Interview//Break On Through to the Other Side//SOMA

Originally published in the April issue of SOMA
Break on Through to the Other Side
Text Jesi Khadivi

Tom DeCillo has never made a documentary film before. The New York based director, who gave Brad Pitt his first leading role in the film Johnny Suede back in 1991, generally leans towards dreamy, darkly comedic filmmaking. Genre jumping is no easy feat and directing a film about The Doors, one of the most beloved rock bands in America, is a baptism by fire. DeCillo has emerged unscathed, however, presenting a fascinating look at the men behind the music, comprised entirely of archival footage and excerpts from Jim Morrison’s little seen feature film, Highway. “I wanted to make the film without talking heads,” DeCillo explained, “sitting in the editing room for months looking at this footage, I felt like I was truly experiencing The Doors and I wanted the audience to share that direct experience.” DeCillo spoke with SOMA via telephone from New York City about his new film and the respective challenges of narrative and documentary filmmaking. When You’re Strange was nominated for a Grand Jury Prize at Sundance this year and played to a packed house at the Berlinale in Germany. Since the film’s premiere on the festival circuit, Johnny Depp has signed on to do narration.

Where did Morrison’s Film Footage Come From?

Morrison went to UCLA film school back in 1965. He loved film, but his sense of it completely experimental and free form. Years after leaving film school and well after he joined the Doors, Morrison got some money together and went out into the desert with some old classmates from UCLA and a 35mm camera to shoot a short feature called Highway, based on a script that he wrote. What I loved about the film is how it portrayed a mythological loner figure wandering through the American landscape. Most people cannot believe that it’s Jim Morrison. We had a bizarre reaction to the film at Sundance. One distributor got up in outrage after and stormed out because he was convinced we used an actor.

Did he receive any recognition for the film within his lifetime?

Morrison was very proud of Highway and had real aspirations to be a film maker.
He went to two film festivals with it, but it was not very well received. Highway is a difficult film. As specific as Morrison with his music and the image he created, he did not quite understand that the same need applies to the visual medium. The film is like an extended tone poem that doesn’t make much sense, but I respect his effort. It’s the film he wanted to make.

Did you encounter any sour grapes or any resistance to telling the story of the Doors? Many former band members of these 60s bands are very bitter about their leaders stealing the spotlight and they resolutely want to avoid perpetuating their myth.

Each of the remaining band members had a different thing that they wanted to make clear and I had to honor that, but Ray Manzarek, John Densmore and Robby Krieger all effortessly praised Jim Morrison as a great friend and had no resentment for him in any way. That being said, I didn’t want the band meddling or editorializing what I was doing. There is a possessiveness about the story that bugged me a little bit. One of the best documentaries I’ve seen in the past ten years is Some Kind Of Monster, about Metallica. They hire a shrink because the band is falling apart. I didn’t want to just make a puff piece about The Doors

It seems rare for an LA band in that era to praise each other as you describe, especially a flamboyant figure like Morrison. It was stereotypically the San Francisco bands who lived together and played together while the LA bands got together only to play gigs and fight.

Morrison was addicted to jumping out into the void and not knowing where he would end up. The group was an amazing safety net for him. They allowed him to go out into outer space and always have a place to land. I think they really cherished each other.

There were times when they got famous that the announcer at a gig would introduce them “Jim Morrison and the Doors” and Jim would get so angry that he would refuse to go on and would make the announcer reintroduce them as The Doors.

Your films Johnny Suede and Delirious feature performances by Nick Cave and Elvis Costello. Did working with musicians in your narrative film making influence your decision to work on a musical documentary?

I have a great love of music. The combination of music and the moving image is an incredibly powerful mixture. Nick Cave was in Kreuzberg living with my friend, who was in a German punk band named Die Haut. He had read my script because it was sitting on my friend’s table and he called me saying that he’d like to be in my movies. He had a larger than life presence that many serious actors never quite attain. The same goes for Elvis Costello.

