A peek into the pages
December 3rd:
I'm falling more and more towards the wayside of experimental filmmaking - which kind of saddens me as much as it excites me because so many people write it off as being too obscure to connnect with anybody - the butt of the joke about art kids. But i feel like it can be so much more expressive and emotional than narratives, especially the piece I'm working on now which is inspired by Yoko Ono's script, "Travel Journal."
I really love the idea of not having actors, or acting - pretending - imitating life. There is so much in real life that we can draw from, even if it seems more inconsequential at first. So much so, in fact, that it almost doesn't make sense (for my purposes) to have to try and reproduce it. There's more truth in the actual unscriptd, un-forced,-un-doctored occurances of things than in trying to replicate it to draw out the meaning.
I'm not saying that all films are trite and false ( though, to some degree, I guess, by this definition they all are) Indeed, I'm the first one to admit that I've been moved beyond aything by some select very very good films, but these feelings always fade after the movie ends because the story and the experience and the characters all die upon leaving the theater or cliking off the set. Real life doesn't fade from the observer that way (in fact, for me it's done the opposite) maybe because in actual life, the observer is inevitably interacting also, because they are existing in the same "scene" as the observed- there is no separating the two ...I can't get out of the zone that this approach puts me in.
For example, the film I'm working on now is basically "life in micro" - capturing the unnoticed "unimportant" phenomenons that go on daily, examined for an "extened" amount of time (in film time, that's like - 20 seconds), and only in extreme close-up. Meantime, the audio of the "macro" world goes on around it. So, now - I cannot stop noticing the way that every wind blown leaf on a tree moves independently, how dust blown accross the road creates an ocean-like ripple/wave effect. So maybe....
Well. I don't know.
but I am convinced that the world in micro is much more beautiful, where things are seen for what they are, without surrounding context. We should all be so lucky to be viewed that way.
December 5th:
I was just listening to NPR (surprise!) on my way to school and they were talking about this book, MORTIFIED, that is composed of people's diary entries & letters & notes from when they were young(er).
interesting.
I think that I finally started keeping a journal after I started to read The Diary of Ann Frank, when I was like, ten. I think I just really liked the idea that my personal experiences and secrets could actually mean somethig to anyone other than me (even though I refused to show anyone what I wrote in there) but knowing me, I probably fantasized that someday, someone would find my lost journals and it would speak to thousands -
all of the dull, confused, hurtful thoughts of a teenage .me
Now, I just write to stay sane.
I'm falling more and more towards the wayside of experimental filmmaking - which kind of saddens me as much as it excites me because so many people write it off as being too obscure to connnect with anybody - the butt of the joke about art kids. But i feel like it can be so much more expressive and emotional than narratives, especially the piece I'm working on now which is inspired by Yoko Ono's script, "Travel Journal."
I really love the idea of not having actors, or acting - pretending - imitating life. There is so much in real life that we can draw from, even if it seems more inconsequential at first. So much so, in fact, that it almost doesn't make sense (for my purposes) to have to try and reproduce it. There's more truth in the actual unscriptd, un-forced,-un-doctored occurances of things than in trying to replicate it to draw out the meaning.
I'm not saying that all films are trite and false ( though, to some degree, I guess, by this definition they all are) Indeed, I'm the first one to admit that I've been moved beyond aything by some select very very good films, but these feelings always fade after the movie ends because the story and the experience and the characters all die upon leaving the theater or cliking off the set. Real life doesn't fade from the observer that way (in fact, for me it's done the opposite) maybe because in actual life, the observer is inevitably interacting also, because they are existing in the same "scene" as the observed- there is no separating the two ...I can't get out of the zone that this approach puts me in.
For example, the film I'm working on now is basically "life in micro" - capturing the unnoticed "unimportant" phenomenons that go on daily, examined for an "extened" amount of time (in film time, that's like - 20 seconds), and only in extreme close-up. Meantime, the audio of the "macro" world goes on around it. So, now - I cannot stop noticing the way that every wind blown leaf on a tree moves independently, how dust blown accross the road creates an ocean-like ripple/wave effect. So maybe....
Well. I don't know.
but I am convinced that the world in micro is much more beautiful, where things are seen for what they are, without surrounding context. We should all be so lucky to be viewed that way.
December 5th:
I was just listening to NPR (surprise!) on my way to school and they were talking about this book, MORTIFIED, that is composed of people's diary entries & letters & notes from when they were young(er).
interesting.
I think that I finally started keeping a journal after I started to read The Diary of Ann Frank, when I was like, ten. I think I just really liked the idea that my personal experiences and secrets could actually mean somethig to anyone other than me (even though I refused to show anyone what I wrote in there) but knowing me, I probably fantasized that someday, someone would find my lost journals and it would speak to thousands -
all of the dull, confused, hurtful thoughts of a teenage .me
Now, I just write to stay sane.