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  • The Oscars – An Exercise in Predictability

    ellenoscarsgroupselfieAs I’m sure you’re aware, last night was another extravagant Oscar night in that little city known as L.A. Celebrities walked the red carpet. Entertainment reporters provided riveting commentary on dresses, dresses and more dresses. Jennifer Lawrence once again proved that she’s high in the running for “Most Down to Earth A-Lister”. All of it: standard, predictable Academy Awards fare. And if you followed along with Oscar predictions in the slightest over the last few weeks—the predictability did not end there.

    Nearly every major award went exactly to whom most of the world predicted. Matthew McConaughey and Jared Leto both won for their work on Dallas Buyer’s Club, of course. Cate Blanchett took it home for Blue Jasmine, of course. Lupita Nyong’o did the same for 12 Years a Slave, which as anticipated ended up snagging the big prize —Best Picture—as well as Best Adapted Screenplay for John Ridley.

    Though it didn’t take the coveted Best Picture prize, the night’s big winner was the sci-fi thrill-ride Gravity, which accumulated 7 statues when it was all said and done, including Best Director for Alfonso Cuarón. Yet, even that was no big surprise—indeed, most prediction lists had Cuarón as front runner. By the time midnight rolled around and the show had reached its finale, there was not a gasp to be heard. No outrage over the best picture winner. No crying that a director got robbed. There was just… nothing. The Oscars came, they went, and that was that.

    To be clear, I’m not demanding that the Oscars suddenly start being scandalous for the sake of scandal. I certainly wouldn’t want it to become an LA-themed episode of “The Jersey Shore”. But most years there is at least something to keep tensions high. Something to keep anticipation flowing. People at the edge of their seats. This year, it was all by the numbers.

    And though I think all of the winners deserve their prizes, it’s a shame that such an extraordinary year in movies had such a dull ceremony to celebrate it.

    Unlike some previous Oscar nights, the blame does not lie in the hands of the host. From her opening monologue right up till the end, Ellen was easily a highlight of the show. Her lively, wit-drenched attitude helped keep the audience entertained while we went from one needless, overdrawn musical performance to another. Seriously. This was ridiculous. I didn’t watch the Grammy’s, but after last night, I might as well have.

    There were a grand total of six musical performances last night. Six! For a ceremony that’s supposed to be about movies, that’s about five too many. Even the beautiful memorial for Hollywood’s deceased (which I was very happy to see included Roger Ebert) was tagged on by a totally unnecessary 4 minutes of Bette Midler singing “Wind Beneath My Wings”.

    Stuff like this really made the show drag on way past its welcome—much more than usual, anyway. I ask you: Do we really need to see U2 perform at the Oscars?

    This apparent need to draw things out was a running theme throughout the ceremony, with even some of the night’s best moments—such as Ellen buying pizza for the guests—staying just a little bit longer than they should have.

    As much as I might sound like a grumpy old man, it wasn’t all bad. No, there were definitely moments that reminded me of why watching the Oscars has been a part of my life since I can recall.

    There were some beautiful acceptance speeches, especially by Cate Blanchett and Jared Leto. Though my personal favorite was the wife/husband duo of Kristen Anderson-Lopez and Robert Lopez accepting their award for Best Original Song via rhyme. If you missed it, go watch the clip on YouTube right now. Though I’m sure even if you missed the broadcast, you probably heard the cumulative “Aaaaawwwwwww” that emerged from living rooms worldwide.

    But what was the ultimate highlight? It would have to be Bill Murray’s brief and impromptu tribute to his deceased collaborator, Harold Ramis. Murray threw in Ramis’s name while presenting the nominations for Best Cinematography, garnering much deserved applause for the late, great filmmaker. Bill even had the respect to apologize afterwards for going off-prompter. What a class act that guy is.

    Oh, and although just a few paragraphs ago I complained about the needless musical performance, I thoroughly enjoy both Karen O singing “The Moon Song” and Pink’s rendition of “Somewhere Over the Rainbow” as a tribute to one of my all time favorite films, The Wizard of Oz.

    So, yes, last night’s Oscars had its moments. Some beautiful, some hilarious, some heartbreaking. But overall? I can’t imagine anyone will remember the ceremony in a month or two. There was just nothing exciting about it. It just was a thing, and now that thing is over. All of the winners deserved their trophies, yes (I was particularly happy to see Spike Jonze win Best Original Screenplay for Her), and Ellen did a great job as the host. But if the Oscars want to stay relevant a decade from now? They’re certainly going to have to spice things up.

    My suggestion? Simple. Stop dragging the damn thing out.

    I’m not a sports guy, so the Oscars are about as close as I get to having a Super Bowl, and yet I still think they’re way too long. In a world that moves as fast as ours, with dwindling attention spans and a gazillian distractions at every turn, there is simply no need for the Oscars to be a 3-and-a-half hour event. Cut out all the fluff (cough, six musical performances, cough) and make it a quick two hour show that doesn’t waste our time.

    Maybe that sounds blasphemous coming from a movie buff, but it is precisely my love of movies that leads me to take this stand. A year full of such incredible film deserves a celebration that measures up. All writers known the idiom “kill your darlings”, and nowhere will you find more darlings in need of a quick and painless death than at the Oscars.

    What are your thoughts? Did any of the winners surprise or downright outrage you? Are the Oscars really needlessly long, or am I just a grumpy old man trapped in a younger man’s body?

  • Harold Ramis Shares Some Words of Wisdom About Film’s Future

    Mr. Stay Puft lives again during the 25th Anniversary screening of Ghostbusters at the 2009 Nantucket Film Festival
    Mr. Stay Puft lives again during the 25th Anniversary screening of Ghostbusters at the 2009 Nantucket Film Festival
    What a blow. By now you’ve probably heard Harold Ramis, the force behind such movies as Caddyshack, Ghostbusters, Groundhog Day, and Analyze This, has passed at the age of 69. In honor of his legacy, I thought I would skip the circumstances of his death and the array of films he gave us, which you undoubtedly already know by now, and instead tell you an inspirational story of my brief interaction with him at the Nantucket Film Festival in 2009.

    The highlight of the festival that year had to have been Ramis himself, who was in attendance for three main reasons: to receive the Screenwriter’s Tribute, to premiere his new film Year One, and to celebrate the 25th anniversary of Ghostbusters. As someone who grew up with Ghostbusters, was completely transfixed by the multilayered themes and messages of one of my all time favorites Groundhog Day, and depended on Analyze This for more than one DVD date night, it was a particularly meaningful few days for me.

