For the Hollywood director, this isn't such a big deal; not only do they have the power to blacklist the hapless crew peon, but they often don't even have to do the re-shoot themselves as they could easily get a whole second unit to do it. But for the microfilmmaker who has been living off Ramen noodles and a dwindling savings account for the past year in hopes of getting their movie made, it might be about the time that the relatives start making reservations at the local loony bin. But in a long and drawn-out production, it might be well worth the loss of several hours sleep a week in order to upload the dailies and at least begin the editing process to be able to get forewarning while you still have time to get a reshoot.
Hollywood is still the quality standard for production value in the U.S. (and the world), and rightly so. But that doesn't mean that one has to be tied into their practices; the step one, step two, step three sequence of pre-production, production, and post-production is only one example. I found this quote on a Starbucks cup a while ago:
"Films today are so calculated to their opening date, that next week, next month or 10 years from now is never considered. Do you think Casablanca was made for a specific release date? It spent months in a can, considered unreleasable. Hollywood used to make stories for all time. The films you see today are made for today only. Is it any wonder they will be forgotten tomorrow?" - Harry Knowles (aintitcoolnews.com)
Ok, so I've been dying to use it in a critique, but not only is that statement true for the big dogs, its also for us little ones. Learn from the Hollywood system, but don't be afraid to break their mold when they're using outdated ways of thinking. Everyone who intelligently elects to break the Hollywood mold - even if their film is unsuccessful - deserves kudos for trying.
Vern is certainly an interesting character, and somewhat of a likable one - in a rather bumbling and irritating way. Like I referenced before, he's sort of a mix of Married with Children's Al Bundy, Pulp Fiction's Butch, and The Big Lebowski's The Dude. The movie itself seems to pay a good deal of deference to the latter film, all while borrowing stylistically from the modern films like Pulp Fiction and Ocean's 11, yet paying a clever, albeit unusual, homage to the classic director Sergio Leone.
Despite his somewhat likeable demeanor, there is the possibility, though, that an audience might lose some sympathy for the main character. His moping about for eight years seems a bit much (though its understandable, considering that his son should be old enough to have a knowledge of his father). Plus the multiple thefts – from cigarettes to vehicles – and generally bad behavior that Vern exhibits through the majority of the film had me hoping that he wouldn't make it to Los Angeles as he certainly didn't seem like father material. In the end, Vern does find redemption – there's even a really great image to end the film with the caption, “The Vern, who once was lost, now is found.” There's still the danger that the audience might get distracted by the story lines and lose both their way and their sympathy somewhere in the middle. But those who do stick it through to the end will be pleased.
This is a story that goes back to the Bible – the prodigal son who finds redemption and turns his life around. The Vern gives a unique twist to an ancient theme, with good measures of humor, homage, and, yes, even hope along the way.
