Indie Film Spotlight: "The Way Way Back"

Summer vacation at the beach may sound great to some people, but not to young Duncan, whose growing pains are exacerbated by his mom's mean spirited boyfriend in the new film The Way Way Back. The title refers to the rear end of a station wagon that serves as a seat and is frequently coveted by youngsters. Viewers initially meet Duncan (Liam James) in the way way back, as he deals with Trent (Steve Carell), who appears to be out to ruin the youngster's self image. Making things more difficult is the fact that Brent is the current boyfriend of his mother, Pam (Toni Collette), who seems oblivious to the burgeoning problems between them. The shy and introverted Duncan would rather be with his father instead of taking a trip to the beach with his mom and Trent.

Duncan is about to come of age, but needs something to push him to become the person that he is destined to be. He finds just that person, Owen (Sam Rockwell), at Water Wizz, a local water park. Owen is the antithesis of Trent and encourages Duncan to open himself up to new experiences, as well as being more friendly with the opposite sex. Eventually, Duncan starts working at Water Wizz, but decides not to tell his mom, who appears too preoccupied to notice him anyway. Duncan spends most of his time away from the beach house and away from Trent's aggravation. However, he discovers a secret that Trent has been hiding, but is not sure how to tell his mom. However, everything eventually comes out, as Duncan emerges from his shell, ready to claim his new life.

The Way Way Back is a familiar coming of age story that is elevated by the fine performances from the talented cast, including star Liam James, who receive more screen time than his veteran co-stars. Sam Rockwell is also well cast as the free spirited Owen, who grows to care for Duncan and appears to understand what he is going through. He realizes that Duncan needs encouragement and a proper role model/father figure in his life. In addition, Allison Janney is a breath of fresh air as another free spirit (there must be something in the water), Betty, who is friends with Pam. Janney lights up the screen in every scene in which she appears. Steve Carell, playing against type (unless you count his role as Gru in Despicable Me), is believable as Trent, an irritating and condescending cad.

Nat Faxon and Jim Rash serve as co-writers and co-directors and also appear in small roles. Their performances and their screenplay are both better than their direction, which seems to occasionally lose focus. When Duncan is front and center, The Way Way Back works best, but when the focus is on the bloated supporting cast and their assorted melodrama, it appears to lose steam. In any event, this coming of age film is a solid summertime viewing option that reminded me of the term "feel good movie of the summer" that was once overused and annoying, but is applicable to this entertaining and amusing Indie effort.

"POV" Kicks Off New Season of Independent Films Monday, June 24 on PBS

Garrison and Kevin in "Only the Young." Credit: Jason Tippet and Elizabeth Mims

 

 

POV (Point of View) launches its 26th season on PBS with a move to Monday nights at 10 p.m. (check local listings) starting Monday, June 24, 2013, underscoring PBS's commitment to independent film. POV's new season runs through October 14 and will conclude with winter specials. Here is a preview of the first four programs.

POV Summer Preview, June 24-July 15, 2013:

June 24: Homegoings by Christine Turner 
Through the eyes of Harlem funeral director Isaiah Owens, the beauty and grace of African-American funerals are brought to life. Homegoings takes an up-close look at the rarely seen world of undertaking in the black community, where funeral rites draw on a rich palette of tradition, history and celebration. With intimate interviews and archival photographs, the film paints a portrait of the dearly departed, their grieving families and a man who sends loved ones “home.” An Official Selection of MoMA’s 2013 Documentary Fortnight. A co-production of ITVS and POV’s Diverse Voices Project, with funding provided by CPB. A co-presentation with the National Black Programming Consortium (NBPC). Produced in association with American Documentary | POV.

July 1: Special Flight  by Fernand Melgar
This is a dramatic account of the plight of undocumented foreigners at a detention center in Geneva, Switzerland, and of the wardens who struggle to reconcile humane values with the harsh realities of a strict deportation system. The 25 inmates featured are among the thousands of asylum seekers and illegal immigrants imprisoned without charge or trial and facing deportation to their native countries, where they fear repression or even death. Special Flight is a heart-wrenching exposé of the contradictions between the country’s compassionate social policies and the intractability of its immigration laws.

July 8: Herman's House by Angad Singh Bhalla
Herman Wallace may be the longest-serving prisoner in solitary confinement in the United States—he’s spent more than 40 years in a 6-by-9-foot cell in Louisiana. Imprisoned in 1967 for a robbery he admits, he was subsequently sentenced to life for a killing he denies. Herman’s House is a moving account of the expression his struggle found in an unusual project proposed by artist Jackie Sumell, who asked Wallace to imagine his “dream home.” The film takes us inside the duo’s unlikely 12-year friendship, revealing the transformative power of art. A co-presentation with the Center for Asian American Media.

July 15: Only the Young by Jason Tippet and Elizabeth Mims
Follow three unconventional Christian teenagers coming of age in a small Southern California town. Skateboarders Garrison and Kevin, and Garrison’s on-and-off girlfriend, Skye, wrestle with the eternal questions of youth: friendship, true love and the promise of the future. Yet their lives are also touched by the distress signals of contemporary America: foreclosed homes, abandoned businesses and adults in financial trouble. With sun-drenched visuals and a soul-music soundtrack, Only the Young embodies the innocence and candor of its youthful subjects—and of adolescence itself.

Only the Young is shown with Nancy Schwartzman’s short xoxosms, the modern-day love story of a guy from small-town Illinois who reaches out to a beautiful New York City art student from Korea. They meet in the only place that such different people might ever find each other—online.



Independent Film Recommendation: "Mud"- Starring Matthew McConaughey

Mud can be described as a coming of age story, and that is accurate, but it is so much more. Writer/director Jeff Nichols has crafted a masterpiece that pays attention to detail, fully fleshes out the principal characters, and features an amazing cast of veteran actors and relative newcomers. The story is set in the southern United States along the Mississippi River, where two young teenage boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland), frequent a local, uninhabited island whose main attraction is a riverboat that is stuck in a number of trees. The boat serves as a tree house, of sorts, for the youngsters until they discover that someone else has been using it. Shortly thereafter, they encounter a drifter who goes by the name of Mud (Matthew McConaughey). Their initial meeting is tense as the surprisingly worldly young men size up Mud, who is actually running from the law, as well as the family of a man he killed.

