I've got one last movie (p)review for you...
'Mud' (Jeff Nichols, 2012)
Two intrepid middle schoolers become go-betweens for Mud, an intriguing runaway, and his girlfriend, Juniper… who has come to the boys’ Alabama town at the same time as state troopers and bounty hunters seeking Mud.
Finally, something uplifting! 'Mud' is a focused, heartfelt, fairy-tale-ish story told in a refreshingly down-to-earth way. Matthew McConaughey, while not spellbinding, does a fine job as Mud... it's the boys who act their little hearts out: both are endearing and together make a fun, truthful duo. But the real hero here is the script. It’s well-plotted, full of likeable (yet still believable) characters, and it explores love with intelligence, sensitivity, and a childlike curiosity... and most importantly of all (to me), it's an original screenplay. So, no, 'Mud' doesn’t have the prestige picture qualities of 'Amour' [Love] (which won the Palme d’Or), or create a world as strikingly poetic as that of 'Beasts of the Southern Wild', but I think it just might be my favorite movie I’ve seen at Cannes. I highly recommend it.
. . .
I'm not quite sure what else I can say about the festival... Annie and I decided to end on a (rare) positive note, rather than going to see Mads Mikkelsen (the villain in 'Casino Royale') in 'The Hunt', which seemed very sobering (though he won the festival's best actor award for his part in it). I saw an even 20 movies in 11 days: all well-made, all for no admission price, most of them depressing, and all but one of them worth watching (that being 'Beyond the Hills', which OF COURSE won best actress awards and best screenplay... really made my blood boil).
A few words need perhaps be said of the awards... no big surprises, except that 'Holy Motors' and all of the American entries got snubbed. Here's the list:
BEST SCREENPLAY: Cristian Mungiu, 'Beyond the Hills' (grrr... 'Mud' totally deserved it more)
BEST ACTOR: Mads Mikkelsen, for his role in 'The Hunt'
BEST ACTRESS: Cosmina Stratan and Cristina Flutur, for their roles in 'Beyond the Hills'
BEST DIRECTOR: Carlos Reygadas, for his direction of 'Post Tenebras Lux' (a Mexican film I didn't see)
CAMERA D'OR (Best Film by a New Director): 'Beasts of the Southern Wild', directed by Benh Zeitlin
JURY PRIZE (3rd place): 'The Angels' Share', directed by Ken Loach (a Scottish comedy about petty criminals trying to go straight by going into the whiskey business... got great reviews)
GRAND PRIX (2nd place... oh, France...): 'Reality', directed by Matteo Garrone
PALME D'OR (Best Picture): 'Amour', directed by Michael Haneke
. . .
So, that's the festival. And that's France. Next stop: Germany.
Showing posts with label Random. Show all posts
Showing posts with label Random. Show all posts
Tuesday, June 12, 2012
Wednesday, May 23, 2012
Once Upon a Time in Cannes
Movies, movies, movies... so, I'm finding a formula for my days. Get up in the morning, go into town for incidental tickets for the film society (mostly for older, newly-restored movies), and go over to the Unicorn Theatre (actual name) for an evening screening of one of the films actually in the festival this year (specially hosted for the film society that gave me my badge).
So, here's what I've seen, with (Director, Year), a pitch (that's screenwriting talk for a short description meant to hook a reader), and a few quick thoughts that don't give (too) much away.
'After the Curfew' (Usmar Ismail, 1953)
When a freedom fighter in Indonesia returns home from an unsuccessful war, disillusioned and ill-suited to work, he teeters perilously on the edge of falling back into the corrupt old company of his fellow former soldiers.
A classic film in Indonesia, this had a good film noir feel to it. And while the plot was on the thin side, I thought the main character was a compelling 'lost character', and his deadbeat best friend was well-rendered and interesting to watch.
'Kalpana' [Imagination] (Uday Shankar, 1948)
The (largely autobiographical) life story of an influential dancer and artist who founds a cultural center to improve mental and spiritual life in the name of a stronger India. It is an elaborate musical exhibiting Shankar's trademark style of dance, and the influential dancer/choreographer's only film.
