Django Unchained

I sacrificed by doing two things I hate today in order to do one thing I love. I went to Birmingham and I entered a non-indie cinema. And I did these two egregious things in order to see the most anticipated film of the year: Tarantino's Django Unchained.

Miraculously, the scant crowd actually shut the fuck up for the three hours we were there. We had to sit through the most inane trailers before the film, trailers clearly meant to rip out your very soul, but once the lights dimmed and the tension faded...no body ruined the movie. The scum don't show up at 1 o'clock in the afternoon. Thank fuck.

I think Tarantino and Wong Kar-Wai are probably the two greatest contemporary Directors. That's no secret. Danny Boyle is rubbing shoulders with them, too. Anyway, I was stoked to see Django. And it was pretty fucking good. Albeit, different than what I expected. But so what.

This is far and away Tarantino's most comedic film to date. It's honestly like a comedy set to a dramatic story, rather than a drama with comedic dialogue as one may expect. Definite nods to Blazing Saddles at times.

Best thing about it? The cinematography. The lighting was outstanding. The DP ruled. Great costuming, too.

The entire cast gave a tremendous performance. Christopher Waltz is as charismatic and enthralling as ever. Jamie Foxx and Samuel L. Jackson both played their roles perfectly, too. DiCaprio (one of my favorite actors) was probably out-classed for once. Waltz was THAT good. Of course, Tarantino peppered the film with many actors from the 60's and 70's that I've seen in the biker flicks I've been watching: Don Stroud, Russ Tamblyn, Bruce Dern...

Soundtrack was what you expect from Tarantino...and then some. The overt use of rap was an interesting juxtaposition, but a fitting one no-less. You just had to get used to the fact that this wasn't exactly what you expect from Quentin. He's clearly loosened the fuck up and just doesn't give a fuck. He's made his Pulp Fiction. He's made his Reservoir Dogs. If he wants to do something like Django...fuck the rules.

I believe this was the best film that was officially released in 2012.


The best Tarantino feature films in order, according to me:
Pulp Fiction
Reservoir Dogs
Death Proof
Ingrlorious Basterds
Django Unchained
Jackie Brown
Kill Bill 1 & 2

One Night in Turin

This film gave me the chills.

This is a great documentary narrated by Gary Oldman. It doesn't matter if you like football or not, this is one of those excellent films that transcends any preconceptions or preferences. For 90 minutes you will care about football. And you might just get the chills.

I was 10 years old when England got into the semi-finals of the World Cup. My family was on vacation in England when we watched their last game. I remember it vividly. Italia '90 is the football event that I measure everything against. It's really cool to see such a well done documentary about such an important time in English football.

The only down side: The hooliganism is fucking disgusting. It really sucks to see it here in all its standard definition glory. But that was part and parcel of everything that went down. Can't bury your head in the sand. I'm glad it's behind us, for the most part.

Moving on...the soundtrack is brilliant. It's all British shit from the mid-90's. Dance/indie crossover shit like the Farm, Joy Division, Adamski, the Charlatans, Happy Mondays, Stone Roses, Inspiral Carpets, James, etc. It's probably the best soundtrack I've heard all year, to be honest.

Stream this on Netflix. It's well worth it.

the 400 Blows

I have a ton of DVDs that I've been meaning to re-watch, but I always get side-tracked by Netflix. I'm going to make it through a lot of those DVDs in 2013. I started by revisiting the 400 Blows.

It's a ballsy bloody move as a Director to shoot your debut film and hang it on the shoulders of school kids. But that's what Truffaut did and "ballsy bloody moves" were the cornerstone of the Nouvelle Vague. So I guess it makes perfect bloody sense after all.

It always blows my mind how intellectual young French kids seem to be in movies. They might be twelve years old or whatever, but they're always going on about Balzac, the politics in Indo-Chine, socialism, or some other aspect of philosophy or literature. Maybe that's just what they were like in the 60's. Now they're probably just playing video games on their iPods or whatever.