The friendship between Neckbone and Ellis, along with their relationship with Mud serve as the two central storylines. Neckbone clearly looks up to Ellis and basically follows his lead as they decide to do what they can to help Mud, including reaching out to his old friend/father figure Tom Blankenship (Sam Shepard), contacting his love interest, Juniper (Reese Witherspoon), and stealing old parts so that he can rebuild the motorboat and escape to a new life. Of course, helping Mud and not telling his parents about it comes back to haunt Ellis, but he remains steadfast in his decision to do what he can for the drifter. Despite dealing with problems at home, both young men appear to have been raised well, but are caught in that difficult place between childhood and adulthood when hearts are easily broken, friendships seemed like they would last forever and coming to the understanding that things seldom turn out the way you expect them to.

The interplay between all of the characters feels authentic. In fact, Mud never hits a false note, which is impressive considering the large cast and their various storylines, which all come full circle by the end of the film. Neckbone and Ellis are trying to forge their own paths with the help of Mud, who provides words of wisdom about life and love. Mud seems like a decent person, but has made a few serious mistakes and yet the youngsters somehow empathize with his plight and do whatever is in their power to help, even when they are bound to pay a price for their actions.

The cinematography by Adam Stone is remarkable. The images of wildlife, along with the seemingly desolate landscape bring the rural surroundings to life and add greatly to the overall effort. In addition, Jeff Nichols brings out the best in his cast, which includes a supporting turn by Joe Don Baker and a mostly understated, but completely effective turn by Ray McKinnon, as Ellis's father. The sublime Sarah Paulson and Michael Shannon round out the talented cast. As good as all of the veteran actors are, it may be the performances of Sheridan and Lofland that viewers remember and talk about long after Mud has come to an end. This is surely one of best films of 2013, so if you have  a chance to see Mud, do not pass it up.

Indie Film Spotlight: "Emperor" - Starring Matthew Fox and Tommy Lee Jones

Previews for the recently released film Emperor may lead viewers to believe that Tommy Lee Jones is the star of the film, but he actually plays a supporting role, as General Douglas MacArthur. Matthew Fox assumes the lead role, as General Bonner Fellers, who is tasked by MacArthur with determining whether or not Emperor Hirohito was responsible for the decision to attack Pearl Harbor during World War II. Emperor is set in Japan shortly after the end of the war and MacArthur is leading the rebuilding efforts, as well as tying up loose ends for the U.S. government.

In addition to his investigation of Hirohito, Fellers attempts to learn the whereabouts of a woman, Aya (Eriko Hatsune), who he met in the United States and fell in love with when they were college students. Fellers uses his position to speed up the inquiry, which does not sit well with at least one of his fellow soldiers, whose jealousy gets the better of him. Meanwhile, Fellers experiences great frustration in his quest to learn the truth about Hirohito, but he understands how important character and loyalty are to the people of Japan, especially to high ranking officials who appear to be protecting their beloved Emperor.

Fellers and Aya's romance is told in flashbacks to when they first met and when he visited her family in Japan after her abrupt departure from the U.S. However, their relationship is not well established, so viewers may be apathetic to the outcome of that storyline. On the other hand, Fellers' often tense and sometimes dangerous meetings with Japanese officials are thoroughly interesting. Credit should be given to Matthew Fox for his conflicted and believable performance. Of course, Tommy Lee Jones delivers a solid, if familiar, turn as the legendary MacArthur, who appears to be equally grumpy as other characters Jones has perfected onscreen.

Emperor benefits from a swift pace, solid performances and is beautifully photographed. I was not only entertained during the film, but I felt like I learned something as well about the relationship between the U.S. and Japan, post WWII. However, the film is unable to sustain momentum throughout due to the mediocre execution of the romance between Aya and Fellers. 

Director: Peter Webber
Screenplay: Vera Blasi and David Klass 

Indie Film Spotlight: "Stoker" - Starring Matthew Goode and Mia Wasikowska

Photo Credit: Fox Searchlight

Family secrets permeate director Park Chan-wook's latest film Stoker. The characters speak in hushed tones so that eavesdroppers cannot hear the horrors that pass through their lips. The secrets include mental illness, the propensity to kill, incestuous attraction and sexual awakening through an unusual fetish. No, Stoker is not for a mainstream audience, but it takes chances that most films would never even attempt and that makes it unique. 

The story centers around the death of Richard Stoker (Dermot Mulroney) in an alleged automobile accident. During his funeral, Richard's brother, Charlie (Matthew Goode), who has allegedly been traveling the world for many years, makes an unexpected appearance. Charlie soon takes up with Richard's wife, Evelyn (Nicole Kidman), and a bizarre romance develops between them. In addition, Charlie also has his eye on Richard and Evelyn daughter, India (Mia Wasikowska). India is afraid of Charlie and does everything in her power to avoid him, but there is an unmistakable attraction and connection between them. 

India has good reason to fear Charlie, as two characters who challenge him soon disappear. However, India may actually see a family resemblance in Charlie that frightens her and soon emerges after being verbally abused by a classmate, Chris Pitts (Lucas Till), who she ends up stabbing in the hand with a pencil. Later, another classmate, Whip Taylor (Alden Ehrenreich), begins to romance India, who promptly bites his tongue, resulting in a lot of blood and more than one surprising twist in this foreboding tale. Indeed, Charlie and India are more alike than she would like to admit and they grow closer until the truth about where Charlie has been all of these years comes forth. The aftermath will change their lives forever. 

Stoker is populated with unlikable characters, but the ensemble cast deliver solid performances that will hold the attention of viewers, even through the mostly hushed dialogue that makes it difficult to sometimes hear what they are saying. However, the images and sounds tell the story here, from the facial expressions of the characters to the suspenseful music, by Clint Mansell, that can be heard throughout. Director Chan-wook creates a sense of unease that may leave some viewers squirming in their seats and wanting to look away, but finding themselves being unable to do so. While I did not expect a happy ending for any of these characters, I was surprised that the film's ominous tone became even darker as the story played out, right up until the conclusion. Indeed, Stoker is not a film for the faint of heart and can be best appreciated by not passing judgement on the characters, who are all in need of some sort of help in this twist filled thriller that will surely leave an impression, for better or for worse. 

Screenplay: Wentworth Miller

Indie DVD Round-Up: "The Deep Blue Sea" and "Weekend"

The Deep Blue Sea (2011)

The Basics: A deliberately paced drama, set during the 1950's, focusing on a love triangle. At the center is the beautiful Hester Collyer (Rachel Weisz), who is married to the much older High Court Judge Sir William Collyer (Simon Russell Beale). William provides her with financial security and a place in society, but he is rather emotionally aloof. His mother (Barbara Jefford) is very similar, but treats Hester with disdain, believing that she is not good enough for her son. Hester is secure, but not happy, so when she meets and begins an affair with a young Royal Air Force pilot, Freddie Page (Tom Hiddleston), who brings out her passionate side, she wants to believe that she can find the happiness that eludes her.

