In this snippet, the hosts share popular filming locations used to look like other places in the world.
Upload Date: Oct 01, 2020
Many documentaries use archival footage in different ways, sometimes the entire film is archival and other times it is interwoven with new footage, or altered or animated to create a completely new and different work. This week we chat a bit about all of these variations and review the recent archival masterpiece, THEY SHALL NOT GROW OLD and Chris interviews Todd Douglas Miller of APOLLO 11.
although Bart has no business doing this and she's from Dallas. But since we're always making fun of Baltimore Ha ha! I should point out that the film is based partly on the work of Baltimore based historian Taylor Branch. Right, who's a producer on the film who actually works out in my gym. So take that Dallas based Bart Wise e have nothing to say to that. Good. Absolutely nothing. That was the point. So So what would Baltimore plays itself look like? Well, there's actually been a lot of Yeah, you got, You got John Waters. You've got Barry Levinson. You've got David Simon. Yeah, this is pretty into. And then, you know, House of Cards and Veep I'll have seen shot in Baltimore. So it often doubles for D. C in films that don't want to shoot in D. C. Isn't there a film about Vancouver playing itself? And the idea is there that it doesn't look like anything that didn't films. It looks like everything else. Yeah, they had tax breaks there for a while. There was a lot of shoots happening there to double for lots of other cities. I think my favorite Vancouver shot film is Rumble in the Bronx with Jackie Chan, and they're fighting on this rooftop and what do you see in the distance? But one of those mountains, like behind Vancouver and it's like That's not the Bronx. Wait a minute. It's a It's a really fun film, as most Jackie Chan films there, but it's It's not the Bronx. So that was a great list summer. I've got some films trying to pick some that we haven't really talked about, you know, even in passing on our show. First of all, we should just say that anything by documentarian Ken Burns would qualify. And, of course, you know when we talk about archival cinema, there are films like the two that we're going to talk about today at length, which are comprised entirely of archival footage. Or like the Oscar nominated short film We Talked About Marshall Curries and Night at the Garden right thes air films that are assembled entirely from archival footage. And then there are movies that use quite a lot of archival film, but it's supplemented by modern day talking head interviews or voiceover narration, and you know, one such kind of film that I really love is Virna Herzog's Grizzly Man, which is assembled mostly from the footage that the now deceased Timothy Treadwell, a environmental activist completely out of his depth in Alaska, shot on his video camera over the course of many years. And then we also have Werner Herzog investigating how Timothy Treadwell died, and then some interviews. So but Herzog? He's a brilliant documentary. He makes great use of that archival footage, and that film was from 2005. And what haunts me is that in all the faces off all the bears that Treadwell ever filmed, I discovered no kinship, no understanding, no mercy. I see only the overwhelming indifference off nature to me. There is no such thing as a secret world off the bears, and this blank stare speaks own.