Director Ryan McGarry of 'Code Black'
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The Code Black press day was held in one of the most unique places I’ve ever conducted an interview. Sitting among gurneys and medical supplies, I had the chance to talk to doctor-turned-director Ryan McGarry about his debut documentary Code Black at the Los Angeles County Hospital. One of the main focal points of the film is the importance of the infamous “C-Booth,” where it’s a close call between life & death, and that’s exactly where we’re sitting now. With a history that is both eerie and gratifying, it's the perfect spot to talk. We begin:
BEING IN “C-BOOTH” RIGHT NOW IS AWESOME. SINCE YOU’VE UPGRADED HOSPITAL BUILDINGS AND NO LONGER WORK HERE, WHAT’S BECOME OF THIS SPACE?
RYAN MCGARRY: Yeah, this is a fairly expensive state-of-the art training facility. All these mannequins [he points to a dummy on a gurney] are like robots and they can, like, throw up on you.
OH…
Yeah there’s a whole jug of blood over there.
CAN YOU REMEMBER THE FIRST TIME YOU WERE HERE? WHAT WAS THAT MOMENT LIKE FOR YOU?
Oh I almost shit my pants! I was a new, I was a rotating medical student and people are always shocked like when you join a team in medicine... there isn’t much “corporate” orientation. You would expect there to be this four-week long [training period], like ‘here’s every nob and button.’ Nope! You just get thrown in! Normally, that’s already pretty tough, but in this environment, that was insane.
To give you an idea, this base would have six beds. For a typical emergency department, one of these patients over one shift would be a big deal. Here, you’d have six of them pretty much every hour. Right off the bat I was visually overtaken by it all.
AFTER GOING THROUGH THE PROCESS OF MAKING CODE BLACK, WHAT WOULD YOU SAY IS HARDER- BEING A DOCTOR OR BEING A DIRECTOR?
Wow… I think they’re eerily, exactly the same. Thank goodness, I think there’s some overlap. I will say in directing if your crew, editor, producers, etc., sense that you’re creatively cornered, you don’t know the answer, they know that and you can tell right away that your team is starting to doubt. Same thing with your nursing staff, if you’re running a case and you’re in a rock and a hard place and you don’t know the way out of that, you can’t let people know that. You have to be able to negotiate that problem solving internally without letting that guard down and I think that’s an incredible, eerily weird exact similarity between the two.
HOW DID YOU FIND THE DOCTORS YOU PROFILE?
They’re my friends. There is no lack of characters here; I could have cast the film five different ways. Here, you have a pretty unique set of physicians who really know that they’re taking a harder path than they have to. There are easier places to train and work, so it’s already a unique question of ‘wait, why are you doing this?’ ‘Why are you choosing to make this 100 times harder than it has to be?’
I’M SURE YOU’VE BEEN ASKED THIS QUESTION A LOT, BUT WHAT WAS THE REASON FOR MAKING THIS FILM IN THE FIRST PLACE?
There’s no simple answer to that because it kind of grew up with me. When I first was here [at L.A.C.H.] it was shock and awe. I thought this would be an amazing thing to capture because it’s so intense. And then the question of ‘why does intensity matter’ became the real reason for the film.
WERE YOU WORKING AND SIMULTANEOUSLY MAKING THIS FILM?
Yeah…
WERE YOU SLEEPING?
No. Haha, I’m still kind of digging out of that. I had no vacation; any time that I had off went to the film or to the edit room. I was already working a lot and then obviously a film is a pretty big undertaking as well.
OH I’M SURE. IT DID REALLY WELL AT FESTIVALS!
Yeah! It won the jury prize for best documentary [Los Angeles Film Festival 2013] and then we were fairly undefeated following that in festivals around the country.
DID YOU EXPECT THAT?
No! No I thought it was going to be a disaster. I thought I was going to be the a**hole who made this film as he’s graduating residency about a hospital that already takes its’ share of knocks in the press.
YOU WORK AN INTENSE JOB; DO YOU HAVE A MORNING MANTRA?
I do try to remind myself that I am very lucky to be in this role. The problem is, sometimes you’re exhausted, you’re working every night, and sometimes there are things that are frustrating about the process… I think the battle for every physician in that kind of environment is getting some sort of renewal. I chose to make a film, and that’s [renewal] for me. I think that when I feel myself coming away from that humanity moment, I go, ‘wait a second, I did make a film about this.’
