Michael Bay filmography and directorial style

Michael bay is one of the most successful directors in the film industry today. "With only five feature films to his credit, Bay has carved out a niche and a style all his own." (Scott B.) However this rise to prominence in film from his background in music video has not been without criticism.

Bay was a successful music video and commercial director when he was in his early twenties. His first feature film was Bad Boys, starring Will Smith and Martin Lawrence produced in1995.

This action comedy showed some the characteristics that made him well-known as a video producer. It is fast paced and slick with a rapid momentum. One of the hallmarks of the shorter video direction is the terse and "hyper-edited" quality of the film; where the viewer is not given time to ponder or take in the scene at length but propelled into a never-ending sequence of actions and events. This was to be an aspect of Bay's style which was to elicit a certain amount of criticism of films like Armageddon.

In 1996 Bay directed another feature hit The Rock, with acting luminaries Sean Connery, Nicolas Cage, and Ed Harris. The movie was a box-office hit but his music video style of rapid sequences and sharp editing cuts was starting to draw negative responses from many critics. Michael Bay then directed the well-received Armageddon in 1998, starring Bruce Willis, Ben Affleck, and Liv Tyler. While the film was a popular success, like the other films it drew scathing criticisms from segments of the media press.

The nature of Bay's direction is firmly related to his training and success in music video direction. After graduation, Bay produced a number of very successful and acclaimed music videos; including the DiVinyls, Donny Osmond videos as well as TV commercials such as "Got milk?." He won a Clio and a nomination from the Directors Guild for best commercial director of 1994. (Moviemaking is Child's Play for Bay)

He then became a protege of the well-known producer Jerry Bruckheimer. Bruckheimer saw qualities in Bay's video work which he considered as positive aspects which could be incorporated into contemporary film. "Bruckheimer has long coveted commercial directors for their ability to deliver what his swaggering productions need most: a triumphant high in 30 seconds or less." (Curtis, Bryan 2005) Bay therefore brought central qualities that were characteristic of short video creations to the arena of longer feature films. For example, one of these central characteristics, which previously defined the music video or commercial video as a separate genre from film, was the achievement of "...rapid-fire highs by cutting between shots very quickly." (Curtis, Bryan 2005)

This editing process, which is largely based on the time limits associated with music videos, produced a sharp and characteristic collage feel to the feature film. "A beguiling image might appear on screen for a half-second before Bay replaces it with another -- then another, and another -- creating a mind-bending visual collage." (Curtis, Bryan 2005) This directing style disregards the more relaxed and lengthy type of direction that characterizes most feature films.

The style used by Bay, as exemplified by films like Armageddon is known as "fast-cutting'. This is seen as a "...technique of music videos, not cinema." (Curtis, Bryan 2005)

While this translation of video to the area of feature films has been criticized, other commentators state that. "... In fact, patching a bunch of quick cuts together is a massive undertaking in the editing room. Moreover, Bay has a fluid, gliding camera -- he's using quick cuts to create atmosphere, not to whip up false momentum. "(Curtis, Bryan 2005)

The criticism of films like Armageddon reveals the essential differences between the musical video format and style and the conventional style of feature films - a division that Bay transgresses. For example, critics state that Michael Bay "...feeds from the detritus of 30 years of summer movies." As a review in the New York Times states his films feel "stitched together like some cinematic Frankenstein's monster from the body parts of other movies." (JAMES CARYN 1995) There is also the fear that some critics voice that if directors like Bay become the norms then this will mean that Hollywood will produce a director who knows nothing but the grammar of blockbusters." Curtis, Bryan 2005)

In other words, they fear that films will become even more directed towards the tastes of the market and lose creative integrity.

However, Michael Bay counters these criticisms with reasons for his sharp and intense style of cinematography and direction. In an interview he stated that,

In terms of the action scenes, I want the audience to feel like they're inside of it. That they are living it, and not just watching it from afar. I like putting the audience at privileged angles, where they're feeling it, rather than just watching it unfold in front of them. So I do try to create chaos with the action. (Miller Prairie 1998)

This would imply that the particular jagged and nervous editing and cinematic style he uses is intended to place the audience at the centre of the event or action, rather than on the periphery. He also states that his work with video and commercial films prior to his entrance mainstream features was characterized by new innovations which went beyond the boundaries of the musical video format of the time. "...we started making commercials very entertaining, and a lot more edgy. We were making the clients a lot more nervous, but we opened the door for a lot of younger people to get into the business." (Miller Prairie 1998) Furthermore, Bay points out that there are a number of successful feature directors that came out of commercials, like Alan Parker, Ridley Scott, Tony Scott. He also states that it has always been his goal to be a feature director and that video was a stepping stone towards this aim.

Commentators state that that the commercial roots of Bay's earlier experience can be seen in positive light in the modern feature film industry. The factors is emphasized by Bruckheimer who points out the positive aspect of Bays' style of cinema is that it also pays attention to the commercial aspects as well as the creative aspects. Bruckheimer states,

Commercial guys have to move quick, they have clients on their back, the ad agency telling them what to do, yet they're involved in the profitability of the commercial and don't want their budgets to go over... Michael has both business acumen and an artistic acumen.

Moviemaking is Child's Play for Bay)

An essential aspect of the work of Michael Bay is that he caters for the contemporary need for fast movement and action sequences and the search for instant gratification and information. The style that he presents in films like Armageddon is eminently appropriate to the modern audience. "Director Bay's history is of directing music videos and commercials, where ideas need to be quickly conveyed to the viewer, where patience is anorexic, and where cliche and stereotypes dominate." (Vaziri T.)

In Armageddon the style that made him well - known for musical video editing and creation is evident; namely the hyper - editing of action sequences. For example, the meteor shower on New York City sequence is designed to provide an enticing collage of images that tantalizes and draws in the viewers. It is essentially the same effect that a good musical video has in providing just enough to suggest the events and their consequences. The point of this cinematic style evidenced in Armageddon is."..to bring the audience into the action, attempting to draw us in by mirroring the violent action onscreen with violent, seemingly random camera movement and editing choices. "(Vaziri T.)

However this technique has also been criticized, especially with reference to Armageddon.

Bays' style for directing and editing action was mimicked by the visual effects shots in ARMAGEDDON. This is quite a shame, since audiences are not able to fully enjoy the film's effects -- instead, we are treated to 50 frame snippets of effects. Take for example the brilliant shot of the Chrysler building being severed in half, its top half soaring toward the ground (and the camera). Designed as a single shot, Bay cut it into two shots.

Vaziri T.) www.vfxhq.com/1998/armageddon_review.html"

The realism of Armageddon has also being praised. Many of the effects and sequences in the film are captured from real-life locations. An example of this is the launch sequence in the film, which us convincing and realistic. (Vaziri T.) www.vfxhq.com/1998/armageddon_review.html"

There has been both praise and criticism for the special effects in the film. Criticism however has centered on the view that the direction of the special effects can be tedious and repetitive at times.

A the design of many shots became repetitive and dizzying. How many times did we have to see the two ships zip past the camera, leaving only a few inches between the ship and the camera? Not only are these shot horribly unrealistic (in that if this were actually choreographed and photographed in space, no one would ever allow a spaceship to travel that closely to a camera rig), but seeing the same choreography repeated over and over becomes quite annoying." (Vaziri T.) www.vfxhq.com/1998/armageddon_review.html"

On the other had there is also praise for the ways in which some of the special effects in the film are achieved. This applies to the sequence in which Shanghai is destroyed when the impact of the asteroid creates a sense of depth. This effect is created by a combination of matte paintings, miniature buildings and computer regenerated items. (Vaziri T.)