This is the grandfather of Bollywood as we know it. Shankar was incredible, moving with uncanny finesse, and the movie has its fair share of nice directorial touches. My only problem, though it is major, was that there wasn't enough of Shankar. He and his subtle technique step aside about halfway through to make room for an overwhelming climax overflowing with an ordinarily talented ensemble in whom we are not as invested.
'The Ring' (Alfred Hitchcock, 1927)
When a champion boxer hires a talented newcomer as his sparring partner, he also kindles the interests of the jealous young fighter's wife. Not to be confused with the 2002 horror film of the same title.
The love triangle is pretty banal; there's nothing to make the relationship between the young boxer and his wife ring true. But Hitchcock being Hitchcock, there are some great visual touches, and the dramatic tension keeps you interested through to the end. This is also the only full script that Hitchcock wrote himself. I should also note that the screening benefited tremendously from a live score played by a musician on keyboard, accordion, and piccolo.
'Mystery' (Ye Lou, 2012)
When two mothers with preschoolers in the same class discuss fears of their husbands' infidelity, unsettling truths come forward... and they may be related to a recent, fatal highway accident.
I saw this Mandarin Chinese film with French subtitles, so I was largely struggling to keep track of who was who and what was going on. But there were some solid performances, particularly from the male lead, who portrayed a less-than-likable man as a complex and bedeviled husband. There was also a nice cast of supporting characters for a varied emotional and thematic tone. Also, the thoroughly innocent and adorable children (who at one point sing 'Ode to Joy' in Mandarin) provide a striking counterpoint to the darker intrigue that ensues among the adults.
'Beasts of the Southern Wild' (Benh Zeitlin, 2012)
In 'The Bathtub,' a poor but surreally jovial Louisiana Delta community, a young girl named Hushpuppy fends against a fearsome storm and its aftermath, her father's mysterious illness, and the coming of newly awakened prehistoric creatures, all while searching for her lost mother.
Is a six-year-old allowed to win an Oscar? She is incredibly adorable and unbelievably capable at the ripe old age of six-or-so. The plot in this movie is not nearly so important as the relationship between her and her (at times) equally childlike father, Wink (played by the also-amazing Dwight Henry). Their tough-love relationship is incredibly nuanced, the supporting characters are delightfully fun, and the level of detail in this world immediately pulls you in. Also, the soundtrack is epic in the most satisfying way (especially around the credits). It's coming out in late June in the States, and I recommend you go see it.
'Beyond the Hills' (Cristian Mungiu, 2012)
Alina, a lonely young woman, reunites with Voichita, her close childhood friend from their orphanage. But Voichita now resides in a secluded orthodox convent, and her beloved faith, along with the convent's strict priest, will make it all but impossible for Alina to convince Voichita to run off with her.
This may be the most boring movie I have ever seen (and that includes 'The Straight Story', which is about a man riding a tractor across Iowa). It just never takes off; they repeat what is essentially the same two or three situations again and again without very much variation or raising the stakes. The contents of the ending are horrifying and nihilistic in theory, but the movie doesn't earn that horror... there is not a sufficient build, either through the plot or the characters. This is supposedly one of the big contenders for awards this year, and that makes me sad.
'Lawless' (John Hillcoat, 2012)
In Prohibition-era rural Virginia, the three Bondurant brothers and their renowned bootlegging ring are shaken by the arrival of a corrupt, merciless federal agent who wants a cut of their profits.
Plot-wise, it's nothing revolutionary, but beautiful scenery, great production values, and outstanding performances abound. Tom Hardy plays a fascinatingly understated and thoughtful bear of a man (perhaps an alter-ego of this summer's Bane in 'The Dark Knight Rises'), Gary Oldman plays a gloriously pinstriped rum-runner, and Guy Pearce is a simply terrifying villain. Even Shia LaBoeuf does a decent job. Despite the rather intense violence, this movie demonstrates a wide emotional range, including sincere romance and plenty of terrific humor.
'For Love's Sake' (Takashi Miike, 2012)
The high school aged daughter of an influential family encounters a thug with authority issues who saved her life when they were children, and she decides to rehabilitate him... by getting him transferred to her elite prep school.
The premise is relatively sound. Then they start singing. And dancing. And fighting. And blowing things up. This movie is equal parts high school anime, Quentin Tarantino, and 'Glee', with an over-the-top campy script and production design that, I would argue, make it as ripe for ritualistic midnight screenings as 'The Rocky Horror Picture Show'. Not for the faint of heart... or sense of humor.
