The Voice: Dan Palmere's Blog

Sherlock Holmes: Review

I went to see Sherlock Holmes with a couple of friends this past Monday evening. The sizable theater filled up about halfway by the time previews began.

The name "Sherlock Holmes"  was something I was vaguely familiar with prior to the film. I knew he was some type of detective and possibly fictional. Also, his first name is often used in conjunction with a profanity as a common expression when one rebukes an individual who has just stated the obvious. I think you know what I'm referring to. 

During the course of the film, I was easily captivated by the classic "solving a mystery" plot. The script was incredibly witty and sophisticated. It had the right touch of traditional British humor (dry) and at the same time had the pacing of an American comedy. It's extremely accessible to a wide-range audience. 

Guy Ritchie's directorial choice with Robert Downey, Jr. (Holmes) was fascinating. There was a seamless transition of an Adrian Monk type obsessive compulsive observation and the street-tough mindset that helped him in many situations in the film. "Holmes was a gentleman, but he was also a street guy who could scruff it up a bit. I thought the story had lost that part of its essence. I like street life, but I like grand things, too. Being able to move within those two worlds appealed to me," said Ritchie in an interview. 

After seeing the film, I learned that Sherlock Holmes was indeed a fictional character who first appeared in print in 1887. Characterized by the Scottish author and phyisican Sir Arthur Conan Doyle, Holmes was famed for his vast knowlege of many topics and attention to tiny details to solive big cases. Doyle wrote four novels and fifty six short stories that feature Holmes. 

If you can't catch this film in theaters, I would definitely recommend it as a rental for movie night at home. It has a great balance of humor, action, and suspense all packaged into a mere two hours. 

Holmes and Dr. Watston discussing the mystery. 

Playing for Change

Last night I went to a film screening at Berklee of "Playing For Change". I'd heard some details about the documentary and thought it went along with my growing interest in taking an active approach to social change through the local community and awareness within myself. 

When I arrived I was pleased to see such a great turnout of faculty and students. The DVD started and there was an amazing sense of focus and clarity in the room. What was most inspiring to me about the film was witnessing the pure joy of music performance in the eyes of people all over the world. At Berklee, I've been on and off with having that deep sense of enjoyment when performing. Every day you are surrounded by a lot of competition and critique. Sometimes we fall out of the core sprit of how music can affect our state of being as well as others. 

"Playing For Change" brought artists from America and around the world together to perform on successive recorded tracks. Each culture or individual brought their own interpretation to the table. The mixes created by the producers were really quite beautiful. The aim throughout the 1.5 hour film was to demonstrate how music has and can create positive social change. It breaks down barriers of political and religious arenas and allows individuals to build something creatively. It doesn't matter who's right or wrong. 

The discussion following the film was equally as fulfilling for me. Faculty panelists Christiane Karam and Kimberly Khare led the audience in initial reactions to the documentary. We reflected on how the current state of radio doesn't reflect music that approaches positive messages and social change as it did in the 1960s. Many students shared personal stories of how music has been a saving grace in their lives; how it can transport us beyond the trite "issues" of daily life. 

As artists, we have responsibility on the content we perform or write. Is it serving a purpose to influence people, or is it just another pass at trying to get signed? These are things to think about as the future of music continually evolves.

Perhaps the fusion of all cultures to create a more universal approach to music is the next step. We can start by beginning to be aware of world issues and awaken to the beauty of life. Begin to cease forcing your "beliefs" on others and realize that those people just are not in the right time and place to see things a certain way. 

Start with yourself. Accept what comes along and embrace each moment. Smile at the sunrise.

 

My Dinner With Andre

Few people know about this 1981 cinematic gem by Louis Malle. I watched it with my brother a few years back and was immediately drawn in to the fascinating language and arguments. No special effects, minimal camera work, and a small cast provided the intimate setting this film deserves. The plot is shared by both the audiences and duo on screen: a philosophical discussion that begins to make us conscious in a world beginning to lose sight. 

The two central characters (played by Andre Gregory and Wallace Shawn) share a dinner set in an upscale restaurant in New York City. Shawn is a struggling screenwriter and actor, Gregory is an acclaimed director that Shawn had been avoiding because of rumors of him losing sanity and traveling to distant places. What happens in the following two hours proves to be a revealing and thought-provoking film pointing at the need to stop operating by habit and start bringing awareness to our lives.

Roger Ebert desribes it in his review (on Great Movies list) as a film, "completely devoid of cliches." The beautiful thing about the script was that it was carefully crafted over a year from actual conversations between Shawn and Gregory. 

