Life in a Day, a YouTube user-shot feature video, premiered at Sundance and streamed live in select countries yesterday on YouTube (a theatrical release is planned for later this year). It was produced by Ridley and Tony Scott and assembled by Kevin MacDonald together with a team of editors (headed by Joe Walker) from 81,000 raw video clips shot and submitted on 24 July 2010 by the YouTube Community — potentially anyone with a camera and an internet connection.
Before the drawing of the curtains, five Mexicans squat on the stage, toiling timelessly, while a sixth peddles knicknacks in the stalls as though it were a plaza full of tourists with bulging pockets, which it is in a way. “Don’t encourage him,” one utters sheepishly as another plays patron of the quaint local arts and crafts, exported from Mexico to the Edinburgh International Festival.
Until reading Manohla Dargis’ review in the New York Times, I had no intention of seeing Avatar. But her article affected me: I felt disturbed and violated. Her opening sentence: ‘With “Avatar” James Cameron has turned one man’s dream of the movies into a trippy joy ride about the end of life – our moviegoing life included – as we know it,’ is why. Those words in parentheses, an obliging repetition of the advertisements, obliterated my initial dismissiveness. So too, did its place as #24 in IMDb’s Top 200 List (well ahead of Citizen Kane and Sunset Boulevard). To say ‘Just another bullshit blockbuster to disregard’ is irresponsible in this case. 20th Century Fox and James Cameron are serious – $280 million is no joke, not even to them (it boasts of being one of the most expensive movies ever made). The aim for the filmmakers of Avatar is to revolutionize cinema through science fiction, to finish what George Lucas and Steven Spielberg began. They are desperate to do so in part because audiences are thinning.
Review by Lucas Miller. Written by Arthur Miller | Directed by John Dove | Royal Lyceum Theatre, Edinburgh, 16 January…
Lucas Miller reviews this amusing farce of the 1920s, revived and adapted by Alan Ayckbourn, at the King’s Theatre in Edinburgh.
Review by Lucy Vivante, Lucas and Michael Miller. Owners Kenneth Kozak & Eliza Fitts 50 Main Street Wellfleet, Massachusetts 02667…
Lucas Miller’s notes on visual and geographical aspects of the kettle ponds of Wellfleet, Cape Cod.
Lucas Miller reviews Noël Coward’s famous comedy, Private Lives, in August, at the Barrington Stage.