Do you find that there are any parallels between your narrative film making and documentary film making?

I like the documentary film, but I’ve always been drawn to the documentaries that resist categorization, like Errol Morris. They have a mystery to them, a slightly surreal quality that isn’t just a presentation of fact. I discovered early on that the best thing for me to do that would help me artistically was to think of the film as a narrative feature with an epic angle. It is ultimately a tragic story. I don’t mean that in a depressing way, but every one knows what happened to Jim Morrison. A lot of my films feature characters that are struggling to understand something about themselves.

Can you speak at all to the respective challenges of documentaries versus narrative film making?

There was a sense of relief that I didn’t need to exhaust myself trying to eke out performances that were crucial to the success of the film. I’ve been fortunate enough to work with actors like Catherine Keener and Steve Buscemi, who relieve that pressure a little bit, but it can be quite difficult.

While the footage was a given, there were moments of terror trying to tell a story with a dramatic arc: surprise, revelation, joy, all of the things that go into a real film. I didn’t want to paraphrase everything that I had read about The Doors. I needed to find something truthful in it, my own perspective. Ultimately, I came to the realization that I just wanted to show the band as human beings. The footage of Jim Morrison just laughing at times or being like a young boy is, to me, one of the most beautiful moments in the film.

Open Rights Group: The Big Picture of BIg Brother//SOMA

originally published in the April issue of SOMA
Open Rights Group: The Big Picture of Big Brother
By Jesi Khadivi

In the wake of 9/11 and the wave of civil liberties violations that followed, ordinary citizens around the world have become accustomed to being viewed as guilty until innocent. Airports, bridges and monuments quickly become proving grounds of innocence when a slip of the tongue, snap shot, or being in the wrong place at the wrong time is construed as a dangerous activity. This system of surveillance and the performative gestures it inspires quickly spread to more intimate places, like telephone conversations and internet searches. While some view surveillance as an unfortunate, but necessary step in protecting other freedoms, an increasing number of concerned citizens are not willing to sacrifice their privacy to participate in the theater of innocence, claiming such violations damage the very fabric of democracy.

Citizens around the world celebrated Freedom Not Fear Day last October, a day of peaceful protest intended to counter some of the challenges facing democracy today. The response was especially spirited in England, a country where there is one CCTV camera for every 14 citizens according to the BBC. Londoners gathered beneath a statue of Winston Churchill in Parliament square to unveil a 4m x 5m collage comprised of UK surveillance images citizens uploaded to the website of the Open Rights Group, a grass roots technology collective dedicated to protecting an often over looked area of civil liberties, digital rights. Thumbnail surveillance photos coalesced to form an enormous portrait of UK Prime Minister, Gordon Brown, against a background of barbed wire and double helices. The Open Rights Group says, “Our message was clear: although as individuals we only see incremental invasions of our privacy, put together, these creeping changes constitute a wholesale shift towards a society predicated not on freedom, but on fear.”

Report//European Highlights from the Berlinale//SOMA

originally published in the March issue of SOMA
European Highlights from the Berlinale
By Jesi Khadivi

The usually tame Potsdamer Platz came alive when journalists, film executives, international a-listers and movie lovers descended upon Berlin’s postmodern quadrangle of hotels and movie theaters from February 5th through the 15th for the 59th annual Berlinale, one of Europe’s longest running international film festivals. While Berlin’s grey skies and frigid temperatures don’t leave much room for glamour (some stars were actually shivering on the red carpet), the festival is an industry favorite because the breadth of its competition films range from quirkily salable films like Mitchell Lichtenstein’s family drama Happy Teeth, starring Demi Moore and Parker Posey to films like Katalin Varga, a sumptuously shot revenge film set in the Carpathian mountains by British, Budapest-based director, Peter Strickland,. Although Hollywood favorites like Michelle Pfeiffer, Blake Lively, Renée Zellweger, Steve Martin, Gael García Bernal all walked the red carpet, the Berlinale provides a forum for international cinema that is less Hollywood-centric and swag oriented than Sundance and more manageable than Cannes. Keeping with the spirit of the festival, I offer my top four European film picks.

