Storytelling & Uplifting Young Voices
Chaz kicks off the show with a story about the Cannes Film Festival, which leads to a conversation about storytelling. Then she talks about No Malice AKA the film competition she set up to encourage and uplift a new generation of young filmmakers and activists. Chaz also gets into the legacy of RogerEbert.com and how she and her husband Roger launched it together.
Ebertfest & Gene and Roger (Roger and Gene)
Chaz tells the story of connecting with Roger and changing careers to become VP of RogerEbert.com—and how that changed her life for the better. She also teases what’s happening at Ebertfest and the importance of bringing joy and happiness in times like this. Since the date of this recording, the film festival has been postponed until April 20–23, 2022 to ensure everyone can enjoy it safely. Stay tuned for more details!
Chaz also chats about the new podcast Gene and Roger, hosted by Brian Raftery, which discusses the impact famed critics Roger Ebert and Gene Siskel had, not only on film criticism and coverage but also on filmmaking itself.
The Filmmakers on “The Mitchells vs. The Machines”
Posted on April 27, 2021 at 11:17 am
I was lucky enough to attend a press event featuring the producers Chris Miller and Phil Lord (the “LEGO Movie”) and producer Kurt Albrecht, along with co-writer and co-director, Michael Rianda. The moderator was my good friend and fellow Washington DC film critic Kevin McCarthy. Some highlights:
“Despite not having gone through a robot apocalypse, it’s a very personal story for me,” said Rianda, who also provides some of the voices in the film. “The dad is based on why day who would always say, ‘Put down your Gameboy! There’s a sparrow!’ My dad loved nature to a degree that is haunting.” He said everyone on the team brought their own family histories and experiences to the film, and that is why it was important to him to have not just the names but the photos of the filmmakers and the families in the closing credits. Miller said his dad was also a nature nut who loved to stop in the middle of family car trips to have a snowball fight or enjoy the outdoors.
The main character in the film is Katie, voiced by Abbi Jacobson, an aspiring filmmaker. In her room she has a Mount Rushmore of filmmakers. So McCarthy asked the panel who they would pick for their own Mount Rushmore. All of them agreed on Hal Ashby (“Shampoo,” “Harold and Maude,” “Being There”), which is probably how he ended up on Katie’s wall. Rianda also picked Studio Ghibli animation giants Hayao Miyazaki and Isao Takahata along with Martin Scorsese. Lord said that at Katie’s age he would have added Tim Burton, Spike Lee, Chuck Jones (bold and inventive) and Mel Brooks. Miller picked the Coen brothers, Billy Wilder, and Akira Kurosawa. Albrecht would select Steven Spielberg and Pixar’s Brad Bird.
A theme in the film is social media and the feelings of inadequacy and competitiveness it can entail. “Everyone thinks their family is nuts,” Rianda said. And when you finally admit it, the response is always, “Mine, too!” He said they wanted the Mitchells to be dysfunctional but loving. Casting real-life husband and wife and social media stars Chrissy Teigen and John Legend as the impossibly aspirational Instagramers the Mitchells envy turned out even better than he expected because they were so warm and accessible and eager to improvise. “Even though they seem perfect, they are very relatable.”
Another theme audiences will recognize is the Mitchells’ tendency to be on their phones instead of looking at what is in front of them. Rianda said that in his own life he has experimented with putting his and his wife’s phone in a safe at night and “in eight minutes you’re having the deepest conversation you’ve had in years. ‘What was your childhood like?’ You have to fill the silence somehow!” Miller’s family has a no-screens-at-the-table rule.
Lord talked about technological innovation in the film, and the fun of “taking it for a spin to see what it could do.” He wanted a “handmade, hand-painted, textured” look to the film, a “watercolor, ramshackle vibe.” The 1:85 ratio of the image also made it feel more intimate, as though you were in the Mitchells’ home.
NM: It must be a challenge to do a movie where pretty much everybody is wearing black but you still have to make these characters distinctive and visually interesting.
MJL: Of course, at a shiva, the main color is going to be black. Emma and I spoke about it a lot. We as the consumer, think of black as one color. There are many, many different shades of black. There are warmer blacks, there are cooler blacks, and depending even upon the type of fabric, black absorbs light or reflects light.
When you put black in front of the lens, it becomes such a dark void, and you can lose a lot of definition from the silhouette of the character. I was really conscious about making sure that the texture and the pattern of whatever costume piece I was using really was the defining point that could help bring more interest into making it black, but interesting.
I had so much fun talking to the four young stars of A Week Away for The Alliance of Women Film Journalists. Bailee Madison (who also co-produced, at only age 19!), Kevin Quinn, Kat Conner, and Jahbril Cook talked to me about their favorite camp activities, the advice they would give their characters, and what they hope people will take from the film. An excerpt:
Minow: The characters pack a lot of activities into a week! Which was your favorite?
