Cinemusings

CINEMUSINGS INTERVIEWS AUTHOR AND FILM CRITIC PHIL HALL

For many of the readers here at Cinema Crazed, not many are aware that there are thousands of filmmakers and over sixty independent film distributors currently producing quality independent films that you may never see. And to that I encourage you to go out or go online and seek them out. Or, if you don't want to go through all of that trouble, pick up Phil Hall's latest book "The Encyclopedia of Underground Movies", a comprehensive compendium of underground filmmaking and its origins. For people numb to box-office poison, Hall's book will come as a shock to the system of anyone seeking fresh new material. Hall provides URL's to many distributors, online stores, he profiles many films (a few of which we've reviewed) and explores the myths and little known facts of underground filmmaking.

Also, in my favorite section, he scrutinizes the Sundance film festival, and pays homage to its spin-offs, one of which being Slamdance, a film festival that features films from very talented filmmakers whom may never be given the exposure they want. I reviewed many shorts for Slamdance, and there's so much undiscovered talent there. But, there's hope, as Hall examines in the book. Some may never be discovered, and some may achieve fame. Hall, whose written for many major newspapers, and is a colleague at Film Threat, agreed to give us an interview.

His book is a page turner (of which I finished in three days) for anyone seeking to break out of the world where Rob Schneider and Michael Bay loom. He discusses films that no one knows about, and interviews notables like Debbie Rochon. We here at Cinema Crazed have a true appreciation for underground and independent filmmaking, and have become a slowly growing resource for independent filmmakers, and Hall is the man to go to for an interview on the subject of underground filmmaking. Hall, a very funny and intelligent man (and fellow New Yorker) sheds some light for us:

How long did it take to write the book?
The entire book took six months to write, which is a ridiculously rapid time period for such an endeavor. And having periods of writer’s block during this project didn’t help!

Where does your love of film stem from, whom or what inspired you to become such a film buff?
It was always there, ever since childhood. Movies are the ultimate addictive substance – they hook you in childhood and keep you in their control until you close your eyes for the last time. I am fortunate that I can profit from this addiction by writing about the subject. I am even more fortunate that people are willing to read what I am writing.

You know so much about independent filmmaking. I guess what I'm asking is, can you adopt me?
Okay, but you’ll have to sleep in the basement.

One of the funniest passages of the book involve your promotional screening of "The Underground Comedy Movie", and the utterly horrifying reaction from the critics to you. Was there ever another screening experience of that sheer trauma?
Mercifully, no. “The Underground Comedy Movie” was an independent production that I did the PR for, and I coordinated a press screening that was a disaster – no one laughed during the entire screening. In fact, all you could hear was the clickety-clack of the projector – the silence from the unamused critics was chilling. After the screening, I got the nastiest looks from the critics and I blurted out in my defense: “I didn’t make the film, I’m just promoting it.” Mercifully, my dear friend Peter M. Hargrove (a well-known distributor) was there and he chimed in: “Hey, we all have to stuff like this to pay the bills.”

You list many, if not, all of the film festivals that take place each year from Sundance to No Dance. Which festival have you found often holds the most talented filmmakers, and richest films?
That is a fascinating question. Festivals are the ultimate hodgepodge – you rarely find 100% quality. Usually, there are great films, good films, so-so films, and burn-the-negative films all under the same roof. Alternative and underground fests, such as the B-Movie Film Festival or the Brooklyn Underground Film Festival, tend to go for the edgier stuff and I am more drawn to those happenings.

Do you think creating an independent film out of a very small budget ends up becoming more of an intimate experience than an "independent" film with big stars at Sundance, or is filmmaking in general just an intimate experience?
No. I’ve seen plenty of no-budget stinkers. Quality has nothing to do with budget. There are great movies made on a shoestring and great films made on epic scales. The genuine measurement of success is a strong screenplay, imaginative direction, and the right mixture of cast and crew.

Can you suggest low-budget, generally obscure films for people numb to Will Smith and Lindsay Lohan films?
Where can I begin? Many of these films are hard to track down, since they are not in wide release (theatrical or DVD)But I am a huge fan of the movies of Antero Alli, who has a distinctive view of a society where humanity and person-to-person communications have broken down. Baltimore-based Jimmy Traynor has an astonishing canon of more than 150 films (mostly shorts) that range from slapstick to horror to family films. You can check out distributors like Film Threat DVD or SRS Studios or Microcinema International to see what they have on tap from the under-heralded filmmakers.

Jim Emerson observed that not any one person can review a film. People go to the movies and assume since they watch more movies than others, that they can easily jot down their thoughts and call it a review. Do you think it takes a special sort of person to review a film, or can the skill be acquired?
It ain’t brain surgery. It is all about looking at the screen and then sharing your observations in a manner that is intelligent and insightful.

Do you think audiences stigma towards film critics as merely snooty, collegiate, elitists whom thumb their noses down at them stems from the media, or their own misconceptions?
I think people stopped paying attention to most critics ages ago. Films like “RV” or “Poseidon” make a ton of money despite overwhelmingly horrible reviews, while critically-adored films like “Lost in Translation” bomb commercially when they are put in wider release. Go figure.

Do you think I'm a snooty, collegiate, elitist?
No, you’re cute.

What are your thoughts towards the film studios attempts to marginalize and render film critics irrelevant?
Show business is a business and the studios will do everything they can to protect their investments. I understand their point of view, even if I don’t support it.

As a follow-up, do you find it irritating to see many film critics using the profession only as platforms to fuel their acting, directing, or screenwriting careers, or do you view it as the mundane?
Hey, people will do anything to further their own careers. Can’t blame them.

Do you find that it's difficult to give a negative review to an independent film that ends up being really bad that you've discovered was made by a filmmaker who gave their all in the production?
I hate giving negative reviews. It means that I have to sit through a movie I don’t like, then it leads to cracking nasty on the work where people devoted a lot of time, money and energy. For smaller productions by first-time filmmakers, I try to go easy on them if I have to write a negative review. The big Hollywood types, however, should know better and I don’t have any problems skewering them.

What are you thoughts on the decline in consideration and etiquette in film theaters?
It’s a fucking shame.

Have you ever dipped your feet in to the independent filmmaking pool? If not, have you ever contemplated it?As an actor, I’ve done a few indie movies (mostly small parts). I would like to make a film, but that requires time and money and intelligence – three things I don’t currently possess.

Do you have a favorite film of all time? If so, what is it?
“Rashomon” by Akira Kurosawa.

What do you have lined up next?
The new book, “Independent Film Distribution,” comes out in November.

In three words: Why should people read your book?
It is fun.

Where can readers find more of your material?
I write for Film Threat -- just do a name search for Phil Hall and you will find me.

Where is “The Encyclopedia of Underground Movies” available?
At your local bookstores or online at Amazon, or via my publisher Michael Wiese Productions (www.mwp.com).

And there you have it, folks. Many thanks to Phil Hall for taking time out of his busy schedule. It was enlightening. Be sure to check out "The Encyclopedia of Under Ground Filmmaking: The Fringes of Cinema" as soon as you can, you won't regret it. Long title, fun read.

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