The index page of additiverich.com will shortly be replaced with a static page with my updates from different sources embedded therein. All my old posts will be closed for comments, no doubt upsetting banks of spammers worldwide.

The two blog posts I never got around to finishing were my review of The Dark Knight (a cynical piece of silliness) and a deconstruction of the lyrics of "Feed The World". Some day, perhaps, these will see the light of day. I therefore reserve the right to come back some day and start again.

If you need me my email address is dritchie at gmail dot com. Yes, I'm one of those people who has their own domain but insists on circulating their email address with an unrelated domain name.

Peace between dwarves and elves,

David

“Winnebago Man” – I’d never heard of Jack Rebney before this film but back in 1989 he went a bit angry when filming some corporate sales videos for Winnebago; the naughty production team kept the outtakes and circulated them. As a result he has a fan following (which he seemed largely oblivious to) from years of circulating videotapes. The producer and director were in attendance, as was Mr. Rebney over the phone. Reasonable film with a bittersweet edge.

“Big River Man” – vaguely disappointing profile of eccentric Slovenian endurance swimmer Martin Strel who takes on more than he chew when he decides to swim the Amazon. The out-of-place interludes regarding deforestation in the Amazon basin seemed like an advert for (producer) Olivia Newton-John’s (and her husband “Amazon” John Easterling’s) interests in herbal “medicines” (not Snoop Dogg style herbal medicines but alternative ones). As Svend pointed out, the environmental theme jarred with Strel’s sponsorship deal with McDonald’s (since the film posits deforestation is due to increased need for high-intensity beef farming). Also, after nice HD screenings of other documentaries, the crappy handycam quality sucked. All in all a novelty piece not worth paying $15 bucks for. You’d get more out of a magazine article.

“We Live In Public” – I’d never heard of internet entrepreneur Josh Harris before this film; I suspect this is largely because he wasn’t entirely successful with finding an audience for his internet TV project (everybody in the film whinges about the 1 frame a second experience). Nonetheless he sold up large before the bubble burst and set up an art project housing 100 tossers... erm, NY artists in the basement of a building and taped everything (oy, *everything*). This got shut down on NYE 1999/2000 since the authorities thought they may have been a millenialist cult (the firing range and automatic weapons can’t have helped). Then he repeated the experiment on a smaller scale with himself and his girlfriend. And then it all went horribly wrong. Capable film but not particularly engrossing. Thematically similar to the director’s earlier work “Dig!” (although she claimed in the Q+A that this was coincidental). I thought some of the conclusions the filmmaker made weren’t entirely accurate; broadcasting yourself 24 hours a day is as much a result of the ubiquity and economy of cameras as much as the social Internet (and I don’t think one necessarily relies on the other).

“Serbis” – if I ever have a pop quiz about my life, one of the questions might be “name a film David walked out of”. Here’s a freebie for you. It was apparent going in that this was going to be this year’s porn-y film (after “Shortbus”, “9 Songs” etc); this particular aspect I was prepared for. I wasn’t prepared for the noise of the film. There’s been no effort to sweeten or finesse the sound of this film; the traffic outside the building in which it’s set is (David is not making this up) deafening, and makes some of the dialogue absolutely inaudible. I don’t know how audiences without subtitles would cope. It would be nice if the NZFF peeps would warn us about potential hearing loss incurred by attending the film. It was a short film (about 90 minutes, including at least 15 minutes of following people walking up stairways) but after 75 of these the House Lawyer and myself decided we had better things to do. Not the best film I’ve seen on my birthday.

“My Year Without Sex” – first thing on screen: the world’s largest Paramount logo. No arthouse distributors here – this is the big boys! Expect this to come back like a mofo. It’s a good film, best one of the festival. Despite its name, not as prurient as you’d think. Also more comic than melodramatic so big ups there.

“Goodbye Solo” – slow but enjoyable film about a Senegalese cab driver living in North Carolina. There was more of a story to be told here, but the story that was there was good but a little 2-acty. To be honest the biography of one of the actors is more interesting that the film. But it was adroitly made with good performances so who the fuck am I to complain.

“Summer Hours” – entirely ordinary and un-exciting French family drama starring (of course) Juliette Binoche if you believe the publicity; in fact her role is supporting at best. Some unusual choices made regarding the direction the story takes. Good performances and very pretty setting. The most unsettling aspect is how un-arguey the siblings are; entirely reasonable with each other and extraordinarily unrealistic. I hate you, gentle French family!

The festival this year was pretty so-so. On the plus side, the films shown on video tended to look a million bucks – the digital cameras out there are getting better and better, and I suspect the Paramount was using a kick-ass projector. On the down side, none of the films blew one away. Where was this year’s “Once”, you may well ask.

Sorry about all the lazy adjective-y words.

A curious sentiment. Everybody who pays GST pays tax, and anybody earns bank interest pays tax. What could they actually mean?

(I’ll charitably refrain from describing the rest of the bumper stickers decorating the car).

Since it was a distributor's preview, we had our cell phones confiscated on the way in, presumably to avoid piracy. Obviously this tactic is working since there don't appear to be any pirated copies of the film available.

Oh, really? In that case then, the film must be a financial flop due to all the piracy, right?

The Hangover hit the jackpot over the weekend, narrowly edging out Up for the top spot. The ribald comedy had been projected to trail the Pixar adventure in Sunday's studio estimates, but was revised upward once actual grosses poured in. Hangover's Friday dominance combined with a better-than-expected Sunday haul cinched its position, despite Up soaring past it on Saturday as well as being marginally ahead on Sunday. Both pictures were highly successful for their genres and wound up less than two percent apart. [...] The Hangover packed a much greater wallop than the norm for its genre, taking in $45 million on around 4,500 screens at 3,269 sites.

-- http://www.boxofficemojo.com/news/?id=2594&p=.htm

Le sigh. Since the preview was last night (Wednesday) and the film opened today (first show in Wellington: 11:15am at Manners Mall), I can only assume they're going to continue taking phones at the front door until they're happy with the financial success, rather than as a once off ... right?

Also: why would you want to watch video captured on a phone? Can mobiles contain 2 hours of footage worth watching? Are there any copies of the film floating around actually taken on a phone?

It’s a good thing weddings aren’t hotbeds of superstition and ceremony; otherwise I’ll be solely to blame when the weather turns out poorly.

A panorama taken from the recently updated "Simpsons" opening titles. I want to try this with a real HD file but the only one I can find has the Fox affiliate's bug in the lower right-hand corner.

In the interests of future-proofing my investment, I can't help thinking the inherent value of this cast would be diminished if another cast of similar heritage becomes available in the future. What assurance, if any, can Mr. Key or his office provide that either a/ he won't have any more casts on his limbs in the future, or b/ in the case of him having a cast removed from his broken limb, that said cast will NOT be made publicly available, either sold or given away.

What "hidden agenda" are you hiding, Prime Minister?

I kind of wish I'd been around to watch the Dr. Manhattan cartoon and have a sweater.

If I had any semblance of ironic hipster-ism, I'd include a clip from "Baby", but here's some "Prisoner" nonsense.

On an unrelated note, here's some wittertainment at its most wittertaining:

100 fps? No shit -- the trailers suggests the whole film is at least 50% slow motion. No wonder it's running 160+ minutes.