DO YOU HAVE ANY PLANS FOR ANOTHER FILM?
Yes! Code Black has been auctioned for a TV series, a narrative fiction series, so that’s in development. My co-writer, Josh Altman, and I have a few other projects in the pipeline and in the meantime I’m directing commercials.
ALL THAT, PLUS BEING A DOCTOR?
Yeah.
WOW!
Yeah, actively working!
Review: 'Code Black'
One of the most unapologetic documentaries to grace the screen this year comes from doctor-turned-director Ryan McGarry, who takes audiences behind the scenes of Los Angeles County Hospital and opens our eyes to the real life struggles and constant chaos of the emergency room in Code Black. The winner of “Best Documentary” at the 2013 Los Angeles Film Festival, Code Black is finally getting its’ Los Angeles release this Friday.
It may be difficult to think of doctors as “regular” people- after all, we do trust them with our lives and naively want to think they are superhuman. McGarry does a great job of not only humanizing the young doctors-in-training that he interviews but gives them a chance to share their personal stories; Why these people got into the field of medicine and how they continue to press on despite the grueling hours and mounds of paperwork is dedication and motivating to see.
Code Black is not for the weak of stomach (or those with phobias of blood), as it pushes the boundaries of investigative journalism to the limit, while remaining grounded in its sympathetic nature.
McGarry doesn’t hesitate to show the reality of how the current healthcare system is not working for the doctors and patients at LA County Hospital. A number ranking system that determines when patients are seen is the last resort for doctors, who sympathize with patients, some of whom have to wait an upwards of 20 hours to be seen. This is what doctors call “Code Black,” the worst-case scenario, the busiest of days. Unfortunately, McGarry points out that “Code Blacks” are all too common nowadays.
Politics play a large role in the film, especially focusing on how America’s current healthcare system is failing. Due to the tough work environment and low wages, we learn that in a four-month span, fifteen nurses quit LACH. The impact of their absence only adds further frustration to the situation and the tension is made extremely clear in the film.
Code Black is not for the weak of stomach (or those with phobias of blood), as it pushes the boundaries of investigative journalism to the limit while remaining grounded in its sympathetic nature. Nothing is included for “shock” and “awe,” but for driving its’ passionate point home. Although, there is a lot of blood (don’t say I didn’t warn you.) The camerawork adds to the film’s intensity- we view operations as if we were standing right behind the doctors, providing a high-energy experience.
As if working as a doctor full time isn’t enough stress, Ryan McGarry found the time to make not just make a film, but an award-winning one. Code Black serves as a reality check of life in a County Hospital, dealing with hot-button issues that may never fully get resolved, but it’s the planting of the seed that we, the audience, can make a difference.
http://www.youtube.com/watch?v=xSGOSwhzibw
Review: 'Yves Saint Laurent'
You don't have to be fashion savvy to recognize his name (although pronouncing it is another issue). His designs are seen on red carpets & in high fashion magazines, which deems him one of the world's most iconic fashion designers. Yves Saint Laurent is not just a man; he is a brand, a lifestyle, and evidently, one tortured artist. Director Jalil Lespert bravely chooses to shed light on a man whose public persona is much different than his private life, whose insecurities and demons are exposed in the biopic Yves Saint Laurent.
At the start of his career, Yves Saint Laurent (Pierre Niney) tirelessly works as an apprentice to one of Haute couture's most famous designers, Christian Dior. Wise beyond his years, twenty-one-year-old Laurent shows signs of great potential early on. The untimely death of Mr. Dior in 1958 brings attention to the young assistant; all eyes are on him to carry on the Dior legacy, if he is willing to accept the life-changing responsibility. Without hesitation, Laurent accepts and immediately begins working on his debut collection. Doors of opportunities open for the young Laurent immediately- his once peaceful life shifts into one of wild parties, drugs, stress, and dysfunctional love. His fateful introduction to Pierre Bergé (Guillaume Gallienne) affects Laurent both personally and professionally; their love/hate relationship exceeds throughout their lives, making for one beautiful, yet tragic story.
