Repo Chick has wrapped

Alex Cox (he went to my school) has finished the shoot for Repo Chick, his sequel to the excellent Repo Man. It started filming last December. He mentioned the wrap on his blog (well worth a read):

The REPO CHICK shoot is done. We wrapped half a day behind - actually half a day ahead, since, having lost a day due to our robbery we made up half a day. We never managed a 13-page day, but there were at least a couple of eleven pagers.

Having shot RC this way, and SEARCHERS 2.0 likewise, I wonder how it would be possible to shoot a picture the old way? An independent film averages 3 pages a day; a 'real' movie maybe a page. How do those involved deal with the crushing boredom element? Whenever we had a brief break in the RC shoot I remembered what it was like making REPO MAN: wait for a long time, shoot a little bit, then wait again, listening to the Teamsters telling stories about guns and dangerous situations, or the Executive Producer sharing his raft of insights, or the producers getting on my case for not going fast enough... No wonder wanker actors like Christian Bale lose it and beat up on the cameraman. They are bored to the extent of insanity.

The microfeature is the way to go! The London Film Council stymied the London microfeature project for a reason; while the Pool's bureaucratic oiks were terror-stricken at the prospect of an eight-film microfeature project. By going fast, and using the same resources, microfeatures eschew idle hanging around and replace it with real work, which must be done, pronto. They are also empowering, and apt to blossom out of control.

REPO CHICK couldn't have happened without big pictures, of course. Our line producers, our DP, our gaffer, our grips, our designers, our hair and makeup artists, all need to make a living. They do so by working on monster, unknowably-profitable studio films. And yet the Studio Cartel claims it's about to go belly-up, and seeks a $25 billion hand-out from the White House (they'll get it, eventually. But it won't go to make films - any more than the Big Bank Bailout went to endangered mortgage-holders. Like the Rockefellers and the DuPonts, the Studio Cartel believe in socialism for the rich!).

I am so grateful to our crew, cast, and production people, all of whom survive on 'real' pictures (or by showing up at Home Depot early in the morning) so as to work on films like REPO CHICK for a dollar a day.

But just imagine... a world without socialism for the rich, and without studios. A world without Studio Cartel Distribution. A world in which films are shot in two or three weeks, instead of three or four months. A world in which - instead of working on two films, or maybe three, over the course of a year - we work on twenty or thirty features, all costing $200K or thereabouts.

Most would be bad, some would be good, one or two might be exceptional. There would be an excess of horror films: the first refuge of the mediocre filmmaker. But the constant production might provide a working wage. It would create jobs, and huge potential for originality and creativity. And it would certainly make a change from the superhero- and talking-animal-themed garbage the Studio Cartel foists on us.

I can't wait to see some of this. Street Pete and everyone else, what do you reckon? Will it be worth the wait?

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Moviedrome - Alex Cox

Anyone else in the UK remember this? I loved the Moviedrome series of films that we used to get and Alex Cox's intro's were always excellent. He always seemed to mention a scene or a secret about the film which just grabbed you. Here are the ones he did for Romero's Knightriders and the 1978 version of Invasion of the Body Snatchers.

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Last Night, 1998 - Movie Review

As the Large Hadron Collider (LHC) is due to be turned on in a few hours with many scientific worriers thinking it will mean the end of the World when in fact we get more powerful cosmic rays hitting the Earth every second of every day. Everything will be fine.

However, here is a review of the movie Last Night. I saw it late one night years ago. You know how it is when you are so tired you should go asleep but you keep changing channels until something jumps out. This film did and I enjoyed every minute of it. May even have been an Alex Cox introduced Moviedrome feature. Written, directed and starring Don McKellar, it also features Sandra Oh, David Cronenberg, and Callum Keith Rennie amongst others. This review is by Adrian Sweeney who gave it 10 /10.

The world is going to end at midnight; it's six pm now. The impending catastrophe has been known about for months but nothing can be done about it.

Government has been wound down. There's a certain amount of mayhem, looting, and bloodshed in the streets, but most of that ended weeks ago; now people are just quietly resigned. The nature of the disaster is never specified or even mentioned, but cleverly hinted at. Sooner or later you'll suddenly realise what it must be to do with, and when you do it's a breath-catching moment. Once you notice this, the closest thing the film has to a big special effect, it becomes increasingly appalling as time goes on.

There are to be no last-minute attempts to save the earth. They were known to be futile before the film begins. Instead, people calmly make preparations for their last night alive. It's a bit like wanting to do something special for your birthday. Craig (Callum Keith Rennie) is living out the four-letter answer most people would give if asked 'What would you do if the world was about to end' - as he has been, methodically and systematically, for the past few weeks. Sandra (Sandra Oh) is trying to get across the chaotic city to her beloved husband. Patrick (Don McKellar, who also wrote and directed, brilliantly) attends a last family meal and plans a quiet evening alone with a Pete Seeger record. Almost everyone else is heading downtown for the big end of the world party.

Flashes of black humour help make things bearable, but I can't convey how genuinely chilling and terribly moving the film becomes before the end. Pre-millennium there were a handful of end-of-the-world films, most based around big-budget special effects. For a grumpy misanthropist such as myself, who officially couldn't care if the world was to end, even a blockbuster disaster movie like Deep Impact was a salutary experience, making me realise that I really, really don't mean that, and that for all its travails and miseries life is precious. But by excluding special effects and scientific explanations, and precluding the possibility of averting the end, and focusing entirely on the human, Last Night is far, far better and left me drained and devastated.

I almost prefaced these remarks with a 'Don't watch this alone' but decided, nah, other people can be a pain when you're trying to watch a film. But if you watch it alone and late at night as I did, be warned that after the end you may feel a strong urge to make contact with one of those annoying other people, at 2 in the morning, a friend, a relative, your milkman, anyone.

But watch this you must, for it's a great cinematic work of art.

That's all for me tonight. I'll speak to you Thursday to discuss how the World ended tomorrow!

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