one important thing I have learnt over the years is the difference
between taking one's work seriously and taking oneself seriously. The
first is imperative and the second disastrous."
you're lucky enough to do well, it's your responsibility to send the
elevator back down."
is an irony to the fact that the most exciting work being done in the
motion picture industry at this dawn of the 21st century is that of
discovering, restoring, preserving and presenting great and historic
films from the mid-20th century on DVD. A glorious byproduct of
the rebirth of many of these films is the opportunity to lavish similar
restorative work on the scores from many landmark films which, without
the accompanying film restoration, would not have been possible."
(Film Score Monthly)
those old-fashioned days of 35mm film, the names of the movie cameras -
the Arriflex, Panavision, or even the Krasnogorsk - had a ring to them,
and could bring forth lush associations. Today's digital camera model
names have all the lilt of bar codes To add to the confusion, the
technology is developing so rapidly that most of the cameras on the
market 18 months ago are now obsolete, so it's had for filmmakers and
cinematographers to bond with their machinery the way their counterparts
have done for the past century."
(The Independent - AIVF magazine - 2002)
|"To stop the overwhelming influence of drama in film, I began to concentrate on the glories of an undramatic present, which is literally the tabletop. That is what peripheral vision is most involved with -- the so-called mundane, which people use as a word of contempt when they really mean 'earth. What they don't see is the potential for glory, for envisionment that's inherent in even doing the dishes, in the soap suds with their multiple rainbows, or in the dull edge of a plate that has to be scrubbed. If they could only see, only get involved with the wonders right under their noses -- more specifically, if they could only see the movie playing on either side of their noses. All they have to do is close their eyes and
more to life than seeing movies and trying to imitate them. Like Thoreau
said, 'Stand up and live before you sit down and write.' And along the
way, keep reading. It may not make you a writer, but you'll end up a
better person for it."
(sometime in the 70s)
know, I think of myself as an amateur filmmaker, and I mean that in a
good way, because the word "amateur" comes from the 'love of'
big problem is the obsolescence of video formats. There have been 74
video formats introduced since Ampex brought it's two-inch system tp the
marketplace in 1954. Even if the media survives, tape equipment
manufacturers have abandoned old systems because they are interested in
selling new hardware.
FILM & VIDEO MAGAZINE
on film and tape preservation
major obstacle for amateur film-makers is their own sense of inferiority
viv-a-vis professional productions: The very classification
"amateur" has an apologetic ring. But that very word -
from the Latin "amateur" - "lover' means one who
does something for the love of the thing rather than for economic
reasons or necessity. And this is the meaning from which the
amateur film-maker should take his cue. Instead of envying the script
and dialogue writers, the trained actors, the elaborate staffs and sets,
the enormous production budgets of the professional film, the
amateur should make use of the one great advantage which all
professionals envy him, namely, freedom - both artistic and
physical. MAYA DEREN from
COMPLETE FILM WRITINGS OF MAYA DEREN
society, do Americans, and consequently, all of the daily elements which
demand our time, like work, school, family, and friends - need to
relearn the value of lifelong experience over short-term achievement and
deadline after deadline after deadline? JASON
in MICROFILM MAGAZINE
label "independent" placed on most films today is like saying
the ingredients in Hostess Twinkies is 100% organic.
(son of late actor Timothy Carey)
was a discouraged film school student when he noticed someone copying
contracts out of the back of my book. He bought it and was walking
across some bridge in Canada reading about how to begin a project when
the idea for his movie suddenly slammed into his head. Realizing there
had never been a movie made about convenience store clerks, he dropped
out of school, bought film stock with the money he saved on tuition,
charged $2,000 limits on 10 credit cards and made the movie with another
clerk and his girlfriend.
(author of "Feature Filmmaking at Used Car Prices)
talking about Kevin Smith
enjoy working with Michelle Bauer, because she has no aspirations about
being a great actress.
FRED OLEN RAY
in HORRORBIZ MAGAZINE
is original. Steal from anywhere that resonates or fuels your
imagination. Devour old films, new films, random conversations, light
and shadows. Select only things to steal from that speak directly to
your soul. If you do this, your work (and theft) will be authentic.
Authenticity is invaluable, originality is nonexistant. And don't bother
concealing your thievery - celebrate it if you feel like it. In any
case, always remember what Jean-Luc Godard said: "It's not where
you take things from-it's where you take them to."
what you are. Not what you would like to be. Not what you have to be.
And what you are is good enough.
films like "Ben Hur", and great formats like MGM Camera 65,
are museum pieces that should be held in the highest esteem. They are
the greatest works of American culture. To hide them away and let
them decay is our shame. Sharing them with the world would be a mission
that should engender enormous national pride. SCOTT
A plague of irreversible proportions is taking over American film exhibition. Digital sound technology and the megaplex movie theater are destroying the last remnants of the movie-going experience. Certainly, the advances in sound recording and presentation are welcome, but at what cost? Stadium seating and multiple showings of a film add comfort and convenience for audiences, but at the cost of older, finer cinemas. The movie-going experience isn't necessarily better as we head into the new century. Now movies are getting excessively loud, the projected images on screen are often blurry and dim, and auditoria are harking back the shoe-box era of the '70s.
Both quotes from 70MM SUPER DEFINITION CINEMA
(INTERNATIONAL 70MM PUBLISHERS RVW)