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150 Movies in a Year

October 28, 2015 by JD Hansel

I’m curious about something: I wonder what the ratio of the number of movies someone watches to the number of ideas for movies that person has would be on average (per year).  For me, that ratio is about 1:3 – I’ve watched about 52 movies within the past year, not including movies I re-watched, and in that time I’ve had 150 ideas for movies.  I’ve been keeping track of all the movies that I’d really like to see, if they only existed.  The odd thing is that this wasn’t a goal of mine.  I never decided that I needed to think of at least 150 movies by the time one year had passed; it just happened, even though I’d never had so many ideas in such a short time before.

In autumn of 2014, I took a class on how to write for television, film, and radio.  One of the required readings for the class was a book called How to Get Ideas.  This book explains that an idea is “nothing more nor less than a new combination of old elements.”  At the time, I had been focused on ideas I was having for films I could write, and I was pleased to see that, after reading a bit of the book, the number of ideas started increasing.  It was very enlightening to learn to be on the lookout for elements I could combine.  At a certain point, I had to write a list to keep track of all these ideas.

The fascinating thing is that the list actually helped increase the number of my ideas even more than the book did.  Why?  Basically, I developed a new instinct.  Apparently, when I keep a list, there is some part of the back of my mind that is always scanning my thoughts for possible additions to the list, and it notifies me when something matches the list’s criteria.  (I have seen this happen with my list of my favorite movies, because I usually can’t think of any movie at all without getting a notification from my subconscious that reads, “Should that be added to the list?”)  I have become intuitively, constantly, and inevitably alert for elements that can be combined into new ideas.

It’s funny how it started so simply: exactly one year ago today (well, not at this time of day, since I think it was just before my 11am class) I noticed that I was forgetting the ideas I’d thought of earlier that month, and I decided to take a couple little notes on my iPhone.  Once I had done that, the switch in my brain was flipped, and it was a Movie Idea Factory.  The iPhone notes eventually had to be moved to Google Docs because it became too hard to navigate through the list once I had over 30.  Once I reached 100 ideas, I made a separate document (in Microsoft Word) for the second 100.  I also added a list for the ideas I’d had before I started keeping a list, which has less than 30, revealing just how unfruitful that part of my brain had been throughout my lifetime until a year ago today.

However, the factory’s rapidity has slowed down over the past few months (with only one movie idea in all of October), which is to be expected.  I have spent most of my time over the past year with the same people, in the same places, enjoying the same entertainment, and walking the same streets.  This means I have already used up all of the elements that surround me regularly, and if I want to have a lot more ideas again, I need to change my environment.  I don’t think the decrease is a bad thing though, partly because I could never actually get 150 screenplays produced, and partly because I have been getting several ideas for songs this month (to an extent I’ve never seen before).  I do look forward to changing jobs and locations soon, because I really think that would spark my imagination, but for now, I’m content with the number of ideas for movies I’ve already had.

Oh, wait, I just had #151 . . . .

Movie ideas 101-151.
Movie ideas 101-151.

Filed Under: Articles and Essays, Blog Posts Tagged With: film, jd hansel, movie ideas

Underrated Songs of the Week – 8/9/2015

August 9, 2015 by JD Hansel

Anyone else in the mood to boogie?  Well, here are some of my favorite disco songs, and I bet you’ve never heard of them.

1.  “I Thought It Was You” – Herbie Hancock

I’ve been dying to post this song for weeks now because it always gets stuck in my head.  It’s one of the best disco songs ever recorded, which is exactly what I would expect from a music legend with the status of Herbie Hancock.  It manages to remain entertaining for its whole nine-minute run-time, and I wish more people knew about it.

2.  “Aranjuez (Mon Amour)” – Herb Alpert

Woah.  This is such an amazing version of the classical piece “Concerto de Aranjuez” that it wows me every time.  To get a piece like “Aranjuez” to be so fun and “groovy” while still keeping it artistic and classy is no small feat, but I would expect no less from Herb Alpert.  While it’s hard for me to narrow down what my favorite songs are, I think this would have to be in the top 20.  It’s a fantastic track from one of the best albums of all time.

