How journalism happens

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Written by a documentary film-maker, daughter of the late, great NYT journalist David Carr

 

By Caitlin Kelly

It’s ironic — we each have more access now, thanks to the Internet, to thousands of media sources from across the globe than ever before.

Yet I see such tremendous ignorance of what journalism is.

What we do. Why we do it. What we earn. Our many constraints and challenges.

So, as we close out this decade, this is my stake in the ground, a sort of Media 101. (If this is all overly familiar, sorry!)

 

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Where does a “news” story come from?

The textbook definition of news means it’s new (something we haven’t seen or heard before); it affects the outlet’s audience (whether local, regional, national or global); it affects someone wealthy or powerful (a sad metric, but often used); it marks a significant change from prior experience; a natural disaster; a major crime.

It also, ideally, covers all levels of government. Ideally, also we cover major issues like income inequality/poverty, health, education, environment, etc.

Do journalists pay their sources?

No. This is common in some British tabloids, but not in North America, where it’s taboo. It demands cooperation from sources, yes, but it means (ideally!) that money doesn’t buy access or coverage.

Do sources pay to be in a story?

No! There is now the absurd belief — based on “journalism” like Forbes’ blogs — that you just pay to play. I’ve been offered payment many times by sources to write about them. Unscrupulous journalists accept, creating the fantasy this is normal. It is not.

 

 

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How do I know who or what to trust?

This is now a huge and troubling issue — I recently attended a powerful and sobering event at the New York HQ for Reuters, with terrific panelists addressing this very question.

The first speaker, who flew in from London, showed the audience five videos and asked us to vote on whether they were fake or real. Some were fake, and so carefully created it was really difficult to tell.

In an era of such deceptive deepfakes, question carefully!

 

Who writes the headlines?

Not the reporters! Every outlet has a series of editors above the reporters and they will oversee the headlines and write them. No reporter writes their own headlines; freelancers can and do suggest one when pitching, and some will be kept.

Same for book titles; I named my first book and my editor (thankfully!) named my second.

Who writes the captions for photos?

Editors. Sometimes the photographer.

 

How much do reporters make?

Hah! So much less than people imagine. In 2019, the American average was $40,081. To put this into context, I earned $45,000 as a reporter for the Montreal Gazette  — in the 1980s. If you’re fortunate enough to get hired by a major national outlet, like Reuters wire service or The New York Times, you might get $90,000 or more.

How much do TV reporters make?

A lot more, depending if regional or national. Those working at the national level — sometimes more experienced and skilled — will make more. Locally, $56,455.

 

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How much do authors make?

Some, millions. Some, pennies!

There are many, many tiers of book publishing, from academic houses to small indies to the mega’s like Simon & Schuster or Harper Collins, able to offer enormous advances to those they think worth the investment — like Michelle and Barack Obama, who got (reportedly) $65 million.

An “advance” may be divided into three or four parts: one on signing the deal, one on acceptance of the manuscript; one on publication and one (!) a year or more after publication. Hardly “advance”!

Every payment will likely lose 15 percent off the top to the agent who sold it.

Every book sold means more money, right?

Nope.

If your advance is $100,000, you must “earn out” that sum before getting another dime from the publisher.

And the game is rigged, since every book sold does not give the author the cover price!

We get eight percent of the retail price.

So this belief that a TV or radio or podcast appearance means a huge boost to our income from our books is wishful fantasy.

What exactly do TV and radio producers do?

There are “bookers” and producers who find and pre-interview people they think will be good on-air. You may have noticed a predominance of white men. People with no discernible accent.

 

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How do people actually end up getting interviewed by the media?

A variety of ways. Some have in-house communications departments or PIOs (public information officers) to handle requests formally. Some have a public relations firm pumping out press releases all the time! Some know a journalist or producer personally.

If it’s a major news event, like a shooting or natural disaster, we speak to as many people there as possible — traumatic for them, often.

 

How do you get access to documents?

Some use a Freedom of Information Act — FOIA — to get at them. It’s been in American law since 1967, the legal right to access any document from any federal agency.

Sometimes we get them offered to us by an internal whistle-blower.

