Art of the peptalk.
Passing energy from coach to player can make for excellent over-the-top emotion in sports films.
In research for BASKETBALL WEATHER I have been researching and rewatching peptalks.
Bill Murray's MEATBALL'S peptalk undercuts the reason for peptalks in general.
Contrast that with Nick Nolte's opening speech from BLUE CHIPS.
This method performance was for the most part based on Bobby Knight, I believe. He is at least the most famous coach for using negative control tactics and fear to inspire better play. Nolte's performance is tame compared to the real thing:
I need to go back into my vhs archives to find one of my dad's peptalks I recorded in highschool and incorporated into the basketball video that year, which I titled "A Parallel Universe" for some reason? My dad had a much better approach to inspiring a team. He wasn't as apathetic as Murray (though those four words were all that was going through my head toward the end), and he didn't scream at you like Knight, though sometimes a swift look would make you feel that way. Sometimes the jacket would be thrown. But his speeches were always something we looked forward to because they really made you want to care about not just the specific game we were playing, but the GAME itself.
Wednesday, December 16, 2009
Tuesday, December 15, 2009
NOWHERE
A new video/sound art piece by two friends of mine from high school. Painter/photographer/cinematographer Cassie Christensen and musician/recording engineer/photographer/filmmaker Nathan Edwards. The three of us used to run around with video cameras and make music back in those days, so I am proud to see what they have achieved years later. I believe this is part of an installation, so the first couple minutes are dark, but once the images arise, you will not be disappointed. Gorgeous images of nature and city landscapes that recall naturalist films like KOYAANISQATSI and BARAKA with a hauntingly spaced out score.
Nowhere. from Nathan Edwards on Vimeo.
Wednesday, December 2, 2009
Defending Sacred Ground
More Interesting words from Mr. Alex Collier.
I've been checking out videos of Collier Lectures for about a year now.
His writings can be found here.
This video doesn't go into Collier's story as much but more into the history of our galaxy from the Andromedan perspective, as well as more information on the different races of extra terrestrials. The video is 14 parts long so if you want to see the entire thing you'll have to click on the video and actually watch it at youtube. His lectures are all really long, but always very compelling to me.
Previous post on Collier
I've been checking out videos of Collier Lectures for about a year now.
His writings can be found here.
This video doesn't go into Collier's story as much but more into the history of our galaxy from the Andromedan perspective, as well as more information on the different races of extra terrestrials. The video is 14 parts long so if you want to see the entire thing you'll have to click on the video and actually watch it at youtube. His lectures are all really long, but always very compelling to me.
Previous post on Collier
Brother Theodore
There must be some explanation for why this man is on Letterman, or the strange things walking on all fours does to Letterman's suits?
I am not sure what that is.
I am not sure what that is.
Thursday, November 12, 2009
WAX or the discovery of television among the bees
or the best film ever made
http://www2.iath.virginia.edu/wax/
http://www2.iath.virginia.edu/wax/
Wednesday, October 28, 2009
Thursday, August 20, 2009
RANDY WALKER, JENNIFER SHAININ INTERVIEW
1) What inspired APART FROM THAT, not only its characters, situation and setting, but its unique visual style?
We’ll overhear a conversation between a husband and wife in a Joanne Fabrics, or at a greasy spoon frequented by farmers with actual cow shit still on their boots…and they’ll be talking about someone’s ugly new wife or internet gambling…we smile to one another, knowing that those little everyday human interactions will become a character, or a scene. As we see it, the small interstitials say so much more than the bigger, life-altering moments. And these moments arrive with such a distinct sense of place, color and light, all of which informed the visual style of “Apart From That”. We’re also inspired by a number of photographers; Nan Goldin, Uta Barth, Jeff Mermelstein, Eugene Richards, Joel Sternfeld, Shawn Records…as a result, we created a visual script prior to shooting that consisted of images we had taken, mixed in with these extraordinary photographers. It was a three-ring binder loaded with visual inspiration that kept us
honest whilst shooting. There were no shot lists or storyboards—only that book.
2) In an era where shakey handheld cameras are symbolic of 'reality' you often work from a locked down camera with rather high angle shots and slow pans, what informed these aesthetic decisions?
The aesthetic was always driven by, very simply, our interest in the emotional exchanges between characters. We wanted to keep the perspective simple and focused on the narrative content. Sometimes, the camerawork in some films can be a tad too conspicuous and coercive for my taste, distracting from the meat and soul of the moment. I never want the audience to be aware of the “stylistic auteur” behind the camera. Fancy camera moves and tricky effects mean very little to me. These things only manage to jar the audience and take them out of the story. The still, open wide shot is something we gleaned from directors like Tarkovsky and Kieslowski -there is a subtle serenity that enables the viewer to pick up the details and textures without being guided to them.
3) As artists when can you tell if you've made a good decision vs. a bad decision and can you give an example of each?
