We spent today circumnavigating Fisherman’s Wharf and downtown San Francisco, and encountered seals, a guy in a kilt, a guy in crazy pants, Chinese dogs, innumerable hills, two cable cars, and some more hills. Nary a box of Rice-a-Roni to be found, I’m afraid.
Tomorrow, it’s off to hike a mountain across the bay before moving on to Oakland.
I’m updating from the road thanks to the awesome might of the hotel Interwebz! I’ll hold off doing an in-depth report until I get back to the east coast, instead posting an image or two of note from the day’s events.
So, without further adieu:
I’m having a great time thus far. Until tomorrow…
Just got back from an eventful….weekend with the bros. from Tau Delta Kappa whilst attending the wedding of Matt and Julie. Everybody had a lotta fun, particularly the 8-year old who made about four trips to the keg and the bartender who liked to dance for nickels. Throw in eight dirty old men, an elderly woman dancing on the bar, two roast pigs, and a technically-challenged DJ and you’ve got a recipe for nonstop fun and hilarity. Congratulations to Matt and Julie!
Click the image below to take a look.
director: Paul Greengrass
starring: Matt Damon, Joan Allen, David Strathairn, Julia Stiles, Albert Finney, Scott Glenn
The first two Bourne flicks brought new life to the genre of “taut action thrillers,” placing an emphasis on realism despite managing to “wow” the audience with non-stop action and suspense in the form of frenetic hand-to-hand combat, rooftop acrobatics and heart-pounding car chases. The term “realism” wouldn’t seem synonymous with said brawls or car chases in a Hollywood action flick, but therein lies the reason for the success of these movies–everything is ground in reality. And while you’re liable to see things in The Bourne Ultimatum you’ve never seen before, there never comes a point where you’ll say, “that’s impossible” and chalk it up to Hollywood digital effects or trick camera shots.
Speaking of camera shots, let’s get the one “negative” out of the way: the oft-maligned “shaky-cam,” wherein most of director Paul Greengrass’ shots are handheld. While it gives the director a lot more freedom in terms of shot-making, it also means you’re not going to see steadicam or fixed shots of two characters talking to each other, or smooth panning shots of action sequences. It’s down and dirty, and doesn’t work for everyone. The camera work will undoubtedly turn a lot of people off, but I’m a fan of the technique. It gets the audience right in there with the characters, whether in the midst of a bare-knuckle brawl or a tense conversation between two people. Unfortunately, many people will dislike the film because of it, to their loss.
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WARNING: the following video is not for the faint of heart. No blood, no guts, no nudity, but it still packs a punch.
Video from ESPN’s X-Games 13, aired Thursday 8/2/07: