One of the great things about living in Los Angeles is the opportunity to attend shows that offer a Q&A with its filmmakers. In a time when most people watch movies at home or in some way the movie going experience has become such an ordeal- crowded theatres, rude patrons and not having to deal with traffic this unique setting with the filmmakers has renewed my interest in the movie theatre experience. For film lovers, it’s a chance to hear about how a film gets made, and since it is a live experience, it certainly lends itself to some really good off-the- cuff and occasionally, off-color remarks you’re not likely to hear on a film’s commentary track. There’s nothing quite like a live forum to showcase the spontaneity of random chance and awkward answers.
One of the more notable Q&As I’ve been able to attend recently was a screening of Josh Whedon’s, “Much Ado About Nothing”. After the show, Whedon and several cast members spoke about the making of the film and answered a few questions from the audience.
It was a very lively and intimate event. At one point, a member of the Q&A panel grabbed the bag of popcorn of a lady in the audience. He helped himself to some of the popcorn, and then shared the bag with the rest of the panel and some of the other members of the theatre audience. The laughter this sideshow elicited did not detract from the discussion about Shakespeare, and the film making experience of a small group of friends who shot a movie in Whedon’s house in twelve days during a break he took after filming 2012's The Avengers.
Whedon’s parents were teachers who loved Shakespeare. They would have friends over and they would read and perform Shakespeare’s plays in their house. Whedon and his wife carried on this tradition in their own home. Somewhere along the way, the idea of making a movie and filming theiractual house came to be. The film itself is a well- crafted tale and was reallywell done. It is probably the best produced family home video ever made. It was a neat experience to see how Whedon utilized his home for the various locations called for in the play. Which worked for most of the film. The only odd moments was the probably downstairs utility room he used for the Police Station ( but again the home made movie aspect of it carried a weird charm) and the exteriors of the house which doubled as a city street. But by this time in the film the performances are so strong and the film was so much fun it wasn’t that bothersome.
One of the great Q&A series is usually presented by American Cinematheque. They show films at the Egyptian Theatre in Hollywood and the Aero Theatre in Santa Monica. Recently, at the Egyptian Theatre they had a presentation of the Sensurround version of 1978’s “Battlestar Galactica”, preceded by a Q&A session with several of the SPFX artists and the film’s creator, TV producer legend, Glen A. Larson. Looking a lot like Stan Lee, Larson was the center of attention as he
explained some of the origins of the film. He made sure to include all of the
accomplishments of the other members of the panel with him that evening. He also spoke about some of the inner politics of the 1970’s film and television industry, including the seemingly universal interference of television network bureaucrats, as well as the rivalry of various studios trying to cash in on the SCI-FI boom of the late 1970’s. I would have gone to this without the gimmick of "Sensurround." But again this is one of the things that can make these Q&A experiences just that little bit more memorable. In this case the re-creation of this theatre environment sound effect that runs along with the film in key scenes. Originally developed for the 1974 film Earthquake. And it makes a lot more sense when used in that film as it's basically a whole bunch of speakers with a loud rumbling bass track. Makes perfect sense for a California earthquake scene. Not so much for space battle scenes. After awhile I found it annoying and I'm glad Universal didn't use this system for long. Sensurround was created when most theaters had only stereo sound systems at best, now with most theaters having extremely sophisticated 7.1 speakers or more, sound systems- an average movie goer today will probably also find the Sensurround experience lacking.
Panel is a silly word, as in both cases, the Whedon and the Larson
Q&As, the filmmakers and a moderator are casually sitting in chairs in front
of the audience. It’s very relaxed and engaging.
There was no opportunity to talk to the creative forces at great length in either cases. Yet, for the 30 minutes or so of the Q&A, it felt like a small dinner party of like minded film enthusiasts discussing films, film making and the politics that play into these. Being there with like minded folks of a particular film really does enhance the experience of watching the film as opposed to a regular theatre, where most folks really don’t care how the film was made, but only if it’s entertaining and whether or not their shoes are sticking to the theatre floor from a stray piece of gum.