3.  “Night and Day” – Johnny Mathis

https://www.youtube.com/watch?v=uqSO1lkVcAE

Okay, so we all know the song.  It’s a jazz standard, and I think it’s brilliantly written.  That being said, I’ve never found a version that sounds like the way I would most want to hear it, which would be far more intense and dramatic.  This cover, however, is the best I’ve heard so far… but I can’t buy it.  It’s not available anywhere as a digital download, so I have to go on a little expedition to find it on CD.  Eventually, I will be very proud to be one of the few people with this track in the music collection.

4.  “Fallen Angel” – The Bee Gees

In the early ’90s, the Bee Gees were having a hard time getting onto the charts.  This song, sitting at the back of their overlooked Size Isn’t Everything album, attracted me a few years ago, and I can’t put my finger on why.  It’s very much a return to the fun feel of their late ’70s disco tunes, but it clearly relies on technology and stylistic choices that only became options by the end of the ’80s.  I’ve honestly never paid much attention to what the lyrics are about, but I’ve certainly enjoyed the infectious beat and fun synth riffs.

5.  “Knights in White Satin” – Giorgio Moroder

https://www.youtube.com/watch?v=Wk_A2MSmpIY

I freely admit that this track is creepy.  It’s almost terrifying, but I think that’s what I like about it.  It has this off-putting, eerie feeling that perfectly captures the feeling of miserably longing for someone.  It keeps the drama of the original Moody Blues classic, but adds the “I love you” section to the chorus, which I can never get out of my head no matter which version of the song I’m listening to at the time.  (I suppose I should mention that the particular version I’ve posted here is the whole first side of an album, and it happens to include an original song in the middle of it before getting back to the 1967 classic, which I find rather clever.)  Perhaps I like it because of how cinematic it is, creating the perfectly uneasy scene to suggest that something is awry… but at the same time it’s fun for dancing.  Still, something tells me I’m the only one who likes this track, so I’ll just go hide myself in shame now.

Filed Under: Blog Posts

Underrated Songs of the Week – 8/2/2015

August 2, 2015 by JD Hansel

This week, let’s take a look at some underrated songs from movie soundtracks!  These movies may not all be superb, but they’ve got great music.

1.  “The Gremlin Rag” – Jerry Goldsmith

https://www.youtube.com/watch?v=lHsPQMHkI7o

The makers of this film themselves have still been scratching their heads as to why this soundtrack didn’t get any big release other than “as a specially priced mini-album,” although in recent years it has been released in full on CD for those willing to pay $50 for it.  Even when this song was released as a single back in the day, it was actually just the B-side to “Gremlins…Mega Madness” by Michael Sembello of “Maniac” fame.  It unfortunately is not available as a digital download anywhere because the folks at Warner Bros. seem to be content with keeping this song’s release limited to those in the franchise’s little cult of extremely devoted fans.  ‘Tis a shame since this song is, in my book, among the ranks of “Power of Love,” “Ghostbusters,” and other classic ’80s movie themes.

2.  “Paradise” – Pheobe Cates

https://www.youtube.com/watch?v=mrxKUSbShzk

I will never think of this woman as a singer.  (I’ll forever think of her as the girl from Gremlins.)  That being said, this song turned out to be great.  From what I’ve heard, the movie was terrible, and interest in the song was really the main thing that got people interested in the film.  I don’t know how well the song did on the charts, but now it’s not available as a digital download either.  It’s rather rare as I understand it, and that’s just not right.  However, the mildly awkward cover by ’90s teen pop star Kaci Battaglia is easy to find since it charted pretty well in its day.

3.  “Theme from Firepower” – Gato Barbieri

https://www.youtube.com/watch?v=cIanRg6S2F0

I know virtually nothing about this 1979 film.  All I know is that Gato Barbieri is one of the greatest things to happen to music, and he’s really underrated as an artist.  This song is one of his finest works, certainly on par with “Europa” and “Speak Low,” but it doesn’t seem to have the same recognition.  The song has such a fiery passion that it clearly deserves to be featured in more films, in bigger scenes, and on more significant soundtracks.  It builds and builds until it becomes an experience that everyone ought to hear.

4.  Deep in the Dark – Debbie Reynolds/The Sherman Brothers

Everyone loves the Sherman Brothers, but who knows about their non-Disney works?  Their most underrated soundtrack is probably that of Charlotte’s Web, a film I grew up watching regularly.  What I missed when I watched it as a child was the beauty of this song.  I found it slow and boring as a youngster, but now I hear the magic and mystery in it.  It has an eerie quality that’s just perfect for a story about a spider, and the organ riff is one of the most enchanting sounds I have ever heard.  Yet another reason to thank the Sherman Brothers, and yet another song I’d sign a petition to see put in the iTunes store.