    First of all, I was tasked to be on the team blowing up the actual 25 foot Stay Puft Marshmallow Man that was used to market Ghostbusters when it premiered in 1984. Come on—does it get any cooler than that? This float dominated the skies, and stared out at the Atlantic from Siasconset’s Casino theater on the south side of the island. Getting Mr. Stay Puft to cooperate was a challenge, but somehow the group was able to cross the streams and get him into his new 2009 role as Mr. Stay Put. As guests arrived for a special screening of a brand new 35mm print of the film, he greeted them to their awe and delight.

    I met Ramis during the screening of Year One, while I was in the front entryway waiting for the film to end. With everyone seated in the theater watching the movie, Ramis stepped out some point near the middle to have some time to himself. Year One turned out to be not one his better movies (4.9 on IMDB, a 14% on Rotten Tomatoes), so perhaps the typical “director in the back gauging the audience reaction” wasn’t necessary in his mind. Factor in how many times he must have seen the film while editing, and perhaps it’s easy to understand why he would be stepping out. Whatever the reason, Ramis chose a wooden bench by the ticket booth, and got involved with some game or texting activity on his phone—I can’t recall which, though if I had to guess I’d say some kind of game.

    After a few minutes of this he took a brief nap, but must have had some internal clock wake him about 10 minutes before the end of the film. As he looked around, no phone in hand, I thought “if I’m ever going to talk to him this would be the chance,” so I did.

    It’s amazing how cool and collected you can head into a conversation with someone of his stature, and then completely out of character get all tongue twisted once you started speaking. That was me, but fortunately I found my steady voice before we got to a level of embarrassment. He smiled as I sputtered, knowing we both knew he was being very gracious to let me occupy some of his time, something no doubt countless fans and filmmakers had done before. I think he was amused not by the fact that I was trying to tell him how much I respected his work, but more by the direction I took our talk, which he seemed surprisingly engaged by.

    After the pleasantries and unnecessary gushing, I finally got to what I thought would be the most relevant and purposeful discussion I could come up with on the spot. I asked him if he thought film as we knew it would survive. Did he feel the access digital video gave filmmakers, with its ease, price, and increasing quality, would implode the professional market, and ultimately for those reasons overcome “Hollywood” looking content? Would the storytelling suffer? Would the good stuff be able to compete with quality gear getting so cheap, and the potential noisy flood of bad content springing up online more every day? And more so, would there even be a career in film by the time I “made it,” if that time ever came?

    He thought for a moment, and after reflecting on this told me that while the technology had changed in the past few decades, the core of filmmaking, the very root of motion pictures, was in capturing and telling a good story. “We can’t stop the way society is changing this profession,” he said, “so while it may become harder to get your work in front of large audiences, or into traditional theaters, or to get your film backed by a big studio so you can make the big bucks, in the end whoever can adapt and embrace the circumstances best will come out okay. If you love making films, just keep making films.”

    He asked me what I had done to advance my career, so I told him about starting Green Lens Media, and about making my first feature in high school years ago under a SAG student contract. He reiterated that while film as a format and industry would change, there would always be room for new stories and new filmmakers, who yes, could make careers of it if they worked hard enough for it. It was a sobering thing to hear that the industry I’d been pursuing for nearly a decade at the time was, according to this Hollywood insider, bound to be different, but also refreshing that he was so optimistic about its future considering.

    I was fortunate to get to hear this insight from Ramis, and it stuck with me despite the many other speaking events I saw him at throughout the festival. Most people wanted answers to things like “what was it like working with Bill Murray,” and “what’s the funniest thing that happened behind the scenes on such-and-such movie?” It’s sometimes easy to forget while starstruck that these are just people after all; people who, of course, are talented, but are also hard-working and even a little lucky. They might be able to point to a particular instance where they were in the right place at the right time to catch some opportune “break,” but isn’t that just something that would have happened eventually another way anyway, if not that way? In other words, if you work hard enough, if you “just keep making films,” eventually that lucky break will find you.

    Thanks, Harold, for all of your comedic genius for the time you were here. Thank you for your reassurances about the film business, and for believing in film’s future, as murky as it seems sometimes. I’d like to think that when we see an Egon hard at work inventing something, or a Dr. Sobel trying to figure out how to not die this time, or a Phil Connors making humor when there was none despite a desperate situation, there is in each instance an inevitable and eventual hope that evolves at some moment into something we have been looking forward to. It’s a great message, one that I and other filmmakers are inspired to see and be reminded of. You will be greatly missed, and I wish you all the best on your journey as I continue down mine, and continue making films.

    On a side note, if you ever care to haunt GLM (especially our scriptwriting software), that would be just fine; I promise you would be given Slimer status (the endeared, free-to-roam friend Slimer, not streamed-into-the-Trap Slimer).

    All the best,
    Adam

    Leave a comment! What are some of your favorite Harold Ramis movie moments, and what is your opinion on the future of the film industry?

  • The Right Song, The Right Movie

    piano&script06_fixed_v1.1I love all forms of art: visual art, music, performance, storytelling, etc. Movies are great because they combine so many of them. Among the best examples of this is the use of the perfect song in a film—the right song coming together with the right image. The combination creates moments that resonate with us. They make us think about the images the movie showed us anytime we hear the song. In fact, a very strong argument could be made that these are the most cinematic moments in movies.

    There’s far too many to choose from, but let’s break down just a few memorable moments, and attempt to examine closely why it is they work so well.

    GOODFELLAS – “Atlantis” by Donovan

    Here, I could just write “the entire movie” and move on. Martin Scorsese’s always been a director famous for the brilliant use of soundtracks in his movies. Goodfellas is perhaps the finest example of that. From Tony Bennett’s “Rags to Riches” launching us into the world of the gangster, the famous dead-body montage set to the outro of “Layla”, to the schizophrenic medley of classic rock and blues hits that take us through the paranoid, unbelievably fast moving life of a coked-out Henry Hill. The music reflects the emotional and mental state of the characters throughout all these sections of the story, and that’s why it’s so effective.

    Goodfellas is filled to the brim with amazing uses of popular songs, but perhaps my favorite is the scene in which Billy Batts is brutally beaten within an inch of his life, set to Donovan’s peaceful, beautiful hippie anthem “Atlantis”.

