Tag Archives: Linus Sandgren

‘La La Land’ and the love that fades

Mia and Seb don’t end up together.

For all of its swoon-inducing musical numbers and fantastical visions of romance, La La Land is a tale about how love doesn’t always work out. The film is a tender warning, but it’s not pessimistic. It’s empathetic, not just for love faded, but for people with passion. In fact, the first two minutes of La La Land, during the enchanting number “Another Day of Sun,” are about a break up, and a young woman’s drive to make it as an actress.

The entertainment industry is ruthless, and writer-director Damien Chazelle introduces us to this conflict immediately, as Mia gives everything to an audition — a monologue that hints at its own heartbreak — only to be interrupted in the middle of it.

Sebastian’s introduction is of the same note. His sister chastises him for his countless unpacked boxes, joking that it seems like he’s just gone through a breakup before trying to set him up with someone. But Seb stays stubborn. He’s waiting to unpack his boxes in his club and doesn’t think he’ll like her if she doesn’t like jazz. He defends his untidy space by saying that he had a serious plan, but was “shanghaied.” His sister retorts that he was just ripped off by some shady guy, suggesting that “shanghaied” is too romantic.

“Why do you say romantic like it’s a dirty word?”

At first, the line oozes with the cliche of a typical romantic, searching for love. But this mention of the word is not in regard to some past relationship or some goal for the perfect someone. It’s in relation to an idea of oneself as an artist doing everything they can to make it. Seb embraces a romance with music, unashamed.

And Mia wants to be an actress. Those are the goals that La La Land starts with. Those are the lives that it envisions from the start.

Yet, those are the lives that can so easily fall into one another, the people that can so easily fall in love with each other. Mia and Seb officially meet at a party, as she networks and he plays a crap gig. The meeting seems almost too full of fate, too romantic, but people with passion tend to fringe familiar space.

And immediately, within three minutes of their introduction, Damien Chazelle indulges in the magical with “A Lovely Night.”

Chazelle truly understands how otherworldly love can be, even when it’s simply the awkward, playful first sparks. Mia and Seb’s first song-and-dance is almost entirely about their initial rejection of the sparks. But Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and cinematographer Linus Sandgren inject the scene with a levity that makes it feel as though the two could float into the sky at any minute. A simple Los Angeles hillside is rendered as dazzling as a dream.

They start to embrace those sparks through support of each other’s passions. Artists know an artist’s inner fire better than anyone else ever could, so when one lifts up another in their pursuit of dreams, it means something.

Those sparks almost die out, but Mia finally makes the decision to light them. The two meet up again at a movie theater, and as the film stock of the movie they watch bubbles and burns out, it becomes abundantly clear what Chazelle is doing.

He’s not only suggesting that Mia and Seb’s love has become its own movie in that world, the film stock burning out just as they’re just about to kiss for the first time and their drive to Griffith Observatory replicating that from Rebel Without a Cause, but he’s utilizing the tools of cinema to accomplish this himself with his movie. He’s using his own passion to pay tribute to, to do true justice to love between passionate people. And when Mia and Seb run off to Griffith Observatory, there, finally, they both float into the sky

But no matter the feeling of love, or the feeling that cinema leaves us with, there is a reality underneath. And that’s the reality of two people with passion trying to pursue their goals as they pursue their love.

It’s difficult. There’s an incredibly thin line of balance where both people are able to make both parts of their lives work. Rather simply, Mia and Seb could not find that balance. They both compromised too much for them not to crack. As we saw at the beginning, Seb is a stubborn guy. He was prone to say something he’d regret with the stress of excessive compromise, like at the heartbreaking dinner scene. And in the whiplash of that realization, Seb responds by not compromising enough, missing Mia’s play and solidifying the crack.

