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[speccyfilmnerd]

Coming back out of nowhere, to talk about something unrelated.

17.7.24

I'm going through a difficult time right now. It's nothing out of the ordinary, shocking or scary, but it's a bit hard. I've left school and I'm moving far away from all my friends and my hometown. During these past few months I've been listening to the same music I always do, but I've been thinking about it differently.

Every song and every melody reminds me of an event or a person.

The Smiths reek of my best friend Sophia, and the time we were sat in English class laughing at the way Morrissey danced on her laptop screen. I can't hear the sad droning tune of a semi-modern indie song without being reminded of her constant complaints of her hair frizzing in the late spring humidity, or her asking if her makeup is okay, despite not wearing any.

The funky tunes of the English 70s glam rock scene drips and ebbs with hints of Niamh and the David Bowie badge I gave her, which now sits proudly on her bag.

What has been striking me the most is, although I change and the world around me changes, the music doesn't. During the times where I've felt my worst and haven't had a clue how I'd keep going, the music would always be there, and it always will be. Unchanging, Robert Smith's sweet whispery voice on Disintegration will never age how he and I do. Members of Oingo Boingo and DEVO have passed on, from the bands and from our world, but they still push me forward.

I hope one day I can collect my scattered mind enough to express how grateful I am to them in person. I've met people who I care about more than anything else in the world through LPs and EPs, and I've met myself more than I ever thought I'd manage.

[speccyfilmnerd]

"Brazil"- A Heartbreaking Mid-Eighties Dystopian Art Piece.

11.2.24 (short)

Directed by Terry Gilliam, 'Brazil' (released in 1985) clearly takes inspiration from George Orwell's '1984', leading the viewer through impressively oppressive dirty and dark city streets. Just enough to create the feeling of being crushed, and then letting us loose inside the tender and free mind of Sam Lowry.

As I always say, please watch the film before reading. I try not to get too much into spoilers but as with most things, Brazil is best experienced completely blind and with your full attention.

Combining strict and organised visuals, a muted colour pallete and typical Python wit, Gilliam paints the 'real' world as an Orwellian satire of modern city/office life. Air is unclean, Ducts swarm living spaces and nobody goes unwatched.

Gilliam also fills out minds with a beautiful contrast, Sam's dreams. These sequences are simply breathtaking and gorgeous. Using colours, textures and costuming to completely parallel the outside world, we learn about Sam's desire for love and freedom. (Although he repeatedly denies and refuses himself these pleasures) Sam decides to take charge of his own life after a simple human mistake begins to tear the institution he works for apart from the inside.

His main motivation is, of course, love. While trying to do his job like he would any other day, Sam meets the eyes of the woman he protects in his dreams. The film is (in my opinion) an example of excellent storytelling, combined with beautiful visuals and spectacular performances to create an experience that is thrilling and almost unmatched.

Brazil is frankly horrifying at times. Others it is funny, funny enough to make you spit out your drink and sad enough to make you cry and uplifting enough to make you cheer. A truly unique piece that I will always sing praises for.

[speccyfilmnerd]

Richard Elfman’s ‘Forbidden Zone’...

An Unknown, Absurdist, Avant-Garde Cult-Classic.

23.12.23

Overview

Forbidden Zone is what I, and many others, would consider a true hidden gem. Born from the underground alternative film scene of late 70s LA, the viewer is taken on a visual rollercoaster through the un-methodological madness of creator, director and producer Richard Elfman's mind, creating an experience unlike any other.

I highly recommend that you, if you haven't already, watch this movie. And you do it in a way that would support the people behind it. This is especially important to do for Forbidden Zone and films like it, for reasons I'll get into later… I'm aware that in the current and extremely annoying space of streaming it's tempting to delve into piracy but I'd advise against it. trust me it's worth it.

The Film Itself

The movie follows a french girl named ‘Frenchy’ (played by Marie-Pascale Elfman, the director's wife at the time) falling through a door in her basement into the sixth dimension. A place that is, for a lack of a better term, very horny. The hedonistic landscape consumes her and through a series of musical numbers she finds love and evil is conquered.

