nirvanacinema

Great Filmmakers Thoughts On Cinema Part 2

Sun, 17 Aug 2008 11:14:00 GMT

Jean-Claude Labrecque:

"Once you've mastered technique, you're home free. You can gamble a bit and experiment."

"I'd like basic film stock to remain a force to be reckoned with. Film is made for moviemaking. We need to build on this great strength because film can capture whatever you want. The initial shot of an image, for example, is so much stronger on film than on digital. The results on film are still far better than with a digital camera."

LENI RIEFENSTAHL:

"I am not interested in purely realistic , slice-of-life, every-day ordinariness. I love all that is beautiful, strong, healthy and alive."

Stanley Kubrick:

"The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle."

"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later."

"One man writes a novel. One man writes a symphony. It is essential that one man make a film."

"A director with a camera is as free and unrestricted as an author with a pen."

Ingmar Bergman:

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

David Fincher:
I went to a place called the Berkley Film Institute for a summer program with a grade school friend of mine, and we just thought it was a joke. It was very impressionist, very Berkley. There were all these people who were there to communicate and change the world, to do all these lofty things -- and then they made these really shitty, stupid little movies. And we were kind of like, "I'm not here for this, I'm just here to pull cable." We were the youngest people there and we ended up being the grips and electrics on everybody else's movies, and it was pretty good those six or seven weeks, we got to shoot Panaflex cameras and make a married print - it was in black and white and you made these little cheese-ball movies, but at least you were making "something." It was kind of like film school in that way, but those who can't do, teach, and those who couldn't teach, taught there. They tried, they just didn't want to get dirty with it, they didn't want to get in up to their necks. It was all very patrician."

"I don't know how much movies should entertain. To me, I'm always interested in movies that scar. The thing I love about Jaws (1975) is the fact that I've never gone swimming in the ocean again."

"Directing ain't about drawing a neat little picture and showing it to the cameraman. I didn't want to go to film school. I didn't know what the point was. The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two."

TIM BURTON:

"Those films where the images speak to you, I've seen Black Sunday probably 20 times and I still can't remember the story but the images stay with you forever. That's the kind of film that really speaks to me."

"The place and the mood and the feel of it is very important, it's treated as another character in the piece and it's very nice when you're able to look at an image and goes inside as opposed to just thinking about it. Those are the films that stay with me."

Great Filmmakers Thoughts On Cinem

Sun, 17 Aug 2008 11:12:46 GMT

David Lynch:

"I keep hoping people will like abstractions, space to dream, consider things that don't necessarily add up."

"Film can do amazing things with abstraction, but it rarely gets a chance. People are treated like idiots, and people are not idiots. We're hip to the human condition, the human experience, and we love mysteries."

"Creating a place is super important. Like Sunset Boulevard, for instance, which is one of my favorite films. I want to be there in that house. I can drive up Sunset Boulevard even now, and I say, If only I could turn off and go to that house, and I just can´t believe that I can´t do it. That´s why I love looking at that film over and over. I don´t care about the story or even about knowing it - I love to experience that place."

"But what's so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you can't, you know, put a microphone to somebody at the theatre and say 'Did you understand that?' but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something that's magical and that's the power that film has."

"Personally, I think movies should do something that books or music can´t do by themselves. The story can be about any number of things, but there should be a ringing of truth that´s completely powerful or thrilling. Movies like Sunset Boulevard or Lolita are much bigger than the stories they tell."

"It´s a very dangerous thing, this movie business. Because no one will ever know what film could be when a filmmaker has to talk about it and convince people with words. Maybe somebody´s got them in his mind and can put them on film with the right sounds, but he can´t put them into words, you know, and sell the idea. And so those guys are fresh out of luck. It´s like Bergman in Hollywood - I don´t think it would have happened."

"I want to make movies that you can´t go to in a car or plane or a boat. You´ve got to buy a theater ticket to go into that world, to have that experience. I would like to think you could be taken into a space that is film-space, even if it´s only for a moment within the film and it needs all the rest of the film to make it happen. In this sound-and-picture space, you should know something, or have a feeling that you couldn´t have unless there was cinema. I know there has to be a story. I´m interested in that. But I like the idea that film can be really film as well as do the other things"

"I know that films are going to keep getting better and better. It´s exciting. One image coming up to another image, and then a third image with this sound... It´s a character and a setting. It´s a mood. I just love mood. Underneath the surface of things - somewhere in there, it´s happening. Most films are on the surface. Most films are one-line jokes. When you walk out of the theater, it´s like you´ve been eating cotton candy. I think people really want to be able to make good films, and we´ve got to be able to get the chance."

"They can take you to another place and give you a very powerful experience. And it’s only just started. They could be so powerful, so powerful. But they have to get into this abstract, nonstory, nonlinear thing. Now the payoffs are that Rocky knocks down the Russkie, and people cheer, and it’s powerful — it’s been built to do that and it works. But there’s other things that a film could do. It could open something up inside a person, and you’d say, “I’ve never had this experience.” Maybe it doesn’t make you cry or laugh, but it just thrills you in some way you’ve never been thrilled before. A film could do that."

" I could make my films in 16 mm in my garage, but I love a big screen and good sound, and for that you need money and equipment."

GEORGE LUCAS:

"I'm a visual filmmaker. I do films that are kinetic and I tend to focus on character as it is created through editing and light, not stories. I started out as a harsh critic of story and character.

"I was always coming from pure cinema - I was useing the grammar of film to create content. I think graphically, not linearly."

"I hated scripting writing. I hated stories, and I hated plot, and I wanted to make visual films that had nothing to do with telling a story. I didn't want to know about stories and plot and characters and all that sort of stuff. And that's what I did. My first films were very abstract - tone poems, visual."

I was interested in abstract, purely visual films and cinema-verite documentaries."

"I wanted to make abstract films that are emotional and I still do."

"I don't want to be a businessman. My ambition is to make movies, but all by myself, to shoot them, cut them, make stuff I want to, just for my own exploration, to see if I can combine images in a certain way."

"My only interest in life is to make films, explore films and grow as a person."