4) Hilde (Kai Wessel)
The disarmingly beautiful Hildegard Knef went to acting school as a teenager during World War II, had a romantic entanglement with a Nazi official and fought against the Russians to remain by his side, married a Jewish American solider after the war, and (with different lovers in between) went on to make fifty feature films and record 23 albums. Kai Wessel’s film delivers a portrait of a talented and complicated individual with a level of artfulness few biopics ever achieve.

3) An Education (Lone Scherfig)
Sixteen year old Jenny sneaks Gauloises and sings along to French records trying to escape from the dullness of her tweedy prep-school-life. A bigger distraction comes from a charming older man who whisks her away from Twickenham and cello lessons to art auctions, horse races, and a Paris vacation that changes her life.

2) Alle Anderen (Maren Ade)
Maren Ade’s sophomore effort chronicles the fall out of a couples’ Saturn Return. While vacationing in Sardinia, the idiosyncratic lovers are grapple with their respective uneasiness about identity, success, aging, gender and social codes. The result is a hilarious, yet deeply felt journey into the heart of the 20s and all its discontents.

1) Katalin Varga (Peter Strickland)
Strickland captivates with a sparely elegant story about a woman who sets out on horseback seeking revenge for a crime that occurred 11 years prior. Mark Gyori’s camera conjures a primordial atmosphere for a timeless story to unfold. An impressive and intelligent debut.

Waltz with Bashir

Orginally published in the film issue of SOMA

In the summer of 1982, Israeli soldiers invaded Southern Lebanon with the intent of “stabilizing” the civil-war-torn country used as a strategic missile range in the ongoing conflict between Israel and Palestine. As Israeli forces waited to enter the capital city of Beirut, a treaty was signed between Israel and Palestinians stating that if PLO combatants were sent by ship to Tunisia, Israeli’s would remove the threat of a surge on Beirut. In the midst of this delicate cease-fire, Lebanese president elect (and Sharon favorite), Phalangist militia leader Bashir Gemayel, was assassinated while giving a speech in East Beirut. In an orgy of retaliatory violence, Phalangists stormed the refugee camps of West Beirut to avenge the death of their beloved leader. As is all too often the case with military blood debts, the victims of the brutal massacre that ensued in the refugee camps of Sabra and Shatila were exclusively civilians, many of them children and elderly.

Fast forward twenty-five years to two former soldiers sitting in a bar. Ari Folman, a documentary filmmaker, has been summoned by his friend, Boaz Rein Buskila. Visions of war have crept into the soulful accountant’s dreams. But Buskila is not plagued by apparitions of fallen soldiers or decimated battle fields. Twenty-six dogs have been chasing him since he left occupied territory, and they’ve finally tracked him down at his office. Because he had difficulty killing people, Buskila was assigned to shoot barking dogs. And he remembered each and every one he shot.

Unlike Boaz, Ari remembers nothing. But after leaving his friend, a solitary recollection of wartime comes flooding back to him a dream. Three soldiers awaken in the ocean, illuminated by flares from above. As they head into the devastated streets of Beirut, grief stricken Palestinian survivors of the Sabra and Shatila massacres swarm around them in a hallucinatory procession.

Folman’s encounter with Buskila and the sole memory it elicits provided the impetus for his feature length animated documentary, Waltz With Bashir. Waltz follows Folman as he attempts to unravel Israel’s role in the Sabra and Shatila massacres, and by extension his own involvement. He interviews old war buddies, acclaimed war correspondent Ron Ben-Yishai, and a psychologist in his quest to locate and understand his missing memories. Untraditional as it may seem, Folman felt that animation was the only way to tell his story. And he’s right. In many ways, Waltz is a story without images. At least photographic images. According to Folman, very little decent archival footage of the first Lebanese War exists, and even if it did, news reel footage and army generals couldn’t begin to tell Folman’s story . With its focus on the spaces between memory, forgetting is a vital aspect of Waltz’s story. As is the dynamic nature of memory; At least three different animation styles and color palettes are used to evoke its ambiguity.