In the fallout, the most crucial moment of delivering on the film’s themes, Damien Chazelle remains empathetic. While there may be a crack in the romantic love that had formed, the two hold onto love for each other as people, which includes a support for each other’s passions. Through that, Mia is finally able to break through. And with that comes the film’s most emotionally raw number, “Audition (The Fools Who Dream)” — a song about love for art and love for artists.

La La Land comes to a close, the film’s final musical number perhaps its most transfixing, precisely because it’s the embodiment of the film’s empathy for people with a passion and for love faded. The fairytale that is “Epilogue” is simultaneously a magical cinematic commemoration to a love that was true and a what if for a love that could have been.

There was a chance for the film to end tragically, with Mia simply walking out of Seb’s. But a simple smile acknowledges and becomes everything that “Epilogue” represents.

Mia and Seb don’t end up together. But love sometimes doesn’t work out. That doesn’t mean it didn’t happen. And that doesn’t mean it has to be reflected on as something sad.

Mia and Seb don’t end up together. And that’s okay.

 

Featured image via Lionsgate.

March Madness of Movies: Best Cinematography Since 2010 — Round 2

These matchups were vote on by the MovieMinis Staff.

Round 2 was a blood bath — not necessarily because of upsets, but because each matchup pitted such strong contenders against each other regardless of seeds.

But there were some fascinating results. While Roger Deakins went into round 2 holding on to all three of his entries, two of them got knocked out this time around. #2 seed Bradford Young for Arrival took down #3 seed Deakins for Skyfall, and #2 seed Hoyte van Hoytema for Dunkirk took down #6 seed Deakins for Sicario.

Young will compete against the powerhouse of #1 seed Mihai Malaimare Jr. for The Master, who beat #4 seed James Laxton for Moonlight. van Hoytema will face fellow Christopher Nolan cinematographer, #4 seed Wally Pfister for Inception, who (perhaps unsurprisingly, due to the popularity factor) upset #1 seed Andrew Droz Palermo for A Ghost Story.

In fact, van Hoytema remains as the most prominent competitor with two entries. His #1 seed work on Her worked by #5 seed Sayombhu Mukdeeprom for Call Me by Your Name. van Hoytema will battle #2 seed Linus Sandgren, who just squeezed by #3 seed Emmanuel Lubezki for Gravity after a tie-breaking vote.

The final matchup features the last remaining entries of two of the strongest initial contenders: #1 seed Roger Deakins for Blade Runner 2049 vs. #2 seed Emmanuel Lubezki for The Tree of Life.

Breaking down the remaining contenders, half of them come from the past two years and the other four are spread between 2010 and 2013, offering a well-rounded and deserving field. The next round will be particularly painful as most of these are #1 and #2 seeds, which were so close to begin with in the initial seeding votes. And even if Wally Pfister, a #4 seed, makes it through, he’d be more than deserving as well.

Stay tuned for the round 3 results, which will be posted next week on Friday, March 30!

 

Featured image via Fox Searchlight Pictures/Paramount Pictures/Warners Bros.

March Madness of Movies: Introducing the Brackets

Now that it’s March and the NCAA will be hosting its annual March Madness tournament soon, we at MovieMinis thought to have our own tournaments, but, of course, with movies.

In the bracket style of March Madness, we will run through four different topics in what we’re calling the March Madness of Movies.

But rather than stick to general topics, such as Best Superhero Movie or Best Animated Movie, we wanted to get specific, to vote on aspects of film that could potentially make for a much more fascinating tournament.

The four topics we ended up on are:

  • Best A24 Films
  • Best Superhero Villain of the 21st Century
  • Best Big Budget Directing of the 21st Century (cutoff at a $75 million production budget)
  • Best Cinematography Since 2010

In this write-up, we’re introducing the brackets, and in subsequent weeks, we will release the results of each round.

For each bracket, we laid out tons of potential contenders, and after a week of painful voting, we seeded each bracket. We must note that, in working through the seeding process, we were reminded of a terrible reality in the film industry.

