Who hasn’t ever wanted to be Godzilla? Marching through the streets of terrified city. Smashing buildings. Grabbing tanks with a pair of chopsticks and popping them into your mouth as they valiantly try to swivel their guns for one last, pointless pot-shot.
While creating my latest VR game, a game where you start off in a sushi cafe and things rapidly take a surreal turn, this is what I wanted to do. Tanks roll in, aim at your face, you eat as many as you can.
In which one movie goer attempts to cull 400 films from over 90 countries down to a single, coherent list of eight recommendations.
Last year’s SIFF was wild. I saw everything from Turkish exploding chickens to serial killers of Persian filmmakers; from a backwoods indie sci-fi to a Zambian dark comedy; from movies that swept the awards circuit like Eighth Grade and First Reformed, to a movie that was literally just a sequence of starfields from 100 years of movie history. …
A deconstruction of the chord progression in E.T.’s Flying Theme reveals John Williams’ roots as a jazz pianist
As friends will attest, I make no bones about my admiration for work of the (objectively greatest) composer John Williams. His collaborations with another member of the Dustin-will-always-defend club, Steven Spielberg, have produced many of the most memorable themes in film history, and play an incredibly personal role in the development of my love for music and the study of its theory.
The sun didn’t go down till nearly 10pm last night, signaling, albeit one week early, the time to reflect on the first half of 2018’s film output. I say “output” because I view everything as a cold and calculating cash grab designed to rip hard earned dollars from unwitting denizens in exchange for, of all things, a couple hours of “mirth.” What a cynical, greedy industry.
The Seattle International Film Festival chose a very interesting tact when navigating the treacherous of waters of the snooty film festival circuit. It knew it couldn’t be the most prestigious, it knew it couldn’t be the earliest, and it knew it couldn’t be the most in Austin and called SXSW. So what was left?
BE THE BIGGEST, LONGEST, MOSTEST FILM FESTIVAL EVER!
Which is great, unless you live a normal life (note: I don’t) and value your time (note: I also don’t) when SIFFting through the 400+ films from 90 countries taking place over a full month of festival-ing.
…and beyond that, something truly special.
Youtube is gushing with reactions to the final trailer for Star Wars: The Last Jedi, but few are talking about the one thing that blasted its way into my brain: the score. While it’s likely the two-minutes-and-change of music were either compiled or composed by a third party and specifically for this trailer, it acts as not only a tribute to the genius work John Williams did on The Force Awakens, but as what I believe to be a tantalizingly tuned set of compositional clues.
Feel free to following along as I describe both…
Might solve a mystery, or rewrite history