Reasons to Watch: The Deep Blue Sea features solid performances, but feels more like a stage play than a movie. That is not a criticism, just an observation. While I found the characters and their relationships to be realistic, I had trouble feeling empathy for any of them, since they are all unlikable. Kudos for the inclusion of the classic Jo Stafford song "You Belong to Me" during a group scene which finds many of the actors singing along.

The Bottom Line: A slow paced, well acted film with a character driven story that brings the demons out in every character. A solid Indie effort from writer/director Terrence Davies.



Weekend (2011)

The Basics: A romantic drama focusing on an encounter between two men, Russell (Tom Cullen) and Glen (Chris New), who are anticipating a one night stand, but their time together turns into something unique and special, prompting them to contemplate a relationship.

Reasons to Watch: The performances by the aforementioned actors are understated and completely believable. Russell appears to have fallen in love overnight, while Chris is more reserved about his feelings, but sees something unique about Russell that makes him reconsider previously made plans. I enjoyed listening to the duo talk about their night together in a comfortable, relaxed manner.

The Bottom Line: Quality Indie effort from writer/director Andrew Haigh that transcends a typical relationship drama and is accessible for any viewer, regardless of their sexual orientation. Potential viewers should be aware that the sound on the DVD (at least the one I rented) is not the best. During some scenes, I had to keep adjusting the volume because the sound was almost inaudible at times. In addition, there is not a subtitles option, which I sometimes use in a case such as this one. FYI.





Indie DVD Round-Up: "Salmon Fishing in the Yemen" and "Take This Waltz" (please!)

Salmon Fishing in the Yemen (2011)

The Basics: A wealthy sheikh wants to introduce salmon into the country of Yemen and hires a consultant, Harriet Chetwode-Talbot (Emily Blunt), to make that happen. Harriet turns to Fred Jones (Ewan McGregor), an expert in salmon fisheries, for assistance, but he rejects the idea. However, Fred soon finds himself pressured by a government official, Patricia Maxwell (Kristen Scott Thomas), to do everything in his power to honor the sheikh's request. Fred must then work with Harriet and, as a result, a romance blossoms between them.

Reasons to Watch: The performances from the aforementioned actors are terrific. Kristen Scott Thomas is particularly effective as the acid tongued official who always speaks her mind. Emily Blunt and Ewan McGregor display solid chemistry as the would-be couple whose road to happiness is often riddled with potholes.

The Bottom Line: The often amusing and sometimes hysterical screenplay, by Simon Beaufoy, which is based on the novel, of the same name, by Paul Torday, is sublime. The actors run with the dialogue with their tongues planted firmly in their cheeks. The result is a fresh, intelligent and well acted film that would have benefited by a shorter run time. Regardless, this is a quality Indie film that deserves to be seen.

Take This Waltz (2011)

The Basics: Romantic drama with some comedic elements that centers around the faltering relationship between a married couple, Margot (Michelle Williams) and Lou (Seth Rogen). Margot's restlessness is evident in her apparently humdrum relationship with the reliable, if boring and predictable, Lou. However, while on a business trip, Margot meets Daniel (Luke Kirby), who happens to be her neighbor. Margot clearly has more chemistry with Daniel than Lou and the two appear to fall in love after a series of encounters. Of course, that threatens the stability of Margot's relationship with Lou, so she must decide if she wants to stay married to someone who really loves her, or risk a potentially exciting new relationship with a man she has only known for a short period of time.

Reasons to Watch: The performances from the aforementioned cast members are generally good.

The Bottom Line: An overly long and often annoying film featuring obnoxious dialogue and a meandering screenplay, from writer/director Sarah Polley.

Independent Spirit Award Winners Include "Silver Linings Playbook" and "The Perks of Being a Wallflower"

The Independent Spirit Awards, honoring the best in Independent film, were announced this past weekend, the night before the Oscars. Silver Linings Playbook was the big winner, picking up four awards, while The Sessions captured two. I was very pleased to learn that The Perks of Being a Wallflower was named Best First Feature. See below for a complete list of winners from the Spirit Awards:

Best Feature Film - Silver Linings Playbook
Best Director – David O. Russell, Silver Linings Playbook
Best Lead Female Performance – Jennifer Lawrence, Silver Linings Playbook 
Best Lead Male Performance – John Hawkes, The Sessions 
Best Supporting Female Performance - Helen Hunt, The Sessions 
Best Supporting Male Performance – Matthew McConaughey, Magic Mike
Best Screenplay – David O. Russell, Silver Linings Playbook 
Best Documentary - The Invisible War
Best International Film - Michael Haneke, Amour 
Best First Feature – Stephen Chbosky, The Perks Of Being A Wallflower 
Best First Screenplay – Derek Connolly, Safety Not Guaranteed 
Best Cinematography – Ben Richardson, Beasts of the Southern Wild 
Robert Altman Award for Cast Ensemble – Starlet 
Piaget Producers Award – Mynette Louie, Stones in the Sun 
Someone to Watch Award – Adam Leon, Gimme the Loot 
Truer Than Fiction Award – Peter Nicks, The Waiting Room 
John Cassavetes Award for Under $500,000 – Middle of Nowhere 

DVD Round-Up: "Lola Versus" - Starring Greta Gerwig and "The Lucky One" - Starring Zac Efron

Lola Versus (2012)

The Basics: Independent film focusing on the relationship problems of lovable, yet sometimes annoying, Lola (Greta Gerwig). Early on, Lola is dumped by her fiance, Luke (Joel Kinnaman), and then she pursues a series of hapless flings with men who are clearly not right for her. With support from her friends, Lola tries to move forward with her life, but Luke always seems to be around, making it difficult to close that chapter completely.

Reason to Watch: Greta Gerwig delivers another fine, if understated, performance as Lola. In addition, there are a few laugh out loud moments, courtesy of the passive aggressive nature of the characters.

The Bottom Line: While the performances are generally adequate, what Lola and some of her friends really need to do is take some time to be alone and figure out what they really want/need, instead of hopping in and out of relationships that always seem to end badly. The pursuit of love looks a lot like desperation here. As a result, it is difficult to empathize with characters who may be causing all of their own problems because of a constant need to be with someone. In this case, a little common sense and self worth might go a long way.

