SIFF, day one
May. 17th, 2013 06:49 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ironymaidentoday, i probably won't watch any movies. and i have a lot going on at work, so press previews are Right Out.
but thanks to the kindness of![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
scarlettina, i did catch Putzel* at the donors' preview, and this year i went to opening night for the first time.
i avoid opening night because it's not on my pass (so i spent all this money and i still have to buy a ticket!?!), and the movie either has a release date or more often i don't care if i see it. this year it was actually a much-anticipated film plus Q&A with Joss Whedon (and the cast, but unlike half the audience i didn't go to see Captain Tightpants).
a caveat: i adore the Kenneth Branaugh adaptation of Much Ado About Nothing. it came out while i was studying theatre (a great shaper of thought on directorial choice and adaptation), it was one of my first (maybe the first, order is hazy) arthouse movie experiences, and it's something C and i bonded over early in our relationship...so this movie can't ever be better than that.**
after a brief prelude, the opening of the film feels stiff, stiff enough that i suspect it was mostly filmed in order. soon enough the cast relaxes, and the language feels comfortable and conversational. they're having fun, and that joy is infectious. Amy Acker is an incandescent Beatrice, and Sean Maher is a quality Don John. it's particularly wonderful to see a loose-limbed Clark Gregg as the warm host and proud father Leonato. there are some great directorial choices (female Conrade, the matchmaking conspiritors sealing their plan with tequila shots), and Joss Whedon sure does have a nice house. i liked it, and i think it's very accessible without being heavy-handed.
as far as opening night goes, i didn't care for the experience. the movie didn't start until after almost an hour of speeches, mostly a tongue-bath for the outgoing managing director plus some random award and city politicians. don't care, yes Deborah is a fine lady, here for the film. the Q&A was moderated (no audience questions), which saved us from the Browncoats begging for more Firefly (oh, they still shouted from their seats) but not from the leotarded interviewer ACTUALLY ASKING ABOUT WHY THEY DID SHAKESPEARE WITHOUT BRITISH ACCENTS DIE DIE MOTHERFUCKER DIE. there were a few answers i enjoyed - Whedon talking about the difficulties of outdoor sound when you live next to a golf course and Nathan Fillion describing the DP who, when faced with a bleeding cut over one eye simply strapped a bandage to his head with a belt and moved the camera to the other side. as far as the after party goes, the hall was loud and dark and incredibly crowded. the food line was eternal, so when i saw an Honest Tea booth, i thought i would go there to get a quick beverage before trying to figure out how to get around the room and use my drink tickets. it turned out that the booth was some weird compliments exercise, and there was no tea. at that point we looked at each other and left by the nearest exit, while quoting Chris Rock.
*it's an indie comedy that contained the seeds of something great, but the script needed more polish. if you know how it's going to end when you walk in, the journey had better be remarkable. a pleasant time-filler if you have a pass, not worth a ticket voucher.
**the news that Kenneth Branaugh and Emma Thompson had broken up is probably the only time i have had a genuine emotional response to celebrity gossip. it's one of the reasons i don't much care for that homewrecking director-fucker Helena Bonham Carter.
but thanks to the kindness of
scarlettina, i did catch Putzel* at the donors' preview, and this year i went to opening night for the first time.i avoid opening night because it's not on my pass (so i spent all this money and i still have to buy a ticket!?!), and the movie either has a release date or more often i don't care if i see it. this year it was actually a much-anticipated film plus Q&A with Joss Whedon (and the cast, but unlike half the audience i didn't go to see Captain Tightpants).
a caveat: i adore the Kenneth Branaugh adaptation of Much Ado About Nothing. it came out while i was studying theatre (a great shaper of thought on directorial choice and adaptation), it was one of my first (maybe the first, order is hazy) arthouse movie experiences, and it's something C and i bonded over early in our relationship...so this movie can't ever be better than that.**
after a brief prelude, the opening of the film feels stiff, stiff enough that i suspect it was mostly filmed in order. soon enough the cast relaxes, and the language feels comfortable and conversational. they're having fun, and that joy is infectious. Amy Acker is an incandescent Beatrice, and Sean Maher is a quality Don John. it's particularly wonderful to see a loose-limbed Clark Gregg as the warm host and proud father Leonato. there are some great directorial choices (female Conrade, the matchmaking conspiritors sealing their plan with tequila shots), and Joss Whedon sure does have a nice house. i liked it, and i think it's very accessible without being heavy-handed.
as far as opening night goes, i didn't care for the experience. the movie didn't start until after almost an hour of speeches, mostly a tongue-bath for the outgoing managing director plus some random award and city politicians. don't care, yes Deborah is a fine lady, here for the film. the Q&A was moderated (no audience questions), which saved us from the Browncoats begging for more Firefly (oh, they still shouted from their seats) but not from the leotarded interviewer ACTUALLY ASKING ABOUT WHY THEY DID SHAKESPEARE WITHOUT BRITISH ACCENTS DIE DIE MOTHERFUCKER DIE. there were a few answers i enjoyed - Whedon talking about the difficulties of outdoor sound when you live next to a golf course and Nathan Fillion describing the DP who, when faced with a bleeding cut over one eye simply strapped a bandage to his head with a belt and moved the camera to the other side. as far as the after party goes, the hall was loud and dark and incredibly crowded. the food line was eternal, so when i saw an Honest Tea booth, i thought i would go there to get a quick beverage before trying to figure out how to get around the room and use my drink tickets. it turned out that the booth was some weird compliments exercise, and there was no tea. at that point we looked at each other and left by the nearest exit, while quoting Chris Rock.
*it's an indie comedy that contained the seeds of something great, but the script needed more polish. if you know how it's going to end when you walk in, the journey had better be remarkable. a pleasant time-filler if you have a pass, not worth a ticket voucher.
**the news that Kenneth Branaugh and Emma Thompson had broken up is probably the only time i have had a genuine emotional response to celebrity gossip. it's one of the reasons i don't much care for that homewrecking director-fucker Helena Bonham Carter.
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Date: 2013-05-18 02:18 am (UTC)no subject
Date: 2013-05-18 02:36 am (UTC)no subject
Date: 2013-05-18 04:39 am (UTC)no subject
Date: 2013-05-18 01:02 pm (UTC)I'm sorry I missed you and Chris at the party. (We did run into