In the potential contenders for Best Big Budget Directing of the 21st Century, with a cutoff at a $75 million production budget, there were only nine films directed by women, many of them with male co-directors. Only one ended up making our bracket, certainly not as a representation of talent, but as a magnification and emphasis of the problem. For perspective, there were literally hundreds directed by men, and the men were mostly white. This is a rampant problem in Hollywood. Women and people of color — and above all, women of color — are not only not given many chances, but when they are, failure, in any way, results in horribly unfair consequences; in essence, they’re less likely to get another chance than a white man is. This problem applies to cinematography too. In the potential contenders for that bracket, there was a proportionally similar compilation. While female cinematographers received votes, none made our bracket — again, not as a representation of talent, but as a magnification and emphasis of the problem. Hollywood must change, and part of that change comes from not ignoring the problem anymore. We need more big budget films directed by women and people of color, and we need more films, in general, lensed by women and people of color. We need women and people of color involved in every level of pre-production, production and post-production. For more statistics on female directors of big budget films, read Terry Huang’s piece on The Black List blog.

With that in mind, let’s move into how the brackets shaped up:

Best A24 Films

Perhaps unsurprisingly, Moonlight and Lady Bird earned #1 seeds. Joining them were The Florida Project and A Ghost Story. Those four films will face off against #8 seeds Green RoomMorris From AmericaDe Palma and Menashe.

The next set of top films, the #2 seeds, were Swiss Army Man20th Century WomenThe Lobster and Ex Machina, which will face off against #7 seeds The LoversWhile We’re YoungKrisha and Spring Breakers.

The #3 seeds were a mix of widely awarded films and incredibly acclaimed genre/indie pictures: LockeRoomThe Witch and Good Time. The #6 seeds that they’ll compete against leaned more toward the indie darling: The Spectacular NowThe Bling RingUnder the Skin and Enemy.

Finally, in the middle of the pack were #4 seeds American Honey, Obvious ChildA Most Violent Year and It Comes At Night, as well as #5 seeds AmyThe End of the TourThe Disaster Artist and The Killing of a Sacred Deer.

Best Superhero Villain of the 21st Century

This bracket is made up of four subcategories — MCU villains, DC villains, X-Men villains and villains from other properties — and we pulled eight contenders from each subcategory to compete. Instead of leaving them in their own sections, however, we then mixed them up and seeded from there. And we kept it to just eight per subcategory because it seemed more interesting than a likely lopsided MCU bunch had we not had that limit.

And this bracket is not just about performances. It’s about the villain, the character. That involves the writing and the directing of that character too.

With that said, the first three #1 seeds were rather simple to come to: Heath Ledger’s The Joker from The Dark Knight, Michael B. Jordan’s Erik Killmonger from Black Panther and Ian McKellen’s Erik Lehnsherr/Magneto from X-MenX2 and X-Men: The Last Stand

Perhaps surprisingly to some who dislike the character, our staff showed strong support for Tom Hardy’s Bane from The Dark Knight Rises, who took that final #1 seed.

Those four will take on #8 seeds Kevin Bacon’s Sebastian Shaw from X-Men: First Class, Ed Skrein’s Francis/Ajax from Deadpool, Mark Strong’s Frank D’Amico from Kickass and Kurt Russell’s Ego from Guardians of the Galaxy Vol. 2.

The #2 seeds went to Tom Hiddleston’s Loki from various MCU films, Alfred Molina’s Doc Ock from Spider-Man 2, the other Erik Lehnsherr/Magneto (played by Michael Fassbender) from the most recent X-Men trilogy and the second The Dark Knight inclusion, Aaron Eckhart’s Harvey Dent/Two Face.

The #7 seeds who will battle these four are Zach Galifianakis’ The Joker from The LEGO Batman Movie, Hugh Jackman’s X-24 from Logan, James Franco’s Harry Osborn/New Goblin from Spider-Man 3 and Michael Shannon’s General Zod from Man of Steel.

