Derek K. Miller - Penmachine words music comment - Vancouver, Canada

I finally saw Juno tonight. My kids and I watched it on DVD together. Yes, it's a very good movie. You can read the reviews for that.

As somebody who lives in Vancouver, what I really noticed was how obviously Vancouver it is. You can see it in the locations—the residential architecture and subdivisions, the trees and lawns, and especially the light. As in so many things filmed here, like The X-Files and everything else, the light is different from what you see in productions filmed in Los Angeles, New York, Toronto, or other film centres.

It must be the combination of our latitude, weather, proximity to the sea—cloudy or sunny, rain or snow—it looks like here. Maybe Seattle might look similar, yet somehow things filmed there don't look the same.

Does anyone have a line on why that might be?

Labels: environment, film, photography, seattle, vancouver

This compilation of obsessive fan supercuts is officially awesome. Here's my favourite so far, but I haven't watched them all yet. Or maybe it's this one.

Labels: editing, film, geekery, movie

At the video store yesterday my wife suggested we pick up For the Bible Tells Me So, a documentary about Christian families whose children come out as gay. Despite a slightly silly and jarring animated interlude, it's a good film.

It would be especially worthwhile for people in similar situations: those parents, relatives, and friends who have been brought up to think of gays and lesbians as "abominations" (in the words of an oft-cited Bible passage) but who want to maintain their religion and also accept a loved one's homosexuality. Or for those raised conservatively Christian who are gay themselves, and struggle with it.

But I'm neither gay nor religious. I'm an atheist, and my many friends who are gay, lesbian, or transgendered don't offend my sensibilities in any way. For me, the movie is more of an anthropological study, and a fascinating one because a religious life is so far from my own experience.

It makes sense to me that those who work to reconcile the Bible (or the Qu'ran, or other religious books) with many aspects of modern life often have tough work to do. Those books were written centuries or millennia ago, by people who knew nothing of gravitational theory, fossils, deep time, microbiology and germs, Big Bang cosmology, evolution, quantum mechanics and relativity, plate tectonics, organic and inorganic chemistry, absolute zero, the concept of a vacuum, and DNA—or even of the existence of the Americas, Australia, Antarctica, and the Pacific Ocean.

So if authorities at the time thought that homosexuality was unclean or improper or abominable, of course they wrote that into their religious texts. Accordingly, that same passage of the Bible also condemns wearing clothes of mixed fibres, cutting your hair a certain way, and eating shellfish and pork as equally wrong. Plus, other passages of those same books condone or accept slavery, physical abuse of women, pillaging and murder during wartime, and other things many of us now consider abominable.

And indeed, still other parts say you should sell all you have and give the proceeds to the poor, not squander your wealth wastefully, go forth and multiply, not be arrogant and boastful, forgive debts, and love your neighbour. Oh, and you shall not work on the Sabbath, shall honour your parents, shall not kill or commit adultery or bear false witness, etc.

You can consider those proclamations the words of men now long dead—words sometimes wise and transcendent, sometimes narrow-minded and obsolete. Or you can consider them the word of God. Then you might have to interpret what those words could mean in a time where we have stood on the Moon, created antibiotics, invented the Internet, changed the climate, developed sexual reassignment surgery, measured the age of the Universe, and reached a population exceeding six billion.

I find those interpretations interesting. But unlike the subjects of the film, including well-known gay Episcopal Bishop Gene Robinson, for me they are unnecessary. I have no personal need to reconcile modern ethics and morals with the Bible or the Qu'ran or the Vedas; with the teachings of Buddha or Lao Tzu or Confucius; or for that matter with the myths of the Spartans, Aztecs, Bantu, Haida, or Maori. Any or all of those things can inform my sense of right and wrong, but they don't define it.

All of us struggle to be good people. For the Bible Tells Me So can help some of us in that struggle. It's worth watching, whether its struggle is yours or not.

Labels: americas, film, movie, religion, science, sex

For a good chunk of the past year, several dozen animators have been working in a former native residential school near Mission, B.C., rented out to them by the current owners the Sto:lo Nation, on what looks to be a fascinating movie, Edison and Leo, which should come out later this year.

It's the first feature-length stop-motion film made in Canada, which is suprising considering this country's long history of innovative animation projects. I visited the set last week with my friend Jeff, who is working on publicity for the project.

Edison and Leo has a dark, retro, steam-punk look (it's set in the 19th century), and when production was at its peak late in 2007, there were as many as 14 sets in use simultaneously. Now that the main shooting process is winding down, there are only a few sets left, but it's still a strange experience if you've ever visited a movie set before.

Unlike computer or traditional animation, stop-motion has actual sets, with all the wiring, lighting, and construction that entails. However, the sets are at a strange scale, built for characters a few inches high. And while live-action sets require absolute silence and very careful tiptoeing around, with Edison and Leo Jeff and I were able to wander about, say hi to people as they worked, take photos, and generally feel at ease—because each animator produces, on average, less than 10 seconds of footage a day, one frame at a time. Take a look:

There were some neat details. "Filming" actually takes place with modern Canon digital still cameras, hooked up (oddly) to old manual-focus Nikon lenses. They're connected into computers next to each set, which the animators can use to check their work, and then through a jury-rigged fibre-optic cable network run through the old school to a set of storage servers, and also to a room where the movie can be edited on the fly.

The production facility is almost completely self-contained: all the sets, costumes, and characters are built on site, which gives the team a lot of flexibility and also keeps costs down. (Most of the staff are from other parts of Canada, and have been living in trailers on the property.) Other than the sets themselves, the building still looks like a school, which is pretty creepy considering its history.

If you'd like to read up on the project, check The Province, the Victoria Times-Colonist, the Deadwood blog, the MTV Movies blog, Playback, Telefilm Canada, and IMDB.

Labels: animation, canon, edisonandleo, film, geekery, movie, nikon, photography

I love this recently discovered photograph (via Kottke) of painters on the Brooklyn Bridge by Eugene de Salignac. It's almost like a Dali painting.

Labels: film, newyork, photography

Went to see The Bourne Ultimatum this afternoon with my wife. It was my first movie out since my surgery, and well worth it. (I watched the previous two films, which I hadn't seen, on DVD last week.)

I do have one complaint: director Paul Greengrass does a great job choreographing the fight and chase scenes so that you understand what's going on despite the chaos. But the handheld camerawork is sometimes so kinetic, bouncing and shaking and twisting, that in my current somewhat discombobulated state I actually had to close my eyes a few times to keep from getting dizzy or disoriented. A static camera is not always a bad thing.

The Bourne films are also pretty bleak, almost nihilistic. Still, I recommend seeing them if you haven't.

By the way, I'm still weak enough that after sitting in a chair watching a movie for two hours, I had to come home and lie down for two hours.

Labels: bourne, fatigue, film, movie