We don’t really think in terms of “good” and “bad” when it comes to our artistic choices. Sometimes, we’ll go in a narrative direction that doesn’t ultimately manage to express what we’re after, but that attempt is a necessary step in the process. You have to see it play out before you know whether it hits the mark or not. And, sometimes, it’ll be right for me, but not for Jen. Another added benefit to having two directors. It’s really about experimentation and exploration. The only “bad” choice, for us anyway, was trying too hard to force an exact manifestation of our initial vision—it was far more interesting (and artistic) to throw out our ideas and see what other people might contribute. A firm and demanding vision can be incredibly stifling. And boring.
4) How did you go about casting?
We wanted people, not trained actors. Regular folks with regular 9-5 jobs, who might be able to take our script, throw out what isn’t useful to them, and add elements from their own lives that would further deepen and enliven these characters. People who could provide the tiny details that we couldn’t come up with in a million years. So, we posted flyers in grange halls, harbormaster offices, transmission shops…we personally approached the Norwegian Man’s Choir, the people of the Swinomish Reservation, the Daughters of the American Revolution…holding casting sessions anywhere from a coffee shop in Seattle to a senior center in Burlington…for 6 months we did this, auditioning people for roles that didn’t immediately appear to suit them...casting against type was a big part of it. Again, we were more interested in being surprised that following any pre-determined ideas about what a character should look (or act) like.
4.5) When directing your actors, many of them I believe are family members or friends, how do you explain what you are seeking from them in a scene?
We wanted each cast member to be willing to experiment, to try anything, to express a departure from easy emotions. If they can throw everything out there, and speak—really speak—to one another, and LISTEN to one another, rather than perform for the benefit of the camera (or the director), that’s the good stuff. Also, we really wanted the entire cast to have a good time. To play. So, initially, we wouldn’t tell them much. They would hand us their initial impressions, and we’d tweak from there.
5) Were your actors surprised with the outcome of the performance and in what ways.
Many of the cast members had no idea how movies were made, so a good majority were surprised by the authenticity of their own performances. Many of them told us that the first time they watched the film, they didn’t see the film. They only saw themselves. After subsequent viewings, most of them were able to detach themselves from their characters, and see the forest for the trees. A wife of one of the leads told us that her husband was more affectionate with his fictional, cinematic wife than the real thing. Oops.
6) So, when you aren't making films what are you doing?
Listening to people talk. Taking photos of them when they aren’t looking. Character research, basically.
7) Did you make short films or other films or any other type of art before APART FROM THAT and if so what did those experiences teach you?
I made a feature in film school entitled “Agave,” and Jen did one called “Where I Am.” Both of these films taught us, in very different ways, to have fun when making a film. This seems obvious, but you’d be surprised how easy it is to forget to enjoy yourself.
8) Cassavetes once said he wished he could just smash a camera because it got in the way of the drama in front of the camera. Your film has a rather high level of attention to technical detail in regards to composition and framing. How important is the look of your film and how were you able to make sure the camera did not interfere with the action in front of it?
When you have a large crew with a grip truck and a lot of equipment, the whole thing can get damned unwieldy. I never sensed a conflict with the camera, necessarily; we have a great DP who we use for almost all of our films (Erik Forssell), and he knows how to be, well, discreet. In terms of the drama. We also had a system in place where I would give him a special nod that only he would see, and he’d roll on a rehearsal or a moment when the actors didn’t know they were being filmed. Several shots in the opening sequence were the result of this. Also, because the drama of the scene is essential, often the camerawork suffered, in an attempt to capture the random movement of truly improvised moments. We had no blocking and no focus puller, so Erik had his work cut out for him. His ability to maintain a strong sense of composition within those parameters is just a testament to his skill. Also, Jenny has an incredible eye. She found light and
composition in places no one bothered to look.
8.5) Can you give a brief rundown of the equipment you used and where you got it from (rent vs. own?)
Almost all of it was rented. Aaton XTR Prod S16mm camera, prime lenses, sticks, basic grip truck…we shot on a couple different Fuji stocks. We’re looking forward to shooting the next feature using exclusively our own equipment.
9) Many of today's films rely on their soundtracks to convey the film's emotions, most use popular music from the past or up-and-coming artists looking to break big, obviously your film uses a lot of music, but it doesn't have the feel of a playlist or mix tape, can you speak to role of the musical soundtrack in APART FROM THAT and how it was conceived?
We wanted the music to be an extension of the diegetic soundscape that might serve as a characteristic of the environment within which the characters lived. It was specifically composed with this in mind; a wind chime or a car engine would slowly assemble into an atmospheric melody that would then progressively dissipate. We didn’t want the music to call attention to itself or offer instruction in terms of how the audience should think or feel. We tried to steer away from recurring melodies as well. Despite the fact that one was applied to the character of Leo more regularly, we didn’t want a distinct character “theme,” because we didn’t want to give any indication that these people were stagnant or stable in any way. They are as varied and unpredictable as the rest of us.