(Susan Tyrrell as Queen Doris)

This ‘evil’ is the scene stealing (reason I'm gay) Queen Doris, portrayed by the incredible Susan Tyrrell. Susan's performance is, in my opinion, the reason this film has had such an impact on me. Forbidden Zone is the reason I started taking film making seriously, not just as a hobby but as a career, and Queen Doris is the reason I love this movie. Her main musical number ‘witches egg’ is a charming and memorable scene (and I'm still upset it got taken off Spotify.) Her eye-catching appearance embodies the word camp. She's truly an incredible actress playing a delightful character that is a joy to see on the screen. I could turn this whole essay into a fan-girl spiel just about her, I adore her.

It would be impossible to brush over Hervé Villechaize’s Character, King Fausto. Although Fausto doesn't sing or dance, he does do something no other character does… he's the most annoying not-an-antagonist the entire realm has to offer. I mean, maybe I feel this way cuz I've got a massive crush on Doris and he doesn't realize how lucky he is- actually it is that. it's totally that. THE CHEATING SCUM!!!

(Danny Elfman as Satan with the Mystic Knights of the Oingo Boingo)

Something I've mentioned already is the music. Forbidden Zone features music written and performed by the Mystic Knight of the Oingo Boingo, more specifically it's leader Danny Elfman, the directors brother, and his right hand man Steve Bartek. The Knights also have an appearance in the film, Danny plays a Cab Calloway style interpretation of Satan while Steve and the other Knights dance behind him, dressed in long black cloaks and painted head to toe in gray makeup. And yes I see you, reader at the back scratching his head, it's that Danny Elfman.

Frenchy herself is another joy to watch, her sweet voice and ditsy personality are just another layer of charm for the viewer to lap up. Along with playing the lead, Marie was also the production designer. The film had a low budget (less than $90,000) and she did an exceptional job using what she had to create the stylised world of the sixth dimension. The overall visual look of the film is that of a live-action cartoon. Along with animated segments by John Muto which tie a lovely bow over the whole thing.

Production

It's no surprise that a film with such a low budget and small cast and crew would go through a lot before release. Richard Elfman himself recalls losing his house often in interviews, along with the finished film entirely. After several decades it was rightfully returned to him. Most of the cast and crew were paid very little or nothing at all, surprisingly I found a video of DEVO’s Gerald Casale saying he and his bandmates originally approached to do the film's music, but they refused after finding out how little money was in it.

Along with the film's actual composer, Danny and his band with Marie being actors, writer Mathew Bright and other crew members played characters on screen, even Richard has a small scene. This leads me to say how the film has a passion running through it. Unlike many other movies we see more and more of, Forbidden Zone was truly a creative adventure for all involved with no intention of making the most money possible. 

Richard, in 2019 said: "Doing anything original is taking a chance. Financially it bankrupted me and we lost our house. But I'm still glad I did it. 

Conclusion

Forbidden Zone is one of my favorite movies of all time, and I've seen a lot of movies. Once again, I recommend taking a look for yourself and supporting the artists behind it.

Interviews referenced/sources used:

Richard Elfman talking about the film in 2019:

rolling stone:

[speccyfilmnerd]

The Somehow STILL Underrated Beauty of Tim Burton’s ‘The Nightmare Before Christmas.’

19.12.23

‘The Nightmare Before Christmas’ is a stop motion animated holiday musical, directed by the incredible Henry Selick, produced by Tim Burton, with music and lyrics by composer Danny Elfman, released in the Halloween season of 1993. Over the years the film has developed a terrifyingly devoted fan base (me included) that grows every year; its sights, sounds, and the feelings they evoke in viewers young and old, is simply encapsulating and downright impressive.

So, now in the run up to Christmas, thirty years after the film originally came out, I would like to talk to you about it.

