BOB LEFSETZ on being an ARTIST

When Bob Lefsetz' muse in turned on, there's nobody better than him. A few days back he wrote a post called 'Artists'. Here are some key points.

"As a result of crass commercialism, primarily MTV and now the Silicon Valley rush to riches, our vision of art has been skewed. Money comes first. It’s readily available to he who succeeds, and there are short cuts to ubiquity. But most people employing these short cuts are not art."

"So there are two camps.

One camp is peopled by aggressive individuals who want in. This is the reality television crowd. How can I make myself into a character, push ahead of so many others and get screen time? Remember the art kids in high school? They never grubbed for grades, they never fought to get ahead, they questioned this herd mentality/behavior, they hung back."

"So we have a world where the aggressive, normal people and the desperate poor will do anything to make it, get plastic surgery, change their soul and their sound to fit the desires of the man, of the system.

Ain’t that what "American Idol", "The Voice" and "X Factor" are? Do it my way, I’m an expert. The judge/advisor is no different from the principal, and if you think the art kids listened to the principal, you were home-schooled and have no clue."

"But don’t confuse commercialism with artistry. Most people are just passing through. Their stardom is brief, they’re puppets whose strings are pulled. When their moment is through, they get desultory day jobs or go back to college and move up the corporate ladder. An artist can’t do this. He can go to college to prepare himself to be an artist, but not a doctor, lawyer or manager. And he continues to create irrelevant of success, it’s in him."

"With the crumbling of old institutions, the time of the artist has returned. With less money in music, only the artists persevere, because they’re not in it for the money. There’s a reason why Joni Mitchell is an icon and Vanilla Ice is a joke."

Make sure you read the whole thing here.

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Starbucks Profundity

I'm sitting in a Starbucks just across the road from Tottenham Court Road station, and was just hit by this pang of missing New York. This Starbucks reminds me so much of the one in Manhattan, somewhere between 66 St and Columbus Circle. There are probably twenty Starbucks between those seven streets, yet somehow I'm longing for a particular one.

The cynical thing is to say that all Starbucks are the same and whether you're in London, New York or Japan, Starbucks is Starbucks.

But the way it feels right at this moment is that I could be in New York. The feelings I'm feeling, that longing and comfort and excitement in my mind, it feels like New York, not London.

It seems accidental, and outside of my control. Sometimes I can be so stuck in one place, one idea, one feeling. But sometimes I'm able to be somewhere else in my mind completely.

Right now it's in Starbucks with Bry, somewhere just North of 59th St. He's as good as here. I'm as good as there. The mind is amazing like that, how we can be transported across borders and time. So much of creativity is getting out of your current condition and finding another feeling, another insight, another reality. If only it was as easy as it feels right now.

I've had this all my life. Little pieces of poignancy, where I'm picked up from nowhere and carted off into another world. The lady with the laptop who just looked at me thinks I'm sitting in front of her when really I'm a thousand miles away. I want to step out of the door and take a walk in Central Park. Maybe I will. Whether it's for real or in my imagination, what's the difference?

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Take Risks

On any given day in any given year you meet an actress and she says "I want to develop a one act play about poverty", and you meet a writer who is planning a script about what it was like growing up on a farm, and some guy goes out of his way to tell you about a project he wants to do, taking photographs of all the red phone boxes in London.

Dreams and visions and hopes live in these projects. You fast forward six months or four years and none of the projects are done.

What does it take for someone to get started? How do you stay with it through the hard stuff? What kind of person do you need to be to find your way to the finishing line?

Saying you're thinking of doing something is the easy part. If you want to be someone who finishes a project you have to be someone who finishes the project.

Don't hold out for perfection. No art is ever perfect. But creating something is always more perfect than creating nothing at all. Imperfections and problems breed your very best moments as an artist. Take risks.

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VUE WESTFIELD STATFORD CITY - New Cinema Review

The opening of a brand new cinema is always an exciting thing because we are always being told that cinema is dying. The opening of a 17 screen Vue Cinema in London's Olympic city allows us to believe otherwise. It also gives us something to do while all the corporations and politicians hog the tickets to the Olympic games.

