“She’s a Blind YouTuber”

I was extremely fortunate to meet Casey Neistat at the Hills Film Festival in New Milford, CT  back when I was making the rounds for my film, The Fiction. He was a genuinely nice guy and gave me some great filmmaking tips. Since then, he has become sort of a youtube sensation to say the least. If you haven’t check out his videos, they are most certainly worth your time. (links below)

His most recent video touched me on a deep level and I thought it was worth sharing. I can’t think of a better way for someone with 7 million subscribers to spend 12 minutes. This was truly sensational and good on Casey to showcase such a inspirational talent.

Casey’s channel

Molly’s Channel

You should subscribe to Molly’s, truly inspirational stuff.

End of the iPod

Like many of you i’m sure, the gateway device that introduced me to Apple Products was the original iPod. For obvious reasons, that device holds a special place in my heart. I was sad to hear today Apple is quietly phasing traditional iPods out (via macrumors)

Apple today removed the iPod nano and iPod shuffle from its website and online store around the world, and it has since confirmed the iconic portable media players have been discontinued. Apple continues to sell the iPod touch with updated pricing and storage, including a 32GB model for $199 and 128GB model for $299.

Apple also released this statement to clarify:

“Today, we are simplifying our iPod lineup with two models of iPod touch, now with double the capacity starting at just $199, and we are discontinuing the iPod shuffle and iPod nano,” an Apple spokesperson told Business Insider.

End of an era for sure. Business-wise, it just doesn’t make much sense to keep iPods around much longer. But the 15 year old in me is sad to see it go.

Dunkirk (2017)

Forgive me if I sound too positive on Dunkirk. Its late and I just recently arrived home from watching in full IMAX. So there’s that. Here are some initial, quick thoughts:

An eloquent, boldly structured portrait of the chaos and madness of war from roughly five perspectives; Dunkirk is a full blown, eye widening experience. Nolan’s reach as a director is beyond doubt and at this point its safe to bump him to the “greats.” Dunkirk is ambitious, not only in scope but also in construction, as this film weaves in and out of past or present, loosely tying together disparate events with mere visual recollection. Exposition is limited to perhaps two conversations and some brief text early in the film; Dunkirk is about basic survival instincts and how people react in the face of overwhelming odds.

But the key to me, the incredible feat Dunkirk pulls off, is that there is no blame cast, no preachy moralizing at all. Some of the heroes in Dunkirk face the odds with selflessness and bravery, some others with quite the opposite; fleeing from combat or putting their own survival before others. But if Dunkirk has a lesson, it’s to give pause before labeling anyone a coward, and to more readily hail others as heroes. The Germans are never glimpsed, even for a moment. I loved that. No reason to show them. The old Alfred Hitchcock quote kept coming to mind; “I don’t want to show you whats behind that door, your mind can do that just fine.” In Dunkirk, the enemy is an abstract fear, almost as demonized here as the circumstances that landed these 400,000 men on this beach, stranded without hope of escape.

I think its safe to state Dunkirk is one of the best war films period, and its easy to see why.  It’s a flawless, masterful exercise in immersion and spectacle, desperately searching for meaning and order in absolute chaos and carnage still unfathomable 77 years later. A search for the meaning of life surrounded by the utter meaninglessness of war. It’s an intimate, harrowing epic; a rare beast of a movie the likes of which I haven’t seen before.

Those fundamental contradictions are what make Dunkirk so fascinating, so stimulating both emotionally and intellectually. I don’t really have the words for this movie because of how recent I watched and hopefully I can unwrap a little more following a rewatch. But on my end, it’s safe to say Dunkirk is more than worth the price of admission to see in full 70mm.

Its hard to say Nolan and Dunkirk won’t be major contenders at the 2018 Oscars and rightfully so. Christopher Nolan has made one of those rare movies that reminds you of the heights great cinema and great artists can reach when pushing boundaries and exceeding expectations.

Go see Dunkirk in IMAX for the full experience. You won’t regret it.

