The Movies Daniel Berrios

As an addendum to last episode, I interviewed Andy Brown and Brian Lindstrom, the directors of LOST ANGEL: THE GENIUS OF JUDEE SILL, about the decade-long process of bringing their music documentary to life.

They chat about the x-factor moment that brought the movie's structure to light, the responsibilities felt from telling the underrated & undervalued Judee's story and what it's like to make a movie about a musician with a less-than-musical background.

I'm grateful to Andy and Brian for a wonderful conversation, one which I hope you'll learn from and enjoy!

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Intro Music: "Cold Open" - Marlowe

Outro Music: "The Lamb Ran Away With the Crown" - Judee Sill


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LOST ANGEL: THE GENIUS OF JUDEE SILL is a documentary detailing the life and music of '70s singer-songwriter Judee Sill using as much of her own voice as possible.

This could devolve into another talking-heads affair but having Judee's voice narrate and her art take animated flight on screen gives the movie an authenticity and more intimate connection to its subject.

Judee was never the type of person to cruise behind her producers, anyway. She always had to have a hand in every affair. Makes sense she'd end up doing so almost 50 years after her death.

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Intro Music: "Cold Open" - Marlowe

Outro Music: "Jesus Was a Crossmaker" - Judee Sill


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MONKEY MAN is the directorial debut of Dev Patel. My best friend asked 'Wasn't that the guy who played Zuko in that bad Avatar movie?" Yes. Yes, he was. He's also built a strong genre-spanning body of work since then, starring in THE GREEN KNIGHT, HOTEL MUMBAI, THE MAN WHO KNEW INFINITY, THE PERSONAL HISTORY OF DAVID COPPERFIELD and LION, for which he earned an Academy Award nomination for Best Supporting Actor in 2017.And yet, I find myself completely willing to throw all that away for MONKEY MAN. This is the kind of debut that lasts: a kinetic, achingly sincere action epic that genuinely feels like the effort posed by someone who knows they'll never get the chance to direct again.I know Patel's supported by producer Jordan Peele (director of GET OUT, US & NOPE) but $10 million isn't supposed to look THIS good. Seductive neon-splashed hotel rooms, martial arts photographed by camera operators with the stamina of Navy Seals, surreal deep dives into Hindu mythologies: it's a wholly original, excellent time at the movies.

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Intro Music: "Cold Open" - Marlowe

Outro Music "M.A.A.D. City" - Kendrick Lamar


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IMMACULATE was rescued by producer and star Sydney Sweeney from development hell, 10 years after she originally auditioned for the project.

A horror movie about a nun who immaculately conceives a child the rest of the church believes to be the second coming of Christ? I can say why Sweeney would wanna hang onto that idea.

However, as cool as that idea is and as much as I admire Sweeney's producing prowess, I still left this movie underwhelmed. Maybe what hit hard in 2014 just doesn't in a post-Eggers, Aster and Peele world...? Maybe the Catholic critique is undercooked (more like raw). Maybe the jump scares just don't carry enough weight. Maybe it's all of the above.

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Let me know there what you think of IMMACULATE!

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Intro Music: "Cold Open" - Marlowe

Outro Music: "Saint Cecilia" - Foo Fighters


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Rose Glass' romantic body-horror noir LOVE LIES BLEEDING smacked me in the mouth and I'm all the better for it. What a taut, lean story about the way the beliefs about ourselves & our capabilities can fundamentally inform the directions our lives will take, for better and worse. Sometimes, all you need to change your life is someone to stroll into town and flex their beautiful bulging muscles at you. And when those muscles belong to Katy O'Brien? Sheesh, game fucking over. I'm in love.

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Intro Music: "Cold Open" - Marlowe

Outro Music: "Oblivion" - Mastodon


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The Internet lit ablaze, yet again, today when the directors of the new horror movie LATE NIGHT WITH THE DEVIL confirmed Letterboxd users' suspicions that the movie used AI to help craft some still images featured in the final cut.
The blaze was fueled by debates over AI's involvement in art and the implications such technologies could have on an increasingly undervalued job market of artists, production designers, costumers, you f****n' name it. When studios can have ChatGPT spit out a completed script in a matter of minutes, what writer stands a chance? Does AI's popularity precede a hostile machine-led cinematic takeover? Should films like LATE NIGHT WITH THE DEVIL be boycotted as an act of righteous protest?
Do we even know what we're actually talking about?
This is where I come in. I wrote some questions down, waxed poetic and then decided to ask ChatGPT the same list to get another perspective. I hope this'll open up a broader speculative discussion about AI's role in cinema.
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THE QUESTIONS -
1. How has AI already been used in movies?2. If an artist uses AI in their work, do they cease to be an artist?3. How do we critique works of art created by AI? How will these metrics be redefined based on the source of the art?4. To what extent does an original work need to be altered in order to avoid copyright infringement?5. Can AI be judged in the same light as one judges computer-generated effects against practical effects?6. What's the worst-case scenario regarding AI's involvement in the movies?
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Intro Music: "Cold Open" - Marlowe
Outro Music: "Kid A" - Radiohead

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