10 directors who excite me now...

Don’t know why I fancied writing about this today, but here are my top 10 active filmmakers. I don’t mean the “top 10 greatest living directors”, but rather, this is a list of directors whose work I am still excited by and always eagerly anticipate. Of course, the best living directors could include people whose powers have long since diminished: Woody Allen, Steven Spielberg and Jean-Luc Goddard could all be considered “great” directors, but when was their last “great” film? Yes, these guys can still make good films: Woody Allen releases one good film a year, generally. But however good ‘You Will Meet a Tall Dark Stranger’ is, chances are it won’t hold a candle to ‘Manhattan’ or ‘Annie Hall’, in the same way that ‘The Terminal’ and ‘Munich’ aren’t destined to be remembered as being up there with ‘Jaws’ and ‘ET’.

Of course, this doesn’t mean to say that the next Spielberg film won’t be a classic, but it’s all about expectations, isn’t it? And as far as Spielberg is concerned: unless it’s a fourth Jurassic Park movie, I’m not interested.

I also haven’t included Armando Iannucci (‘In the Loop’), Chris Morris (‘Four Lions’) or Martin McDonagh (‘In Bruges’), because although their films are probably some of the most exciting I have seen in the last few years (and I eagerly await their next efforts) I want to focus on directors whose films have consistently dazzled me. Anyway, with that proviso, on with the list (in no particular order)…

Wes Anderson
My favourite film: 'Bottle Rocket' (1996)

Wes Anderson is possibly my favourite current director. I have never been left disappointed by one of his films (though I know many didn't like 'Life Aquatic' or 'Darjeeling Limited' overly). I love how good-natured his movies are and how the portagonists are vulnerable and childish people, fond of being in teams and of being liked. Anderson's films aren't cynical and they exist as a celebration of life and of colour. I feel moved and uplifted by scenes in all his films to date and whatever his next project after the splendid stop-frame animation 'The Fantastic Mr. Fox', I am very excited.

The Coen Brothers
My favourite film: 'The Big Lebowski' (1998)

A slightly more complicated relationship exists between me and the Coen's, but only slightly. This is only reasonable though: they have made many more films than Wes Anderson after all. Basically, they had a bad patch with 'Intolerable Cruelty' (2003) and 'The Ladykillers' (2004), the latter being a god-awful remake of a genuine classic Ealing comedy, and wisely took a few years off to return in a blaze of glory with the Oscar-winning 'No Country for Old Men' in 2007. Now they are following up my favourite movie of last year ('A Serious Man') with another remake (although they insist it's more of an adaptation of the book than a remake) as they prepare to release 'True Grit' this December. Jeff Bridges (the Dude himself) is taking on John Wayne's own Oscar-winning role as Rooster Cogburn and I am pretty excited. After all, 'No Country' was, for all intents and purposes, a modern Western and it was incredible. I have faith.

Anything written by Charlie Kaufman
My favourite film: 'Adaptation' (2002)

The only writer on this list (although he did direct 'Synechdoche, New York' himself), Kaufman, in his work with Spike Jonze ('Being John Malkovich' and 'Adaptation') and Michel Gondry ('Human Nature' and 'Eternal Sunshine of the Spotless Mind') has proven himself a genius time and time again. All his films have endless replay value for me, and each time I learn a little more about them. They are probably the most endlessly rewarding films ever made.

Christopher Nolan
My favourite film: 'The Dark Knight' (2008)

Here's a man who has never steered me wrong (so far)! It is a close three-way tie for his best film ('Memento' and 'The Prestige' are just as good as 'The Dark Knight') but his second Batman film excited me the most of all of them. My favourite superhero movie and the first/last time I really got excited at stunts and set-pieces in the last ten years of cinema. I love it! 'Inception' (due out very soon) looks... interesting (the trailer gives almost nothing away), but I have no reason to doubt that Nolan will deliver again.