Anyway, the child actors don't let you down in this one. Just like Louise Malle or Godard, Truffaut's put together a great cast that can really carry the weight of the mostly non-events that populate this narrative. It's not REALLY about anything in particular plot-wise. It's more theme driven, I would say. It's about being a kid, dysfunctional families, nurture, education, attitudes towards crime and punishment. It's real life. It doesn't need a dramatic turning-point to anchor everything. It's just real life. I definitely think Truffaut was borrowing a page from the Italian neo-realists and British kitchen sink dramatists when he penned the 400 Blows. Then as he started creating more films, he started putting his own idiosyncratic twists and styles into the films. It's a fucking great start, though. Definitely one of his best. But honestly, if you put it up against Breathless or Elevator to the Gallows (debuts from Godard and Malle), then it comes in third. Just saying. Elevator and Breathless are actually my favorites from their respective auteurs.

Anyway, this film is Essential.

Batman: Year One

I don't have a lot to say about this one. It's an hour-long adaptation of Frank Miller's incredible "Batman: Year One."

It's good. The comic is a million times better. Obviously.

Stream it on Netflix if you're in dire need of some Batman in your life. It's not a waste of time. The violence is pretty legit and the story is great.

Beyond the Valley of the Dolls

If I ever die, I want to come back as a lesbian in 1969.

Russ Meyer makes the late 60's look fucking amazing in this flick. It's a total send-up of the original Valley of the Dolls (which I haven't seen yet). Meyers and Ebert's satirical take on Hollywood stereotypes. And good god, do they fill the film with boobs! Glorious breasts in every scene.

I'd recommend seeing this flick on boobs and costume alone. The soundtrack is great, too. It's a fun film that's sort of like Scooby-Doo on acid. It follows a female power-trio who move to Hollywood and hang out with rich Hollywood folk. They do a lot of drugs, get naked a lot, fuck porn stars in Rolls's, party every night, make good music, and get murdered from time to time. It just sort of goes with the territory.

I imagine this is the kind of film that rustled a lot of freakin insider feathers upon its release. Most of the characters are spoofing actual people, like Phil Spector and Muhammad Ali. There's even a whole Sharon Tait murder tie-in at the end. The film was written in 6 weeks and the cast didn't even know if it was serious or not. They weren't sure how to play the parts and didn't want to ask Meyer if it was a comedy or a drama. He played it real straight because he wanted them to deliver the lines in earnest, even though the film was a total parody.

"Z-Man" is particularly good in the film. Most of the actors do a good job, but some are total crap. It doesn't really matter because even if they're total crap they're bound to be involved in a lesbian scene sooner or later and that negates any past errors.

I dug the editing, too. All the chicks are way hot. It's a fun film and it makes me want to live in Russ Meyer's world circa 1970.

Groovy.

King of Devil's Island

Hammer of Doom and Bad Eye both recommended King of Devil's Island. I gave it a watch tonight and was pretty stoked on it.

It's a Norwegian tale based on true events in 1915. There's a reform school for troubled young lads who can avoid prison by doing a stint on this fucked up island. As you can imagine, the authority running the island don't exactly have the boys' best interest in heart all the time. Shit hits the fan and almost a hundred years later there's a film about what went down.

It was actually not as heavy as I thought it was going to be. Don't get me wrong, it's heavy, but thankfully it wasn't overly brutal. It didn't need to go there. You don't always need a cerebral and visceral pummeling.

Great acting. Good overall aesthetic. No complaints on any front.

Dig this.

the Leather Boys

The Leather Boys. Sounds gay, huh? Well, yeah it is actually. Ever wanted to see a love-triangle between two dudes and a chick set in Britain circa 1964 that uses the Café Racer subculture as its backdrop? Have I got the film for you!

We had "Shitty Biker Movie Night" last night and I curated something a little out of the ordinary. I had read about The Leather Boys in one of my Biker Movie books and I knew I had to hunt it down. Most of the flicks we watch are set in 60's America with Chopper culture. Here was a chance to hang out at the Ace Café with Rockers on their Brit bikes for once.

Both of the British biker flicks we've watched so far have been in a league of their own in regards to...let's say..."artistic merit". The cinematography in this was pretty sweet. The framing was good. It was a 1960's kitchen sink drama that unfolds to the tune of vintage Triumph exhaust notes! We've got a high school age couple who get married, go through troubles, and do some soul-searching. They argue over sex, over money, over dinner and housework. Y'know, that kinda crap. But in between the arguments they drink a lot of tea and hang out at the Ace quite a bit. Bumpin shoulders with lots of like-minded Rockers in London.

Oh yeah, the gay bit. It's pretty provocative for the early 60's. I don't wanna give away the whole damn plot but there's an interesting wrench thrown into the gears, if you know what I'm sayin'.

