Showing all posts about film

Q&A with Claire McCarthy director of The Waiting City

30 June 2010

Australian director Claire McCarthy’s latest film The Waiting City is a portrayal of an Australian couple Ben (Joel Edgerton), and Fiona (Radha Mitchell), who travel to Kolkata, India, to collect a baby they have adopted. But delays in finalising the process, together with the disorientation of an unknown city and unfamiliar culture, begin to take a strain on their marriage.

The Waiting City has the distinction of being the first Australian made movie to be filmed entirely in India. Recently Claire McCarthy (Instagram page) took some time out to answer a few of my questions about the making of her new film.

Q: To what degree did your experiences of living in India, and working in orphanages there, have in inspiring the film?

A: A great deal of the film is based on real life situations, friends and interview subjects although it is most certainly a work of fiction. The film is an amalgam of many formative experiences in my life.

Beginning with working in the slums of Kolkata with Mother Teresa’s nuns with my amazing sister Helena and at a turning point shooting a music video on the sweltering banks of the Ganges with my husband-to-be Denson Baker ACS as a test run for the real film, The Waiting City in many ways is an expression of many of my loves; of people, music, food, culture and importantly, of the city of Kolkata.

The documentary I made (called Sisters) also undeniably became a jumping off point for research and development of the fiction screenplay of The Waiting City and gave me insight into the people behind adoption as well as the people and city of Calcutta. I have gleaned so much inspiration from so many very remarkable and inspiring people who have allowed me to interview them and have shared their stories with me.

The inspiration for this story is personal, researched, observed and imagined.

Q: The Waiting City was filmed entirely in India, and accordingly we see nothing of the life of Ben and Fiona in Australia. Why was that?

A: My intention was to allow Fiona and Ben’s history to gradually bubble up to the surface through their experiences in India. This felt like a more elegant solution to expose the characters, and us the audience, to the world of India and that in doing so force them to question their lives and choices about themselves and their relationship.

Q: Aside from your past association with Kolkata, why did you choose to make this city the main setting for the story?

A: The personal connection I had with Kolkata was a big factor in setting the film in this city. It was crucial that the film had a unique rhythm, texture, colour palette and sense of exoticism that we as a Western audience had never seen before. Kolkata is a perfect for this as it has such a unique look and feel and so many contrasting locations and settings.

It was important that through the journey into this city that the main characters would be forced out of their comfort zones to be truly present experiencing each other and the city. The film is really inspired by the beauty, textures and unique rhythms of the city of Kolkata.

As another character in the film too Kolkata forces our main characters to really think about their projections and judgements and to look at their own lives back in Australia from a different vantage point. So it was an aesthetic, strategic, emotional and personal reason to shoot in the city of Kolkata.

Q: What for you was the biggest challenge in filming completely on an overseas location?

A: It was crucial to me that the team became like a family in the making of The Waiting City. We never wanted to be considered a ‘foreign’ film as such and were resistant to the idea of just coming into India and taking over the town. We wanted the film to be a collaborative process with a blending of ideas and resources.

This was one of the biggest challenges of the film; finding the time to ensure the creative process was not lost under the freight train of production pressures. The film is a very fine example of high level planning, collaboration and cultural exchange between incredible Australian and Indian creatives and technicians.

Q: Adoption is a key part of the story, were there any thoughts you wished to convey here, especially on the adoption of children from developing nations?

A: As a filmmaker it’s not my intention to be for or against adoption, it’s more to raise questions about what it means to take a child away from their culture and whether or not bringing them to another culture is a good or a bad thing. In the work I did in orphanages and the research I did about adoption, the one consistent factor I found was the protracted waiting period to receive a child.

Over and above the adoption process itself, the possibilities interested me of what might happen to a couple whilst they were waiting to receive their child.

So I began to look at that emotional stranglehold for both the parents and the child, which was of primary interest to me as a filmmaker over and above the adoption process itself. I started to consider that in waiting for a child a couple would inevitably be pulled in so many different directions and vulnerabilities would be exposed within their relationship.

So in the film the adoption process forces the relationship of the couple under a microscope and causes them to address other issues as well: motherhood, fertility, mortality, gender politics, different expressions of families and journeys to parenthood, spirituality and desire.

Thanks Claire.

Update: some behind the scenes video footage of The Waiting City just to hand.

Originally published Wednesday 30 June 2010, with subsequent revisions, updates to lapsed URLs, etc.