The Lucky One (2012)

The Basics: Based on the novel by Nicholas Sparks, The Lucky One centers around a soldier, Logan Thibault, who returns home after a third tour of duty in Iraq. Logan recently escaped being serious injured or, perhaps, killed by a bomb when he went to pick up a photo of a young woman lying on the ground. As a result, he believes that the woman is his guardian angel and he attempts to track her down upon his return home.

Reasons to Watch: Zac Efron is continuing to hone his craft and delivers a believable and appropriately understated performance. In addition, Blythe Danner, as Ellie, is a always a joy to watch and the New Orleans scenery is lush and beautiful.

The Bottom Line: The success of this film hinges on the relationship between Logan and Beth (Taylor Shilling) and there is not enough chemistry between them to make me believe that they are destined to be together. In addition, there are numerous scenes that feel forced and amateurish, as the two lead characters try to build something special, but never quite succeed. Finally, the overabundance of melodrama makes The Lucky One feel more like a Lifetime movie than a major motion picture.

DVD Recommendation: "One Hour Photo" (2002) - Starring Robin Williams

One Hour Photo is one of those films that had been in my Netflix queue for a long time, but kept being pushed back in favor of new releases. Recently, the film finally arrived in the mail and I was surprised at how much I enjoyed watching it. Of course, had Robin Williams not been cast as the lead character, I may not have had any interest in seeing One Hour Photo in the first place. Williams has long been one of my favorite actors and he delivers a superb performance as lonely Sy Parrish, a photo technician, who works at a generic superstore.

Sy is amiable, diligent and courteous, but is also quirky and not always easy to read. Sy knows his regular customers by heart and goes above and beyond for them, even when they would rather he did not go to any trouble. While Sy appears to be unselfish, he is actually very selfish and displays a mean streak on occasion, usually when he does not get his own way. As long as everything goes as Sy expects it to, then he is happy, but when his comfort zone is breached, look out.

Sy appears very attached to regular customers Nina Yorkin (Connie Nielsen) and her son, Jake (Dylan Smith), who have been frequenting the photo shop for years. He feels so comfortable with them that he always makes extra copies of all of their photos....and then keeps a set for himself. Sy does not have a family of his own, so he creates one from fantasy. Only he knows the people involved and hopes to be an important part of their lives one day. However, they do not seem to be aware of his unhealthy attachment.

The unstable Sy is outraged when he develops pictures for a customer and finds Nina's husband, Will (Michael Vartan), is compromising positions with another woman. Sy is offended that Will would cheat on Nina and disrupt their "perfect" family. He is further aggravated when his supervisor, Bill (Gary Cole), fires him for stealing prints. Indeed, Sy's world is falling apart and he feels the need to makes things right/exact revenge for the emptiness that permeates his life. Sadly, the Yorkin family has no idea what Sy has in store for them.

Writer/director Mark Romanek has crafted a spellbinding, low key film that caught me by surprise. Romanek's screenplay is chilling and the psychological ramifications are beyond disturbing. In addition, Robin Williams delivers an completely effective and unforgettable performance as a man who could literally go crazy at any moment. As a result, viewers fear for Nina and Jake, who are innocent victims. While One Hour Photo is rather uncomfortable to watch, I was completely invested for the 90 plus minute run time. My only complaint is that I waited a decade to watch this captivating thriller that will surely stay with me for some time to come.

Indie Film Spotlight: "Hyde Park on Hudson" Starring Bill Murray and Laura Linney

When Margaret Suckley passed away in 1991, her private journals and diaries revealed an affair with her cousin and then President, Franklin Delano Roosevelt, in 1939. That alleged affair has been adapted by writer Richard Nelson for the film Hyde Park on Hudson. Of course, Hyde Park refers to the home of FDR and serves as the setting for much of the film. While the relationship and romance between Margaret (Laura Linney) and Franklin D. Roosevelt (Bill Murray) is the primary focus of Hyde Park on Hudson, another storyline, featuring a visit from England's King George VI (Samuel West) and his wife, Queen Elizabeth (Olivia Colman), consumes an ample amount of time.

As the film opens, Margaret is summoned to Hyde Park to act as a companion for FDR, even though his wife, Eleanor (Olivia Williams), and an assistant, Marguerite LeHand (Elizabeth Marvel), are also present. Roosevelt takes a liking to the rather innocent and naive Margaret and their relationship turns romantic during a drive out to the country. Margaret seems to believe that she is the only woman in the President's life, besides Eleanor, of course, which leads to a broken heart when she discovers his other affairs (no, that is not a spoiler). Margaret feels even more alienated when King George and Queen Elizabeth arrive and learns that she is not invited to a dinner in their honor.

After the dinner, FDR and King George have a private meeting and discover that they have similar reasons for wanting to spend time together and they both involve the impending war. Meanwhile, Queen Elizabeth takes exception to the wallpaper in the room they are staying in, which negatively depicts British soldiers. She is even suspicious of the Roosevelt's decision to serve hot dogs as the primary menu item for a picnic lunch the following day. The Queen's concerns, bordering on paranoia, add much needed humor and provide a balance to the more dramatic material.

Laura Linney delivers strong work as the somewhat frumpy Margaret, who has limited life experience, which may have been why she was chosen to act as the President's companion. Bill Murray is also quite good, as usual, and is made to look very much like Franklin Roosevelt. His hairstyle and hair color, as well as his complexion, are eerily similar, but I do not think that his vocal stylings were quite right, but I have not heard FDR's voice on film for some time, so I could be mistaken. One scene, featuring FDR and King George, is quite effective and shows how understanding and supportive the President was towards the King's speech impediment (which was the subject of the award winning film The King's Speech). The aforementioned talented supporting cast deliver fine work, too.

I appreciate director Roger Michell's low key approach to the film, as well as the music, which is subdued and appropriate. However, while Hyde Park on Hudson is relatively short, with a run time of just over 90 minutes, the film does not always flow easily, which becomes distracting. In addition, since I am not a student of history, I cannot speak to how historically accurate the film is and I have no idea if the information in Margaret Suckley's diaries and journals has been verified. Whether the film is fact or fiction, or perhaps a mixture of the two, it is an entertaining period piece with much to offer. 

