På Gensyn.

This is an indefinite hiatus post.

Ansel Adams wrote: "When words become unclear, I shall focus with photographs; When images become inadequate, I shall be content with silence."

I have a new website about to arrive online. It will speak for me. Otherwise, I too am content with silence.

If and when I do blog again, I will give my utmost, or I will give nothing. Things in-between are not worthy of the time of others. I want to respect that time, and wish others would respect mine in turn.

I can't avoid social networking anymore than I can deposit my cell phone in the ocean, so I will stay with facebook, but my goal is to make my posts as edifying as possible.

However it is interpreted, this stems from the sincere desire to only give and receive that which is of the highest value—things of substance, meaning and worth.

And this is hardly to say that I will avoid things funny and entertaining. Sometimes these are the most valuable things for a given moment. I'm so grateful for people who are funnier than I am. I need them. I'm often too heavy. And despite myself, I love to be entertained.

But for my part, I know what my strengths are—and I'm going to play to them.

These are my goals: To enlighten, to educate, to entertain, to inspire.

I am so blessed with my wife, children, work and friends. It's my goal to be everything I expect from the above. I'm very tired of being less than I could be, and this post has very much to do with frustration towards my own self.

So, in my endless imperfection, I strive for more.

wesley roy johnson.

My Heavens.

I'm still alive. Honestly. People see me alive, so I have witnesses.

One of these days, I'd like to get to my Top 10 of 2010.

I think I'm running out of time.

I also need a technological revamp. I have a stills site, this and I'm shortly going to need a site for my cinematography. I can't decide whether to consolidate them, whether to destroy this blog forever, etc.

This was a good way of documenting my life, but I don't know anymore. I'm so absurdly sick of the greater blogging world that it's a very sour taste just to post a blog.

Also, call me Wesley.

Movember.

I am officially inspired. Haven't decided which one is right for me, but I'll be presenting my Movember Mustache soon.

We Have a Winner

Congratulations to MARILYN LOTT who won the Original Print Raffle!

ORIGINAL PRINT RAFFLE.

I've always felt that making a film is like having a baby. It is so much more work than you could ever imagine — but in the end, it is worth all the frustration, anxiety and pain.

ORIGINAL PRINT RAFFLE —

In 72 hours, my fund-raising opportunity for my thesis film FIRELIGHT is over. We will be, as they call it, "budget locked." Whatever amount we have in the bank is what we will have to make the movie with.

The reality is that we are $1,500 short of what we absolutely need to make this film successful.

SO. In a last-push effort, I am doing something I've never done before: Offering an original print of my landscape photography in the form of a raffle.

What's in it for you:

I have chosen seven (7) of the very best of my landscape photographs. The winner of the raffle gets to chose any one (1) of the seven, which will then be professionally printed to current archival standards (chemical print, not inkjet) at the best lab here in Los Angeles. It will then be signed by me and shipped to your residence.

The print size will be circa 16x20" and will be pre-cut to a standard frame size, so that when you receive it, it's ready to be dropped in a frame and hung on your wall.

My usual price for a 16x20" original print is $500 USD. You have the opportunity to win one for a fraction of that price.

THE RULES:

In order to enter the raffle, go to our FIRELIGHT website and donate $25 USD to the film.

This is important:

In the box that says "A Note For Us" you must type "Original Print Raffle." This will enable us to know who is a part of the raffle.

This raffle begins now and ends in 72 hours.

The winner will be contacted on Friday, and I will publicly announce it on Facebook and my Blog here. When you've won, simply tell me which image you want, and you'll receive it within 2 weeks.

I hope you'll be excited about this opportunity. My prints have been collected and exhibited all over the world. Landscape photography is my great personal passion, and I love sharing my favorite places on earth with others. Trust me when I say that the physical prints put these internet copies to utter shame.

To enter the raffle, CLICK HERE.

If you've already donated to the film, thank you, but I hope you'll see this as a chance not only to help even more, but to get something special for yourself out of it as well.

Best of Luck — and please spread the word!

Sincerely,

wesley johnson.

Jónsi : Go / At The Wiltern

On Sunday, Jónsi was in town.

Do I need to remind anyone who he is?

Anyway. I did some time-lapse work of the show, which was inarguably the best concert I've ever seen (the second place being U2's Vertigo tour, if that's any measure).

