If you follow this blog, chances are you know what "the 4th wall" is and how someone can break it. But for anyone who didn't take Intro to Film in college: originally a device of theater, the 4th wall is an understanding between performers and audiences that the front of a stage or the lens of a camera acts as the wall which closes off a room or other space, thereby enclosing the fictional world in which the story takes place. An actor "breaks the fourth wall" when they acknowledge the audience (or the wall itself) in some way. We call this metafiction -- that is, a story that acknowledges its fictional nature. Sometimes it's just called "meta" (Community, anyone?) 

My most memorable actor-audience moment was probably Kevin McAllister in Home Alone (a somewhat unexplainable omission in the following video); or when Ferris Bueller, including us in his wacky hijinks via camera, detailed the particulars of faking illness. Genius. 

Good posters make you stop walking in the middle of a sidewalk or on your hurried way to the next errand -- they give you a glimpse of a different world and tell a mini-story or connect you to a character. This list is based on the strength of the poster design/artwork itself, not the film it represents. Now that we're about 1/4 of the way through the year, it felt like a good time so examine some movie art that has been put out into the world thus far. 

These were already tough to narrow down. That means come December, the "best of 2013" list is going to be full of excellent, agonized-over one sheets. Take a little break from your Tuesday to enjoy these lesser known gems and all-too-rare creative studio releases (in no particular order)!

No by unknown

Lore by Jeremy Saunders

The Bitter Buddha (version 2) by Derek Gabryszak

Luv (version 2) by Gravillis, Inc. 

Oz: The Great and Powerful by BLT Communications, LLC

Zero Dark Thirty by BLT Communications, LLC

Gangster Squad by unknown

Welcome to Pine Hill by Dan Bina, Katya Mezhibovskaya & Bergamot Clementine

John Dies at the End by Gravillis, Inc. 

The Wolverine by BLT Communications, LLC

What do you think -- did we forget any? Disagree with any of the above? Make your way to the comments!

THE PLACE BEYOND THE PINES by Derek Cianfrance
Release date: March 29, 2013

I can’t decide whether I love this trailer, or if my interest in it is based more on the strangeness of it all. Ryan Gosling with facial tattoos and bleached hair… Eva Mendes as the tough, protective mother (compared to the last thing I saw her in – a fantastical, seductive vignette from Holy Motors)… Bradley Cooper as a cop in a terrible, terrible windbreaker. The single glimpse of that last one interests me more than the whole of Silver Linings Playbook. The title of the film is the literal English meaning for “Schenectady,” as in Schenectady, NY. As in the town just north of Albany and west of the New Hampshire-Massachusetts border, where nothing much really happens. The official premise is that Luke (Gosling), a motorcycle stunt rider, wants to be a part of his infant son’s life; in desperation to contribute, he begins robbing banks, which pits him against a rookie cop (Cooper) with lots to prove. I have a feeling that “an exhilarating epic of fathers, sons and consequences” is a more apt description though, getting at both the scale and emotional core briefly displayed here. Derek Cianfrance has reportedly directed one hell of a film, better than Blue Valentine, and one cinephiles will definitely love. Regardless of pedigree, this trailer does it for me. Bring on the face tattoos.

Header photo [COLLIDER]

MOOD INDIGO by Michel Gondry
Release date: April 10, 2013

Just watch. This makes me happy in all possible ways. Also, Omar Sy! 

You don't even need to understand the language to know exactly what is going on. Feel it in your heart. However... for those of you who insist... a rough translation, using my French 102 skills:

0:09 “Thank you”
April 24
0:15 “Hello.” “Hello.”
0:28 I feel like my whole life depends on this moment
0:35 And that was it?
The most poignant
Stories of love
Based on the masterpiece by Boris Vian
Director Michel Gondry
Invites you to live an unforgettable adventure.

42 by Brian Helgeland
Release date: April 12, 2013

Don't judge this trailer based on the inclusion of a song by Jay-Z (he may be everywhere because of Mr. Timberlake right now, but this trailer was cut months ago...). Besides, have you listened to the lyrics? "I father, I Brooklyn Dodger them; I jack, I rob, I sin; Aww man, I'm Jackie Robinson; 'Cept when I run base, I dodge the pen." Actually, go ahead and judge it on the song. You could write a grad school thesis on those lyrics. Harrison Ford, all gruff and dapper (he suited up, 40's style!) came out of "retirement" to play Brooklyn Dodgers executive Branch Rickey, the man who is credited with breaking the so-called color barrier in baseball by signing Jackie Robinson (Chadwick Boseman). And make no mistake -- this is Jackie Robinson's story. I'm curious to see whether the film handles the narrative as an ensemble or a biopic, though, because while it would be easy to tell only Robinson's story, the truth is that it took a small army to put him on that field (and keep him there). I expect Ford's character to steal the spotlight more than once. The trailer seems to uphold Robinson as the "face of change" in '42 baseball --  not just a man playing the game he loved but, as all pioneers do, an ideal who represented genuine cultural progress. This trailer is solid; writer/director Brian Helgeland need only avoid telling too many stories or allowing the film to buckle under the weight of its own (rightfully) important subject matter. 

