With the 89th Academy Awards coming in just a few short days I’m grateful for the opportunity to interview director Juanjo Giménez and pick his brain about Timecode, which has been nominated for Best Short Film.
This comes roughly two weeks after my review, and I made the most of the occasion by trying to unpack so much of what I enjoyed about this particular piece of work. While I was only able to ask so many questions, I hope that Giménez’s answers help shine a little light on why Timecode was considered for this great honour, as well as why it might deserve it.
To start with, it’s almost no surprise that Timecode was nominated for both an Academy Award and a Goya Award given your impressive filmography. Has having written, directed, and produced so much award-winning work changed your approach with each new project?
I don’t think so. I think that no filmmaker thinks about awards or recognition when making a new film. In our case, financing every new project has always been difficult, even if the previous film has been a successful one. The only thing that is essential for approaching a new project is the need to make it.
It’s notable that much of the work you’ve received the most attention for are your short films. What is it that appeals to you about that particular format?
Timecode is my ninth short film as director. I learned that short films usually fit the way I approach filmmaking better. And what’s more important, there’s nothing wrong with that! That doesn’t mean I won’t make a feature film again, but shorts provide a great platform for experimenting without the financial struggles that usually constrain a fiction feature. Even if I speak as a producer, in terms of financial results, my shorts have always been more profitable than my features. Continue reading
Posted in art, dance, film, interview, media, writing
Tagged Academy Awards, acting, actor, Best Short Film, choreography, cinematographer, composer, dancer, dancing, interview, Iván Céster, Juanjo Giménez, Lali Ayguadé, music, Niccolas Ricchini, nominated, Pere Pueyo, performance, review, score, security guard, short film, Timecode
“Actions speak louder than words.”
That’s a difficult motto to live by on a blog, but a crucial one in regards to short films given their limited run time. Considering the fact that you could fit the dialogue in Juanjo Giménez’s Timecode on a single sheet of paper only elevates its importance.
With a handful of award-winning short films [including Rodilla and Maximum Penalty]
already to his name the Spanish director’s latest features two security guards who work in an underground parking garage, one taking the day shift and the other the night. Playing Luna and Diego are Lali Ayguadé and Nicolas Ricchini, respectively, and although their shared acting experience is limited there’s no question of their being talented performers.
Both Ayguadé and Ricchini have impressive careers as dancers and choreographers, and their remarkable control over their bodies causes them to imbue every movement with purpose, whether it’s stiffly brushing past each other or jogging back up a hallway to clock-in to work. This even extends to the corner of a mouth being raised ever so slightly. This largely wordless short film might collapse in on itself with different talent, but the duo make it look effortless. Continue reading
Posted in art, Europe, film, music, relationships, review
Tagged acting, actor, choreography, cinematographer, composer, dancer, dancing, Iván Céster, Juanjo Giménez, Lali Ayguadé, music, Niccolas Ricchini, Pere Pueyo, performance, review, score, security guard, short film, Timecode
An earnest, plaintive piano melody opens as desperate figures stare out into the middle distance. A woman drops in on an old flame, using some flimsy pretext neither of them believe for a moment. What follows is a terse, tense, and incredibly human exchange as our two protagonists verbally fence over decaf and destiny.
And it’s good.
It’s really, really good.
Two individuals of differing (but equally compelling) perspectives clash over tea. It’s as simple a set-up as you can imagine, but director Mark J. Blackman manages to wring both depth and emotion from it. Sienna (Katie Goldfinch of Crucible of the Vampire, Genie in the House) and Elliot (Johnny Sachon of Cloud 9, Late Shift) examine each others’ lives, what they themselves have become in their time apart, and what they could have become. It’s a beautifully ****ed-up My Dinner With Andre, keeping in mind that I’ve never seen My Dinner With Andre and all I have to go on is Wallace Shawn’s showdown in The Princess Bride. Continue reading
Posted in art, film, review
Tagged Animus, art, film, Johnny Sachon, Katie Goldfinch, life, Mark J. Blackman, NEON, philosophy, relationships, review, short film
As I say at the beginning of every year, you can look back at the first-ever Evan Yeong Literary Awards in 2014 for a fuller description of my relationship with reading, which in turn led to their inception.
While eventually I’ll run out of ways to write this, the purpose of the third installment of the Evan Yeong Literary Awards is to shine a spotlight on an artistic medium that has taken a bit of a back seat as screen media becomes increasingly more prevalent, calling attention to a select handful of books I read these past 12 months. In 2015 every pick was objectively a winner, but given the rocky year following it’s no surprise that these awards have their ups and downs.
