Design

Easily the best film I've seen at Sundance 2002.

I could go on at some length about this incredible debut from Writer-Director-Actor Davidson Cole, but I'll attempt to be brief by summing up the main strengths of the film.

Everything is brilliant.

Okay, okay, I'll be a little more specific.

From the thematically powerful and narratively complex script that works on so many levels, to the darkly atmospheric look of the film captured in its cinematography and production design, to the ultra-effective score and sound design, to the innovative editing style, to the absolutely strong, compelling performances by the entire cast (made up mostly of newcomers, but filled out by the seasoned Daniel J. Travanti, who turns in an incredible performance)... well, in short - like I said - everything is brilliant.

Watching this film reminded me of watching Darren Aronofsky for the first time. Not so much in Davidson Cole's filmmaking style as in the sense of feeling that I was witnessing the work of a powerful artist who has a unique voice and distinct vision that truly permeate his work.

Watch for Davidson Cole to develop into an important Writer-Director, and remember that you heard it from me first! As Dan Travanti told me at my second screening of the film earlier tonight, someday I'll be able to reminisce and say, "I remember when I saw Davidson Cole's first film way back at Sundance 2002."

You know you're probably not going to watch a blockbuster when you see the same name listed as director, writer, and lead; when that name has a one title filmography; and when the Special Thanks section of the credits begins with "Mom & Dad". So it is with "Design", a low level indie with all the ear marks of a first outing. Though this film is a marginal, muddled, cyanotic mess, it does manifest potential in the earnest, sincere, and believable performances is eeks from a cast of relative unknowns. And, although Nicholas Cage lookalike Cole appears to be a work in progress with real potential, this product has little to offer the public at large. For indie freaks only. (C)

Probably as close to poetry on the screen as possible. The technique interests me far less than the concept, executed with an honesty rarely found in this kind of film. No muddled fooling around with time and point of view here -- simply a harsh, existentialist stream of consciousness that leaves the viewer with more questions than answers.

What stands out as well is the clarity of character conveyed by superb acting. Of course, that is achieved in part by what I infer as good direction, camera work, and editing. There is no posturing here, even though some of the split-screen stuff seemed unnecessary. Personality lingers in the air long after one scene fades into the next, leaving visual images that create layers of imagination in the viewer's mind. The "design" is thus simultaneously both idea and image.

I suspect it may take a while for this one to be recorded and remembered by the public at large (if ever!). It could well be a stepping stone for some budding careers.

I highly recommend seeing this movie, as it tours the festival circuit. A brilliant tale about a hopeless romantic, with some rather sobering twists. Not your typical movie, I expect great things to come from this up and coming director/actor/writer.

I got to watch this at a screening at UCSD. Shot on 16mm reversal stock, the movie is richly silvery blue and very grainy, which works well. My only complaint was that the film is so dark, sometimes you can't see the characters' facial expressions (the DP was Pete Biagi, the same guy as Project Greenlight, and it was his work on this picture that got him Stolen Summer). After the film, I got the chance to talk with Davidson and John about this film and what they were going for. It was interesting to note what a technical challenge it was to utilize many different formats (everything from super8 to DV) on the screen at once in Gallo-esque (and arguably Korine-esque) montage sequences. It's not the most original plot ever conceived, and many strong plot points are taken from other films, but really, there is no such thing as a completely original film anymore. Just good films and bad films. And this was good. I wanted to get it on DVD but I guess they need to get a distributor first. I really hope they do! I'd love to watch this in a major theater (possibly brightened up a little in parts) and I'd definately buy it on DVD when it's available. Not for everyone, but that's one of the reasons I liked it. Imagine a Lynch film without the pretentiousness and ambiguity. There's actually a plot and engaging characters. The colors are beautiful and the acting is really good. For a first-timer, this was really good.