'Killing Them Softly' (Andrew Dominik, 2012)
Jackie Cogan, an easygoing mob enforcer, must investigate and handle the delicate situation surrounding the recent robbery of a mob poker game.
There's a neat thematic payoff at the end of this movie, but that's not the sort of endorsement you want to hear about a mob flick starring Brad Pitt (also including James Gandolfini, Ray Liotta, and others). It's pretty darn violent, full of explicit dialogue, and just plain gritty. Not a judgment, although I was underwhelmed because I think it gets lost in its own grittiness... I didn't think they let you get close enough to the characters (or plot) to make it as compelling as it could have been.
'Amour' (Michael Haneke, 2012)
The love between an elderly intellectual Parisian couple is put to the test when the wife shows the first signs of a debilitating neurological disease.
This is the golden child of the festival so far, likely to win at least a few awards. And I can see why. The performances and directing are top-tier; when the action of your movie barely leaves a single (gorgeous) apartment, the whole affair needs strong characters to drive it. Many scenes might affirm France's reputation for slow (and sometimes depressing) movies, but it fits the pacing of these elderly characters' lives. This movie is hard to watch of course, but if you're in the right mood for it, I think it can be very moving.
. . . Last, but far from least . . .
'Once Upon a Time in America' (Sergio Leone, 1983)
David 'Noodles' Aaronson, a Jewish former gangster, returns to New York on a mysterious summons after hiding out for thirty years. Noodles revisits bittersweet memories, from childhood on the streets through big-time bootlegging to figure out who has found him, why... and who made off with the gang's cash holdings from so many years ago.
This is one of my personal favorites... nonlinear storytelling, great acting, gorgeous production design, directing that makes a four-hour movie glide by, and what might be my favorite movie soundtrack ever. That's the short version of why I like it. I was thrilled when I learned that they were screening it at the festival this year as part of the 'Cannes Classics' category, for newly restored prints of older films (like 'Kalpana', 'After the Curfew', etc.). Even more exciting: the addition of 20-25 minutes of never-before-seen footage from cuts Sergio Leone didn't want to make. This is supposed to be as close as we can reasonably come to Leone's original vision (and, for a movie that's been as butchered as this one has over its many releases, that means a lot).
So, I'm really glad I got into this screening -- not only because I found the lost footage offered a few more gems of moments, but because Annie and I watched this movie in the company of Robert DeNiro, James Woods, Elizabeth McGovern, Jennifer Connelly, Sergio Leone's children ('Once Upon a Time' was Sergio's last movie), and composer Ennio Morricone. (Also in attendance were Salma Hayek and Alexander Payne, a Cannes Jury member this year, and Oscar-winning writer/director of 'The Descendants'.)
So, yes, the star power was fun, but it also occurred to me during this movie's many swelling emotional tides that these (great) actors were probably experiencing this together for the first time in almost 30 years. I could only imagine what that was like for them, but I thought it was cool that I was - however tangentially - sharing in that experience.
. . .
And that's just the first half of the Festival. More on daily routine (HA! Right.) around here next time. As well as more movie talk.
-Andy
So, here's what I've seen, with (Director, Year), a pitch (that's screenwriting talk for a short description meant to hook a reader), and a few quick thoughts that don't give (too) much away.
'After the Curfew' (Usmar Ismail, 1953)
When a freedom fighter in Indonesia returns home from an unsuccessful war, disillusioned and ill-suited to work, he teeters perilously on the edge of falling back into the corrupt old company of his fellow former soldiers.
A classic film in Indonesia, this had a good film noir feel to it. And while the plot was on the thin side, I thought the main character was a compelling 'lost character', and his deadbeat best friend was well-rendered and interesting to watch.
'Kalpana' [Imagination] (Uday Shankar, 1948)
The (largely autobiographical) life story of an influential dancer and artist who founds a cultural center to improve mental and spiritual life in the name of a stronger India. It is an elaborate musical exhibiting Shankar's trademark style of dance, and the influential dancer/choreographer's only film.
