For the first time I adapted one of my text essays into a video essay, this one about the 1972 film Sleuth and its 2007 remake. I talk about how production design reflects character and how these two films take very different approaches to the same source material.
Higher quality version on Vimeo.
Just in time for virtual San Diego Comic-Con, here is my second video essay, in which I try to answer the question of why Christopher Nolan decided not to shoot The Dark Knight Rises in Chicago by exploring the life of Bruce Wayne. I also talk about the film City of God for a couple minutes, and I promise it makes sense.
Higher quality version on Vimeo.
While the next video essay percolates, I decided to throw together this fun little piece, which is a celebration of the fact that the John Wick universe, for all its craziness, does not have infinite ammo clips.
Higher quality version on Vimeo.
Not that YouTube needs another film critic video essayist, but HERE I AM! For my first video I’ve decided to tackle the rough-and-tumble world of ASPECT RATIOS. Exciting, right?
I start with a little history lesson, then I move to the effects the aspect ratio can have on a story with some pointed examples. Most notably, I contrast Son of Saul (2015), shot in 1.37:1, with Blade Runner (1982), shot in 2.40:1. Then I talk about movies that play around with the “rules” of aspect ratios, both successfully and unsuccessfully, before wrapping things up.
I plan on making this the first of many video essays. I’ve already learned a lot from making this first one, and I’ve got ideas about how to improve for the next one. But overall, I think this turned out pretty well. Please let me know what worked for you, and where you think I could improve. If you liked the video, please share it with someone you think might enjoy it. Thank you!
A higher quality version of this video is available on Vimeo.
In late 2013 I needed to learn how to use Adobe Premiere, since I was one of the many editors jumping ship from Final Cut Pro 7. I didn’t have an original project at the time that needed to be cut, but since I had just rewatched the Matrix sequels, they had been on my mind. I remembered back in 2003 or 2004 I fantasized about cutting everything that had been released for the films into one enormous experience; ENTER THE (ANI)MATRIX REVOLOADED, I believe I called it. Ten years, and a lot of film education, later I realized that would be a terrible idea, but I couldn’t help but think that there was a way to cut the story together in a way that presented the disjointed narrative split across mediums into a singular experience.
So I ripped my Matrix Blu-rays and dumped the footage into Premiere, along with the complete soundtracks, The Animatrix, the live-action footage from the video game Enter the Matrix (from the Blu-ray special features), and over the course of the next couple months I cut it together, did a test screening, refined, and then had a big movie night with my friends where we watched it paired with the first movie. It was a really fun project and it taught me a lot about editing, and storytelling in general. I also learned A LOT about the Matrix universe.
It was never my intention to “fix” these movies, although that’s what the fan-edit community would call this type of project. I love the Matrix sequels, despite their flaws. I couldn’t have spent so much time with them if I didn’t. So please enjoy this alternative experience of The Matrix Reloaded and The Matrix Revolutions, which I call THE MATRIX REMIXED.
Link: https://vimeo.com/338174646
Password: itisinevitable
Here is a list of the major story changes:
Opens with an abridged version of Final Flight of the Osiris.
Removed the subplot from Reloaded about Trinity falling and Neo saving her.
Added scenes from Enter the Matrix to beef up the relationship between Niobe and Lock. Ghost and Sparks are now slightly more robust as characters.
Removed the Kid’s character arc.
Removed Zee and the subplot about taking out the diggers with RPGs during the siege.
Removed the Trainman, the Train Station, Rama-Kandra’s family, and the final appearances of the Merovingian and Persephone. Neo now goes to see the Oracle for the last time immediately after seeing the Architect.
Removed Sati from all but one scene (in which most of her lines are cut).
Added scenes from Enter the Matrix to better illustrate the failed/sabotaged counterattack sequence (includes a single shot from The Matrix).
Moved up the timeline for the Siege of Zion. The Architect scene is now inter-cut with the beginning of the siege.
Drastically reduced the amount of time spent on the Siege of Zion.
Mifune opens Gate 3, and his death is never shown. The Kid does not get in the APU.
Neo no longer has telekinesis in the Real World.
Many minor trims to improve pacing and characterization, especially concerning Neo.
Shortened a number of dialogue scenes to remove tangential portions of the conversations.
Trims to many action sequences for story and pacing purposes. Some action sequences deleted entirely (namely most of the Chateau fight and all of the Club Hel coat-check fight).
My friends Amanda and Collin asked me to put together some movie clips to play silently in the background at their wedding. I didn’t do the assignment.
Some “fan” trailers I cut for fun in 2017.
I had a movie night with friends and decided to use it as an excuse to do this little editing experiment. I’d never tried to cut a trailer before, and I think it turned out pretty okay.
What is a meta-screening, you ask? Well, this movie has no plot, so when my friends and I first gathered to hate-watch it together we made up our own. And then we did it again four more times.