If you can locate it on DVD, I highly recommend it. I finally found it over at Newbury Comics. 

Seven Pounds

The feeling of a guilty of conscience can be unbearable sometimes. In the case of Ben Thomas (Will Smith) in Seven Pounds (2008), it's hard to live with yourself. 

This film's plot seemed to be unsettling. I never felt grounded -- just a series of events leading back to the explanation of the emotional opening segment. It was painful to watch Smith's character go through what he did, but you're left with a sense of admiration. The message stays with you for some time: to live selfless. It's tough to forgive events in your past. However, by doing so, we can relieve the present pain we're in. Embrace the power of now. 

Seven Pounds is great for a lazy afternoon viewing. I find it's one best enjoyed on your own. Will Smith said in an interview, "I was attracted to Seven Pounds not because there was a fantastic one-liner that I could sell around the world very easily, you know? I was attracted to Seven Pounds because there were ideas. There were emotions. There were parts of this character that I was hiding myself from. I took Seven Pounds almost as self-examination -- as a self-exploration." 

I like movies that allow me to look more into myself and challenge beliefs. 

Slumdog Millionaire

Dubbed as "the feel good movie of the decade" and staking claims to numerous awards, I felt the need to finally sit down and watch Slumdog Millionaire (2008). 

I always enjoy when films start in media res, because it leads you on to learn more about what's happening. This is how Slumdog started and it was woven between the main character's performance on India's version of Who Wants To Be a Millionaire? and his life growing up as a "slumdog" in Mumbai. 

Simon Beaufoy, the screenwriter, did some amazing research to create the characters in the film -- drawing from the text of the award-winning novel Q&A (Vikas Swarup), on which it is based. Beaufoy interviewd street children and spent time observing the city culture. He drew personal experiences to the screen (including the cringe-worthy scene in which we see the main character as a child for the first time). He states during his visit, "I realize that the tone of Slumdog Millionaire wasn't in the end created by us film-makers but by the city itself. We were infused by a people that celebrate life unconditionally, in all its joys and hardships." 

Director Danny Boyle in an interview said, "Working in the slums, you realize the people are the same all the world over. They're decent people who want a good upbringing for their family. They want to keep in work. They want to have a bit of dignity about their own lives." 

That's probably the biggest thing I got from this film -- was a view into a fictionalized portion of Indian society. It made the love story running through the plot more challenging and real -- like a modern, 3rd world version of Romeo and Juliet. 

Defiance

I've always had a fascination with films about life during World War II and the stories that surround it. There's also a certain attraction to the underdog fighting back for what's morally right. We see this in films like: Valkyrie and Escape from Sobibor. The big thing for me is coming to the realization that the events described in movies like that actually were real. There was a time (and unfortunately in some parts of the world today) when people genuinely feared for their lives on a daily basis. 

Defiance (2008) was a film that really captured the essence of that feeling for me. It's the true tale of two Jewish brothers forced to hide in a forest in Eastern Europe as the Nazi forces invaded the area. They soon discovered others who had fled their homes in fear of living in ghettoes or sent away to concentration camps. What's left is the means of their survival from outside enemies and enemies inside the community. 

Director Edward Zwick (Blood Diamond, The Last Samurai) was questioned in an interview about his success of bringing these great stories to life, responded, "just the fact about getting these movies made that I care about, as an opportunity to be an artist, but also hold up to the mirror to the world, is an extraordinary opportunity. It's also a responsibility I've always felt, and I hope that I'm able to keep doing it."  

Defiance is a great film to add to your list to see. It's an overall great story, with touching subplots running throughout. If anything, you'll gain a little insight on the lives of the forest-dwelling refugees and how their efforts led to the lives of tens of thousands living descendants today. 

Vanya On 42nd Street

A 1994 retelling of Anton Chekov’s Uncle Vanya (as translated by David Mamet), Vanya on 42^nd Street creates a pleasing aesthetic and refreshing dialogue for a modern American audience. During high school, our drama department performed an updated version of William Shakespeare’s The Taming of The Shrew. So, I have so first hand experience with how much actually goes into rehearsal and analysis of lines to appeal to a present day audience. Vanya begins as a sort of prologue to the performance of the play. Seamlessly, the actor’s break into the dialogue of the script, as we see the camera wittily turn to show the “audience” and director watching in front of the stage. I tried to follow the written script as a watched the film again and noticed things were changed and taken out, which seemed appropriate.