10) When it came time to distribute your film you chose to do-it-yourself in a wonderfully crafted package that includes a book, a CD of the soundtrack, and the DVD. In an age of online videos, video on demand and of course pirated or ripped DVDs you seem to have given people a reason to purchase a physical copy. Can you speak to how this decision came about and the results of going this route?
Having been inspired by photography books, and having used a largely photographic script on set, we felt that it seemed only natural that the ultimate release of the film take the same form. Also, while we were on the festival circuit, we noticed that those who responded to the film were often people who spend a lot of time in bookstores. Or people who would collect random snapshots from thrift stores. Rather than choose to have the film be lost in a sea of titles at Blockbuster Video, we hoped that it would be discovered by someone who had been drawn in by the images from the film.
11) What's next for you and your company Foreign American Pictures?
Two new features and an episodic series entitled “Whiskeypriest,” the first episode of which recently premiered at CineVegas.
12) What advice do you have for filmmakers?
Don’t wait for permission. Just start making. Also, to quote Cassavetes, “If we don’t tell the truth about ourselves, we’re doomed to face the consequences.”
That's it. Hope it works for you. How's "In Clamatore" coming? Can't wait to see it. Also, how might I procure copies of "What Happened Was...", "Christine," and "Road"? I'd love to see these films, and I'm willing to pay $ for dvds.
hope all is well,
Randy
We’ll overhear a conversation between a husband and wife in a Joanne Fabrics, or at a greasy spoon frequented by farmers with actual cow shit still on their boots…and they’ll be talking about someone’s ugly new wife or internet gambling…we smile to one another, knowing that those little everyday human interactions will become a character, or a scene. As we see it, the small interstitials say so much more than the bigger, life-altering moments. And these moments arrive with such a distinct sense of place, color and light, all of which informed the visual style of “Apart From That”. We’re also inspired by a number of photographers; Nan Goldin, Uta Barth, Jeff Mermelstein, Eugene Richards, Joel Sternfeld, Shawn Records…as a result, we created a visual script prior to shooting that consisted of images we had taken, mixed in with these extraordinary photographers. It was a three-ring binder loaded with visual inspiration that kept us
honest whilst shooting. There were no shot lists or storyboards—only that book.
2) In an era where shakey handheld cameras are symbolic of 'reality' you often work from a locked down camera with rather high angle shots and slow pans, what informed these aesthetic decisions?
The aesthetic was always driven by, very simply, our interest in the emotional exchanges between characters. We wanted to keep the perspective simple and focused on the narrative content. Sometimes, the camerawork in some films can be a tad too conspicuous and coercive for my taste, distracting from the meat and soul of the moment. I never want the audience to be aware of the “stylistic auteur” behind the camera. Fancy camera moves and tricky effects mean very little to me. These things only manage to jar the audience and take them out of the story. The still, open wide shot is something we gleaned from directors like Tarkovsky and Kieslowski -there is a subtle serenity that enables the viewer to pick up the details and textures without being guided to them.
3) As artists when can you tell if you've made a good decision vs. a bad decision and can you give an example of each?
We don’t really think in terms of “good” and “bad” when it comes to our artistic choices. Sometimes, we’ll go in a narrative direction that doesn’t ultimately manage to express what we’re after, but that attempt is a necessary step in the process. You have to see it play out before you know whether it hits the mark or not. And, sometimes, it’ll be right for me, but not for Jen. Another added benefit to having two directors. It’s really about experimentation and exploration. The only “bad” choice, for us anyway, was trying too hard to force an exact manifestation of our initial vision—it was far more interesting (and artistic) to throw out our ideas and see what other people might contribute. A firm and demanding vision can be incredibly stifling. And boring.
4) How did you go about casting?
We wanted people, not trained actors. Regular folks with regular 9-5 jobs, who might be able to take our script, throw out what isn’t useful to them, and add elements from their own lives that would further deepen and enliven these characters. People who could provide the tiny details that we couldn’t come up with in a million years. So, we posted flyers in grange halls, harbormaster offices, transmission shops…we personally approached the Norwegian Man’s Choir, the people of the Swinomish Reservation, the Daughters of the American Revolution…holding casting sessions anywhere from a coffee shop in Seattle to a senior center in Burlington…for 6 months we did this, auditioning people for roles that didn’t immediately appear to suit them...casting against type was a big part of it. Again, we were more interested in being surprised that following any pre-determined ideas about what a character should look (or act) like.
4.5) When directing your actors, many of them I believe are family members or friends, how do you explain what you are seeking from them in a scene?