The lack in storytelling is made up for in the film's aesthetic... the visuals of the city and the costumes are jaw dropping.
Unfortunately, Yves Saint Laurent is not as successful as the man himself, as the film's rushed story lacks a cohesive theme or point of view. Scenes play as too contradictory with emotions ranging all over the place- specifically between Laurent and Bergé’s schizophrenic 180-degree relationship. I know there is such a thing as a “lover’s quarrel,” but in every scene? Without resolving the problem, the characters seem to just kiss-and-make-up for the sake of moving the story along. That’s another thing to note, there is a lot of kissing.
The lack in storytelling is made up for in the film's aesthetic, although that doesn't excuse the rudimentary script. However, the visuals of the city and the costumes are jaw dropping. The coloring makes the film look like the pages of a glossy magazine, an appropriate and deserving look to such a vibrant film.
Yves Saint Laurent is reminiscent of Woody Allen's Midnight in Paris; we find Laurent befriending the youthful looking Lagerfeld, Dior, and Warhol, whose characters are only on screen briefly. Having Paris as the backdrop to any film adds the subtextual element of sensuality and creativity, especially Paris in the 1960's. The atmosphere is nothing short of inspiring.
Even with its flaws, Yves Saint Laurent is a satisfying film on a purely visual level. Don’t expect an award-winning screenplay, you won’t find it here, but what you will find is a stimulating homage to one of the world’s most renowned fashion designers.
https://www.youtube.com/watch?v=TMZGEA6M8jY
Paul Haggis and Cast on 'Third Person'
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I sit in the second row at the press conference for the upcoming film Third Person, only ten feet away from some of Hollywood's most creative and respectable directors and actors. From my left sits director Paul Haggis, whose previous film Crash won him critical acclaim and many Academy Awards (including Best Picture). Next is Mila Kunis with a beautiful pregnant glow, whose confidence is inspiring. Then there's Moran Atias, the gorgeous Israeli actress who has not only starred in, but also co-developed Third Person with Haggis. Sitting on the far right is Maria Bello, the veteran of the group whose work has spanned across television and film successfully. Spirits are high as we settle into our seats to talk about this unique and ingenious film. We begin:
I'VE GOT TO CONGRATULATE ALL OF YOU; THIS IS SUCH A RICHLY TEXTURED STORY AND FILM. IN TERMS OF PLAYING A MOTHER, MARIA, IS THAT SOMETHING YOU CONSCIOUSLY CHOOSE TO DO? CHOOSE THE DEEPEST, DARKEST PARTS OF PLAYING A PARENT?
MARIA BELLO: When I read Paul's script it's about so many things, but really, it's about love. All the aspects of love, whether it's romantic love, familial love, mother and son love, and what moved me and pained me the worst was parental love... and how in the end, for me, it's the most important love of all; the love between me and my son.
WAS IT IMPORTANT THAT EACH CHARACTER BE SYMPATHETIC OR LIKE-ABLE?
PAUL HAGGIS: It was important to me that they were human. All these actors look really challenging roles, and I think that's the bravery of these actors.
MILA KUNIS: Oh I totally agree, I think sometimes being "unlikeable" makes you "likeable" and makes you human. I don't think anybody goes into a character thinking, "Oh, I can't play this character because they're not likeable." I think my character is quite sympathetic and likeable for her faults.
MILA, WE'VE SEEN YOU IN A LOT OF ROLES WHERE YOU'RE THE GIRL NEXT DOOR AND THE ROMANTIC LEAD- DID YOU ENJOY PLAYING SOMETHING A LITTLE DIFFERENT?
MK: I loved it. First of all, I wanted to work with Paul and then reading the script and having it not be a "girl next door" character was a relief, so to speak... I looked at this film as an "end to my twenties" so it was like a massive therapy session for myself and it was, selfishly, incredibly gratifying... i don't know how to explain it. I loved doing this movie because I felt like I was doing something that I loved again. You go and do a film with a director and they make you do a character every which-way because they don't trust themselves and they don't trust you and they want to ultimately do what I call "Frankenstein" you together in the edit bay, and make a character that they feel comfortable with six months later. Paul is the opposite. Paul trusts you and empowers you and gives you this great character to play with so that you live it for a little while. It was the greatest experience.