Another thing to consider is that Stratford already has a cinema, the Stratford Picturehouse. And nearby there is also the historic Genesis Cinema, the Rio and many others. There is also a big Cineworld at the o2 (formerly owned by Vue). What impact does this cinema have on other movie theatres?

It's going to have a big impact. The independent cinemas struggle already, and now having a Vue nearby, in Europe's biggest shopping mall no less, is going to attract local cinema-goers, as well as the passers by who are eager for a movie.

Is that totally a bad thing? It's easy to be nostalgic about the Genesis, for example, but which place gives you the best experience?

I visited Stratford Vue Cinema on the opening day. An afternoon screening. It's quite possible I'm the first person who ever sat in that seat. I have to say, it was a very comfortable seat. This is probably because I was in a VIP seat (which I didn't pay for). If I was sitting where I was meant to be sitting I'd have had the first two and a half rows to choose from. The other five or so are for the VIP people. VIP?? Very Important Person?? The only importance these people have is the economic luxury of being comfortable with being conned.

But let me be honest -- I loved the experience. The screen was big, the picture quality perfect, the sound quality the best I've experienced in a long time. The seats were great too -- Vue use a steep seating design, which is like stadium seating, so the person in front is considerably lower than you are, meaning you get a perfect view of the screen. The film was projected flawlessly, I had plenty of leg-room, and because of the steep-seating, people's annoying checking-of-their-Blackberries was obscured from my view. In fact, there was no phone reception in the cinema, so all of that was kept to a minimum. I hope this is always the case!

Vue have done everything right in Stratford. They've mastered the art of the modern multiplex. The problem is, it's still a multiplex. Aside from a few Bollywood selections for the local Asian community, the films they show are hardly surprising. If you're a normal, sane person -- there's not much to complain about. But then if you're someone like me, you'll be craving the smaller cinemas. The old popcorn smell, the uncomfortable seating, the ever changing temperature. It's like football stadiums. The new Wembley sucks. Arsenal's stadium sucks. Everyone craves going to places like Upton Park, White Hart Lane and Anfield. They have history. They're places where you have memorable experiences. You'll never have the best cinematic experience of your life at a Vue chain. That's not what they're about. Vue cinemas are about watching a film and having enough space in your VIP seat to put all your M&S shopping bags. 

I give Vue Westfield Stratford City two ratings. My more objective, fact-based rating, is 8 out of 10. It loses points for the horrid premium seating system and also for having the disabled spaces in the very front row (normally cinemas make better spaces available a bit further back). It also misses out on top points because of the film selection. With 17 screens, they could be a lot more diverse than they are. 

That's my objective rating. 

My personal rating? 6 out of 10. 

The place has no soul! This is not what I love about the cinema! Segregating people based on VIP non-VIP? Cinema should never be about exclusion. People come to the cinema to get away from their problems, not to be reminded that they're poor. People getting standard tickets are stuck in the front couple of rows, the richer people sit further back. 

Ever been in screen one at the Cineworld Haymarket? Or spent a night at the Genesis? You're not just watching film, you're partaking in an event. A ritual. A place that feels like a place for films. You know you're in for a treat, because films are something special there. Watching films in a shopping mall is not the same. And sure I'm biased, I feel protective of the little guys. I hope the Stratford Picturehouse will survive. Maybe it'll drive them to commit to showing more alternative programming -- world cinema and independent movies. They can build up their reputation during the Olympics. Show the world what cinema is really about, rather than trying to prize people away from Vue with the same 'Transformers 4' or whatever's out next year. The Prince Charles Cinema in the West End has shown that being alternative and independent can work in the over-crowded multiplex market.

Inside the Prince Charles Cinema 

If you find yourself in East London, I'll understand if you want to visit Vue, and I won't judge you. After all, I'll be there sometimes too. But just remember what you're doing. If we're not careful, we'll kill what we love about cinema. The Rio opened in 1909. The Genesis has been a venue for entertainment for over 150 years. Keep your clothes shopping and your cinema viewing separate if you can.

Empire Cinema, 1946. Now known as The Genesis Cinema.

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The Old Age Art Project - An Experiment In Creative Blocks

Elena is one of my closest friends. I've known her for twelve years. Our lives are quite different these days -- she works long hours in a supermarket and I am making films. When we can, we meet up for a tea and catch up on each others lives and chat about days gone by. 

