My 100+ Favorite Movies of All Time. Spurred on by Cody Lang of the Intercut Film Podcast, I took on a challenge I hadn’t met since my early college days in 2003. I’ve seen many movies since then, and my tastes haven’t changed as much as they have been enlightened. I suppose I really had no business making a “Top 100” list when I was 20 years old and a relatively young cinephile-not-yet-filmmaker, and I probably have no business making this list now as a 31-year-old independent filmmaker, but man, it’s fun. The ranking here is almost entirely arbitrary and my preferences could change while I type this sentence.

Essentially this list attempts to organize all the films I’ve seen that I consider to be 5/5 or A+ or 10/10 or whatever the preferred grade is.

Hopefully the list continues to grow as I continue to be drawn deeper and deeper into the wonderful history and future of film.

The list is in spreadsheet form here.

We’re making “dinosaurs” the theme of our baby room, so I designed some characters to go on custom curtains and wall art. All credit to my wife for having the idea. I call these guys The Terribly Humble Lizards.

A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann. A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann.

A Mann Walks Into a Bar: In MANHUNTER, Michael Mann uses framing to illustrate the growing realization at the heart of the movie. Hero Will Graham (William Peterson) is on a hunt for a killer that is reminding him of his talent for being able to think like a killer. When he first recalls his latest catch, Hannibal Lector, he’s framed in front of green blinds that make vertical bars. When he reluctantly visits Lector to get the murderer’s perspective on the new killings, Graham’s framing is nestled inside a box, from the POV of the unseen Lector. As the scene develops and Lector grows aware of he and Graham’s common state of mind, their reverse angles grow closer to center, until Graham is as imprisoned as the convict. Graham rushes from the room, trying to escape the idea that he has the capability of thinking like a serial killer, and Mann’s framing doesn’t do much for him: He’s still surrounded by bars, imprisoned by the guilt of knowing who he really is, and who he could be.

This framing was called to my attention by Ben Flanagan of Aspect Radio, a fellow Mann Fann.

My current top 10 of 2014. I thought it’d be good to put this out there now before the awards season starts, because I doubt it’ll look like this at all by the time January rolls around. Or maybe it will, if baby Penelope decides I’m done watching movies for a while!

I’ve failed to watch my Shelf of Shame movie in its determined month. In my defense, I was making a film and there is a baby to prepare for, but those are no excuses. So now I get to squeeze in TRAINSPOTTING in addition to ELEPHANT in September. Two laugh riots, just waiting for me to enjoy them!

I took time out from DEAD SATURDAY pre-pro to watch PATTON. I’m glad I did. Click on the image of Willy the Conqueror for my FilmNerds.com write-up.

Here’s our lead actor, Kurt Krause, in a stained glass version of his scene from TRUE DETECTIVE! http://www.seedandspark.com/studio/dead-saturday

Here’s us when we found out we were 50% funded.

Here’s a stained glass portrait of our star Eric Roberts in one of our favorite scenes from THE DARK KNIGHT