Green Lens Media

Tag: review

  • Nursing the Bruised Ego — Why Tough Feedback is the Best Feedback

    Image: CC-BY Writer’s Block I by Drew Coffman @ Flickr flic.kr/p/8kvbSL
    Image: CC-BY Writer’s Block I by Drew Coffman @ Flickr flic.kr/p/8kvbSL

    It takes a lot to be a successful writer. For starters, it takes persistence and hard work. It takes imagination. Passion. Love for what you’re doing. But it also takes a whooole lot of objectivity.

    I don’t care if you’re Quentin Tarantino or Ernest Hemingway—if you’re not objective about your own work, you will never reach your full potential. Still, easier said than done. Objectivity can be a tough thing to grasp as a writer. So what do we do? We turn to feedback.

    Feedback is one of the most important tools in a writer’s arsenal, and good feedback (along with a writer smart enough to incorporate it) can be the difference between a mediocre first draft and a spectacular final draft. But brutally honest feedback (which is of course, the best feedback), can be a tough pill to swallow.

    I’m sure the majority of writers reading this know exactly what I’m talking about. You’ve finished that first draft. You’re in love with the kick-ass protagonist, the thrilling plot, and the pitch perfect comic relief. You send it out to some peers for review, and wait for your gold star and firm pat on the back. Then… the feedback arrives.

    Turns out that kick-ass protagonist is a wimp. That thrilling plot is a boredom factory. And as for that pitch perfect comic relief? About as funny as a funeral. At this point, most of us go through one of two phases.

    A: We fall into a deep depression, convinced we are hacks who aren’t worthy of writing Twilight fan fiction.
    B: We reach the logical conclusion that the reviewers are the real hacks; a bunch of amateurs who clearly can’t grasp our brilliance.

    Sometimes, if the work is really important to us or we’re particularly proud of it, we’ll go through both. But as with any grief, eventually there must come acceptance. Okay, so maybe we haven’t written our masterpiece, but that doesn’t mean we might not further on down the road. And that road is paved by rewriting.

    We toughen up. We go through the feedback again, side by side with our story, and we assess every note with absolute honesty. Yes. Maybe that witty dialogue we thought was the funniest part of the story really does nothing but bring it to a complete halt. Maybe that plot convenience we thought was perfectly legitimate does make life far too easy for the protagonist. Maybe the entire second half of the story is boring and doesn’t make a lick of sense. Whatever the case, we keep working.

    Having said all this, I do think it’s important to remember that not all feedback is valid. Sometimes a reader really won’t get your story, even if it’s an awesome one. In that situation it can be wise to discard some (though perhaps not all) of their feedback. However, if the number of people who aren’t getting your story keeps pilling on high, then maybe they aren’t the problem.

    Avoiding bad feedback becomes much easier if we seek out the opinions of people we respect. Whether they are fellow writers, teachers, or just friends who have good taste, people who have similar storytelling sensibilities to ours and who aren’t afraid to bruise our egos are invaluable resources. We owe them a great debt. Without them, our stories might never reach their full potential. Though perhaps we shouldn’t let them know, or they might start charging.

    When we’re watching a movie, especially one by a creative team whose work we aren’t familiar with, we have no problem being objective. If it’s garbage, we will say it’s garbage without so much as a whimper. If it’s amazing, we will praise its name from the rooftops of the tallest skyscrapers. To be an accomplished writer, we have to treat our own work with that same kind of objectivity. We have to take pride in our work, but we also have to be the first to point out when it’s not up to snuff. It’s as simple as that.

    PS: You’ll probably notice the similarity between this and the post on rewriting. We might be exploring familiar ground, but that’s only because this ground is so important. I’m a big believer in the theory of “first draft, worst draft”, and that if you want to really bring your work to the next level, you’ve got to be willing to keep rewriting and keep rewriting.