And then we talk about our careers. In fact, we met up this time because Elena is getting a bit restless in her job and wants to move on to something new. We planned to meet up, drink some tea, and then I would help her craft her new C.V, ready to send out to potential employers. We talked about potential jobs and where she saw herself working. 

The thing you need to know about Elena, is that she's a very talented artist. I've seen the stuff she did in her teens -- it was amazing. Extremely creative and unusual -- she really had her own style. But somewhere along the way, the creativity stopped. Life got in the way, and the paintbrushes dried solid. Whenever we meet up -- inevitably we get on to talking about art. We're quite similar in our creative thoughts and ideals. The difference being that I create a lot more work than she does. In recent years, she hasn't been creating anything at all. Whenever the thought arises, she instantly blocks it out, dismisses it, and moves on to other things. Whether it's distractions, commitments, or plain old self-sabotage -- she's never able to be creative. 

As we talked about potential career moves, it was very obvious to me that sitting in front of me is a talented artist. Underpinning all the thoughts about job changes and mortgages and bills is the fact that there's an artist bursting with talent. The problem is, that artist has been stuffed away and lost. Occasionally, she pops up and picks up a paintbrush or a pencil, but she's soon knocked down again by the world, and by herself. 

As we sat there drinking tea and eating pancakes -- I ripped off a piece of paper from my notebook and said "I want you to draw something about an old person and pancakes. You have three minutes."

I handed it over to her. She said no. Dismissed the idea. Her creativity doesn't work like that. I understood; neither does mine. So I ripped out two more pages and said "Tell me what to do and I'll write a two page scene." She said "Old people and feet." I wrote the scene immediately. It wasn't my best work ever, but I'd written it. I completed the task. 

I handed her my pen and offered these words: "Old age. Pancakes." She took the pen and paper and began working. I relaxed and browsed my Twitter feed. 

Three minutes later, she had created this:

What do you think? I think that's talent. Three minutes with my old pen and a piece of scrap paper. I loved it. 

I said that we should do a bigger project. Elena gave me her cute grumpy look which means NO WAY. Elena can be a perfectionist with her work. A huge reason that she doesn't create is because of how demanding her inner-critic is. When she creates, it has to be greatness. So I took the pressure off. I told her that the project will be anonymous and I'll share it on the blog. That way, even if it sucks, you won't know it's her personally. 

I gave her five scraps of paper and my pen. My rules were that she must create five drawings in a one week period, all on the topic of 'Old Age'. I also insisted that she use these scraps of paper and the pen that I gave her. If the drawings sucked? If they were useless? That's fine. The project is not about perfection, it's merely about creating. 

A week later, she gave me back the completed project. Her first art-work in years.

After it was completed, I interviewed Elena about the process. 

Prior to when we met up -- when was the last time you created a piece of art?

To be honest I doodled a little self portrait (from behind) maybe a week before this project. It came out of feeling totally frustrated that I couldn't just DO something. And then I did. It was small and weak looking but that corresponded with how I was feeling at that moment in time.

What has stopped you from doing it for so long?

Whenever I think abut drawing or creating anything my mind predictably connects back to a time in school when things were just awful for me, emotionally. I just cant seem to detach the way I was feeling and the things that happened back then, to make me lose faith in my sense of self, from present day life. It is a struggle to just do something and not stop half way through and tear it to pieces, both mentally and physically.

What is your ideal setting/environment for doing creative work?

I used to think I had an environment. Like I know at a previous time in life it was all about turning the music up and blocking outside family noise and just being with myself and the way I felt. But for this project I found myself doodling in the garden with my coffee and in the company of my fiance while he played me the most recent album on his iPhone. It seems that I needed to be in a calm state, ready for things to flow. Far different from the way it used to be.

How did you feel when I handed you a piece of paper and said 'You have three minutes to draw something about an old person?'

So unbelievably under pressure I could have cried. In fact I felt myself get all teary eyed! Thinking any minute now I am going to explode from this overwhelming fear. All over a 2 minute doodle.

How did you feel after you had created it?

Unsure, and nervous awaiting your reaction. It seems I'm not happy with having just done something creative; it has to be approved of and liked and blah di blah... But after I took a few deep breaths and realised that I liked it even if you didn't, (I did..), I felt elated! Thrilled that I'd managed to not run away from the paper, pen and expectation.