This is the grandfather of Bollywood as we know it. Shankar was incredible, moving with uncanny finesse, and the movie has its fair share of nice directorial touches. My only problem, though it is major, was that there wasn't enough of Shankar. He and his subtle technique step aside about halfway through to make room for an overwhelming climax overflowing with an ordinarily talented ensemble in whom we are not as invested.
'The Ring' (Alfred Hitchcock, 1927)
When a champion boxer hires a talented newcomer as his sparring partner, he also kindles the interests of the jealous young fighter's wife. Not to be confused with the 2002 horror film of the same title.
The love triangle is pretty banal; there's nothing to make the relationship between the young boxer and his wife ring true. But Hitchcock being Hitchcock, there are some great visual touches, and the dramatic tension keeps you interested through to the end. This is also the only full script that Hitchcock wrote himself. I should also note that the screening benefited tremendously from a live score played by a musician on keyboard, accordion, and piccolo.
'Mystery' (Ye Lou, 2012)
When two mothers with preschoolers in the same class discuss fears of their husbands' infidelity, unsettling truths come forward... and they may be related to a recent, fatal highway accident.
I saw this Mandarin Chinese film with French subtitles, so I was largely struggling to keep track of who was who and what was going on. But there were some solid performances, particularly from the male lead, who portrayed a less-than-likable man as a complex and bedeviled husband. There was also a nice cast of supporting characters for a varied emotional and thematic tone. Also, the thoroughly innocent and adorable children (who at one point sing 'Ode to Joy' in Mandarin) provide a striking counterpoint to the darker intrigue that ensues among the adults.
'Beasts of the Southern Wild' (Benh Zeitlin, 2012)
In 'The Bathtub,' a poor but surreally jovial Louisiana Delta community, a young girl named Hushpuppy fends against a fearsome storm and its aftermath, her father's mysterious illness, and the coming of newly awakened prehistoric creatures, all while searching for her lost mother.
Is a six-year-old allowed to win an Oscar? She is incredibly adorable and unbelievably capable at the ripe old age of six-or-so. The plot in this movie is not nearly so important as the relationship between her and her (at times) equally childlike father, Wink (played by the also-amazing Dwight Henry). Their tough-love relationship is incredibly nuanced, the supporting characters are delightfully fun, and the level of detail in this world immediately pulls you in. Also, the soundtrack is epic in the most satisfying way (especially around the credits). It's coming out in late June in the States, and I recommend you go see it.
'Beyond the Hills' (Cristian Mungiu, 2012)
Alina, a lonely young woman, reunites with Voichita, her close childhood friend from their orphanage. But Voichita now resides in a secluded orthodox convent, and her beloved faith, along with the convent's strict priest, will make it all but impossible for Alina to convince Voichita to run off with her.
This may be the most boring movie I have ever seen (and that includes 'The Straight Story', which is about a man riding a tractor across Iowa). It just never takes off; they repeat what is essentially the same two or three situations again and again without very much variation or raising the stakes. The contents of the ending are horrifying and nihilistic in theory, but the movie doesn't earn that horror... there is not a sufficient build, either through the plot or the characters. This is supposedly one of the big contenders for awards this year, and that makes me sad.
'Lawless' (John Hillcoat, 2012)
In Prohibition-era rural Virginia, the three Bondurant brothers and their renowned bootlegging ring are shaken by the arrival of a corrupt, merciless federal agent who wants a cut of their profits.
Plot-wise, it's nothing revolutionary, but beautiful scenery, great production values, and outstanding performances abound. Tom Hardy plays a fascinatingly understated and thoughtful bear of a man (perhaps an alter-ego of this summer's Bane in 'The Dark Knight Rises'), Gary Oldman plays a gloriously pinstriped rum-runner, and Guy Pearce is a simply terrifying villain. Even Shia LaBoeuf does a decent job. Despite the rather intense violence, this movie demonstrates a wide emotional range, including sincere romance and plenty of terrific humor.
'For Love's Sake' (Takashi Miike, 2012)
The high school aged daughter of an influential family encounters a thug with authority issues who saved her life when they were children, and she decides to rehabilitate him... by getting him transferred to her elite prep school.
The premise is relatively sound. Then they start singing. And dancing. And fighting. And blowing things up. This movie is equal parts high school anime, Quentin Tarantino, and 'Glee', with an over-the-top campy script and production design that, I would argue, make it as ripe for ritualistic midnight screenings as 'The Rocky Horror Picture Show'. Not for the faint of heart... or sense of humor.
