It's coming
Watch for S0IL Studios' Holiday Cards this Winter!
Monday, December 8, 2008
Thursday, December 4, 2008
DIY
I was watching Written on the Wind at work as I was closing tonight (since Sirk keeps coming up in conversation lately) and the disc kept skipping. It made me think of something.
I've long held a theory that when you first see a movie dictates what it's like. It has nothing to do with what was filmed, nothing to do with every review a critic has ever made, nothing to do with the movie everyone else saw. When you see it, it is the way you were meant to see it in that moment. For instance. If I see Dog Day Afternoon on Wednesday, November 11th 2012, I will see the film as it exists in space and time clustered together at that moment. Awe Hell, it's Schrodinger's cat.
Moving on! I have figured out a step towards chronol freedom (going along with Written on the Wind, I promise!). I am going to scratch each disc before it is passed off to the person who purchases it (I will inform them before they put it into a DVD player, don't worry). They will get to choose what they purchase. "Standard"-no scratches and "Director's cut"-scratched disc. They will not be tested "for quality assurance" because they are all of quality.
This way, every time they play it, it will be a different experience. Plus, it keeps in line with my mantra of aging/worn items.
Just tinkering...
I've long held a theory that when you first see a movie dictates what it's like. It has nothing to do with what was filmed, nothing to do with every review a critic has ever made, nothing to do with the movie everyone else saw. When you see it, it is the way you were meant to see it in that moment. For instance. If I see Dog Day Afternoon on Wednesday, November 11th 2012, I will see the film as it exists in space and time clustered together at that moment. Awe Hell, it's Schrodinger's cat.
Moving on! I have figured out a step towards chronol freedom (going along with Written on the Wind, I promise!). I am going to scratch each disc before it is passed off to the person who purchases it (I will inform them before they put it into a DVD player, don't worry). They will get to choose what they purchase. "Standard"-no scratches and "Director's cut"-scratched disc. They will not be tested "for quality assurance" because they are all of quality.
This way, every time they play it, it will be a different experience. Plus, it keeps in line with my mantra of aging/worn items.
Just tinkering...
Wednesday, December 3, 2008
Dogme 08
I've spent three years in art history classes, roaming the vast digital wastelands of the surREALverse that is the internet and I have come to some conclusions.
Yves Klein, Andy Goldsworthy and Joseph Cornell are my holy trinity of artists.
Yves Klein
Andy Goldsworthy
Joseph Cornell
I realize that none of these people are "filmmakers" (except possibly Joseph Cornell), but their art has something that few other artists have and something that I want to bring to film.
Two Guiding Principles:
1. We must progress towards freeing cinema's voice. Film's voice may have been broadened by YouTube, but it is still not free. Until any unwed mother can grab a camera and make a movie, film will never truly be free.
2. Film must be conscious of it's chronol/spacial nature. A film is not the images on the screen. A film is the images, the place it is viewed in, the people who view it and all ideas and events that are spawned from it. Once again, this is something film is evolving towards, the absence of its "permanence" as itself. Someday a film will never be the same from one viewing to the next, but still be itself. Akin to John Cage's "4'33."
These two principles are the driving force behind what I do as a filmmaker and artist. Everyone must be able to make films. And it is my belief that if we can free Film from a fixed chronology, than we can free ourselves from our fixed viewpoint and move on to the forth dimension.
We are transcendent beings who can do more than watch a person open a door and cry. We can explore the macro-micro-verse in all of its expansive parallel glory.
Yves Klein, Andy Goldsworthy and Joseph Cornell are my holy trinity of artists.
Yves Klein
Andy Goldsworthy
Joseph Cornell
I realize that none of these people are "filmmakers" (except possibly Joseph Cornell), but their art has something that few other artists have and something that I want to bring to film.
Two Guiding Principles:
1. We must progress towards freeing cinema's voice. Film's voice may have been broadened by YouTube, but it is still not free. Until any unwed mother can grab a camera and make a movie, film will never truly be free.
2. Film must be conscious of it's chronol/spacial nature. A film is not the images on the screen. A film is the images, the place it is viewed in, the people who view it and all ideas and events that are spawned from it. Once again, this is something film is evolving towards, the absence of its "permanence" as itself. Someday a film will never be the same from one viewing to the next, but still be itself. Akin to John Cage's "4'33."
These two principles are the driving force behind what I do as a filmmaker and artist. Everyone must be able to make films. And it is my belief that if we can free Film from a fixed chronology, than we can free ourselves from our fixed viewpoint and move on to the forth dimension.
We are transcendent beings who can do more than watch a person open a door and cry. We can explore the macro-micro-verse in all of its expansive parallel glory.
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