Waltz with Bashir is Folman’s third feature film and his second animated work. He experimented with the form in the animated introductory sequences for The Material that Love is Made Of, a documentary series made for Israeli television about the substance of love, based on American chemist Helen Fisher’s discovery that love is actual hormonal matter. Though the bold visual style that Folman honed in Waltz With Bashir is evident in its germinal stages in Material, his early animation cleverly riffs off of animated educational shorts, while Waltz mines the medium’s capacity for pathos (which is heightened by experimental composer Max Richter’s original score). Although Waltz’s casual format of folks sitting around talking about issues like dreams, repression and memory have prompted many to draw comparisons to Richard Linklater’s animated jaw-fest Waking Life, Waltz was drawn using a mixture of Flash, 3D and traditional animation techniques, rather than the rotoscoping used for Waking Life and A Scanner Darkly. A favorite at the Cannes and New York Film Festivals, the film is a Golden Globe nominee for Best Foreign Language Film and an official Academy Award entry for Best Animated Feature and Best Foreign Language Film.

Folman does not wield the documentary form as a pedagogical tool, nor does he create a comprehensive contextual framework for the viewer to understand Israel’s invasion of Lebanon. He shuns traditional documentary’s fixation on experts and verisimilitude, which can desensitize viewers. By positing war at a dreamlike distance, Folman brings its atrocity closer. “War is so surreal,” Folman says, “and memory is so tricky that I thought I had better take the journey with the help of very fine illustrators.” The personal is political in Waltz with Bashir; In focusing on the non-linear and oft fantastical stories of fellow Israeli soldiers, Folman resists using documentary in the service of an official history, instead delving into the highly subjective and fragmentary testimonials of his peers. Waltz With Bashir impressively navigates the cross-currents of anguish, fantasy and war, all the while reminding us through the veil of post-traumatic reverie that war’s vagaries are very, very real.

Six Shooter Films

Originally published in the holiday issue of SOMA.

Six Shooter Film Series: Bending, Perhaps Even Breaking International Genre-Driven Cinema
By Jesi Khadivi

Feeling broody? Go see a cop film. Want to sleep with your lights on for a week? Check out the latest Saw movie or any of its myriad spin-offs. There’s an appropriate film genre for whatever emotion you’re looking to elicit. Historically produced on the cheap to screen as opening pictures for bigger budget fare, genre films have expanded into a multi-million dollar industry with fans hungry for the next installment of their favorite superhero or slasher flick.

It wasn’t always so banal, however. The seminal French film magazine Cahiers du Cinema extolled the virtues of directors like Nicholas Ray (Larger than Life/Rebel Without a Cause) and Alfred Hitchcock (Psycho/The Byrds). The budding critics of Cahiers, soon to make their names as French New Wave directors in the 1960s, discovered the (not so) hidden existential poetry of the bleak film noir genre in the dark and smoky cine clubs of Paris. At its best, pulp has the uncanny ability to expose cultural zeitgeist. Noirs and detective films showed these young Frenchmen the darker side of the post-war American psyche. Despite the sea of schlock out there, the past decade’s surge in independent filmmaking has contributed to an expansion of media literacy. MTV has aped the techniques of French New Wave icon Godard for years and Quentin Tarantino, the post-modern film-mix tape-compiler himself, mines the traditions of Blaxploitation, Noir, New Wave, and Kung Fu to create the heady mélange of films like Kill Bill and Jackie Brown. The demand for intellectual genre cinema is growing. Always a step ahead of the pack, Magnolia Pictures aims to fill the educated demand for intelligent genre pictures with their Six Shooter Series, restoring the exquisitely moody, character- driven quality of the genre films of yore to the big screen.