    So if you haven’t checked out the post on rewriting—which you can do so here—and you found this one useful, give it a look through, as these topics go very much hand in hand.

  • 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?

  • 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.

  • Books are Books, Movies are Movies, and Now the Twain Shall Meet

    Life of Pi vs. Life of Pi
    Life of Pi Book vs. Film Adaptation

    I know what you’re thinking. Ho-hum, another books vs. movies debate. But don’t stop reading yet! This is not a debate. I love books. And I live movies (no, that’s not a typo.) And I’m tired of people pitting the two against each other.

    Think about it. Both books and movies demand a significant amount of effort in bringing them to life. Both are mentally stimulating and emotionally engaging. I was only ten years old when I read Life of Pi. In case you haven’t heard of Life of Pi yet, it’s a story about a teenage boy who loses his family, loses his home and finds himself stranded at sea with only a ravenous tiger for company. But when I tried explaining the story with my best friend at the time, she scoffed and said “I can’t even imagine that.”

    But that’s exactly the point.

    So many of the world’s stories are about worlds and times that most people consider to be beyond the realm of human imagination. Books deemed “unfilmable” by book and movie lovers alike. The Hobbit. Harry Potter. Game of Thrones. The magic realism that characterizes Pi’s story – and Harry’s, and Frodo’s, and Tony Stark’s – sets them apart from stories closer to home. But it is the “unfilmable” and “unimaginable” nature of these stories that make them the stories most worthy of being imagined. Brought to life.

    And what better way to do that than through film?

    Book lovers insist that the movie can never be the same as the book, but does it have to be the same? If the movie was meant to be the same as the book, it wouldn’t be a movie. For me, the point of a movie adaptation is to re-imagine the story of the book without overwhelming it. I grew up with Harry Potter, and reading Life of Pi changed my life forever. And the film versions of those books didn’t match up with the little movies I’d already made in my had while reading them.

    But this little film I already made in my head while reading the book Life of Pi is one of those rare examples of a movie whose 3D visuals don’t overwhelm its storytelling but enhance it. It’s about that flawless balance between world and visual, capturing the complexities of a character’s world and the the viewer’s mental world.

    That said, even if the screenplay is amazing and the visuals are flawless, much of the audience’s decision about whether or not they like the film relies on their own emotions. Their own story. Having read the books for all the adaptations I’ve watched, I never walked into a movie thinking it would make me feel anything new. But each and every time, it did. And that’s what makes me believe in film as the book’s friend rather than its enemy. It’s the only medium that has the power to take an existing experience, reshape it and make it visceral in the way no other medium can.

  • Coalition of the Willing: Inspired Work, Inspiring Work

    I have a complicated relationship with film.

    For the most part, I love it. I love that it can inspire, empower and liberate people. As a medium, it is limitless – it can tell stories previously untold, tap emotions previously untapped and explore parts of the world previously unexplored.

    But here’s my problem: commercial film rarely ever does.

    Yes, Ryan Gosling is stunning. And so is Emma Stone. Alright, I get it.

    But why are we making a movie about it? That part, I don’t get.

    With all the fandoms, poster boys, Jennifer, and plotless excuses for movies popping up everywhere, I can’t help but feel disillusioned by film. But every once in a while, a movie comes along to remind me that Ryan Gosling and Emma Stone haven’t completely taken over. On one of my many afternoons spent idly browsing Vimeo for inspiration, I stumbled upon a film by Knife Party that reinstated my faith in the wonders of the medium.

    Coalition of the Willing, is, as the title suggests, the collective brainchild of a brilliant coalition. The film addresses an issue burning with actuality (pun intended!) – the issue of global warming. And yet…there are no pie charts, bar graphs or visuals of receding ice caps viewed from outer space.

    That’s the beautiful thing about this film. It succeeds not despite but because of the lack of statistics and infographics in its storytelling. Because when you really think about it, global warming isn’t an issue that’s as far away and distant as the statistics and satellite images often used to represent it.