CAN YOU DESCRIBE WHAT IT WAS LIKE WORKING WITH JAMES [FRANCO]?
PH: The wonderful thing about working with really skilled actors is, you turn the camera on and you watch. You want really brave actors and actresses and that's what I have here in this cast. The scenes that you think are most difficult for an actor can be the easiest...The very first take [Mila & James fight scene] we used, and it was a mistake- James wasn't supposed to fall over- he got caught up in the carpet, and thank god I had two actors that stayed in the scene and played it and used it.
CAN YOU EXPLAIN HOW THIS SCRIPT WAS MADE?
PH: I so admired the filmmakers of the 70's who redefined cinema forever and didn't explain everything to you- they trusted the audience. They allowed the questions to be the most important thing in the film and that's what I wanted to do here, the writing process was that. From the time when Moran [Atias] came up with this idea and asked me to start playing with it until it was finally finished was a long, torturous process. I allowed the characters to lead places I didn't want to go and trust that [the script] would get there. I wanted to make a film where you were emotionally moved at the end, you felt satisfied but then you walked outside afterwards and thought 'what the hell happened?' and come up with answers for yourself days later.
I WAS GOING TO COMPLIMENT YOUR SCRIPT-
PH: I just did it myself, but thank you.
[Laughter]
PAUL, YOU MENTION THAT YOUR SCREENWRITING PROCESS WAS A "CREATIVE OBSESSION," DID YOU APPROACH THE CHARACTERS IN THE SAME WAY? OR FOR THE ACTORS, DID YOU FIND YOUR OWN CHARACTERS INDEPENDENTLY?
PH: Every actor finds their own character in their own way... Like Moran, you came out like three months early to live with gypsies, live with them, find out what it was like to live on the streets. Maria is an actress I've always wanted to work with; for ten years now we've been trying to work together. You see these two in a scene and you're like 'wow,' I can just sit in my director's chair and order a cappuccino.
MB: I didn't know you spent three months with gypsies?
PH: And taught herself Albanian, for Christ's sake!
MORAN ATIAS: For me, I was in a different position; nobody wanted me for this part so I had to convince a lot of people that I'm suitable for the role. So I first started researching from the U.S., reading every book, article, listening to music or watching any documentary I could about gypsies. Then I thought I'll go to Italy and try to find this character in my bones and in my skin and lived with them for a period of time. I begged for money, and that was probably the hardest thing I did because nobody wanted to give me money and it didn't matter what I was wearing or how nice I was. It was impossible to come back home with more than one Euro. Then I started washing windows with these people... all these activities just helped me be confident about how she wouldn't be apologetic for who she's become. I didn't want to victimize her. It's easy to read a character like that and think, 'oh poor woman.'
PH: One of the earliest directions I gave was when she showed up and I said 'If you have hair on your body, let it grow. Any hair you have..."
MK: That's what you told me!
[Laughter]
MK: That's right, I had like a unibrow! I totally forgot about this!
PH: Yeah, it's just a direction I give all actors.
[Laughter]
PH: Moran moved into a place where there was no electricity, no running water, and she didn't bathe, so we didn't hang out...
MA: Ok, ok, enough with the details.
I WANT TO ASK ABOUT THE EMOTIONAL IMPACT THESE ROLES HAVE...
MA: I tried to transition into... an object of disgust and when I finally glimpsed a little bit of that I felt this sense of humiliation and rejection that one can have by dressing differently. In a way, it liberated me. It was very freeing that I had to focus on something other than myself, [I had to focus on] getting my daughter back- whether she existed or not, that's for the audience to decide. But I like to stay with my characters a little bit; they help me learn things about myself.
MB: When I'm [playing a parent], I can never use my son. I can't. If I go there for a second I think I'll kill myself, right? I can't put [my son] Jackson in my brain while [I'm acting]. Most characters, I can do something really emotional and then be like, 'ok, what are we having for lunch,' don't carry it with me, but the child thing... I don't know how people function if they use their child.
MK: I will live it for those twenty minutes that I'm on set and need to live it, but it's called acting for a reason...I do a lot of homework before and then I disregard it. That's my horrible take on it, but mind you I'm not a trained actress, I didn't go to Juilliard, no one should listen to me ever.
