Here’s a short film by Shaun Clark that was submitted by Mew Lab to Candlelight’s Vimeo short film group. Mysterious and dark. I like those hands a lot. My favorite shot is the hand in the candle flame.
Tag Archives: Film
Film: Objets Oubliés
Italian filmmaker, Fabio Scacchioli, works with zero budget and creates masterpieces of Italian cinema. I think the great movement of cinema in the 21st century is underway and it looks to me like Italy is riding the top of the wave. We are finally reaching the point where an artwork is created with a ‘zero budget,’ just like a painting is. Picasso painted for just the cost of his canvas, his paints, and his own time. Filmmakers can now work the same way, enjoying the privacy of their studios and making things with their hands and their computers and their cameras. Filmmaking has finally become a visual art. Online cinema is the most powerful movement in all of art today. It is alive and aware of its potential. Artists like Scacchioli are going to take it very far indeed and they are going to become the Picassos of the future. It is time to start paying attention to this cinema, not as a silly form of entrance into the moribund feature film studio career, but as a major art form in and of itself.
This film, Objets Oubliés, is built upon four pieces of film found on the street. The filmmaker attempts to connect the unknown images into some sort of coherent whole. The narrating voice exists only in relationship to this attempt to create life and continuity from unknown materials discovered by pure chance. There is something like a form of grace and true love of film or cinema in this act. It seems to me to represent the very life of film. It also seems like an effort that would quite obviously and most certainly originate in Italy. It is mindful romance. It is the literal taking of the baton from an unknown hand and carrying it forward to make something unexpected and marvelous. One person makes something without knowing it is part of an artwork that has not come into existence yet. But it will and it does. The artist comes along and picks it up and shows us that the artwork existed even before he arrived.
Film: Yellow Plastic Raygun
Well I’m just very pleased about this. The Downtown Film Festival Los Angeles has given my film, Yellow Plastic Raygun, the award for Best Experimental Film. I was having quite a nice week attending various parties and screenings at the festival. Its use of multiple locations in the heart of downtown Los Angeles gives one a real sense of taking part in the life of the city and being involved with something that’s helping to foster the exploding art and film scene in downtown. Most of the short films were screened in the new Civic Center Theater at the intersection of First and Main Streets, in the shadow of the famous City Hall tower that has appeared in so many crime shows and film noir classics. I attended the screening of my own film this past Saturday evening and was amazed at seeing it large since I had put so much work into it on small monitors. What’s great about the Downtown Film Festival is that it shows a wide range of filmmaking styles, crew sizes and budgets. They show films made with lots of production resources right alongside films made by individual artists working with inexpensive HD cameras and even cell phone cameras. I am very proud to have won this and I look forward to more great festivals in downtown Los Angeles from the people who put this together.
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Animation: The Machine
A machine tells the tale of another machine and its hunger for control. A beautiful and frightening fairytale about the machinery of power. Rob Shaw and Sarah Hulin animated it.
Jean-Luc Godard Interviews Woody Allen
Jean-Luc Godard interviews Woody Allen… sort of. What is clear to me from watching this video is that Woody Allen is an ordinary thinker. Jean-Luc Godard is not. And frankly I’m not certain who is funnier. I think this is a devastating dismantling of Mr. Allen. It’s bordering on open mockery. Watch how Allen looks at Godard. He hasn’t the slightest idea what’s going on. Every single answer Allen gives is perfectly expected and we’ve heard all of them before from a hundred other filmmakers. Godard’s questions however, come dropping out of the bottom of a 747 that’s flying without a pilot.
Jean-Luc Godard’s New Trailer is the Entire Film!
Film director Jean-Luc Godard has made one of the sharpest comments on copyright, piracy and film advertising that I have ever seen by releasing a trailer for his upcoming new film, Socialisme, that is actually the entire film in super-fast forward for 1 minute and 7 seconds. This is wit and intelligence like no other filmmaker in the world can muster. Once you see the opening presented to you by the films of Godard it becomes very difficult indeed to get up the energy to go watch highly paid American film stars mug and smile their way through belabored mega-scripts that seek opportunities to display Coke bottles and laundry detergent alongside Aston Martins and designer shoes. You begin to see that the Hollywood product is in reality just a very large catering operation and that movies are made with approximately 10 to 20 times the resources actually required to make any given film. American films, even the ‘independent’ ones, are shot from exactly the same point of view and think that movies are about telling stories. They are conceptually still living in the 19th century. They all adhere to the ‘beginning, middle and end’ framework and they uniformly lead to a ‘climax’ and a ‘resolution.’