Movie Recommendation: "Hitchcock" - Starring Anthony Hopkins and Helen Mirren

Photo Credit: Fox Searchlight

The master of suspense was clearly not the master of domestic bliss, at least during the making of his classic film Psycho, which is the center of attention in the recently released film Hitchcock. The great Anthony Hopkins plays the titular director, who apparently relied on his wife, Alma (Helen Mirren), for a great deal of support during the filmmaking process. Like Hitchcock, Alma was very intuitive and extremely protective of her husband's legacy. She placed his career ahead of her own and seemed happy to allow him to receive the lions share of credit. That became more challenging when Hitchcock was faced with financing Psycho himself because of concerns from the studio over the content of the film, which would lay the foundation for the modern horror film.

While husband and wife bicker throughout the film, they clearly feel comfortable around each other and also share a deep respect for one another. However, their marital problems are obvious. They sleep in separate beds, Alma does not appear to be receiving the attention that she deserves and needs, while Hitch (hold the cock, as he suggests), appears to struggle with the blond buxom beauties that he hires for many of his films. In the case of Psycho, there was Janet Leigh (Scarlett Johansson), who portrays the doomed Marion Crane, and Vera Miles, who portrayed Marion's sister, Lila. While Leigh shared a mutually respectful and professional relationship with Hitch, the same cannot be said for Miles. Apparently, Hitch wanted to make her a star, but she placed her family first, which left him feeling betrayed and bitter towards her. He even asks himself during the film why his would-be stars always seemed to betray him?

Hitchcock also examines the real life story that spawned the idea for the film and features several scenes that attempt to psychoanalyze the late, great director. Despite his talent and success, he experienced many of the same struggles that everyone else faces, especially in terms of making a relationship work. Of course, he had his own unique way of handling those issues, which usually consisted of passive aggressive behavior that elicits many laughs throughout the film. Hitch and Alma seemed like the epitome of an older married couple who seem to know how much nonsense they can get away with without inflicting any permanent damage. And they do each hurt other.

The performances from Hopkins and Mirren are the centerpiece of the film and are one of the primary reasons why it works so well. Hopkins is especially good at mirroring Hitchcock's use of psychology, which allowed him to reign over his cast and crew. There was no mistaking that he was in charge and was also the smartest guy in the room. The supporting cast features solid performances from the aforementioned Scarlet Johansson and the reliable Danny Huston, as Whitfield Cook, a writer and potential suitor who showers Alma with attention that Hitch either can not or will not give. Another key component to the film is the make-up that is used to transform Hopkins into Hitchcock For the most part, it works well, especially in profile and from the back. However, the two men do not resemble each other enough (in the face) to be completely convincing, but it is an admirable effort.

The screenplay, by John J. McLaughlin, is based on the book, Alfred Hitchcock and the Making of Psycho, by Stephen Rebello, and features a good mix of drama, psychology and more humorous moments, particularly when the equally cerebral Hitch and Alma do battle. I also enjoyed the cinematography (by Jeff Cronenweth), the music (by Danny Elfman) and the attention to detail that made the late 1950s and early 1960s come to life on screen. As a longtime fan of Alfred Hitchcock I appreciated the considerable effort put forth here and even though I expected the film to focus more on the making of Psycho, I enjoyed learning about the personal lives of Alma and Hitch, although I am not sure how much of it is completely accurate.

Movie Snapshot: "A Late Quartet" - Starring Christopher Walken

Play classical music. Insert melodramatic plot twist. Rinse and repeat. A Late Quartet stars Christopher Walken, Catherine Keener, Philip Seymour Hoffman and Mark Ivanir, as a string quartet celebrating their 25th anniversary, while also dealing with a series of personal setbacks that may threaten their future. Cellist Peter Mitchell (Walken) experiences weakness in his left hand which may signal the onset of Parkinson's disease, married couple Robert (Hoffman) and Juliette (Keener) have an unexpected argument that bruises Robert's ego and leads to a poor decision on his part, and Daniel (Ivanir) falls in love with someone close to the group, which causes even more problems among the quartet.

When the focus is on the music and the Fugue quartet practices for Beethoven's String Quartet No. 14, Op. 131, the film works well. The four lead actors look natural as musicians, although the music viewers hear is by the Brentano String Quartet, and they realistically behave as though they have known each other for many years. While it is important to explore characters, the screenplay, by Yaron Zilberman and Seth Grossman, gets bogged down in the sordid details of their personal lives of three of them. As a result, I did not particularly care for or about Robert, Juliette or Daniel, despite the performances from the aforementioned actors.

A Late Quartet is initially anchored by Peter's medical problems, which works well, courtesy of the understated and completely effective work from Walken. However, the film then loses momentum and focuses on the aforementioned sordid details of an affair and a love affair, neither of which ring true. Further problems result from a miscast and completely obnoxious supporting character. I also found myself losing interest intermittently throughout the film, especially when Walken, Keener and Hoffman are absent. My anticipation was high for A Late Quartet, but I was somewhat disappointed in the overall film. The talent is present to produce something memorable, but the execution is lacking.

The 2013 Independent Spirit Award Nominees

John Hawkes and Helen Hunt (pictured above), from The Sessions, are two of the worthy nominees of this year's Independent Spirit Awards, which will be presented on Saturday, February 23, 2013. Hawkes is nominated for Best Male Lead, but faces tough competition from Jack Black (Bernie) and Bradley Cooper (Silver Linings Playbook), while Hunt is nominated for Best Supporting Female. The aforementioned Silver Linings Playbook snagged five nominations in all, including Best Feature, Best Female Lead (Jennifer Lawrence), Best Director and Best Screenplay (both nods for David O. Russell).

Moonrise Kingdom was also honored with five nominations, including Best Feature, Director (Wes Anderson), Screenplay (Wes Anderson and Roman Coppola), Supporting Male (Bruce Willis) and Cinematography (Robert Yeoman). Three Spirit nominations went to Beasts of the Southern Wild, including a nod for Quvenzhané Wallis for Best Female Lead, even though she was only five years old when the film was produced. I was pleased to learn that Martin McDonagh received a nomination for Best Screenplay for the smart and often hilarious Seven Psychopaths. The film also received a nod for Best Supporting Male (Sam Rockwell).

One of my favorite films from this past year, The Perks of Being a Wallflower, received just one nomination, for Best First Feature (Steven Chbosky). I was hoping Logan Lerman, Ezra Miller and Emma Watson would score acting nods for their tremendous work as well. Finally, congratulations to Matthew McConaughey for snagging two acting nominations, for Best Male and Best Supporting Male, for Killer Joe and Magic Mike, respectively.