5.  Dancin’ – Olivia Newton-John/The Tubes

What’s to say about this weird, weird, weird piece?  At first, I found it choppy and off-putting, but then I got used to it.  After I had it in my music library for about a month, I determined that it must have been one of the best songs I’d ever heard.  It rivals the fantastic songs of Electric Light Orchestra that also inhabit the album, and for me to say that a song is comparable to the works of my favorite band is nothing at which to sneeze.  (Grammar, right?)  This is one of the few songs that actually turned out to be a good scene in the movie, and I will always be impressed by the goosebumps its climax induces.

Filed Under: Blog Posts

Underrated Songs of the Week – 7/26/15

July 27, 2015 by JD Hansel

I find that there are a lot of songs I adore that don’t get much attention from anyone else, and I want to share them with the world… somehow.  The trick is always finding the right way to do it.  So, I’ll try this: I’ve put together a list of the top five songs I feel like sharing this week that I think are underrated, meaning they don’t get radio play, never charted, weren’t recognized as well done, were forgotten to history, are covers that top the originals, are overshadowed by the artist’s better known hits, aren’t known by my friends, etc.  Since I’m not sure what the best way to select or sort songs for this list would be, I’ll just choose songs I’ve heard on my iPhone recently, and put them in whatever order I feel is best for presenting them.

1. “Déjà Vu” – Giorgio Moroder (featuring Sia)

This song came out just a few months ago on Giorgio’s new album of the same name.  It makes sense for this to be the title track for two reasons: first of all, this is probably the best track on the album, and secondly, this album is sort of Giorgio’s return to disco.  I’ve been a big fan of his work for some time, so I was excited by the new album, and pleased by some of the tracks… it just bothered me that this song didn’t become a huge hit.  It should be playing on the radio in a waiting room right now.

I think it’s a strong song because it brings back disco in a good way.  It could have done awkwardly sexual disco, or laughably corny disco, but instead it does impressive and fun disco, which is a natural fit for Moroder.  It’s not an imitation of the disco era because he is the disco era, but his incorporation of very modern musical elements also works naturally for him.  The album may not be entirely comprised of winners, but with Sia on vocals, I’ll never understand how this song has struggled for recognition.

2. “A Little Bit of Love” – Paul Williams

Paul Williams was certainly very popular in his day, but history has only labeled him as a very good songwriter, omitting his brilliant work as a recording artist.  Among the albums of his that are not available anywhere as a digital download (because it’s assumed that not many people will buy them) is A Little Bit of Love, which featured some of his most notable works.  However, one of the most brilliant pieces on the album, or perhaps even his best ever recording, is the title track, which doesn’t even have its own Wikipedia page.  The way the song is structured and arranged to build so beautifully (by Kenny Ascher) makes it one of the best produced songs I’ve ever heard, which isn’t even mentioning the captivating melody by Ascher  or the truly fascinating depiction of the character in Paul’s lyrics.  It may not be heard on the ’70s hour of the oldies radio station, but whenever I hear it, I can’t help but play it loud enough for all to hear.

Buy it.

3. “Undecided Man” – Paul Revere & the Raiders

Once again, no Wikipedia page.  I think it was released as a B-side to one of the other songs on the Spirit of ’67 album, and it never charted.  I’m fairly sure that it was seen as a mere rip-off of “Eleanor Rigby,” but I think this song may be on par with the Beatles’ classic.  I can understand why “Indian Reservation” is the song we all know the Raiders for, but I think the very sing-along-friendly tune, in conjunction with its artistic use of classical styles, makes “Undecided Man” the stronger track.  The subject matter is one that any person around the age of 22 will relate to, and yet the song expresses the pain of the young men from its day without pandering to them.

4. “Green Grass” – Gary Lewis & the Playboys

There may be a lot of fun songs about summer, but this is by far the most cheerful.  It perfectly captures the excitement that any optimistic teen in the ’60s would love to have about the fun awaiting in the sun.  I’ve actually been planning for years that I would use this song to represent the 1960s in a film that parodies the old Batman series, and I still can’t think of a better song to express exactly the kind of 1960s we’d all like to imagine existed.

