SFIFF58 Interview: ‘Aria for a Cow’ writer/director Dan Lund & Crew

Amos, (Me), Siddhartha, Elizabeth, and Dan of 'Aria for a Cow'
Amos, Me, Siddhartha, Stephanie, and Dan talking ‘Aria for a Cow’

The shorts programs at SFIFF58 have been increasing in popularity the last few years, and Shorts 5: Family Films is no exception. One film from the group, the colorful and magnificent musical Aria for a Cow, is appropriately quite the showstopper. I sat down with Disney animator and Aria for a Cow writer/director Dan Lund, art director and co-producer Amos Sussigan, background designer and painter Stephanie Dominguez, and production manager Siddhartha Maganti at the Hotel Majestic, a few blocks from where their short would premiere the next day and a few hours before their premiere party. The camaraderie within the group is infectious, and they had no trouble jumping right into the nitty gritty of their film: 

Where did the idea for Aria for a Cow originate?

Dan Lund: I’ve always had a pretty healthy ‘outside-of-Disney’ project type thing going. I was a PA in 1989 at Disney and was working with people who were working with Howard (Ashman). I had kept hearing about this passion project of his called ‘Fatty of the Opera’. Right before we started working on Frozen I had this period where I didn’t have an outside project to work on and it kinda freaked me out. I was in New York and I had mentioned to a friend, ‘I wonder what ever happened to Howard’s “Fatty of the Opera” project’ and my friend knew Sarah (Howard’s sister) peripherally and he said, ‘You should email her.’ So I did and she graciously agreed to give me all the information I needed on this passion project if I listened to her favorite song that no one has ever heard by him, called Aria for a Cow.” I really just did it to get the other thing I wanted, but the other thing I wanted turned out to be a little odder than I thought. And I just fell in love with the cow song. She let me turn it into an animated thing. Originally she was thinking of it being a children’s book but I don’t know that world at all. The song was just lyrics on a page. I wrote the wraparound. I didn’t just want to make a music video. I wanted the song to have a home that was as story-driven as the song.

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SFIFF58 Spotlights #3: Shorts — Youth Works / Family Films / Animation

'A Single Life' short from the Animated Shorts Program.
‘A Single Life’ short from the Animated Shorts Program.

SFIFF58 is underway, and we’re here to bring you all the goodies! Here’s a quick look at a few selections from three of the MANY amazing shorts programs, all of which are worth checking out at this year’s San Francisco International Film Festival (April 23-May 7):

Shorts 6: Youth Works
April 25, 11:00am – Tickets & Info
Created by amazing young talent, this collection of narrative, documentary, and animated films is astounding and just a taste of the strong pool of future filmmakers we can expect to see more of down the line.

Kers
(Alexia Salingaros, USA 2014, 5 min)

KERS
KERS

Steadily shot and succinctly edited, Kers is a quick portrait of a female graffiti artist. Challenging the notions of gender roles and respected art forms, the subject reveals the struggles and lifestyle her passion has created for herself.

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SFIFF58 Preview & Spotlights #1: Vincent / 7 Chinese Brothers / H. / Sunday Ball / A Few Cubic Meters of Love

SFIFF logo
The 58th San Francisco International Film Festival

 

Welcome film lovers and moviegoers to the Spinning Platters coverage of the 58th San Francisco International Film Festival (SFIFF). Bookmark this site because we’ll be bringing you tons of SFIFF coverage: previews, film spotlights, interviews, and special events coverage. Per usual, our spotlights will cover the films that you’re already excited to see, as well as many titles that you haven’t heard of. SFIFF program notes and tickets are available here.

We’ll be continuing our coverage this week and throughout the Festival. Without further ado, let’s take a look at some of the special events in store and then five of the festival films:

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Film Review: The Longest Ride

A Nicholas Sparks adaptation done right, with all the flaws and annoyances of a Nicholas Sparks adaptation.

A city girl. A cowboy. Country love ensues.
A city girl. A cowboy. Country love ensues.

The newest adaptation of a sappy romantic Nicholas Sparks novel, The Longest Ride, is exactly that — sappy and romantic, and formulaic with a preposterous twist added in for preposterous effect. The story about a young beautiful art lover (Britt Robertson, Dan in Real Life) who falls in love with a young beautiful bull rider (Scott Eastwood, Fury) is the surface romance, featuring lines like “I can’t just quit. It’s all I know”, etc. The more dramatic underlying romance is the story told by an injured old man (Alan Alda, M.A.S.H.), about his courtship and marriage to the love of his life (Oona Chaplin, Game of Thrones) and the sacrifices they made for each other. Combine the two together in a layered emotional cheese fest and you have the makings of a classic Sparks story which the movie studio can use to excitedly make a film trailer that states “Two Stories Separated by Time / Connected by Fate.” (see trailer below)

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Show Review: “Gotta Dance!” Great Moments of Dance in Film

On Saturday night, the San Francisco Symphony hosted Gotta Dance!: Great Moments of Dance in Film at Davies Symphony Hall. If the first thing you pictured when hearing this title was Gene Kelly dancing under the giant orchestrated set of Broadway lights or the long, flowing white dress of Cyd Charisse (or the flashy green dress, for that matter), then this was absolutely the show for you. But what do I know? Maybe you were there!