Hayao Miyazaki
My favourite film: 'My Neighbour Totoro' (1988)

The best living animator. That's all I have to say. 'Ponyo' was great and whatever he makes next will be great. Sorry if that doesn't sound objective, but his films move me and excite me. Like Wes Anderson, there is an innocence and naivety about his work which is charming but never twee. Just too good. Soon he will retire, but I hope we get a few more classics yet.

Werner Herzog
My favourite film: 'My Best Fiend' (1999)

What can I say about the insane genius that is Herzog? Whilst I did enjoy the likes of 'Rescue Dawn' and 'Bad Lieutenant', I proberly prefer his documentaries these days. I suppose that's mainly because he narrates them and because he never tackles any subject matter in a traditional way. When he films penguins it is to find their inherent madness and obsurdity. One of my favourites is a short from 1977 called 'La Soufrière', in which he travels to a volcano that is about to errupt and films it up close, with no regard for his own safety. I am looking forward to whatever he does next, as well as a UK release of 'My Son, My Son, What Have Ye Done?'.

Paul Thomas Anderson
My favourite film: 'Punch-Drunk Love' (2002)

This guy is just amazing. 'Punch-Drunk Love' is possibly my favourite film of all time and 'There Will Be Blood' (2007) is right up there too. Then we have 'Magnolia' (1999), 'Boogie Nights' (1997) and 'Hard Eight' (1996). Basically he is like no one else, visually and in terms of the way he tells a story. 'Punch-Drunk Love' and 'There Will Be Blood' unite the music and the image like nothing else I've seen. His next film is getting me very excited indeed, especially as 'The Master' stars Phillip Seymour Hoffman.

Takeshi Kitano
My favourite film: 'Hana-bi' (1997)

Probably best known here as the presenter of 'Takeshi's Castle', an odd Japanese gameshow, or as the sinister, evil bloke at the start of 'Battle Royale', but Takeshi 'Beat' Kitano is an institution in his native land. A stand-up comic, turned actor, turned award winning, internationally recognised director. He can do anything, from straight police thrillers like 'Violent Cop' and 'Sonatine', to slapstick comedy in 'Getting Any?' (maybe the maddest film ever), to the more poignant, festival friendly 'Hana-bi' (which won the Golden Lion in Venice in 2007), establishing him as the most internationally relevant Japanese filmmaker since Kurosawa. He also tackled the long-running 'Zatoichi' franchise in 2003, making a damn fine samurai film too. I am yet to see his 'Takeshis' trilogy (released 2005, 2007 and 2008 to bad reviews) which is more autobiograhical, but I am excited to see his latest film 'Outrage', which played at Cannes.

Brad Bird
My favourite film: 'The Iron Giant' (1999)

The second animator on my list (although his next film is 'Mission Impossible 4' in live-action), Brad Bird caught my attention with 'The Iron Giant', an overlooked Warner Brothers animation. That film has such loving attention to detail it is perhaps the best non-Disney, American feature animation ever. He then went on to work for the great PIXAR and made 'The Incredibles' (my second favourite superhero film) and 'Ratatouille' (which also ain't bad). I am not super enthused to see 'MI4', but I would like to see whether he takes a unique visual style into live-action, like animators Burton and Gilliam have in the past. Could be interesting.

George Lucas
My favourite film: 'Star Wars' (1977)

A real wild card pick here! Since 1971's 'THX 1138', George Lucas (a peer of Spielberg, Milius, Coppola, Scorcese and De Palma) has made just five films as a director. 'American Graffiti' (1973) is a classic that inspired many immitators (not to mention the TV show 'Happy Days') and launched the career of Ron Howard (Lucas also gave Howard his first directorial job with 'Willow'). Then he made 'Star Wars' in 1977 and everything changed, for Hollywood movies and for Lucas. He didn't direct the sequels, or his 'Indiana Jones' screenplays, only returning to the director's chair in 1999 with the first of three critically despised Star Wars prequel movies (which I enjoyed). The last of these came out in 2005. But will he ever direct again? Will he ever make a non-Star Wars related movie? You see, that's why Lucas excites me as a director. I am intigued about what he would make and how he would make it if he ever decided to stop riding the Star Wars gravy train. His first three movies were classics, what happened?