 

How are freelance writers paid?

Bizarrely, by the word. Sometimes a flat fee. These range from $150 to $10,000 or more. No rules. No guidelines. It’s every-man-for-himself. So a story of 500 words at .50 cents per word will pay less than a magazine piece at $2/word for 3,000 words.

We are not paid until the story is accepted — and that can take months. It’s a huge problem.

Stories also get “killed” — not used and maybe not even paid for, maybe 25 percent of the original fee.

 

A glossary:

 

Hed

The headline.

Sub-hed

A sub-heading within the body of a story, often used to break up copy and keep the reader moving.

Pull-quote or call-out

A phrase or quote that’s memorable, meant to entice the reader into the story.

Dek

A brief description of the story.

Lede

The first sentence or paragraph. Crucial!

Kicker

The final sentence or paragraph. Crucial!

Graf

A paragraph.

The 5 W’s and H

Who, What, When, Where, Why and How….every story should answer these.

B-roll

Images to illustrate a TV story or video that aren’t the main event. Sometimes shot in advance.

Nut graf

High up in a story, the graf that explains why the story is even worth reading.

Explainer

A detailed story to explain a complicated issue.

Presser

A press conference.

On the record

Everything you say is now for permanent, public consumption. (Off the record means it’s not — but only if you preface your remarks with this phrase, not afterward.)

Movies, movies, movies

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THE BREAKFAST CLUB, Judd Nelson, Emilio Estevez, Ally Sheedy, Molly Ringwald, Anthony Michael Hall, 1985. ©Universal Pictures/Courtesy Everett Collection

 

By Caitlin Kelly

Three in a day.

No big deal!

Yesterday, another gray, rainy day here, meant movie day. We are incredibly lucky to have an art house theater — a former vaudeville theater from the 1920s — renovated and a 15-minute drive north of us, offering an amazing array of documentaries, series, events and features. Annual membership is $85 and tickets are $10 (only $8 two years ago.)

Some weeks I’m there several times.

I also watch on TV and streaming.

I don’t watch horror or kids’ films. Not much into animation — but recently re-watched the 2003 animated stunner Triplets of Belleville — which was nominated for the Oscar for Best Animated Feature (and lost to Finding Nemo.)

I enjoy foreign films — and have raved here before about some of them, like Capernaum.

 

I love movies!

 

My father made documentaries and feature films for a living so this is a world I grew up in and knew and respected. I didn’t want to make them myself, too in awe of the tremendous skills and the huge teams needed: greensman, Foley artist, ADR, grips, gaffers, make-up and hair and costumes.

Not to mention the cinematographers and directors.

 

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LOVE!

 

I find film utterly immersive, a dream state, and when I write, try to use similar ideas — tight close-ups, establishing shots, scenes and dialogue.

I love being in a theater (a quiet one!) with some popcorn, ready to disappear once more.

Here are the three films I saw yesterday:

 

63Up

In 1964, a Canadian film-maker named Paul Almond made a film about 14 British children, meant to show how class affects them. It became a series,with fresh interviews every seven years, and offers a sometimes sad, sometimes moving look at how we age and change — or don’t. The 14, typical of Britain then perhaps, includes only one black boy and all the rest are white.

One man suffers mental illness and homelessness. Several marry and divorce. Almost all have children and grand-children. I hope it continues and is well worth a look.

 

Knives Out

A who-dun-it filmed in an astonishing mansion, with a rapacious family fighting over their inheritance from their mystery-author father, played by Canadian actor Christopher Plummer. Daniel Craig, best known for playing James Bond, here plays a southern detective, with a weird drawl. It’s an amusing film, but too long and not one I would see again.

 

The Favourite

 

This really is one of my favo(u)rite films so I watched it on TV for maybe the third or fourth time.

Set during the reign of Queen Anne, who suffered the unimaginable loss of 17 children, it’s the devilish tale of a scheming fallen aristocrat, Abigail Masham, up against brilliant, witty Sarah, Lady Marlborough. As the Queen, Olivia Colman is stunning — and won the Oscar for Best Actress in 2018 for it.

