Admittedly, some of my favorite films are more downbeat than rounds in the terminal ward. However, I often find the greatest hope within these dark journeys. Steve McQueen’s HUNGER completed the Aughts as one of the decade’s best (and has since been celebrated by Criterion with a deluxe edition). L.I.E., released in 2001, serves as its complementary bookend. Co-written and directed by the under-achieving Michael Cuesta, L.I.E. is a dramatically ambiguous profile of the burgeoning relationship between a parentally-neglected, sexually-curious young boy who inadvertently befriends an admired community leader… who’s also a pederast. The material is challenging and the execution expert — amazing given it marked Cuesta’s feature debut — but it is the performances by Paul Dano and Brian Cox that cement the suburban saga as a universal, if flawed, landmark. I urge you to rent or revisit L.I.E. then watch the trailer for THE GOOD HEART below. The movie reunites actors Dano and Cox in an on-screen relationship that appears less erotically-charged yet equally compelling. THE GOOD HEART premieres on VOD, Amazon VOD, Xbox Live and Playstation on April 2nd. And, for those who prefer the four-walled anonymity of the local multiplex, THE GOOD HEART opens in theaters on April 30th.

If anything compares to falling in love, it’s the mind-easing, nerve-calming workplace joy of discovering highly-skilled, eminently likable collaborators who can transform overwhelming projects into breezy adventures. Over the past few months, I have had the great pleasure of working with Beth Lyons and Matt Francis of FiveLabs who are directly responsible for the overhaul of The Warren Report website. I am certain you agree this edition of the site is, easily, the best yet. For regular readers of The Warren Report, the benefits of the transition are obvious. In addition to a cleaner, crisper look, functionality has improved a thousand-fold. Categorization is more sensible and searching far simpler. Pages load faster and videos play seamlessly. It is tempting to refer to the upgrade in pat Madison Avenue lingo “new and improved!” yet the truth is, in essence, they started from scratch. The former site was built (by other “designer-developers”) on a shakier foundation than Tracy Pollan’s pancake make-up applied by Michael J. Fox on a trampoline. Consequently, Matt and Beth (with a tremendous assist from the artful Adam Hindman!) threw out their predecessors’ cracked code and awkward aesthetic conceits and re-imagined The Warren Report with an elegance and purposefulness that radically streamlined back-end efficiency and dramatically enhanced user interface. There is no way I can thank Beth and Matt enough, nor sing their praises loudly enough  — though, trust me, you don’t want to hear me croon. So, I’ll let the FiveLabs team toot their own horns; I promise, it’s a beautiful tune. Perhaps, someday soon, you or your company will wish to harmonize…  

Ignore Malcolm Gladwell. Sometimes we Blink and we miss the obvious. I met Travis Senger at a soporific “Career Day” event at the UW a few years back. (I was the panelist chosen to represent local industry cynicism.) He struck me as a good guy, a driven individual, and yet, my first impression neglected the fact that has become readily apparent, Travis Senger is a very promising filmmaker. Check out his music video for The Blakes‘ “Don’t Bother Me” or his sci-fi mash note, CC 2010. These are imperfect pieces yet are still indicative of a bright future. Travis’ latest work, WHITE LINES AND THE FEVER, will premiere at this year’s SXSW and, based on this clip, marks true arrival as a significant, maturing talent. I am excited to see his short doc that chronicles the downbeat life of peer-beloved 80s turn-tablist DJ Junebug. WHITE LINES AND THE FEVER features interviews with Kurtis Blow, DJ Hollywood and other hip-hop heros. By your ticket to ride here.

Applying Imagination, Creativity & Innovation to Your Business: Eric Liu Tells you How

Not every old movie is a classic, but even the average films of the past sometimes deserve revisiting. Once upon a time, Disney cranked out moderately appealing family films absent farting dogs, pointless 3D shenanigans or, worse, John Travolta and Robin Williams cavorting. (Not only are OLD DOGS incapable of new tricks, they’re not very good at old tricks either… unless you consider career-implosion worthy of kibble and comic bits.) Thus, the pleasure of renting DARBY O’GILL & THE LITTLE PEOPLE, a tepid yet inoffensive depiction of Gaelic drunks, crafty leprechauns and an Irish Spring romance, featuring a young, tuneful(?) Sean Connery(!). Manly, yes, bit I like him too!