To refresh your memory, the film follows a depressed and bored skeleton, aptly named Jack Skellington, the pumpkin king. Jack ventures out of the town of Halloween into a whimsical land of Christmas. Enchanted by the sheer joy he feels over this, Jack steals Christmas and loses sight of what Christmas is actually about and the friends he already had. The movie ends with Jack returning Christmas to its rightful owner and himself returning to Halloween town.

NBC was (and still is) one of the most revolutionary stop motion pictures ever made. It utilizes advanced techniques that took more than 100 artists, technicians and animators more than three years to perfect on the screen. Director Henry Selick has become an Animation Icon so to speak. With classics like ‘Coraline’ and ‘James and the Giant Peach’ under his belt, and a clear talent and good eye for stop motion, it's clear Selick was the best choice to lead the operation, with Tim Burton close behind.

Burton chose Selick personally to bring his creation to life. A creation he dreamed up while working for Disney as an animator years before, a character that in his own words is ‘sort of like the Grinch in reverse.’ Selick did his very best to portray the vision Burton had displayed in his concept art accurately, so much so that even some fans of the film mistake it as being directed by Burton himself.

Interestingly, during pre-production, the first things to be made for the film were its songs. Burton brought in his most reliable source for all things musical, composer and lyricist Danny Elfman. at First Elfman was hesitant about working on the film, he said in an interview with GQ earlier this year 'Christmas was the most depressing time of the year for me. It was a very lonely time for me as a kid.’ Elfman himself is Jewish and doesn't celebrate Christmas, however his decision about working on the film was changed when Burton described it's main character, a Skeleton, a repeating motif in Elfman's work.

Before a script was put together Elfman had already written the lyrics that built up a lot of Jack's character, and he also became the singing voice of the part. The rest of the score features beautiful orchestral suites that swell and envelope the listener in all kinds of warm and fuzzy feelings

I asked my friend October, who is more musically inclined than me, to describe the score further…

“Within each song, beautiful and somber melodies are packed into each second of runtime, the orchestra is used effectively to move the story along in such an ornamented way.

Songs like ‘Jack’s Lament’ have gorgeous trailing motifs played by strings and woodwind, maybe opposing Elfman’s other works that have a focus on more powerful brassy numbers. Emotionally-charged lyrics written by Elfman (stated in the interview priorly talked about - Elfman resonated with Jack) are able to be understood and enjoyed by all ages, and the voices chosen for each character - Catherine O’Hara as Sally, Ken Page as Oogie - work excellently to set the tone for each scene and keep engagement at a high.

I’m unable to speak about specifics in terms of instrumentation for songs suck as Sally’s Song and the like, and I don’t own the score quite yet, and my ability to correctly identify instruments correctly lacks.”

The Nightmare Before Christmas, and in particular it's main character Jack, tackles a theme of belonging. When I first saw the film as a child I felt an intense connection to it. It's my mothers favorite and in turn has become mine, seeing this thin, pale, confused character attempt to find somewhere he feels he belongs was awfully personal. I know the way Jack feels in the first act of the story far too well, and it is both a delightful and ever so slightly envious emotion I get when I see him break out of it. 

Back to my childhood again, the villainous Oogie Boogie would always spark a mix of fear and excitement whenever I would hear that first ominous laugh ring out from the screen. He really is a perfectly designed character in my opinion. the contrast between his large, soft, rounded silhouette and jack's thin, almost snappable frame shows how different they are, despite being similar.

for anyone who's interested in filmmaking, animation, music and sound design, colour theory and shot composition or character design, this film is an amazing piece to look at (or write your school paper on) and I think it definitely has, and will continue to stand against time in an industry and an art form that moves ever so fast.

And I wish you all, whether you celebrate or not, a very happy and safe, dry and warm winter.

Interviews referenced/sources used:

Documentary about the production of the film, featuring interviews from many crew members, including Henry Selick, Tim Burton and Danny Elfman:

Danny Elfman speaking to GQ: (7:20-11:05)