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Category 'His Eyes Were Watching Movies'

Interview with a LAMBpire: Robert of His Eyes Were Watching Movies

Andrew here with another episode of Interview with a LAMBpire where the winners of LAMB Casting get interviewed by moi. Robert of His Eyes Were Watching Movies is this month’s winner.
Andrew: How important you think casting is in film? Does the actor make the role or vice versa?
                
Robert: I don’t know if casting is the most important aspect of a film - I think the best actors can usually make any role work for them. Then again, it works both ways - sometimes casting can go so wrong, and other times seemingly bizarre choices end up working perfectly. 
                
Andrew: You’re young, who – if anyone – influenced your interest in film?
             
Robert: Well, my dad was always into classic/foreign cinema so our house was full of movies and thus I was exposed to cinema at a young age. However, it was actually my best friend who turned me into a cinephile - she is so well versed in classic cinema and when we were in middle school she recommended Rear Window to me. Shortly after I watched it, I discovered IMDb - and I’ve never gone back. 
       
Andrew: Is it difficult to keep blogging with school and other teenage commitments?
            
Robert: Admittedly, it can be! Sometimes after an exhausting day of piano practicing and schoolwork, watching and writing about a movie can seem like a lot of work. Blogging is a lot tougher than people give it credit for, and I really admire people like you who post so frequently even with so many other commitments. Unfortunately I’m not quite that good, but I do my best. ;) 
            
Andrew: Ha, my posting has been flagging lately. Life abounds. Speaking of other bloggers, though, to what extent do you allow critics to influence your enjoyment of film.
             
Robert: As much as I’d like to say that they don’t influence my reaction to a film at all, that is simply not the case. Some kind of prejudice (be it positive or negative) due to critics is unavoidable, I think, and for that reason I always try to avoid reviews before I watch a movie. Sometimes though, I can’t escape it. One example of a movie that I was completely confused about due to expectations was “I Am Love” from last year. The blogosphere was praising the movie incessantly and when I watched it I automatically disliked it at first. After a second viewing and some time to think about it though, I realized that it was actually a pretty incredible film. 
                
Andrew: What role do you feel film plays in this day and age – with specific reference to teenagers like you?
           
Robert: I feel like film has become such a great medium for artistic expression - these days, there are really no limits to what kinds of themes and ideals can be explored through the medium, and for that reason I think modern cinema is so exhilarating due to the variety of talent making films. For teenagers, I think film has become an indirect form of self-expression and community with others. In other words, the kinds of films that you watch/like become a way that you are able to identify what type of person you are, and this search for a way to “express oneself” is such a trademark of teenage life.
              
Andrew: Cillian Murphy and Toni Collette are two of the actors in your cast. Both are actors who have vociferous – if small fan bases. What do you think of them individually, and of their chances of becoming more sought after performers.
           
Robert: I simply adore Toni Collette. I fell in love with her at age 13 when I saw “The Sixth Sense” and she constantly amazes me. Thanks to “United States of Tara”, I never suffer a Toni shortage and I think she has spread her talents around enough (music, theater, film, television) that she’ll always have someone seeking after her. Cillian Murphy is much newer to me, though in the small roles of his I’ve seen, he always seems like such an intriguing actor. You mentioned that he hasn’t quite gotten that breakout role and I think that’s so true - I’ve never been disappointed by his work, he just needs a role with some critical or commercial weight that will break that glass ceiling for him. 
             
Andrew: You have a longstanding affinity for Catherine O’Hara. Do you think that O’Hara’s excellence as a comedienne was responsible for her not turning into a leading lady?
           
Robert: Ah, Catherine! Yes, I do think that her comedic skills have prevented her from becoming a leading lady. However, though I constantly bitch and moan about Catherine never gets big roles, I think her abilities as a hilarious character actress are what make her great and what have given her such longevity (she has been working for such a long time and she’s got plenty of years ahead of her!). Then again, watching her brilliance in big leading roles such as Marilyn Hack in “For Your Consideration” make me wish she would get more chances to do larger roles.
                  
Andrew: Name a film, not necessarily your favourite, but one which you’d like to take credit for (writing or directing, or both). 
            
Robert: Hm, great question. Well, I wish I could take credit for writing All About Eve or The Social Network. Totally different movies, but both are such brilliantly written. When it comes to directing, Magnolia is a movie I think of immediately, actually - P.T. Anderson is brilliant, in my opinion. Oh, and Rear Window. I don’t think anything could match up to being able to say that I directed a film as brilliant as “Rear Window”.
    
Andrew: Hitchcock, Fincher, Anderson, Mankiewicz - now that’s an eclectic mix.
           
Robert has dynamic tastes, doesn’t he?
        