"Making a movie is very difficult and painful, and if someone comes along after you've done all this work and says you're a fool and an idiot, it's very hard to pick it up and do it again."

"I could do "Koyaanisqatsi" but not "Taxi Driver". I've been trying to rethink the art of movies - it's not a play, not a book, not music or dance. People were aware of that in the silent era. But when the talkies started they lost track of it. Film basically became a recording medium."

"I come out of a nonstory, noncharacter type of pure cinema. For me, the idea of heavily plotted or heavily character driven drama is not where I started."

On the sixties experimental film scene and Canyon Cinema (http://www.canyoncinema.com) : "I came from a very avant garde documentary kind of film making world. I like cinema verité, documentaries. I liked nonstory, noncharacter tone poems that were being done in San Francisco at that time."

On THX 1138: "I wanted it to look like a very slick, studied documentary in terms of technique. I come from a background of graphics, photography, art and painting-and I'm very graphics-conscious."

Peter Greenaway:

"I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text."

"If you want to tell stories, be a writer, not a filmmaker."

"I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium. There were extraordinary apologists for what it could become, but I feel it hasn't become that. Cinema has been dragged down by mimetic association with all the other art forms, predominantly with the 19th century novel, and because of its distribution situation and its apparent desire to appeal to the lowest common denominator, it has gone in directions which have not fulfilled those extraordinary promises, in general terms. But I still have this sneaking, hopeful suspicion that we can return to those optimistic, ambitious days and make something of what could be a most extraordinary medium."

"My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet and Eraserhead were masterpieces."

"I am looking for cinema that is non-narrative."

SLAVKO VORKAPICH:

"two conditions must exist to transform a film into a form of art: there must be a kinaesthetic organisation of movement and, at the same time, the literal meaning of the shots must be transcended; the shots must become images."

"My principle interest is whether film can become an autonomous form of art."

"A photograph of a work of art is not a work of art. Simply recording a scene which depends on photography of acting alone will simply make a photo-chemical recording of something....A true work of art lives right here. It has the quality of presence; It's a living creature."

"Please forget the story or the dramatic values as you watch these films. Simply let your eye be your guide. If you can, try to achieve an innocence of the eye by wiping away all past knowledge."

"By seeing, I mean let your perception be your complete guide, without reading them. Almost any mistake can be accepted if you 'read' the story."

"to me, film by the virtue of movement is directly sensory the way music is directly sensory....Literature, you must read and then interpret....That's where [film's] possibilities lie of being an independent form of art." (Kevles, p43)

"...two conditions must exist to transform a film into a form of art: there must be a kinesthetic organisation of movement and, at the same time, the literal meaning of the shots must be transcended..."

Francis Coppola:

It combines so many other art forms, as do theater and opera, but the essence of cinema is editing. It's the combination of what can be extraordinary images, images of people during emotional moments, or just images in a general sense, but put together in a kind of alchemy. A number of images put together a certain way become something quite above and beyond what any of them are individually.

“This, of course, was one of the elements of the Eisenstein film that was so exciting. How the editing was able to take -- that's always fascinating -- take this, and this, and put it together, and have something come out that was neither of those two things. Of course, the sense of rhythm that editing can do! I was struck, I remember, on Ten Days That Shook The World, how although it was a silent film, there were sequences where you actually almost could hear the machine guns firing, because of the way it was edited. So it's a form of alchemy, of magic, that is very appealing. I think cinema, movies, and magic have always been closely associated. Because the very earliest people who made film were magicians. One of the aspects of it was the idea of an illusion, a magical illusion, in the early days of movies.

A lot of early magicians began experimenting, using basically what is cinema to do their illusions. And of course we know that some of the early pioneers, like Meliès and what have you, were magicians who used cinema to create illusions. So I think cinema always had -- as did theater for me -- this ability to create some kind of magic, either through lighting -- but to use technology to create magic is what appealed to me, I think.”

ALFRED HITCHCOCK:

On Vertigo: "The story was of less importance to me than the over-all visual impact, once the picture was completed."

On Psycho: "I don't care about the subject matter, I don't care about the acting, but I do care about the pieces of film, the photography, the sound-track, and the other technical ingredients that made the audience scream. I feel it is tremendously satisfying for us to use the cinematic art to achieve a mass emotion."

.... "It wasn't the audiences' enjoyment of the book, or the performance, that caused them to scream. They were aroused by pure film".

...."It's the kind of film where the technique is more important than the content."

"Walt Disney has the best casting system. If he don't like an actor, he just tears him up.”

PURE CINEMA

Sat, 26 Jan 2008 09:22:28 GMT

Sunday, January 13, 2008

Collaborators on DAVID LYNCH

The writer Mark Frost on David Lynch:

"[Mulholland Drive] started as a conversation David and I were having about a sequel to Twin Peaks. We wanted to take the Audrey Horn character, played by Cheryl, to Hollywood. I proposed Mulholland Drive, which I lived on, as a title. He sold it as a pilot to ABC and then convinced the French that if he shot 45 more minutes, he could make something out of it. I haven't seen it. I heard it was a mess. I knew that the pilot was a mess.

Currently watching :
The Short Films of David Lynch
Release date: 10 January, 2006

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"David's strength and weakness is that he is often able to transcend story because he's such a master creating mood. His failing is that he's not a strong storyteller. He doesn't have a lot of interest in telling a story. He's not as interested in character as fragments of personality. He's a surrealist."

Luke: "He's got a great eye for hot looking women."

Mark smiles: "That was always one of his strengths. The mistake that people make about David is that they assume he's an ironist [saying the opposite of what he means]. He's not. He's a sincere simple guy. He doesn't work things out. He's not that good in logic. When people spend a lot of energy trying to figure out exactly what he meant by Mulholland Drive, I can assure you that he didn't know.

"I exchanged emails with [critic] Roger Ebert at one point. He was conducting an online seminar about the meaning of Mulholland Drive. David works like a painter. He throws a canvas up there and you interpret it any way you want. He doesn't have a strong point of view. It's about sensation and feeling and arousing emotions."