'Bad Lieutenant: Port of Call New Orleans' review: Mad men...

‘Bad Lieutenant: Port of Call New Orleans’, which stars Nicholas Cage, Eva Mendes and Val Kilmer and is directed by Werner Herzog and bares superficial similarity to Abel Ferrara’s 1992 film ‘Bad Lieutenant’ which starred Harvey Keitel (although Herzog has denied that it is a sequel or remake of that film). Herzog is perhaps better known now for documentaries such as ‘Grizzly Man’ and ‘Encounters at the End of the World’ rather than his feature films (his last such movie was 2007’s ‘Rescue Dawn’) but anyone familiar with ‘Aguirre, the Wrath of God’ or ‘Fitzcarraldo’ will know to expect a peculiar blend of profundity and madness. ‘Bad Lieutenant’, for the most part, does not disappoint.

Police Lieutenant, Terence McDonagh (Cage), has injured his back in the line of duty and has to take medication. To further ease the pain he turns to cocaine and, through the film, sinks deeper and deeper into corruption and depravity. Along the way we meet his drug addicted, prostitute girlfriend (Mendes) and his violent and volatile police partner (Kilmer). The story, which sees McDonagh attempting to place a local drug kingpin (played by the rapper Xzibit, best known here for hosting MTV’s ‘Pimp My Ride’) under arrest in connection with the homicide of an entire family, is the stuff of your average police procedural. In fact, the film’s writer, William Finkelstein, is a veteran of that genre on television, having penned episodes of ‘Law & Order’, ‘NYPD Blue’ and ‘LA Law’ (among others).



But what stops this film from sinking into the mediocrity that writing pedigree (and, some would argue, cast) would suggest is the collaboration between the film’s two insane geniuses: Herzog and Cage. Venerable old American critic Roger Ebert has described Cage’s performance as being every bit as good as those of the late Klaus Kinski, in so many other Herzog movies in the past. Cage is manic and gives a fantastic performance which contributes to something of a late critical renaissance for the Oscar winner. He gives a great physical performance as he carries himself with a slight hunch due to his back injury and looks and sounds increasingly on the edge of full-on, drug-induced breakdown. The film hinges on this performance as Cage gives his titular police Lieutenant an air of unpredictability and of self-destructive impulsiveness - but always an underlying kindness and intelligence.

Herzog is an equally pivotal part of what makes this film, largely, successful. It is hard to imagine that anybody other than the German director wrote the film’s closing lines, in which Cage asks “Do fish dream?” It is equally hard to imagine that the shooting script contained ultra close-up shots of iguanas and alligators or the scene in which a dead man’s soul starts break dancing. All these elements must be things which Herzog brought to the party and it is these sorts of touches that elevate the material.



There are also some fantastic lines in this movie. Such as when Cage perplexingly tells two old ladies (that he has just threatened to shoot) that they are what’s wrong with America. Kilmer is a good, if underused, presence and works well alongside Cage, whilst Mendes is required to display just as much of a range as Cage, but with more vulnerability, and does so in a performance which is comparatively low-key, but pivotal to the success of the film as a whole.

My major reservations with the film are hard to discuss in a review, as they relate to things some may consider “spoilers”. I’ll just say that the end 20 minutes seems to tie everything up too neatly. During this time I was expecting Herzog to pull back and reveal that we were in the midst of a drug-induced hallucination, but instead the end is really quite dissatisfying and undermines the whole film. There is an epilogue in which Herzog again takes things somewhere darker and more bizarre, but the preceding scenes have already damaged the film by this point.

Still, I wouldn’t hesitate to recommend that you see the film. It is certainly the most interesting film still playing in the UK right now (unless you can find ‘Four Lions’ or ‘Dogtooth’ somewhere). If you haven’t seen a Herzog film before, then there are much better places to start: ‘Aguirre’ probably being the most obvious, or maybe the superb documentary ‘My Best Fiend’ which looks at the Herzog/Kinski collaboration. But if you are familiar with the man’s oeuvre, then you should definitely seek this one out.