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How does the Oscar nomination and voting process work?

16 February 2010

NOTE: this is a legacy article published in 2010. Much of the information presented is likely now out of date.

While the movie buff in me takes an avid interest in who wins what in the Academy Awards each year, I’ve never given much thought to how a film reaches the winning list, aside from the fact it must be good — or reasonably good — and was favoured by members of the Academy Of Motion Picture Arts and Sciences (AMPAS), who preside over the venerable award.

And as it turns out, after doing a little research into the process, garnering an AMPAS member’s favour is the very first thing a film must do, if it is to set itself along the Oscar winning pathway.

Favour, choices, AMPAS branches, and nominations

The nomination process commences when each of the 5,777 members of AMPAS, or the Academy, are asked to select their favourite eligible ¹ films — usually five — from the preceding year.

The Academy is split into 15 branches, which represent the various aspects of the film production process, and include actors, directors, writers, producers, and visual effects branches, to name a few.

Branch members are only able to nominate “in-house” however. For instance members of the Writers Branch can only nominate film writers for an award, they cannot, for example, choose actors or directors.

Member numbers can vary across branches, and the Academy as a whole, from year to year, and this can have an effect on the overall process, but more on that shortly.

Preferential voting and magic numbers

The choices made by branch members, which are ranked preferentially from one to five, are sent to accounting and auditing firm PricewaterhouseCoopers (PwC), who then count the selections — manually — and after much sifting of paper, eventually determine the top five choices — or nominations — in each Oscar category.

To be in the running a film must receive at least one number one ranking from a member, or it is eliminated from the count. PwC go through all the votes, or selections, short-listing the top five number one ranked films in each category.

Taking the Animated Feature Film category as an example, here’s how the nomination selection process might work. This year the Short Films and Feature Animation Branch of the AMPAS has 340 members.

PwC divides this number by 6 ², which equals about 56. To make the grade therefore, a film must secure at least 56 number one votes from members of this branch.

For example 63 members might have selected “Coraline” as their first choice. Another 62 might have chosen “Fantastic Mr. Fox” as their first choice, another 61 “The Princess and the Frog”, 60 “The Secret of Kells”, and finally 57 “Up” ³.

Any other animated features that may have been voted as a top choice by members of the branch are now eliminated, as they did not receive enough votes to make the top five in the category.

It gets complicated — sometimes very complicated — however if five movies do not reach the minimum vote threshold, and this is where the preferential voting system comes into play.

They [the PwC team] then look at the piles still left on the table and get rid of the one with the smallest amount of votes, redistributing them to other piles ranked on the 2nd favourite film on the ballots. If the number 2 choice has already been eliminated then they go to the 3rd choice and so on. Once that’s taken place they count again, if a film hits the magic number it’s taken off the table and is a nominee.

Changes to the number of Best Picture nominations

This year, for the first time since 1943, there are ten movies competing for the Best Picture gong, rather than the usual five, meaning the PwC team would have short-listed the top ten, rather than top five, number one voted films for this category.

The Visual Effects and Make Up categories are the only other exceptions to the five nominations per category rule this year, each sporting three contenders.

Voting and electing the winners

The final voting process is relatively similar to the nomination process.

Once nominations have been finalised, Academy members are sent ballot papers, and again using a preferential voting system, make their selections.

At this stage though, just two people at PwC are involved in counting the votes, and they remain the only ones to know the final results, until the winners are announced on Oscars night.

Controversy in Best Picture decisions

For all its mathematical precision, there is still no guarantee that the best film will be accorded the Best Picture award. 2005’s Brokeback Mountain, a superbly made movie in my opinion, could be considered a case in point.

Despite winning a slew of other film awards, and five Oscar nominations, it nevertheless missed the Best Picture award. It was suggested the Academy shunned the movie in the final round of voting as members were uncomfortable with a gay love story.

After “Brokeback Mountain” won an unprecedented number of precursor awards for best picture — 26 — it entered the Oscars with the most nominations and was considered a shoo-in to win best picture. That is, until the majority of its members — straight, ole, self-absorbed, guy geezers, as legend has it — refused to embrace the gay movie and so they gave their top prize to “Crash.”

That said, “Crash” was still a very good film.

And, to date, no science fiction or animated films, have received a Best Picture award, suggesting the Academy prefers only certain film genres.