In 2016 my resolution was, just as it will likely be every year moving forward until it becomes unfeasible, to read more than the year before. That said I was devastated to do the final count to see that I read exactly the same number as I did in 2015. You can check out a full list [with the exact dates of when I read each one] at this link.
wokest novel, PRE-2000’s
The Wayward Bus by John Steinbeck
Although it’s fallen out of fashion since the time of its coinage in 2015, “woke” is still the most concise way to say “aware of racism and social in justice”. Throughout a novel that could serve merely as a cautionary tale of public transportation Steinbeck communicates time and time again that even though he lived as a person of great privilege, during an era where those privileges were even greater than they are now, he wasn’t afraid to pen several scathing indictments against the very class he was a part of.
most disappointing, though by no means awful
Eleanor & Park by Rainbow Rowell
The fault with this YA novel can be laid at the feet of those who framed it as a solid example of an interracial relationship in the genre. Although the titular Park is half-Korean the fact is that this is not something he personally relates to as a character, and certainly isn’t a factor that others take into consideration when viewing him [save for Eleanor, who gushes over his features in a way that borders on the fetishistic]. Apart from that this book very competently portrays the familial issues that can plague teenagers, as well as the most authentic depiction of how intense young love can be that I’ve ever read. Continue reading
Posted in America, art, history, race, relationships, review, sex, writing
Tagged Celeste Ng, Eleanor & Park, Ellen Ladowsky, Evan Yeong Literary Awards, Everything I Never Told You, history, How to Dump a Guy: A Coward's Manual, Jennifer Love Hewitt, Jill Lepore, john steinbeck, Judy Pasternak, Juneteenth, Kate Fillion, Kody Keplinger, Let It Be Morning, literature, novel, race, Rainbow Rowell, Ralph Ellison, relevant, romance, Sayed Kashua, Sunjeev Sahota, The Day I Shot Cupid: Hello My Name is Jennifer Love Hewitt and I'm a Love-aholic, The Duff, The Name of War: King Philip's War and The Origins of American Identity, The Wayward Bus, The Year of the Runaways, wokest, YA, Yellow Dirt: An American Story of a Poisoned Land and a People Betrayed
This blog isn’t even supposed to be back on until next week but you know what they say: strike while the iron’s hot. For some of you at least the first two parts of this title have been flitting back and forth across the internet. “Terry Crews!” whispers one corner excitedly, “wants to play Doomfist!” murmurs another. Because of my search history and their All Seeing Eye Facebook even brought to my attention that thousands of their users were discussing that very subject.
So here I am on a Saturday morning, sitting in front of my laptop determined to bring you literally every piece of information I can find about Terry Crews, Overwatch, and the yet-to-be-released hero Doomfist. Oh, and I’m also going to discussing fan culture so if you want to stick around for that as well that’d be cool.
Who Is Doomfist?
So before I even get into that you should know that Overwatch is a team-based multiplayer FPS [first-person shooter] by Blizzard Entertainment that has a lot of playable female characters [and has been snapping up awards like they’re a limited resource]. Doomfist, as I mentioned in the last paragraph, is predicted to be the newest hero in the game, bringing the roster up to a full 24.
That character has also been hinted at as early as the Overwatch cinematic trailer, which came out November 2014. That’s roughly nine months before the ill-fated ARG [alternate reality game] that Blizzard used to hint at and lead up to the release of Sombra, their 23rd hero.
If you don’t want to watch the whole thing, which is ridiculous because it’s only six minutes long and painfully good, the trailer revolves around two kids witnessing a villainous duo [Reaper and Widowmaker] try to steal an artifact only to be thwarted by ex-Overwatch agents [Tracer and Winston]. The item in question is, like the younger one says, “Doomfist’s gauntlet”. Apparently by wearing it the user “could level a skyscraper.” Continue reading
Posted in Africa, art, celebrity, language, video games
Tagged accent, actor, Adhabu Ngumi, Africa, African, Akinjide Adeyemi, Ana, authentic, Aysha Selim, Blizzard, casting, celebrity, Doomfist, fan culture, fans, hype, new hero, Numbani, Swahili, Terry Crews, VA, video games, voice actor, Yoruba
EDITOR’S NOTE: We end each year by each taking a look back and picking our five best posts, explaining both their importance to us and to the world we currently live in. Clicking the banner images will link you to each post, so as 2016 comes to a close join us in remembering how far we’ve come, but also how far we still have to go.
To directly quote my co-writer, “**** this year” has been an increasingly common sentiment as the days tick by, but even given the relentless, overwhelming flood of bad news that 2016 has embodied what’s particularly depressing to consider is how little some things have changed. It’s also telling that in spite of us collectively writing more blog posts than last year I’m left feeling like I wrote less, and that what was written is generally of a lower quality as well.