The film definitely hits on some interesting and relevant themes. I'm going to re-watch it again soon so I can catch all the witty dialogue and bike scenes (of which there should have been more!).

Acting was pretty good all round. Music could have been better. Dug the cinematography.

If you're into Café Racers this is a must-see. It's a good movie. But if you don't care about bikes then I'd skip it because it's not easily found on Netflix or anything. I had to drop $25 on Amazon.

Overall, good shit.

oof, that hair.

Alien

I used to watch Aliens all the time as a wee lad, but I'd only ever seen Alien once. So fast forward a couple decades and it was time to revisit the original. After being let down by Prometheus I wanted the mythos to redeem itself. Thankfully, it did.

Alien is clearly influenced by 2001 big time. Which is a damn good thing. Alien is pretty much everything Prometheus should have been. All the places that Prometheus went wrong; Alien got right. The story lines are pretty much the same. Prometheus just reads like someone re-imagined Alien 30 years later and did a crapper version of it.

Alien is much more concentrated and focused. It's tense. It's singular in its approach. Something happens and now we're dealing with that for 2 hours. Thank you. Great pacing. It's really well done.

Obviously it doesn't have shitty CGI. OK, so the chest-burster puppet and the main Alien aren't all that great..., but fuck it. If my memory is correct then they really nailed them in the sequel. The environments are all real cool, and the face-hugger is well done.

Very entertaining. I'll put Aliens in my queue to re-watch again, too. I can't be bothered with Alien 3 again. Shit, they probably even made a 4, didn't they? Meh.

Everyday Sunshine: The Story of Fishbone

I honestly don't think I'd ever heard Fishbone until I saw this doc'. I'm not losing any sleep over it. As it turns out I don't like what they do at all, but I figured I'd give the documentary a shot and see what they were all about.

Lawrence Fishburn does the narration. The production value is pretty good throughout. The film lets the members tell their tale in their own words, with a few interjections from the narrator every once in a while. Archival footage is paired with recent interviews and animation to weave the whole narrative together. It's done pretty well.

I really don't like their fusion of ska, punk, pop, r'n'b, metal, funk, and weirdness. I don't like RHCP or No Doubt or any of the other bands that look up to Fishbone. But that's besides the point. The documentary is worth watching cuz it's an interesting trip regardless of the music. A weird group of guys playing weird music for 25 years. It's entertaining. You learn everything you'd ever care to know about Fishbone in the movie. You're all set. Such a bizarre band. I honestly don't see how people like their music. Probably the same people that like Mr. Bungle and worship everything Mike Patton does.

Anyway, it's worth watching. Most of the characters are pretty likable and there are some really interesting ups and downs in Fishbone's career.

Steaming on Netflix. Word.

The Cycle Savages

We kicked off this season of "Shitty Motorcycle Movie Night" with a good one. Well, "good" is relative when describing 60's moto cinema. Generally the worse it is; the better it is. And this one ruled! Confused? Good.

Bruce Dern really held it down in this. A legitimate actor doing a legitimate job in a genre devoid of acting talent. So that made for a change. Anyway, Bruce is actually really good as the President of an outlaw M/C. Casey Kasem holds it down as his brother, who's a bonefide pimp in Vegas. This isn't the only motorcycle exploitation film that Kasem has appeared in, believe it or not. The dude wasn't always so squeaky clean...

The rest of the cast sucks. But what totally rules is the AWFUL plot. The whole thing revolves around a bad ass illustrator! There's an ex-marine who's drawing pictures of women in the park and whatnot, and even drawing pictures of the M/C. They get wind of this and they're pissed! What if the Man finds out!? They'll be thrown in jail over these drawings... Yup, that's the crux of their hatred for this artist. If the law sees these drawings that will incriminate the M/C and they'll all get locked up.

I'll give you a second to ponder that "logic".

So, what's any druggie/prostitute ring oriented M/C to do? They need to fuck up the illustrator's hands and make it look like an accident! But how? Well, they're gonna have an orgy, get wasted on acid, and then come up with a way to seek revenge on the illustrator. I won't spoil the surprise. I'm afraid I've already said too much.