Review: 'Whitey: United States of America v. James J. Bulger'
He survived a stint in Alcatraz. At one time, he was considered the "Second Most Wanted Man in America," Osama Bin Laden being the first. And for over a decade, he was living under the radar in a modest apartment complex in Santa Monica, California, right under the noses of the FBI, CIA, and every other unknowing citizen around him. In 2011, the notorious James "Whitey" Bulger, aged 84, was arrested and ultimately charged with two life sentences plus five years for his involvement in eleven murders, among other illegal activities. Acclaimed documentary filmmaker Joe Berlinger uncovers the fascinating rise and fall of one of history's most elusive and infamous mobsters in the new biographical film, Whitey: United States of America v. James J. Bulger.
For fans of The Sopranos or The Wire, this true story about a crime legend is so tightly packaged and emotionally charged, it's sure to keep your interest throughout the entire two hour run time. Captivating interviews from victims and their families paint a horrific picture of a soulless man who literally had a license to kill. Whitey ran Boston for thirty years, beginning as a childhood thief and ultimately befriending the "right" people in Boston's organized crime scene. His unwavering loyalty and commitment to his gang lead him to the top. As acting boss he allegedly forged mutually beneficial relationships with law enforcement, receiving tips of wire taps or busts in exchange for money.
For fans of The Sopranos or The Wire, this true story about a crime legend is so tightly packaged and emotionally charged, it's sure to keep your interest the entire 2 hour run time.
The film is effective in exposing the government's manipulation of Whitey's legal case and the entire Boston judicial system. Corrupt leaders, like Jeremiah O’Sullivan of the Department of Justice New England Organized Crime Task Force, made deals with the mob by falsifying documents and essentially aiding and abetting a criminal, and this shocking information is only the beginning. It's not the mob, but the FBI who is considered the most organized crime family.
Whitey's 15 minutes of fame won't be up for a while; director Scott Cooper (Out of the Furnace) is currently working on Bulger's biopic, Black Mass, starring Johnny Depp as the titular character. It was only a matter of time before this unbelievable story got the Hollywood treatment, but if anyone was to play the "Irish Godfather," Depp is the one to do it.
Whitey is a must-see film; socially relevant and unapologetically interesting, this documentary tells a story so surreal, it seems too crazy to be true.
https://www.youtube.com/watch?v=R2klCnCBHFA
Review: 'A Coffee In Berlin'
Although you might haven't heard of this black and white foreign drama, A Coffee In Berlin [aka Oh Boy] should be on your radar, and here's why: it swept the 2013 German Academy Awards with six wins, including Best Film, Screenplay, Director, Actor and more. A first feature from director Jan Ole Gerster, A Coffee In Berlin appeals to all those who once felt lost and have pondered life's bigger meanings, as well as those who understand and savor the importance of a good cup of coffee.
We've all been there- that point in our lives when we feel like the world is moving at a much faster pace than we are, or want to, keep up with. Some may call it "lazy," others may choose to call it "uninspired." Whatever the case, Niko (Tom Schilling- Before The Fall) is both. After a night of meaningless sex with his girlfriend, whom he seems disinterested in, Niko finds himself at his mandatory therapy appointment. After a quick and premature evaluation of his alcoholic tendencies & mental health, the doctor bans Niko from receiving his driver's license, making him a slave to public transportation for the time being. From here, his day gets worse. His debit card won't work, his father cuts off his allowance after realizing Niko hasn't been attending school for the past two years, and everywhere he goes, he finds himself in socially awkward situations.
The dry humor in the film is subtle but effective- it's easy to see why A Coffee In Berlin an academy favorite.
The film spans over the course of a single day in the life of our protagonist Niko. Every character he interacts with becomes another opportunity to display the script's intelligent writing; cunning dialogue makes this story satirical and darkly humorous. His neighbor with a terrible case of TMI (too much information), confesses he hasn't made love to his wife in five years. He blames her breast cancer for the getting in the way of his drive. Niko's childhood classmate Julika (Friederike Kempter- Pandorum) resurfaces after many years, one hundred pounds lighter but still very insecure. The girl whom Niko once called "Roly Polly Julika" can't hide her feelings towards Niko, and their relationship takes an unexpected turn over the course of the night.