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Eternally Grateful for Eternal Sunshine

Why Eternal Sunshine of the Spotless Mind is one of my favorite films (of all time) and should be one of yours, too!

eternal-sunshine-of-the-spotless-mind
Jim and Kate lay beside each other in “Eternal Sunshine of the Spotless Mind”

Eleven years ago today (March 19, 2004), Michel Gondry’s award winning sci-fi romantic dramedy, Eternal Sunshine of the Spotless Mind, starring Jim Carrey and Kate Winslet, was released – and how to categorize such a multifaceted film gem? At the time, it played strong in somewhat limited release, earning $34 million in the domestic box office while garnering very positive critical reviews and mass audience approval. More than a decade later, Eternal Sunshine of the Spotless Mind is a widely respected title, but it often goes unrecognized for its lasting power and timelessness. It has so much going for it, even eleven years later, that one must wonder why it doesn’t frequent more award ceremony montages, more best film lists, and more casual conversations between friends about their favorite films of all time. The A.V. Club got it right, claiming Eternal Sunshine to be the best film of the 2000s. You may be thinking, ‘I liked the movie, but it’s not one of my all time favorites’.  Well, I implore you to reconsider, and here’s why:

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Film Review: Cinderella

Who ordered a ‘fairy tale straight up’?  We all did.

Lily James emerging from her pumpkin-turned-coach.
Lily James emerging from her pumpkin-turned-coach.

First of all, did anyone else know that the new live action version of Cinderella was directed by Kenneth Branagh (Hamlet, Thor)?  The man is an acclaimed thespian and director, and no wonder the cast of the new Cinderella is so perfect, and the direction so sure-handed.  And of course, where there’s Shakespearean drama, like the death of a parent or the pining of a tortured soul, Mr. Branagh is sort-of becoming the go to master of capturing these moments quite touchingly and cinematically while still serving a popcorn flick.  But the best part of Cinderella isn’t the acting or the direction or the vast array of vibrant colors.  It’s the story.  After torturing audiences for years with reinterpretations and re-imaginings of classic Disney properties like Alice in Wonderland and Maleficent, how wonderful it is to have Cinderella, which relies on the strengths of its original story.  No crazy additions.  Only a slight bit of silly CGI.  The magic and romance of the classic Cinderella story is ever present, and so very welcome.

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Show Review: “Sticks & Stones” at SoundBox

Rootstock percussion trio in Wenjing Guo’s Parade (Xiang).  Photo courtesy of Kristen Loken.
Rootstock percussion trio in Wenjing Guo’s Parade (Xiang). Photo courtesy of Kristen Loken.

The San Francisco Symphony’s new venue, SoundBox, is located in the back of Davies symphony hall on Franklin Street. Once just a rehearsal space but now a fully transformative experimental music space, SoundBox is basically half club and half concert hall.  There’s really only one way to put it — SoundBox is flat-out cool!

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Film Review: Fifty Shades of Grey

‘Fifty Shades’ is caught between a book and a hard place.

Must.  Stare.  To.  Create.  Intense.  Chemistry!
Must. Stare. To. Create. Intense. Chemistry!

I sort of feel sorry for Francine Maisler, the casting director of Fifty Shades of Grey.  Francine was given an impossible task — to cast the role of Christian Grey with an actor whose every physical characteristic would accurately reflect the subjective sexual fantasies of millions of female (and male) readers.  100 million, to be more exact.  Once a Grey was found, the rest should’ve fallen more easily into place.  To the filmmakers credit, and to Maisler’s, the casting job is almost as good as it could’ve been.  Jamie Dornan makes for a sexy steely-eyed (see what I did there?) Christian Grey and Dakota Johnson makes for a very strong pretty-yet-plain Anastasia Steele.  Oh, but there’s one problem…they have to have great chemistry together in order to pull it off.  Oops.  Fifty Shades of Grey is not as bad as you may think or hope, and if you’re brave enough to refrain from poking fun of it to look cool, it’s not hard to notice some strong cinematic merits and a strong yet simply central plot with a lot of interesting potential.  Sadly, the lack of actor chemistry and the screenwriter’s loyalty to the book’s popularity sours the overall impact of the film, which, despite its effectiveness in pushing the boundaries of sex in a rated R film, should’ve had a stronger impact.

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Film Review: Jupiter Ascending

A Jupiter-sized mess (and Jupiter is big).

Channing Tatum "surfing" around shooting and being shot at.
Channing Tatum “surfing” around shooting and being shot at.

There’s a line in Jupiter Ascending where a former alien soldier stationed on Earth tells a newly-discovered woman of royalty, “Bees don’t lie.”  With or without context, you should get a sense of how ridiculous this sounds, because it is.  Completely.  Ridiculous.  Jupiter Ascending, from the Wachowskis, whose credibility is descending rapidly, is a silly overwrought mess.  Too much is packed into too complex a premise.  The tone shifts back and forth between silly and serious, imaginative and derivative, from The Fifth Element to Dune (minus the intelligence).  When a movie gets pushed from a summer tentpole position (May-July) to the cinema graveyard shift (January-February), it’s obvious that something is wrong.  In the case of Jupiter Ascending, it has all the makings of a sci fi summer blockbuster, but fails to execute on all fronts aside from some nifty special effects that look quite pretty.

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