I am an Idiot

Tonight Jasmine says to me as Aaron, Katie, Radford and I are walking to Chipotle, "I have to go to some film thing tonight for my Farsi class... It is at the Walker"

I say, "Oh... yeah. I got invited to that because I'm a film major.. I don't think I'm going to watch the movie tonight though... I have to study for one of the most important tests I've had this year (Microeconomics...). I am leaving class early to go to the Walker tomorrow though... the same director is giving a class and Augsburg Film majors get to attend at a discounted price of 7 bucks..."

So Jasmine and Claire go tonight.

I stay at Augsburg and study for Micro.

I AM SOOOO FRICKIN STUPID!

While sitting here looking at X's and Y's, I think, "Maybe I should look up what time that whole film thing is tomorrow..."

So I check my e-mail, and guess who the director is: RAMIN BAHRANI


(He's in the center of that picture http://images.nymag.com/anniversary/40th/twothousandfortyeight081006_250.jpg)

He is basically the up and coming film maker and he is at the Walker tonight showing his films.... The more I sit here and look up stuff about him, the more pissed off I get at myself...

From Cinemawithoutborders.com (http://www.cinemawithoutborders.com/news/127/ARTICLE/1383/2007-11-03.html) :
"I see every film as its own entity. It begins and ends with itself. we must accept that i am making films about how the majority of people in this world live, and we must also accept that this majority is utterly ignored by Hollywood and independent film (or belittled and exploited by using famous rich actors to play the roles of the economically poor in order for said actors to try and win awards)."

I could not agree with him more!

From NYmag.com:
Ramin Bahrani, Filmmaker, 33
Columbia grad Bahrani has already defined himself on the international film scene with three landmark pieces of street cinema. Man Push Cart mythologizes the day-to-day life of a midtown Pakistani street-cart vendor. Chop Shop captures the hardscrabble survival of two Latino street kids in Queens. His latest, Goodbye Solo, follows a Senegalese cabdriver through North Carolina—and just won the critics’ prize at Venice. Bahrani’s startlingly assured films—often featuring amateur actors—are the next chapter in the urban ethnic story told in turns by Lumet, Cassavetes, Scorsese, Allen, and Lee. This Iranian-American New Yorker is poised to redefine polyglot New York cinema.

I am going to walk to the Walker tonight and see his last film if I have to go by myself. Microeconomics can wait.