Even in black and white, the city of Berlin seems electric and lively. For those who have the wanderlust itch, this film only propels the desire for exploration and adventure, portraying Berlin as a bustling cultural staple. The camerawork is not steady; the subtle shakiness of the shots add to the youthfulness of the character and the environment.
A Coffee In Berlin may have well been titled "Niko and the Terrible, Horrible, No Good, Very Bad Day." This poor guy can't catch a break- but it's these series of unfortunate events that make him relatable to audiences. The dry humor in the film is subtle but effective- it's easy to see why A Coffee In Berlin an academy favorite.
https://www.youtube.com/watch?v=oMwUSipMzFA
Review: 'Third Person'
"Watch Me."
These first words, hauntingly spoken by a young boy we never see, sets the tone for the much anticipated follow up to Oscar-winning director Paul Haggis' film Third Person. Haggis recycles and builds upon the formula which brought him success with the 2004 Academy Award winner for Best Picture, Crash- a multi-storyline formula that saw a divide between audiences. Either it was too predictable, too unrealistic, or just too confusing. However, Haggis' vision is clear in Third Person, as much more of the film is left up to audience interpretation. Is it ambitious to attempt another film in this style? Absolutely, but with an obsessively creative genius at the helm and a cast of genuine A-List actors, Third Person is a rich cinematic experience.
"Watch me," the boy says, as the film opens on Liam Neeson (Taken, The Grey) sitting in solitude at a desk in his Paris hotel room. Neeson plays Michael, a former award-winning fiction author whose personal life has come crashing down around him. After leaving his wife Elaine (Kim Basinger- L.A. Confidential) he escapes to Paris to finish a book he's having trouble finishing. His affair with the sexually brash and aspiring writer Anna, played by Olivia Wilde (Rush, In Time), messes with his mind and his heart.
In Rome, an American con-man is finalizing a deal to bring copy written fashion designs back to the USA for reproduction. Scott (Adrien Brody- The Pianist) spends his last day in the city at a local bar where he meets a beautiful gypsy woman, clearly distressed. Monika (Moran Atias- The Next Three Days) tells Scott she is reuniting with her daughter, whom she hasn't seen in two years. Something about her seems off, but Scott's intrigue brings him to follow Monkia on a journey that leaves him questioning her intentions, and whether or not he is being conned himself.
Our last story takes place in New York- Julia (Mila Kunis- Black Swan) has fell from grace and is struggling to make ends meet. A former soap opera actress, Julia now works as a hotel maid to pay rent and rising legal fees, as she's currently fighting a custody battle with her ex-husband Rick (James Franco- 127 Hours) over their 6 year old son. A prior event that isn't seen in the film concludes that Julia tried to physically harm her son. Denying any wrongdoing, Julia and her lawyer Theresa (Maria Bello- A History of Violence) do what they can to reunite her with her son, but it's not without complications.
The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force feed, a directing style I appreciate.
I walked away from this screening thinking "Crash meets Memento." The imagination teeters on delusion at times and much to the story's benefit, it's hard to differentiate what is in fact reality. The script is well fleshed out and does not present any conflicts that could easily arise when dealing with overlapping plots. The common threads that weave through each story- themes of love, longing, and betrayal, are equally strong. Whether in Paris, Rome or New York, every character struggles with a cat-and-mouse game these themes create. The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force fed, a directing style I personally appreciate.
Michael's story is more of the focus throughout the movie. Not so much the puppeteer, but he is the driving force for the movie; He feels through the characters he creates in his stories. The other characters feel through their own personal experiences, a differentiation worth acknowledging.
The actors appearing in this film are all extremely talented and Third Person gives them the platform to explore very different roles. Liam Neeson's last films have been very physical and tough, whereas here, his dramatic acting skills are on full display. He can't and doesn't hide behind stunts. Mila Kunis is known for her girl next door, humorous roles. As Julia, Mila taps into a dark, emotionally unstable and extremely vulnerable girl who's performance is captivating. Other great performances come from Olivia Wilde as the sexual temptress, who leaves little to the imagination as she confidently bares all in more scenes than one. Maria Bello fully embodies her role as a lawyer in the same way Adrien Brody plays the caught-up tourist- both with passion and empathy.