The very first thing I noticed when viewing the film was Wallace Shawn and Andre Gregory in the opening video city life montage. I had seen My Dinner with Andre about a year before this, which became one of my favorite films in terms of dialogue content. I assumed then that this film would have the same philosophical ideals---which to an extent it did contain. The actors seemed to really have the lines internalized and retold the story with strength, acute precision, and reflective of American ideals. This was the first stage-to-screen adaptation I had ever watched, so I found it difficult to analyze camera angles and color palettes. Instead, I did notice the actor’s placed in appropriate wardrobe, and the camera sensitive to facial expression and the ensemble’s comfortable interaction with each other. Roger Ebert notices in his review about the director that, “Gregory's attitude - absorbed, fascinated, unobtrusive - sets the tone for how to watch the play, and Malle's camera goes for exactly the same tone. The “backdrop” of the old theater, I felt, was the perfect setting for this traditional Russian story. I think about how different it would have been in a lavish theater uptown with carefully designed props and scenery. This directorial choice I felt put more emphasis on the dialogue, which is really quite poetic and entrancing. One scene, late at night in the dining room, Yelena asks Vanya, “Why do you drink?” to which he responds, “Because it gives me the illusion that I might be alive”. Somehow this line stood out for me and made me reflect on how probably many people felt the same way at the time Chekhov wrote the play. It was a period of illusion and wayward lifestyle --- and even that connects to modern America on the stage on 42^nd street.

I read that Anton Chekhov invented a “stream of consciousness” technique in his writing. He insisted, “The role of an artist was to ask questions, not to answer them”. When you look back on many of history’s great performers and artist, this statement stands true. They are honest with their work and create an open-ended dialogue with the audience. This film could have just as easily been retold as written. Nevertheless, the actor’s in the film eliminated unnecessary elements from the original while still keeping Chekhov’s original intentions. 

Cinema Paradiso

Cinema Paradiso from Italian director Giuseppe Tornatore “projects” a fascinating story with noteworthy cinematographic techniques and strong acting ability. The first thing I noticed, even with the first few scenes, was how with the aid of the score, the movie was able to combine a sentimental and comedic feel at the same time. For instance, when we see Father Adelphio watch the movie inside the church for the first time and Salvatore watching, I grinned at the situation and felt compassionate at the childlike innocence of both characters. Tornatore commendably gets the viewer right in the scene and character as if you grew up in the small Sicilian village. I was additionally impressed with his ability to use relatively contemporary comedic timing. One that stood out for me, towards the beginning, was when the two illiterate men have a moment. The shot does not cut away too quickly, but rather lingers on their faces, thereby creating a strong comedic pulse----like a comedian wouldn’t just rattle off jokes during a standup routine; the pauses are truly what give it that edge. Generally noted, the entire first movie premier scene was quite humorous with the comments from the audience and their reaction to others and the film (“25 years going to the movies and I’ve never seen a kiss”).  The numerous comedic motifs: village idiot and the sleeping man in the theater were a nice touch to the regularities of small town life.

Perhaps it was just because I just watched La Dolce Vita, but this felt so much more refreshing in terms of scene sequence and having a flowing effect. The score was definitely more apropos in terms of supplementing the content, rather than being its “own performance”.

Roger Ebert states in his review, “The earliest parts of the movie are the most magical. Then things grow predictable: There are not many rites of passage for an adolescent male that are not predictable and not many original ways to show the death of a movie theater, either.” An except online states that Giuseppe Tornatore's intention was that this movie should serve as an obituary for traditional movie theatres (like the one on the film) and the movie industry in general. While I can say I’ve never witnessed a film on screen like that, I can see how much more instrumental movie events were for smaller communities like that; the screen drawing them together. Now, with theaters everywhere it has become more of a commercial pursuit, especially in America.

Cinema Paradiso examined deeply the idea of “cherished regret.” As a filmmaker, Tornatore’s lifelong experience of seeing films, probably much like Salvatore was coming to an end. In a way it’s like a really well written song: nice approach (myself, a fan of flashback movies), honest dialogue (lyrics), motives (comedic figures), and an overall strong performance by the cast, but not in such a way as to overpower the tone. Having actors for the sake of name would have drawn away from the local nostalgia that I feel Tornatore wished to create.