Going to these types of events with filmmakers whose films have influenced me in
one form or another has become one of my new favorite hobbies and for me has
made the film theatre experience memorable again.
One of the more notable Q&As I’ve been able to attend recently was a screening of Josh Whedon’s, “Much Ado About Nothing”. After the show, Whedon and several cast members spoke about the making of the film and answered a few questions from the audience.
It was a very lively and intimate event. At one point, a member of the Q&A panel grabbed the bag of popcorn of a lady in the audience. He helped himself to some of the popcorn, and then shared the bag with the rest of the panel and some of the other members of the theatre audience. The laughter this sideshow elicited did not detract from the discussion about Shakespeare, and the film making experience of a small group of friends who shot a movie in Whedon’s house in twelve days during a break he took after filming 2012's The Avengers.
Whedon’s parents were teachers who loved Shakespeare. They would have friends over and they would read and perform Shakespeare’s plays in their house. Whedon and his wife carried on this tradition in their own home. Somewhere along the way, the idea of making a movie and filming theiractual house came to be. The film itself is a well- crafted tale and was reallywell done. It is probably the best produced family home video ever made. It was a neat experience to see how Whedon utilized his home for the various locations called for in the play. Which worked for most of the film. The only odd moments was the probably downstairs utility room he used for the Police Station ( but again the home made movie aspect of it carried a weird charm) and the exteriors of the house which doubled as a city street. But by this time in the film the performances are so strong and the film was so much fun it wasn’t that bothersome.
One of the great Q&A series is usually presented by American Cinematheque. They show films at the Egyptian Theatre in Hollywood and the Aero Theatre in Santa Monica. Recently, at the Egyptian Theatre they had a presentation of the Sensurround version of 1978’s “Battlestar Galactica”, preceded by a Q&A session with several of the SPFX artists and the film’s creator, TV producer legend, Glen A. Larson. Looking a lot like Stan Lee, Larson was the center of attention as he
explained some of the origins of the film. He made sure to include all of the
accomplishments of the other members of the panel with him that evening. He also spoke about some of the inner politics of the 1970’s film and television industry, including the seemingly universal interference of television network bureaucrats, as well as the rivalry of various studios trying to cash in on the SCI-FI boom of the late 1970’s. I would have gone to this without the gimmick of "Sensurround." But again this is one of the things that can make these Q&A experiences just that little bit more memorable. In this case the re-creation of this theatre environment sound effect that runs along with the film in key scenes. Originally developed for the 1974 film Earthquake. And it makes a lot more sense when used in that film as it's basically a whole bunch of speakers with a loud rumbling bass track. Makes perfect sense for a California earthquake scene. Not so much for space battle scenes. After awhile I found it annoying and I'm glad Universal didn't use this system for long. Sensurround was created when most theaters had only stereo sound systems at best, now with most theaters having extremely sophisticated 7.1 speakers or more, sound systems- an average movie goer today will probably also find the Sensurround experience lacking.
Panel is a silly word, as in both cases, the Whedon and the Larson
Q&As, the filmmakers and a moderator are casually sitting in chairs in front
of the audience. It’s very relaxed and engaging.
There was no opportunity to talk to the creative forces at great length in either cases. Yet, for the 30 minutes or so of the Q&A, it felt like a small dinner party of like minded film enthusiasts discussing films, film making and the politics that play into these. Being there with like minded folks of a particular film really does enhance the experience of watching the film as opposed to a regular theatre, where most folks really don’t care how the film was made, but only if it’s entertaining and whether or not their shoes are sticking to the theatre floor from a stray piece of gum.
Going to these types of events with filmmakers whose films have influenced me in
one form or another has become one of my new favorite hobbies and for me has
made the film theatre experience memorable again.
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