Technically speaking, Third Person is a well executed film. The edit is seamless, editor Jo Francis cuts to the mood/ location/ action of the film in just the time it takes for us to blink our eyes. It's subtle, but extremely powerful. The score is highly cinematic, to be expected with any surreal drama.
Who is, or what is, this mysterious "third person" is never literally answered, but it's not hard to fill in the blanks with the breadcrumbs Haggis leaves throughout the film. I choose to believe this "third person" is the environment, the element in which our characters respond. Paris is the city of love, yet Michael is caught struggling to understand his feelings about the women in his life. In many successful films past, like The Talented Mr. Ripley and The Bicycle Thief, Rome is the setting that is predisposed to mystery, and Monika is an enigma to Scott. For many, the concrete jungle that is New York City creates a cold vibe- not welcoming and easily depressing. Julia has hit rock bottom and her internal woe adds to desperation and overwhelmingness of the city.
For fans of the cerebral drama, you'll find much to like in Third Person. The cast could not have been better, pushing this already intense script into very strong territory. It requires audience participation, or at least, attentiveness, to fully understand and appreciate the film, but if you're willing to put in the work, the reward is extremely gratifying.
https://www.youtube.com/watch?v=kDR5HYay2X4
Review: 'Supermensch: The Legend of Shep Gordon'
Shep Gordon is probably one of the most legendary men in Hollywood that you've never heard of. His work as a talent manager brought rocker Alice Cooper to stardom, as well as the likes of Blondie, Luther Vandross, and Raquel Welch. Not only is Gordon a natural businessman, but his infectious humor and genuine personality made him a friend of celebrities all over the world. From partying on the Sunset Strip to meditating with the Dali Lama, Shep Gordon has seen and done it all, making for a wild life story. Now, in funny man Mike Myers' (Austin Powers) directorial film debut, he turns the camera on one of the industry's most respected and insightful figures in the hilariously moving documentary SUPERMENSCH: The Legend of Shep Gordon.
A "Mensch" is the Yiddish term for a person of integrity, and that's exactly what Shep is- only more "Super." Shep recalls the moment his career took off in 1968; less than 24 hours after moving to Los Angeles, Shep finds himself staying at a hotel in the heart of Hollywood. He hears the screams of a woman, high pitched and loud, and thinking she is being attacked, Shep runs from his room down to the pool where he sees two people rough housing… or so he thinks. Turns out, it's Jimi Hendrix and Janis Joplin, and they weren't fighting (if you catch my drift). Joplin then punches Shep in the face for disturbing her and Hendrix. After clearing up the miscommunication, Hendrix and Joplin welcome Shep to LA with open arms, giving him the idea to go into talent management. The rest is Hollywood history that only the glamorous city could write.
Stories like these are just the beginning of the documentary's entertaining journey. Mike Myers' ability to capture Shep's essence on screen is reinforced with interviews from his famous friends, including Alice Cooper, Michael Douglas, Sylvester Stallone, Willie Nelson, Anne Murray, Chef Emeril Lagasse and many more.
Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
Kudos to Myers for creating an engaging story with eclectic antidotes while still keeping a singular narrative. The film remains cohesive throughout its entire 80-minute runtime. Because of pop-culture societies' overwhelming affection towards Shep, Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
With his Larry David resemblance, Shep is described as a "compassionate motherf**ker," who has remained grounded since the beginning of his career. Myers shows the glitz, and Shep talks about the glamor, but deep down we discover what really drives Shep: family, or rather, the pursuit of one. Even today in his old age, he still wants a biological child. It's heartbreaking to see a man who so seemingly has it all, except for the only thing that really matters: unconditional familial love.
However, Shep himself is the first one to say he still considers himself lucky. A particularly memorable quote is expressed towards the end of the film; reflecting on his life thus far Shep reminds himself, "Be careful what you complain about when you're damn lucky."
Even if they're not biological, Shep Gordon has certainly made a family out of his A-list friends. This is a man very deserving of a documentary and Mike Myers does a great job of bringing Shep's story to life in a truly entertaining and informative way. It's lighthearted, funny, and just the right amount of wrong to make for one memorable movie and life of Hollywood's beloved super-mensch.
https://www.youtube.com/watch?v=Zd0VOkPOrV0