Sometimes I’ll watch a movie, this has to happen to others, but I’ll watch a movie that puts me in the mood to watch my favorites that are like it. I was watching Munich the other night and Munich is that sort of slow burn European 70’s Thriller that I really like, I still need to see The American to see how that newest entry pans out, about hitmen trekking Europe to do their job and the work that goes into putting together a hit (Golgo 13 is the Japanese Manga version of this idea, I really need to snag a few of those compilations.Okay, so a little before this but while thinking about seeing Munich and also not having seen a Spielberg film in quite a while, The Terminal was maybe the last thing of his I saw? So talking with a friend of mine about Munich and Spielberg he brought up, something that someone he knew had told him, the composition of Spielberg’s shots. That if you pause at any random point every shot is a painting, fully realized at every step. Well, yeah Steven Spielberg knows how to compose a fucking shot. But really, he DOES. I was pausing throughout Munich just to see and every time it worked.
I like gunfights, intrigue, plots and counter-plots, crime and crime busters, criminals and there hunters. These things speak to me, my obsessions, and like I said Munich has put me in mind of these movies, there meanings to me, and there most dynamic shots that I can find on the internet (and speaking to the visual element of this blog that I dig so much.) I’m gonna meditate on this track of thought till it peters out. The Day of the Jackal would be the next logical place to go with this but I’m actually on another L.A. Confidential vibe again so I’m going there next.
-Daniel Von Egidy, 2011