    At first, the song is very much in the background, almost unnoticeable on a first viewing. Donovan’s poetry (no singing here) over mellow chords comes in as Billy Batts and Jimmy (Robert DeNiro) are having a seemingly friendly chat at a bar. Tommy (Joe Pesci) enters the bar, the look on his face (and the fact that he was just insulted by Batts in the previous scene) telling us that some heavy stuff is about to go down.

    The calm, gentle music makes this quick rise in tension even more unbearable. Then… as Batts notices Pesci behind him, and DeNiro grabs a hold of his neck, a powerful drum fill takes us into the chorus. The music then gets bumped up in the mix, and the combination of its serene, catchy melody with the brutal beating we’re witnessing is shocking and horrifying—as the director intends it to be. Above all, though, it’s unforgettable.

    The cherry on top comes towards the end of the scene. The music dips down a little as Pesci looks over to Ray Liotta and says “I didn’t wanna get blood on your floor,” then it picks up again as we cut from his reaction—stunned and made all the more powerful by the music’s increase in volume.

    SPIDER-MAN 2 – “Raindrops Keep Fallin’ On My Head” by B.J. Thompson

    You rarely hear pop songs in superhero movies, and if this scene is any indication of how well the combo can work, it’s a shame. To set the scene up for those of you who might not be familiar with Spider-Man 2 (and if you’re not, shame on you!), the film is all about Peter Parker’s struggle to balance his personal life (his desires) with his job as Spider-Man (his responsibility). About halfway though the movie, he gets fed up and decides he’s not going to be Spider-Man anymore. So much so that he throws his costume in the trash! Gasp! Fade to black.

    From the darkness… the most beautiful ukulele chords, followed by the sun shining brightly at us. Then, right as the vocals come in, Peter walks into frame. Smiling. Blissful. Relaxed. The first time we’ve seen him be this way in the entire film. I really do consider this to be an almost magical sequence in the film. “Raindrops Keep Fallin” has been used in a number of movies (Forrest Gump, Clerks II), but never so perfectly as it’s used here.

    The lyrics, all about a person who has decided to be happy, even if raindrops keep falling on his head, fit so well with Peter’s state of mind during this portion of the movie, it’s scary. I almost feel like I don’t need to explain any further. Just watch the scene, and you’ll see exactly what I’m talking about.

    This is true movie magic. It’s as if the song was recorded specifically to be used over this scene. I honestly can’t even begin to think of another song that would have fit better.

    DJANGO UNCHAINED – “Freedom” by Anthony Hamilton and Elayna Boynton

    Like Scorsese, Quentin Tarantino is a filmmaker known for the exceptional use of popular music in his films. Pulp Fiction practically invites the audience to dance at certain points. Even though his last two movies have been period pieces (this and Inglourious Basterds), Tarantino doesn’t let that be a boundary. While neither Django nor Basterds are filled with pop music the way Pulp Fiction, Reservoir Dogs and Jackie Brown are, he still does use it, and to shockingly effective degrees.

    Take this scene: Django asks a slave on a plantation if she’s seen the Brittle brothers—his former owners, and the men he is looking for. She points one of them out to Django, he takes out one of those old-style retractable telescopes, and observes. As he spots him, the song’s rhythmic drums and tribal-style background vocals kick in.

    We cut to a flashback. The Brittle brothers. Tying Django’s wife, ready to whip her. Django pleads to spare her. The music is quite loud here, but the focus remains on Django’s desperate begging, and Broomhilda’s resilient face, getting ready for what she knows is coming.

    The song continues, loud and powerful, as we cut from Django and Broomhilda getting ready to escape, to Broomhilda about to be punished and Django pleading. Then… the whip cracks. Broomhilda’s gut wrenching scream fades into the chorus, now louder and more booming than ever.

    It’s horrifying. It literally sends goosebumps up my arm every time I watch the movie. This is a hard, hard scene to watch. The music’s loud, unrelenting bass line underlines the horror of this, and is one of the main reasons why this scene is not only so tough to watch, but also so gripping.

    As I said at the beginning of this post, there are COUNTLESS other examples of great songs used to great effects in great movies. What are some of your favorites?

  • 8 Movies That Prove Digital Can Look (Practically) as Good as Film

    Digital-vs-Film_v1.0Oh, this here, folks, is a fun one. Film vs. Digital is one of those debates that movie fans just cannot seem to stop having. If you’re not familiar with the difference, basically it boils down to this. Film means literally shooting footage on rolls of film (traditionally 35mm), and it’s the way movies have been shot for decades. It provides a beautiful, warm image that many consider to be cinema. But it also has its drawbacks.

    Digital, on the other hand, is usually more cost effective, allows you to shoot to your heart’s content, and, unlike film, isn’t vulnerable to physical damage. Unless you smash your camera with a hammer, I guess.

    For many, film’s inconveniences are plenty worth putting up with for the finished product. They swear that digital can never look as beautiful as film, or (if they’re of the more radical nature) that it’s ruining cinema all together. Personally, I happen to lean more on the film side of the argument. I think well shot film is stunning and I love the alive feeling it gives an image, with its grain and little imperfections.

    BUT. There are also plenty of movies shot on digital that I think look miles better than the majority of “film films” out there. In the hands of a talented cinematographer, digital filmmaking can look absolutely glorious—and achieve effects that film can’t.

    So, in the spirit of playing devil’s advocate, I decided to create a list (in no particular order) of movies shot on digital that do just that. If you’re a die hard fanatic of “film films” and think anything else is just a rip-off, hopefully this can make you see the enemy in a kinder light.

    Hugo – This really could be the start and end of the argument. If digital is good enough for Martin Scorsese, then it’s damn well good enough for you. Hugo looks like a storybook brought to life. Crisp, vivid and breathtaking. I haven’t gotten a chance to see it in 3D, and though I don’t usually like 3D, I have a feeling in this case, it might really add to the experience.

    Sin City – With Sin City, Robert Rodriguez managed to bring a comic book world to life like no one ever had, or has since. A perfect example of using digital filmmaking together with stellar visual effects to create a unique style that is unlike anything else out there.

    Gravity – If you didn’t get to experience this movie in theaters, then I’m sorry. As pretty much any review will tell you, Gravity is a visceral experience that ties the audience into the seat of a roller coaster and refuses to slow down. The beautiful imagery, combined with basically flawless CGI, creates a thrill ride that is one of the quickest 90 minutes I’ve ever had in a movie theater.