Two of the #3 seeds went to the last two Captain America films; Daniel Brühl’s Helmut Zemo from Civil War and Sebastian Stan’s The Winter Soldier (not Bucky Barnes) from The Winter Soldier. Liam Neeson’s Ra’s al Ghul from Batman Begins and Jason Lee’s Buddy Pine/Syndrome from The Incredibles earned the other two #3 seeds. 

Competing against them are #6 seeds James Cromwell’s Professor Robert Callaghan from Big Hero 6, Dane DeHaan’s Andrew Detmer from Chronicle, Peter Dinklage’s Bolivar Trask from X-Men: Days of Future Past and the Sentinels that Trask unleashed onto the X-Men, also from X-Men: Days of Future Past.

In the middle of the pack, earning #4 seeds, were Cillian Murphy’s Dr. Jonathan Crane/Scarecrow from the entire The Dark Knight trilogy, Willem Dafoe’s Norman Osborn/Green Goblin from Spider-Man, Samuel L. Jackson’s Mr. Glass from Unbreakable and Andy Serkis’ Ulysses Klaue from Avengers: Age of Ultron and Black Panther. They’ll match up against #5 seeds Hugo Weaving’s Johann Schmidt/Red Skull from Captain America: The First Avenger, Brian Cox’s Col. William Stryker from X2, Michael Keaton’s Adrian Toomes/Vulture from Spider-Man: Homecoming and Jesse Eisenberg’s Lex Luthor from Batman v Superman: Dawn of Justice.

Best Big Budget Directing of the 21st Century

This bracket was split up into four different subcategories. Those were “Superhero Directing” (in the upper left), “Franchise Directing” (in the lower left), “Prestige/Original/Non-Studio Franchise Directing” (in the upper right) and “Animated Directing” (in the lower right). We took some liberties with this. Mad Max: Fury Road is a part of a franchise, but we concluded that it felt more in line with its current group than it would’ve among the franchise contenders.

In Superhero Directing:

Christopher Nolan easily earned a #1 seed; many even believe that he should’ve gotten an Oscar nomination for his efforts on The Dark Knight. He’ll face off against #8 seed Tim Miller for the subversive Deadpool.

Coming in behind Nolan in the #2 seed was Ryan Coogler for Black Panther, a cultural phenomenon that many believe could become the first superhero film nominated for Best Picture.

The #3 seed went to Joe Russo and Anthony Russo for Captain America: Civil War; the Russo brothers also placed in the #7 seed for Captain America: Civil War. James Gunn will take on the Civil War Russos with #6 seed Guardians of the Galaxy.

The middle match-up comes from 2017 films: the #4 seed James Mangold for Logan and the #5 seed Patty Jenkins for Wonder Woman.

In Franchise Directing:

Peter Jackson quite easily snagged the #1 seed for his directing job on The Lord of the Rings: The Return of the King. He’s the only Best Director winner out of five nominated efforts in this bracket. Facing of against him is #8 seed Martin Campbell for the first Daniel Craig James Bond film Casino Royale.

Sam Mendes, director of another Craig Bond film, Skyfall, made the bracket as the #6 seed. He’ll compete with #3 seed Matt Reeves for Dawn of the Planet of the Apes.

Like Bond, Matt Reeves made his subcategory twice, earning the #2 seed for War for the Planet of the Apes. He’ll take on our perhaps surprising Star Wars inclusion, #7 seed Gareth Edwards for Rogue One: A Star Wars Story.

Finally, with some of the most acclaimed films of the subcategory, #4 seed Alfonso Cuarón for Harry Potter and the Prisoner of Azkaban will battle #5 seed Denis Villeneuve for Blade Runner 2049.

In Prestige/Original/Non-Franchise Studio Directing

David Fincher’s Zodiac has become regarded as on the best films, in general, of the 21st century, so he glided into a #1 seed pretty smoothly. But his contender is a tough one: #8 seed Alfonso Cuarón for landmark sci-fi film Children of Men.