'Bad Lieutenant: Port of Call New Orleans' is out now and rated '18' by the BBFC. You can see it at the Duke of York's Picturehouse in Brighton until Thursday.

Joel Moore interview at OWF

Here is another update for today! I don't want to overshadow my Cannes roundup below, but I just wanted to let you all know that my interview with the actor Joel Moore is now up at Obsessed with Film. Moore talks about his time working with James Cameron on 'Avatar', his time working with Paris Hilton on 'The Hottie & the Nottie' as well as telling me about the DVD release of his directorial debut 'Spiral' in the UK.

Cannes 2010 winners: video roundup

As many (if not all) of you know, the winners of the 2010 Cannes Film Festival were announced yesterday as the event came to its conclusion. Apparently this year has been a little underwhelming with nothing like last year’s ‘White Ribbon’ or ‘Un Prophet’ to shout about (of course, it opened with the terrible 'Robin Hood'), but here is a list of the winners, as picked by a Tim Burton led jury:

Palm d’Or Thai film 'Uncle Boonmee Who Can Recall His Past Lives' (directed by Apichatpong Weerasethakul) was a surprise winner of the top prize.



Grand Prix The runner up prize was awarded to the French film 'Of Gods and Men' by Xavier Beauvois, which recounts a 1996 terrorist incident in Algeria in which monks were captured and beheaded by an Islamic group... or were they, as the film deals with the idea that perhaps the French army comitted the murders.



Prix du Jury The festival's third most prestigious prize went to another French film, 'A Screaming Man', by Mahamat-Saleh Haroun - a Chadian director.



Prix de la mise en scène The 'best director' award was given to Mathieu Amalric for 'On Tour'. Amalric was seen acting in last year's 'Mesrine: Public Enemy No.1' alongside Vincent Cassel (and also played the baddie in the Bond film 'Quantum of Solace' in 2008).



Prix d'interprétation féminine The 'best actress' prize went to the native Juliette Binoche for her role in 'Certified Copy'.



Whilst the Prix d'interprétation masculine was split between Spannish Academy Award winner Javier Bardem for 'Biutiful' and the Italian Elio Germano for 'Our Life'.





Prix Un Certain Regard was this year awarded to the South Korean film 'Ha Ha Ha' by Hong Sang-soo. This award is always pretty interesting, as it tends to be given to promising, lower-profile filmmakers (last year's winner 'Dogtooth' was outstanding).



East Asian cinema was well rewarded, not only with the above winner and the Palm d'Or sucess of 'Uncle Boonmee', but also with an award for the South Korean film 'Poetry' in the writers category (Lee Chang-dong won the Prix du scénario).



Of the films which competed, but did not win prizes, the following are noteworthy:

Mike Leigh's 'Another Year' was, for many, a favourite for the top prize:



Takeshi Kitano's new film 'Outrage' also played to lukewarm response (although I'm always excited to see a new 'Beat' Kitano movie):



Ken Loach returned to Cannes a year after 'Looking for Eric' with a drama about the Iraq war, 'Route Irish', which was generally well recieved. The veteran director also voiced his concern at Iraq war movies which focus on American soliders, such as the 'Hurt Locker', saying that they ignore the suffering of the population:



Doug Liman showed his thriller 'Fair Game', starring Sean Penn and Naomi Watts:



J-horror legend Hideo Nakata ('The Ring', 'Dark Water') showed his new film, 'Chatroom', which is a UK-Japan co-production, which stars Aaron Johnson ('Kick-Ass' and 'Nowhere Boy'):



Jean-Luc Godard showed off his new film, 'Socialism', in the Un Certain Regard category. Depending on who you believe it was either the worst (Mark Kermode) or best (Mark Cousins) film of the festival:



Finally, Oliver Stone's 'Wall Street: Money Never Sleeps' and Woody Allen's 'You Will Meet a Tall Dark Stranger' both screened out of competition and got good reviews:






I'll be reviewing most of these films over the next year as they find UK releases.