You're welcome to check it out. PLEASE full screen it:

JÓNSI AT THE WILTERN

Hope you enjoy it, few followers and random passers-by.

wes.

FIRELIGHT

For my few followers—

I'm in the throes of creating what may accurately be called the biggest production of my life to date (next to my actual life, to date).

And in order to make this film a success, we have to raise money. In this economy. We're actually doing quite well, and are in the last push towards meeting our goals.

In the next 7 days, I need to bring in another $3,500. That is a lot of money, but we can get there a little bit at a time.

You have no idea how much a $20 will do—how far it will go.

And perhaps the best part: However much you donate, it's fully deductible on your taxes.

Whoever might bump into this post, I ask you to go to our website, and if can throw me some generosity—I can't say how much it will mean.

Join my Fathers (both biological and marital), my good friend Andrew Bagley, and many others who believe in the film—and more importantly, the filmmakers.

In advance, thank you so much. PLEASE help me spread the word. Here is the link:

FIRELIGHT.

It's going to be a great little film.

wes.

go quiet

Last weekend I saw the premiere of a wonderful little film, which captured a singularly beautiful experience: Jónsi singing his album GO, unplugged--as it were.

Just Jónsi and an instrument. A guitar with 3 strings; An old recorder from the 80s; a piano of unknown origin.

It's a simple concept, but a near-religious effect when experienced.

I couldn't recommend it more. You can get the DVD at Amoeba here in LA, or online.

You can watch the trailer here.

wes.

Post Script--Since I first posted about GO several months ago, it's since become arguably the most beloved album in my musical life, which is to say my life in whole. If anyone in the sound of this blog hasn't given it a serious listen, then do. GO DO.

Along with Sigur Rós the album TAKK, I consider it a musical masterpiece.

the case for INCEPTION.

Next week, my most anticipated film of 2010 will be released. This post is meant to convince anyone who reads it to go and see the movie--in the theater--during the next month.

First, if you haven't seen these spots, please give them a look.

Here's the trailer:



And the Featurette:




I am not just shamelessly plugging a favorite filmmaker; I have a vested interest in this type of filmmaking, and its continued funding by major studios.

There are 3 reasons why I am asking everyone to see this film:

1. The "RE" factor.

We are living in a cinematic world of remakes, retools, revamps and regurgitations. Among the major studios, it is all but impossible for a new, original idea to surface on the other side of this current gauntlet--and if it's a tentpole film (one of the few main films of a given year that actually keeps a studio afloat through massive profit), then you can absolutely forget about singularities. So, in a real way, it makes a big-budget film like INCEPTION quite a gamble for a studio.

2. 2D over 3D:

And that's a perfect segue into why the fact that INCEPTION is not a 3D film is also exceptional. Studios love 3D for two reasons: One, you pay several more dollars per ticket to see 3D. Second, 3D is (for the time being) is not subject to piracy in the way 2D films are.

And it is being shoved down our throats--whether it works or not (mostly not); whether it's motivated by the type of movie (the STORY) or not; whether you want it or not.

I shouldn't have to search the entire city of LA to find TOY STORY in 2D so that I can take my 3-year-old son. That's a demographic they haven't considered: kids who hate to wear glasses--or adults that hate to wear glasses on top of their glasses (me).

STORY. Story is what matters, and 3D is being used to disguise bad storytelling--just like dazzling special effects are often employed to do the same (cough--TRANSFORMERS--cough). And while INCEPTION may appear to be an obvious candidate for 3D, it relies on in-camera effects and the power of storytelling to carry the audience.

One last thought on "3D." I have never seen a 3D film that felt more realistic to me. In fact, quite the opposite: I am constantly reminded that I'm in a movie, and I feel myself completely inhibited, when all I want to do is lose myself in the story, in the characters, in the world of that film. Even AVATAR, with its impressive technology--after watching it, I firmly believed I would have enjoyed it in 2D every ounce as much.

I am not anti-3D. I've enjoyed films in 3D. But to me, it feels like a novelty, and it's not the way I want to experience 9.9 out of every 10 films I see.

3. FILM:

The highest resolution imagery; the highest latitude ratio from highlights to shadows; the most organic and realistic mode of capturing an image. FILM.

Amid the pressures to "go digital" there is a camp of filmmakers that know that film capture is the still the best way to make a movie. INCEPTION is captured on a variety of cameras and formats, but mostly on anamorphic 35mm and large-format 70mm film.