Here is a list of the nominees for the 2013 Independent Spirit Awards:

BEST FEATURE
Beasts of the Southern Wild
Bernie
Keep the Lights On
Moonrise Kingdom
Silver Linings Playbook

BEST DIRECTOR
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs, Keep the Lights On
Benh Zeitlin, Beasts of the Southern Wild

BEST SCREENPLAY
Wes Anderson & Roman Coppola, Moonrise Kingdom
Zoe Kazan, Ruby Sparks
Martin McDonagh, Seven Psychopaths
David O. Russell, Silver Linings Playbook
Ira Sachs, Keep the Lights On

BEST FIRST FEATURE
Fill the Void
Gimme the Loot
Safety Not Guaranteed
Sound of My Voice
The Perks of Being a Wallflower

BEST FIRST SCREENPLAY
Rama Burshtein, Fill the Void
Derek Connolly, Safety Not Guaranteed
Christopher Ford, Robot & Frank
Rashida Jones & Will McCormack, Celeste and Jesse Forever
Jonathan Lisecki, Gayby

BEST FEMALE LEAD
Linda Cardellini, Return
Emayatzy Corinealdi, Middle of Nowhere
Jennifer Lawrence, Silver Linings Playbook
Quvenzhané Wallis, Beasts of the Southern Wild
Mary Elizabeth Winstead, Smashed

BEST MALE LEAD
Jack Black, Bernie
Bradley Cooper, Silver Linings Playbook
John Hawkes, The Sessions
Thure Lindhardt, Keep the Lights On
Matthew McConaughey, Killer Joe
Wendell Pierce, Four

BEST SUPPORTING FEMALE
Rosemarie DeWitt, Your Sister’s Sister
Ann Dowd, Compliance
Helen Hunt, The Sessions
Brit Marling, Sound of My Voice
Lorraine Toussaint, Middle of Nowhere

BEST SUPPORTING MALE
Matthew McConaughey, Magic Mike
David Oyelowo, Middle of Nowhere
Michael Péna, End of Watch
Sam Rockwell, Seven Psychopaths
Bruce Willis, Moonrise Kingdom

BEST CINEMATOGRAPHY
Yoni Brook, Valley of Saints
Lol Crawley, Here
Ben Richardson, Beasts of the Southern Wild
Roman Vasyanov, End of Watch
Robert Yeoman, Moonrise Kingdom

BEST DOCUMENTARY
How to Survive a Plague
Marina Abramović: The Artist is Present
The Central Park Five
The Invisible War
The Waiting Room

BEST INTERNATIONAL FILM
Amour (France)
Once Upon A Time in Anatolia (Turkey)
Rust And Bone (France/Belgium)
Sister (Switzerland)
War Witch (Democratic Republic of Congo)

JOHN CASSAVETES AWARD – (for features under $500,000)
Breakfast with Curtis
Middle of Nowhere
Mosquita y Mari
Starlet
The Color Wheel

Indie Film Spotlight: Zac Efron is All Grown Up in "The Paperboy"

Films set in the southern states have always appealed to me. Among my favorites are Hush....Hush, Sweet Charlotte and Body Heat, which both feature quirky characters, large estates, sweltering heat and an element of murder. Perhaps it is the heat that makes people do crazy things. For instance, when Charlotte Hollis (Bette Davis) brandishes a shotgun to the construction crew who are trying to bulldoze her home in Hush....Hush, Sweet Charlotte, or when Ned Racine concocts a scheme to murder the husband of his generous and passionate lover, Maddie Walker (Kathleen Turner), in Body Heat. The heat may also be a contributing factor in the bizarre behavior depicted in director Lee Daniels' latest film The Paperboy, which is set in southern Florida in the late 1960s.

Like the aforementioned films, The Paperboy features quirky characters, sweltering heat and an element of murder. It more closely resembles Body Heat in its approach to sexual longing and passion. That is made abundantly clear when young Jack Jansen (Zac Efron) is shown wearing only his underwear in multiple scenes, which fully displays his lean and muscular body. Of course, it is very hot and Jack wants to keep cool (while offering titillation to viewers, no doubt). As the film moves along, we learn that Jack has not had sex in quite some time, which appears to be directly related to his absent mother, who left the family for a new life across the country (calling Dr. Freud). Jack manages to keep his sexual urges in check until a older woman, Charlotte (there's that name again), played by Nicole Kidman, arrives in town to meet with Jack's brother, Ward (Matthew McConaughey), who is investigating a murder case that resulted in Charlotte's husband, Hillary Van Wetter (John Cusack), being sent to prison.

Charlotte is not quite what you might expect. She covers up her beauty with too much make-up and a messy hairstyle, but Jack sees something in Charlotte, perhaps his own mother, that gets him all hot and bothered. While Charlotte may appear to be trashy, she intends to be faithful to Hillary, even though she understands that Jack wants to have sex with her. That does not deter Jack, who becomes sullen when the sexual temptations become too much to handle. Instead of finding a more appropriate relationship, he decides to wait for Charlotte. His patience is admirable, but not necessarily believable.

Meanwhile, Ward and his partner, Yardley (David Oyelowo), have reason to believe that Hillary did not commit the murder that he has been imprisoned for. As a result, the men place themselves in dangerous situations with a potential suspect and even during prison visits with Hillary, who seems like he has the capacity to kill. Eventually, Jack becomes involved with Ward's investigation, thanks to his longing for Charlotte, thus putting him in danger, too. The Paperboy is told in flashbacks, as the Jansen maid, Anita (Macy Gray), recounts what happened to the Jansen brothers. Gray's voice is immediately recognizable and she delivers a fine performance.

Zac Efron receives more screen time than his veterans co-stars and delivers a surprising performance in terms of depth. Yes, his physical attributes are on display most of the time, but there is much emotion simmering beneath the surface, including desire, anger, frustration and loneliness. Jack looks like he could erupt at any moment, but he keeps his emotions bottled up for the most part. However, they eventually come spilling out during the final 15 minutes, which gives Efron a platform to show how well he has developed as an actor.

The Paperboy is a very different kind of film that deals with a few unexpected and unorthodox situations. They including Hillary and Charlotte achieving orgasm without touching, Charlotte urinating on Jack after he is stung by a jellyfish, and a few scenes of brutality that I, personally, could have done without. Clearly, Lee Daniels, who also wrote the screenplay, which is based on the novel, of the same name, by Pete Dexter, is not afraid to delve into the depravity of these characters and their sordid lives. As a result, he elicits interesting performances from his cast, who are up for the challenge. I liked The Paperboy enough to want to watch it a second time, mainly because of the performances, cinematography and music, but I realize that I may be in the minority.

