You want to instill more than confidence with a resume. You want someone to see what you've done and think, "Holy shit, we would be SO LUCKY to get this person in here to do this."
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Friends In Your Head | Forums → Posts by paulou
You want to instill more than confidence with a resume. You want someone to see what you've done and think, "Holy shit, we would be SO LUCKY to get this person in here to do this."
Strike "Vancouver Film School" from that first credit. And as many other credits as you can. Education should be way way way down at the bottom of a resume if it's there at all. Any project you did while in school you can claim as a production, employers don't care if it was for "school" or not. You still did it. Claiming "SCHOOL!" or "COLLEGE!" (does uni =/= college in Canada like GB?) is something that amateurs and recent graduates cling to. Differentiate yourself. Present as professional.
Your descriptors don't need to be complete sentences. "I was responsible for the" are five words that add nothing to the description of your work.
Stuff that isn't directly related to the job you're applying for, like working at Toys R Us and a library when looking for vfx work, are pointless.
ESPECIALLY if you're applying for a position that requires some sort of visual eye, take some time to design something nice out of your resume. Pay attention to the layout, the typefaces, all of it. Your email address says "chriswalkerisanartist" but I sure as fuck wouldn't be able to tell from the way this word document is laid out.
I did the right thing by skipping this movie, huh?
“A reader lives a thousand lives before he dies," said Jojen. "The man who never reads lives only one.”
― George R.R. Martin, A Dance with DragonsOne of my favorite quotes.
Ha, I'm… not up to that book yet. Where the hell did I pull that from?
We had an idea recently for a discussion that's a little more elliptical than traditional critique and analysis of film. Feelings, emotional resonance, mushy stuff. What a movie leaves you with. So we made one and it's weird. But you get to hear it anyway. Might come across as masturbatory and self serving, but there could be something of interest in there to someone.
The topic is ambitious, the final product a little rough, the guy has hundreds of hours of mic time beyond me, but fuck it, I'm tired of qualifiers. Was fun to do and there are good parts. Here's the link:
I will see your Catch 22 Live and raise you one Live From The Middle East.
What's heard is more important than what's said.
Watched it last summer, for pleasure, rather than history. Liked it a lot.
"Look... I think it's a very good thing that a young man, after he's done some very good work should have a chance to relax and enjoy himself and lie around and drink beer and so on. But after a few weeks!"
Stalker is one of my favorite movies
THIS GUY GETS IT
As far as I have read in my life, The Sirens of Titan remains the best book.
So, seriously, Paul. Prints pls.
Ordered a couple about the same time I made the thread. The frames won't come in until next week.
Once mounted, if I like how these tests look, I'll ask you which of any of the 98 I've made so far is your favorite, when your birthday is, and if 20"x20" is okay.
Am stoked.
Someone mentioned Emily Browning as a casting alternative, and I was reminded of Sleeping Beauty. I haven't seen either film, but I'd be interested to hear an enlightened compare-and-contrast on the them.
That Sleeping Beauty has issues. But still, check it out. Felt like it was taking a long road to a short point. Could have used a few more drafts to explore and build on the shape of it. Doesn't really have anything to do with the namesake fairy tale outside of a cheeky plot thing.
It's got some brutal, uncomfortable long ass locked off oners, though. And I'm a sucker for those, no matter the context.
One director I thought of that doesn't necessarily have A thing but more like two extraordinarily different things, is David Gordon Green. To wit:
George Washington
All the Real Girls
Snow Angels
Pineapple Express
Your Highness
The Sitter...and oh by the way, he's the Executive Producer of Eastbound and Down.
And now he's doing his Suspiria.
I wasn't speaking to the new style writ large. The non-specific discussion episodes are great – unhinging from a film lets the discussion drive rather than a movie. More a warning that most movies ever in theatres are mediocre, which is more dangerous to comment and criticism than good or bad.
There's an issue with current releases. Nine out of ten times, the films available to discuss on a given week will turn out to be forgettable bullshit, which can really drag down the level of discourse. Which is a bummer, since we've been treated to thoughtful discussion of the most notable (for good, ill, or otherwise) films of the last 40 years since the show started.
If I saw this three hours ago I would have walked over and recorded it for you.
Watched most of this, knowing nothing about it, until I recognized a location and costume from some Facebook set pictures. And suddenly went from, "Oh, this is awesome!" to, "Oh, this is awesome and I know the people that made it!" Which feels great.
Monsters is the only real recent example I can think of where someone really went for it and applied their hobby VFX skills to make a good breakout feature film.
Important distinction here, not hobby skills. Gareth had been a professional effects artist for years.
http://www.youtube.com/user/LaDiDaSongVideos
Start at #1! There's an insane narrative, and would probably only take like 20 mins to watch all of them.
Oh, and.
YUUUUP.
Last year, when all this Instagram business started going down en masse, I had a lot of complicated negative emotions about the state of the craft of digital photography, neo-oldfashionedism, and one-click filters with funny names that made a picture look like it was taken with 100 year old camera. The wrong kinds of nostalgia can be toxic. So in protest, I jumped on board and started things off with something that if it didn't get a damn artist statement across, at least it wouldn't take up too much space between a cyanotype of a cat or a desaturated picture of a sandwich.
The pictures and the sharing and whatever are fine, but capital Photography has always been about both the capture AND the processing. I don't feel like that should be relegated to a dozen icons in a drop down. Or that they should replicate old processes so precisely. So I go and make it about nothing but processing, pixelating or destroying the original images at first as a nod to the digital/analog disparity, then building on that. And all on this silly phone in my pocket. Coming up on like a hundred of these little pieces. They're a lot of fun. Here's some of my favorites in rough chronological order from when I started doing these a year ago up to now. Heavily weighted to the last couple months, since I think I got better and these got more interesting.
Haven't seen (or heard of) Sorcerer, but based on that poster and Trey's plot description, as I was reading, before Trey said as much, my brain went to HEY WAIT WAGES OF FEAR!
The Wages of Fear though, I have seen, is awesome, from 1953, and directed by Clouzot. The image of that poster is beyond the production values Wages of Fear managed, and for all I know it could be a better film, but the more you know, right? Essentialize all of them.
Friends In Your Head | Forums → Posts by paulou
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