    Red State – Okay, so I know you’re thinking that all of the previous movies were special effects driven pictures which would of course work better with digital. Well, calm down, cowboy. Cause here’s Red State. Kevin Smith’s $4 million horror flick creeps up on you and forces your eyes wide open. The sharp, almost clinical look of the digital photography gives the movie an unsettling feel that resonates in the audience’s mind from first frame to last. To put it simply: film would have been too pretty for Red State.

    Collateral – Michael Mann can do amazing things with very little. It’d be hard to find a better example of that then Collateral . What’s essentially a basic, almost clichéd, noir story is made into a thrilling, personal narrative about people and the city of Los Angeles. Mann’s digital filmmaking gives the movie an extremely realistic, almost documentary-like look; a major reason why it works so well.

    The Girl With the Dragon Tattoo – I could have just easily put The Social Network or Zodiac here, but there’s something magical about The Girl With the Dragon Tattoo’s bleakness. From the pitch black apartments to the paper white Swedish snow, there’s intensity and suspense almost every frame. It’s hard to describe, but it’s immediately sensed while watching the movie. It’s an effect digital filmmaking helps achieve.

    Drive – Drive feels like a dream. A strange, violent dream with pulsating dance beats and lush, absorbing colors. It’s a testament to the power of visual storytelling, and the beautiful cinematography has a lot to do with that. When I found out that Drive was shot digitally, I was shocked. I couldn’t believe colors that deep, that rich, could be achieved with anything short of the highest quality film camera. Drive is proof that they can.

    Skyfall – Roger Deakins is one of the most talented people to ever hold a camera. That’s about all that needs to be said. Legendary filmmakers from the Coen brothers to Sam Mendes have called on him time and time again to give their movies that exquisite visual touch. Deakins’s work on Skyfall doesn’t reestablish, it only confirms his well deserved reputation as the master of the camera. Every single shot in the movie is a gorgeous painting, worthy of hanging in a museum. And you need look no further to find as compelling an argument for digital filmmaking.

  • The Top 13 Films of 2013

    movietheater01Movie lovers, rejoice. Great storytelling is still alive, well, and kicking like an over-caffeinated donkey. 2013 seemed like it was going to be a year film buffs would remember almost from the start. By the time it was over, there was no doubt about it.

    Before we start the list (arranged in descending order for the most dramatic umfh), I feel obligated to say that this is all only my opinion. Film is subjective, and what I found amazing, riveting and engaging, someone else might find boring, predictable and just plain stupid.

    That said: one of the best things about movies is the discussions they open up. So, if you strongly disagree about some of my choices (or would just like to share your opinion, whatever it may be), I urge you to leave a reply below and start a dialogue.

    Finally, I did not get a chance to see some of this year’s most acclaimed movies — namely 12 Years a Slave and Nebraska — so it’s very possible I missed out on some real gold.

    With all that out of the way, let’s get on to my picks for 2013’s best films.

    13. SPRING BREAKERS

    This was one of the first movies I saw this year, and boy, did it make an impression. Unrelenting, hypnotizing and unforgettable. Like many great works of art, Spring Breakers takes a decisive moral stand. It presents the world of spring break for everything that it is – a nightmare flimsily disguised as a fantasy.

    Also, say what you will about James Franco, but his performance here is one that absolutely glues your eyes to the screen and dares you to look away. It’s a peculiar role, and one many actors would be too afraid to tackle. But he does so with a fierceness that is incredible to watch.

    12. THE WAY, WAY BACK

    Movies about angsty teenagers are a dime a dozen, so it’s always a real treat when one comes along that manages to defy expectations. This certainly does that. Just as much about the adults as it is about the teens, The Way, Way Back is funny, heartbreaking and ultimately uplifting. It’s a feel-good movie the way feel-good movies should be done.

    Special props to Sam Rockwell (who is always a joy to watch) and Steve Carell, who branches off and plays someone unlike anyone else he’s ever played — a genuine jerk.

    11. MUD

    The fact that a movie this good didn’t even crack the top 10 tells you a whole lot about film in 2013. Like writer/director Jeff Nichols’ previous work Take Shelter, this is a deliberately paced character study with a unique down-on-the-bayou feel.

    As fantastic as Matthew McConaughey is (and boy, did he have a run of quality performances this year), the real star of the show is Tye Sheridan, the young actor who basically carries the movie on his shoulders. I can’t wait to see what he does next.

    10. AMERICAN HUSTLE

    Let me get this out of the way: This is a flawed film. HOWEVER — and this is a big however — if you gave me Blu-ray copies of every movie on this list, I’d probably pop in American Hustle more often than any of them.

    It’s a blast from start to finish, a treat for both your eyes and ears, and one of the most enjoyable movie going experiences I’ve had all year (twice). In particular, I want to point out the opening scene which is simply Christian Bale (who in my opinion gives the performance of the year here) putting on a hair piece. It’s so simple, yet so effective in telling you everything you need to know about the character. Brilliant storytelling, and a whole heap of fun, even if the entire package is slightly uneven.

    9. BLUE JASMINE

    Man, Cate Blanchett really killed it here. We all know she’s going to win the Oscar, and damn right, if you ask me. She’s impossible to take your eyes off of. I’ve heard a lot of people say this is a return to form for Woody Allen. I can’t speak to that, as I’ve only seen half a handful of his movies, but for a movie that is essentially people in rooms talking for an hour and a half, this is a blast.

    You’ll laugh, you’ll cry, you’ll thank your lucky stars your life isn’t as dysfunctional.

    8. THE HUNGER GAMES: CATCHING FIRE

    As great as so many movies were in 2013, one genre seemed to disappoint: the blockbuster. I’m sure many of you will disagree, but personally, I found practically every big-budget extravaganza disappointing. In particular, Thor: The Dark World, The Great Gatsby and especially Star Trek Into Darkness.

    So by the time The Hunger Games: Catching Fire rolled around, I had lost a lot of faith in big-budget/special effect pictures. And then I watched it. Holy crap.

    This is top-tier filmmaking from first frame to last. I won’t say much more about it, in case you haven’t seen it yet, except SEE IT. The first Hunger Games was a really solid teen action-drama, but this transcends the genre. It’s The Dark Knight of teen sci-fi/action movies. If you still can, definitely try to see it on the big screen.

    7. KILL YOUR DARLINGS

    This was yet another surprise. I saw this for one reason: Dane DeHaan. He is someone I consider to be amongst the finest actors working today, especially for his age. And while I certainly got a great DeHaan performance, I also got a whole lot more.

