Film Word Of The Week: Best Boy

 

By Kierston Drier

Have you ever watched credits at the end of the film and been perplexed by the acknowledgement of the “Best Boy”? You’re not alone. Occasionally even people in the industry have the think for a few moments before the title and the associated job link up.

 

A Best Boy is a position held in the actual production of the film or television piece. Unlike Post or administrative-based production work (which tend to take place in offices and involve the planning, coordinating or finalizing the product) production work often takes place at ground zero- on the floor or location where the film is being shot.

 

The Best Boy is a member of the Lighting, Electric or Camera department. These are incredibly important departments and are critical to creating the ‘movie magic’ that makes everything on screen looks so highly polished and beautiful. The Best Boy position is essentially the chief or senior assistant to the Gaffer or Key Grip. While the heads of work with any of the aforementioned departments work with creatives to carry out the specific look of the scene they are shooting, the Best Boy must manage and maintain all the equipment, gear, scheduling and other managerial needs of that department. The best boy is, by and large, the second-in-command, and often swings between the needs to the camera, electrics and/or lighting teams. All teams are necessary in capturing the scene, and the teams must work closely together with sound communication in order to get the desired shot.

 

In essence, the Best Boy of these technical production departments lends themselves to their team in regards to all on-the-floor needs and requirements for the days’ work. They may coordinate with the Bests’ on other departments to ensure all departments have what they need for the days’ scenes.  

 

It is unclear exactly where the term “Best Boy” came from. It has been thought to come from the pre-union film days, from the concept of sending the “best boy” from your department to another department to assist with department-specific needs. Unable to lend the key of the department to assist, the team would send their most trained, highly skilled worker, that they could afford to lose for short term assistant. This morphed into the “best boy” a highly-skilled position that often swings between departments understanding the needs of both.

 

Best Boys are skilled and highly revered jobs, they can take years of training and working to be accomplished enough to be a Best. It should be noted that they are many “Best Girls” and the position is sometimes referred to as simply the “best”. So next time you are watching a movie and something wonders allowed what a “best” is in the credits- you might be able to enlighten them.

 

REFERENCES

Imbd.com

Wikipedia (basic referral only)

 

Camera Action
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TIFF 2017 Movie Review: CATCH THE WIND (PRENDRE LE LARGE) (France 2017)

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Catch the Wind Poster
A middle-aged factory worker’s life is upended when she follows her employer to Morocco.

Director:

Gaël Morel

Writer:

Gaël Morel

Stars:

Sandrine Bonnaire, Lubna Azabal, Ilian Bergala

CATCH THE WIND is a personal look at what happens when companies second source to a cheaper country. The story concerns Edith (Sandrine Bonnaire) informed that the job she’s held for her entire adult life is being relocated to Morocco. She refuses to accept a healthy severance package.

Against the advice of her colleagues, her self-absorbed son, and even the consultant hired to fire her, Edith instead opts to follow her job to Tangier.

Arriving with the naïve energy of a teenager on their first overseas trip, Edith realizes before long what she’s up against: the expected subpar working conditions and subpar pay, but also an adjustment to new social and cultural realities — nuances that her failure to grasp would mean her job and, more importantly, her dignity.

The film works for two factors. One is the detailed account by director Morel on what living is like in Tangier – the factory corruption, the poverty, the strife to support families and the danger on the streets.

The second is Bonnaire’s calculated and worthy performance. Brutal yet sensitive, PRENDE LE LARGE finally gets Morel’s characters a happy ending but not without sheer determination and strong will.

Trailer: https://www.youtube.com/watch?v=LsfAPoCk5AA

CATCH THE WIND

TIFF 2017 Movie Review: THE THIRD MURDER (Japan 2017) ****

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

The Third Murder Poster
Mikuma has a criminal record dating back many years and is now under the spotlight again. It looks like and open and shut case for Mikuma has confessed to the new charge. Enter prominent …See full summary »

Director:

Hirokazu Koreeda

Writer:

Hirokazu Koreeda (screenplay)

Stars:

Masaharu Fukuyama, Kôji Yakusho, Isao Hashizume

THE THIRD MURDER is director Hirokazu Kore-eda’s (AFTER LIFE, AFTER THE STORM LIKE FATEHR LIKE SON) first murder mystery/courtroom drama and one that encompasses deep thoughts on morality. From the first scene, Misumi (Kôji Yakusho) robs and kills an industrialist. Misumi freely confesses to the cops, claiming he was desperate to settle a gambling debt.

But defence attorney Shigemori (Masaharu Fukuyama) isn’t entirely satisfied with his mild-mannered client’s testimony. As Shigemori and his team go about their research, secret histories are brought to light, inconsistencies surface and unlikely alliances point to a more complicated set of circumstances.

One flaw of the film is the point is that it is brought up later Misumi might not have killed the industrialist and someone else could have done it. But showing the killing at the start of the film, dismisses the fact that someone else could have done it.