And you will see the difference.

What digital can offer in post is truly incredible. It's my belief that the most potential comes from the hybrid of what capturing on film offers, and the amazing possibilities of utilizing digital in post.

Bless Chris Nolan and Wally Pfister for refusing to compromise. And Warner Brothers will thank them in 25 years, when all the hard drives have crashed, and the original negative is still sitting cozy in its vault--ready to be scanned in 12K resolution for the latest BLURAY/GREENRAY/REDRAY/whatever system is around at that time.

Please see this film--IN THE THEATER. There really is nothing like the silver screen.

I think it's going to be the best film of the year.

wes.

a gift given.

"Such is my situation that, if I were to wish the bitterest curse to an enemy on this side of the grave, I should put them in my stead, with my feelings."

--George Washington, September, 1776

Last week, I finished my 4th reading of 1776, By David McCullough.

I don't have much else to say than this book should be mandatory literature for every American. It paints the picture of the Revolution in its truest light, and will inevitably generate humility and gratitude in every person who reads it.

My reading it four times does not compensate for three people not reading it once. So, if you haven't, read it.

Thanks to David for this work, and thanks to everyone that has made my life possible--soldier and citizen alike--because I love my life.

jónsi : go

Know me well and you know that I am musically married to Sigur Rós.

Their Front Man, Jón Þór Birgisson, released a solo album yesterday.

It's called "go."

It's not Sigur Rós--and I am so bent on Icelandic that the English hurts--but there is some truly wonderful work in the album.

...and fortunately, Jónsi is so Icelandic, that most of the lyrics are unintelligible anyway, and they get lost in the beauty of his voice--and it is full of that.

"Sinking Friendships," "Grow Till Tall," and "Hengilás" are good places to start.

Here's the link where you can listen to the album in its entirety.

GO

wes.

PS--Sigur Rós is the most beautiful, relevant and important music ever made.

Top 10 of 2009

You'll note that neither The Hurt Locker nor Avatar make it anywhere near my list. As the Oscars have just wrapped and we look forward to a year chock-full of 3D Movies, I figured I'd weigh in on the films that really matter.

Here are my favorite films of 2009. It was not the best year for film, but a couple of these (including my #1) will be favorite films of mine for years and years to come.

10

Two words: Wes Anderson. Two more words: Stop-Motion. Original, creative, refreshing. Though I must admit, as my favorite Director, I can't wait for him to step back into live action.

9

We watched this with Jason Reitman, and maybe that's swayed me, but I think it's a very witty film and I like the subject matter. As genres go, it's certainly unique and surprisingly timely. George Clooney is endlessly entertaining.

8

Go Jeff. A long overdue award for one of the better actors of our time. Love this man.

7

This 70s-esque crime caper is so enjoyable, playful and clever that it almost hurts. If it didn't drag so much in the 2nd act, it'd be higher on my list. A must see.

6

Joel and Ethan, and Roger Deakins. Enough said. It's not No Country, but it's pretty damn great.

5

I love this film for its creative approach to very sensitive social matters.

4

Yeah. So, this is the most underrated, overlooked film of the year. Of course tons of people saw it, but I am referring to the Oscars and Globes. I am not a trekky, and this film has absolutely blown me away. JJ Abrams took on an enormous challenge, and delivered in the most satisfying way. Yes, some of the dialogue gets hokey, but that's Star Trek and there's nothing for it.

STAR TREK IS THE MOST PERFECTLY PHOTOGRAPHED FILM OF 2009. How Dan Mindel didn't win Best Cinematography is beyond me. Watch it for the beauty of Anamorphic, the insanity of the Steadicam work, and the total confidence and boldness with the lighting. Truly inspiring photography.

3

The reason I love this film is because I expected to hate it. But the power of Quentin's pen cannot be denied. To undertake a foreign film period-piece, with multiple languages—coupled with the sheer audacity to rewrite history, not to mention one of the best opening scenes I've ever seen—makes this an unexpected and very welcome surprise from Tarantino. It's a shame he didn't win best screenplay, but Chris Waltz took it—and deserved it! His performance in this film is the best performance of the year.

2

Speaking of incredible performances—when is Viggo going to get his due? This film is incredibly powerful in so many ways. Yes, it's painful and highly depressing, but that's the point. It's touching and I loved it. The photography is also off the chain.

