Casting for Orson W.

MANK, directed by David Fincher

An excellent podcast "The Spoiler Master" (currently in Polish by otherwise working in both languages Michal Oleszczyk) analyzed "Mank" and wasn't convinced with the casting of the role of Orson Welles there.  My jaw dropped because one doesn't criticize David Fincher, does one?   

That audacious lack of enthusiasm toward the Maestro opened up something in me.  It allowed to dig into my reactions to the film which were that something didn't sit right with me while watching it.  So I was pleased to hear a learned critic to formulate his concerns.  

Then I remembered my recent Breaking Bad and El Camino binge and my many highs and a few lows about those titles.  The raised brows had to do with El Camino, since I am floored by BB in general and consider Better Call Saul a masterpiece of the medium. 

In El Camino and the last season of BB there was one small stone in a shoe.   It was Jessie Plemons, a fabulous actor, and jet somehow always sticking out of the wonderful gallery of crooks, villains and murderers there.  Every time he appeared I had to tell myself - that's a fresh "out of the box" casting, just enjoy.  So I did.  That wasn't too difficult because he was great. 

However after hearing "The Spoiler Master" remarks about the casting of Welles role in Mank I started wondering:  shouldn't it be Jessie Plemons to play Orson there.  Wouldn't that make Mank more perfect? Was this a case of miscast-ed casting - lost in time and space?  A case where a perfect actor hasn't met his perfect part?  To be corrected?


Dangers of philosophy

Christoper Janczar, a Friedrich Nietzsche scholar, 
in "Light Denied" written and directed by yours truly.

 A quote from Eton Musk interview in "Business Insider":

"Döpfner: So what writers were the most important for you?
 Musk: I got a bit depressed actually reading Nietzsche. And Schopenhauer.  Really not recommended  for a 13-year-old."

This is in support of my upcoming Nietzsche-an episodes on thinking camera you tube channel.  

Stay tuned!


Thinking Camera


Thinking Camera YT channel

 About a month ago we launched a You Tube channel 


and its corresponding FB page: 


The sites will deal with the blend of film techniques, philosophy on screen and screen philosophy, my own work, musings about the work of others and general amazement of "how did we get here".   Yes, that's after Brian Eno and the Talking Heads (https://www.youtube.com/watch?v=5IsSpAOD6K8 )  However I mean it a communal, global, civilisational fashion.

Anyway, the upcoming episodes of Thinking Camera (to which you are invited to subscribe and spread the word) will, among other elements, relate to two quotes that are currently on my mind. 

The first one comes from Stanley Kubrick:  "Either you care or you don't", the second was spoken by a huge movie star (I think it could have been Nicole Kidman talking about Kubrick): "You know what is gold in filmmaking? Time is gold". 


Opossing heartless politicians.

The deafness and madness of the Party creates fury.   

The Party must be doing it on purpose.  

What's next?


Approaches to life

February 9, 2020.  Medyka, Poland. 

The above is a snapshot I took during a historical reconstruction earlier this year.   I was there filming actors playing contemporary youth as they relate to the re-constructors.

The reconstruction itself, including the solder above, was entirely organized by the local passionates of history. 

With the lock-down easing I hope to further develop a project based on the events portrayed that day.

Once I focus on something to produce it’s usually that simmingly unrelated events, meetings, thoughts, texts emerge to appear relevant. 

That’s the case with something which this morning have came my way:

Synchronistically perhaps, I have just read a text that tries to convince its author that being “average” in life is OK because most of the people vanish without a trace and nobody cares about them anyway.  So it’s useless to feel frustrated that one is not accomplished enough to be “above average”. 

The text’s reasoning tries to ease the pain of not being “above average” but - it seems - positions the author as somebody who tried to become one.  This is written by a person nearing his 90ties.  And is applauded as “wise” by his equally senior colleague .

I strongly disagree.

I think that acting in life with the purpose of not being average is … well, not wise.  Being exceptional is in most cases the result of an inner “must” that produces exceptional achievements almost as a by product.  

Similarly, looking back at once’s life and feeling discomfort from “not being exceptional” shows disrespect to once’s genuine battles, struggles, achievements and failures regardless of their scales.

Now, is it fair to juxtapose unfulfilled ambition against real life struggles?   I have an answer to that. 


Where does a war start?

This polish book title is “This is war”.  It is an investigation of the connections between ultra conservatives, anti abortionist, anti-LGBT, neo-fascist, Kremlin inspired “let’s bring back the Middle Ages” movement.  Klementyna Suchanow uncovers the agenda and money flow of this scary ideology in its insidious attacks on our freedoms.

Suchanow is a strong writer, her previous book was a two volume biography of Witold Gombrowicz.  It’s a fabulous book.  When it came out I wondered what would happen if this Gombrowicz infused sensitivity turned into current politics.  Now I know.  The irony and absurd has been augmented by fury and horror.  That’s a powerful mix.

A bit from the book: Klementyna interviews one of the anti conservative activists who says “War is a state of mind”. 

It hits me as a simple yet powerful truth.  It all starts with the mind.  Your mind.   My mind. 


Identity is not a crutch.

I’ve finished reading a novel “Deutch for moderately advanced” (In Polish, I don’t know of any translations yet).  The author, Maciej Hen, spins a tale of an identity search from Poland, through Ukraine to Romania and back.  It’s a journey in time as well since the plot is about uncovering the hero’s ancestors,  needed for an inheritance claim.  It's a nice, smart read.  Bickering with the dead father, hints of time shifts and a sudden romance add to the mix of funny, poetic and reflexive. 

I found a polish interview with Maciej in which he says that: 

“identity is not to harden us, not to steer us.  Identity can lead us to feel obliged, to solidify us to the point that it will reinforce divisions between people.  That’s what I would warn against.  Identity is to move us a little bit, to allow reflection.  My hero feels a Jew but in…..a sentimental sense.”

I understand that the relocation of identity to the realm of sentimental softens its edge. It’s a beautiful, harmonizing notion.   I suspect it can be easier obtained and spoken of by somebody who can afford to treat his identity in a relaxed fashion.  Simply because he’s comfortably rooted in it.  On the other hand many searches (if not all) of ethnic identity spring from a strong internal feel or urge or lack that once obtained, filled and satisfied becomes rock solid.  Just look at the converts of many types.  How to navigate between the two ways to handle identity is a theme in itself. 

For me the book’s narrative somehow but not fully matches the conclusions (or a thesis) given in the interview.  Perhaps the meaning of the narrative given in the interview doesn’t fully and immediately spring out of from the book pages.   Perhaps it’s how a narrative should threat an idea.  To let it breath and not to be so "on the nose." 

The call to go easy on the identity’s role in forming our personality chimes with the ethical conclusions of Zygmunt Bauman (as the previous entry discusses).  In short: no rules or ethnic alliances should release us from the duties of constant self-analysis.  There are no ethical or identity crutches, only everlasting, individual struggle to get things right.