Other factors influencing Oscar nominations

While nominations ultimately boil down to the individual tastes of the Academy’s 5,777 members, certain factors may sway their decision.

For example in 2008 sociologists from Harvard University, and the University of California, found female actors appearing in dramas, rather than comedies, were more likely than their contemporaries to score an Oscar nomination.

Academy Award nominations tend to go to performers in dramas, who are female, who have been nominated in the past and who command a high rank in the movie-credit pecking order.

And finally if I were a member of the Academy…

My ten choices — for Best Picture — this year would be:

• An Education
• Up
• The Road
• Up in the Air
• Watchmen
• Star Trek (a long shot, but…)
• Looking For Eric
• (500) Days of Summer
• Beautiful Kate
• Is Anybody There?

These are not, unfortunately, ranked preferentially (though “An Education” would still be very near the top), plus I’m not 100 per-cent sure that all titles are eligible for this year’s awards.

And just so you know, this year’s Oscar awards take place on Sunday, 7 March, 2010, or Monday afternoon, 8 March, as it will be in this part of the world.

(Sources: Wikipedia, Radio 1 Movies Blog, Academy Of Motion Picture Arts and Sciences, Live Science, Gold Derby.)

Originally published Tuesday 16 February 2010.

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You can travel no further back in time than 1955

18 August 2009

The Time Traveler’s Wife is the latest in a long line of time travel themed movies, and according to physicist Dave Goldberg, makes for a more realistic representation of time travel than most of the (fiction) served to date.

But this is interesting, time travel is (theoretically) only possible to points in time where a time machine already exists, according to Goldberg.

In other words, for Marty McFly to travel from 1985 to back to 1955, as he did in Back to the Future, a DeLorean like time machine would already need to have been in existence in 1955…

According to Einstein’s picture of the universe, space and time are curved and very closely related to each other. This means that traveling through time would be much like traveling through a tunnel in space — in which case you’d need both an entrance and an exit. As a time traveler, you can’t visit an era unless there’s already a time machine when you get there — an off-ramp. This helps explain why we’re not visited by time-traveling tourists from our own future. Futuristic humans don’t drop in for dinner because we haven’t yet invented time travel.

Of course the concept of time travel — in the form of the Flux Capacitor — did exist in 1955, it simply hadn’t taken physical form… does that count?

Originally published Tuesday 18 August 2009, with subsequent revisions, updates to lapsed URLs, etc.

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Tastemakers to get a bite of Star Trek at Sydney Opera House

26 March 2009

The Sydney Opera House will host the world premiere of the new Star Trek movie, on Tuesday 7 April 2009, before an audience of 1600 tastemakers (Internet Archive link):

Director JJ Abrams’ new Star Trek movie will have its world premiere at the Sydney Opera House next month, presented by Aussie star Eric Bana. Abrams, Bana and co-stars Chris Pine, Zachary Quinto and Karl Urban will present the blockbuster to 1,600 tastemakers in art, design, entertainment, fashion, media and politics on April 7. It is only the third time a film has debuted at the Sydney Opera House, and the first time a premiere has been held in the concert hall.

I wonder what it takes to become a Star Trek tastemaker then?

Originally published Thursday 26 March 2009, with subsequent revisions, updates to lapsed URLs, etc.

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Arthur C Clarke’s Newspad RSS news aggregator

30 May 2008

Author and futurist Arthur C Clarke is credited with predicting the emergence of a number of technologies, including a tablet-like device called a “Newspad”, which could serve the latest news stories from electronic versions of newspapers.

So far more has been said about comparing the Newspad to PDAs or Tablet PCs, but the Newpad also worked in a very similar way to today’s news aggregators, or RSS feed readers.

In the novelised version of 2001: A Space Odyssey, (chapter title “Moon Shuttle”, pg 66-67) Dr Heywood Floyd, chairman of the US National Council of Astronautics, spends time reading on his Newspad, while traveling to the Moon.

Floyd sometimes wondered if the Newspad, and the fantastic technology behind it, was the last word in man’s quest for perfect communications. Here he was, far out in space, speeding away from Earth at thousands of miles an hour, yet in a few milliseconds he could see the headlines of any newspaper he pleased. (That very word “newspaper,” of course, was an anachronistic hangover into the age of electronics.) The text was updated automatically on every hour; even if one read only the English versions, one could spend an entire lifetime doing nothing but absorbing the ever-changing flow of information from the news satellites.

