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Don't Expect Too Much (2011)

TV-MA | | Documentary | 3 October 2011 (USA)
Drawing on Nicholas Ray's archive of never-before-seen film, video, and stills, his wife Susan investigates the questions of his work and the relationship forged by Ray between his life and... See full summary »

Director:

Susan Ray

Writer:

Susan Ray
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Cast

Credited cast:
Gerry Bamman ... Himself
Richard Bock Richard Bock ... Himself
Peer Bode Peer Bode ... Himself
Charles Bornstein Charles Bornstein ... Himself
Bernard Eisenschitz Bernard Eisenschitz ... Himself
Víctor Erice ... Himself
Tom Farrell ... Himself
Danny Fisher Danny Fisher ... Himself
Mark Goldstein Mark Goldstein ... Himself
Jane Heymann Jane Heymann ... Herself
Jim Jarmusch ... Himself
Leslie Levinson Leslie Levinson ... Herself
Myron Meisel Myron Meisel ... Himself
Walter Murch ... Himself
Nicholas Ray ... Himself (archive footage)
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Storyline

Drawing on Nicholas Ray's archive of never-before-seen film, video, and stills, his wife Susan investigates the questions of his work and the relationship forged by Ray between his life and his art. Includes interviews with Jim Jarmusch and Victor Erice. Written by Anonymous

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Genres:

Documentary

Certificate:

TV-MA
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Details

Country:

USA

Language:

English

Release Date:

3 October 2011 (USA) See more »

Also Known As:

Ne očekujte previše See more »

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Color
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Connections

References We Can't Go Home Again (1973) See more »

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User Reviews

just because amateurs do something doesn't make it interesting...
28 October 2011 | by oblivSee all my reviews

So, let me say, up front, that I have not seen "we can't go home again", the film that this is the making of...of(?). And I am certain that I would jump at the chance to make a film with Nicholas Ray, which apparently is the subject of this film. The problem... no one involved in this film seems to know the first thing about making a film. while the intention is noble, and the idea is promising, i was astonished at the anecdotes. not because they were too odd or offensive or whatnot. instead they provided information that was of literally no value. for example, they seemed to be impressed by the fact that, as a class and a crew of the film, they all "pitched in and did whatever job needed to be done". Indeed, they make that point a number of times (i want to say more than ten). Now, I went to film school. I was in several classes no doubt extremely similar in composition and concept as the ones at SUNY Binghampton taught by Mr. Ray. I also crewed on several student films, and indeed have served as freelance crew on several independent features as well. On every one of those films, in ever single one of those situations, it would have been an act of exceptional rudeness to NOT help out in whatever way you were needed. Now, i know that the perception is on big Hollywood movies, that no one touches a piece of gear for fear of being reprimanded by the unions. I've never worked on a big budget movie, so it may be that way, but I can say that in every other situation I've encountered, it would be really rude and almost confrontational not to help out in whatever way possible.

another guy talks about the hardships encountered during the shot. He reported that they had to go to the trouble of setting up all the lights BEFORE they started filming! (gasp!) and that the camera would, on occasion, simply... RUN OUT of film during a take.

okay, let me qualify this by saying sure, you may be shooting a documentary or something where lighting set ups are either non existent or minimal. And yes, when shooting on video, esp on hd cards with a lot of memory, the idea of a finite run time on film reels might seems a bit antiquated. But in a situation where you are shooting a standard type of film with typical film lighting, and using your standard film camera, the above "hardships" occurred ON EVEY SINGLE FILM EVER MADE!!!!! in fact, the ENTIRE IDEA of using lights is to set them up so they create a desired effect. There is not just one, but indeed several members of the crew whose job is just ti set and juice lights. as for running out of film... yeah... depending on the size of the reel, it was about every 11 minutes. I'm not sure what this guy thought the process was like, but i guess he thought that movies were just, you know, shot all at once. 2 hour movie? Easy. 2 hour shot. we're all home by 5.

and even worse... these people don't seem to have anything interesting to say, even if its about themselves... a lot of "it was the 60s, and i was embarking on a search to find out exactly... who was this guy i saw in the mirror. so you've got pretentious people telling a story about which they seem to have zero understanding. It would be as if a WWII submarine battle were brought to the screen by a kindergarten class. It's probably a great story. Thy may even be excited by it, but they won't really be able to explain why its great, and though you may admire their pluckish verve and amateur spirit, its still not going to make a lick of sense. thats "don't expect too much". since this really is almost literally an amateur film, its probably unfair to be too harsh on it. The film the class made with Mr. Ray is described as experimental, and it would be fair to apply that label to this film as well. It is probably most accurate to imagine this as a class project, turned in for the grade, whereas Ray's feature is "extra credit". I'm sure they were nice people, and I'm sure it was a great experience. I hope they all got an "A", but unless you are scoring their tests, you should probably skip this.


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