It was a pretty memorable flick. Definitely recommended. For being a a biker flick and having some amazing bikes (no doubt), they don't show enough riding! It looks great, but they focused too much on the plot. And that's NOT what we watch biker flicks for. This was almost too legitimate. It was like a hybrid of typical moto genre shit with some half-baked idea that they could direct a "real" film. I think they should have had a lot more riding. That's my only gripe.

This still ruled.

Kasem, you pimp! Look at that shirt.

My Blueberry Nights

I first saw this in a theatre in Bangkok. I wasn't that impressed. James, my friend who saw it with me and who's also a big Wong Kar-Wai fan (I believe) wasn't that enthused either. But I didn't want it to end like that. I wanted it to be better than I remembered so I gave it a few years and watched it again this morning.

Visually it's awesome from the get-go. Wong Kar-Wai's trademark saturated hues and gratuitous use of slo-mo. The cinematography is fucking awesome. But the dialogue just wasn't working. And for a film that's pretty much all dialogue...that's a crucial element! I didn't want to look at Norah Jones for 90 minutes either. Where's Natalie Portman?

So, even though it was gorgeous to look at, I wasn't that hooked from the start. But as the film went on I started to dig it more and more. New characters came into play and eventually it just clicked. I like this movie now.

Natalie Portman does eventually show up. Ok, her hair is awful in this, but even bald she's still the hottest chick in the room. Goddman she's sexy. Especially rollin' in a jaaaag. Tantalizing.

Anyway, Norah Jones is a good actor. My only beef with this is the script. Since this is Wong Kar-Wai's first English film I can cut him a bit of slack, I guess. I love him for the space between words. The glances. The longing. The pain. The music. The colors. The slo-mo. The framing. The loss. The negative space. I don't particularly love him for the dialogue. Normally it's very spartan. And normally it's in Cantonese, so I'm only getting a subtitle. I don't know how it reads in its native tongue. I felt the English in My Blueberry Nights was just a little too cheesy or poetic at times. Sort of noir-ish, really. I might have loved it if they were speaking in Cantonese and I was reading subtitles. Who knows. Wong Kar-Wai is famous for writing scripts literally the night before filming, on set, or not really having one at all. But clearly this was nailed down prior to shooting.

So, I think this is better than I thought it was. But I'm looking forward to something better when his next movie comes out, which is about the dude who trained Bruce Lee and stars Tony Leung. That's gonna be freaking rad. The Grandmasters. Word.

13 Assassins

Last year I pegged 13 Assassins as the 2nd best film I saw in 2011. It's goddamn impressive. I checked it out at the DFT and I was pretty blown away. So less than a year later I decided to watch it again on Netflix. It still rules fucking hard.

Takashi Miike, the prolific Director being Ichi the Killer, directed this amazing flick. It's a modern distillation of everything you want in a samurai film, with some unique flavor thrown in for good measure. The plot revolves around politics and honor, as it should, but it's not so complicated you get lost. The first hour is set up and the second hour is all swordplay and rivers of blood. It never gets dull, though. Miike knows how to shoot, pace and edit the action so every slice is as riveting as the last. Every decapitation as vital as the next.

One of the unique aspects of this film is the FUCKED UP Lord Naritsugu. His character is vile beyond imagining. He's a truly shocking character and has to go down in cinema history as one of the most twisted fucks on the silver screen. He makes Freddy Kreuger look like Mahatma Gandhi. It's worth noting this film isn't for those with a weak stomach.

This film rules. You're retarded if you don't see it.


"Being a samurai is truly a burden. Do what you want...with your life." Immortal words.

Mesrine Part 2: Public Enemy #1

I just watched Part 1 for the second time a few days ago. I wanted to watch Part 2 shortly thereafter, so I sat down with a tofurkey sandwich and fired up Netflix.

I don't have anything to expound upon that wasn't covered in the first review. The difference between both films is minimal. I found Part 1 to be better because it was a little bit more dynamic. It was more drama-oriented. Part 2 is almost non-stop action. So depending on how you like your pacing or depth, you might lean towards one or the other. Six of one, half-dozen of the other.

Some great Peugeots in this installment. And that brown 5 Series with yellow lamps? Awesome.

Truly a spectacular double-feature. A legitimate classic. I can't think of a better gangster film. Seriously.

Somers Town

I really dug Shane Meadows' 2006 film, This Is England. It took his film-making to the next level. Dead Man's Shoes was a worthwhile flick from '04, but This Is England was truly powerful. So with two good flicks under his belt and the lead actor from This Is England, I was confident Meadows' 2009 flick, Somers Town, wouldn't disappoint. And it definitely didn't.