La Dolce Vita

La Dolce Vita, directed by the legendary Italian filmmaker, Federico Fellini, stands out as a powerful piece of contemporary European film. I think on some level there is a message behind the “playboy” lifestyle that serves as a metaphor to that society at the time. For a first time viewer, like myself, I found myself a bit confused during the course of the work. A standard American film, artistic or not, will throw out a plot hook and pull you through to the end. La Dolce Vita wandered through these different “murals” (scenes) and very elastically connected ideas. I had the idea of the film being related to Lost in Translation from the start---as from the scene when Bob and Charlotte watch the Trevi Fountain clip in the hotel room. Sofia Coppola stated in an interview, “I saw that movie on TV when I was in Japan. It's not plot-driven, it's about them wandering around. And there was something with the Japanese subtitles and them speaking Italian - it had a truly enchanting quality”.

Coppola’s statement is right where my focus is/was with La Dolce Vita. One can’t have too much expectation for a great plot line, but instead can grow with the characters and form opinions not forced on by Fellini. The first thing I noticed with casting, as mentioned in class, was Fellini’s obsession with creating the perfect face for a character. Two that caught my attention were early on; Maddalena walking into the poor woman’s apartment along the wall created a beautiful image. Second, the young girl working at the restaurant displayed her profile, perfect. He also did a great job with directing facial expression of the actors. In terms of overall cinematography, I felt that Fellini was more interested in production values. I realize this was made in 1960, but some things came across a little rushed then perhaps some of the previous films we viewed. I had an idea, that would of course change the film in a sense, but if it was released as a silent film, I believe it would come across just as effective, if not more powerful. I tested this while watching some scenes, and body language and scene setup seemed fairly clear without audio.

La Dolce Vita reminded me a lot of The Great Gatsby. After reading Fitzgerald’s book you see that there are this group of people living lush lives complete blind to society’s tribulations. They feel more alive when living depraved and frivolous. The characters in this film never took time to get too deep into relationships and became only concerned with their own self-interests. We can this as a contrast from Lost in Translation because Bob and Charlotte although only knowing each other for a few days develop a complex friendship, while on the other hand, Marcello spends his nights chasing new love interests and feels the strain of his girlfriend living at his home.

Overall and honestly, La Dolce Vita confused me and I had to work to focus on what was happening every moment. I see it not as some incredible masterpiece but a cautionary tale to not waste your life away. It’s easy, I would say to identify with a character like Marcello as a twenty something. 

Fargo

A 1996 classic “tall tale” from the Coen Brothers, Fargo, takes its audience on a journey of irony, dark humor, and local color. The film itself received positive praise from Roger Ebert and claimed a handful of Academy Awards (Best Actress, Best Screenplay). I’ve never traveled to regions like Fargo in my life, but I can imagine this type of story being one people tell with a flare of innocence and emotional “brush-off”. The actions in the film are so extraordinary in relation to the character types that it comes across as odd, even unbelievable. I think the false introduction “true story” text is necessary to add some shock value for the viewers to keep watching. Who wants to see a movie about a boring town like Fargo? From the beginning a motif is introduced---the road. We see this shot at different points and it pulls the plot towards dénouement. Up until this point, I’d never seen a dark comedy—which is what I’d classify it as. The obscene violence carries this ironic tone throughout the film.

First, I love the screenplay. There is a great blend of realism and comedy. I find listening to the dialects of the natives hilarious----even in the most serious of encounters. The entire narrative kept me on the edge of my seat, in a sort of innocent manner; I wanted learn more, just like the people of Fargo. While the concept of the film came across as familiar, the way the Coen brothers brought to life such a tale made Fargo a unique experience. The classic “good guy-bad guy” setup is reminiscent of classic American western films. The father-in-law stands for justice and tradition, like a sheriff. Jerry’s quest for stability and common problems portrays himself, to me, like an ordinary citizen. And of course the villains are what they are. In the case of Fargo, Gaear, one of the accomplices, has a sort of animal-like instinct to crime. When he is hungry, he gets food. When he senses danger, he kills/defends himself. He reacts bluntly to the instant he’s in. Carl talks himself into deciding criminal behavior is all he is capable of doing and still manages to always get hurt. To me, he is the saner of the two.

I think the setting and time of year were perfect for this movie. It makes the region of the country more identifiable and adds to the intensity of murder in the “dead of winter.” The characters were developed crystal clear even those who did not have large roles. The relationship between Marge and Norm is very clear within seconds after they wake up and Norm clears his throat. They’re simply comfortable around each other, and there is even some role reversing going on with the fact Marge leaves in the morning for work while Norm stays at the table eating breakfast.