Godard, on the other hand, functions in the present, treats film as an actual art form, and always uses a unique point of view that cannot be pinned down or turned into a style. He is death to James Cameron. He murders people like Woody Allen. He makes Scorsese look like the heavy-handed New York buffoon that he is. Godard makes films by persuading people to give him money on the basis of totally fake scripts, then shows up with a note pad and a bunch of confused actors and decides literally on the spot what he might want to be making that day and hopes for the best when it comes to fitting his material inside the structure of a project he might happen to be working on. In short, he works just like an artist is supposed to work. He works from himself. The fact that we have been misled by a century of industrial product aimed at showing us Paul Newman’s teeth is not of any concern to him.
If James Cameron showed up at my door with a contract to be in his next film, I would shove him backwards off my front porch. But I would fly to Europe to stand in the background of a Godard film for free.
Mark Twain in Thomas Edison Home Movies
Mark Twain, who wrote what I think might be the single greatest book ever written by an American – The Adventures of Huckleberry Finn – appears in a Thomas Edison film from 1909. He appears to be a natural-born performer who enjoys playing for the camera during his off-time.
Film: Sign Language
Oscar Sharp made this beautiful short film in London. It stars Jethro Skinner as Ben, the ‘board guy.’ The performance is endearing and full of intelligent energy. The film was shot in HD by Anthony Gurner. I love the way the people have all these colors in their clothes and then the colors are repeated in the backgrounds. The colors of this film stand out brilliantly. I also enjoy the film’s subject matter. Many people do jobs that they are simply very happy to have and they find themselves truly and fully present in their moment. It’s one of life’s little important lessons.
Alice in Wonderland (1903)
The British Film Institute has released the first filmed version of Lewis Carroll’s Alice in Wonderland. This British film was made in 1903 by Cecil Hepworth and Percy Stow.
Polaroid Gets Smart – Brings Back Classic Instant Film Camera
Polaroid has used the Consumer Electronics Show (CES) in Las Vegas to announce a new line of classic instant film cameras! Called the Polaroid PIC-1000, the camera will work with 10-packs of instant film just like the great old Polaroid cameras of the past. This is a very smart move by a company that looked supremely dumb a few years ago when it canceled the best product it had ever created. It was almost as dumb as Volkswagen canceling the Bug.
But no worries, we will have our instant pictures back. Not even digital cameras are instant. Not really. You have to plug them into your computer or printer or something and get your files sorted out and then you may need to do a some digital color correction on them. But with a Polaroid, you point click and enjoy the little whirring sound for a few seconds. Then you hold your picture and watch it come to life! There’s absolutely no good reason why digital should not coexist with analog technologies. The main difference between working with film and working with digital, as I see it, is this – with digital you know pretty much exactly what you are going to get when you take a picture. With analog film you never know what you are going to get. There’s a wonderful fuzzy zone filled with error and chance that Polaroids allow you to enjoy. Each picture is a little surprise.
Filmmaker Jonas Mekas on Living in Poetry
This is a clip from a documentary film, Meanwhile, a butterfly flies, about filmmaker Jonas Mekas. He shares a few thoughts about culture, country, poetry and what those things really are.
Jonas Mekas Film: As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty
Jonas Mekas is one of our great independent filmmakers. He spent years writing a film column in the Village Voice. He founded the Anthology Film Archives in New York City. He makes lots of films with small cameras that he can carry almost anywhere he goes. That is, by the way, how filmmakers should be working today. If a filmmaker needs a truck, he or she is making a commercial. I found this via the exceptionally brilliant underground film site, Bad Lit.
Kubrick’s 2001: A Space Odyssey is a Beacon For a New Decade
Read the following remarks at your own risk. The post begins one way and finishes in another.