1

Best film of the year. What else to say? Makes the vampire genre feel as if it's just been created. SO deft and subtle, so moving and heartfelt while remaining horrible and frightening. It's revolutionary.

That's all for now. Please let me know what you loved, if it's not on my list.

wes.

PS—Films I've yet to see that may eventually alter the list:

The White Ribbon (I hear incredible things about this one)

Precious

An Education

powerlinerflyers.

Hundreds of thousands of videos were posted onto Vimeo in 2009. I am proud to be one of 25 that were selected as the best of the year.

Click Here for the Link.

Looking back, it's truly remarkable that a split-second decision has produced such an overwhelming response from people all over the world. Millions of people have been moved and affected by this very simple natural display, which I am fortunate enough to lay claim to. I've been contacted by people in Russia, Vietnam, England, etc. who've wanted to use the film and to share with it with others. That makes me feel very good. It makes me think that I've done something that matters, and that this is exactly what I need to keep doing.

I lay claim to being the one person—of thousands who were driving by these moments—to turn around, go back, and document it. Yes, a bit of photographic training certainly helped, but it's more that I reacted, then acted. I saw something that others didn't. I stopped. I rolled on it. That's my part. Small, but essential.

I think these things are around us every day, and that it's a matter of Fovea: It's a matter of taking the periphery of life (the beautiful, but unappreciated things) and making them the center of our gaze. That's what I think.

We take much for granted. I was shooting on the coast over the weekend—Long Beach—and the beach was lined with piles of trash, that had washed up to the shore and was being bulldozed in preparation to head to the landfill. But people were there, just playing with their children in mercury-infested, highly contaminated water. This is the same principle I'm getting at: We're oblivious to too much—both positive and negative. We put our immediate circumstance over the greater good. Constantly.

Look for your version of birds on a wire, find your own way to interpret it, and share it.

wes.

m.o.s.

Here's a (rough) cut of my 2009 MOS project for AFI. This shoot is a pretty big deal, and I had an entirely different concept that was 86'd by Film LA three days before my shoot(!)

So, what do we do? We regroup. We re-conceive. And fortunately, things fell into place, and it's not entirely terrible. I like it, anyway.

The password is "mos"

CLICK HERE.

We're in preproduction for my Cycle II, which shoots in 2 weeks. It's a period piece (1964) about a serial killer and a teenage girl, and I have high hopes for it.

More to come.

Cycle II

At 3:38 this morning, I was soaked to my underwear by omni-directional sprinklers in an attempt to rescue two 4x8' Floppies from being ruined by the water.

That moment came at the end of a 13-hour day, which came at the end of a 3-day production called "Director's Cut" (a spoof on a horror film). I was the Camera Operator--and very pleased to be. No one worked harder on set (though I'll say that James Adolphus worked every ounce as hard) and for my personal growth, I wouldn't have it any other way.

Operating in and of itself is very mentally and physically taxing: Guaranteed, it's the most awkward positions that create the best compositions. And to boot, we were hand-held literally the entire production, which meant that I was the human tripod--whether we were speeding or not. Initial framing, blocking, rehearsing and shooting--all the time the camera was in my hands.

It was not easy on the ol' back, which has somewhat healed, but reminds me with a continual dull pain of the ever-present threat of a history repeating itself. I'm being smart (or trying to) with my exercise and eating, so as to avoid that at all costs.

But it was challenging and exciting, and working that hard means you're never bored--and the days go by pretty quickly. I gained so much confidence in the last 3 days that I feel like I've doubled my ability as an Operator. It's so hard, great operating, that you can't even imagine until you try it. Timing moves with an actor requires more 'performance' than you'd ever suspect a crew member would need. The real challenges are sitting and standing up, and leading someone properly as they walk, especially on the Z axis. Sounds pretty simple, to tilt up or down with someone as they stand/sit? Try it! Try it on a long lens. Try to keep yourself from anticipating their movement, and going too early--or worse, being too late! These days, my biggest pet peeve is an Operator who let's an Actor's head dip out of frame they stand up. Not only does it look sloppy, but you're instantly reminded that you're watching a movie, not a story.

This means that, sometimes, I am my own pet peeve. But I had lots of practice this weekend, and now I can lead a leading lady into her seat on a plate of butter.

Don't ask me to explain that. But the key is confidence. It's simple, but you just have to work the camera, and not let it work you. If it knows that you know what you're doing, it'll serve you perfectly. Be the jib. Be the boom.