Set in early 18th-century England, it’s a feast of gorgeous cinematography (with a lot of fish-eye lenses, adding visual distortion to the emotional weirdness), music, costume, sets and make-up. Nicholas Hoult is Lord Harley, and deliciously awful.

It’s a moving, sad, gorgeous tale of power and attraction, of love and flattery, of how easily a weak, ill Queen rejected her best ally and friend for a sneaky underminer.

And based on historical fact!

A must-see film: Capernaum

By Caitlin Kelly

Sometimes you watch a film that feels like a punch to the solar plexus.

In a good way.

I was bored and channel-surfing this week on yet another stiflingly hot evening when, at 10:00 pm, I found a film I had really wanted to see in 2018 when it came out. It received rapturous reviews, including a 15 minute standing ovation when screened at the Cannes Film Festival.

Capernaum — also named Chaos — was filmed in a dusty, crowded Beirut for $4 million, starring a 12 year old Syrian refugee named Zain who’d already survived eight years in that city’s slums. The stars of the film include the most gorgeous baby — not more than a year old — and an Ethiopian woman, his mother, living and working there in menial jobs illegally.

If there is a film that more powerfully shows what it’s like to scrape every single day for food, water, income and dignity, I don’t know what it is.

The child who plays Zain is also named Zain, and was 12 at the time of filming, then illiterate. He is so tiny he looks like he might be eight or ten. (He now lives in Norway.)

Every element of this film is searing: the fate of his sister Sahar, a child bride; his abusive parents unable to care for him in any way; his resilience; the empathy and compassion Rahil shows for him (the mother of the baby) and his, in turn, for her toddler.

There’s a kind of intimacy and immediacy to this film that renders everything more slick and produced meaningless in comparison. It is in Arabic and Amharic with subtitles.

Slumdog Millionaire made in 2008 for $15 million — and which made $377.89 million — is the only other film that comes to mind like this, and Capernaum is much better.

Like Slumdog, it was made on  a small budget of $4 million (thanks to a producer who mortgaged his home), and has so far earned $68.6 million becoming a huge and unexpected hit in China.

Ironic that two films about desperately impoverished street children have proven so popular and lucrative.

I sure hope these child actors have also enjoyed some of that wealth!

Here’s the film’s trailer.

Find it. 

Watch it.

Extraordinary.

“Gloria”: Critics raved! Hated it

By Caitlin Kelly

Whew.

It’s rare I actually hate a film, but this one is added to my short list. Starring Julianne Moore — who does her best with a sad-sack role — “Gloria” is a re-make of a 2013 film of the same name and theme.

I hadn’t seen the previous one, but thought — OK, Julianne Moore (who usually makes good films) and who is also executive producer here — I’m in.

I came home and read a bunch of reviews to see who else thought…uggggggh.  Every major media outlet loved it.

I just don’t get this film’s appeal.

Gloria, divorced, with two adult children (one with an infant whose wife has wandered off), the other pregnant by a Swedish pro surfer, lives alone in an apartment endlessly visited by a very ugly cat — maybe a metaphor I didn’t grasp? She lives in L.A., works as an insurance agent and has a noisy and aggressive upstairs neighbor.

Yes, her life is limited. But she’s also choosing to let it, which immediately lost some of my sympathy.

She’s 50-ish, and her one great joy is dancing to disco; at a club she meets Arnold (John Turturro) and (why???) falls in love with him — despite a bunch of his backstories that felt so false to me. (He’d lost a huge amount of weight, he was a former Marine, his endlessly demanding adult daughters.)

His character is just so weird and opaque and needy and creepy — yet she keeps ripping off their clothes for lots of sex and nude scenes.

Hey, I’m all for lots of great sex at any age. But with that guy?

I also get the appeal of a regular woman in her 50s living a life that’s just OK, not really happy in any meaningful way. But I found her resolute cheerfulness and passivity extremely depressing.

Maybe that’s just me. From the very first scenes, Arnold struck me as someone to flee.

I won’t reveal the film’s final milquetoast “revenge” scene, but it felt so cliche and so pathetic — this is midlife “empowerment”?! —  I could barely wait to leave the theater, where a long line of people eagerly waited to enter.