Moonrise Kingdom (2012)

I’ve been living in a Wes Anderson world lately. I rewatched Life Aquatic a few times for another project. By chance, caught The Darjeeling Limited on cable. I always keep The Royal Tenebaums and Rusmore in rotation and most recently viewed Grand Budapest again. Something struck me that I never actually wrote anything down on Moonrise Kingdom. I went on my Letterboxd account and sure enough. Nothing. So here’s some thoughts on it.

Wes Anderson makes his own version of William Shakespeare’s Romeo and Juliet and sets it within the world of childhood angst: the orphaned Sam Shakusky and similarly introverted Suzy Bishop are in love; but the society around them forbids this romance. Set on an isolated island within New England otherwise known as New Penzance (made up world) – the setting alone gives an idea of what sort of state of life they are living within. They want a place away from others, in order to find themselves living at peace, because the world that they know has no other place for them. But it’s the perfect setup for Wes Anderson to use the quirk that we’ve all come to expect from his work, although in Moonrise Kingdom it has come to a point where it reflects feeling: among the most vital aspects to the success of Anderson’s output. It’s a quirky rom-com spin on Romeo and Juliet with kids he’s telling here, but the very experience provided is nothing short of rewarding.

Going back to the running theme of isolation in Moonrise Kingdom, there’s a greater success coming out on Wes Anderson’s end when it comes to how he captures the general awkwardness coming in regards to the feeling of being in love. The central romance in Moonrise Kingdom is indeed some of the most touching that Anderson has ever been able to achieve in his career, but at the same time we recognize there’s something so awkward about how it comes out at the hands of Anderson’s trademark quirkiness. It’s actually something rather beautiful because of this quirk, because it reflects upon the uncertainty of romance especially at a younger age: and Sam and Suzy are only discovering that feeling for the first time. They’re naive and innocent, and Anderson tells a story within this boundary in order to form a work that makes this awkwardness something more touching, because of the uncertainty regarding where their romance is set to go.

Typical of a Wes Anderson film there’s something more coming about from his usage of music in order to highlight a mood. Whether it be from Alexandre Desplat’s wonderful score or the use of Françoise Hardy’s “Le temps de l’amour” – it’s always wonderful just looking back upon how they also play in part with the quirkiness as a means of reflecting a certain mood for his films.

By nature, Moonrise Kingdom would be seen as a romantic comedy dealing with the innocence of childhood but when we see Sam and Suzy dancing to Françoise Hardy, there’s a reflection of their naivete at the state of their own freedom: at the time of love. And yet it’s so distinctively bizarre almost like a painting by the way it looks, though this only reflects the awkwardness of the first encounter even more perfectly in order to create something more melancholy deep down, just as the best of Wes Anderson would deliver.

This sort of experiment for Wes Anderson only signifies something more coming in marriage with all the quirkiness that anyone would come to recognize him for. At another point this quirkiness even manages to ring true, because of how it captures the general awkwardness and uncertainty of the naive impressions that love would bring upon  first try. That’s the beauty of what comes from what could easily have been just another innocent romantic comedy about children finding love for the first time. But, Anderson actually goes beyond that and subverts it into something more playful and melancholy just like a memory of this point in one’s life would be.

With Moonrise Kingdom,  Wes Anderson has managed to inspire smiles just as he also captures a feeling of escape from authority – he isn’t making an innocent romantic comedy. He’s making a film about the effect of authority upon innocence, and the results are visually stunning and infinitely thought provoking.

 

 

Luca – Age 1

Hard to believe Luca is turning 2. With Liam, it felt more spread out and time was patient. With Luca, days and months have been relentlessly rapid. Luca has grown so much in the past year; from barely walking all the way to running around talking. He is growing fast.

Making his video this year was interesting. There seemed to be a lot of footage of him and Liam. I think thats a good sign, whether Liam admits it or not, they love playing with each other, they love being around each other. The other bunch of his footage was him being his crazy self as demonstrated in the video.

I’m not sure what the next year brings for Luca. The addition of another little one and Liam starting school full time will be interesting changes for little Luca. One thing is for sure though, he will be his happy, always smiling and brightening everyone’s day, self. A priceless gift Lindsey and I don’t deserve but most welcomingly accept.

Happy Birthday Luca. Love you <3