George Miller earned the #2 seed for his masterful work on Mad Max: Fury Road, and will face of against legendary director and #7 seed Martin Scorsese for The Wolf of Wall Street.

Scorsese made this subcategory twice, taking the #3 seed for his directing job on The Aviator. His opponent is #6 seed Christopher Nolan for Dunkirk, who also made this subcategory twice, placing as the #4 seed for Inception. He’ll take on #5 seed Peter Jackson for King Kong.

In Animated Directing:

Quite predictably, Pixar dominated this bracket, with #1 seeds Pete Docter and Bob Peterson for Up, #2 seed Brad Bird for The Incredibles, #3 seed Lee Unkrich for Toy Story 3, #4 seed Andrew Stanton for WALL-E, #6 seeds Pete Docter and Ronnie del Carmen for Inside Out and #8 seeds Lee Unkrich and Adrian Molina for Coco.

But other animation directors made it through with their beloved films. Rounding out the eight were #5 seeds Dean DeBlois and Chris Sanders for How to Train Your Dragon, and #7 seeds Ron Clements, John Musker, Don Hall and Chris Williams for Disney’s Moana.

Best Cinematography Since 2010

Even with setting the parameter of cinematography since 2010, there were still an overwhelming number of potential contenders and our votes were widely varied, resulting in a bracket that truly represents a mix of our opinions.

The #1 seeds did stand out, however: Mihai Malaimare Jr.’s lensing of The Master, Andrew Droz Palermo’s work on A Ghost Story, Roger Deakins Oscar-winning efforts on Blade Runner 2049 and Hoyte van Hoytema’s unforgettable photography on Her.

In fact, both Deakins and van Hoytema made this bracket three times. Deakins also earned a #3 seed for Skyfall and a #6 seed for Sicario. van Hoytema’s other two were Christopher Nolan films, a #2 seed for Dunkirk and a #6 seed for Interstellar.

Bradford Young also made this bracket three times, taking a #2 seed for Arrival, a #7 seed for A Most Violent Year and a #8 seed for Mother of George.

But, of course, 3-time Oscar winner Emmanuel Lubezki placed more than everyone with four spots: a #2 seed for The Tree of Life, a #3 seed for Gravity, a #5 seed for The Revenant and a #7 seed for Birdman or (The Unexpected Virtue of Ignorance).

The rest of the bracket is filled with stunning photography. Oscar winner Linus Sandgren earned a #2 seed for his work on La La Land. Other cinematographers of 2016 took spots as well, with James Laxton earning a #4 seed for Moonlight and Rodrigo Prieto earning a #4 seed for Silence.

Work from 2015 films rounded out the #3 seeds: Dick Pope for Mr. Turner and John Seale for Mad Max: Fury Road. The other #4 seeds were Luca Bigazzi for The Great Beauty and Bruno Delbonnel for Inside Llewyn Davis.

While Hoyte van Hoytema may have two Nolan films on this bracket, Nolan’s former cinematographer, Wally Pfister, earned a #5 for his Oscar-winning work on Inception. Rather recent photography also seeded #5: Rob Hardy for Annihilation and Sayombhu Mukdeeprom for Call Me by Your Name.

In fact, a couple of Roberts placed here. Robert D. Yeoman placed in the #6 seed for The Grand Budapest Hotel and the #7 seed for Moonrise Kingdom. Robert Richardson also seeded #6 for Django Unchained, while Robert Elswit was another Paul Thomas Anderson cinematographer to place, earning a #8 seed for Inherent Vice..

Finally, the last few contenders are #7 seed Masanobu Takayanagi for Hostiles, #8 seed Darius Khondji for The Lost City of Z and #8 seed Seamus McGarvey for Godzilla.

 

Follow along throughout March as we vote on these brackets and determine the best of each topic!

 

Featured image via Marvel Studios/Warner Bros./A24.