Angel Duster
  • Angel Duster
  • Run The Jewels
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Music for the Weekend: Angel Duster by Run the Jewels.

So I got this record at the crack of dawn and have been listening to it nonstop. GO GET IT. NOW. HERE. It’s fueling my writing as I knock out the script for Six Angry Women, which is being based upon our improvisational work during rehearsals. We’re using the screenplay format employed in Curb Your Enthusiasm, which doesn’t have any dialogue but instead sets out the actions of the scene and the objectives for each character. Here’s an example from a Curb screenplay:

Season Three: Scene 1 from “Krazee-Eyez Killa” (Episode 8)

EXT. THE WATKINS’ HOUSE

We open on a RACIALLY-MIXED party. CHERYL is talking to WANDA and her boyfriend, KRAZEE-EYEZ KILLA. They have some interaction with an OLDER BLACK COUPLE, who are Wanda’s parents. During all of this, we keep hearing a popping noise that sounds like a cap gun going off. We then pan to LARRY and find him stomping on packing bubbles. Cheryl approaches Larry and tells him to cease and desist. He then winds up next to Wanda’s father and, desperate for conversation, mentions how he once dated a black woman and was quite surprised by some of the negative comments he heard when they went out, but he wasn’t phased by it at all. Then Mr. Watkins excuses himself and Larry starts chatting with Krazee-Eyez Killa. Larry asks where he lives, and after going into some detail about its location, Krazee-Eyez Killa abruptly changes the subject and asks Larry if he likes to eat pussy. Larry, a tad thrown by the question, tells Krazee-Eyez Killa that he used to, but now he’s too lazy. “It’s a lot of work and it hurts my neck. It’s a whole to-do.” Krazy Eyez-Killa, taking Larry into his confidence, says that he loves Asian pussy. Larry, a little shocked, says,’ You mean you used to.” Krazee-Eyez Killa says, “Still. No way I give that up.” Now Cheryl approaches. Larry tells her that he has to go to Jeff’s new house to pick up a script. Cheryl thought Jeff was in a hotel because of the dog, but Larry explains that he’s getting allergy shots and they’re helping.

In this format we’re allowing the actors to improvise within the constraints of the narrative. We’re also using very composed shots, so my actors are having to learn their blocking as they improvise. Not easy, but we’re getting the hang of it.

Six Angry Women is shaping up to be an interesting hybrid, an improvised film that is shot like a fully storyboarded and structured piece of cinema. It’s pushing and pulling us in various directions, and forcing us to create a multitude of ready-to-go visual options to have at our disposal, should the script dictate their use. It’s an exciting way to make a film, but the preparation is enormous, probably even more than a conventional, fully-scripted film. Being ready for the unknown takes a lot of work, but what fun and amazing work it is. I’m enjoying this process immensely and am excited to see what comes of it. Two more weeks to go before shoot, and I feel good. Once we lock our location I’ll feel great, so that’s our main priority now.

Have a great weekend!

5

Meet Cecile Emeke a filmmaker, writer & artist from London. She took some time to answer our questions about "Strolling", a short documentary series where she goes on a stroll, with people and has a conversation about
various social issues. Furthermore, we also talked about her crowd funding and her upcoming new movie project "Ackee & Saltfish".

Read the interview and watch the first episode of “Strolling” here: http://www.frolicious.de/2014/10/03/interview-cecile-writer-filmmaker/ 

Feel free to leave us a comment and sign up for our mailing list.

Be Frolicious - Be You !

Right now, I’m lost in a transition. The old is dead, and I don’t know what the new is. The only way to find the new is to start different things and see if there’s something that can come out of experimentation. It’s somewhat unsettling, but it’s a hopeful thing in a way. I’ve been here before, lots of times.

Bangladeshi directors hope to step out of Bollywood’s shadow

With his debut nominated for the top prize at Asia’s biggest film festival, Bangladeshi director Abu Shahed Emon is hopeful that his achievement will help spur on his compatriot filmmakers.

Jalal’s Story is the first-ever Bangladeshi film to vie for the New Currents award at the Busan International Film Festival — the event’s main category that offers two prizes of $30,000 to first or second-time directors.

The enemy of art is the absence of limitations.
—  Orson Welles

There is such a thing as too much choice. When presented a limitless array of possibilities, we run the very high risk of being overwhelmed and then settling for what is familiar. I think this is happening at an alarming rate in our culture. Capitalism has run amok, giving us nine thousand choices when in reality our critical mass is at about fifty.

Online streaming queues are, on paper, an amazing idea. A portal to tens of thousands of films, millions of songs, and books galore. But how much time do we spend sifting through the choices? When what we like or what intrigues us is buried in a sea of chaff, is it not our basal instinct to return to the familiar? Discovery has become an labor, curated by robots and algorithms.

As per filmmaking and art, I think Welles has a great point here. Our inception of the idea has no limits, it can come from anywhere, any place, any time. It knows no boundaries. But that’s just the idea, and art isn’t just an idea, it is an idea that has taken physical form through exercising of craft.

When we give shape to our ideas, we have to slowly curate our toolbox. Having every tool at our disposal can lead us to the queue, where familiarity rules and will breed contempt. Place limits on your available toolbox. I’ve done this on Six Angry Women by making firm choices - shooting in black and white, 4:3 aspect ratio, an improvised script with composed shots; all of these limit me but also force my collaborators and I to be that much more creative in how we will execute our ideas. Our toolbox is now simplified and mobile, we can adapt quickly without much thought.

What I see in our rehearsals and test footage is that these limitations are producing a very unique film that appears to be breaking new grounds. We work in a time of immense technological advancement, we have 2k cameras that fit in the palm of our hands and post-production tools that Orson Welles could only dream of. Our possibilities are endless, but they will forever remain only possibilities if we can’t select specific tools and create limitations to the benefit of our ideas. To not do so endangers us of making a sprawling, disconnected mess of our art, which I’m seeing more and more in big budget studio films. Small indies impact us because they make magic while being handcuffed, they make the most of their resources and know how to use them beyond their ability. The limitations are not the art, they are the catalyst to them.

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