When I first mentioned doing the 'Old Age Art Project' and handed you five scraps of paper, what did you think?

'Is he being serious?'

'Doodles on scraps of paper? Is that really art? Especially if it was done by me. A no-establishment trained ''artist'''?

Then I thought, Fuck it! Why not. Even if they never get seen by anyone else other than myself I will know I did it. I was set a project and I did it.

Was you confident about doing it? Did you think you'd complete the task?

Initially I was excited and positive and full of this self belief. I never doubted that I could complete the task. The resistance I felt towards actually drawing on the last piece of paper was surprising and almost silly.

Where did you get your ideas from?

Some were memories, some were from what I saw around me and some were just from my mind. The old man with his iPod and the carnival queen came about from thinking that these ''old people'' were us. They were youth and they have these whole lives that we disregard or don't even contemplate.

What was it like working with a deadline?

Good. Exhilarating. 

Are you happy with what you created?

Yes. Some I'm more proud of than others.

Which one is your favourite?

The old man and the seaside couple.

Has this project helped you/your art in any way?

It has made me want to devote more time to creating. I still find it hard to make myself sit down and not allow the distractions of everyday stuff whisk me away from self-development

• The hardest thing is sitting down to do the work. 
• Have a deadline. 
• Don't let your imperfect location/mindset be an excuse for not doing the work. 

Elena is a great artist. It's a shame to me that she's been stopping herself from creating for so long. This is what we do as artists. This blog is richer for having published her scrap paper drawings. Art matters. The drawings exist for the mere reason that she drew them. If she didn't draw them then she wouldn't have drawn them and you wouldn't have seen them. Think of all the things that you've never seen because artists stopped themselves from playing, experimenting and creating. 

You don't need a big canvas or an expensive camera or a big money offer to create art. Use scrap paper. Use a camera phone. Use things you find in the garden. 

Now some questions for you. What do you think of this experiment? What do you think of Elena's work? 

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Previously, On THE WEST WING: A Collection Of Articles and Interviews

I love 'The West Wing'. Perhaps, instead of this film blog, I should have just started a 'The West Wing' fan page. In fact, that's kind of what Kid In The Front Row is. Today I decided to look back at the things I have written about the show in the past couple of years, along with the interviews I have been very lucky to do with the cast and crew of the show. 

My hope was always to interview Aaron Sorkin, the creator, but thus far he has remained elusive, apart from a few kind notes/responses. But there's still the hope that, some time in the future when his schedule allows, we will finally get that interview.

 The Articles 

January 27th 2010 - The West Wing Is The Greatest Show Of All Time

"Many years ago - my Uncle said to me, "You must watch The West Wing," and I thought yeah right, whatever. No-one tells me what to watch. But he was persistent and he lent me the first season. And I began watching it. My life changed."  

Here is a note I received from the show's creator, Aaron Sorkin, after that post.

"Front Row,

Thanks so much for the amazing tribute to the show. You really made my day and I'll be sending it around to everyone on the cast and crew list.

Thanks again,

Aaron"

Read the full article here.

 

December 20th 2010 - Previously, On The West Wing

Some thoughts I had after watching the entire series of TWW for the gazillionth time.

"THE WEST WING represented an idea. It's about 5.30am wake-up calls. It's about dedicating who you are to something bigger than yourself. It's about loyalty and doing something that matters. It's about working weekends and having dinner at 11pm on a Thursday night in the office because you have to get things done, because if you don't the world isn't going to operate properly come the morning. "

Read the full article here.

December 23rd 2010 - Reflecting On John 'Leo McGarry' Spencer

I always loved John Spencer's work on the show. After seven seasons of being in the company of a character, you really feel like you know them. There was something extremely poignant about the work of John Spencer. He carried a weight, a gravitas, while also being sensitive and warm. His final episodes before his real life (and then on screen) death, feature some of his greatest work. 

I spoke to Eli Attie about John Spencer. 

"John's death left a gaping hole in the middle of the show, a cavernous vacuum, and the rest of Season Seven was largely a reaction to that--a memorial to him and to the creative world he helped to shape and lead."
-Eli Attie 

Read the full article and Eli's touching words about John here.