5. “Undun” – The Guess Who

This classic B-side is probably one of my top five favorite songs of all time, if I can even have such a list. While it may be impossible to narrow down exactly what my favorite song is, I think this is surely the song with my favorite ending. Half of the times when I consider doing a cover of a song, I feel like I’d have to end it around the same way this song ends, because it’s just so dramatic and powerful. I say this is underrated not because it didn’t chart well – it was the #22 spot on the Billboard Hot 100 chart – but because it never gets as much recognition, praise, or radio play as other songs by The Guess Who. This band will always be famous for great songs like “These Eyes,” “No Time,” and “American Woman,” but “Undun” tops them all.

Its blend of a soulful singer who nearly screams, jazzy guitar chords and wind instruments, artistic vocal sounds in the vein of “Time of the Season,” poetic and metaphorical lyrics, a catchy tune, and a pleasant soft rock style mixed with passionate rocking out all make it the group’s best work in my view. I wish it would be recognized as such.

Filed Under: Blog Posts

A Year of Tumblr Movie Reviews

July 7, 2015 by JD Hansel

One year ago today, I finally decided to accept my own challenge.  After having finished film history course that required me to write movie reviews, I was looking for a good outlet for my thoughts on movies, and for a good place on social media to rate them.  I was bothered by the lack of freedom offered by Facebook in terms of movie ratings, and I have never been entirely satisfied with the Rotten Tomatoes website, but Tumblr seemed like a nice platform.  So, I challenged myself to review every movie I watched from then on, at least for a year, and now I don’t think I want to stop.

I think I’ve learned a good bit from doing this, and my writing is better for it.  Since my review of Play It Again, Sam, I’ve gotten a better sense for how to really put my finger on what exactly a movie did right or wrong, and why I responded the way I did.  I find it fascinating to look at how my writings grew to be more lengthy, particular, and expressive over time.  I discovered what my least-favorite movie was, and I could explain exactly why in depth.  I’ve been getting better and better at finding my style, and writing something worth reading.  I changed style during this adventure, trying different looks for the images I chose, and going through a long phase of strictly limiting which movies received the illustrious Star #4.5.  I reviewed over 60 films.

So, what phase comes next?  Well, from now on, I’m doing the reviews on JDHansel.com.  I think this keeps things more professional, and gives me all the freedoms of WordPress, plus a higher chance of getting shared around the web.  I also wish to separate my movie-reviewing from the promotion of my Muppet Hub content.  I want to treat Tumblr as a way to share my work, rather than a place to officially present it.  It makes more sense to me.  (Hopefully I’ll get the Tumblr reviews moved over to this website as posts soon.)

I also want to start a new series of reviews called “Upon Further Consideration,” or at least that’s the working title, which would essentially be my way of reviewing movies I’ve already seen before.  No, I would not review every movie I’ve ever seen.  Rather, when I feel like talking about a movie I watched before I started doing Tumblr movie reviews, or even re-evaluating a movie I’ve already reviewed, this would be the form my thoughts take.  It would be much like my regular movie reviews, but nothing about them would be mandatory – even a star rating.  This is the new direction I plan to take soon, and hopefully there will be more great movie reviews to come in the future.

Filed Under: Articles and Essays, Blog Posts

The Commenting Editor Technique

June 2, 2015 by JD Hansel

While a film is by no means the sum of its parts, it is probably safe to say that a film is the edited union of its parts. The editing can determine the nature or genre of a film, the film’s pace, an actor’s performance, the order of the story, and much more. The editor is rarely noticed, however, for two main reasons. The first is that a film is very much seen by audiences today – especially by critics and movie buffs – as being the vision of the director. So, if the editor determines the essence of a film, people with naturally attribute the essence of the film to the director, thus ignoring the editor completely. Secondly, part of the editor’s job is to remain unnoticed, in much the same way that it is a puppeteer’s job to remain unseen as he/she performs. I expect, however, that we have reached a level of video literacy at which we can soon expect to see the film editors break a new kind of fourth wall and blatantly converse with the audience.

Along similar lines, it is traditionally bad form for the camerawork to be done in such a way that the audience is conscious of the camera, and the goal in film was, for many decades, to make the camera unnoticed. (This is comparable to the way that the lighting crew in a theatrical production is essential to making the performance visible/possible, but is seldom noticed unless it makes a big mistake.) In recent years, we have seen experiments in filmmaking in which the audience is supposed to be conscious of the camera, particularly in the genre of found footage horror films. This new direction is possible only because we are used to seeing the camera since the innovation of home video, in which awareness of the camera is nearly inevitable. It follows that one would expect an innovation to become popular that makes viewers aware of the editor, which will allow for movies that mimic the same techniques. I propose that this innovation does exist, and it is online video.