So I got home around 4am, had a half-portion of Crispix with a banana and blueberries, watched part of a movie, then went to bed at 5.

At 9am, Finn woke me up, and I made him breakfast, and I had a full portion of Crispix with a banana and blueberries. Then did the dishes, because I love my wife.

I shoot week 6 of Cycle II, then week 1 of Cycle III. That's a 2-week turnaround between shows. It's a lot. I can't wait. I freaking love film and filmmaking. We had Conservatory week recently with Bruce Block, in which we really broke down the screen and storytelling on it. It was outstanding.

My current experience is full of stress, anxiety, frustration and doubt. But, interesting in their irony is how much all of those things induce real, palpable growth.

I'm also learning Icelandic--can't remember if I've mentioned that, because it's pretty personal and I'm holding certain cards close to the chest--but it's going great. Danish helps.

It's a nice break from pre-production. I'm also reading the Sagas of the Icelanders, and I cannot get enough. Egil's Saga is so full of valor, brutality and super-human strength that it borders on mythology. But if the history is half-true, then those Vikings of the North were like nothing our generation knows.

I am prone to believe it, and I am easily lost in the romance of that poetic account.

We screened THE ROAD with its Cinematographer on Friday. He didn't speak a word of English, but I got more out of that forum than I did with any other yet this year.

PEOPLE: Go to movies. See them in the theater. Never forget what that feels like.

THE WOLFMAN is next. See you at the Arclight.

wes.

Death Valley.

This is my favorite image of the trip:


Hard to describe how many thousands of footprints I had to pass before I could start making my own. It was worth it.


I need these trips. They are the only fuel my soul will tolerate for rejuvenation.

Happy New Year.

wes.

Happy Jul.

(Like any good production, it was hell to make, but only shines in the end.)

May your holidays find you with good food and in better company.

wes.

Worst Blogger Ever; Roger Deakins; Happy Holidays.

I think I may be the worst Blogger...ever.

ROGER DEAKINS.

Pound for Pound, Product for Product, there's very few Cinematographers who compare with Roger Deakins. His work is not fast or flashy, it is not techy or trendy. It is subtle, thoughtful, and extremely sophisticated. Often, it's pushing perfection.

What's more: As a person, there's no one more generous, more understated. He simply does great work, avoids the fanfare, and gives back to the photographic community in a way I've never seen in another Cinematographer--certainly not of his status.

So, to learn that he was coming to AFI for a screening and Q+A was quite literally a dream come true.

The only thing that stank about the circumstance is that AFI went to the trouble to take a poll over which film we wanted to screen with him. I am certain that either JESSE JAMES, or NO COUNTRY was the film of choice, but for reasons that I'm sure are political, we screened A SERIOUS MAN.

It's not that it's a bad film—it's the Coen Brothers, therefore it's quite the opposite—but it's not Roger's best work. It's not the kind of story that emotes memorable, powerful imagery. Well photographed, no doubt, but not singular in the way that Roger's other work can be.

No Country for Old Men is in my top 5 films of all time. It is one of the 3 films that I consider to be Cinematic Perfection. I would not change one thing about it. That is really, really saying something: A perfect film.

The Assassination of Jesse James by the Coward Robert Ford is pure photographic poetry. Its style is wonderfully tailored to the story, and there's nothing better a DP can do than to visually support the narrative in every way. It's paced, deliberate, haunting imagery—and it's endlessly interesting.

But, though we didn't get the best movie, it became moot in comparison with Roger's presence, which somehow in and of itself was enough. He literally could have sat there and said nothing, and I would have walked away inspired.

But he said more than nothing. He spoke of collaboration and philosophy, techniques and tastes. And it was all gold. I'm not going to go into more details on that—sorry if this disappoints—but that's not what this post is about. Because I think Deakins is the best example of what every artist needs to learn: Be true to the story that's being told.

I think, ideally, we're all a part of something that's bigger than ourselves, yet somehow can't reach its full potential without the individual. A great film is the ultimate embodiment of that. I think Roger is the truest of collaborators, and that's what I admire so much about him.

When asked about why he says yes to a project, Roger simply said:

"I ask myself if I'd pay money to see the movie. If the answer is yes, then I do it."

I love that more than I can say. What he's saying, indirectly, is that he is moved upon by the story—that he is motivated to do a project in the way that a camera is motivated to move: not of its own accord, but because the moment makes it so.

wes.

