Hey Ted, thanks for sharing this interview. I went into a little dive from Chris Zalla's first film and what led him to make this one and how he responded to winning Sundance in 2007 and then not being able to get his film distributed and how he's arrived to making Radical. I watched his SAG AFTRA Foundation interview with Eugenio Durbez and I think what struck me was that he's made a film that's received differently with Mexican audiences, because the subject matter resonates differently. The cultural lens doesn't have to be explained to that audience and what I understand as someone who's a multicultural filmmaker is that films work differently on different audiences and it's hard to really get people to believe that until someone sits in the audience and witnesses it. I'm constantly having to explain...well, culturally speaking, the lens on this story looks differently for this community because our experience is based on these economic and historical circumstances etc. Zalla found a project for a high profile actor/producer/studio based in Mexico and I'm gonna applaud that he's found a way to stay true to his own voice, make work outside the US. This is the future.
I think these kinds of interviews are important and pointing out films that you feel are worth watching and learning from, is very important. I really like the questions you asked, really probing his decisions on this film and his mentors and connections along the way. I may not have his talent, I may not be able to direct, I may not even be an artist, but I have a vision, and that vision cannot be denied. HAPPY HOLIDAYS TO ALL THE TALENT ON THIS SUBSTACK!!!
I sense you get access and are privy to more eclectic films that come to fruition than most. Would love to see your short list of thought provoking/innovative film of 2023. If feeling nostalgic - your life. What films hit your consciousness throughout your life that deserve a mention. All the best for '24 Ted - Phoeagdor.
Oh boy. What creativity. A honed script. Camera at kid's eye level. Incremental editing. And what pops out: an utterly conventional looking film that takes no (trailer view) evident risks etc. Old Codger says DOD. Worked in TV, won Sundance awards (long after Sundance had devolved into a Hwd calling card fest), etc. How so very far things have fallen. Sorry, no cigar. Not even remotely close. Hackwork.
Let's stay positive here on HFF. We can disagree on aesthetics, politics, and subject matter Jon. And so much more too! It takes all kinds after all. But we don't have to take apart each other's work -- particularly on the basis of a trailer view. We can instead speak of different considerations. What if this and what for that. You have made brave choices on what you make and how you make it, but to each their own. There's plenty to celebrate and connect to after all.
As usual - and maybe I should just bow out - I differ. This is the path to mediocrity and worse. It is what is in part drastically wrong with our society and culture, and why we are mired in corruption top to bottom - in politics, the arts, fiscal, ethical. Just let everything slide, make "safe spaces", don't want to hurt any feelings. Everybody lies, so WTH. We are in a deeply decadent and dishonest time, and there is nothing good about going along to get along.
I am told I can't critique something on a trailer, but a trailer (skip the usual bombastic music/cutting) tells a lot. It shows how someone uses a camera, how actors act. And, nope, I would not spend/waste my time watching this Sundance winner. Being a Sundance winner these days is a near certification of mediocrity, of playing safe, of landing a job in a moribund Hwd or TV. I would like to "stay positive" but to be honest that requires having something to be positive about. Glad handing work like this isn't being "positive," it is encouraging a descent into creative death. l am sorry, I decline to do it. Feel free to give me the boot.
Hey Ted, thanks for sharing this interview. I went into a little dive from Chris Zalla's first film and what led him to make this one and how he responded to winning Sundance in 2007 and then not being able to get his film distributed and how he's arrived to making Radical. I watched his SAG AFTRA Foundation interview with Eugenio Durbez and I think what struck me was that he's made a film that's received differently with Mexican audiences, because the subject matter resonates differently. The cultural lens doesn't have to be explained to that audience and what I understand as someone who's a multicultural filmmaker is that films work differently on different audiences and it's hard to really get people to believe that until someone sits in the audience and witnesses it. I'm constantly having to explain...well, culturally speaking, the lens on this story looks differently for this community because our experience is based on these economic and historical circumstances etc. Zalla found a project for a high profile actor/producer/studio based in Mexico and I'm gonna applaud that he's found a way to stay true to his own voice, make work outside the US. This is the future.
I think these kinds of interviews are important and pointing out films that you feel are worth watching and learning from, is very important. I really like the questions you asked, really probing his decisions on this film and his mentors and connections along the way. I may not have his talent, I may not be able to direct, I may not even be an artist, but I have a vision, and that vision cannot be denied. HAPPY HOLIDAYS TO ALL THE TALENT ON THIS SUBSTACK!!!
I sense you get access and are privy to more eclectic films that come to fruition than most. Would love to see your short list of thought provoking/innovative film of 2023. If feeling nostalgic - your life. What films hit your consciousness throughout your life that deserve a mention. All the best for '24 Ted - Phoeagdor.
Oh boy. What creativity. A honed script. Camera at kid's eye level. Incremental editing. And what pops out: an utterly conventional looking film that takes no (trailer view) evident risks etc. Old Codger says DOD. Worked in TV, won Sundance awards (long after Sundance had devolved into a Hwd calling card fest), etc. How so very far things have fallen. Sorry, no cigar. Not even remotely close. Hackwork.
Let's stay positive here on HFF. We can disagree on aesthetics, politics, and subject matter Jon. And so much more too! It takes all kinds after all. But we don't have to take apart each other's work -- particularly on the basis of a trailer view. We can instead speak of different considerations. What if this and what for that. You have made brave choices on what you make and how you make it, but to each their own. There's plenty to celebrate and connect to after all.
As usual - and maybe I should just bow out - I differ. This is the path to mediocrity and worse. It is what is in part drastically wrong with our society and culture, and why we are mired in corruption top to bottom - in politics, the arts, fiscal, ethical. Just let everything slide, make "safe spaces", don't want to hurt any feelings. Everybody lies, so WTH. We are in a deeply decadent and dishonest time, and there is nothing good about going along to get along.
I am told I can't critique something on a trailer, but a trailer (skip the usual bombastic music/cutting) tells a lot. It shows how someone uses a camera, how actors act. And, nope, I would not spend/waste my time watching this Sundance winner. Being a Sundance winner these days is a near certification of mediocrity, of playing safe, of landing a job in a moribund Hwd or TV. I would like to "stay positive" but to be honest that requires having something to be positive about. Glad handing work like this isn't being "positive," it is encouraging a descent into creative death. l am sorry, I decline to do it. Feel free to give me the boot.