    It’s personal. It’s a choice.

    Throughout the film, the visuals follow man and mankind. Our evolution, our changing times, our history, our politics, our sociology. Visually, it is absolutely stunning. I felt myself being increasingly drawn into the world of the film – our world – and it wasn’t difficult to understand why the movie walked away with the Best Short Award at the 2012 San Francisco Green Film Festival.

    The stunning animation and smooth flow of the film transports the viewer back in time, employing the memorable image of a ’50s businessman turning into a hippie to chronicle the radical individualism of the ’60s. As the colours get brighter and the backdrops increasingly complex, the individualism fades into consumerism and the whole movement eventually culminates in a lack of regard for the world around us. The status quo.

    Although humanity took a turn for the worse, the film isn’t pessimistic about it. Not in the least. There is a palpable vibrance in its visuals, a quirky hopefulness in its scoring and an awareness of the power of individual efforts. It connects the past with the present, muses about the many changes that humanity has undergone, and, above all, provides hope for the future. Its look, feel and message work together to do what film fundamentally ought to do: awaken and stimulate the minds absorbing it. The film brings the concept of coalition to life and itself stands a testament to the wonders achievable through creative minds coming together.

  • The Hobbit: An Expected Review

    When I was a little kid, my father collected me, my little brother and sister, and a huge silver Casio tape-playing boom box, and set us all down around the fireplace. He turned the overhead light out and an orange glow from the fire cast itself onto the carpet, illuminating the tape deck.

    “What we’re about to listen to is a very special story,” he said. “I read this story a long time ago, and I enjoyed it so much I want to share it with you kids. If it gets too scary we’ll turn it off.” We all looked at each other and he hit the play button.

    Listening to The Hobbit in the dark around this light is one of my favorite memories. The recording was produced by The Mind’s Eye, and was a full production, complete with multiple talented voices, an extensive sound effects library, and an impressively orchestrated score. The recording originally aired in 1979 on NPR Radio, and it had finally made its way to three children listening by a hearth, the dog asleep in the corner.

    I loved this story, specifically this telling of it, so much so that in middle school I stole it out of my father’s closet and would play each tape to put me to sleep, every night. When the series ended I just started the 6 hour adventure from the beginning again. This continued for an embarrassingly long time, to the point that even today I can anticipate most lines and recite many of them. You must understand: for some reason, maybe the fact of how my journey with Bilbo started in our family room, I was a little obsessed with Tolkien and his world of Middle-Earth

    In 2000, I went to a movie. I don’t remember what movie–it doesn’t matter. What mattered was the trailer. It was a teaser, and it opened with a New Zealand hill top covered in dry grass, black rock, and mountains in the background. Epically adventurous music began, and up over the hill came a tall bearded man in a pointed grey hat and cloak carrying a wooden staff. At this point I was too excited to sit still, because I thought, oh wow, the next thing to come over the hill is going to be 13 dwarves and a hobbit and I’m going to go nuts. When the pointy eared elf walk over next I thought, that dwarf looks unusually high. Then came a character who could ONLY be a dwarf, followed by some obvious hobbits, and then some other tall people I couldn’t place. If you can’t tell, I had not read Lord of the Rings, but I knew of it. Though I was looking forward to the film no doubt, I was crushed it wasn’t The Hobbit.

    Fast forward through movies of Fellowship and Two Towers, and I’m a true LOTR fan. When the release day for Return of the King arrived I thought it was the end of the age of Middle-Earth, a three year movie-viewing journey. I waited in line with other enthusiast friends opening day and took it in, taking a mental picture in my mind. It was a special day, a great day, and a sad day all at once. It was worth the wait, heck, the wait enhanced it, but knowing it was over was tough to stomach.