'Killing Them Softly' (Andrew Dominik, 2012)
Jackie Cogan, an easygoing mob enforcer, must investigate and handle the delicate situation surrounding the recent robbery of a mob poker game.
There's a neat thematic payoff at the end of this movie, but that's not the sort of endorsement you want to hear about a mob flick starring Brad Pitt (also including James Gandolfini, Ray Liotta, and others). It's pretty darn violent, full of explicit dialogue, and just plain gritty. Not a judgment, although I was underwhelmed because I think it gets lost in its own grittiness... I didn't think they let you get close enough to the characters (or plot) to make it as compelling as it could have been.
'Amour' (Michael Haneke, 2012)
The love between an elderly intellectual Parisian couple is put to the test when the wife shows the first signs of a debilitating neurological disease.
This is the golden child of the festival so far, likely to win at least a few awards. And I can see why. The performances and directing are top-tier; when the action of your movie barely leaves a single (gorgeous) apartment, the whole affair needs strong characters to drive it. Many scenes might affirm France's reputation for slow (and sometimes depressing) movies, but it fits the pacing of these elderly characters' lives. This movie is hard to watch of course, but if you're in the right mood for it, I think it can be very moving.
. . . Last, but far from least . . .
'Once Upon a Time in America' (Sergio Leone, 1983)
David 'Noodles' Aaronson, a Jewish former gangster, returns to New York on a mysterious summons after hiding out for thirty years. Noodles revisits bittersweet memories, from childhood on the streets through big-time bootlegging to figure out who has found him, why... and who made off with the gang's cash holdings from so many years ago.
This is one of my personal favorites... nonlinear storytelling, great acting, gorgeous production design, directing that makes a four-hour movie glide by, and what might be my favorite movie soundtrack ever. That's the short version of why I like it. I was thrilled when I learned that they were screening it at the festival this year as part of the 'Cannes Classics' category, for newly restored prints of older films (like 'Kalpana', 'After the Curfew', etc.). Even more exciting: the addition of 20-25 minutes of never-before-seen footage from cuts Sergio Leone didn't want to make. This is supposed to be as close as we can reasonably come to Leone's original vision (and, for a movie that's been as butchered as this one has over its many releases, that means a lot).
So, I'm really glad I got into this screening -- not only because I found the lost footage offered a few more gems of moments, but because Annie and I watched this movie in the company of Robert DeNiro, James Woods, Elizabeth McGovern, Jennifer Connelly, Sergio Leone's children ('Once Upon a Time' was Sergio's last movie), and composer Ennio Morricone. (Also in attendance were Salma Hayek and Alexander Payne, a Cannes Jury member this year, and Oscar-winning writer/director of 'The Descendants'.)
So, yes, the star power was fun, but it also occurred to me during this movie's many swelling emotional tides that these (great) actors were probably experiencing this together for the first time in almost 30 years. I could only imagine what that was like for them, but I thought it was cool that I was - however tangentially - sharing in that experience.
. . .
And that's just the first half of the Festival. More on daily routine (HA! Right.) around here next time. As well as more movie talk.
-Andy
Tuesday, May 8, 2012
Coup de Grasse
It's over.
My last day of teaching was April 20th. I'm sorry that my entries have been rather few and far between recently, but I'm not sorry for all the day trips, dinners, vacations, lesson plans (had to mention those somewhere in here), and screenwriting sessions I've been too busy enjoying to write down. Here are links to a few photo albums, to help fill the gaps:
Krakow (My last spring break stop after Budapest, which was very un-cosmopolitan, very historic, and thus very cool. Also, incredibly reasonably priced and full of more good, hearty, meat-and-potatoes kind of food. Also, though you won't find the pictures in the album, I visited Auschwitz.)
Tende (A small town near the French/Italian border (check it out) reached by the aptly named Train des Merveilles ('Train of Marvels'). Erika and I did a day trip up here and found some terrific hikes, cool winding walkways in town, and a terrific lunch at the lovely husband-and-wife restaurant Le Gourmand.)