Friday, January 11, 2008

DEAD LONESOME breathtaking cinema
Current mood: artistic
Category: Art and Photography

http://youtube.com/watch?v=nimxKk1r420

Joe Taylor's jaw-dropping 35mm timelapse movie DEAD LONESOME

Currently watching :
THX 1138 - The Director’s Cut (Two-Disc Special Edition)
Release date: 14 September, 2004

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Sunday, January 06, 2008

SAUL BASS’ VICTORS TITLE SEQUENCE
Current mood: excited
Category: Art and Photography

http://www.youtube.com/watch?v=p9nPOMU1xmI

I have to spread the word: it's one of the greatest things done in the history of celluloid!!!!

The graphics in movement, the rapid-fire montage, the powerful sounds of war, the incredible drum score, the powerful violent dynamic images - it's one of the powerful exhilirating cinematic highs of my life!

I can't wait to see it on the big screen! Youtube compression video clips suck visually but it's still powerful and effective until we can see it the right way.

HURRAH FOR SAUL BASS!!!

Currently watching :
La Jetee/Sans Soleil (Criterion Collection)
Release date: 26 June, 2007

Viva RON FRICKE !!!!

Sat, 26 Jan 2008 09:21:45 GMT

Viva RON FRICKE !!!!

I love the cameraman Ron Fricke. I can't wait to see his next 70mm abstract feature "Samsara". he's currently shooting it around the world and it's going to be awesome! I'm so elated that he is shooting it on 70mm film, not digital - YES! Mr. Fricke shot some great time-lapse footage for the IMAX movie "The Living Sea" and did some great work as the DP on "Koyaanisqatsi"(35mm). He also made his own IMAX movie called "Chronos" which has really great imagery and camerawork and editing. I can't wait to see the work he's done on "Sacred Site", "Atomic Artist", "Zion Canyon", and "Fog City Mavericks" - all obscure hard to find shorts and documentaries that he either shot or provided time-lapse photography for. I'd love to see a retrospective of all of Mr. Fricke's work on the big screen! The way it was all intended to be seen!

Currently watching :
Baraka
Release date: 25 September, 2001 ..

SLAVKO VORKAPICH AND THE KULESHOV EFFECT

Sat, 26 Jan 2008 09:21:11 GMT

Tuesday, January 01, 2008

Film editing is my greatest love and interest in cinema, even more than camerawork and sound design. I love the power of the cut and what can be done with montage. It really is the most unique and essential quality of cinema in my opinion. I'm very much inspired by the great Soviet montage filmmakers of the 1920s and 30s, like Dziga Vertov, Lev Kuleshov, Sergei Eisentstein, and Vsevolod Pudovkin. The Kuleshov Effect(http://en.wikipedia.org/wiki/Kuleshov_effect) is awesome! It has inspired so many filmmakers like Slavko Vorkapich, Alfred Hitchcock, Arthur Lipsett, Stanley Kubrick, George Lucas, Martin Scorsese, Stan Brakhage, Oliver Stone, Carlos Reygadas, Brian De Palma, Bruce Connor, Francis Coppola, Bryan Singer, and it keeps on inspiring new filmmakers like myself to this day! I believe it was a great experiment that demonstrated the true power of Pure Cinema. One of my favorite movies is Ron Fricke's "Baraka" and I don't know if Mr. Fricke has been inspired by the Soviet montagists and by the Kuleshov Effect but he definitely utilized the technique brilliantly in "Baraka".

Another huge inspiration is Slavko Vorkapich, a Serbian montagist who was a colleague of Sergei Eisenstein before he moved to Hollywood. He made a fascinating experimental short entitled "The Life and Death of 9413: A Hollywood Extra"(1928) that has some great editing, inventive lighting effects, and surreal sets and props. It got him jobs doing transitional effects, visual effects, and whole montage sequences for features at studios like MGM, RKO, and Paramount. He crafted his montage sequences from start to finish: conceiving and designing, shooting and editing them. There's some great montages of his included on the light rhythms dvd of the awesome box set "Unseen Cinema"(http://www.amazon.com/exec/obidos/ASIN/B000AYEIJA/imdb-button/) and they're amazing and electrifying examples of pure cinema. His mastery of the optical printer and his imagination in the cutting room are just phenomenal. He's a true inspiration. He was also dean of the USC film school at one time and his emphasis on filmic expression and the dynamic quality of movement and kinetic energy inherent in the cinematic art form influenced tons of filmmakers that came through the school, among them George Lucas.

MY FILMMAKING HEROES

Sat, 26 Jan 2008 09:20:21 GMT

Thursday, December 20, 2007

Category: Art and Photography

Ron Fricke, Dziga Vertov, Slavko Vorkapich, Arthur Lipsett, Leni Riefenstahl, George Lucas, Oliver Stone, Jean-Claude Labrecque, Jordan Belson, David Lynch, Stan Brakhage.

Currently watching :
Chronos (Special Collector’s Edition)
Release date: 27 April, 2004

Cinema Pur and Kino-Eye, F.W. Murnau, Alfred Hitchcock, Tim Burton, Stanley Kubrick, Alan Splet, Walter Murch, Bruce Conner, Sergei Eisenstein, Saul Bass, Lester Novros.

DZIGA VERTOV! KINO-EYE!

Tue, 18 Dec 2007 03:01:15 GMT

Monday, December 10, 2007

DZIGA VERTOV!
Current mood: adventurous
Category: Movies, TV, Celebrities

Russian Kino-Eye filmmaker Dziga Vertov was a genius visionary!

I love "Man With The Movie Camera" and "Three Songs of Lenin". He innovatived with montage, tracking shots, and stunning visual optical effects and created a new absolute international language of cinema for world audiences. I love his poetic cinematically stylized approach to documentary filmmaking and I think he and his brother and great cameraman, Mikhail Kaufman, and his wife and brilliant editor Elizaveta Svilova, were the real precursor to cinema verite.

I just got his 1931 sound film "Enthusiasm" and it has some great images in it. But I think the most striking feature is its unique use of sound. It's definitely worth a look!

I find his work endlessly thrilling, powerful, entertaining, and inspirational! His cinematic imagination was so huge and original. He was one of the first masters of Pure Cinema and his work stands up so well for me. He was a follower of the Kuleshov montage school in Russia and created the Kinoks group of filmmakers('kino-oki', meaning cinema-eyes) and pushed the boundaries of film form forward for all time.

