying frame.

Tempest
It's a Good Life, third segment of Twlight Zone: The Movie, by Joe Dante

Instead of working to break out of the rectangle, artificially, Coraline establishes the frame as a window that looks into a three dimensional world, which frees the viewers' eyeballs to roam that space looking for details in the corners. Sometimes the screen is a window pane with raindrops running down its surface — between the audience and the moving figures — and sometimes the pane is lifted to give an unobstructed view. I suppose the roving camera and the edits themselves remind us that we're watching a movie, but within each shot it's easy enough to imagine that you're sticking your head into the box and moving it around, with the camera as your surrogate.

That world, by the way, is a dark and scary one that borrows a few ideas from Alice in Wonderland and Through the Looking Glass (and, I'm told, from MirrorMask, which is based on a book by the same author as Coraline, Neil Gaiman), but it finds horror on the other side rather than absurdity. Coraline is closer in spirit to that wonderful/terrible world in the Twilight Zone movie where the family is forced to watch cartoons and eat marshmallows around the clock, or else face the wrath of sweet, adorable Anthony. Here, understimulated, imaginative Coraline, left by her busy parents to explore her new house, opens a small plastered-over door that leads to an alternate universe. Everything is the same over there, but much better. Her parents are attentive, the food is delicious, the colors are warm and vibrant, and the neighbors are fabulous, bawdy entertainers. But the Other World has a dark side, too. For instance, you really shouldn't leave. And the Other Mother wants to eat the souls of children.

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