Baller, Part 2
Feb. 1st, 2012 03:38 pmParis 60, a feature film I'm in, is leading off the International Students Film Festival this week in London. It's even mentioned in Time Out London. I am thoroughly pretend famous!
The film itself is a deadpan riff on French New Wave and the wistful relationship contemporary student filmmakers have with it; I'm in the film both as myself and playing myself, in that the film-within-a-film is "The Sleeping People," and all the behind-the-scene shots are Tony (the director of Paris 60) discreetly wandering around my set as I actually direct things and/or hold rehearsals and auditions, but the long opening monologue to the film is semi-scripted. (I'm still me talking about the real film, but slanted toward a particular mien, improvising the speech but with an eye toward hitting certain key thematic and plot elements for Paris 60, walking back and forth because I was asked to walk back and forth and pause occasionally, an experiment in cinematic truth, a la Chronique d’un Éte. Oh, IMDB with your bourgeois corporate simplification of listing me as "self.")
The film itself is a deadpan riff on French New Wave and the wistful relationship contemporary student filmmakers have with it; I'm in the film both as myself and playing myself, in that the film-within-a-film is "The Sleeping People," and all the behind-the-scene shots are Tony (the director of Paris 60) discreetly wandering around my set as I actually direct things and/or hold rehearsals and auditions, but the long opening monologue to the film is semi-scripted. (I'm still me talking about the real film, but slanted toward a particular mien, improvising the speech but with an eye toward hitting certain key thematic and plot elements for Paris 60, walking back and forth because I was asked to walk back and forth and pause occasionally, an experiment in cinematic truth, a la Chronique d’un Éte. Oh, IMDB with your bourgeois corporate simplification of listing me as "self.")