Not only did Arthur C. Clarke predict PDAs and Tablet PCs, he also foresaw the emergence of news aggregators, and RSS technology.

Originally published Friday 30 May 2008.

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Grow your DVD movie collection each time you visit the supermarket

9 December 2007

Going to the supermarket is increasingly becoming a one-stop-shopping experience. In addition to sourcing groceries, some stores now offer not-half bad coffee, which you can enjoy as you pace the aisles. And for movie fans, a visit to the supermarket is only going to get better, with news that DVD vending machines are being rolled out across Australia:

Instant DVD has installed vending machines in 12 supermarkets throughout Melbourne and Sydney and intends to expand to 500 throughout the country, creating yet more competition for the traditional video shop.

The hire prices are too bad either, and the “late fee” for not returning the title by the due date may not — depending how much you like the film in question — be so terrible either:

All movies cost $2.99 a night to hire and can be returned to any of the service’s vending machines. If you fail to return a movie within two weeks its price is charged to your credit card and it becomes yours to keep.

I’m not really up on the state-of-play when it comes to late fines on hire movies, since returning hires is about the only thing I actually do promptly, but it seems to me someone who’s a little more casual in this regard could end up with quite an impressive DVD collection.

If nothing else it makes for a good way to try before you buy. If you like the movie enough simply keep it, and two weeks later it’s yours. I wonder how the price of the “to keep” hires compares with those on weekly special at the supermarket though?

Originally published Sunday 9 December 2007, with subsequent revisions, updates to lapsed URLs, etc.

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Spider-Man 3, a film by Sam Raimi, with Tobey Maguire, Kirsten Dunst

28 May 2007

I’d heard a lot about the third Spider-Man movie before I saw it, and not all of it was good. Terms such as “spider cheese”, and the like.

But this is the third and final instalment of the franchise as directed by Raimi Smith, and given he needed to tie up a few loose threads that have run through the series, I suppose some cheesiness can be forgiven.

Some things seemed a little rushed though (such as Harry’s turnaround). I still liked it. I don’t really like to say a movie was crap, but Spider-Man 3 wasn’t quite as fun as the previous two.

Originally published Monday 28 May 2007.

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The History Boys, a film by Nicholas Hytner, with Richard Griffiths

21 May 2007

While I enjoyed The History Boys, it wasn’t quite the hilt at the British class system, or epic struggle against the odds, sort of tale I had expected. It was more or less a fly-on-the-wall look at the lives of a group of gifted students who had the opportunity to gain places at two of England’s oldest, and most prestigious universities, Oxford and Cambridge.

I actually thought the epilogue like ending was the best part, a scene which kind of melded onto the end of a teacher’s funeral. Given the story was set in 1983— just fourteen years ago — this is one of the best “where are they now” sequences I have seen in a movie so far.

Originally published Monday 21 May 2007.

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Scoop, a film by Woody Allen, with Scarlett Johansen, Hugh Jackman

16 May 2007

Scoop is the latest Woody Allen production, and combines elements of his earlier work including Manhatten Murder Mystery, and the more recent Match Point, plus of course Scarlett Johansen. The result is a quirky, yet fun, murder whodunit set in London and the neighbouring Home Counties.

Allen plays a touring magician — who’s often surprised when a trick seems to work — who meets Sondra (Johansen), when she takes part in one of his shows. Together they find themselves trying to solve a murder, working only with scant clues supplied by a recently deceased journalist (Ian McShane), who has managed to return from the afterlife.

Fans of Allen’s trademark neurotic banter will not be disappointed.

Originally published Wednesday 16 May 2007.

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Bobby, a film by Emilio Estevez, with Anthony Hopkins, Demi Moore

14 May 2007

Bobby is a “what if” movie. What if Robert (Bobby) Kennedy had been elected president of the United States in 1968, as he seemed destined to be? What if he managed to stay in office for eight years, thus by-passing the Nixon era? What might the United States, and the world, be like today as a result of his influence? While the big picture is enthralling, the smaller one is no less so.

Bobby is a dramatization exploring the stories of some of staff and guests working, and staying, at the Ambassador Hotel, in Los Angeles, on 5 June 1968, the day Kennedy was killed. We also are left pondering “what ifs” of their lives. Kennedy is only seen in the movie by way of archival footage, but nonetheless makes the strongest screen impression.

Originally published Monday 14 May 2007.

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