Blog Post: May the Fourth Be With You Day

How could I have forgotten? Well, quite easily actually: I'm not a fan in the true sense of the word... "fanatic". I enjoyed Star Wars when I saw it on Friday, July 8th, 1977. My movie mate Chris was cooler to the flick, perhaps it was because he was a couple of years older than me. Which reminds me... I've long said that I was the wrong age that summer; that sixteen years was simultaneously too old and too young. Years later, a younger friend of mine found my lack of faith in the force to be disturbing: "Oh, not me, man. My world was turned on its ear." Former 'opticals' coworkers of mine were in their twenties when Star Wars turned on their world: "No, (we) really liked it." I loved, and still love, the old Republic Serials, but for some reason that affinity didn't transfer to the new. The joke is that I noticed the abundance of optical wipes that opening night, partly because those serials employed many such effects as part of their storytelling. (I could not have imagined that someday far far into the future I would work in "titles and opticals".)

Anyway, like a Star Wars "prequel" film's opening crawl, I'm just rambling on....

May the Fourth Be With You!

See below....

Star Wars 49th: Admitting One Repeat in 1977

The forty-ninth anniversary of the original release of Star Wars is fast approaching, and for us older folks, the question sometimes comes up:

"How many times did you see Star Wars when it first came out?"

The movie made a lot of money because it was what's called "a repeater". Young people, especially, went back to the movie theatres over and over to see what was then a new thing; a high-quality comic book on the big screen.

Perhaps due to my age at the time, sixteen, I saw Star Wars, enjoyed it, and did not rush back to see it again. This was not helped by the fact that it left town after just three weeks. No doubt it was 'bicycled' to another theatre waiting for such a precious print. (King Kong had played for a full month across the street at the Big House.) Once was enough for me, however, as there were other movies to see and I was interested in many other things.

In September of 1977 I became friends with a guy at my high school who was a huge fan of the film. He was a couple of years younger — it was through a school club that we first met. Two or three weeks later, Star Wars reappeared in Barrie, Ontario, this time at one of the exciting Bayfield Mall's two screens, and my fan friend and I, with colourful umbrellas in hand, trotted off one rainy night to see again the silver screen's smash hit of '77.

I saw Star Wars two times that year: First, in July at the "Imperial 2" in beautiful downtown Barrie; then it was a tinny movie house in stunning uptown Barrie.

My favourite film in 1977 was Annie Hall. I saw it once.

Star Wars 49th: It Was Some Unknown Force

"... It's called Star Wars. One set alone cost twelve million dollars."

That is how I first heard of Star Wars. It was the spring of 1977. I had the Grundig stereo on in the living room and as I walked from the kitchen into the dining room I heard an on-air host from Toronto radio station CKFM say the magic words. My reaction to the announced set cost must have been one of awe ― I later learned that the movie cost about ten million dollars to make ― but it was the name of this mysterious new flick that really intrigued me.

Star Wars not only hit  the marketplace, but entered our culture....


That could have been the opening crawl to my two-part series recounting my introduction to Star Wars. It all started for me when I heard that radio piece. But everyone has a different story. And already I've read a few online; interesting stories, all.

In the pre-Internet age, it was a different game.

After learning of a new and anticipated movie going into production, one had to sometimes dig to learn more than what was readily available from the mainstream media outlets. For most pictures the wait was, more often than not, off our radars.

However, do not think for a moment that pre-release or pre-production hype used by the major film studios is a recently developed tool. Films from the 1970s were following an old model but with new tricks. Promotional featurettes, shot on 16mm film, were taken to a refined state during those years. Major studio productions like The Poseidon Adventure, The Towering Inferno, and King Kong were promoted heavily while they were still in production. In the case of Kong the casting of the new beauty was covered in local and national newscasts. I remember watching Buffalo television station WKBW late one evening and seeing newsfilm of Jessica Lange on stage holding a bouquet of flowers (it was a press conference).

Who could forget watching the excellent and dynamic promotional film showing the production crew of The Towering Inferno doing their magic? Irwin Allen directing over John Guillerman's head by using a megaphone was exciting and memorable. ("Mister Newman!") Accompanied by an authoritative but not staid voice over, bulldozers dug down into a sound stage floor in order to give the already voluminous space even more fly. These promotional shorts were nothing less than recruitment films. "I want to do that!"

By the time big pictures such as Poseidon, Inferno, Kong, Earthquake, and The Hindenburg hit the screens, an educated, of sorts, audience was awaiting. And I was an enthusiastic young member of that audience, in all five examples.

There was none of that for Star Wars. It just sneaked up on us....