Q&A with live silent film scoring quartet MINIMA

I have been lucky enough to do an e-mail Q&A with Alex Hogg from the brilliant band MINIMA, who specialize in performing live scores for silent films. I saw MINIMA when they performed at the Duke of York's, doing a score for the German Expressionist classic 'The Cabinet of Dr. Caligari' and was awestruck both by how much more effective such a film is with a good live score (becoming much more of an experience) and also by the fact that the group don't do silent film scores in the classic style (they don't use a piano or an organ at all, using drums and string instruments). Here is what Alex had to say to my blog:

When did you guys first hit upon the idea of scoring old, silent classics in this way?
Minima came out of an experimental project with the theatre collective Shunt. Being part of live theatre is very rewarding but ultimately restricts a band to the schedule of the theatre company. Moving to film was a logical step, especially given our love of film as well as music. One of the band members was working at the British Film Institute at the time and hit on the idea of silent film accompaniment. So in 2006 we played our first performances of The Seashell and the Clergyman, in the underground, labyrinthine corridors of the Shunt Vaults, underneath London Bridge station.

I was surprised there was no one at a piano. How did you decide to use such an unusual array of instruments for silent film scoring?
Our eclectic range of personal influences, gives us what we consider a unique take on silent film accompaniment. We can go from drum ‘n’ bass to tango, and from wall-of-sound to folk lament in the space of a few minutes. We are a four-piece outfit: drums, bass, guitar and cello and although we have no backing tracks and play with no pre-recorded sounds, the instruments are put through an array of effects to give us a very big palate of sounds and voices.

Have there ever been any silent movies that you wanted to do live scores for, which (for whatever reason) didn't work? Does German Expressionist cinema suit your style especially well?
We tend to be drawn to the darker side of cinema. We were commissioned to write a score to The Cabinet of Dr. Caligari by the Wellcome Trust in 2008 – they made the connection between the film’s angular stage sets and angst-ridden characters, and our music. But our own choices of film, such as Nosferatu, are edgy and dramatic - and Nosferatu is a great piece of cinema - as this is what inspires us. It also helps that this film is so well known; it is a real crowd-pleaser! It’s good to be asked to do something off your normal radar though – it’s surprising what you can come up with when you’re on unfamiliar ground. We have done a few improvised performances to British silent melodramas and we were very happy with what we came up with as a group when we were put on the spot. We are open to any genre of film and we would also love to work with contemporary filmmakers.

What makes a good silent movie score, in your view?
A good silent film score should not distract from what's happening on the screen - if the audience watch the band too much then it becomes about the band, and you lose the point, which is to watch the film. You have an element of power in performing to silent film: the music imposes a lot of the meaning upon the images, and it sets the tone and the mood for each scene. You have to strike a balance between having an understanding of what the filmmaker intended and having the confidence not to have to follow the images too slavishly. Films from the 1920s have a different pace, and for the uninitiated it can be hard work so a contemporary interpretation by musicians can really help. You can make people laugh, cry and jump out of there seats but we only do this in the name of accompanying the film and helping people to watch the film.

Which score are you proudest of?
Each of our scores has been approached in a different way. The Seashell and the Clergyman was our first and so we’re very fond of it and the attention to detail that we gave it. Nosferatu was written in much more collaborative way and features such a variety of different styles of music. It’s a real romp and matches the film, which is such a rollercoaster and full of now-iconic imagery. Dr. Caligari is in the Minima hot seat at the moment as we’ve just finished a two-month tour with it. We’re now turning our attention to brushing up our score for the Soviet science fiction silent film Aelita, Queen of Mars, which we’ll be playing at BFI Southbank in July.

You guys, obviously, perform live, but I was wondering if you've ever been commissioned to record a silent film score for a DVD release? I know silent movies often get re-scored for new releases.
This is something that's on the cards and we hope that before the end of the year that we might be in talks with DVD production companies to do just this. We have a couple of scores already recorded and ready to go!

