The Mick" Set Decor "Sabrina's Bedroom
If you want your movie set in Anytown Us, don't film it in San Francisco — the metropolis will but get in your way. All by itself, San Francisco will seem similar a statement, and unless yous actually want that statement in your picture show, you should take your photographic camera and film somewhere else.
San Francisco is instead what yous put onscreen to dilate what you want your motion-picture show to say. Information technology helps to have an idea, going in, of what the city means (and information technology can mean a lot of things). One time yous take that, y'all can use that meaning to assistance make your point and tell your story.
As it was in the 20th century, so it has remained in the 21st century. San Francisco is a choice movie location, and in recent years, other parts of the Bay Area have been coming into prominence, as well. What follows are 20 films from the first 20 years of the 21st century that used San Francisco or its environment in a particularly memorable style. Some of these are exceptional as movies, and some are just exceptional for capturing an attribute of their location.
All serve as a kind of a record. They tell a story within the story virtually a place and fourth dimension, which is and was, incidentally, our identify and our time. And some of them show the early work from some people who would go on to much bigger things. The dates given are those of the films' San Francisco release.
"N Beach" (2000)
Though it never played exterior of moving picture festivals, this one-act about slackers in North Beach is 1 of the all-time for expressing the mood of the metropolis at the pre-9/11 dawn of the millennium: Optimistic, world-wise, full of fun and mental attitude. It features local and now late-lamented businesses such as the Crow Bar and the North End Cafe, and shows characters participating in eternal San Francisco rituals, such as driving upward and downwardly hills in N Beach looking for a parking infinite.
"Sugariness November" (2001)
Charlize Theron plays a San Francisco woman who takes a troubled new lover every month and tries to fix him, and Keanu Reeves plays Mr. November. The whole film is most the preciousness of fourth dimension (only 30 days in November), and there's a lovely scene where Reeves stops to take in what's around him — kids playing on a Potrero Hill street, with the city behind them — that emphasizes the brevity and beauty of the moment.
"The Princess Diaries" (2001)
Garry Marshall was non the most subtle of filmmakers, simply he knew how to bring out the emotion in a good script. In this story about a schoolgirl who is groomed (by Julie Andrews, no less!) to become a princess, Marshall used traditional San Francisco locations (e.m., the Aureate Gate Bridge) to create an air of enchantment, a sense that this is a place where wonderful things can happen.
"Haiku Tunnel" (2001)
Josh Kornbluth had the misfortune of having his office work satire open to the public on Sept. 14, 2001, a weekend in which no one was going to the movies. Only this funny and appealing one-act is a nice slice of workaday San Francisco, and for those familiar with the stage scene at the fourth dimension, it records the work of some very adept local actors.
"Cherish" (2002)
One of the bang-up unsung movies of the previous decade, "Cherish" stars Robin Tunney as a San Francisco adult female under house abort for something she didn't do and Tim Blake Nelson as the man in accuse of checking her court-ordered ankle bracelet. Written and directed past Finn Taylor, the pic shows a darker side of the metropolis, while creating an atmosphere in which everyone is in a state of unfulfilled longing. It'due south a raw, poetic, cute film that about nobody knows near.
"Dopamine" (2003)
San Francisco managing director Mark Decena co-wrote and directed this affecting love story about a troubled artist (Sabrina Lloyd) and a software designer (Mark Livingston). He set the action in a urban center its younger residents knew — not the Painted Ladies San Francisco, only a city of dirty lofts and neighborhood bars — equally if to say beautiful things can grow even in the most pedestrian of places.
"The Wild Parrots of Telegraph Hill" (2005)
The merely documentary on this list, this Judy Irving picture told the story of Marker Bittner, who started feeding the wild parrots that started flocking outside his Telegraph Hill cottage. The moving picture captures the humane spirit of the city, its residents' way of respecting and living with nature in the midst of a urban center.
"Colma: The Musical" (2006)
Office tribute and office takedown, this original musical set in the San Francisco suburb best known for its cemeteries came out of nowhere. Mannerly, full of energy and shot on location, it also had something most musicals don't have — good songs.
"Zodiac" (2007)
There's the Bay Area, and then there's David Fincher-land, then the view we get of the region, during the days of the Zodiac killings, has the bleakness we might associate with other dystopian Fincher movies ("Se7en," "The Daughter With the Dragon Tattoo"). Still, Fincher is faithful to the menstruation details. Circa 1970, the Embarcadero Freeway is still in front of the Ferry Building, and the San Francisco Chronicle newsroom looks like the real thing because … some of the scenes were filmed right there.