Mr. Vertov will always be a hero to me and an influence on my film work!

Currently watching :
Enthusiasm / Symphony of the Don Basin / Simfoniya Donbassa
Release date: 01 May, 2007

Some Beautfiul Purely Cinematic Nature Films

Tue, 11 Dec 2007 01:07:02 GMT

Monday, December 17, 2007

Some Purely Cinematic Nature Films

Serbian montagist Slavko Vorkapich and his colleague Hungarian montagist John Hoffmann shot and edited two dynamic and striking visual tone poems "Forest Murmurs" and "Moods of the Sea" on 35mm black and white in the 1940s.

George Lucas made an elegant gorgeous desert poem entitled "6-18-67" back in the late 60s. A beautifully shot and edited piece of pure cinema.

Ron Fricke's BARAKA and CHRONOS have some of the most awe-inspiring images of this planet tht i hve ever seen captured on camera.

I loved the amazing aerial camera work in WINGED MIGRATION - breathtaking beautiful work! The camera soars and glides through the air almost too perfectly and gracefully.

I also love a lot of 16mm surfing films shot back in the 1960s by MacGillivray-Freeman films and Bruce Brown. I love seeing the POV of a camera on a surf board barreling through a tunnel wave! The beauty of the ocean and the sunlight and the movement of the water waves is perfect visual material for a cameraman!

Geoffrey Jones Dynamic Visual Rhythmic Film-maker

Sun, 02 Dec 2007 04:13:04 GMT

Current mood: mellow

HIS OBITUARY:

http://film.guardian.co.uk/news/story/0,12589,1550290,00.html

HIS DVD:

http://www.amazon.co.uk/Geoffrey-Jones-Rhythm-Film/dp/rentals/B0009M9FGO

British-born maker of industrial films and government films on 16mm and 35mm, his sense of editing combined with music is phenomenal and exhilirating. I was completely knocked out by his sense of camerawork and pacing. His films are a great rush!

Bruce Connor's "A Movie"

Wed, 28 Nov 2007 09:03:51 GMT

http://en.wikipedia.org/wiki/Bruce_Conner

His collage film A MOVIE is one of the most emotionally powerful, absurdly funny, and cinematically awesome films I've ever seen. It's blows me away every time I see it. It's the kind of Pure Cinema that I aspire to make.

He also did some other really cool experimental films in San Francisco that made great use of pop, rock, and new wave songs. In many ways, he's the precursor and inspiration for the MTV music video phenomenon of the 1980s.

LONG LIVE BRUCE CONNOR!

JORDAN BELSON IS AWESOME!

Wed, 28 Nov 2007 08:41:11 GMT

His mesmerizing shimmering beautiful intense abstract 16mm films:

Allures (1961)

LSD (1962) Unfinished film. According to Belson it should not be on his filmography

Re-entry (1964)

Phenomena (1965)

Samadhi (1967)

Momentum (1968)

Cosmos (1969)

World (1970)

Meditation (1971)

Chakra (1972)

Light (1973)

Cycles (1975) made with Stephen Beck

Music of the Spheres (1977)

Infinity (1980)

Quartet (1982)

Fountain of Dreams (1984)

Northern Lights (1985)

Mysterious Journey (1997)

Bardo (2001)

Epilogue (2005)

He's a genius visual magician/filmmaker/visionary. I love the hallucinatory purely visual cinematic experiences that he crafted all by himself painstakingly on his workbench in his North Beach studio. All of his films from Allures to Bardo left me jaw-dropped and hypnotized. I've never seen anything like his work.

He did the visual effects for The Right Stuff and has many admirers, among them George Lucas and Walter Murch. He will always be a great inspiration to me. Thank you Mr. Belson!

Commercial Features Containing Beautiful Abstractions and Cinematic Style

Wed, 28 Nov 2007 07:02:33 GMT

A List of Some of the Commercial Features that Contain Beautiful Abstractions and Cinematic Experiences:

1. HEAT

2. THE FRENCH CONNECTION

3. THE ELEPHANT MAN

4. THE KILLER

5. PERSONA

6. HOUR OF THE WOLF

7. VERTIGO

8. PSYCHO

9. THE SHINING

10. CITIZEN KANE

11. HALLOWEEN

12. HEAVEN'S GATE

13. THE GOOD, THE BAD, AND THE UGLY

14. MAGNOLIA

15. FIGHT CLUB

16. RUMBLE FISH

17. NATURAL BORN KILLERS

18. PETULIA

19. SUSPIRIA

20. MILLER'S CROSSING

21. EDWARD SCISSORHANDS

22. I AM CUBA

23. SUNRISE

24. BLACK HAWK DOWN

All unique, visually inspired, cinematically-directed feature films. They have purely cinematic moments, incredible images, experimental or abstract film techniques, and something surreal or abstract in them that thrills my soul.

Bert Stern’s "Jazz on a Summer’s Day"

Thu, 22 Nov 2007 02:16:16 GMT

Monday, November 12, 2007

Bert Stern’s "Jazz on a Summer’s Day"
Current mood: thankful

Such an awesome visual documentary! Directed and shot by a magazine still photographer in his only movie.

Mr. Stern's visuals are so cool and articulate. He has a great way with composition and visualizing interesting set ups. I love the helicopter high angles moving over the yachts on the ocean near the site of this 1960 jazz festival. I love the way he captures the colors and moving shapes of the reflections off the surface of the pier's swaying water in the beginning.

I'd love to make a documentary, shot on 16mm or 35mm film of course!, that is this visually inventive and creative and beautiful!!!

Currently watching :
Jazz on a Summer’s Day/A Summer’s Day With Bert Stern
Release date: 14 March, 2000

Ridley Scott's Final Cut of BLADE RUNNER !!!!

Mon, 12 Nov 2007 19:18:28 GMT

I've now seen Ridley Scott's final cut of BLADE RUNNER on the big screen twice and it's so unbelievably great! Staggering, beautiful and darkly haunting. The most amazing production design ever! Scott's eye for set design, cinematography and detail(what he refers to as "layering") is so powerful and he creates one of my favorite movie worlds and environments ever. Vangelis' score is so emotional and effective. His music is eerie and makes such an impact with the images.