    After its successes, we learned Hobbit was being talked about, and that was a giddy feeling. Then I caught wind of Peter Jackson’s awful relationship with New Line Cinema, and how it might jeopardize him directing, which sounded sacrilegious and a big blow to a well-defined series. Then there was the notion it might not have the same actors, or even be done at all. Years went by with nothing but rumors and hope (whispers of a nameless fear?). When it was evident Jackson was back on board, and when casting finally started, and when filming actually began, each stage brought this feeling of relief. I was there, and now would go back again.

    Only this time I would go back to an unknown sight. 48 frames per second. Twice the frames for double the clarity. You see, 3D is an issue for some. Fortunately I don’t get 3D sick, but I do heavily notice, with the fields being arranged the way they need to be for stereoscopic filmmaking, the picture taking a big hit in crispness and brightness. It is the nature of the beast, and the price for 3D. Jackson announced his belief that 48fps would be a better way to view the film. With this high frame rate (look for “HFR” in the marquee at the theater) we were going to break from that ever traditional and cinematic 24fps we’ve come to know, love, and get used to. The reaction from Comic-Con couldn’t be more deafening. I read in the news the crowd was nervous, hyper, then outraged at the clip they were shown, and how it looked more like a soap opera on TV than a throwback to the Shire.

    Whatever. At least they’re making it, I thought.

    I tried to avoid the screenshots, the behind-the-scenes clips online, and the eventually released trailers, but I failed miserably and was unable to help myself. All the while knowing this story I have waited 9, no 12, no 22 years for, was going to be told in a revolutionary new format. Pioneering new territory is thrilling, and as a filmmaker, I am always grateful to ride the wave of the new, scary as it may be. With the release of digital video, then DSLRs, then FCPX, the end of manufactured film cameras and the slow decay of celluloid overall, I’ve been privy to some fascinating, industry-changing events. I must be honest, though: as we got closer and closer to December 14th, I legitimately became nervous about this new frame rate, and worried it would spoil something near and dear. All I had to go on was that its Peter Jackson we’re talking about. Middle-Earth is his baby after J.R.R., and I just need to trust he wants to do the film justice.

    This evening, I again found myself in a line for another adventure. Joined by my brother Sam, who picked up tickets the day before, we arrive an hour early to already find a line of 50 people. When we got through we had to wait in another line outside the theater doors. When finally we were loosed, we found some seats in the exact middle, and settled in immovably.

    This was indeed the experience I wanted. The HFR version is different, and will look slightly strange to those not expecting it, but it truly does fade away. I plan on seeing it again in the other formats to compare, but as far as content I couldn’t be happier. I won’t spoil anything for those who haven’t seen it or who don’t know the story (what are you waiting for?), but take it from a very critical filmmaker and an even more critical fan that this movie is definitely worth seeing.

    My advice is to know what version you are walking into. There are a least 5 different versions: IMAX 3D, RealD 3D (RealD is a different 3D technology than IMAX), RealD 3D HFR (48fps), IMAX 3D HFR (48fps), and 2D Digital. For the most familiar cinematic look, your best bet is probably the 2D digital, but I want to verify this before committing to that claim.

    I’ve heard multiple complaints about too much CGI, but we all saw that coming. Personally, I too prefer great robotics and puppetry done right (Jurassic Park anyone?), but to get here at all was an elating experience in itself. I give the movie an A, mostly because I felt the Goblin King needed some major advice and reconsideration in the 3D modeling department, but moreover because I don’t think anything can really top what’s in the mind.

    It is absolutely a must-see this winter, though, and I hope you enjoy An Unexpected Journey as much as I did. It has rekindled the same magic I felt at the beginning of the LOTR run, where you had to wait a whole year before you could continue the quest, but the pay off was practically tactile. That feeling that I thought was a one-time occurrence is now present again, and it is this weird sensation of reliving the greatness of the LOTR span, but with a new, unseen yet equally epic set of films. And while it brought me back to all these memories, it mostly put me right back where I started, right next to that fire so many years ago. It was warm, and invited me right in.