It is the film’s classic case where a director should never lie in a flashback scene. (Hitchcock did it once in STAGE FRIGHT and was never forgiven for it.) Kore-eda’s shot of Misumi’s reflection in the glass in the film’s final scene when he finally concludes his case with his attorney demands mention. The image in the reflection is different from his actual face reflecting the two sides of the man.

Brilliantly thought of and executed THE THIRD MURDER marks Kore-eda as his continuous best.

Trailer: https://www.youtube.com/watch?v=Plr3V4TYBQE

THE THIRD MURDER

TIFF 2017 Movie Review: THE DAY AFTER (South Korea 2017) ***

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

The Day After Poster
The married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him. That day Bongwan’s wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.

Director:

Sang-soo Hong

Writer:

Sang-soo Hong

Stars:

Yunhee Cho, Ki Joabang, Min-hee Kim

Hong Sangsoo is a Korean director that makes small films on a little budget. Films like his, will never get seen aside outside festivals. Like HILL OF FREEDOM that was also screened a few years back at TIFF, Hong’s THE DAY AFTER is a comedy of errors with lots of dialogue, confused identities and missed meetings.

The protagonist of the story is Kim Bongwan (Kwon Haehyo), the manager of a small, independent publishing company, recovering from his recent affair with Lee Changsook (Kim Saebyuk), his young, attractive, and now former, employee. All the said information is revealed over conversations of the characters.

Song Areum (Kim Minhee) takes over Changsook’s position, unaware of what has transpired and unprepared for the misguided wrath of Bongwan’s furious wife (Cho Yunhee) who suddenly appears at her husband’s office and accuses her of being his lover.

While Kim is initially on display as a deceiver with no redeeming qualities, director Hong reverses that notion by the end of the film. Hong also composed the original music for his film – a quiet entertaining piece.

Trailer: https://www.youtube.com/watch?v=jv0QPchaINk
 

THE DAY AFTER

TIFF 2017 Movie Review: EUPHORIA (Sweden/Germany 2017)

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Euphoria Poster
Sisters in conflict travelling through Europe toward a mystery destination.

Director:

Lisa Langseth

Writer:

Lisa Langseth

Stars:

Alicia Vikander, Eva Green, Charles Dance

When sisters Ines (Alicia Vikander) and Emile (Eva Green) are greeted at an institution (for the dying) with the standing figure of Charlotte Rampling wearing an overall, one can immediately tell what will happen is not going to be good. Ines is about to die of cancer and she wants to find closure with her sister as to the past.

EUPHORIA marks the English-language debut of Sweden’s Lisa Langseth and it is simply terrible. This is new age stuff that many will just gawk at.

The written dialogue is also plain awful. The kind of words Emile uses, the swearing and all is also used by Ines’ character. The words or ideas of different characters should be distinct. The film could do with a bit of humour – as dealing with death is a topic ripe for some black humour. Whenever Ines coerces Emile to talk about an incident in the past, she will later use that against her and lose it.

If Emile could not see this coming, the audience certainly can, for the script is too predictably cliched. Charles Dance puts a bit of life into the film as a dying man who organizes his own farewell party. The film turns out to be a muddled look on death mortality.

Trailer: https://www.youtube.com/watch?v=TMX3Dw-GjIA

TIFF 2017 Movie Review: DOWNRANGE (USA 2017)

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Downrange Poster
Stranded at the side of the road after a tire blowout, a group of friends become targets for an enigmatic sniper.

Director:

Ryûhei Kitamura

Stars:

Kelly Connaire, Stephanie Pearson, Rod Hernandez

DOWNRANGE is a horror Midnight Madness movie with all the gore, blood and violence expected from any film in the series. The simple plot involves a van with assorted male and female youth stranded on an unknown highway, after an unseen sniper shoots out one of the tires. They become the sniper’s targets one after another.

If blood and gore is all that is needed to satisfy, then a complicated plot is not really needed, but a film with a plot this simple runs into trouble soon. For one, there is hardly any opportunity for new horror set-ups, and the film grows tiresome soon, despite different bloodied body parts getting shot up.

The lazy script does not even offer a hint of explanation who the sniper is or what his reason for doing all the damage might be. A welcome diversion involved another car that comes along the highway after an hour or so, with some spectacular blow ups.

Director Kitamura (VERSUS) appears over-confident when he introduced his movie at the festival.

Trailer: https://www.youtube.com/watch?v=wBf0xLj7FhU
 

DOWNRANGE

TIFF 2017 Movie Review: WINTER BROTHERS (VINTERBRODEN) (Denmark/Iceland 2017) ***

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Winter Brothers Poster
Clip

A brother odyssey set in a worker environment during a cold winter. We follow two brothers, their routines, habits, rituals and a violent feud that erupts between them and another family.

Director:

Hlynur Palmason

Stars:

Michael Brostrup, Anders Hove, Elliott Crosset Hove

The WINTER BROTHERS of the title are Johan and his younger brother Emil, two miners whose routines, habits, and rituals are ruptured by a violent feud with a neighbouring family.

Emil (Elliott Crosset Hove) is an odd character who when not whipping out his dick for no reason, would charm the local girl in the area. But more important than the action of the film are the lives of the miners on display.