Is there a film you loathe?

Why?

Your favorite films? Some of mine

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A scene from Kubrick’s film 2001; Inside the spaceship — filmed in a British studio

 

By Caitlin Kelly

Here’s a recent list of the top 100 foreign language films, according to critics, reported by the BBC; I admit to only having seen nine (!) of them. I loved Children of Paradise, and hope you’ve also seen it. Another of my faves is on the list below.

My father made films for a living, mostly documentaries, and won the Palme D’Or at Cannes for one; here’s his Wikipedia entry. So maybe my addiction to film comes honestly! In a typical week, I watch probably two or three films, whether a classic on TCM,  something on HBO or go to a theater to happily sit in the dark.

My tastes don’t include horror or a lot of comedies. For reasons I can’t explain, I love films about spies and spycraft.

 

Syriana (2005)

An amazing cast — George Clooney and Matt Damon, two favorites — and a twisted tale of government malfeasance in the MidEast. Clooney won the Oscar for Best Supporting Actor. Filmed in Iran, Texas, Switzerland, Lebanon, Spain and D.C. (this kind of multi-national location shooting seems to be a theme of my favorites!) They used 200 locations on four continents. It also feels, right now, terribly timely in light of terrible Saudi behavior — and American complicity in it.

 

Michael Clayton (2007)

Clooney again! This time, corporate malfeasance. (Hmm, I see a theme.) Also in the cast is the phenomenal British actor Tom Wilkinson , playing a corporate executive whose conscience over a highly dangerous and profitable agro-chemical lands him in the wrong hands.  The fantastic British actress Tilda Swinton plays the firm’s smarmy lawyer — the final scene, shot in a midtown Manhattan hotel — is one of my favorites. She won the Oscar for Best Supporting Actress and it’s well deserved. Clooney, badly shaven and hollow-eyed, plays a “fixer”, a lawyer assigned to clean up the firm’s messy cases.  It made many critics’ list of the year’s top ten films.

 

 

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Casablanca (1942)

Of course! If you’ve never seen this classic, a gorgeous black-and-white film with some of the all-time great lines — you must! Ingmar Bergman and Humphrey Bogart star; she as a European refugee fleeing war-torn Europe and he as a tough-talking American bar owner in that Moroccan city.

 

2001 (1968)

I must have watched this Stanley Kubrick film 20 times since I first saw it as a young girl. To my eyes, it hasn’t dated at all — even the subtlest details of what space travel might look and sound like having come to fruition now or some variation of same. The soundtrack, the special effects, the costumes and the ending which still puzzles so many. Its esthetic deeply affected many later films.

 

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Jason Bourne

The Jason Bourne series

OK, OK. Schlocky, I know. But ohhhh, so much action and so many crazy chase and fight scenes from Berlin to Tangier to Paris and such a lonely hero, played in every version but one by Matt Damon (later Jeremy Renner.) I’ve seen every one of these so many times I know them off by heart but still enjoy them. I also love how he never does anything vaguely normal — like laundry or groceries. There are five in the series.

The Devil Wears Prada (2006)

If you love magazines and fashion as much as I do — let alone a film (based on a true story about being the assistant to Vogue editor Anna Wintour), about an ambitious New York City female journalist — this is the one for you. I know the dialogue by heart but still enjoy it: the designer clothes, her insanely demanding boss, Miranda Priestly, and a great scene with Stanley Tucci that sums up what it really takes. Made for $35 million, it’s since grossed 10 times that in revenues.

Spotlight (2015)

Another film about journalism,  this one winning the Academy Award for Best Picture. Also based on a true story, this recreates the teamwork it took at the Boston Globe to expose horrific sexual abuse by priests in the Catholic church. I love Rachel McAdams, a fellow Canadian, as reporter Sacha Pfeiffer — it’s one of the few films ever made that really shows what shoe-leather reporting is: all those interviews, all that door-knocking, all those documents to read.