A good trailer is a piece of art. It should inform, excite, and entice without giving away too much of the story, while demonstrating unique ideas so the film it represents stands apart from dozens of others in a given week. You know it when you see it.

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ZERO DARK THIRTY
Directed by Kathryn Bigelow
Release date: December 19th

This second trailer for Zero Dark Thirty (Kathryn Bigelow's much-buzzed-about follow up to 2008's Best Picture winner The Hurt Locker) grabs me. I was underwhelmed by the first trailer which had a lot of cliche elements (resounding bass notes a la Inception that everyone has been using to excess dramatic effect,  generic-looking explosions, overusing the "blacked out words" gimmick, and tension based in a concept a lot of America has moved on from), but this trailer succeeds by addressing the audience directly and never letting go ("Can I be honest with you? I have bad news...") The stakes become high for the viewer personally. When the voiceover asks, "Any questions?" my response is, "Yes. Lots." For example, what in the world does "zero dark thirty" mean?

And then it gives some answers. Kyle Chandler is looking good in a suit and scowl. Jessica Chastain is a long way from Jackson, Mississippi in her office analyzing what looks to be endless, frustrating footage. And look, Andy from "Parks and Recreation" is playing horseshoes and talking about Osama bin Laden like a kid swapping ghost stories around the campfire. Remember the days when the world first heard his name -- "Osama bin Laden" -- and suddenly he was everywhere? And yet, he was nowhere. Even knowing the ending to this story doesn't make me less excited to see the outcome because we know so little about how it happend. Will this be an historical account of events? Perhaps more than most. It was scripted before bin Laden was killed and the ending reworked when the mission was successful. The name of the film itself (zero one thirty meaning 1:30AM; therefore zero dark thirty meaning a dark hour in the early morning) speaks to the fact that this mission was and still is shrouded in secrecy. How much will be filled in with artistic liberties? How much can be based on fact, since it deals with top-secret information? One of my concerns for the film is that it will be heavy handed with patriotism, painting America to be all-the-world's hero. The film will also be released just after the presidential election, leaving us to speculate about whether its advertising might handily remind the populace of President Obama's not-long-ago victory. However, Obama's name reportedly makes no appearance in the film.

Regardless of political ramifications, the film itself looks tightly crafted with more relatable characters than The Hurt Locker, and if I know anything about film, it's that the Academy loves to celebrate fictionalized American heroism. Look for this (and Jessica Chastain) to dominate during awards season. Meanwhile, I'll be seeing it theaters based on the strength of this trailer alone.

NEXT WEEK: Iron Man 3

I've never seen this film. Part of the reason is because I love the score so much that I fear the film can't live up to it. Having been through 34 cuts and 5 test screenings before debuting at Sundance, I can't imagine that the finished product isn't effective. For me, however, it's perfect study and writing music as-is: beautiful, non-intrusive, and folksy while conveying the mournfulness of having gone through an ordeal but knowing the world will continue on the other side of it.

Together with bandmate Warren Ellis (the two have performed with Nick Cave and the Bad Seeds since 1984), Cave has constructed a dreamy Western world that is both familiar (with hints of banjo, piano, and strains of Ennio Morricone) and innovative (providing familiar melodies throughout with pulsating moments of tension usually found in straight dramas). The mood is intimate which reflects the on-screen struggle between the two title characters. Doleful violins (Ellis' contribution) coax longing from the listener while piano (Cave) reassures of present reality. 

The opening track, "Rather Lovely Thing," introduces the progression that will become familiar and tether the narrative; "Cowgirl" and "Carnival" are pokey, saloon-inspired raw versions of a lullaby or waltz; "The Money Train" quickly pulls the listener back to the action where stakes are suddenly high and continues through "What Happens Next." A respite is granted in "Destined For Great Things" and we arrive at a satisfying reprise of the main theme in "Song For Bob." This sophomore effort is the strongest collaboration from the pair thus far.

"Music From the Motion Picture The Assassination of Jesse James by the Coward Robert Ford" by Nick Cave & Warren Ellis is available for free streaming on Spotify. 