"The Master" - Starring Philip Seymour Hoffman and Joaquin Phoenix

Photo Credit: The Weinstein Company

Individuals with a troubled past and a fractured family tend to be easy targets for cult leaders. After all, they are longing for someone to care about them and perhaps explain why their life has been so tough. Is it their own fault, or just God's will? Those lost children, of any age, jump at the kindness and attention that can be bestowed upon them by the crafty cult members who are looking to garner an army of supporters in order to build their organization. This is the set-up for writer/director Paul Thomas Anderson's latest film The Master, starring Joaquin Phoenix and Philip Seymour Hoffman.

Phoenix portrays Freddie Quell, a soldier returning from the second World War, who is battling post traumatic stress disorder and a sex addiction. His father has passed away and his mother is apparently confined to an institution. His only other close familial tie is to his aunt, but the nature of their relationship is unhealthy, to say the least. Freddie did have a girlfriend, but he did not bother to contact her when he came home from the war. So, he is alone and drifting until he stows away on a boat owned by Lancaster Dodd (Hoffman), who offers Freddie a place to stay and speaks to him about his organization, known as "The Cause." Dodd appears to like Freddie, but he may just see an easily manipulated young man who is lost in every sense of the word. Freddie also happens to be an alcoholic and can become violent in an instant. In other words, he needs help and Dodd seems eager to be there for him.

Dodd can offer Freddie guidance and care for his everyday needs and the price is simple loyalty, which Freddie readily gives. He hangs on Dodd's every word, even when others within "The Cause" understand that Dodd is making things up as he goes along. Freddie even exacts physical revenge on those who question his "master" and his sometimes outrageous claims. Eventually, Dodd is arrested for dispensing medication without a license. During the arrest, Freddie attacks several officers and is also taken away. After being thrown in jail, Freddie has a meltdown and a serious argument with Dodd ensues. Freddie accuses him of lying and they have a falling out. However, all is forgiven when Freddie returns to the home of one of Dodd's supporters, as they aggressively embrace each other, which may lead viewers to wonder what type of relationship the two of them actually share. It appears to be far stronger than just a teacher and a student or even close friends.

Freddie's behavior, including his excessive drinking do not go unnoticed by others in "The Cause" and he is encouraged to clean himself up if he intends to stay. He promises to do just that, but soon falls back into his old ways. Instead of finding salvation, Freddie continues to become more disillusioned and lost during his time with Dodd, but he really does not seem to fit in anywhere. He needs help, but is not getting it from "The Cause," which further complicates his relationship with Dodd and prompts him to make a change.

The performances by Hoffman and Phoenix buoy The Master, but I am not sure if I understand what the film is really about. It appears to be a character study of two unique individuals and not necessarily a cautionary tale of the repercussions of being a cult member. In fact, I am not sure if the true purpose of "The Cause" is ever discussed in detail. Yes, Dodd is in charge and most everyone goes along with what he says, but what is he really offering his members, other than a place to stay and food to eat? When they hang on his every word and believe everything he says, Dodd is able to manipulate them with lies and false promises and thus takes away their free will. I wish more time would have been devoted to explaining the meaning of "The Cause" and why so many members stuck around.

As good as the performances are, they cannot sustain a two plus hour film, which seems to meander around. While the subject matter is thought provoking, it is also very dark and depressing, which is not easy to watch. Even though I wanted Freddie to get the help he desperately needed, he is unlikable, as is Dodd, so it is difficult to find anyone to root for or really care about. To make matters worse, both characters continue to hurt others as the film goes along, making them both even less appealing.

The talented supporting cast, including Amy Adams, Laura Dern and Jesse Plemmons (Friday Night Lights), are not used enough or to their full potential. I also felt rather cheated with how The Master concludes, as I expected more resolution between the lead characters. In any event, the film is worth seeing for the performances and the technical aspects, including the top notch cinematography, but do not expect to be enlightened by Paul Thomas Anderson's screenplay.

The Master is still playing in limited release.

Movie Recommendation: "Arbitrage" - Starring Richard Gere

Photo Credit: Lionsgate

Why is it so difficult for some people to do the right thing? Of course, when someone potentially has billions of dollars at their disposal, it may be possible to buy their way out of anything, so he/she may forego doing the right thing because there may be no real consequences. However, having those resources does not absolve anyone of their guilt and hedge fund manager Robert Miller (Richard Gere) learns that the hard way in writer/director Nicholas Jarecki's Arbitrage.

Robert Miller is a troubled man who is trying to hide the financial state of his company by manipulating earnings reports and is also carrying on an affair with a much younger woman, Julie (Laetitia Casta). Miller believes that he can secure the capital necessary to protect his future, albeit through deception. However, that problem pales in comparison to the one he encounters when he falls asleep at the wheel while driving late at night with his mistress, which results is a crash that claims her life. Instead of reporting the accident to the authorities, Robert calls a friend to pick him up and leaves the scene of the crime. He suspects that he may get away with it because the car eventually went up in flames, thus burning any forensic evidence.

However, the police soon come calling when a connection between Robert and Julie is established. While Robert's wife, Ellen (Susan Sarandon), knows what her husband has been up to, she decides to hold the cops at bay in order to protect her family, but she also has something in mind to settle the score with the wayward Robert. Meanwhile, Robert's daughter, Brooke (Brit Marling), who works as an executive in the company, begins to learn that the financial statements have been fudged and is afraid that she may be implicated, along with her father, if the truth comes out. And it always does.

Arbitrage taps into the recent financial scandals that have plagued the nation and also examines the lack of culpability that is expressed by those individuals who believe that they can buy and deceive their way out of anything. Even though Robert Miller is unlikable and completely selfish, he is very intelligent and resourceful, as he leverages his contacts and people that he has helped in the past to assist him in getting out of the mess that he has made of his life. Robert clearly loves his daughter, but even she is not immune to his greed and deception. When Brooke confronts her father with the truth, he actually looks like he feels guilty for causing her pain. The character runs the emotionally gamut throughout the film and Richard Gere perfectly conveys Robert's strength, intelligence, pain and vulnerability in a spectacular performance. While I did not want to see Richard get away with his crimes, I marveled at watching him weave a labyrinth of deceit that causes much pain for everyone he allegedly cares about. Could he really get away with everything because of his wealth and power? A check of recent history reveals that, yes, he could, but at what personal cost? The answers may be uncomfortable to contemplate, but they make for a fascinating and cerebral film.