Fargo made me react both emotionally and physically. The past films I’ve appreciated in my mind, but I couldn’t help wincing and cringing at many of the violent scenes, in particular the last with Carl in the wood chipper with this film. For me, I don’t see it as a “great film”, but it is once of the few we’ve seen that I could watch multiple times and not get bored. That must account for something, don’t you know. 

Lost in Translation

Lost in Translation, written and directed by Sofia Coppola, has now become one of my favorite films. Not only for the cinematography, but the writing tone and how I felt after it ended. It was a “feel good” movie for the right reasons. The audience is left wondering what Bill Murray whispered into Scarlet Johansson’s ear.  Not a typical American cinematic ending. The film’s low budget did not distract from the intricacy of detail in both character development and camera shots on location in Japan. I love how the camera shots lingered allowing humor to be not as in your face as typical comedies tend to do. For instance, when Bill Murray stands in the elevator in the hotel in the middle of all the Japanese men. The audience is taken on a disorienting journey like the characters in the film. They both are at different dilemmas in their lives. Charlotte is not sure what to do with her life, a recent philosophy graduate. Bob is at a career and mid-life crisis. Somehow the connection between the two deepens rapidly and they find comfort in each other’s company.

The first thing I want to point out is how Coppola does a superb job at having this dark overtone throughout the film---in contrast, Tokyo the city is very bright. The undertone of the film is actually a very comedic glance at how only two complete strangers can have such a meaningful life experience. Coppola’s direction allowed the actors to truly come alive, the conversation very realistic. By the end, I think I respected the fact that what Bob whispered was secret. I loved being able to decide for myself what was said and I think the characters were both satisfied with the final outcome.

The script’s dialogue never got too intense, I felt. Even in what is arguably one of the most important scenes with the two lying in bed, the conversation was filled with general understatements. I felt comfortable with this though. I’ve seen too many movies where I say, “Only that would happen in the movies.” Lost in Translation was completely different. Everything that happened seemed like a dream, but vividly real and personable.

The score was fantastic. I even looked into some of the bands on the soundtrack after viewing the film. I think by playing music people aren’t familiar with keeps the audience on track. Plus, the story takes place overseas. Using typical American music would have ruined the tone.

The film was a perfect balance between melancholy, satiric, and ironic. I watched the behind-the-scenes footage and was really impressed with how the crew got certain shots in real time. The street scenes were done without any approval, as well as the subway. I noted that Coppola has a calm disposition when directing. She tends to let the actors take creative control. I think that really shined through in the overall performance of the film. This is definitely a film to add to anyone’s DVD collection.

Apocalypse Now

Title: Apocalypse Now
Release Year: 1979
Director: Francis Ford Coppola
Run Time: 153 min -- 202 min (Redux version)
Genre: Action/Drama/War
Oscars: Best Cinematography, Best Sound

Review:

Francis Ford Coppola’s Apocalypse Now is a gut-wrenching, thought-provoking, and provocative tale of a man’s internal struggle during the external struggle of the Vietnam War. Even in the first few moments displaying an attack of napalm we can see the undertone image of Willard’s face---obviously going though an emotional/mental challenge. In my opinion, it reflects the view many Americans held about the conflict in Vietnam. While Kurtz’s ideals seem unorthodox and “insane” to the generals at the beginning of the film, his logic is clear and direct—something that seemed to be lacking in the upper ranks of the American military. The message was effective without being entirely violent and shallow, as a majority of war films tend to do. Willard’s character was very introverted and as he stated, he felt at home in Vietnam, specifically the jungle. Some of his qualities reminded me of Tom Hanks in Saving Private Ryan. A line that stuck out from his voice-over to me was, “I hardly said a word to my wife until I said yes to a divorce.”
    A technical aspect of the filming was the great placement of the camera. Coppola beautifully caught angles that put the audience in all first, second, and third person. Vittorio Storaro won an Oscar for Best Cinematography in this film. A well deserved award for capturing scenes with brilliant lighting in both day and night scenes. One specifically that stood out to me was when Willard first confronted Kurtz in his camp. We don’t see his entire face for quite some time. The light is exposed on different areas on his face over several minutes---then when it’s discovered, it comes across as like an iconic symbol or very powerful presence.
    In regards to the score, composed by Carmine and Francis Ford Coppola, I felt the film deserved more. As a whole the music was very computerized, like all MIDI instrumentation—low budget-like. There were a few appropriate motives, but to me, it all seemed very dissonant to the film’s overall tone.
    Another aspect of the film I enjoyed was how the script took the audience on this journey, like the boat on the river. There was some comedic relief interjected: surfing, Wagner played from the helicopters. Also, a few classic film lines that I did not came from this movie: “I love the smell of napalm in the morning”, and “the horror…the horror.” Aside from this, I felt that the scene with the soldiers on the French plantation detracted from the story’s overall arc. I can see though why Roger Ebert’s “Great Movies”. Truly a classic and one I will definitely add to the DVD collection.