(If you have any questions you’d like me to ask in the next interview email me at dangerous.liaison231(at)yahoo.com

2011 LAMMY FYC Posters - His Eyes Were Watching Movies and The Jaded Viewer

Send me an FYC image and I will post it! I’ll be posting dual FYCs in one post, but if I have to, I’ll increase it to 3 or 4 per post later. The nomination voting period only lasts until May 9th!. When you’re ready to vote, do it here: http://www.misterpoll.com/polls/521956

The LAMB Devours the Oscars - Original Score

Editor’s note: Welcome to the eighteenth of a 33-part series dissecting the 83rd Academy Awards, brought to you by the Large Association of Movie Blogs and its assorted members. Every day leading up to the Oscars, a new post written by a different LAMB will be published, each covering a different category of the Oscars. To read any other posts regarding this event, please click the tag following the post. Thank you, and enjoy!

by Robert of His Eyes Were Watching Movies

The Best Original Score category is arguably one of the most polarizing at the entire Academy Awards. It makes sense – after all, music is so subjective, and what one person loves another person may totally despise. However, this year’s lineup is slightly more successful than usual. Since many of the year’s most passionately adored scores were deemed ineligible (“Black Swan”, “True Grit”, “I Am Love”, and “Scott Pilgrim VS The World” for example) the amount of scores the academy had to choose from was significantly lowered, and there seems to be something for everyone in their ultimate choices. So, ladies and gentlemen, an as-objective-as-possible look at the 2011 Oscar nominees for Best Original Score.

The King’s Speech – Alexandre Desplat

Unbelievably prolific Alexandre Desplat is back at the Oscars with his fourth nomination. It’s interesting because a lot of people were hoping for Desplat’s score for “The Ghost Writer” would get the nomination instead, and Desplat’s no stranger to having a superior score being snubbed for another in a movie about royalty (his score for “The Painted Veil” in 2007 was replaced by “The Queen” at the Oscars). Nonetheless, Desplat still does commendable work with “Speech”. His simple themes are orchestrated and harmonized beautifully, utilizing a mix of strings with a gentle lead piano and celesta that has become somewhat of a trademark for the composer. It’s also important to note that many important sequences of the film use the music of an even more lauded composer than Desplat – Beethoven. Musical selections from a couple of Ludwig Von’s symphonies are prominent and make of the most effective pieces of the soundscape. Even so, that probably won’t keep this perfectly charming score from winning, since it seems like “Speech” is ready to take home a lot of awards on Oscar night and Desplat could be considered overdue.

How to Train Your Dragon – John Powell

John Powell, who has been doing great work for years on films like “Shrek”, “Kung Fu Panda” and others, has finally received his first Oscar nomination for his transcendent scoring of “How to Train Your Dragon”. The score is, possibly, the best thing about “Dragon”. It helps that the film has some great flying and fighting sequences where Powell can show off his skills but he rises to the challenge perfectly with a soul-riveting main theme orchestrated with a fantastic mix of soaring orchestral strings and powerful brass at the forefront. Powell also avoids the trap many cinematic composers fall into – he never allows the more sensitive or soft moments of the score to become boring. It probably won’t win but hopefully this nomination will mean more recognition for Powell in the future.

127 Hours – A.R. Rahman

I’m sure I wasn’t the only one who thought that AR Rahman’s Oscar win two years ago would be his only time at the Kodak. Even though I personally like the score to “Slumdog Millionaire” quite a bit, it just seemed like Rahman’s style wasn’t suited for the Oscars. But alas! Here he is again, with a more restrained work that is probably the most divisive of the bunch. I think the score’s style can be divided into three varieties – “Touching Strings”, “Skateboard Commercial”, and “Uncomfortable Guitar Riffs”. Of course, that’s not to knock on it, as it does greatly enhance and work for the film. But when one compares Rahman’s work to that of his competitors, it just seems a bit amateurish. Not to mention that since Rahman was forced to take a more traditional approach, everything that made his work on “Slumdog” exciting is missing here. It’s a fine nominee and I think the film is fantastic, but it has a much better chance in the Best Song category (almost everything from the “Touching Strings” category is just an instrumental arrangement of If I Rise anyway).


The Social Network – Trent Reznor and Atticus Ross

After “The Hurt Locker”’s surprising (but totally deserved) score nomination last year, it seemed like perhaps the Academy’s music tastes were possibly becoming a bit more progressive. With “The Social Network”’s equally untraditional nomination, the music branch is proving that notion right. Reznor and Ross’s work is superb in that it works perfectly for the film but also stands alone very well. The score features a mix of unique electronic instruments (including a one-of-a-kind machine called the “swarmotron”, which is responsible for those foreboding sustained tones you hear) but couples these instruments with emotionally resonant acoustic instruments. Though the whole soundtrack is fantastic, the track “Hand Covers Bruise”, which appears thrice in the film, is easily the standout – as the theme of the film it sets the tone immediately and lets you know exactly what kind of film that “The Social Network” is going to be. This is a very likely spoiler since it won the Globe and is such strong work but its untraditional nature may keep it from the big prize.