I love how timeless and modern-feeling this still is after 25 years - it's hard for me to believe! I love the slow moody pacing and atmosphere. It's like a great depressive tone poem. The violence is also so brutal and real and devasting. I was winching throughout it!

Before seening this "final cut" I had loved the earlier so-called "director's cut" the most but this new version is definitely my favorite. It looks and sounds beautiful(I saw it on a huge screen, in 4k digital projection with a great sound system!) and the new inserts and changes(especially in the dialogue and soundtrack) are perfect. Like the director's cut, I'm so glad it doesn't have the terrible narration and tacked-on illogical "happy ending". Aside from Scott's lame irrational and meaningless theory of Deckard being a replicant, it's totally perfect! (By the way, I still believe the ending can be interpreted in different ways than Scott's. I myself have a personal interpretation of what the unicorn in the dream and Gaff's tinfoil unicorn symbolize) As much as I admire Scott's amazing technical filmmaking skills, i don't believe he's an intellectual thinker or deep philosopher. But what I really love are his gifts as a camera operator, production designer, and visualist. It doesn't surpise me that he's a great painter and illustrator as well. And I believe this movie is his masterpiece!

Cinema Thoughts over the last year

Mon, 12 Nov 2007 18:28:31 GMT

Tuesday, November 06, 2007

I love dynamic creative camerawork
Current mood: creative

I love moving camera shots, especially dolly and trucking shots in great movies like "60 Cycles" and Leni Riefenstahl's amazing tracking shots in "Olympia" and "Triumph of the Will". I love George Lucas's kinetic exciting style of camera movement in his 16mm works "1:42.08", "The Emperor" and THX 1138 4:EB". I also love Stanley Kubrick's steadicam shots in "The Shining" - so eerie and haunting! But I think the dynamic physical sense of movement that can be created with a dolly or trucking platform are the most thrilling and intense and beautiful kinds of camera moves. I love aerial cinematography as well! Ms. Riefenstahl has some amazingly beautiful aerial camerawork in her movies, especially "Triumph" and I love Ron Fricke's epic aerial 70mm camera shots in "Baraka" and IMAX in "Chronos". Powerful and awe-inspiring images. Rene Clair did some exhilirating camerawork in his Cinema Pur short "Entr'Acte" - the roller coaster ride camera-angle is so powerful! I love filmmakers with a unique cinematic style and use of the camera. I love to experience a unique way of using dolly shots to create emotions.

Slavko Vorkapich has some of the most visually awesome and dynamic dolly shots ever! In his montages for Hollywood features, like "Mr. Smith Goes To Washington", "Crime Without Passion", and "Firefly", his camera moves are so thrilling and entertaining. It's pure choreography and beauty.

And Dziga Vertov's and Mikhail Kaufman's camerawork! Incredible stuff! In "Man With the Movie Camera" and "3 songs of lenin" they do amazing things with dolly shots and trucking shots.

Currently watching :
OLYMPIA -The LENI RIEFENSTAHL Archival Collection
Release date: 27 June, 2006

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Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:35:26 GMT

Sunday, November 04, 2007

Terrence Malick’s visual style is beautiful and powerful
Current mood: cheerful
Category: Movies, TV, Celebrities

I love Terrence Malick's "Days Of Heaven", "The Thin Red Line", and "The New World". I think he has a beautiful eye for detail, colors, and nature. His visuals always astound me.

I've seen all of them on the big screen and that's really the way to experience them. He always has gorgeous music in his films as well.

I'm so inspired by his unique aesthetic and film sense. He has such an uncanny way with pacing and framing that is so inimitable and effective. His images stay with me forever. Thank you Mr. Malick!

Currently watching :
Days of Heaven - Criterion Collection
Release date: 23 October, 2007

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Sunday, October 28, 2007

I love the title sequences of Saul Bass and Kyle Cooper!
Current mood: jubilant

I love visually powerful and memorable movie title sequences. And my 2 favorite title designers are Saul Bass and Kyle Cooper!

Mr. Bass' opening credit sequence for Hitchcock's VERTIGO is one the most jaw-dropping, haunting, and beautiful things I have ever seen. His title sequence for THE VICTORS (http://youtube.com/watch?v=p9nPOMU1xmI) completely blows me away! So dynamic and kinetic! Awesome cinema!

His GRAND PRIX credits sequence
(http://youtube.com/watch?v=ovzFXnIXWlM) is so mind-bogglingly great! So visual - great extreme CUs of machinery, great multiple split-screens, great sound effects of engines, great energy!

And I'm totally freaked out by his funhouse mirror-type visuals for "Seconds" (http://youtube.com/watch?v=JGq_ON4aXew).

All of his Hitchcock title sequences are cool, especially North by Northwest, Marnie, and Psycho. He also did great work for Otto Preminger and Martin Scorsese, not to mention his great stuff for Spartacus and Nine Hours To Rama.

I think my favorite modern designer of movie titles is Kyle Cooper (www.wired.com/wired/archive/12.06/cooper.html) . I really like his main titles for SE7EN (http://youtube.com/watch?v=s3HV6jzMIYo), some of which was inspired by Stan Brakhage! Great images, color flashes, jump cuts, close-ups, and I really like how he scratched titles on the emulsion of the film itself. Really creepy and tense. I also really like his work for ARLINGTON ROAD and DAWN OF THE DEAD.

All of these main title sequences could be taken out of the context of their feature films and enjoyed as abstract pure cinema experiences! They are that good and that brilliant.

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Monday, October 15, 2007

Long Live Film Celluloid!
Current mood: contemplative

As much as I love George Lucas's early abstract visual 16mm movies, and as brilliant as a cameraman and editor as he is, I have to disagree with him about the digital revolution. He compares it to adding sound and color to film and makes an analogy to the Renaissance, when painters were first able to use easels and acrylic paint, and not be bound by indoor Frescoes. I think a much better analogy is the invention of still photography: painting images was not given up. Everyone understood that paint and film stills were essentially different and seperate arts/technologies. No one made the mistake of confusing them, considering photography as an innovation in painting just because it was new technology that came after it.