(Happy Holidays.)

Back by Demand; Demand by Back.

Week 7 of 7. Seven weeks of 13 hour days, 7 days a week. Not a single day off. This is AFI.

And yet, here I sit. I should not be sitting here. I should be on set. I want to be on set. I want to be there for my friends. I want to get as much experience as possible.

But these 7 weeks have taken their toll. When I woke up yesterday, I was in a deal of discomfort in my lower back. At 7am, I was at the Depot, buying a back brace, hoping it would carry me through a day of Key Gripping. The Key Grip is a major part of any set, and there are few on set who work harder. It's tough, physical work: Laying and leveling dolly track, then dolly gripping; carrying stands of varying sizes and weights; flags, scrims, silks, frames, bead board, muscle carts, gennys, stingers; loading and unloading the grip truck every day.

Take a day of that on top of 6.5 weeks of build up, add one back at the tipping point of failure, and you get one horrific night.

I came home and did something I never do: Take a bath. Not that I don't clean myself—I'm just a shower guy. But a hot bath sounded good for the back. Of course, Finn had to join me as soon as he found out—despite recently having a bath himself.

A hot bath had the opposite effect of its intention. All I can say is it set a fire in my back like I've never felt. I could literally barely get myself out 10 minutes later, and what followed was one of the worst nights I've ever had in my life. It was excruciating pain, to the point that breathing hurt, and every movement induced a stabbing pain on either side of my spine. I crawled to bed, hoping that a horizontal could lend relief. It couldn't.

I kept saying "what have I done to myself?" I was genuinely frightened.

It took everything in me just to roll over. What a ridiculous thing! To roll over. But it did. The thought of the hospital at Midnight was more terrible than just laying there, so I found a position that induced the least amount of pain, and Lyndsay coached me to sleep with Lamaze breathing. I fell asleep. Woke up out of my 'position' in total pain, when back to my position. Repeat 5-7 times throughout the night. And.....morning. Still hurting intensely.

Urgent Care. Calls to my ER technician Brother. Prescriptions ordered. Now I have an appointment with a holistic chiropractor at 12:30. Fingers crossed.

I am letting my friends down. I should be on set. But this is beyond my control.

Please, body. I am trying to be good to you. Stick with me. We have a long road ahead of us.

wes.

(PS—Someone remind me to talk about Roger Deakins and Jason Reitman)

PS: WTWTA

PS — If you're not planning on seeing THIS film, then I highly encourage you to change your mind.


OCTOBER 16.

In the Thick of It.

I think I lost a follower. Serves me right, I guess. But this time I think it's omission, not commission—as I haven't published a post in.......forever.

The thing about six 12-14 hour days a week is that you're left with very little time...

But here I sit, determined to document—at least in some detail—my current experience.

It's been a month and change since I started at AFI; it's been the most potent month of my life. That's honestly why it's been so hard to sit and write: there's SO much to say that I am overwhelmed by the mere thought of actually writing it down.

It is a whole other level of busy, this new life, and it is literally the continual, perpetual and endless absorption of film and filmmaking into my system, via all 5 senses. To help reinforce that statement, let me give a partial list of the films I've watched in the last month:

— THE GODFATHER II
— UP!
— HARRY POTTER AND THE HALF-BLOOD PRINCE
— LOST IN TRANSLATION
— ED WOOD
— DISTRICT 9
— PRINCESS NICOTINE
— EDISON'S KINETOSCOPES
— 21 GRAMS
— CINEMATOGRAPHER STYLE (Super 35mm Print)
— AMELIE (also known as the greatest film ever made)
— MANHATTAN (35mm Anamorphic Print)
— INGLORIOUS BASTERDS
— KNIFE IN THE WATER
— INTOLERANCE
— EXTRACT
— 500 DAYS OF SUMMER
— THOSE AWFUL HATS
— THE REDMAN’S VIEW
— DELICATESSEN
— COCO BEFORE CHANEL
— MILLION DOLLAR BABY
— WHAT SHALL WE DO WITH OUR OLD?

And that's to say nothing of the texts I've read (books, scripts, etc), the hours and hours of lectures, and fieldtrips.