"Milk" (2008)
One of the great San Francisco movies of all fourth dimension, "Milk" tells the story of Harvey Milk, the martyred supervisor who devoted his career to gay rights. Managing director Gus Van Sant recreates the Castro of this menses and also uses existent archive footage to instill a doubled sense of a difficult, contentious period and a halcyon era that people lived through without quite realizing at the time.
"Medicine for Melancholy" (2009)
A familiar blueprint in romantic movies is for a pair of lovers to gradually brighten our perception of a grim or prosaic atmosphere. In his feature debut, Barry Jenkins flips this. The story is about a couple of highly-seasoned strangers, in the 24 hours post-obit a one-night stand. They are jaded and cocky-protective, but the San Francisco that surrounds them looks beautiful and inviting. Information technology's as if the movie is saying, "Honey and life are right here. Everything y'all want is here for the taking. But open your eyes."
"Rise of the Planet of the Apes" (2011)
The negative side of the Bay Area'due south political open-mindedness is the reflexive tendency to see and prefer the bespeak of view of one'southward own antagonists. So what meliorate place than San Francisco to fix an insane reboot of "The Planet of the Apes" saga, in which the rise of the apes and the wiping out of humanity are presented as good things? The apes are everywhere hither — hiding in trees in residential areas and crawling all over the Gilded Gate Bridge.
"The 5-Yr Engagement" (2012)
Here'southward an case of San Francisco looking good merely by contrast. Emily Blunt and Jason Segel play a couple who desire to get married, but the romance frays when they take to move to Ann Arbor, Mich. And then we encounter grim scenes of people freezing in the slushy-snowy streets followed by romantic shots of the two of them in Alamo Square Park. The idea is conveyed: This is where you desire to alive.
"Blue Jasmine" (2013)
One of Woody Allen'southward best 21st century efforts, and featuring a tour de force from Cate Blanchett, who won an Oscar for her performance, this is a fascinating blend of existent Bay Area locations and Woody Allen's fantasy city. And so information technology's a weird hybrid of ane man'south vision and one city'south reality. Particularly notable is that Emerge Hawkins plays a cashier who somehow tin can beget a ii-chamber apartment.
"Fruitvale Station" (2013)
Writer-director Ryan Coogler rose to prominence with this powerful real-life story about Oscar Grant, an unarmed man who was killed past a police officer at BART'south Fruitvale Station in 2009. Filmed in Oakland and set during the 24 hours leading to Grant's decease, the movie gained grittiness and immediacy from its use of existent-life locations, including the actual station where Grant was killed.
"Godzilla" (2014)
San Francisco has been destroyed once more and again in action movies, only never and then thoroughly every bit in this monster movie from 2014. Yes, there'south the obligatory Golden Gate Bridge mayhem, but at that place's also the wholesale destruction of the downtown business commune. At the time, we had to wonder if the United States had some kind of death wish, if people actually craved a monster to come along and nail everything about and dearest to us. Possibly it was true.
"Big Eyes" (2014)
Tim Burton directed this story of Margaret Keane, an artist whose big-eyed paintings were wrongly attributed to her hubby Walter for many years. It takes place in a nostalgic-looking bright pastel version of San Francisco — days filled with gorgeous low-cal and with cozy nights spent inside forest-paneled North Beach clubs.
"San Andreas" (2015)
For the residuum of the country, earthquakes are California's comeuppance for expensive real estate and gorgeous surroundings. Starring Dwayne Johnson, this is the movies' ultimate earthquake blowout, which climaxes in a San Francisco that ends up looking a lot more than like Venice, Italy, than whatsoever of us are used to. Fortunately, seismologists say that the statewide ending depicted here is not something that could ever actually happen.
"Sad to Bother You" (2018)
Oakland was the setting for Boots Riley's sci-fi fantasy, in which businesses provide food and shelter for workers in exchange for a life of slavery that also involves chromosome alteration. The protagonist lives in a garage apartment on a recognizably Oakland street, and the locations throughout give a firming sense of place.
"Blindspotting" (2018)
The film begins with Oakland scenes — skateboarders, Whole Foods, a BART train — while the soundtrack plays opera, letting you know that this is a universal story that just happens to be prepare in particular time and place. Managing director Carlos López Estrada and writers Daveed Diggs and Rafael Casal build from there a mood that allows for swings from drama to comedy to absurdity, with all of information technology united by an undertone of tension, a sense that things tin get very wrong at whatever moment.
Source: https://datebook.sfchronicle.com/movies-tv/20-movies-that-tell-the-story-of-the-bay-area-in-the-21st-century
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