I believe that this is precisely the mistake that Mr. Lucas is making. The same goes for other feature filmmakers Francis Coppola,Peter Greenaway, Robert Rodriguez, Michael Mann, and David Fincher. All talented directors who never abuse the film camera as a recording device and are now sadly abandoning filmmaking. If they acknowledged that film and digital moving imagery were two distinct arts that could co-exist and that they just had nothing left to say with film and were using digital imagery because they wanted to experiment and innovative with it as a new autonomous art form, I would still be disappointed but at least I would respect their reasoning for it.

David Lynch is one of my favorite filmmakers and I'm depressed that he has decided to never go back to it but at least he refers to digital as a different language and sees them as distinct from each other. In the feature film arena, I'm totally in agreement with Oliver Stone, Spielberg, Martin Scorsese, Quentin Tarantino, PT Anderson, and Richard Kelly, among others, all of whom appreciate and understand the unique beauty and autonomy of celluloid and are sticking to it.

In the arena of abstract and avant-garde underground cinema, financial restraints are a disheartening reality for 16mm filmmakers. Some great people like Jon Behrens, Alfonso Alvarez, and Chick Strand are still working with 16mm film. The great French-Canadian cameraman Jean-Claude Labrecque still loves the 35mm film image the most and only works with digital as a seperate offshoot from his true love of film. I'm also a big fan of the cinematographer Louis Schwartzberg(http://www.blacklightfilms.com/products_DVD_CTL.asp) and he still is in love with 35mm film and won't abandon it.

I'm also overjoyed that the master of time-lapse and large-format photography Ron Fricke is shooting his new visual non-narrative feature "Samsara" on 70mm film! He has shot some 2nd unit digital footage for Lucas(some lava shots in Sicily and Thailand for revenge of the sith) and a digital commercial for Coppola but, as Mr. Fricke's producer on the film told me in person, "digital's still not good enough for him" - Yes!

I'm commited to always shooting with film. It has so many exciting new innovations to come, like Showscan(60fps) and SDS-70(www.superdimension70.com) . These are the new steps in cinema that are comparable to adding color and sound to movies. I even wish that the more valid, innovative digital artists out there would come up with their own new terminology and not thoughtlessly apply the words "cinema", "movie" and especially "film" to their digital features and shorts. Hopefully, digital as a new and separate art form, will find daring innovators akin to the early pioneers of film such as Vertov, Kuleshov, Eisentstein, Griffith, and Murnau.

While I'm interested in digital and I've enjoyed a few pieces, I've never been really that affected by anything done digitally yet. It's really a different form, like computer graphics or dance or sculpture, that while being totally valid and great, has not personally interested me or given me much pleasure or emotion. No offense to any of my good buds who work on it! :)

Theoretically, it seems to me that what would be most appealing and exciting about it is the fresh possibilites inherent in the unique mechanism that makes it up: to show the world in a new visual way that film or anything else simply can't; to express emotions and moods that celluloid or other arts can't. That seems to me to be the only valid and true purpose of the digital arts.

But my passion is for film. I love having shot my movie on 16mm film so far and I look forward to shooting new abstract 16mm shorts in the near future. I aspire to work on 35mm, 70mm, IMAX, and especially SDS-70 someday when I can afford them. Film is still young and fresh to me. I love experimenting with its possible forms and technologies. I'm going to continue shooting and cutting and sound designing my films, to experiment on my own, to learn more about the special language of film, to see if I can combine images in certain ways. That's the magic of film, the beauty of cinema.

Currently watching :
Avant Garde - Experimental Cinema of the 1920s & 1930s
Release date: 02 August, 2005

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Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:34:51 GMT

Cinema has nothing to do with storytelling
Current mood: calm
Category: Movies, TV, Celebrities

I know that a few people misunderstand certain arts like abstract cinema and music and call them storytelling or narrative. All anyone has to do to is look up the dictionary definition and etymology of these words(www.dictionary.com and www.etymonline.com) to understand their real meaning. The words have simple definitions and easy to understand etmyologies in older languages like greek and latin. The words "story" and "narrative" have nothing in common with the etymology and definition of "music" and "melody", for instance. Any art that is abstract automatically can't be referred to as narrative or story. to do so is invalid, an oxymoron. Literal events and characters are really the only thing that those words ever refer to going by their etymologies and definitions. They never were meant to encompass abstract moods, feelings, emotions or thoughts.

Look it up: if you can't accept it, than don't bother me with your petty false use of certain words. I personally don't care about storytelling, characters, or plot, and I don't have to. I enjoy some fictional literature like "To Kill A Mockingbird" by Harper Lee, and "The Lake" and "Snow Country" by Kawabata, but I could do without storytelling. I'm much more fascinated by nonstory nonnarrative arts like cinema, music, dance, poetry, and painting which are all at their best and most valid when artists use them in pure and autonomous ways.

Even in my favorite so-called "narrative cinema" movies like "JFK", "Apocalyspe Now", "2001", "Blade Runner", "Vertigo", "October", "Once upon A Time In The West", "Donnie Darko" and especially the feature films of David Lynch, the things i love about them have nothing to do with their stories and characters(nor acting and dialogue for that matter). I love experiencing a world they create, or certain moods and atmospheres evoked by their brilliant use of non-narrative elements like sound, editing, visuals, pacing, and camerawork. When I was a teenager and fell in love with cinema I didn't have any conception of cinema theory or history, and even then without knowing it I experienced my favorite theatrical films as really abstract movies. The stories and literal content was always secondary in my enjoyment, or even sometimes completely irrelevant, while watching them. I loved certain camera shots or combinations of sound and picture, or certain cuts and montages, completely for their own beatuty, force, and pleasure! I was especially blown away by certain prolonged stylized sequences in features, what i would call formal structured "set pieces": vignettes shot and edited so beautfiully, formed and organized so powerfully, that they are really abstract non-narrative shorts that can be taken out of the story of the film and enjoyed for non-literal non-narrative aesthetic reasons. Set pieces like the Ride of the Valkyries helicopter attack from "Apocalypse Now", or the shower slashing in "Psycho", or any jaw-dropping gunfight of John Woo's Hong Kong triad films, not to mention the brilliant standoff duels in any of the Sergio Leone Spaghetti Westerns.

