Design

I saw DESIGN at the CineVegas film festival in June 2002. It's a complex meditation on the role of fate and free will in a person's life. One one hand, it seems to suggest that our lives are pre-determined and beyond our control to influence. But a closer reading of the film shows that the main character made choices every step of the way on the path to his ultimate situation. The stories of four or so characters interweave, though there is a main character. Especially original was the use of montages to show the different POVs of the characters. Daniel J. Travanti went above and beyond in his role, leading the cast with gripping energy, though I'm surprised no one has noted the acting performance of the writer/director - subtle yet intense, Davidson Cole can act too! Bravo for this film! Let's hope it gets distribution.

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 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.

This film is about a set of interconnected characters and their fates. It is very dark, as the characters all seem to be doomed, disturbed, or both. The performances are all very good, with Daniel J Travanti standing out as the alcoholic father/salesman. It is also visually very striking, including the use of flash frames. The look is also partly the result of it being shot on a type of film that is close to obsolete, called Super 16 reversal. The story was apparently inspired by a poem of the same name by Robert Frost. Seen at Cinequest (the San Jose, CA film festival) on 3/3/2002.

Note that the cinematographer is the infamous Pete Biagi of HBO "Project Greenlight" fame, although the director of this film (who also wrote the film and played one of the main characters) swears that Pete was great to work with and plans to continue to work with him.

Design reminds me of what "indie" used to mean. The performances are real and gritty portrayals of flawed characters doing their best to survive a number of unnamed historical wounds. The concept is simple but the execution is still compelling and surprising. I would like to see more from this writer/director. He seems to be a great actor as well, which is unexpected. Worth the watch!