Track Listing
01. Rather Lovely Thing (3:13)
02. Moving On (2:32)
03. Song For Jesse (2:35)
04. Falling (2:54)
05. Cowgirl (4:05)
06. The Money Train (2:38)
07. What Must Be Done (1:57)
08. Another Rather Lovely Thing (3:28)
09. Carnival (2:52)
10. Last Ride Back To KC (5:24)
11. What Happens Next (2:08)
12. Destined For Great Things (2:26)
13. Counting The Stars (1:19)
14. Song For Bob (6:03)

88 MPH is a feature where we'll go back in time to explore films made before the year 2000. It's an arbitrary year, but hey, I like round numbers. If you have any suggestions for a classic, important, and/or forgotten film, leave it in the comments!

 - - -

12 Monkeys is one of the best movies about time travel ever made, so it is appropriate that we should start this column by highlighting it. Inspired by the framework of French science fiction film La Jetée, Terry Gilliam (Monty Python & the Holy Grail, Brazil) brings his signature brand of fantasy and dry humor that serve as a potent commentary on society's often arbitrary nature. It features Bruce Willis in one of his most nuanced roles: a survivor named James Cole, haunted and vulnerable to the point that the actor is completely absorbed by the character throughout. Madeleine Stowe plays psychiatrist Dr. Kathryn Railly who first (understandably) diagnoses him as a paranoid schizophrenic in the year 1990, but gradually sees the sincerity behind his actions when she can't rationalize things Cole shouldn't know after he returns in the year 1996. Her descent into his reality is the audience's descent -- and we are all finding either clarity or "divergence," as it is described so brilliantly in one scene. Cole is sent back in time from 2035 to find clues to incriminate revolutionary group The Army of the 12 Monkeys regarding an act of biological warfare that kills 5 billion people at the end of 1996 and drives the remainder of the human race underground.

Gilliam keeps the audience in suspense through his use of heightened reality -- things that are slightly "off" and could conceivably be explained away with Cole's delusion. Why are the scientists in 2035 so cartoonish, for example? They act almost as one being, finishing one another's sentences and speaking as if to soothe an animal's frayed nerves. Contrasted with the more understanding panel of psychiatrists in "present day," they seem more and more like a phantom designed to tell Cole what his psyche wants to hear. But then, this is deliberate. Gilliam makes excellent use of a world driven underground where everyone is caged, numbered, and prodded, suitable for use in experiments they neither want nor understand. There are deliberate allusions to Cole and the rest of the survivors being like caged monkeys, bound physically by force or to convention by choice. The audience likewise feels caged and as unsure as Cole. 

Enter Brad Pitt as the charismatic Jeffrey Goines. Cole meets Goines when he is first committed to the mental institution in 1990 (a time he was never meant to inhabit in the first place). Goines is crazy with a capital C yet makes sense in the substance of his rants about humanity being enslaved to materialism. "We're all consumers!" he crows at one point (echoing the famous line later spoken by Tyler Durden in Fight Club); "If you play the game you're voluntarily taking a tranquilizer." In the scene, he's referring to literal board games, but Gilliam means it as motivation for Goines' actions -- the world is falling to pieces yet people are tranquilized by convention. "'Let's go shopping' is the cry of the true lunatic." 

The film asks questions of inevitability. Can Cole go back and change the past to better the future, or will his going back be the thing that creates the chaos? Does Goines' effort to break convention actually bring about the things he warns of? In this sense, both characters suffer from the "Cassandra Complex:" the agony of foreknowledge combined with the impotence to do anything about it; in this case, however, Cole is less convinced he can succeed, whereas Goines is brazenly confident. And both men end up caught in a loop that never ends. 

Perhaps the most telling scene of the film is where Cole comments on a viewing of Hitchcock's masterful Vertigo (where a local art house theater is running a "24-hour Hitchcock Fest"). He watches and notices it parallels his and Dr. Railly's situation, then muses aloud, "The movie never changes -- it can't change -- but every time you see it, it seems different because you're different." The viewer is left to wonder whether a man can change his fate, or whether he can only change himself within it; and if these two things are, in fact, one in the same.

- - - 

Below: Watch La Jetée (The Jetty or The Pier in English), the 26 minute short film by Chris Marker that inspired 12 Monkeys. 

A good trailer is a piece of art. It should inform, excite, and entice without giving away too much of the story, while demonstrating unique ideas so the film it represents stands apart from dozens of others in a given week. You know it when you see it.

- - - 

ARGO
Directed by Ben Affleck
Release date: In theaters

What is it about Ben Affleck as a director that I like so much? Maybe it's his answer in a recent Details interview: "I need my work to mean something to me in order for me to not be home with [my family.]" When a director approaches projects with that mindset, I'm more likely to trust that what is on the screen isn't going to waste my time, because he didn't want to waste his in making it to begin with. And it shows in the trailer for Argo, Affleck's third film (after Gone Baby Gone and The Town). 