And a "vignette" is not a story, it's only one moment or short group of actions, that can then be attached to a story or not. Once again, look it up in the dictionary.

I have also heard music and melody used in invalid contexts as well. I've looked them up in a few dictionaries and they both only refer to "sounds" and how they can be arranged to create moods and emotions and distinct musical phrases or ideas. Any other use is invalid. And if you want to make an analogy between music(or anything else) to story and narrative, it stays an "analogy", nothing more - and the analogy itself is not a given, it could be used for comparison incorrectly as well. You can make an analogy between almost any 2 things in the known universe - it doesn't mean anything. Even extra-musical programmatic symphonies aren't always inspired by a story, sometimes it's a "place"(like Mendelssohn's Fingals' Cave) or an "abstract idea-metaphor"(like Richard Strauss's thus spake zarathustra) or some other non-narrative subject(like Vivaldi's "Four Seasons" suite or Holst's Planets).

In my opinion, even the programmatic symphonies that are based on a story still aren't "telling" that story. No one listening to them could ever know what kind of story, if any, was being told to them by the emotional experience they're having. They just feel a mood, an atmosphere, and enjoy its beauty or the intense emotional experience of it just the same as "absolute" or "pure" music. Reading the title of the piece or reading about it is the only way they would know about its extra-musical inspiration and that is just reading about the music, not listening to it.

Even when pop songs have lyrics telling a story, the melody of the vocals and the accompanying music melody or rhythm, are still effective for nonstory reasons - same goes for Opera - I love wagner's and verdi's melodies even when listened to alone and I love listening to powerful opera singing in a another language I don't even understand. It's all powerful or fun for reasons that have nothing to do with storytelling.

Another misconception: when an objective person looks at the real dictionary definitions and etymologies of "narrative" and "story", they'll see that they're never defined as any art or thing that is "linear" nor as "a progression through time", nor do they refer to just any kind of "structure" or design in an artwork - these are not what defines the words. So why the bizarre invalid understanding by certain people in this regard? Even a few artists working in abstract and experimental cinema and visual music, have these misconceptions. I don't have any idea why. My common sense understanding has always been, without even thinking about it, that these two words mean merely one way of expressing yourself in the arts and that there are many other kinds of creative expression that have nothing to do them. And when i looked them up, their dictionary definitions and etymologies confirmed my presupposition. I hope that these few misguided abstract filmmakers will junk their lame misconception about these words and embrace the fact that their films are nonstory noncharacter forms of pure cinema and be proud of it!

Abstract filmmakers Stan Brakhage, Ron Fricke, George Lucas, David Lynch, Peter Greenaway, Dziga Vertov, Jordan Belson, Jon Behrens, Alfonso Alvarez, and Patrick Halm, to name only a few, all understand their movies as non-narrative works. One of my biggest inspirations is the french "cinema pur"(http://en.wikipedia.org/wiki/Cinema_pur) avant-garde of the 1920s and 30s, all of whom boldy exalted in getting rid of storytelling concentrating instead on the pure elements of film form in fascinating experiments such as "Entr'acte" and "Emak-Bakia" and "Ballet Mecanique". And while I'm not sure how certain filmmakers I love like Arthur Lipsett and Norman McLaren defined their own work, I do know that they never went out of their way to categorize them as story films. Same goes for my favorite musicians like Beethoven, Holst, Bartok, Jimmy Page, Kurt Cobain, and John Lennon. None of them ever refer to themselves as storytellers to my knowledge.

I don't write any of this to offend anyone. If you're really so petty and immature as to be offended then you shouldn't be doing dangerous things like reading other people's opinions and referencing dictionaries anyway. I just want to clear up this fraudulent misconception and I hope it takes a long walk in the future.

Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:34:16 GMT

aturday, September 22, 2007

Stan Brakhage is The Man!
Current mood: awake
Category: Movies, TV, Celebrities

http://en.wikipedia.org/wiki/Stan_Brakhage

He's one of the greatest Pure Cinema experimental filmmakers of the 20th Century. He's one of my filmmaking idols and inspirations. I especially love "Dog Star Man", "Co-Mingled Containers" and "Creation". I really recommend the "by brakhage" dvd. But I would love to visit the Colorado University's Brakhage Center and watch all of his works on the big screen! I've seen so few of his films. Over the course of 50 years-the 2nd half of the 20th Century-he made almost 400 films, working on all kinds of celluloid: 16mm, 8mm, 35mm, and even IMAX. His use of montage to create emotions and abstract metaphors is so powerful to me. His life and career exemplified the truth that film can be so much more than another way to tell a story. He made abstract experiences on celluloid that transcend storytelling and characterization and theatre. His output will always be a testament to the unique power of Film!

Currently watching :
By Brakhage - Anthology - Criterion Collection
Release date: 10 June, 2003

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I love Abstract and Avant-Garde Cinema on celluloid!
Current mood: content
Category: Movies, TV, Celebrities

Currently watching :
Baraka
Release date: 25 September, 2001

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Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:33:37 GMT

Thursday, October 18, 2007

George Lucas is at heart an Abstract Filmmaker
Current mood: cheerful

One of my favorite abstract filmmakers is actually George Lucas. i love a bunch of his obscure pure cinema(http://en.wikipedia.org/wiki/Pure_cinema) 16mm films from the 1960s(yep, back when he was working with the form i truly love: photo-chemical film!) He did a bunch of great abstract visual films and very cinematic "cinema verite" pieces such as Look At Life, Herbie, 1:42.08, The Emperor, Anyone Lived in a Pretty (how) Town, filmmaker, THX 1138:4EB and 6-18-67. He did most these at usc film school(http://cinema-tv.usc.edu/Archives/lucas/lucas.html) and I love virtually all of them! Especially when he was working with celluloid(I wish more than anything he still were!) he was such a naturally talented editor and cameraman and most of his films made great use of the soundtrack as well.