I also spent a whirlwind week showing my buddy David Adler around Paris and the Riviera. And I just got back from 4 days in Bologna, Italia, where I got to spend time with the wonderful Giulia Petruzzelli.
I would be lying if I said that the end of my teaching wasn't emotional, and I'd be a liar-liar-pants-on-fire (I wonder how you say that in French...) if I didn't mention the outpouring of affection I got from the kids and my fellow teachers. But first, a few general sound bytes to shamelessly build suspense.
Andy: "Do you like pizza?"
Kid: "I love you, pizza!"
Andy: "How are you?"
Other Kid: "I am hot and happy!"
I worked at three schools, and two of them gave me wonderful sendoffs... The first gave me a huge box of local specialty food products (first photo in this oddball album) and came pouring into one of the classes I was teaching to throw me a going-away party with Orangina, cookies, candy (including chocolates from favorite chain Jeff de Bruges), and a lot of adorable, tearful young children.
The other school finished off my unit on food in the best way possible. American breakfast for my three classes. And there were t-shirts. I can't describe them, and a photo won't do them justice. Ask me in person sometime, and if I can, I'll show you.
It was wonderful. Nice to know I'll be missed and that I did okay at the job that had be quaking in my sneakers last September. I'll take that as an exit from Grasse.
Oh, that's right... the teaching is over, but the blog is not. A few other things.
I'm living in Cannes now (for the month) because my folks are coming over to Europe at the end of May to do some quality traveling (there's a cruise... and fjords).
But until then, I'm just looking forward to attending the Cannes Film Festival. I was awarded a pass to attend screenings at a few of the theatres (not the big ones, since I'm not a professional, although word is you can beg tickets off people if you look good and they have extras). I'm pretty pumped about it... I get free access to lots of (hopefully great) movies and I'll be surrounded by film industry. Sweet. It runs from May 16-27.
I'll try to blog a bit about Cannes if I can (pun!), but I predict those days will be a bit hectic, and I'm not sure what internet will be like on the boat. So, for reference, I'm in Cannes until May 29, traveling until June 15th, and chilling in DC for two whole days before starting work at the 'Center for Talented Youth' at Johns Hopkins on June 18 (through August 7). No idea if they're gonna' renew my contract for next year, and -- hooray for France -- they're almost certainly not gonna' tell me before July. I'm not too worried, though.
I'm too busy thinking about movies.
-Andy
My last day of teaching was April 20th. I'm sorry that my entries have been rather few and far between recently, but I'm not sorry for all the day trips, dinners, vacations, lesson plans (had to mention those somewhere in here), and screenwriting sessions I've been too busy enjoying to write down. Here are links to a few photo albums, to help fill the gaps:
Krakow (My last spring break stop after Budapest, which was very un-cosmopolitan, very historic, and thus very cool. Also, incredibly reasonably priced and full of more good, hearty, meat-and-potatoes kind of food. Also, though you won't find the pictures in the album, I visited Auschwitz.)
Tende (A small town near the French/Italian border (check it out) reached by the aptly named Train des Merveilles ('Train of Marvels'). Erika and I did a day trip up here and found some terrific hikes, cool winding walkways in town, and a terrific lunch at the lovely husband-and-wife restaurant Le Gourmand.)
I also spent a whirlwind week showing my buddy David Adler around Paris and the Riviera. And I just got back from 4 days in Bologna, Italia, where I got to spend time with the wonderful Giulia Petruzzelli.
I would be lying if I said that the end of my teaching wasn't emotional, and I'd be a liar-liar-pants-on-fire (I wonder how you say that in French...) if I didn't mention the outpouring of affection I got from the kids and my fellow teachers. But first, a few general sound bytes to shamelessly build suspense.
Andy: "Do you like pizza?"
Kid: "I love you, pizza!"
Andy: "How are you?"
Other Kid: "I am hot and happy!"
I worked at three schools, and two of them gave me wonderful sendoffs... The first gave me a huge box of local specialty food products (first photo in this oddball album) and came pouring into one of the classes I was teaching to throw me a going-away party with Orangina, cookies, candy (including chocolates from favorite chain Jeff de Bruges), and a lot of adorable, tearful young children.
The other school finished off my unit on food in the best way possible. American breakfast for my three classes. And there were t-shirts. I can't describe them, and a photo won't do them justice. Ask me in person sometime, and if I can, I'll show you.