Amidst the bleak, white and barren landscape of the mines and worse the black of the inside of the mines, the miners try to etch up a decent living. Director Pálmason contrasts both the bright light of the snow and deep darkness of the mines.

The film is really slow but what is on display here is the reality of the setting. Even the fight over a girl between two men was shot in all its ferocity (with one of the men in the total nude).

Trailer: https://www.youtube.com/watch?v=qkHG7cXVJoU

WINTER BROTHERS

TIFF 2017 Movie Review: GUTLAND (Luxembourg/Germany/Belgium) ***

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Gutland Poster

Writers:

Razvan Radulescu (script doctor), Govinda Van Maele

Stars:

Frederick Lau, Vicky Krieps, Pit Bukowski

A very surreal thriller noir set in a farming Luxembourg community, a rarity that makes GUTLAND a very intriguing film. It begins with the arrival of an outsider in the agricultural community of Schandelsmillen. Harvest season is already well underway, but Jens (Frederick Lau), a German drifter, is looking for work.

He is taken on as a farmhand — and also to bed by Lucy (Vicky Krieps), a single mother who picks him up at the village beer hall. He is visited by the town mayor who warns him never to sleep with the folk’s married women.

It turns out that Jens is not an innocent outsider but a robber with a past to hide. But the townsfolk are not that innocent either. The mayor’s band with Jens as a new recruit makes good irony.

The film is quite confusing and I had to sit back and ponder the plot and put the pieces after the closing credits. But that is not necessarily a bad thing.

Trailer: https://www.youtube.com/watch?v=Sif439KtxWM

GUTLAND

TIFF 2017 Movie Review: BODIED (USA 2017) ***1/2

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

Bodied Poster
A progressive graduate student finds success and sparks outrage when his interest in battle rap as a thesis subject becomes a competitive obsession.

Director:

Joseph Kahn

Writers:

Joseph Kahn (story), Joseph Kahn

Stars:

Calum Worthy, Jackie Long, Rory Uphold

A film about battle rap, I almost walked out within the first 10 minutes not being a fan of this brutal sport. But music video director Kahn’s film increases in intensity while drawing the audience into the world of battle rapping. By the end of the film, one would not only have a more insightful view of the sport but be entertained as well.

The film begins with a battle with explanations of certain terms used by a white couple attending – Adam and his girlfriend. The film assumes the perspective of Adam (Calum Worthy), a white, purportedly progressive graduate student who infiltrates a community of diverse battle rappers for the sake of an edgy thesis.

Before long he develops his own predilection for skilfully slinging rhymed insults and epithets as a competitive poet. Adam is finally forced to choose between his love and his unforgiving girlfriend. Can Adam have the best of both worlds?

The film contains some really awesome rap battles. BODIED is produced by Eminem.

Trailer: https://www.youtube.com/watch?v=jEfbPQVV7wg

BODIED

TV REVIEW: SOUTH PARK – SEASON 21 – EPISODE 01

 

White People Renovating Houses Poster
Randy comes to grips with what it means to be white in today’s society.

Director:

Trey Parker

Writers:

Brian Graden (developer), Trey Parker (creator) |1 more credit »

Stars:

Trey Parker, Matt Stone, Jennifer Howell

Review by Mary Cox

“White People Renovating Houses”

South Park is one of those cultural cornerstones that people have looked to for commentary on social and political issues over the past two decades. In a return to Season 8’s episode “Goobacks,” Darryl and South Park’s other xenophobic rednecks are rallying over being replaced by automation. This episode has several direct visual references to the recent Charlottesville protests, Tiki Torches and all.

It seems like class is very much going to be the thematic focus of this season. We start with the the anger of middle-class whites, like the Marsh family, upset about damage done to the “white brand” by conservative protesters. However, there’s some clear miscommunication regarding Randy’s take on the motives of the Confederate flag-waving horde who are hurting the “white image.”

In the “come to Jesus” speech Randy gives to Darryl, the tonal focus is more about morals, and less about economics. The implication is that a superficial change in lifestyle, such as that created by a home renovation, is symbolic of a massive shift in the foundation of someone’s beliefs. In other words, you can deal with the problems of conservative white Americans by providing them with the illusion of a bourgeois middle-class lifestyle.

This is highly emblematic of the fundamental cultural divide in the United States, whereas the issue splitting the country into two angry sides isn’t necessarily related to politics, but to class. Even if Darryl’s lifestyle and cultural perspective can be “rehabilitated,” how can the issue of economic displacement caused by automation be resolved?

Coal mining jobs are never coming back, truck driving jobs are on the way to irrelevancy with self-driving cars, and most basic retail and food service positions are on their way out as well. If the jobs AI is replacing are, as Darryl says, “degrading and menial,” and good jobs are exclusively restricted to university graduates, as is asserted by Randy, what options do working-class people like Darryl even have? It will be interesting to see the solutions provided by Matt Stone and Trey Parker over the course of this season.

 

south park season 21

******

“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”