There is only one trailer for Argo, and it was the only trailer needed because this one is excellent. The story is loosely based on the events surrounding 6 American diplomats who escaped the seizure of the U.S. embassy in Tehran during the Iranian Hostage Crisis of 1979. While most of the diplomats were taken hostage, the CIA worked to extricate the 6 from their hiding place in the Canadian ambassador's home. Before even getting into the meat of the story, I am already in love with the visual style of the film: classic 70's facial hair, earth tones, big glasses; the use of shredded photos interspersed throughout, which in this digital age feels like an homage as well as a stylistic choice. Every face I see is recognizable but transformed -- Judy Greer! Bryan Cranston! Kyle Chandler! Most of all, Victor Garber looking slim and years younger as the Canadian ambassador, Ken Taylor, who had an extremely important role in how events played out. (Affleck, who after hearing about Taylor's inclusion, was concerned about trumping up America's involvement at other players' expense and invited the former ambassador to his home to view the film; changes were later made to the script.) 

Then, just when you think it's a straight political thriller, a twist of tone: "If I'm gonna make a fake movie, it's gonna be a fake hit," insists Alan Arkin, confirming that so desperate was the situation, the government would say "yes" to this plan. The bulk of the film, then, follows the crazy events that transpired to bring a fake production team to Iran to make "Argo," a fake science fiction film taking place on Mars, and then attempt to evacuate the 6 hidden ambassadors as the undercover stars of the film. Does it work? You can spoil it with a quick Wikipedia search if you like, but I have a feeling it wouldn't make a difference. Ben Affleck looks to have combined a compelling story with original characters, a fast-paced plot, all set in Iran during a slightly romanticized, very politically-charged time in our history. Best Director nods are a lock, and if you're a fan of the filmmaking process, this movie might hold an extra dimension of interest because of the "film within a film" aspect. See it in theaters now. 

NEXT WEEK: Zero Dark Thirty

So we have some changes going on at the blog, and you'll be seeing a lot of new content every. single. day. (Except Sundays, because, you know... God. And homework.)

The types of things you can expect are:

Mondays: "Coming Attractions" - post will focus on a trailer and all of its merits/flaws, whether it succeeds in making you want to see the film, and some discussion about the film itself. Mainly upcoming films, but some recently released as well.

Tuesdays: "[Directed by...]" - featuring a director each week, with emphasis on those who have recent or upcoming projects. Can be at any level of the professional ladder, from amateur to auteur, indie to Academy. 

Wednesdays: "Video of the [Wednes]Day" - featuring a video about anything film related that strikes my fancy and makes me want to talk about it.

Thursdays: "88 MPH" - We'll climb into our DeLorean and focus on films made/released before the year 2000. Yes,  it's an arbitrary date. Deal with it. 

Fridays: "Film Score Fridays" - I've always said that a mediocre movie can be saved for me by an excellent score (or soundtrack, and yes, there is a difference). We'll look at notable soundtracks and their creators from all eras. 

Saturdays: "Babble On" - this will be a blog post about anything that's on my mind related to film that didn't fit  into one of the above categories, and will probably be from a more personal angle. We'll see...

I'll take this opportunity to lay out a couple of ground rules for comments:

1. Keep it civil
2. Keep it relevant
3. No spam
4. We reserve the right to remove a comment or user who does not comply with these rules (although please don't make me have to do this, because I'd rather not remove any voices from the conversation)

Other than that, read away and comment as you please! This is the opportunity to create your own community about something we all love and have in common. So whether you're a recreational filmgoer or professional filmmaker, feel free to share what's on your heart and mind; we all have valuable things to say. Thanks for participating in this little experiment of ours!

Cinemablography is abroad in Italy! We were able to send a camera along with a few students and they produced a wonderful video of their first week there. They visited sites such as Santa Croce and the Uffizi Museum. Take a look at what they are surrounded by and the activities they are participating in. We are very excited to see what else they discover and learn! 
Click on the picture to check out a very awesome video done by Rolando Vega! Stay tuned for more in the coming weeks. 

In the film industry it is hard to break out as a young filmmaker. As a 25-year-old writer, producer, director, Lena Dunham has overcome those odds.  After the success of her feature film, Tiny Furniture, Dunham has become the it-girl for young and women filmmakers. At her young age, she has already done two feature films, several online videos, and is the new star, creator, writer, and director of the show Girls on HBO. 

In this video from PressPausePlay, Lena Dunham talks about how difficult it is as a young filmmaker to be in the film industry today. The rise of digital video is nothing new, but it is coming to a point where it is overpowering the film industry. Dunham explains that while it's great that everyone with $1500 can buy a nice video camera and shoot their own film, there is also a down side to letting just anyone be a filmmaker. As young filmmakers ourselves, we understand where Dunham is coming from. The video captured a great conversation with Dunham and is something all young filmmakers should check out.