To best explain what online video means for the evolution of film editing, I should clarify what I do and do not mean in regards to an editor conversing with the audience. I am not merely talking about films in which the editing style is unique, drawing attention to itself. Films such as the 2008 Speed Racer film or the works of Robert Rodriguez are not necessarily conversational in nature. Annie Hall comes much closer to a talkative editor in the scene in which Woody Allen and Diane Keaton have one conversation while subtitles show what they truly want to say, but this still comes across as the voice of writer/director Woody Allen. Television has come close by using frequent cutaways in shows such as Family Guy, but these feel very much like they are a part of the pre-production and animation/production phases, and they are not primarily editing. The Colbert Report used a regular segment called “The Wørd” to provide a sort of visual commentary on what Colbert said, and while this may be a little too involved in the pre-production and production (a.k.a. principal photography) phases, this does succeed in providing a form of “editor’s commentary,” which is what has become a big part of online video.

Online, it is common to see a video or YouTube channel that has a host-to-viewer format, such as the PBS Idea Channel, using little pictures, GIFs, and other brief visuals to not only depict what the host is saying, but to comment on it. This takes the type of commenting common on social media, in which a the Ben Stiller “post for ants” meme might be used to comment on a post that’s not legible, and makes it a part of the post itself. On YouTube it’s common to see a picture flash on screen for half a second just to make a joke, even though the picture is not necessary for the speaker to make his/her point, or for the story to be told. Rather, these very brief visual gags are comments on the video more than they are a part of it, since they are not usually diegetic in nature. This is actually very similar to a director’s audio commentary on a film, except an editor’s commentary is generally not continuous throughout, and is a part of the video instead of being a bonus feature.

If I must give specific criteria, an editor’s commentary is:

  1. post-production-driven,
  2. non-diegetic,
  3. not a part of telling the work’s main story,
  4. nonessential to the clarity of the work,
  5. not long enough to be its own scene.

For example, when a character in a movie notes that everyone is freezing, a picture of Elsa might flash on screen for a split second. When characters discuss their favorite science fiction films, the scene might conclude with a Star Wars-esque wipe transition. When a scene begins with lots of text to read on screen, the CinemaSins “ding” sound might be heard. When an actor flubs a line, the mistake can be left in and just corrected later by cutting to a frame with a title joking about what he meant to say (which is pretty much what they did for a little documentary about Star Trek IV when one of the interviewees mixed up his words a little). There are plenty of ways to do it creatively and in a style unique to the editor and director making the film.

While the possibilities are theoretically endless, the concept of the Commenting Editor is limited in a few ways. First of all, it should probably be used sparingly and carefully so it doesn’t become gimmicky. Secondly, there is great difficulty in doing this in such a way that the commentary is nearly exclusively created in the realm of post-production where the editor is king. If it is not very exclusive to this realm, the other areas (where the writer and director are supposedly the rulers) will receive the attribution. Whenever clever text is put up on screen, it is assumed to be clever writing, and the goal is to create the sense that the editing is clever, even if the editor’s comments are written into the script. The main limitation, however, is that the Commenting Editor is comedic in nature, and I don’t see it working well for anything but comedy.

The comedy in the Commenting Editor concept comes from both the fact that the viewers must quickly make connections, causing their brains to trip over themselves, as is the case with most jokes, and the fact that the editor has broken the unspoken rules. Since everyone knows that no one is supposed to talk during the movie, there is something chaotic and comedic about the editor himself (or herself) stepping out of the film to talk about the movie the whole time. While this concept could add to the aesthetic distance by reminding the viewers that they are watching an edited production, it could also decrease aesthetic distance by putting the editor in the audience, joining the viewers in the experience. This would make for a fascinating and important development in film because it creates a kind of movie that is self-aware, but not just by breaking the fourth wall. If a movie is essentially the editing, the movie can become a character of its own by talking to the audience about itself, and the viewers will not only enjoy the experience of relating to the characters in the film, but also the experience of conversing with the film itself.

Filed Under: Articles and Essays, Blog Posts, Parables, Poems, and Ponderings

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