Tag Archives: michael bay
Paths of Movement + Dynamic Sequences, 1913 | Transformers: Dark of the Moon, 2011
Editor’s Note: John D’Amico’s piece, Michael Bay: Futurist, is no longer available on this site because it has been selected for inclusion in a upcoming scholarly print examination of the films of Michael Bay which is slated for release in mid 2018 via a major publishing house. The book will feature a wide range of new perspectives about Bay’s work from a range of scholars, cinephiles, and filmmakers.
This is the very first episode of the Smug Film podcast! On this episode, I am joined by fellow Smug Film contributors John D’Amico and Jenna Ipcar. We discuss Matt Zoller Seitz’ article, Please, Critics, Write About the Filmmaking, and what we believe the duties of a film reviewer are. We also go on tangents—from Russian cinema to the ideal usage of DSLR cameras—and to close, we answer questions from our mailbag. Be sure to listen to the very end of the episode for a movie joke by comedian Anthony Kapfer!
If you have a question for the show, leave it in the comments or email us at Podcast@SmugFilm.com.
If you enjoy the podcast, be sure to subscribe on iTunes, and leave a rating and a comment on there as well. Doing this helps us immensely as far as our ranking on there, which is what allows people to be able to discover us. Word of mouth is always best of all though, so spread the word!
Movie Stuff Referenced in this Episode:
My dad has four brothers; the oldest, Gary, was born in 1951. Gary was a hippie for a while, and saw 2001: A Space Odyssey in the theater (probably on acid, shh). He’s a blue collar intellectual, a salt-of-the-earth fellow who knows about cars and Greek philosophy and cooking and political theory and electrical stuff. Gary worked at a newspaper in Port Huron, Michigan for 25 years and then retired. In 1985, his left index finger was severed in half by some machine. When he removed his work glove he felt something dangling which felt like a string, and later he asked the doctor what it was, only to receive the reply, “that was your tendon, it had been pulled out”. (That detail has no relevance to anything—I just wanted to make you shiver.)