Picturing: Shelley, Chris, Linda, Art & Design School

There were just those cool and fun kids back in Art & Design school. My God, looking at this picture now reminds me that I went to school with some pretty people — that might explain, and do so with incontrovertible evidence, why I'm the one taking the photo.

Postscript: Sharp-eyed readers will be able to peg this pic as being taken sometime in the 1980s.

Sunday Fun: Working Geek at the Computer Desk

John Kenneth Muir, a "film and television" critic and writer I much admire, once posted a blog piece looking at his home office. I was impressed by his large collection of film/tv toys, models, and dolls. I felt insecure as my abode is pretty spartan, at least there's not too much in the way of 'geek' elements to reveal too much about my youth.

Not long after seeing Mr Muir's posted photographic evidence, I happened to polish my computer desk: looking straight down revealed bits I had long blanked-out. One gets used to his or her surroundings and fails to notice what 'signifiers' there are; over and above the layer of dust....

For those readers who may not be familiar with the above photo's captured items, from left to right: U.S.S. Enterprise (Star Trek); Eric Cartman (South Park), Thunderbird 1 (Thunderbirds).

Postscript: I've not seen South Park in years, but I've long wondered if the German translation of South Park's resident kid-grump is "Erich Cartmann".

Picturing: Cat Playing Sentry on the Backyard Deck

Tigger was a great cat... trouble, but great.

Picturing: Toronto Film School Television Production

Early 1987: While a fellow crew produced their television drama, I popped up to the lighting grid and took some snaps. Humber College at that time had two studios: one for film production, and the one above. The studios were oriented end-to-end. Just outside the left of picture are large doors separating the two studios. Opening the doors allowed for one big stage. 

On the lower left is Bob Hillman; behind the camera is Tom Bellisario; the gent in the white shirt, holding the microphone boom, is Sean Kelly. All three, plus the photographer, went on to enjoy careers in "the biz", which is odd given that many graduates either decide not to enter, or try to enter, the film and television field, or give it a shot but don't stay.

Postscript: as per a mandate, the actors were drawn from the school's Theatre Arts department.

Quote: Me on Bigots on Immigrants Working at Tim's

"They [immigrants working at Tim Hortons] are up early each morning firing-up the coffee machines while their 'critics' are online fantasizing about girls they can't have and getting triggered by things they don't understand."

TV Guide: Southern Ontario Edition - Sept 22-28, 2001

Star Trek: Enterprise premiered on Wednesday, September 26, 2001. For some reason I decided to buy the above TV Guide, perhaps thinking it might be of some value some day... perhaps a day placed over 24 years later. Sorting through my paper archives, recently, unearthed something that might be of more value to collectors than moi.

As per my normal operating procedure with Trekkie shows, although no longer, I watched the first two episodes. For the premiere show, I journeyed down to Logan Avenue, here in Toronto, to watch with friend Neil. We were both unimpressed. Episode Two was all I needed to proclaim Star Trek: Enterprise a horrible series. Yes, I know that's not enough to accurately gauge a show's qualities, or lack of same. I did hear it got better. That I believe. (What sits down, must go up.)

By the way, I'm willing to sell that edition, that "Rogers Cable" edition, of TV Guide. Keep in mind that it is for the Southern Ontario broadcast market, which would include US border towns. Looking farther afield, maybe someone in Des Moines, Iowa, or Richmond, Virginia, would be interested in acquiring the book. It is in mint condition, as though it just came hot off the press — the pages between the covers have a newsprint texture and look, but the covers have nice four-colour saturation. Leave a comment below (which I won't publish) if you're willing to bid.

I don't know the series, and I'm not a collector in the traditional sense, so why keep it?

Jim Jarmusch on The Golden Rules of Filmmaking (5)

Golden Rule 1

"There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy — more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically."

Golden Rule 2

"Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary. Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat."

Golden Rule 3

 

"The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down."

Golden Rule 4

"Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…)."

Golden Rule 5

"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: 'It’s not where you take things from – it’s where you take them to.' "

Brilliant.

Picturing: On the Ocean!

I love ships and the sea.

Picturing: Shooting with an Arriflex 35 IIC

... with "Camera Operators' Face".

Picturing: Two Books Ordered — What Have I Done?

Imagine the look on my face when I opened the Amazon package and saw the two books above side by side. Such a simultaneous ordering was not planned, neither was my voluminous laugh out loud before I asked myself: "What have I done?"