The brain child of Tom Quinn, Magnolia’s dynamic head of acquisitions, the series was a labor of love for the production company. As its name suggests, six international films were chosen for the series: Let The Right One In (Sweden), Special (United States), Time Crimes (Spain), Donkey Punch (Britain), Eden Log (France), and Big Man in Japan (you guessed it, Japan). The series is organized in the tradition of the famed Shooting Gallery, an innovative former NYC-based production company and film series that brought us indie favorites like Sling Blade and A Time For Drunken Horses. “Some of the most exciting, forward-thinking cinema today falls under the genre label and deserves a showcase,” says Magnolia Pictures President Eamonn Bowles. The Six Shooter is intended as a platform to distribute some of these bold experimentations. The relative simplicity of the films in this series is perhaps their boldest innovation. Eschewing the pyrotechnics of many Hollywood movies, the films featured in the Six Shooter series take on a more contemplative and intellectual tone without sacrificing a whit of entertainment value.

The first film in the series, the award winning Swedish vampire film, Let The Right One In, was released on October 24thin New York and Los Angeles. Receiving nearly universal critical acclaim, the surprisingly tender story of a tortured young boy and his relationship with the 12 year old vampire next-door deftly encapsulates the radical potential of this latest crop of genre pictures: It’s smart, emotive, and though the film can be graphic, it doesn’t rely on violence to drive the narrative. Director Tomas Alfredson revels in what he calls the “unequivocal Swedishness” of his film, depicting the trauma of adolescence and the sensuality of violence with a rigorous attention to detail.

Les, the self-loathing, comic book obsessed traffic cop in Hal Haberman & Jeremy Passmore’s film Special, becomes convinced he is a super hero after participating in a clinical trial for “Specioprin Hydrochloride,” a drug intended to curtail the chemicals that produce self-doubt.. He stalks through anonymous streets and alleyways in Los Angeles, attacking innocent people that he imagines have committed crimes. Keeping with Magnolia’s unorthodox distribution methods, Special premiered as a VOD (video on demand) on HD Net in early November prior to its theatrical release later that month. (Back in 2006, Steven Soderbergh’s film Bubble was released simultaneously on DVD, HDTV and in the theaters).

While the time-traveling premise of the Spanish thriller, Time Crimes (dir. Nacho Vigalondo), is fantastical, the scariest and most compelling moments in the film come from the small, psychological gestures. Who knew that a man with a pink bandage-wrapped head miming holding a pair of binoculars could be so terrifying?

The new year will bring the British slasher-thriller Donkey Punch (dir.Oliver Blackburn), a story about 7 Euro party animals forced to duke it out after a freak death on a party yacht in the Mediterranean. In February, Eden Log(dir. Franck Vestiel), a French sci-fi horror flick about a man who awakens in a cave to find himself pursued by a mysterious monster will be released. Followed by Big Man Japan (dir. Hitoshi Matsumoto) in March, the funniest film of the bunch, a kitschy, super hero film in the tradition of Asian slapstick like Kung-Fu Hustle. Like many of the films in the series, Big Manconflates the fantastical and the everyday. “It’s a mock doc about an ordinary Japanese man who will hop into purple underpants to battle Godzilla type monsters,” Quinn explains.

With Let the Right One In and Time Crimes garnering rave reviews (both are already slated for English language remakes), things are looking good for the Six Shooter Series. While online film critics and Fantastic Festival patrons started the buzz, many of the films in the series are finding cross-over success in the art film market. Is another series from Magnolia/Magnet in the works? “If we can find the films, we’ll do it,” Quinn laughs, “but we’re not limited to six. We could do the Five Furious Fingers of Film. Or the Seven Samurai of Cinema."