    This is a dark, engrossing film that pulls no punches and makes no apologies. If you enjoy films that deal with the darker side of youth, and explore interesting subcultures, this is for you. Check it out. Really great editing in this, too.

    6. DALLAS BUYERS CLUB

    Now we’re really talking. This is one of the finest character arcs I’ve seen in a very long time. Most great actors give an award worthy performance once every few years – this year alone, Matthew McConaughey gave three (we’ll get to the third). He’s unbelievable in this, as is Jared Leto, who transforms himself in the role of a pre-op transgender woman.

    Those two performance are worth the price of admission alone, but Dallas Buyers Club also has an incredibly tight, smart script that’s only made better by Jean-Marc Vallée’s confident direction.

    5. HER

    Romantic movies aren’t usually my thing. Sure, there’s plenty I do like, but for the most part, I find them to be very typical and not particularly interesting. Spike Jonez’s Her almost seems like a response to that complaint.

    The film follows genre tropes more closely than you might expect, but it does something utterly fresh and unique with them. Perhaps what I enjoyed most was the subtle sci-fi setting, which while a major part of the film, never overbears the characters, as it does in so many other sci-fi movies.

    Though a few moments might not land as well as intended, this film is really something special.

    4. MONSTERS UNIVERSITY

    Prequels are hard to get right. Actually, I take that back. Prequels are almost impossible to get right. After all, movies are all about change — characters going through arcs — and by definition, a prequel means we will be seeing characters that have yet to go through the change that drew us to them in the first place.

    The result is usually sloppy, unnecessary and most of all not nearly as interesting as the previous movies. But somehow, Pixar pulled it off.

    Monsters University has no right to be as good as it is. Yet, it is. It really, really is. It stands shoulder to shoulder with almost any of Pixar’s best, and like them, it is a spectacular achievement – made all the more so when you think about how much of a train wreck it could have been.

    3. INSIDE LLEWYN DAVIS

    Like Monsters University, Inside Llewyn Davis is a movie that shouldn’t work. It has no real plot, its protagonist doesn’t really change at all by the end, and yet… it is never once dull, never once pointless, and never for a moment not compelling. Indeed, it is the exact opposite.

    If Coen brothers’ humor is your thing, you’ll probably find this a melancholy, but hilarious movie. If it’s not, you’ll probably be depressed for days. Either way, you’ll likely find yourself sucked into the cold world of the early 60s New York folk scene.

    And if you wanna talk about Oscar snubs, few things fit the bill better than Oscar Isaac not getting nominated for his performance here.

    2. THE WOLF OF WALL STREET

    Once again, Martin Scorsese shows all the kids how it’s done. The legendary filmmaker may be 71 years old, but here he has crafted a film more full of unrelenting life and energy than anything even remotely comparable by his much younger peers. This is Goodfellas for the 21st century.

    The fast pace, almost constant voice over and subject matter certainly makes this a spiritual successor to both Goodfellas and Casino, but thanks to an entirely different cast, scriptwriter and cinematographer, it manages to stand on its own.

    Like in those films, Scorsese takes a strong moral stand while also presenting these characters with absolute honesty. The Wolf of Wall Street is not for the faint of heart, but if you can handle it, this is a movie that will entertain you like crazy, then make you hate yourself for being so entertained in the first place. It’s riveting stuff that will stay with you long after the credit rolls.

    PS: Though he’s only in the film for the first 20 or so minutes, Matthew McConaughey hits his third home run of the year here. Well done, Matthew. Now leave some work for the rest of Hollywood.

    1. THE PLACE BEYOND THE PINES

    I went to the theatre to see this movie early in 2013, knowing next to nothing about it. By the time the lights came up, I knew I had witnessed something really special. This isn’t just the best film of the year. This is the best film of the last several years. Walking out of the theatre, I knew there was hardly any chance I would see a movie this good by the time 2013 ended. While The Wolf of Wall Street made me doubt that, in the end, I had to give it up to Pines.

    To me, this is nothing short of a modern American masterpiece. It features career defining performances from all the leads — especially Eva Mendes and Bradley Cooper – and is the quickest 2 hours and 20 minutes you’ll have at the movies this side of The Dark Knight.

    It’s the kind of movie that won’t do the math for you. It forces you to think, to put the dots together in your head, and it refuses to succumb to your expectations. A lot of people will be turned off by some of the directions this movie goes in, but all that means is that this is a movie that takes real risks. And oh lord, is it refreshing to see that.

    From the acting, to the gorgeous cinematography, haunting score, and razor sharp editing, The Place Beyond the Pines is indeed a cinematic masterpiece.

    Also, although this is predominately an actor’s movie, I don’t consider it an overstatement to say it features the finest chase scene I have ever seen.

    If you haven’t checked this movie out yet… do it.

    The chances we’ll get a year so full to the brim with great movies is rare, but let’s just be grateful we got this one, eh?

    What were some of your favorites from 2013?

  • Rewriting: If You’re Going Through Hell, Keep Going

    Rewriting is a sobering experience. All too quickly that story you’ve been convinced is better than anything Hollywood’s churned out in the last twelve years isn’t so great anymore. Suddenly the holes seem a lot more apparent. The little sections you knew needed to be rethought grow much larger. You realize you’ve got a lot of work left to do. You realize it’s time to rewrite.

    To be clear, I’m not talking about revising here. Revising is fun. When you get to that stage, you already know that the story works. The structure is tight, the character arcs solid. Revising is tightening things up, getting them to be the best they can be. That last bit of polish before your baby is ready to be seen by the world.

    Unlike revising, rewriting is scary because there’s always that fear—as small and as in the back of your mind as it may be—that the story might completely collapse. I’m currently in the rewriting process, so I thought this would be a good opportunity to share a few of the things that help me when the going gets tough.

    As it often does.

    Treat your writing like it’s your worst enemy’s.

    This is basically another way of saying “be honest”. If you read my post on the writing of Breaking Bad, you’ll recognize that we’re treading familiar ground here. Take a step back. If you can stomach it, a week or two away from your story is often extremely helpful. It helps clear the mind, obviously, and if you like bouncing back from projects, I recommend starting to work on something else.