All The President’s Men (1976)

It’s a boys’ club at the Washington Post — but what a club! This re-creation of the reporting on the Watergate scandal that brought down former U.S. President Richard Nixon, stars Dustin Hoffman and Robert Redford, a dream team in itself. This film, too, shows the persistence and guts it can take to sniff out a major story and get people to share enough to make it publishable.

Aguirre, The Wrath of God (1972)

Klaus Kinski as a crazed expedition leader in 16th century Peru. The final scene is extraordinary — a raft floating helplessly downriver, with Aguirre raging, the lone survivor. I love all of Werner Herzog’s films, but this one most of all and it’s considered one of both Herzog’s best films and one of the best films ever made.

The Mission (1986)

An 18th century story about a Jesuit mission deep in the Argentine jungle, starring Robert de Niro and Jeremy Irons. The soundtrack is astoundingly beautiful, by the legendary film composer Ennio Morricone. The opening image is unforgettable — it won the Academy Award for Best Cinematography (and was nominated in six other categories.)

Blade Runner (1982)

Few films have had as much an impact on later work as the esthetic of this one, directed by Ridley Scott, later better known for the Alien films. Everything drips with rain, streets are crowded and gleam with neon. Harrison Ford plays the Blade Runner, Rick Deckard, whose job it is to seek out and destroy replicants, robots who appear human. The eerie soundtrack is by Vangelis, best known for his score of the film Chariots of Fire. I also love the 2017 sequel, Bladerunner 2049, again starring Harrison Ford.

The Good Shepherd (2006)

Another (!) film I love starring Matt Damon, and another focused on spycraft, specifically the beginnings of the CIA. Damon stars, as does Angelina Jolie in a film focused on themes of family loyalty versus that to one’s craft. I’m also partial to this movie since a scene was filmed in the town we live in, Tarrytown, New York.

Dr. Zhivago (1965)

To my mind, admittedly as someone who’s loved this one for decades, one of the most visually compelling films I’ve ever seen, directed by the late great David Lean (who also did Lawrence of Arabia.) Julie Christie is Lara, Omar Sharif as Zhivago and Geraldine Chaplin as Tonya, set at the time of the Russian Revolution. It was filmed in Finland, Spain and Canada.

 

What are some of yours?

 

 

What do you love about them?

Four women comedians

By Caitlin Kelly

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It’s been a rough summer: illness, too many friends dying, lost work…

So I’ve been watching comedy specials on television, most recently three women: Tig Notaro, Hannah Gadsby and Michelle Wolf.

Tig, who’s gay and married and a survivor of breast cancer, is the oldest at 47, and her show is radically different from the hyper, smiling Wolf — who’s 33. Notaro, halfway though her hour-long TV special filmed in Boston, removes her elegant navy blazer and crisp white cotton shirt — and performs the second half naked from the waist up.

Her delivery is slower, more thoughtful, less frenzied. She’s angry, but in a quieter and more moderated way.  You can tell she’s been doing comedy a long time, and feels in control.

Wolf is wild and dirty — with endless references to penises and periods. She grins a feral grin.

Gadsby is the outlier, Australian, earnest, furious. What begins as comedy morphs into something deeper and much more personal:

From The New York Times:

Ms. Gadsby, an Australian comedian, is the creator of “Nanette,” a stage show turned Netflix special that is lacerating in its fury about how women and queer people like her, and anyone else who might behave or look “other,” get treated, dismissed and silenced. She is unflinching about the abuse that they — that she — endured, and the cultural norms that enabled it. She calls out men, powerful and otherwise.

In stark personal terms, she reveals her own gender and sexual trauma, and doesn’t invite people to laugh at it. “Nanette” is an international sensation, the most-talked-about, written-about, shared-about comedy act in years, exquisitely timed to the #MeToo era. And in its success Ms. Gadsby has perhaps pointed the art form of stand-up in an altogether new direction, even as she has repeatedly vowed, onstage, to quit the business.

“I have built a career out of self-deprecating humor, and I don’t want to do that anymore,” she says in the special. “Because do you understand what self-deprecation means when it comes from somebody who already exists in the margins? It’s not humility. It’s humiliation.”