Early this past week I learned that Michael Coren published a new book: Diary of a Low-Born Cleric - A Year in the Priesthood

Mid-week, while sorting and reorganizing my physical media (CDs/DVDs/BDs), I rewatched Llik Your Idols, a 2007 documentary on "The Cinema of Transgression"; not exactly "Cinema" right up my alley, but fascinating and appealing to my "Kick-Ass Cinema" side. It was time I ordered Deathtripping - The Extreme Underground, Jack Sargeant's definitive book on that school. He's one of the interviewees in Llik, no surprise, as is Nick Zedd, coiner of "Cinema of Transgression". 

The Reverend Michael Coren is an excellent writer. The Rebel Christ (2021) I reviewed here. Last summer I engaged with Heaping Coals - From Media Firebrand to Anglican Priest (2024), another terrific and enlightening read — and one often moving, to boot.

Last summer I relaxed with, what would prove to be, the perfect companion piece, a Carona beer, and enjoyed Nick Zedd's Totem of the Depraved (1997). I often laughed out loud.

What the books' respective endorsements have to say....

Deathtripping - The Extreme Underground

 "There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined."

 —  Nick Zedd

Diary of a Low-Born Cleric - A Year in the Priesthood

 "This godless heathen was enchanted, amused, and wholly engaged by Michael Coren's delightful   book. He could almost make me a believer."

 —  Stephen Fry

No doubt I will agree... in both cases.

Picturing: English Channel Ferry at the Port of Calais

At the Liaison of Independent Filmmakers of Toronto

Late this morning I made a trip over to the Liaison of Independent Filmmakers of Toronto (LIFT) to make a financial donation. While there I got into a discussion with Chris Kennedy, who was manning the front desk, about my history with the group: in the 1990s I donated a set of rewinds and a few 'split-reels', and in 2008 I taught a course on "Optical Printing". Formerly a Film Effects, Toronto machine, one I operated while employed there, before jumping ship to Film Opticals of Canada, Ltd., our reintroduction would prove to be a moving moment for me — film movement.

Chris asked me if I would like to say hi to my old flame; my emotions ran deep, and given my rubbery legs, I could only come up with a "I'd love to". On the way to the "Oxberry 1700" optical printer room, my guide took me to the equipment room and introduced me to Robin and Noah. The three of us got into a spirited discussion: parts technology, art, and reminiscence. They also showed me LIFT's "JK" optical printer, and the animation stands — more flashbacks to my days in "opticals". The only thing missing was Film Effects' old upright-Moviola editing machine.

Before venturing off to LIFT today, I was not anticipating such immersion.

Special thanks must go to Chris, Robin, and Noah for being such wonderful and charming hosts.

* * *

Postscript: some flicks I did titles and composites for utilizing the "1700": Only You, Dance Me Outside, M. Butterfly, Ghost Mom (originally titled "Bury Me in Niagara"), and Darkman III. By the way, the travelling split-screens for David Cronenberg's Dead Ringers were composited on this printer, but that was before my time at Film Effects. In the photo above, the film magazine (Mickey Mouse Ears) is mounted on a contact-printer in the background, another donated FE machine.

Athot for the Day: They Are Very Special

Along with women, cats are the most beautiful beings on this planet.

Quote: Irwin Panofsky on Art Types

"While it is true that commercial art is always in danger of ending up as a prostitute, it is equally true that noncommercial art is always in danger of ending up as an old maid."

Something for artists, and art buyers, to ponder.

Sunday Fun: That Buzz!

Years ago, a coffee-date conversation with an old friend made us both realize something....

* No work at all: Stress

* Some work: Stress

* Gainfully employed: Stress

The coffee, however, is always fine.

Fun note: I prepared to take a pic for this post and realized I'm out of coffee! Pardon the instant!

Blog Post: Too Much Physical Media (a Sampling)

You know how it is, ladies and gentlemen: we claim to not indulge too much in any one thing, but the truth is, when we take a step back, we realize that we do indulge too much, or at least a little more than claimed, in that "any one thing".

While undertaking some reorganizing here at home this morning, I pulled out my physical media: CDs, DVDs, and Blu-rays.

The best way to get that global perspective in this case, is to spread those discs out on the floor. "I'm not a big collector of physical media" is one of my biggest lies; just a few notches behind, "When I was a teen, I tried out for the Toronto Maple Leafs but was cut in the final round. Someone told me I was too good to be wasting my talents".

Yes, in the bottom right-hand corner, is the Blu-ray of that great Canadian feature film, Face-Off... starring Art Hindle, Trudy Young, and, the Toronto Maple Leafs.

What a mess....

Quote: Me on Pierre "PP" Poilievre

Pierre Poilievre walks, whines, slimes, through insentience and self-inflicted deprivation. A clump of peat moss has heuristic abilities superior to those of PP. At the risk of sounding like an armchair clinician, I'm guessing the poor guy is a maelstrom of psychoneuroses.