    Then, when you’re ready, come back to your story and prepare to be brutal. When I say treat it like it’s your worst enemy’s I mean go into it expecting to hate it. Call yourself out on everything. The small stuff, like dialogue that’s too on the nose or blatant exposition. And the big stuff, like a protagonist that’s rarely proactive, or a weak (and often criminally short) third act.

    This is the stuff that’ll make or break your film, so be honest about whether or not it works.

    Find people you respect and ask them to critique your work.

    I can’t stress this enough. As honest as we can be about our own writing, ultimately, we are way too close to it. Our stories live and breathe in our heads, and they’re much more expansive than what an audience will ever see. Often we might take elements in them for granted and leave out important information, or worse, not realize what our movie is really about.

    To avoid this, it’s vital for any serious writer to find someone they can count on to provide honest feedback. Preferably, multiple people with different qualifications. A fellow writer who understands the art of structure and pacing can be an invaluable resource; but an average-Joe who doesn’t know anything about movies other than that they like them will often catch things a pro might miss.

    If you can, get both perspectives. I’d say in general, avoid best friends or family members unless you know they’re not going to pull any punches. Also, if your critic is a writer, it’s only natural that you offer to give them feedback on their work as well—plus, this will most certainly benefit your own writing as well.

    Know that it takes time, but it will be worth it when it’s done.

    This might be the most important bit. Rewriting can be a long and painful process. First off, if you’ve even finished that first draft, give yourself a well deserved pat on the back. You’ve gotten farther than a lot of aspiring writers ever do.

    Just know that it’s not over.

    You’ll have to throw away some of your favorite scenes and replace them with brand new ones. You’ll probably delete entire characters you thought were vital to the plot. And almost every small change you make will ripple through the story in some way (or at least it should), and you’ll have to play clean up and make sure everything gels together. It’s a lot of work. But when you’ve got a second draft sitting in front of you, I guarantee you’ll very plainly see the difference in quality from the first. All the hard work will finally seem worth it. Then, it’s time to go through the process again.

    When it gets hard, remind yourself that most movies go through four, five, or even more drafts. A story that always inspires me comes from Rian Johnson, writer/director of the film Looper. While working on the script, Johnson came upon the realization that the second half wasn’t working. So he threw it out, and wrote an entirely new one.

    That’s the kind of honesty and (this one’s important, folks) willingness to do the work it takes to be a professional writer.

    Finally, to end on an amusing anecdote. For the life of me, I can’t remember where I came across it, so apologies to whoever thought it up. It puts a smile on my face and fills me with just that bit of inspiration required to keep going. Hope it hits you likewise.

    In the first draft, the characters are strangers. In the second draft, they are friends. In the third draft, they are family.

  • Why the Writing of Breaking Bad is So Good

    Before we start, I have one word for you: SPOILERS.

    There. Let’s begin.

    Every screenwriter, aspiring or otherwise, knows the immense surge of inspiration that can come after watching a great film. It’s jet fuel. It propels us to keep working, to keep striving to make our own storytelling measure up. A great piece of filmmaking can be a better lesson than the most acclaimed college course on the planet. Which leads me to Breaking Bad.

    Breaking Bad isn’t just television. It’s filmmaking of the highest possible caliber. For screenwriters, it’s a goldmine (or money-stuffed barrel) of lessons on great storytelling. Though, if you’re only paying attention to the finished product, you might get a whole set of lessons that are, well, frankly… wrong.

    I’m not gonna lie, I’m a little worried that right now, somewhere, screenwriters and Hollywood execs are shouting “Make it darker!” Or perhaps, “Give it more ‘holy crap’ moments!”

    Yes, Breaking Bad is a very successful series (though it’s important to remember that it wasn’t for the majority of its life on the air). Yes, Breaking Bad is dark. Yes, Breaking Bad is chalk full of “holy crap” moments. But that’s not why it’s good.

    What makes it good, at least in this humble writer’s opinion, is the absolute honesty with which Vince Gilligan and his writing staff treat their characters and the world they inhabit.

    The Breaking Bad writers don’t shove those “holy crap” moments into the middle of the story just to get a rise out of the audience. They carefully earn every one. A guy opening his door and getting shot is dramatic, absolutely. But when the character who opens his door is Gale — perhaps as innocent as a meth-cook can be — and the character who shoots him is Jesse — someone totally aversive to murder – the drama is a hundred fold.

    Drama that good only lies at the end of a long road. One covered with too much coffee, tears and heads banged against keyboard. But there’s really good drama at the end!

    The first step on said road is to ask: “Where is the character’s head at?” It’s something the Breaking Bad writers refer to constantly as the starting point for their discussions. What does each character want at that very moment? What do they fear? What are they willing to do to get what they want? Just as importantly, what are they NOT willing to do?

    When these questions are answered, a character is formed. Then, telling the story becomes a matter of asking: “What would this character do in this situation?” If you’re honest, you get good drama. Breaking Bad writers often talk about having great ideas for scenes or story beats that would fall by the wayside, simply because that’s not where the characters wanted to go.

    A favorite example of mine is Drew Sharp, the boy on the motorbike whom Todd shoots dead. About halfway through “breaking” (meaning, plotting out the story beat by beat) the first eight episodes of Season 5, the writers had a general idea for where the series was going. The plan was for Walt to retire and Jesse to take over as Albuquerque’s new kingpin. Then Todd shot Drew Sharp.

    From that moment on, everything changed. The writers knew there was just no way Jesse would let that slide. There was just no way he would stay in the meth business. So he quit. The writers didn’t lock themselves into their original plan, they let the characters lead the way.

    I was curious if Todd was a character created out of necessity – aka, someone to shoot Drew Sharp – so I asked Breaking Bad writer and producer Thomas Schnauz. The answer was no: Todd came first, and Drew Sharp was a pretty last minute addition. Who knows what the writers’ original plan for Todd was, but it just goes to show their willingness to throw away their plans and let the story come naturally.

    Breaking Episodes – How Breaking Bad writers organize rock solid scenes.

    Famous amongst fans of the Breaking Bad writers are the index card filled cork boards. When breaking each episode, the writers would work together to plan out every single beat of the story in extensive detail. They would write out beats on 3×5 index cards and pin them to a cork board. All together, an episode would average somewhere around 60-65 cards. That’s a lot of plot, and a lot of detail. But it ensures that every episode has a rock solid structure, then, when an individual writer goes off to work on an episode’s script, they get to “do a little jazz”, as writer Peter Gould puts it.