With that in mind and given the handful of bright spots I managed to find I decided to address this year and my coverage of it a little differently by using the “sandwich approach”. Instead of being presented in chronological order below are two positive aspects to 2016 that bookend what amounts to one singular, continuous problem, and one that I take very personally.
There’s something beautiful about the way a team can run like a well-oiled machine, each of its separate components working in unison to efficiently accomplish a shared goal. While not always my experience with Overwatch those moments, especially when with friends, have been highlights of my year.
With this post I took a closer look at Blizzard’s latest FPS that, since the time of this post being written, has grown the number of playable female characters to roughly 50%, and its place as part of a growing push in video games to expand beyond the male-only titles of the past.
Unbreakable Kimmy Schmidt was a high point of 2015, a Netflix-exclusive sitcom with an unassailably positive young woman at its core. It even took up one of my slots in my last year in review post, where I praised them for including an Asian love interest while scrutinizing how much they truly valued the verisimilitude needed to portray them correctly.
One tragedy of 2016 is that I was never able to make it past the third episode of its second season, the reason being that Tina Fey et al. created twenty-some minutes of television that dragged those who value Asian American representation before running them over with a steamroller, and then putting it in reverse. Friends assure me that it gets better, but how could it not after falling to such great depths? Continue reading
Posted in art, Asia, bizarreness, blog news, race, video games
Tagged 2 Broke Girls, 2016, And the Himmicane, asian, Asian-American, Doctor Strange, female characters, film, Kurt Busiek, Overwatch, review, tf2, The Ancient One, Tilda Swinton, Tina Fey, TV, Unbreakable Kimmy Schmidt, video games, whitewashing, year in review
I began the first installment of this two-parter making note of the long and ultimately wearying experience it has been, starting with Doctor Strange going into pre-production and continuing on to the recent exposure of the Swinton-Cho Letters. While I spent time describing the ups and downs of casting news what I neglected to mention, and what I’m going to focus on today, is the outset and ultimate resurgence of an argument in defence of whitewashing.
That’s right, an argument defending what Wikipedia helpfully defines as “a casting practice [. . .] in which white actors are cast in historically non-white character roles.” The very faint silver lining is that the justification here does not revolve around star power and A-list draw, or the idea that “the best person for the role” was hired, the latter of which rarely ever swings the other direction. In spite of not being deeply rooted in these ways of thinking, however, the argument is remains deeply flawed.
Before we get into that, however, we should probably get to its origin story.
Like I Said Last Time, “It’s Always Podcasts”
Having to hit all of this again it’s important to be thankful for small blessings, with one being that I don’t need to hear C. Robert Cargill’s voice again due to already having done the research for another post. The person in question was one of the screenwriters for Doctor Strange, and dropped in on the Double Toasted podcast mid-April to answer a few questions about it.
Eventually, and and unsurprisingly, the issue of the Ancient One’s casting was brought up. Cargill’s response, as transcribed by CINEMABLEND’s “The Blunt, Yet Difficult Reason Doctor Strange’s Ancient One Isn’t Asian”, is as follows:
“The Ancient One was a racist stereotype who comes from a region of the world that is in a very weird political place. He originates from Tibet. So if you acknowledge that Tibet is a place and that he’s Tibetan, you risk alienating one billion people who think that that’s bullshit and risk the Chinese government going, ‘Hey, you know one of the biggest film-watching countries in the world? We’re not going to show your movie because you decided to get political.’ If we decide to go the other way and cater to China in particular and have him be in Tibet [. . .] If you think it’s a good idea to cast a Chinese actress as a Tibetan character, you are out of your damn fool mind and have no idea what the fuck you’re talking about.”
In essence Cargill chalked the reasons for the casting decision up to politics and economics, implying that having the character played by a Tibetan would cause Marvel Studios to lose out on Chinese box office sales. He also suggests quite strongly that, conversely, having a Chinese actor play a Tibetan would cause a large amount of controversy. This was picked up by sites from IndieWire to ScreenRant to The Hollywood Reporter, with several using words like “reveal” in their headlines, as if a longstanding mystery had finally been solved.
The justifications he laid out were to become the go-to response for every commenter looking to defend the Swinton’s casting, and why not? After all, as one of the screenwriters of the film Cargill should be a direct and dependable source. The answer to that hypothetical starts with what happened a few short days later- Continue reading
Posted in art, Asia, bizarreness, comics, film, geography, lgbt, politics, race, writing
Tagged Ancient One, argument, Asia, box office, C. Robert Cargill, Cargill, casting, China, defence, defense, Doctor Strange, Double Toasted, film, George Takei, justification, Kathmandu, lesbian, lgbt, Nepal, Overwatch, Political, politics, Rogue One, Scott Derrickson, Tibet, Tibetan, Tilda Swinton, Tracer, Urgyen Badheytsang, whitewashing