The fourth is a British woman, Viv Groskop, (a coaching client of mine), who  recently played the Edinburgh Fringe Festival, who writes an advice column and who has a new book — pictured above.

 

Viv, of course, is Cambridge educated and speaks fluent Russian.

 

Do you have a favorite female comedian?

 

Do you stick with unlikable characters?

 

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By Caitlin Kelly

 

Our most precious resource, beyond health, is time.

So…when you’re reading or watching a film or television show filled with unlikable characters, do you stick with it?

I get it — conflict and drama are essential to almost all compelling narratives, in whatever form. Without it, it’s all puppies and rainbows.

Baddies add spice and darkness and intrigue.

But how much of it can you take?

I’m prompted to ask this after watching four recent TV series here in the U.S.:

Succession, Sharp Objects, The Marvelous Mrs. Maisel and Insecure.

The first, on HBO, follows the fortunes and chicanery of the media mogul Roy family (pretty clearly modeled on Rupert Murdoch), with three weird adult sons and a serious bitch of a daughter; when one’s nickname is Con (Conor) and another Shiv (Siobhan), there’s a clue! The plot line focuses on the four adult children and their endless maneuvring for power, attention and approval from their terrifying father, Logan Roy, who manages to spit “Fuck off!” to each of them fairly regularly. And to anyone within range.

These are not people you’d want to have lunch with, that’s for sure. They alternate between spoiled, wealthy, entitled charm and knives-out ambition, manipulating those around them as need be. So, why watch? I stuck it out to the end, and, yes, it’s worth it!

Even as horrible as most of these characters are, you can also gin up some sympathy for them with the brute of a father they’ve all also endured.

Sharp Objects is based on the book by Gillian Flynn, and follows an alcoholic female reporter sent back to her small Missouri  hometown to cover murders of local teen girls. The direction and cinematography and dark and moody, and the characters challenging — the reporter Camille Preaker is a cutter who slurps vodka all day from a water bottle while her mother swans about in pastel nightgowns and her teen half-sister swings between wildness and demure behavior.

I’m glad I read the book because the series’ slow pace is losing me, given the consistent ugliness of the people involved.

The Marvelous Mrs. Maisel came highly praised and, in some ways,  appears easy to like — a feel-good story about a wealthy 1950s NYC housewife, at 26 mother of two young children, determined to make it as a stand-up comedian after her husband has an affair. It’s fun to guess which New York City locations were used, and all the 50’s fashions and all the old cars, but the very premise seems bizarre to me, and the more I watched it, wanting to like it, the less I enjoyed the characters — whose wealth insulates them from tedious realities (like taking the subway or finding and paying a babysitter. When she loses her enormous apartment, Mrs. Maisel simply moves upstairs into her parents’ enormous apartment.)

Her mother is anxious, her father a semi-tyrant, her husband thoroughly unattractive — and Mrs. Maisel? She’s not that funny and her “journey” through some really bad evenings with audiences who hate her? How could she possibly fail? They all feel too entitled for me at this point.

Insecure, the creation of Issa Rae, is heading into its third season and I’m trying to like it. Rae is charming and funny and totally relatable. And yet, at 30, her character is still making disastrous choices in her life.

Her passivity annoys the hell out of me.

I may just be too old (or too white) to appreciate what a great show this is.

 

Have you seen (and enjoyed) any of these shows? What am I missing?!

 

How do you feel about unlikable characters?

Do you watch the credits?

 

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THE BREAKFAST CLUB, Judd Nelson, Emilio Estevez, Ally Sheedy, Molly Ringwald, Anthony Michael Hall, 1985. ©Universal Pictures/Courtesy Everett Collection

 

By Caitlin Kelly

Loved this piece in The New York Times, an argument in favor of watching the opening credits to TV shows.

I’m also obsessive about watching opening and closing credits, for television and for film.

The opening credits — and carefully chosen music — carefully set a tone for the show that follows. Anyone remember the joyful opening hat-toss of the late Mary Tyler Moore in The Mary Tyler Moore Show?

And its girl-power theme song: “You’re going to make it after all.”