DARBY may not fully intoxicate, but certainly can take the edge off any family movie night. O, Disney, won’t you please return to this sort of fare rather than the hyperkinetic inanity of G-FORCE? And now, The Ava Report, as dictated by my six-year-old-daughter…  

While I’d rather see James Cameron tried for his assault on cinematic nuance (um, Unobtainium? er, Colonel Quaritch?), there is a compelling case to be made against George Lucas for his filmic infractions, whether it be his dumbing down of dialogue, the questionable expansion of the STAR WARS franchise or, simply… Jar Jar Binks. Having a life has kept me from pressing charges against the entrepreneurial auteur and yet there are many fans irate enough to file charges. Below, a trailer for the intriguing documentary that tracks their case, THE PEOPLE VS. GEORGE LUCAS, which promises as much passion as THE PEOPLE VS. LARRY FLYNT but with far fewer beaver shots.

So, what’s the verdict, critics and geeks? Is George Lucas a god amongst mortal movie-makers or a hack who happened tapped into the zit-geist?

Question what you see. Consider what you don’t. Draw your own conclusions.

As much as I love movies, I love movie music more. I am fascinated by the Art of scoring for the big screen and, frequently, am moved by the finer filmic efforts. My most indelible memories are accompanied by snippets of favorite soundtracks. Life meets post-production.

Admittedly, since the death of Jerry Goldsmith — a loss far more traumatizing than the death of my own father — I have sought new, young composers to fill the void. Bear McCreary is one of the best, brightest hopes; he’s innovative, resourceful and committed. Single-handedly, he’s championed full-orchestra scoring for television shows such as Battlestar Galactica, Terminator: The Sarah Connor Chronicles and, most recently and impressively, HUMAN TARGET for Fox.

2009 marked the breakout of another tremendous talent, Abel Korzeniowksi. His work on A SINGLE MAN contributed greatly to the movie’s warm critical reception. And, his score for BATTLE FOR TERRA, demonstrated a Romanticist’s flair for re-imagining space opera, respectful of the genre’s conventions while expanding its boundaries. Take a listen to Track 02 and delight in one the year’s most under-appreciated soundtracks. Then, nominate your own favorite film composers on the rise. Forget the ayes, in this case, the ears have it.

Put that coffee down! We’re adding a little something to this month’s sales contest.  As you all know, first prize is a Cadillac El Dorado. Anybody wanna see second prize? Second prize is a set of steak knives. Oh, have I got your attention now?

Well, chances are, even if you pay close attention you won’t hear Alec Baldwin’s speech tomorrow night at Seattle Repertory Theater’s re-staging of GLENGARRY GLENROSS. (Baldwin’s profanity-laced tirade wasn’t in the original Broadway play, it was added for the movie.) However, you will hear me talk about David Mamet’s sardonic spin on Arthur Miller and its polished film adaptation during an exclusive, post-show discussion on Thursday, February 25th, 2010.

Seattle Rep’s production features some of Seattle’s finest actors — John Aylward, R. Hamilton Wright, Charles Leggett and Ian Bell — recreating roles assayed, respectively, by Jack Lemmon, Al Pacino, Alan Arkin and Jonathan Pryce in James Foley’s big-screen version. Come join me afterwards to evaluate their efforts and the enduring value of Mamet’s workplace wind-down.

For a cheerier spin on Baldwin’s monologue, watch his elfin’ spoof from Saturday Night Live.

