Monday, November 25, 2019

World We Dare to Imagine: Part 1

It took me quite a lot of thought to figure out how I might be able to use my education to make a difference in the world. When regular people think of the entertainment industry, they usually think of it as merely entertainment, or just something to do with an empty hour or two. Many of the business people in the entertainment industry think of movies only as a commodity to be sold and think of the artists that make them as obstacles to be navigated around or cajoled into submission. Movies are distributed with little regard to the profound emotional and cultural effects that they have upon the audiences that watch them, the audience is reduced to rows of theater seats filled with dollar signs. But movies are so much more than that! Like it or not, movies are a form of art, and they carry the same impact as all other art forms.

I believe that art is about: the artist taking a piece of their soul, creating a work of art that reflects that piece of their soul, and then every individual member of the audience seeing their own soul reflected in that work and having that part of themselves be revealed. What people don't realize is that behind every movie is a collection of artists who have constructed that story from pieces of their unique experiences. Whether they want to or not, they put their soul into every frame of the film. Ultimately this reflection of the artist’s soul is what the audience sees and connects with because it reflects their own experiences and struggles. This connection is what makes film-making such a beautiful art form.

But when the only artists that are hired to make movies all have the same experiences and continue to tell the same story over and over again, minorities in the audience see the film and don’t see their soul reflected. It’s a crushing experience for them. It feels like they don’t belong and are all alone in their struggle. And that is why diversity within the film industry is so vital. I feel like I should disclose that I am a cisgender, straight, white, male. Some people might say that I have no place to talk about diversity and inclusion because of these facts, but I believe that this issue is much larger than me, and that no matter what we're all going to have to work together to figure out a way to solve these issues regardless of sexual identity, gender identity, or race.

I think the main problem I've noticed with the current Hollywood system is that even though there is an increased awareness of the lack of diversity in Hollywood, I feel that there is a continued lack of systems in place to help foster and nurture this diversity at the source. Very recently, Hollywood executives have seen the attendance numbers beginning to negatively shift due to push back from neglected groups and have started aggressively pursuing diversity for all the wrong reasons. As a result, they have failed to build and foster the voice of minority filmmakers, instead opting to set diversity hiring quotas and shoehorn minority filmmakers into stale ready-made projects, rather than giving them the opportunities and training to tell the new stories that they long to share.

The United States' diversity is what makes it so special, yet many cultures continue to be neglected within Hollywood, and because of this their stories are lost and unknown within our culture. The American Dream is like a tapestry that all Americans weave together. My dream is to find a way to give everyone the needles and thread that they need to weave their unique stories into the fabric to make the tapestry finally reflect the diversity that is inherent in our population within our national identity. Ultimately, what I’d like to do is make a program that takes young minority filmmakers and teaches them how to find their own unique voice, and then gives them the funding that they need to tell their own unique stories so that every culture within the United States can see itself and its stories reflected within our culture.

Sunday, November 10, 2019

Book 2: Post 2

Have you ever been to the Netherlands? If you have, you know that it's pretty common to see towns where everyone living there was either born there, or has come from another small village exactly like it. And as I looked around at all of those people who looked like carbon copies of one another, I thought of how much I would hate to live in a place like that. The diversity of America is what makes our country special and unites us, and at the same time, it's our cultural differences that cause division and tension.

The book American Like Me: Reflections on Life Between Cultures by America Ferrera explores both the unifying and dividing properties of culture and how they weave together to form the fabric of American Culture. Ferrera explores this idea through a collection of autobiographical essays by successful first-generation Americans. It dissects the idea of the American Dream, and reveals that the beautiful thing about American culture is that pretty much everybody has come from somewhere else. This diversity is reflected in the various writing styles of the authors. Although every chapter is authored by a different first generation American immigrant, the chapters are thematically linked in their exploration of the American identity and the switching of narratives and styles every chapter is always refreshing.

American Like Me: Reflections on Life Between Cultures was an engaging read that captivated me from start to finish. It helped to reshape the way that I think about what it means to be an American and it does a great job of delivering its message that the American Dream isn’t dead, and it’s always the same regardless of gender, race, or economic background. Ultimately, the book asks us all to find a way to make the American Dream inclusive and accessible for everyone so that every culture can weave their own unique fabrics together to create the American Tapestry and finally reflect the diversity in our culture that is inherent in our population.

