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Monthly Archives: March 2020


This corner of the internet–Dave J. Andrae’s “Blog”–is now ten years old. A lot can happen in ten years, and a lot can not happen in ten years.

Here is the view out the window ten years ago:


And here is the same view now:


(The house was repainted, and we put new palm trees in place of the dying ones, among other things.)

My first post here occurred after Robert on his Lunch Break was cut together and I’d begun submitting it to festivals. At that point I only had an inkling as to how difficult it would be to get it shown outside my tiny social circle, in front of the sort of audiences who might value such a thing. Being couched in youthful idealism still, and also being more than a little naive about the ways of the world, I didn’t quite understand what a tough proposition it would be for mass audiences, or even the supposedly liberated ones who might flock to independent and “experimental” film showcases. Even recently, when I watched Robert on his Lunch Break for the first time in ages before writing a review of it, the movie didn’t fully click and I had to watch it again the next day to really lock into it. So I guess now it makes perfect sense to me that this particular creative vision, and even a much more palatable effort like The Plants Are Listening are too obscure in stature and sensibilities to gain much traction in the world. That won’t stop me from keeping most of my films available on Vimeo for anyone who wants to see them, for the indefinite future.

But at some point during these protracted attempts to find larger audiences for these works, it dawned on me that I only have so much patience for shepherding, that the pleasure of working on something and then beholding the finished piece once the dust has settled far outweighs the more tedious (and let’s face it, often times demeaning) side of promoting it. I’ve known a lot of other artists who are in the same boat. At some point people like us have to be content with having made something we like, if we’re lucky, and letting the chips fall where they may. Recent events, namely the COVID-19 pandemic, but also the drip, drip, drip of climate change hanging over all of us, have had the effect of rendering somewhat hollow one’s lofty artistic ambitions.

But while we’re here, we’re here. We might as well try to enjoy ourselves and take on the occasional creative challenge, if we can. At the moment I’m deep into my debut novel, as you can see here:


I have only one chapter left to write before sending it off to a line editor, but the coronavirus and the deluge of bad news in the wake of it have made it difficult to concentrate, even while practicing social distancing and having somewhat minimal responsibilities. Eventually though, if all goes well, the novel will be released in hardcover and eBook. You can expect a work of fiction with a lot more “action” than most of my films, but the usual amount of humor and wit in places.

I was originally tempted to do a rundown of this “blog” and delve into some of its stats and most popular posts and so on, but I think I’ll just let all of that stand as it is. At some point not long after starting to post here, I realized that the general tone here would be a bit more dry and congenial and not as potentially goofy or ardent as it might be for my posting elsewhere on the internet. This might make it seem like my life is more orderly, serene, and free of conflict than it is. Also, it should be noted, this page used to look pretty damn nice as is, but now, without AdBlock it’s an eyesore (Thanks, WordPress!). And you might have noticed by now that I’ve largely stayed away from addressing politics and current events here. The reason being, these things take up a lot of space just about everywhere else on the internet and the bent of this “blog” is mostly tailored for cinephiles, personal friends, and general art enthusiasts.

Kaji bids you “Good day.”


Here’s to another ten.


Legendary Swedish actor Max von Sydow died in his sleep, at age 90. He was the real deal, with a career spanning seven decades; a not-so-secret weapon in Ingmar Bergman’s stable of actors who found success acting in mainstream Hollywood films as well as the European “arthouse” fare he built his name on. The headlines of many eulogies today have made mention of his roles in The Seventh Seal and The Exorcist, but my favorite von Sydow role (of the ones I’ve managed to see thus far) is his part as Karl Oskar in Jan Troell’s must-see double feature, The Emigrants and The New Land. Von Sydow and Liv Ulmann had acted in some Bergman films together, so when it came time to work on this pair of Troell films, they had their on-screen chemistry locked down. Aided in no small part by Troell’s expert-level directing and cinematography, as well as the fertile source material, The Emigrants and The New Land are the most accurate depictions of emigrant and colonial American life I’ve yet to see. I know he acted in all kinds of films, from the brilliant Winter Light (Bergman’s best, in my book) to the likes of Flash Gordon and Minority Report. But these two Troell efforts reaffirm why cinema is even worth bothering with in the first place—Max von Sydow’s nuanced acting, in which micro-expressions could speak volumes, and less was often more, has a lot to do with why they still hold up. Rest in peace.