The online film journal Senses of Cinema has an excellent essay by Pedro Blas Gonzalez called Stanley Kubrick’s 2001: An Existential Odyssey. He examines 2001: A Space Odyssey from an existential viewpoint. He focuses primarily on astronaut Dave Bowman’s journey in the film toward not only a far-flung physical destination, but also his journey as a human being on a path toward knowledge, an unknown future and ultimate change or evolution. I’ve always viewed the Bowman character as being exceedingly emotional and noble in spite of the fact that he barely moves a facial muscle or changes his vocal tone. He seems on the surface to be little more than another machine on board the giant Jupiter-bound space ship. But he is in fact full of tiny, barely perceptible emotions and concerns that make him perhaps the greatest representative character for the human species in film history. The Bowman character completes his mission of discovery by surmounting incredible obstacles, included the most powerful example of artificial intelligence ever devised by humankind. But he does this without ever losing his capacity for anger, despair, love, fear, or wonder.
We’ve lived through what I consider to be the single worst decade in the history of the United States, including the time of the Civil War. In 2000, the country willfully elected to the presidency the most uneducated, unintelligent, disgusting, drunken, irresponsible, uncaring, warlike, criminal and religious fanatic in its history. The damage done to our own self-image, to our sense of wonder in the face of the magnificent unknown, to our drive forward technically, scientifically, artistically, and morally, to our own self-respect and our dignity in a world teeming with slavery and murder and starvation – well this damage is going to be exceedingly difficult to repair. We’ve seen the drive for knowledge turned into something that is suspect, something that religion should argue with and fight at every turn. This is the legacy of the first decade of the twenty-first century. The tragic crime committed by half of the population of the United States to elect – twice-over – the closest thing to an authoritarian leader we’ve ever had will not be wiped clean by voting for new candidates. These awful people are among us. They work with us in offices, in grocery stores, on farms, selling insurance, selling cars, investing on Wall Street. They are all around us and they are waiting to destroy again. They want us to be dumb and mute. They want us worshiping in their churches. They want women to answer to them for how they use their bodies. They want us to ignore the greatest scientific thoughts ever had and to replace them with tall-tales from an ancient book of children’s stories called The Bible. It has been my mission over the past year to fight these people and to rid this web site of them (thousands and thousands of them, by the way), and to break their web links by using aggressive and insulting language at every possible turn. I freely mix children’s stories and games with brutal assaults on this ignorant and dangerous population within our nation. After 15 years of experience with children’s web sites, I have decided that they are rubbish. They serve little purpose and make a pretense at wholesomeness and clean language which only does a disservice to our children who must grow up with the strength and knowledge to eradicate the foolishness that has prevailed over the past decade. I have no concern for who I may insult, including my own authors who may or may not want their content removed because of my strong views. My candle is a blowtorch and I turn it on barbarians with joy. The only effective way to fight them is to get excited about discovery and knowledge again – to do what Star Trek says we should do:
…to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no one has gone before
Yes. We won’t get there by watching imbeciles like James Cameron film tales about white guys invading blue guys. 50-some-year-old adolescents pretending to be great directors don’t give us anything worth knowing. Artists like Kubrick do. Films like 2001: A Space Odyssey do. We need to take this next decade and use it to elevate ourselves beyond and out of reach of the poor lost savages we see around us driving their pick-ups, their SUVs, thumbing through their Bibles and Korans, and going to movies like Avatar. Let’s try thinking again. Go rent 2001. Watch it. Wonder. Think.
Stan Brakhage Film: Water For Maya
Stan Brakhage was one the most important experimental filmmakers of the 20th century. He used many techniques to make his films, one of them being direct painting on the film itself. This is one of his pieces from 2000. It is very beautiful and goes through several distinct movements during its short length. I am going to post some more examples of his films because I think they capture an essential quality of an artist’s happiness that must be very rare.
Film: Revisit November North Five
Here’s a new film for the film fans who happen to stumble by. It’s a film about memory shifts, searching, losing something, trying to find the old image, trying to regain an old feeling or impression, capturing a season of life or the mind. As if one were thinking, “I can almost remember how it was and what we did that day so long ago. Where were we again? North somewhere? It was dark? No, the sun was out… wait, it was cold… I think.