Sunday, November 3, 2019

Two Great Original Movie Scores

Two Great Original Movie Scores:

If a composer is doing a good job at composing an original score for a movie, you'll hardly ever notice that he or she is there. You will only be left with a feeling. Composers are usually never given proper recognition for their work and the lasting effect that an original piece of music composed explicitly for that scene can have on the audience. Since original scores are slowly fading away in favor of soundtracks in modern cinema, I'm worried that these special moments where the music blends perfectly with the cinematography and the story will be wiped away completely! So that's why I wanted to take a moment to highlight 2 of my favorite movie scores which both use very different techniques to achieve a similar effect and examine how the score helps to elevate the scenes and instill a profound feeling in the audience. That way maybe you can learn to appreciate the movie scores within your favorite films!
After the law repeatedly fails him, Detective Doyle is forced to break the law and sets up a police raid which finally corners the heroin trafficker he's been hunting: Charnier. Charnier has sent an assassin to murder Doyle and has been eluding capture at every turn. The chase has become an obsession for Doyle, who finally manages to seize the dope and capture Charnier's men, but in the ensuing chaos Doyle loses Charnier.

Doyle and his partner chase Charnier down on foot and corner him in a derelict warehouse. Their footsteps echo against the cold pavement as they move down the shadowy hallways, creating a tense atmosphere. Both detectives are on edge with their guns drawn when a shadow suddenly moves in the darkness. Doyle opens fire, and the figure slumps to the floor. But as the men approach, they realize that it is not Charnier who lays lifeless on the floor, but a fellow detective. His partner runs to check the dead cop's pulse, but Doyle only continues scanning the darkness as he reloads his revolver. When his partner turns to confront Doyle, Doyle only says "He's here, I'm gonna get him" as he stares off into the darkness, his obsession consuming him.

And then the End Title begins to play, an eerie piece expertly designed by Don Ellis. The screeching strings and blues trumpets make your skin crawl and truly underscore the absence of justice and convey the themes of hopelessness and disillusionment which are prevalent throughout the film. As the End Titles play, the camera shows Doyle running off, chasing another shadow further into the darkness. From the shadows we hear Doyle fire another blind shot in the dark as screen fades to black and the end titles reveal that Charnier was never caught, and is believed to be living in France, where Doyle can never bring him to justice.

After a Mexican drug cartel attack nearly kills her and her partner, FBI agent Mercer volunteers for a special task force when she is assured that it will bring those responsible to justice. However, once Mercer meets the other members of the task force: Matt, the blasé and ruthless delta force leader, and the secretive and talented gunman named Alejandro, she quickly figures out that she may have signed up for more than she bargained for.

The task force must travel into Juarez, Mexico to assist in the extradition of a high ranking member of the cartel in order to bring him back to the U.S. to question him. Matt and his army operators gear up for open combat with vests, automatic weapons, and full body armor, but Mercer is horribly unprepared with only her sidearm and a vest. As they go over the planned route of the convoy, Matt warns Mercer that the Cartel could strike at any time, and that in Juarez many of the cops are on the Cartel's payroll so no-one can be trusted. And with that, the convoy rolls out over the desert. Everyone is on edge with their weapons at the ready because the cartel could strike at any moment. Every passing car, windowsill, and even the cops driving alongside them are potential threats.

As the city of Juarez comes into view, The Beast begins to play very quietly at first. But then as the  city approaches and the looming firefight grows closer and closer, the beat grows louder and louder, starting out as mainly an ominous bass line with a quiet percussive loop which transforms slowly into a very aggressive crescendo signalling Mercer's impending doom. The percussion beats out the rhythm of a war drum, and is mixed with the slowed down mechanical "ca-chunking" of helicopter blades. Jóhann succeeds at creating the sound of a looming threat with a theme that rivals the iconic JawsThe repetitive "mechanical" motif within The Beast implies that a mechanism that is large, complex, and remorseless is awaiting Mercer, and it will grind her up with brutal efficiency if she isn't careful. A prophecy that ultimately becomes true in the way she least expected, as Mercer begins to question the task force's illegal and unethical methods, realizing that she is truly powerless to stop them and her life may be in danger.


A World We Dare to Imagine: Part 3, The American Tapestry

The American Tapestry , a Cultural Film Foundation —Bringing Diverse Stories to Hollywood Our mission is to provide ...