Trois couleurs

Like a number of Americans, I was fairly immune/ignorant of foreign films. I knew they were out there, easily assessable, and had subtitles. That last point is what draws many people away. If it isn't within the confines of comforting plot lines we all know or the actors we're drawn towards, we'll have nothing to do with it.

In the film class at Berklee I'm taking, we started the semester off with a beautiful French trilogy from director Krzysztof Kieslowksi. trois couleurs (Bleu, Blanc, and Rouge) give us a look into contemporary French society on a deeper level. Some would classify these films as "artistic", which they are in some way, but they can still appeal to a wider audience.

Each film deals with a different aspect in society, related to the respective color of the French flag. They're great films to start your look into the foreign film world and perfect for those film buffs who love analyzing color, light, and symbolism.

Reservation Road

This 2007 drama/thriller took me be surprise. I half expected it to be just what it advertised. Though, once it started, I started to see things differently. 

Reservation Road tells the story of a family who loses their son in a tragic hit-and-run accident. They work to find justice themselves, seeking the perpetrator, when it seems as if no one will help. In that since, the message is somewhat evocative towards the contemporary American justice system.

The father, Ethan Learner, gives an honest and realistic performance dealing with his personal struggle and that of his family. 

Terry George, director, made great use of lighting to support different scenes. As a whole, the movie's plot seemed to progress in dark or dimly lit scenes. 

Thinking in a critic's standpoint, I could understand why it received mixed reviews or did not claim any awards. It was a very standard plot line. The character's develop as we, the audience, would expect. The film score syncs perfectly. Sometimes, things that are extremely unorthodox receive the most praise. However, this modern hidden gem delivers a powerful message and enthralls your attention right from the start. 

Check out the trailer. A great middle-of-the-day movie to watch. 

Forgetting Sarah Marshall

I saw this film for the first time last night with my roommates on a whim. We didn't start it until about 12:30 AM. 

Thoughts?

It was great for just that: a movie to put on late at night to laugh at its exaggerated and sometimes cliche comedic themes. I'm taking a film class this semester, so I'm getting in the habit of analyzing camera angles, subtle references, and directorial choices. I decided to stop myself early on because I wanted to enjoy it and not be so harsh to critique. 

There were a ton of plain laugh-out-loud moments. There were moments you just had to look away. This can definitely be enjoyed on your own or with a group and I'm sure was a riot to see in the theaters.

This "grown-up romantic Superbad" is great for a night in with friends, but one I probably won't add to the DVD collection to reminisce on years later.

October Sky

One thing I took from this movie is that we can't be afraid of determination. 

How many crazy ideas to we brush off in a given day? Week? Month? The main character of the film, Homer Hickam, thought his life was destined to be spent in the coal mines of West Virginia. His family and circumstances stood against his pursuit of a dream. 

Hickam became an expert at a process. It's been said that serving 10,000 hours to any subject will make you an "expert" at it. Of course, there are variables to this, but many stop at 5,000. 

Try recording your crazy or not-so-crazy ideas in a journal. If something fascinates you, pursue it. If you want something, write it down, and let 30 days go by. If you still want it, you know it will be worth waiting for. This has helped me control impulse purchases and chasing improbable personal resolutions. 

There are always a million reasons not to do something. But the times we do, we feel all the better for having tried and tested a new aspect of life. As it's said, "to be old and wise, you must first be young and foolish". You can start anytime.

Curious Case

Just got back from the movie theater to see "The Curious Case of Benjamin Button". 

Unbelievably brilliant. I knew when I saw the trailer for this, it would be a hit. The movie concept was based off of F. Scott Fitzgerald's short story. I often found myself welling up during several scenes. 

The best description I could garner up: A cross between Titanic and Forrest Gump. Both have great story lines, dealing with love. Button, played by Brad Pitt, reminded me much of Tom Hanks in Forrest Gump, in that everyone around him continually changed, even as he changed himself. He had a deep curiosity and pure innocence. 

We'll see how it fares in the Golden Globe Awards---though, this will be one I'm sure to purchase upon DVD release. Highly recommended.