We've been visited by Steven Soderbergh (regardless of how I feel about his films, I have enormous respect for him as a filmmaker) and several other important filmmakers, including the Costume Designer for Raiders of the Lost Ark (and while she was lecturing, the CD for INCEPTION dropped in to say hello); the Writer of WALK THE LINE; the Writer of DOG DAY AFTERNOON; this old-school Script Supervisor who's been working in Hollywood since the 1940's (take that in for a moment). Last week we screened EXTRACT with its Cinematographer, Tim Suhrstedt (who shot LITTLE MISS SUNSHINE). Not a life-changing film, but funny, and a good experience with Tim.

This was my day on Friday last: Viewed our Boot Camp Dailies for a couple of hours, went to COCO BEFORE CHANEL at the Arclight, then crewed on a Walgreen's TV Spot with Doug Chamberlain (a solid DP and good friend) where we shot a Night Exterior on the Warner Bros Ranch in Burbank:


The big sphere in front of the house is actually a giant light filled with helium—a Light Balloon. Believe it or not, this is a small one at 12'x12'. And that's an 18K HMI in the top right of the screen—that's 18,000 Watts—a bit more than your typical household bulb.

And lastly, the house in the back is where they filmed I Dream of Jeannie.

Ah, nostalgia. Hollywood's full of it.

It is a life where you pass by the Warner Brothers and Disney Lots every day on the way to class; where the Hollywood Sign and Blvd (though never the people on it) are becoming quite ordinary; where you see celebrities—and it's just not that big a deal; where the headquarters of PANAVISION, KINO FLO and JL FISHER are literally 5 minutes from my house; a world where the most talented people in an industry are all living and pursuing their dreams together. It's a world that I am very comfortable in.

Yes, there are tainted souls. Yes, there are leaches and vampires (we're into metaphors here). Yes, it's an unbelievable amount of work and subsequent exhaustion. But it's exactly where I want to be, for now, and exactly what I want to do with my life. I am so proud—so very fortunate—to call myself a Cinematography Fellow at AFI. It's the genesis to the rest of my life.

This week we shot Boot Camp, which was a single scene from our Cycle 1 script—in 4 hours. It was very doable, but also very challenging. It was brilliant. Then yesterday we met with John Bailey, ASC at The Getty Center, where we viewed the Irving Penn exhibition:


As well as other original works of art, like this Renaissance Gem:


The Angel Taking Leave of Tobit and His Family, by Jan Victors, 1649.

SIXTEEN FORTY-NINE. Unreal. It just glowed. You can't imagine how beautiful the original is.

OK. I think that's a good hour's effort in making up for the last month.

But one more thing:

I want to give the first official, written praise for my wife, who is quite literally making this possible for me. She sustains—with an incredible effort—the life we've made while I go off and pursue this dream. She puts up with sleep deprivation, comforts a screaming toddler and nurses a baby; she cleans, she cooks, she does laundry and somehow still finds time to design blogs, sites and scrapbook papers. She is the real Wonder Woman. I cannot thank her enough for her sacrifice and support. No one knows how good she is to and for me.

But I do. Lyndsay Ward, I love you.

wesman.

My favorite Sign.

I don't know about the rest of Europe, but this is a very common sign in Scandinavia. When I lived in Denmark, it became a friend, and during my trip to Iceland, it became my favorite.

No words. Just a simple graphic that indicates you're leaving the city limits.

It's my kind of design: minimal, succinct, and charming (note the church).

And when you're in Iceland, it means "Adventure Ahead."

wes.

(yes, I am still lost in Iceland--if only in my mind)

D-9

I saw DISTRICT NINE over a week ago, but thought I'd throw up a couple thoughts on it anyway.

If you can withstand a number of F-bombs, it is very much worth seeing. It's an uncannily clever way of approaching a very sensitive social topic: To replace humans with aliens so that we can address issues of human rights, refugee camps, political turmoil and crime--without having to name names.

It's this storytelling device of such metaphors--these cloaks as vehicles for addressing things that would be too offensive/sensitive/blatant if they were addressed directly--that I've been really keen on lately. It's an incredibly effective tool.

Any knowledge of Africa's current situation will help you see past the aliens, and into the issues.

Well done.

wes.

ICELAND + WJP

Five days.

One Thousand Seven Hundred and Sixty-Two Miles.

Twenty Photographs.

Ísland.

I'm going to write about it soon, but for now I'll let images speak for me.

The Iceland Portfolio is up.

Access it HERE.

wes.

wes grylls.

This is really awful.

Wes Grylls

wes.