    Each writer creates the dialogue, embellishes the scenes and puts their unique stamp on their individual episodes. They get to do this with confidence, because they know most of the heavy lifting has already been done by the group. But the work and time put into that heavy lifting cannot be ignored. Especially when the writers write themselves into a corner, something which, let’s be honest, they tend to do with frequency.

    Midway through Season 3, Walt and Jesse are trapped in the RV with Hank looming outside like a hungry shark. It’s a moment that pins the audience to the edge of their couches and makes them wonder “Just how are Walt and Jesse going to get out of this?”

    Well, believe it or not, the writers had to ask themselves the same thing.

    They often reference this moment as an example of just how painful the writing process can be. It took hours upon hours of thinking, of talking and coming up with plenty of bad ideas until a Breaking Bad worthy solution was thought up: A fake phone call to Hank telling him something horrible had happened to Marie.

    Made for some damn good drama, didn’t it?

    I came upon a similar roadblock recently while working on a screenplay. Well into the climactic scene, my protagonist was ready to unleash her master plan and defeat the bad guy. Ta-da! The sun shines high and everyone cheers. Feel good film of the year. Then something dawned on me (I like to call it logic), and I realized that there was no way the bad guy wouldn’t anticipate the protagonist’s plan. So he did, and he turned it on its head.

    And I had no idea what she was going to do.

    At that point, I wanted to shut my laptop off, go get lunch and convince myself the solution would come easier after some heavy procrastination. Then I remembered Hank outside the RV, and I realized that if I didn’t have any clue how the protagonist was going to get out of her plight, chances are the audience wouldn’t either.

    So I kept working. There was a lot of staring at the screen, a lot of start and stop writing, and so much thinking I ought to have paid tuition. The bad ideas came first. And man, oh, man, was there a lot of them. But finally, after what felt like three days in the desert, I came up with a solution. The scene – and as a result, the screenplay – is ten times better because of it.

    What allowed me to make it better is the inspiration I’ve derived from the Breaking Bad writers. The lessons countless hours of watching the show and closely analyzing it have taught me. Chief amongst which is: HONESTY.

    There’s an index card with “Where’s Walt’s head at?” taped on the wall next to my desk. It’s a constant reminder to always stay true to my characters. I must look at the thing a thousand times a day, and every time, it fills me with inspiration and an immediate self awareness if what I’m currently working on isn’t treating the characters with honesty.

    So, next time you’re writing a script and you feel the biting urge to make it darker, just because Breaking Bad is dark AND good, stop. Take your hands off the keyboard, put the pencil down (yes, I know there’s at least one of you still left) and remind yourself that Breaking Bad isn’t good because it’s dark. It’s good because it’s honest.

    —–

    PS: For anyone interested in studying the craft behind Breaking Bad further, I cannot recommend the “Breaking Bad Insider Podcast” more highly. Hosted by Kelley Dixon, one of the show’s editors, and Vince Gilligan himself, the podcast discusses every episode from Season 2 till the finale in glorious, extensive detail. Guests such as other writers, directors, cast and crew members are always present, and the amount of insight one can get about the making of the show is simply unmatched. Do yourself a favor and start listening.

    Also, most of the Breaking Bad writers are on Twitter. In particular, Thomas Schnauz and Moira Walley-Beckett are quite active and will often take the time to answer questions. As is the writers’ assistant, Gordon Smith, who provides a different view of the process.

  • The No-Brainer Business Venture and/or Education Decision

    This past weekend, on September 1st, 2013, Green Lens Media finally announced its newest service, The Filmmersive™ Workshop Series. This workshop series has been a year and a half in the making, and was much more demanding in its planning than was originally projected for multiple reasons. But we kept at it, because we knew as soon as we conceived of it, no matter how difficult it was to set up, we HAD to do it. It was just too perfect to not do it, as it fulfills multiple needs to multiple parties in a cost effective way. Through hard work and the will to succeed, we finally have it ready, and I am proud to officially proclaim our workshops are launched, public, and open for business – let the filming begin!

    Why is this such a big deal?

    Today, if you are a business, you want your product and service out there, circulating, known, because that leads to clients and customers. If you are a filmmaker or involved in video or marketing, you are looking for experience, for contacts, for resources, but really more than anything those are means to the end—you are looking for JOBS. If you are a writer, you want people to see your work, make connections, improve your storytelling skills, but more than anything, you want more and better JOBS. If you are an actor, you may want people to watch you onscreen, get your name out there, and meet people who can hook you up, but all of those things are to feed your ultimate goal, landing killer JOBS.

    I know this. Everyone knows this.

    But what is anyone DOING about it?

    As a filmmaker, I believe in video. I love making it, and I love telling a good story. As a business owner, I believe video can help a business in ways that almost all other forms of marketing fall short. Video presence is important, and will continue to increase as the years go on. And once everyone finally catches up and realizes video is important to attract attention, how will your video become more attractive than someone else’s?

    Film school is expensive, and a big decision. A fully customized video production is expensive, and also a big decision. Getting attention as a writer or actor is hard, because there are so many others out there, and so few really great jobs. I wanted GLM to solve these 3 problems faced by our community: 1) Attention, 2) Cost, and 3) Return On Investment (ROI). I believe our Filmmersive™ Workshops address these issues in a unique, smart way.

    I’m not advocating our workshops as a replacement for college degrees, program certificates, less expensive or free online training, or high-end custom productions, but as a supplement and booster for your career or business there is truly nothing like it. For some it may be just enough, while for others it will prove that only the surface has been scratched. From my perspective, it’s the kind of thing I wish had been available to me, both as a filmmaker AND a business, back when I was first starting out in the professional workplace.

    All the details can be found on the Training page of our website, so I won’t explain how it works in great detail other than this synopsis: the workshops are 5 days of intense filmmaking training for small 4-8 person groups given by experienced instructors. Workshop Attendees pay to learn filmmaking but also take part in actually executing a short video by the end of the week, start to finish, giving them a portfolio piece to showcase. In Narrative workshops we pay a modest fee to use a local writer’s 3-6 page fictitious script, which gives this writer heightened exposure. In Corporate workshops the Attendees do a 1-day shoot at a real company, each editing their own version of the video; the business gets to review all versions and decide at no obligation if they would like to purchase it for their website for a fraction of the normal cost.