Inception – Hans Zimmer

For me, Hans Zimmer is very hit or miss. I often find his scores to be a bit obnoxiously loud – case in point, the booming horns that have become “Inception”’s unmistakable calling card. I will admit though, the rest of Zimmer’s work for the film is quite good, and serves as a very effective backdrop for the action happening onscreen. The driving rhythmic layers are repetitive to the point of being almost irritating, but there’s no denying that they’re riveting. It’s in the emotional sections, however, where Zimmer truly excels, using an almost minimalist structure that builds up a simple harmonic progression with more and more instruments and supporting them all with heart-pounding percussion, until the music reaches a peak of unparalleled intensity. The score does lag in its softer moments (I’m telling you, Zimmer can only write well when he’s writing loudly) but since there aren’t many of those in “Inception”, it’s not much of a problem. Zimmer hasn’t won since “The Lion King”, so his overdue status and the chance to give “Inception” some recognition could make this a very likely spoiler.

Who was SNUBBED?!
Well, considering most of the potentially “OMG THAT WUZ TTLY SNUBBED” scores weren’t even eligible, there weren’t too many shocking omissions. It seemed like Danny Elfman’s “Alice in Wonderland” or Rachel Portman’s “Never Let Me Go” were very possible nominees since the scores received some precursor attention and the composers are Academy favorites, but they didn’t make the cut – and really, either of those scores would have been a lesser choice to any of the ones that did make it. Other scores that probably weren’t close to a nomination but totally deserved more recognition include “Rabbit Hole” (Anton Sanko), “Mother and Child” (Edward Shearmur), and “Tangled” (Alan Menken).
Who I’m Rooting For: My personal favorite is by far “The Social Network”, with “How to Train Your Dragon” in a close second. I just love them both, though I’d be happy with any of these winning! Except…”127 Hours”…and “Inception” and…oh who am I kidding. “Social Network” FTW!
So what were your favorite scores of the year? Do you agree with the Academy’s choices? Sound off in the comments! :)

PLUG: His Eyes Were Watching Movies

I’ve got a plug! I’m doing a little contest at my blog - whoever can identify the most pairs of eyes in my blog’s banner will win a custom song written and recorded just for them, or a guest post on my blog, His Eyes Were Watching Movies. The deadline for entries is January 19th - for the official rules, how to enter, and more general explanation about the contest, here’s a link. Disclaimer: it’s very possible that you won’t like the song that I write for you, but hey, it’s free! Haha.

http://hiseyeswerewatchingmovies.blogspot.com/2010/12/new-year-banner-contest.html

Good luck everyone!

-Robert

Got a Press Release, something to Plug, or a Screener available for review (or some combination of the three)? Ok, don’t get all crazy about it. Just click here and give me the details (what, when, where, and a link, for starters) - I’ll handle the rest.

Brutally Blunt Blog Blustering #46: His Eyes Were Watching Movies

It’s Blusterin’ Time!

And remember: Blustering should be a two-way street; if you’ve asked to be blustered, you better be a blusterer.

If you’re new to this feature or need a refresher, click the label at the bottom of this post and see the first few posts. Otherwise, here are the basics:

What I’ll do is list a site; you’re asked to critique it. But here’s the catch: to induce the most honest reactions, don’t leave the comment using your normal alias/login - instead, go anonymous, and be as brutally honest (or complimentary) as you wish to be. Also, be specific, and naturally, don’t be rude. If I deem anything inappropriate, I’ll have no problem deleting the comment.

So, go to the site listed below, familiarize yourself with it for a few minutes, then come back and leave some constructive criticism and/or comments that you have.

Site: His Eyes Were Watching Movies
LAMB#: 719
URL: http://hiseyeswerewatchingmovies.blogspot.com/

LAMB #719 - His Eyes Were Watching Movies

URL: http://www.hiseyeswerewatchingmovies.blogspot.com
Site Name: His Eyes Were Watching Movies
Categories: Reviews, General, Editorials, Humor, Lists, Music
Rating: PG-13

What is the main focus of your site?
“His Eyes Were Watching Movies” is a lot of reviews on both new and old films, along with my candid reactions and thoughts on the world of cinema. I also do occasional Best Score Oscar rankings and as a musician, film music is a big part of what I write about.

What are your blogging goals, personally and/or professionally? In other words, what, if anything, are you trying to get out your blog?
My main goal is to create an environment where film lovers from everywhere can discuss and interact on the topics that my blog discusses, along with providing an outlet for my many cinematic opinions.

Do you prefer an interactive community for your blog or are you the teacher and your readers the students?
I want more than anything for my readers to participate and interact with both me and fellow readers! Blogging is such a revolutionary medium because it provides that possibility, and my number one hope is that my blog takes advantage of that capability.

How long have you been movie blogging for, and how frequent do you post updates to your site?
The site’s been active for about six months now, though I was blogging for quite a while before. I post a couple times a week, though occasionally that number increases to a couple times a day, it just depends how I feel!

Name up to three of your favorite movies (and no more).
Spirited Away, Amadeus, and Little Miss Sunshine.

How did you hear about the LAMB?
Through its many members, of course!

Any additional comments, or give yourself an interview question that’s not listed above.
None.

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