I’ve been watching three dark and powerful TV series this summer — Happy Valley, set in Yorkshire and Succession and Sharp Objects on HBO. In all three, the opening credits, for me, are part of the pleasure, physically and emotionally setting us up for what happens next.

I even got a story out of this obsession once, after watching the final credits for The Namesake, a lovely 2006 film about an East Indian family living in the U.S. The credits revealed that the movie had been shot on location in a town about 10 minutes’ drive from where I live, in a suburban area north of New York City.

I sold a story about the making of the film to The New York Times, and learned all sorts of movie-making arcana, like how difficult it was to find the right hanging dishrack for the kitchen and why so many films and TV shows are made in or close to New York City — thanks to union rules, (and the high cost of paying overtime), if it takes more than an hour to reach a shooting location, door to door (or close to it), it’s deemed too costly.

My father, now retired, is an award-winning documentary film-maker — here’s his Wikipedia entry —  so watching movies and TV shows was a normal part of our lives.

 

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Love this movie!

 

I got another story idea when I noticed how many recent films had long lists of Hungarian (!?) names in the credits — and discovered that one of the newest and largest film studios is just outside of Budapest.

Variety, which covers the business side of Hollywood, wanted me to do some reporting when I was there in July 2017 but the pay was poor for way too much work, so I just had a good time with my friends instead. (If you’ve seen “BladeRunner 2049”, one pivotal scene is shot inside the city’s former stock exchange and many others were shot on their sound stage there, as was “The Martian.”)

I’m mad for movies, and usually see at least one or two every week, sometimes more — old ones, new ones, watching loved ones over and over. (Just re-watched “The Post” last weekend for the third or fourth time. And, every time I do, I pick up a few more details I missed before.)

I watched “It” on TV recently and was hooting with laughter within the first few frames at a quaint street scene set in a fictional American town — which was in fact Port Hope, Ontario, whose landscape I know very well since my father lived there for four years and we had visited often.

But not a word of it was in the credits!

There you’ll find cool movie jargon for some very specific jobs — and here’s an explainer for 12 of them.

 

Are you someone who reads the credits?

Four harrowing tales — but worth it

 

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By Caitlin Kelly

 

Whew.

I recently saw a feature film — made by British director Andrew Haigh — called “Lean on Pete”, which is the name of the horse who’s central to the story. It was shot in Portland, Oregon and tells the story of Charley, a young man (played by Charlie Plummer) who’s initially stuck with a deadbeat father, absent mother and MIA aunt.

Here’s the Guardian’s review of it.

It’s a powerful and moving story of how a young man somehow manages to walk, drive and run away from a solo life of misery back to a place of safety and comfort.

I won’t give away all the details, but it’s a searing portrait of what it means to be young, broke, desperate and unconnected to anyone who cares for you. It’s also beautifully filmed and Plummer is fantastic.

There are very few films made today about what it’s like to be poor and alone in the United States — the last one I saw (and I admit, I didn’t enjoy it) was The Florida Project, starring Willem Dafoe as the manager of a Florida motel housing a number of women-led families of very young children.

I found it impossible to like or sympathize with its main female character, while Charlie — maybe being a teenager? maybe being someone doing his best? — was someone I could stick with, even as his trajectory becomes so grim.

LOP cost $8 million to make — and has so far only earned back $222,816 — a terrible return.

I’m not surprised. It’s not a funny, cute, perky escape and box-office catnip.

But it’s a great film and I urge you to see it.

I also just saw First Reformed, which is winning rave reviews for its writer/director Paul Schrader and its lead actor, Ethan Hawke, playing a disillusioned, divorced upstate New York Episcopal (i.e. Anglican) minister.

Like LOP, it’s not an easy film, but also deeply moving and raises essential questions of what we’re doing to the environment.

I recently read Born A Crime, the memoir by South African mixed-race comedian Trevor Noah. Not an easy read and you come away awed by what he survived with grace.

Last summer, traveling alone through Europe with multiple 12-hour train journeys, I dove into another harrowing story, A Little Life, written (!) in 18 months on top of the author’s full-time job at The New York Times.

It won five awards, including being short-listed for the 2015 Man Booker prize.

It, too, is an emotionally tough slog and it’s a doorstop of 814 pages.