Outside of your work, are there any old silent scores you are big fans of? I love Chaplin's 'Smile' from 'Modern Times', personally.
Our musical influences stem from all kinds of genres, as well as film soundtracks. Film composers that spring to mind are Bernard Herrmann, Carter Burwell and Danny Elfman rather than 1920s composers. We tend to write the music for its own sake and enjoy this creative process, rather than feel that we have to stick too closely to the images and the era they were made in.

MINIMA can often be seen touring the countries cinemas. Their current tour dates can be seen here.

REMAKING THEMSELVES Remakes: They aren't all bad...

Here are an unusal lot, directors who remade their own films later in their careers. Comedy directing legend Leo McCarey remade his own 1939 film 'Love Affair' (itself nominated for 6 Academy Awards) as the 1957 movie 'An Affair to Remember' starring Cary Grant. The remake, which used the same screenplay, is now even better regarded than the original:





Alfred Hitchcock remade one of his British sound films, 'The Man Who Knew Too Much' (1934), during his Hollywood years n 1956, with James Stewart and Doris Day starring (though the original didn't have a bad cast either - Peter Lorre!). Hitchcock felt that his earlier film was the work of a gifted amateur and his remake the work of a professional director. You can watch the original in full here:





Frank Capra remade his acclaimed 1933 film 'Lady for a Day' (which was nominated for Best Picture and Best Director at the Oscars) as the 1961 film 'Pocketful of Miracles'. Ok, so this time the results were not so great, largely due to the fact Capra chose to adapt Robert Riskind's original script and, his last film, it was also the work of a director whose powers had sadly diminished. But regardless, it is still a fun film (apparently Jackie Chan's favourite ever - he remade it in Chinese in 1989 as 'Miracles'):

There is not an embed code, but you can watch a clip for the original here and the trailer for the remake here.

Capra, Hitchcock and McCarey's remakes all share something in common: an old black and white film had been turned into a colour film. In Capra's case, it was his first (and only) film in colour. When the Japanese director Yasujiro Ozu turned to colour filmmaking at the end of his career, he also turned to remakes. But in his case they were not just to add colour to his older work, but also sound. In 1959 Ozu remade both his 1932 silent 'I Was Born, But...' and his 1934 film 'A Story of Floating Weeds' as 'Good Morning' and 'Floating Weeds' respectively.









Anyway, an eclectic mix. Let me know if you can think of any other cases of this happening. These are just the ones I knew of. There must be loads.

FELLINI Remakes: they aren't all bad...

Continuing this week's look at the "remake", I have decided to take a brief look at how the work of another "master" director's work has been adapted and remade over the years: that of Federico Fellini. Interestingly, the two most famous adaptations of his work took very similar routes to the screen, although the results were very different...

Both 'Nights of Cabiria' (1957) and '8 1/2' were remade in the English speaking world as Broadway musicals, before becoming films based upon those musicals. 'Nights of Cabiria' became Neil Simon's 'Sweet Charity' (directed by Bob Fosse in 1969), in which Shirley MacLaine took the lead role:





Of course Bob "Cabaret" Fosse and Neil "Odd Couple" Simon combine with the brilliant MacLaine to turn Fellini's movie into something entirely different, but almost equally good... whereas Rob Marshall (director of the 2002 screen adaptation of Fosse's own 'Chicago') turned the stage adaptation of '8 1/2' (1963), 'Nine', into a big, all-star musical film last year. The results, despite the pressence of a stellar cast (including Marion Cotillard, Daniel Day-Lewis and Penelope Cruz - although the Black Eyed Peas singer 'Fergie' gives the best performance), are truly awful:





I don't know why Fellini has twice been turned into a Broadway musical. Perhaps it has something to do with the percieved glamour and high-fashion of Italian culture. Kate Hudson sings a song about it in 'Nine', funnily enough:



Anyway, more of a mixed bag with Fellini remakes than Kurosawa in any case. The cliche is always the Kurosawa's films have a western (or Western) sensibility - something he disputed. Could that be the reason Kurosawa's films suit American adaptations quite readily?