    Basically, we structured our workshops to focus on the collaboration and the ROI for all involved. For Attendees, it’s a cost-effective, fun, and rewarding way to learn, and you wind up with a unique portfolio piece. For writers, actors, and sponsors, it’s a great opportunity for exposure with a limited commitment and with a quick turnaround final result. For businesses, it’s a risk free way to preview multiple videos about their business, since purchase costs are more affordable than highly customized projects and always no obligation to buy. For GLM, it’s a way to share our knowledge through training while continuing to operate in the field making productions. And for everybody, it is a great networking opportunity and an all around enjoyable and worthwhile experience.

    So what’s the catch?

    Honestly, I can’t think of one. This is the NO-BRAINER part of the whole concept – everyone benefits. Really, the only hesitation was in the idea of actually structuring the setup of the program, and then executing it. With all the variables involved it is a complex undertaking. As the host of the workshop, this responsibility falls on GLM’s shoulders, but I felt so strongly this model would strengthen the business and film community in Boston that it was worth every effort to see through. I would like to see new startups, particularly green / environmental ones (though we won’t be exclusive to them), benefit from this program, and begin to flourish and enhance our city. I would like to see Boston, which has already grown as a film town in the past decade, take this to a new, even higher level.

    The Filmmersive™ Workshops are not where your film education or video productions end, though it will be a good jumpstart. Every ingredient like this helps, and GLM will make its workshops one such ingredient of the overall recipe that promotes companies, individuals, and the film community. I hope you will check out what our program offers to see if it is right for you, but whatever you choose to do I hope you will continue to investigate how to get video on your site and / or learn the practices of filmmaking by whatever means make the most sense in your situation. 21st century communication is already headed in video’s direction, and riding the wave of the future should be one hell of a thrill, so let’s make it thrilling and catch the perfect wave.

  • To Film or Not to Film? That Is The Question

    Being in film school makes you feel like you’ve aged 50 years in the span of two. Don’t get me wrong. It’s not a bad thing.

    I grew up in India, a country with brilliant minds and bold hearts. A country where your average young person is capable – and driven – enough to be exactly what they want to be, and be successful at it. But for the young Indian, being successful isn’t even the difficult part. The difficult part is self-knowledge. Knowing what you want to do. Finding the power to know, in a country where your future is determined as soon as you’re born: doctor, lawyer, engineer, business executive.

    When I applied to college, I applied as a journalism major. Far enough from the Indian career mold to be creative, but not so far that I can’t bank on the degree to get me a job when I graduate. The perfect balance.

    But coming to college changed everything.

    The idea of getting involved with filmmaking emerged from the experience of moving to the United States. I was in a new city, a new country, a new world. I was given a chance to rewrite my story, make new memories and, most importantly, get to know the person I would become. Suddenly, I was exposed to people from all over the world – my roommate was Korean, my best friend was Mexican, my study partner was half-Polish. Being surrounded by interesting people and interesting stories makes you fall into storytelling, even if you didn’t set out to do it.

    I’d always been interested in film, but it had never occurred to me that it was something I could do forever. There was something so exhilarating about the concept of creating something from nothing: of engaging in a craft founded in emotion and unpredictability; an outlier in the textbook-and-problem-set world of conventional knowledge.

    Think about the great directors of the world, for example. Alfred Hitchcock, Quentin Tarantino, Stanley Kubrick, Martin Scorsese (to name a few.)

    Now try separating film from filmmaker. You can’t.

    Every storyteller is unique. They vary in so many ways, but are great storytellers nonetheless. There are no formulas and numbers involved in storytelling. No right answers. No wrong answers. Just instinct and imagination.

    Terrifying, isn’t it? Having no rules? I can’t say it isn’t.

    But I wouldn’t be able to call my life a full life without stories. My life has been characterized by change. I’ve lived in Mumbai, Boston, Paris and London – I’ve been challenged, pushed out of my comfort zone and made to build up from scratch. By being exposed to stories and the storytellers that tell them, I’ve grown beyond the 20 years I’ve spent on this planet, because none of the places I lived in ever came with rules. But they came with faces, places and stories that are such an important part of my life. And that’s why I could never be a doctor, lawyer, engineer or business person.

    It might be human nature to fear the unknown, but it’s a filmmaker’s instinct to embrace it.

    Is it terrifying? Yes. Is it worth it? Absolutely.

  • Back to the Basics: Failure to Film

    Whenever people ask me what I do at work, I tell them I help out with making films. And whenever I say that, they’re intrigued: films? how glamorous!

    Except…not really.

    The reason the word film is so frequently associated with glamour is because most people are exposed exclusively to the final product. What they don’t see is all the mishaps, errors and edits that went into creating that glamourous product. What they don’t see is that everything that can possibly go wrong usually does.

    And the sad part is, I’m not even being dramatic.

    Take today, for example. I had the tripod set up. I had the camera mounted, the battery in, the SD card in. I even managed to plug the furry little mic into the correct jack (hey, when you’re a student, it’s the small victories that count…) I had a beautiful frame set up, my subject looked great and the light was co-operating. For once, everything was falling into place.

    So I went ahead and pressed the record button.

    One stimulating interview and exactly sixty minutes later, I felt great. The shoot went extremely well, we finished on schedule and I had some great sound bytes. I couldn’t wait to get started on the edit.

    And so the pack-up process began. I ejected the battery and the CF card, took the camera off the tripod. Folded it up. Unplugged the mic, opened it up to take out the – oh, wait. There was no battery.

    I stared wordlessly at the space where the battery should have been. Putting in a battery is probably the most elementary part of this whole process. There was no reason not to do it. I now have an hour of footage of my subject awkwardly moving his lips as no sound comes out and gesturing excitedly with no context.

    I’ve been on the Dean’s List at BU for three straight years, but I don’t know that I have to put in a battery.

    Now if you were in my place at this point in time, you would have two logical options:
    a) Cry.
    b) Cry.

    But both of those options render themselves useless when you ask yourself the dreaded question: now what?

    And then face the dreaded answer: Nothing.The footage is absolutely useless.

    While my complete lack of grey matter may make it seem like the moral of the story is don’t be an idiot, it really is simpler than that – be prepared. Make sure all your equipment is ready to work, and don’t rush the setup. Go in with a checklist and include even the most basic steps, down to the pack-up.

    It’s when you mess up the basics that you mess with the final product. It’s when you compromise on things like batteries and cards that you taint the perfection that people associate with your craft. I, for one, am not ready for my friends and family to think that my job is anything but clappers, bright lights and Matt Damon. And if all it takes to maintain that perception is being attentive and being prepared…then failure is not an option.