It was wonderful. Nice to know I'll be missed and that I did okay at the job that had be quaking in my sneakers last September. I'll take that as an exit from Grasse.
Oh, that's right... the teaching is over, but the blog is not. A few other things.
I'm living in Cannes now (for the month) because my folks are coming over to Europe at the end of May to do some quality traveling (there's a cruise... and fjords).
But until then, I'm just looking forward to attending the Cannes Film Festival. I was awarded a pass to attend screenings at a few of the theatres (not the big ones, since I'm not a professional, although word is you can beg tickets off people if you look good and they have extras). I'm pretty pumped about it... I get free access to lots of (hopefully great) movies and I'll be surrounded by film industry. Sweet. It runs from May 16-27.
I'll try to blog a bit about Cannes if I can (pun!), but I predict those days will be a bit hectic, and I'm not sure what internet will be like on the boat. So, for reference, I'm in Cannes until May 29, traveling until June 15th, and chilling in DC for two whole days before starting work at the 'Center for Talented Youth' at Johns Hopkins on June 18 (through August 7). No idea if they're gonna' renew my contract for next year, and -- hooray for France -- they're almost certainly not gonna' tell me before July. I'm not too worried, though.
I'm too busy thinking about movies.
-Andy
Sunday, February 5, 2012
Weekend Things
I think, after this entry, I'll finally be caught up. I've been explorin' a bit...!
Amy Evans and I went to Eze a few weeks ago and took these pictures. Cool place, Eze -- I thought Grasse was isolated up on a hill.
No. That's this place.
But at least it has the views to (more than) make up for it. On a warmer day, I will go back and take the hour-plus hike from the seaside up to the center of town. It's another one of those tightly interwoven cobblestone passage deals, like St-Paul-de-Vence, and it boasts two very, VERY nice hotels/villa neighborhoods. Like, we're talking my entire month's salary for a weekend stay. Amy and I had hot chocolates at the terrace cafe of one of them. You'll see the pictures.
Nice has also been pretty good to me lately... I did a little shopping, 'cause the French government decides when things go on sale, rather than stores themselves. One-euro bus from Grasse to Nice is The Best Thing.
I also had the pleasure of seeing a dance show in Menton a few weeks back. I went with Nice teaching assistant Jenifer Queen (and we ate at Pizzeria Vesuvio, which I mentioned a few entries back) to see this Amnesty International benefit show put together by local dance classes... who were surprisingly good. A third assistant (Jennifer Lindblom) works with Amnesty's Menton chapter, so she told us it was happening. I stage managed dance shows back in high school and always went to Vassar's, so this was a nice throwback as well.
On a separate occasion, Jenifer Queen and I also saw The Descendants and found dinner at le 22 septembre, located here in Nice. Outstanding food on a very affordable 4-course menu (we could barely finish it all). I had a warm mushroom quiche, a steak with (basically) fries, a cheese and salad course, and profiteroles for dessert. 17 euros. And it was all delicious. Plus, they had tables available with no reservation required at 10 PM. We had a great time. A big thank-you to Molly Smego for the recommendation.
Another thank-you goes to Amy, who introduced me to (the oddly named) Choopy's on the corner of Rue Vial and Rue du Marc in Antibes. You can get a full breakfast (eggs, toast, tasty preserves, hot chocolate, genu-ine bagel sandwiches, and even cupcakes) here in a cozy little cafe with a pal. Nice way to spend a Sunday morning.
My promise to you: the very next entry will bring narrative focus back.
-Andy
Amy Evans and I went to Eze a few weeks ago and took these pictures. Cool place, Eze -- I thought Grasse was isolated up on a hill.
No. That's this place.
But at least it has the views to (more than) make up for it. On a warmer day, I will go back and take the hour-plus hike from the seaside up to the center of town. It's another one of those tightly interwoven cobblestone passage deals, like St-Paul-de-Vence, and it boasts two very, VERY nice hotels/villa neighborhoods. Like, we're talking my entire month's salary for a weekend stay. Amy and I had hot chocolates at the terrace cafe of one of them. You'll see the pictures.
Nice has also been pretty good to me lately... I did a little shopping, 'cause the French government decides when things go on sale, rather than stores themselves. One-euro bus from Grasse to Nice is The Best Thing.