Arbitrage is still playing in select theaters and is available On Demand.

Indie Spotlight: John Hawkes and Helen Hunt shine in "The Sessions"

Photo Credit: Fox Searchlight

John Hawkes has mastered the art of playing the villain in films such as Winter's Bone and Martha Marcy May Marlene. However, he completely switches gears for his latest role, as poet and polio survivor Mark O'Brien, in the recently released film The Sessions. Based on a true story, O'Brien contracted polio at a young age and essentially lost his mobility, except in his head and face, and he needs the assistance of an iron lung to breathe. As Mark approaches middle age, he decides that he wants to lose his virginity before he dies and initially consults a priest, Father Brendan (William H. Macy), for guidance. Father Brendan, sympathizing with Mark's plight, takes a liberal stance with the request, but clearly has conflicting emotions, which are conveyed perfectly by the always reliable Macy, whose comedic talents are razor sharp.

After falling in love with at least one of his caretakers, the ever charming, positive and intelligent Mark seeks out a sex surrogate, Cheryl Cohen Greene (Helen Hunt), since he is unsure how long he has to live. He does not have the patience to wait any longer and despite feelings of love being reciprocated by other women, they cannot get past their own issues to allow themselves to be fully loved by Mark. The initial meeting between Cheryl and Mark does not go well, mainly because of nerves and their unusual relationship. However, over time Cheryl and Mark become closer than either one of them suspected, which places Cheryl is a difficult situation, because she is a professional and is only able to see Mark for a fixed number of sessions.

It is impossible for those who encounter Mark not to like him. He endears himself to others just by being himself. He is incredibly funny and completely likable. He is also devoid of sentimentality and there is not even a hint that he feels sorry for himself. Mark has made the best of his situation and has lived longer than anyone thought possible, which makes a strong case for the power of the mind to overcome physical illness. Cheryl is impressed with Mark's resolve and finds herself being drawn to him, as she helps him explore his body and discover what feels good. This causes problems for Cheryl, who is married. When her husband, Josh (Adam Arkin), finds a letter, complete with a poem, from Mark, he promptly throws it away, but Cheryl picks through the trash in the middle of the night to find the letter and allow herself to feel something with Mark that she cannot with Josh. Their sessions together become the centerpiece of this film, which will make you laugh one moment and then cry the next.

John Hawkes and Helen Hunt are phenomenal in the respective roles, which should garner award season attention. Of course, Hawkes has the more difficult job, as he is limited to using only his facial features and vocalizations to convey the many emotions that Mark is experiencing for the first time. Nevertheless, Hawkes completely becomes the character and pulls viewers in with little effort. Hunt, who has been absent from film for some time, delivers some of her best work to date, as the patient and caring Cheryl, who tries her best to remain professional at all times. Hunt should also be credited for appearing nude in several scenes, which is very brave for any actor.

Writer/director Ben Lewin's screenplay is also award worthy and constantly walks the tightrope between comedy and drama, with outstanding results. The various emotions that viewers are likely to feel throughout the film are a testament to the genuine nature of the screenplay and to the aforementioned performances, which also feel completely authentic. The fact that the film is based on a true story will make viewers marvel at what someone can do with their life with limited mobility, a positive attitude and a huge heart that is not afraid to be broken. 

DVD Round-Up: Gus Van Sant's "Paranoid Park" and Bryan Singer's "The Usual Suspects"

Paranoid Park (2007)

The Basics - Alex (Gabe Nevins), a teenage skateboarder, unintentionally causes a security guard to fall to his death. He tries to get rid of any potential evidence, but the police soon come calling.

Reasons to Watch - Gabe Nevins delivers a subtle, understated and convincing portrayal of a good kid whose future is threatened because of an accident. Gus Van Sant's low key direction is effective and the screenplay's sparse dialogue is appropriate, considering Gabe is trying to figure out how to stay out of trouble, while dealing with his guilt over the security guard's death. The soundtrack and cinematography are both memorable.

The Bottom Line - A slow paced Independent film that held my attention right up until the end. However, I felt kind of cheated because I expected some sort of resolution, but it is ultimately up to viewers to decide Gabe's fate.

The Usual Suspects (1995)

The Basics - A small time con man, Verbal Kint (Kevin Spacey), undergoes interrogation by U.S. Customs agent Dave Kujan (Chazz Palminteri) concerning a massacre aboard a ship docked near Los Angeles. The film is told in flashbacks, as Kint relays a remarkable story about a group of criminals who are working a job for Keyser Söze, a notorious mob boss, which ends with the massacre.

Reasons to Watch - The screenplay, by Christopher McQuarrie, and the performance by Spacey were both awarded Oscars, for Original Screenplay and Supporting Actor, respectively. The Usual Suspects is a film for intelligent viewers that features an outstanding cast and an ending which caught me completely by surprise.

The Bottom Line - I do not know why it took me so long to watch The Usual Suspects, but I am glad I finally did. I must admit that I was not completely sold on the film until the very end, when everything made sense and I could appreciate the substantial effort put forth here from all involved. A great film loaded with surprises.

"The Independent Filmmaker’s Guide" by Glenn Berggoetz

Fifteen years ago, making a feature film meant spending a minimum of $20,000 and three to five years from start to finish. With the advent of digital cameras, no longer must a filmmaker invest a small fortune into film. Did you know you can make a great feature film in four months and with less than $2,000? In The Independent Filmmaker’s Guide (Limelight Editions, $14.99), award-winning filmmaker Glenn Berggoetz explains exactly how to pull it off.

This book debunks myths such as you should only write a few pages of the script each day, you need to hit up friends and family for funding, you can’t cast yourself in the film, you have to get a permit to film on location, storyboarding is a must, and filmmaking is a great way to hook up with babes.

Berggoetz’s advice ranges from “Make sure you always let everyone on your slate audition before offering anyone a role. The best person for the role might be the first person to audition, but also might be the very last person to audition,” to “Here are some tips for making sure you have the money you need to make your films. First, if you’re not married, don’t get married. If you are married, don’t take on any extra lovers. Spouses and lovers cost money to keep happy, so keep them to an absolute minimum.” With witty, easy-to-read writing, this guidebook is more fun than any filmmaking book you’ve ever thought about picking up!