Quinn: There was a day that we were filming a montage of sporting events around the camp. And we did everything from bag toss to pie-eating contest, to tug of war. And I think that was the most fun for me because I actually forgot that the cameras were rolling at one point, which is a good day in any actor’s career. We’re just having fun.
Madison: We were drained that day. I remember when we were finished filming, we were like, “I’m exhausted.” And then I went home and I was FaceTiming my mom and I said, “I’m so tired today. She asked, What did you do?” When I told her, I thought, This just sounds like a really fun day.” And it was. But yeah, we got really into it.
Conner: The scene was cut from the movie but we got to do a zip line, and that is one of my favorite things ever. But we only had one take. But if I could go back, I want to do it again.
Cook: Yeah, that was super fun. There were a lot of things that we didn’t get to do, that showed up in the movie but we didn’t get around to it. One of them in the dive sequence George gets launched off The Blob and I was looking forward to that the whole time. The Blob was just out there on the lake and we could see it every day. But then on the day, unfortunately, they hit me with the bad news. They said, “Doing your hair is too much of an ordeal so you can’t get it wet because we don’t have time to do it again.” And so, I climbed out onto The Blob, and I had to do this shimmy maneuver on the big wooden structure to get the shot and then I had to shimmy back off without getting wet.
I’ve been a huge fan of Glen Keane for as long as I can remember. As a Disney animator, he worked on classics like “The Rescuers,” “Aladdin,” “Beauty and the Beast,” “Tangled,” and “Pocahontas.” And now, for the first time, he has directed an animated film, the gorgeously designed and heart-warming “Over the Moon.”
You have probably seen Keane as a child. His father, the legendary cartoonist Bil Keane, created the Family Circus comic panel, based on the Keane’s own family and with the distinctive round shape. The comic is still run by Keane’s siblings.
Keane gave a virtual interview to Critics Choice members this week. He told us about having his father work from home, drawing Family Circus, and how much it inspired him. When he was very young, his father told him, “I am a cartoonist, but you are an artist,” which made him feel, he said, as though he had just been knighted with a sword. His father gave him a book to get him started, called Dynamic Anatomy, which got him started on understanding how to draw the human figure. One day, when he was about 8, some kids on the school bus made fun of him for drawing nude figures, the classical images of the discus thrower and The Thinker. He said at first he was uncomfortable being laughed at, but then he thought about how much he liked drawing and he said, “I’m different! I like it!”
“Over the Moon,” inspired by a Chinese legend, is the story about a young girl who builds a rocket ship to the moon so she can meet the moon goddess. Keane said that the stories he most loves to tell are about “characters who believe the impossible is possible.” “Over the Moon’s” Fei Fei was “the ultimate.” She has the science and math skills to think through the engineering challenges and the faith that the moon goddess is really there.
I asked about the most important element of character design. He said, “They exist before you design them. It’s a weird thing, but that has been my experience. Like the Beast. I had hundreds and hundreds of drawings of him, but I would look at them and think, ‘I don’t recognize him.’ I like the buffalo head shape, the lion’s mane, the boar tusks, the cow ears to make him friendlier, and then suddenly — that’s him. I felt like he was looking at me. It’s a revealing of the character. For Fei Fei, I wanted to see that intelligence, that spark, thinking her way through things, but also that faith.” He said he focuses on the hair — making a joke about compensating for his own lack of hair. But it is always a symbol of the struggle of the character. “For Rapunzel, her hair was irrepressible, uncontainable. For Pocahontas, it showed the spirit moving in her. For Ariel, the hair always looked like it was floating in the water. Tarzan was like a wild animal with the dreadlocks. And for Fei Fei, her chopped off hair is a constant reminder of that chaos in her life. That design choice dictated so much, too. hHer eyebrows had to be really bold and strong. And if you’re going to make a mistake in design, don’t let it be in the eyes. They are the windows of the soul.”
Keane told us about his first assignment at Disney, one brief scene in “The Rescuers” of a character named Bernard sweeping the floor. But he couldn’t get it right. “I thought I was single-handedly going to destroy Disney’s reputation. Pencil points were breaking off.”
Keane asked Eric Larson, one of the “Nine Old Men,” the legendary Disney animators of films like “Pinocchio” and “Cinderella,” for advice. “I thought Eric was going to give me some kind of a formula.” Instead of guidance on the movement, Larson asked, “What kind of a guy is Bernard? Does he care about his job? Of course he does! He wants to sweep up every speck off that floor.” “Within seconds he was the character,” Keane told us. “I realized that sincerity was make-believe. That’s been the thread for me in everything I’ve done, to live in the character, to believe in it, the passion of becoming something you can see and feel in your heart.”