Renee and ME- some diner on a hill- brainstorming the first official appearance of Jane Public on film. How do we shoot it? What cameras? What format/s ? How do we interpret/marry french cinema via experimental means. We tore up the paper menu, created artificial Framing Screens and went at it. First steps towards the bigger picture. More creative updates to soon...
Florence (performance artist/dancer/actress) has been officially added to complete the final touches of the GIRLSTORIES final conclusion. Cider, Brooklyn, wigs and war stories all fit in for the creative talk needed for the upcoming basement shoot...
Our "process" has been set into motion. Birds of a feather flock together.
p.s. it's nobodys business but ours where these 2 persons (me and Her) met up for the private "talk". BUT (all privacy aside), drive over the Williamsburg Bridge at some point in time, catch a quick Left, keep on driving, and good luck. Look for bad live music, dingy decor and long dark features (me and Hers). Then go God Bless kindred spirits. Florence WILL BE Jane Public and introduce the Girlstories trilogy to France. Stay Tuned. BYE FOR NOW.
"The Woodmans" is a film about a family's wages of art--and the power of art to heal. It features the paintings and ceramics of George and Betty Woodman; the videos of their son Charlie; and the extraordinary photography of daughter Francesca Woodman. Original score composed by 2008 Pulitzer Prize winner.
So I forced myself to swallow the sad reality of modern technology. I forced myself to turn on the new camera and "explore" it's potentials, learn its abilities. I continue to grieve the demise of celluloid. I like being hands on in every part of the process of creativity-I don't like digital things telling my ideas what to do. When in art school (film school) I literally slept in the editing room. Every assignment became a film when I was finished. I would get reprimanded for not following the rules, I would get in trouble for trying to do more than the simple "lighting" or "blocking" assignments. Ironically, the film school projects became the beginning of my reputation, of my voice.
This new camera, I now see, as a tool. The "perfect" glossy look sickens me. But, my approach may change. I will view the "information" that I capture with it as raw material to sculpt in the Post production stages.
Funny, as I spent hours viewing other people's work with this 60D camera model on YOUTUBE, I was reminded that anyone can have a "tool", but only few are artisans. That temporarily relieved me. Like the Super 8mm camera of the 70's (available then at Woolworths and local pharmacies), the technology out there in the world is open to the public. Again, only few will take advantage of this fact (take advantage of its potential to create things of relevance).
I have a lot to learn. I will keep playing for a few weeks. Unfortunately, I seem to be hastened to the cinematic poem. Despite knowing that I could get "rich and famous" with a long, conservative narrative, I am more in love with the small statements that I can make. I am a fine artist, not a filmmaker in the sense of the conventional idea I am not interested in making fun mass consumable fast food. I am interested in saying things directly disguised.
I have, and will use, programs to become my darkroom (per se). I will experiment with different mixings of print and paper stocks. I will experiment with various forms of "presentation". Basically, I will follow my instincts.
Weird to use this small machine that works under the leadership (dictatorship) of a BATTERY LIFE. I layed in my bed and simply took compositions/shots of my body parts. Of things on my walls. Of "moments".
I will spend the weekend picking up, and putting down this thing called the Canon 60D. I will do my best to have a relationship with it. I will do my best to call it my new best friend.
so here i am tonight...FORCING myself how to learn this new filmmaking tool (it's how I must approach this thing, as a tool)...this hyped digital object which i have kept a good 10 feet away from since it arrived to my home by UPS. This CANON 60D. i MUST learn this thing in order to make new films. the future has arrived...film stocks are extinct. i HATE how "preety" and "Glooossssy" it all looks.
but I am certain that in due time, i will taint it with my trademark style and STAMP.
p.s. wish me luck my precious fans. I am very excited about one thing for certain, I am excited about using "pluralizing software" that will allow me to take incredible sound with my sound field recorder and synch it up to the moving images that I plan to capture with this haunting battery operated thing . LINK TO TESTS WITH THIS CAMERA: http://vimeo.com/channels/canon60d
it had been years since i had gone to the MET. today, i made up for that lost time. i love portraits. i love oils. i am a filmmaker who approaches cinema as a "fine art". i felt at home at the MET today. i felt completely surrounded by family.
p.s. these are the images/works that caught my eye the most...this is where my eye shot to.
"I was an introverted child. My family lived in a small town in the north of Sweden, and I was very lonely. I had an artistic bent, toward painting and music, and then I drifted into acting when I was still an adolescent. I played everything–music hall singers, comedy ingenues, a few of the classics on the stage. I did one thriller for an American television producer with Robert Mitchum–I think it was finally released in theatres. I can't remember most of them today. My real career began when I went to work for Ingmar."