The serene velocity of change of the modern media landscape got scary back at the turn of the century, when the cries of filmmakers like George Lucas and James Cameron for digital distribution reached the ears of economy-seeking, profit-coveting movie studios. But a lot happened in these fifteen years, as new means of communication quickly were supplanted by newer ones or faded. (Fotolog? Friendster?) For the purposes of Film 50, the most important aspect is the democratized access to means of production (DSLR digital cameras, iPhones, consumer-level non-linear editing software) and distribution (YouTube, Vimeo, Netflix, digital exhibition). There’s action and movement in every form of Chicago media, even if there’s a cost to some. (Apps like Fandango supplant lucrative movie listings that once fattened newspapers, for instance.) But this year’s survey surprised with its hope toward a sustainable culture and economy in what’s rapidly becoming “The City That Collaborates.”
The lovingly pessimistic words from Antonio Gramsci’s “Prison Notebooks” that seemed too true in recent years—“The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear”—now seem pasted to the rearview mirror as opposed to the cautious yet sometimes utopian hope for forms of storytelling we shelter under the umbrella of “film.” Morbid symptoms wane in the face of simple midwestern determination, basic Chicago hope. This is a thrilling, fearsome, fearful moment to be alive in the midst of so many forms of media.
While compiling this year’s Film 50, devoted to behind-the-scenes players who work in a visionary strain necessary to but necessarily apart from storytellers, generational layers surfaced. There are older figures with the institutional memory of what came before, bearing both its wealth and weight; players in mid-career devoted to preserving the legacy of film and video, particularly in how it reflects twentieth-century Chicago; and a younger bunch, let’s say under thirty, who are format-agnostic, aren’t burdened by the minutiae of Chicago’s film history and are open to storytelling in just-emerging and not-yet-born multimedia approaches. The story of any given movie’s production will be more interesting than the movie itself, it’s often said, and this survey offers ample fascination. Whether a Wachowski mega-production, an episode of a Dick Wolf series, a $30,000 post-Joe Swanberg intimate drama, the crew of a hundred or twenty-five or seven required to manifest that movie is stocked with one dreamer after another. (We could drown in the tears from the making and unmaking of the cinematic hopes and fears of just a single fully-staffed crew shooting a couple of days of “Chicago Fire” or “Empire” just down your nearest Boulevard.) The figures who follow are the creative thinkers, and more importantly, doers, who can brush away those tears and hold the hands and support and nourish the imaginations of all of Chicago.
Note: Since editor Brian Hieggelke has launched a Newcity-related film production enterprise (see related story), he recused himself from the selection and ranking of the individuals on this list.
The Film 50 was written by Ray Pride
Cover and interior photos by Joe Mazza/Brave Lux Read the rest of this entry »