Inhis late teens, he fell madly in love with making pure cinema, he hated storytelling and character and plot, and he was incredibley prolific and resourceful at using what little he had in order to make some knockout films with virtuoso editing and camerawork and graphics. He even applied his abstract aesthetic and style to his features, not just his first one, the abstract non-narrative feature film "THX 1138", but also his more commercial pics, Americna graffitti and the star wars series.

I saw all of his early abstract and cinema verite 16mm shorts when i visited the USC moving image archive, back when I was living in los angeles, and I was blown away! It was one of the most powerful experiences in my life. His amazing montage and camera shots and sound designs are so exciting and inspirational. exactly the kind of Pure Cinema that I love.

I have a personal dream that he had never continued to make features after American Graffitti had become a big hit, giving him financial independence, and that instead he had just continued to make his true love: 16mm visual tone poems and visual cinema verite documentaries. Personal independent films that he shoots and cuts by himself just for his own exploration, to see if he could combine images in a certain way. That would have been so awesome!

Currently watching :
Reel Talent: First Films by Legendary Directors
Release date: 21 August, 2007

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Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:32:35 GMT

Saturday, August 18, 2007

21-87, Arthur Lipsett’s brilliant abstract 16mm film
Current mood: excited
Category: Movies, TV, Celebrities

The National Film Board of Canada's website finally put it up for viewing! Here it is: 

http://www.nfb.ca/animation/objanim/en/films/film.php?sort=director&director=Lipsett%2C+Arthur&id=10840

Note: after you've viewed it and FELT it and interpreted it in your own pure and personal way, and if you're interested, read on to know how i feel about it: 

It's Pure Cinema! One of my favorite movies. George Lucas's favorite film ever (http://wired-vig.wired.com/wired/archive/13.05/lucas.html) and a great influence on the genius sound designer/editor Walter Murch. Check out the brilliant writer Steve Silberman's writings on it:

http://www.metafilter.com/41699/2187-George-Lucas-Under-the-Influence

It's such an awesome example of how to use pure montage, pure film editing and sound, to create emotions and abstract metaphors and feelings without any story or characters or acting. It's a real nonstory noncharacter visual tone poem and I love it! The sound is used so brilliantly, it's put together with the images in an abstract, emotional, and subversive way. It's such a lovely, bizarre, and haunting piece of work. A giant influence on my own film aesthetic and style.

Currently watching :
JFK - Director’s Cut (Two-Disc Special Edition)
Release date: 11 November, 2003

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Cinema Thoughts over the last year

Mon, 05 Nov 2007 23:11:51 GMT

Friday, April 06, 2007

Moved to Las Vegas! Still editing my movie :(
Current mood: aggravated
Category: Goals, Plans, Hopes

Last month editing and living at Monica's Silverlake artist studio was a great experience. I've edited together about 5 minutes of usable footage. Unfortuantely a lot of my time last month was taken up with reshooting and now I have 1600 more feet of neg to process when I can afford it.

One great development is that I now have financial backing! My older half-brother, Tom Mulkins, is thinking about going into film producing and has set up his new company Arktos Productions. Last month he offered to make "Palms" the first project to come out under his banner. I'll still make it by myself and have full creative control but he's paying the bills ;) He's already paid for the film I needed for the March reshoots and also took care of some of the processing of my new workprints that I've edited with. Hopefully he'll be able to afford to pay for the processing of about half of the 1600 feet of neg so i can edit with it soon and then next month he should be able to cover the costs of the other half of the film processing. if all of that film comes out good, and I need to do no more reshoots, then I'll be able to finish ediing the whole movie by May.

I'll be buying a cheap splicing kit, probably a used one over ebay, sometime this week. I also be getting some microphones and other bits of sound recording equipment and hopefully I can get started on creating the sound design soon!

My 5 minute rough cut workprint is definitely sparse and incomplete - only about a third of the images I'll need for the final product. But I think it's a great start. Some shots came out great. But I am sick of waiting to see how the other 1600 feet of film has come out. I really want to edit with it already! Film editing is my greatest love and interest in cinema, even more than camerawork and sound design. I love the power of the cut and what can be done with montage. It really is the most unique and essential quality of cinema in my opinion. I'm very much inspired by the great Soviet montage filmmakers of the 1920s and 30s, like Dziga Vertov, Lev Kuleshov, Sergei Eisentstein, and Vsevolod Pudovkin. The Kuleshov Effect(http://en.wikipedia.org/wiki/Kuleshov_effect) is awesome! It has inspired so many filmmakers like Alfred Hitchcock, Arthur Lipsett, Stanley Kubrick, George Lucas, Martin Scorsese, Stan Brakhage, Oliver Stone, Brian De Palma, Bruce Connor, Francis Coppola and now myself. I believe it was a great experiment that demonstrated the true power of Pure Cinema. One of my favorite movies is Ron Fricke's "Baraka" and I don't know if Mr. Fricke has been inspired by the Soviet montagists and by the Kuleshov Effect but he definitely utilized the technique brilliantly in "Baraka".

Another huge inspiration is Slavko Vorkapich, a Serbian montagist who was a colleague of Sergei Eisenstein before he moved to Hollywood. He made a fascinating experimental short entitled "The Life and Death of 9413"(1928) that has some great editing, inventive lighting effects, and surreal sets and props. It got him jobs doing transitional effects, visual effects, and whole montage sequences for features at studios like MGM and Paramount. He crafted his montage sequences from start to finish: conceiving and designing, shooting and editing them. There's some great montages of his included on the light rhythms dvd of the awesome box set "Unseen Cinema"(http://www.amazon.com/exec/obidos/ASIN/B000AYEIJA/imdb-button/) and they're amazing and electrifying examples of pure cinema. His mastery of the optical printer and his imagination in the cutting room are just phenomenal. He's a true inspiration. He was also dean of the USC film school at one time and his emphasis on filmic expression and the dynamic quality of movement and kinetic energy inherent in the cinematic art form influenced tons of filmmakers that came through the school, among them George Lucas.

Currently watching :
Akira Kurosawa’s Dreams (Sub)
Release date: 18 March, 2003

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