Short films are rarely showcased. Unless they are created by Pixar or are nominated for an Academy Award, most shorts travel the festival circuit, then take up residence in the makers’ bookshelves, artful reminders of immense creativity. Thanks to the good folks at Breathing Media — specifically the boisterous Ben Rapson — you have an unusual opportunity to see and celebrate a new short as if it were the World Premiere of a James Cameron flick. Only this film, TEETHING, makes more sense than climbing out of the cockpit of a crashing spaceship in an unbreathable, alien atmosphere! The first five members of The Warren Report who contact Ben at BreathingMedia@gmail.com will receive a pair of spots on the guest list for TEETHING’s official unveiling on Monday, March 8th. (For those who demand a test drive, check out the TEETHING trailer here. Or, below.) And now, a word from Ben…  

Experienced digital photographers know that there are two ways to take a picture. While it is tempting to see the equipment as simplistic as a Polaroid, you do not just point and click. Instead, you learn the power of the half-press, allowing the camera to separate its two critical functions: measuring the subject’s luminance then, once the aperture has been adjusted properly, activating the shutter. Click. Perfection.

Too often, we speed thru our decision-making much the way amateur shutterbugs do their photography. We miss opportunities because we do not take an extra half-second to focus on their worth. Today, I offer you my version of the half-press by sharing press for THE POWER OF HALF. On Tuesday, March 9th, I’ll host the book’s authors, the father-daughter team of Kevin and Hannah Salwen at The Good Life, the fabulous event series organized by Kim Ricketts Book Events. I trust that once you read the reviews, you’ll want to join me at The Palace Ballroom for this perfectly composed study in charity.

Purchase tickets here after you meet the press below.  

© Scott Squire, NonFiction Media

“…I found [our] conversations about 4 times more fun and thought-provoking than any other moderated talks in which I’ve participated.”—David Benioff (screenwriter, 25TH HOUR; THE KITE RUNNER; WOLVERINE)

I am always flattered by the (unsolicited!) feedback I receive from the folks I interview. I am thrilled they appreciate the spirit with which I approach interviews. (Owen Schmitt of The Seattle Seahawks refers to my style as “chill”… and who am I to argue with the 6′2″, 247 pound fullback?)

Now you can learn how I prepare for interviews and how I respond to the different challenges presented by questioning folks on tape, on camera or before an audience. And, I’ll share insights and a little bit of gossip from the 1,000+ interviews I’ve conducted with the likes of Amy Sedaris, Calvin Trillin, Naomi Watts, Robert Duvall, Mariel Hemingway, Salman Rushdie, Nora Ephron, Michael Pollan, Charlie Kaufman, Augusten Burrough, Andy Samberg, Vincent Bugliosi, Nicolas Cage and others.

You’ll learn why documentarian Peter Esmonde says: “I was more relaxed being interviewed by you than anyone before or since. It’s so clear that, aside from being attentive and intelligent, you know [your stuff] — and that makes the interview more of a conversation with a compadre.”  

Left-leaning Hollywood has done as much to undermine tolerance in this country as the Christian Right it so often seeks to pillory. The standard romantic comedy cements puritanical views of Love rather than expand upon our understanding of  its limitless permutations. Instead of same-sex, mixed race, polyamorous or unorthodox unions, filmmakers subject us to rotating couplings that continually enforce the ideal as Older-White-Man meets Younger-Adorable-White-Woman-Who-Is-Neither-As-Intelligent-Nor-Accomplished-Thus-Unequal-And-No-Threat-To-Her-Mate. Thus, we see umpteen pairings such as: Meg Ryan & Tom Hanks, Meg Ryan & Billy Crystal, Meg Ryan & Her Genetically-Altered Lips. Is it any wonder the divorce rate is as high as it is? Rather than blame a national decline in church-going or the proliferation of porn on the internet, perhaps we ought consider that men, as much as women, are repeatedly sold a stale, fairy tale version of Romance that allows for limited, healthy(!) exploration of individual predilections and paraphilic erections?

Jeannie Yandel invited me to discuss my take on traditional coupledom by offering three movies that dare swim up the mainstream to examine love affairs that defy traditional coupledom. Listen here for my spin on these Loves for which there are no Hallmark cards. (The piece aired originally on KUOW Presents, Friday, February 12th, 2010.)