Shane clearly did this film on a shoestring budget. I haven't researched how he went about making this film, but it reminds me of the way the Nouvelle Vague would shoot. Natural light, non-actors, on location, and just seemingly flying by the seat of their pants. Very D.I.Y. Very minimal. Exceedingly good.

The 70 minute film is about a friendship forged between a Polish immigrant kid, and a young boy running away from familial strife in the Midlands. They form an unlikely bond. Things are a bit sketchy at first, but good things eventually happen for the two of 'em under the grey skies of London.

The film is pretty much a two-person play, with a few supporting rolls popping up from time to time. The two young actors really pull off believable and sympathetic performances. It's rather kitchen sink, but not in the über-depressing manor you expect from such dramas.

Meadows is a great story-teller. Very human. This is well worth watching. The trailer doesn't do it justice. It's a funny, sincere, entertaining drama. Check it out.

Mesrine Part 1: Killer Instinct

I saw this in the theatre last year and pegged it (along with Part 2) as the best films of 2011. I watched it again on Netflix cuz I was in the mood for some fast-paced prison action. Errr…that sounds terribly wrong.

Vincent Cassel is the man. Great actor who really shines in this real-life French gangster flick. The dude was a nutter. No regard for his life or the well-being of others. He had a twisted sense of loyalty and a warped sense of morality. Serving in the French Army couldn't have helped. Anyway, his life is awash with bank-robbing, prison escapes, women, fast cars, babies, guns, gambling, violence and a great mustache. Put all this in a blender and you've got one hell of an action-packed film. It's all documented with a classicism that avoids pastiche and simply exists as a legitimate documentation of the times it portrays. The styling is top notch. The editing is great. Definitely a nod to Saul Bass here and there. It's fucking great.

The content is certainly rough, though. If you're afraid of some sickening violence against men and women, then stay away. If you can't handle prison torture and you don't like seeing terrible things happen to good people…this isn't the flick for you. It's brutal. It cuts deep. Just like most great art should. Cassel isn't afraid to step up to controversial films, as we've seen in the in-fucking-credible Irreversible. While this isn't on that level, it's still pretty gnarly at times.

Anyway. It didn't disappoint on the second viewing and I'm looking forward to watching Part 2 later this week. Vive la France!

Deep Water

The sea is a scary-ass place. Unforgiving waves ready to crush you like an insect. Blackness. Emptiness. Cruelty. Void.
You're surrounded by impending doom. 70% of the Earth's surface is covered in water. That's 70% Doom.

In 1969 nine sailors decided to race around the world singlehandedly in an attempt to be the first person to circumnavigate the globe in a sailboat without stopping. No aid. Just a dude and a boat trying something that had never been done. Brass balls.

This documentary is about that race. But it's specifically about one dude from England. The Dark Horse of the nine. He was in Deep Water and subsequently in Deep Shit. You'll find out why if you watch the flick.

The film uses archival footage and photography mixed with interviews done for the film. There are no recreations. It's well put together. I think it's an interesting narrative and it's accompanied by compelling visuals. It doesn't rely on slick effects or bullshit like that. It's just real people telling a real story. It's woven together cohesively. I enjoyed the trip. Tension mounts, brothers and sisters.

It's streaming on Netflix. It's inspiring. Watch it.

Prometheus

Prometheus starts off with some CGI.
CGI sucks.

Then we're introduced to the archetypical crew of Alien-mythos characters: We've got a simulant who bleeds white "blood", we've got a bad ass black dude, we've got a crazy white dude with a predilection for foul language, we've got some nerdy scientists, we've got a the woman-on-a-mission who won't take shit from anyone, we've got a token non-white guy, and then some other people who are just good for death scenes. We wont miss them because we never got to know them. Sound familiar so far?

Then we meet a couple new characters introduced for this flick. The Weylands. You'll find out about them if you watch the movie. Thing is, I don't suggest you watch the movie.

The trailer looks way cooler than the flick really is. The trailer is more ominous. Big massive fuck-off score that gives you the chills. The flick looks immense. But it's not.

Visually it's alright. Sonically it's mediocre. Acting is crap to good, depending on who it is. It's just not as intense as it could have been. Honestly, I think it could have been an hour longer and that would have helped it. Yup, a three hour version might have saved it.