The central character is Jude, and his friendships with a small circle of equally educated and accomplished New Yorkers. Jude was abused and injured as a child, and this trauma plays out throughout his life and the novel. (If you’re up on your saints, you know that Jude is the patron saint of desperate and lost causes.)

While it’s a story with much pain, it’s also one with deep and abiding love and sustaining friendships — the kind that those whose families are absent or useless must find if they are to survive this world, let alone thrive in it.

As someone who has turned many times to strangers and friends to replace absent family, these narratives hit a chord in me.

I don’t believe that great art has to make us happy or smile or feel better.

If it touches the deepest part of our heart, it’s done its job.

 

Are you a culture vulture too?

 

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By Caitlin Kelly

As someone who grew up with limited access to television, (spending much of my childhood in boarding school and summer camp), my cultural consumption was books, art and music. (Although every dinner at home in my teens began with the theme music to As It Happens, the nightly CBC radio current events show.)

I do enjoy some television, mostly BBC, PBS, Netflix — original series, not the standard stuff of weekly network shows. Favorites include Wallander (Swedish version), Babylon Berlin, Call The Midwife, Victoria.

I confess — I’m also a fan of Lifetime’s Project Runway, now heading into its 17th season.

My favorite media are radio and film.

I listen to radio daily, (NPR, WFUV. WKCR, TSF Jazz from Paris) and typically watch two to three movies a week, either on TV or in the theater. (Not a fan of horror films, which I avoid; writing a book that included gun violence was quite enough!)

Only in later life did I appreciate what beauty I enjoyed in my parents’ homes, filled with Japanese ukiyo-e prints, Inuit sculpture, mirrored Indian textiles and more. That visual feast much shaped my own tastes — whether a Mexican wooden mask or a vintage photograph.

Today, thanks to the Internet, we all have ready and free access to millions of exquisite images, through the British Museum  (37,000 images) and many more. Even if you live very far from a gallery or museum, even just scrolling through Instagram, you can stumble across an incredible array of beauty and history.

I’m not as familiar with, or fond of, contemporary art and design (I try!); I do love the work of Julie Mehretu.

Growing up in Toronto, a large and multi-cultural city with good museums and galleries, also helped me develop my taste. Travel to Paris, Venice, Florence, London, Berlin, Boston, D.C. and San Francisco, (to name a few places),  has showed me more amazing art.

Two of our favorite museums focus on Asian design — the Sackler in Washington, D.C. and the Guimet in Paris.

 

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A very rare event for me — I went to this auction and bought two 1920s French prints (Dufy, Vlaminck)

 

Musically, I feel woefully behind! I haven’t (she says embarassedly) yet tried Spotify, so I need to expand my horizons, although I’m not a fan of rap, hip-hop or country.

Only in the past month have I seen two operas, the first for me in decades, and enjoyed both. I don’t attend as many classical music performances as I could — in New York and environs, there are so many to choose from! — but enjoy it when I do.

As for popular music concerts…sigh. Some of the people I want to see sell out within minutes, generally.

I recently loved Old Stock, a terrific Canadian musical that’s just ended a two-month Manhattan run, and is headed for Bristol, England and Edmonton, Alberta.

I also saw a dark/powerful art show, “Berlin, Before and After”, at New York’s Neue Galerie, one of my favorite (small!) museums.

Living anywhere near New York City costs a fortune: highway and bridge tolls, taxes, commuting costs, crazy-high rent so you have to take advantage of all its various cultural offerings.

A daily list of low to no-cost NYC fun is The Skint; (“skint” is a British word for broke.)

 

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This amazing image was in the hallway across my room in a boutique hotel in Rovinj, Croatia

 

I do read a lot, but mostly non-fiction, magazines and newspapers. I just finished astronaut Scott Kelly’s memoir, “Endurance” and am now reading “Berlin Alexanderplatz,” from 1929.

I write for a living (as some of you know!) so am always hungry for inspiration.

 

How about you?

 

What has shaped your cultural tastes — friends? family? the internet? TV? YouTube? formal education?

 

Any terrific recommendations to share?