I also had the pleasure of seeing a dance show in Menton a few weeks back. I went with Nice teaching assistant Jenifer Queen (and we ate at Pizzeria Vesuvio, which I mentioned a few entries back) to see this Amnesty International benefit show put together by local dance classes... who were surprisingly good. A third assistant (Jennifer Lindblom) works with Amnesty's Menton chapter, so she told us it was happening. I stage managed dance shows back in high school and always went to Vassar's, so this was a nice throwback as well.
On a separate occasion, Jenifer Queen and I also saw The Descendants and found dinner at le 22 septembre, located here in Nice. Outstanding food on a very affordable 4-course menu (we could barely finish it all). I had a warm mushroom quiche, a steak with (basically) fries, a cheese and salad course, and profiteroles for dessert. 17 euros. And it was all delicious. Plus, they had tables available with no reservation required at 10 PM. We had a great time. A big thank-you to Molly Smego for the recommendation.
Another thank-you goes to Amy, who introduced me to (the oddly named) Choopy's on the corner of Rue Vial and Rue du Marc in Antibes. You can get a full breakfast (eggs, toast, tasty preserves, hot chocolate, genu-ine bagel sandwiches, and even cupcakes) here in a cozy little cafe with a pal. Nice way to spend a Sunday morning.
My promise to you: the very next entry will bring narrative focus back.
-Andy
Thursday, February 2, 2012
A Case of the Randoms
I promise you that, one day, my entries will go back to having some sort of organizing principle.
Today, however, is not that day.
...
Last week, I had my oldest kids playing "Point-To," which is about as simple as it sounds. I put a bunch of flashcards on the board, two kids come up, I say "Point to... 'Raining'!" (or "sunny" or "foggy" or "flunderstorming"). First kid to point to the right answer wins. They love it. Before we started on this particular day, I realized there were exactly 16 kids in the class.
OH SNAP IT'S TOURNAMENT TIME.
'Cause I know y'all just can't wait to see how this ends...
Final round, folks... place your bets.
Ta-da...!
...
A few of my classes had ski lessons scheduled for this week, where they would leave school as a class and go on a bus up to the mountains for their P.E. Those lessons were all cancelled because of unsafe driving conditions on snowy roads.
Ski lessons. Cancelled on account of snow. So French! SO FREAKING FRENCH!
...
This is a brick of peanuts. I bought it. And yes, a brick.
...
A dear friend of mine from back home, one David Adler, is coming to visit from April 21st-29th. It's gonna' be rockin' awesome. If you're reading this and likely to still be in Paris/Riviera during any of that time, let me know.
...
Andy: "What do we say when... *ah-CHOO*?"
Kids: "Bless you!"
Andy: "Good! And what do we say when... *cough*, *cough*?"
Kid: "Not bless you!"
...
G'night, folks.
-Andy
Today, however, is not that day.
...
Last week, I had my oldest kids playing "Point-To," which is about as simple as it sounds. I put a bunch of flashcards on the board, two kids come up, I say "Point to... 'Raining'!" (or "sunny" or "foggy" or "flunderstorming"). First kid to point to the right answer wins. They love it. Before we started on this particular day, I realized there were exactly 16 kids in the class.
OH SNAP IT'S TOURNAMENT TIME.
'Cause I know y'all just can't wait to see how this ends...
Final round, folks... place your bets.
Ta-da...!
...
A few of my classes had ski lessons scheduled for this week, where they would leave school as a class and go on a bus up to the mountains for their P.E. Those lessons were all cancelled because of unsafe driving conditions on snowy roads.
Ski lessons. Cancelled on account of snow. So French! SO FREAKING FRENCH!
...
This is a brick of peanuts. I bought it. And yes, a brick.
...
A dear friend of mine from back home, one David Adler, is coming to visit from April 21st-29th. It's gonna' be rockin' awesome. If you're reading this and likely to still be in Paris/Riviera during any of that time, let me know.
...
Andy: "What do we say when... *ah-CHOO*?"
Kids: "Bless you!"
Andy: "Good! And what do we say when... *cough*, *cough*?"
Kid: "Not bless you!"
...
G'night, folks.
-Andy
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