The thing is, the film isn't bad. It's just not that great. You could watch many worse movies, but you could watch a zillion better ones, too. So why bother with Prometheus? Fuck CGI.

Meh.

A Man's Story

I wanna be rich like Ozwald Boateng.

I want a wardrobe like the motherfucker, too. Ever since I first saw Boateng's designs I knew that he'd be the first guy I'd go see if I ever truly "made it." I'll fly my ass over to London and beat down his door on Savile Row. I want him to make me a suit before I die.

Boateng takes a very sharp, very modern approach to English tailoring but adds his own dandy twist to the party. He's provocative and ballsy, but somehow he manages to keep a lid on it. He's irreverent in some of his color choices but it's completely alright because it's so well proportioned and put together that you just can't argue with it. He offers a very refined "fuck you." Love it.

The film follows Ozwald for ten years! You see him go from the gutter to the penthouse. It's great to see the ascension unfold. The dude is unflappable. The production value is pretty low. The audio isn't always that great. The video isn't always that great. It's never distracting, though. But the film is definitely raw. I woudln't give the Director any awards on any level. The whole thing is pretty good, but it's really basic. You could give the raw footage to someone else and I think they could do something better, to be honest. But whatever. Good effort.

If you wanna watch a fly-on-the-wall doc about the best men's fashion designer currently cutting cloth, then this is for you. Otherwise...meh, you could watch something else. Hey, I just got Prometheus in the mail today...

As Tears Go By

I finally watched the first Wong Kar-Wai flick, and subsequently the last full-length feature I needed to see to complete his filmography.

I gotta say, it starts off kinda rough. I know it was his fist flick and it was 1988 in Hong Kong...but that music is inexcusable. I could point to far too many other Directors that weren't using crap like that in 1988. But let's not dwell on it. Moving on. It seemed a little shoddy right off the bat, but as the film went on it was almost like Wong Kar-Wai was putting it all together right in front of your eyes. Things just got better and better as time ticked by. By the end of the flick you've forgotten about any rough spots and you're fully immersed.

It's cool to watch because you can see Wong Kar-Wai planting the seeds for his future masterpieces. His trademark color and chiaroscuro is already in play. We don't have Christopher Doyle on hand just yet, but the DP does a great job on this, too. Many of Wong Kar-Wai's trademark visual cues are employed even in this first film. It's instantly recognizable as one of his own. It's rough, but that's alright. Sometimes it reminded me of a Samo Hung / Jackie Chan flick. That's both good and bad as it relates to As Tears Go By.

The plot is a pretty straightforward Chinese gangster story. Of course there's love, there's violence, there's culture and tradition, and there's tragedy mixed into every Wong Kar-Wai flick, and this one is no different. The acting is great. I really dug the characters and the plot. It's pretty rad actually.

Having said all this...of all the Wong Kar-Wai films out there, I wouldn't put this at the top of your queue. I'd want to see some of his classics before digging into something as raw and maybe early as this. If like me you've seen all the rest, then I definitely think you'll enjoy this. It starts out rocky but it soon brings you into the fold. It's some good shit.

Objectified

Just watched Objectified again. It's by Gary Hustwit, who also Directed Helvetica. This is the second in his design trilogy. I just watched the final installment, Urbanized, a little while ago. All good films in their own right.

Objectified doesn't glamorize or try to make industrial design sexy. It's a somewhat dry documentary. Maybe "subtle" is a better word than "dry." I don't know. I dig it. It's unvarnished and pretty mellow. We see interviews with a variety of designers who have some pretty interesting and relatively deep insights into design. And we see interviews with a couple lunatics. The art fags you just couldn't see eye-to-eye with in art school. SOME of them end up getting paid well for being flighty art fags. Whatever. The rest of the cast have their heads pretty well screwed on to their bodies.

Surprisingly, Karim Rashid has some really valuable insights. I say "surprisingly" because the man wears white nailpolish and lots of pink accessories. The long-hair dude with the nice couch in the background is my other favorite interviewee.

The ideas are translatable to other areas of design. Obviously, as an Art Director, I could relate to their processes even though we work in different specialized fields.

If you've ever wondered about industrial design process then watch this flick. And even if you don't care about how they design handles for potato-peelers...watch this flick.