INTERVIEWS

Eli Attie - Supervising Producer/Writer

Eli was a writer on the show from 2001 until the show ended, in 2006. In the final years he also served as a Supervising Producer.

"Because of my political background, I did contribute to lots of scripts beyond my own, during all five seasons I was on the show. Some of my favorite storylines were ones I didn't actually write."

Read the full interview here.

Joshua "Will Bailey" Malina

 

Josh played the role of Will Bailey. What I wrote in my intro to the interview is something I still stand by: Josh is one of the most underrated actors in the industry today.

"Tommy is one of the great Producer/Directors out there, and for my money, no one writes like Aaron. But I give credit to John Wells and the writing staff for keeping TWW going as a really great, quality show for the remainder of its run."

Read the full interview here. 

Larry and Ed were two of the more memorable reoccuring character's from the show. But who are the actors who portrayed them? I decided to find out.

William "Larry" Duffy

"Would I have liked a few storylines? Absolutely. But I would never trade in a moment I was on that show. For me, it was one of – if not the – best experience of my acting career so far."

Read the full interview here.

Peter "Ed" James Smith

"I think, again, because of the fast turn around in television--one's best tool is oneself. Be as natural and reactive as you would be in that actual situation."

Read the full interview here.

Aaron Sorkin

Okay, so I didn't get to do a full interview with Aaron. But he did take the time to answer a question about writers block for the readers of KITFR.

"Every time I finish something I think I'm never going to be able to write anything else. And every time I start something I think that this is the one where I'm going to get found out as a fraud."

Read the full answer here.

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HOLOCAUST FILM: The Grey Zone

When you visit Auschwitz, you spend most of your time imagining: how the hell did this happen? What was it like? How did they feel?

"The Grey Zone" is as good an answer as we're going to get. At first the American accents are distracting-- but the reality of everything else seeps in. The film isn't always explicit in its meaning, it doesn't shove everything in your face.

A truck passes by in the background, and you realise it's carrying the ashes of the incinerated. You see a couple of hundred people forming an  orderly line and it dawns on you that they're waiting for the gas chamber. They're facing their deaths - and they know it.

Holocaust films are important -- because they show in a very clear way  how evil humanity can be. You don't need the Nazi character to say cliche evil lines. Just standing outside a gas chamber will give you the message.

'The Grey Zone', at times, is repetitive and robotic. It's on purpose.  Men are pushing fellow men into the chambers. They're telling them it'll be okay but they know they're sending them to their deaths. And they shut that giant metal door and know that countless families are about to breathe their last breath. Later that day they're pushing them into incinerators and turning them into dust. This was their daily routine. Every day, for months. The Sonderkommando were Jews who worked in the gas chambers. They told fellow Jews they're going into the showers. An hour later they were carrying their dead bodies out, ready for the next group. They got a bit more bread to eat and got to live a few months longer than the others. The film explores what it is to be one of these men. 

But what the hell do you do? How do you survive Auschwitz? What morals and values really matter when you have a gun to your head?

I feel a bit sick knowing I'm just a blogger, 70 years later, talking about movies. What the hell is that? What does the Holocaust mean now? Genocide is still happening in the world and we're as blind as ever.

'The Grey Zone' is very moving and impactful, because it doesn't judge the characters. The SS do their jobs. The Sonderkommando do theirs. What happens happens. This isn't a film that paints a pretty picture or goes for poignant poetry. It's a film about the smoke that bellowed out of the chimneys. About grass getting watered meters from a deadly chamber.

This film helps you imagine what it was like. The nuts and bolts of the demolition of a race of people. It wasn't evil movie characters that did it. It was human beings.

Who were these people whose entire families got slaughtered? Who were the guys who worked the Sonderkommando? And who were the Auschwitz guards who shot people in the back of their heads without a moment of fear or remorse? We can romanticize the victims and demonize the killers, but where does that get us?

I am constantly unravelling the Holocaust and figuring out what it means to me. It seems more important than playing on my Xbox 360 somehow.

I think 'The Grey Zone' is a must-see. It's upsetting viewing, but it's just a movie. You get to live afterwards. I guess now it's the least we can do, continue to bear witness to the past.

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