We wanted each cast member to be willing to experiment, to try anything, to express a departure from easy emotions. If they can throw everything out there, and speak—really speak—to one another, and LISTEN to one another, rather than perform for the benefit of the camera (or the director), that’s the good stuff. Also, we really wanted the entire cast to have a good time. To play. So, initially, we wouldn’t tell them much. They would hand us their initial impressions, and we’d tweak from there.
5) Were your actors surprised with the outcome of the performance and in what ways.
Many of the cast members had no idea how movies were made, so a good majority were surprised by the authenticity of their own performances. Many of them told us that the first time they watched the film, they didn’t see the film. They only saw themselves. After subsequent viewings, most of them were able to detach themselves from their characters, and see the forest for the trees. A wife of one of the leads told us that her husband was more affectionate with his fictional, cinematic wife than the real thing. Oops.
6) So, when you aren't making films what are you doing?
Listening to people talk. Taking photos of them when they aren’t looking. Character research, basically.
7) Did you make short films or other films or any other type of art before APART FROM THAT and if so what did those experiences teach you?
I made a feature in film school entitled “Agave,” and Jen did one called “Where I Am.” Both of these films taught us, in very different ways, to have fun when making a film. This seems obvious, but you’d be surprised how easy it is to forget to enjoy yourself.
8) Cassavetes once said he wished he could just smash a camera because it got in the way of the drama in front of the camera. Your film has a rather high level of attention to technical detail in regards to composition and framing. How important is the look of your film and how were you able to make sure the camera did not interfere with the action in front of it?
When you have a large crew with a grip truck and a lot of equipment, the whole thing can get damned unwieldy. I never sensed a conflict with the camera, necessarily; we have a great DP who we use for almost all of our films (Erik Forssell), and he knows how to be, well, discreet. In terms of the drama. We also had a system in place where I would give him a special nod that only he would see, and he’d roll on a rehearsal or a moment when the actors didn’t know they were being filmed. Several shots in the opening sequence were the result of this. Also, because the drama of the scene is essential, often the camerawork suffered, in an attempt to capture the random movement of truly improvised moments. We had no blocking and no focus puller, so Erik had his work cut out for him. His ability to maintain a strong sense of composition within those parameters is just a testament to his skill. Also, Jenny has an incredible eye. She found light and
composition in places no one bothered to look.
8.5) Can you give a brief rundown of the equipment you used and where you got it from (rent vs. own?)
Almost all of it was rented. Aaton XTR Prod S16mm camera, prime lenses, sticks, basic grip truck…we shot on a couple different Fuji stocks. We’re looking forward to shooting the next feature using exclusively our own equipment.
9) Many of today's films rely on their soundtracks to convey the film's emotions, most use popular music from the past or up-and-coming artists looking to break big, obviously your film uses a lot of music, but it doesn't have the feel of a playlist or mix tape, can you speak to role of the musical soundtrack in APART FROM THAT and how it was conceived?
We wanted the music to be an extension of the diegetic soundscape that might serve as a characteristic of the environment within which the characters lived. It was specifically composed with this in mind; a wind chime or a car engine would slowly assemble into an atmospheric melody that would then progressively dissipate. We didn’t want the music to call attention to itself or offer instruction in terms of how the audience should think or feel. We tried to steer away from recurring melodies as well. Despite the fact that one was applied to the character of Leo more regularly, we didn’t want a distinct character “theme,” because we didn’t want to give any indication that these people were stagnant or stable in any way. They are as varied and unpredictable as the rest of us.
10) When it came time to distribute your film you chose to do-it-yourself in a wonderfully crafted package that includes a book, a CD of the soundtrack, and the DVD. In an age of online videos, video on demand and of course pirated or ripped DVDs you seem to have given people a reason to purchase a physical copy. Can you speak to how this decision came about and the results of going this route?
Having been inspired by photography books, and having used a largely photographic script on set, we felt that it seemed only natural that the ultimate release of the film take the same form. Also, while we were on the festival circuit, we noticed that those who responded to the film were often people who spend a lot of time in bookstores. Or people who would collect random snapshots from thrift stores. Rather than choose to have the film be lost in a sea of titles at Blockbuster Video, we hoped that it would be discovered by someone who had been drawn in by the images from the film.
11) What's next for you and your company Foreign American Pictures?
Two new features and an episodic series entitled “Whiskeypriest,” the first episode of which recently premiered at CineVegas.
12) What advice do you have for filmmakers?
Don’t wait for permission. Just start making. Also, to quote Cassavetes, “If we don’t tell the truth about ourselves, we’re doomed to face the consequences.”
That's it. Hope it works for you. How's "In Clamatore" coming? Can't wait to see it. Also, how might I procure copies of "What Happened Was...", "Christine," and "Road"? I'd love to see these films, and I'm willing to pay $ for dvds.
hope all is well,
Randy
ROBERT ASHLEY
Seth WC initially got me into this performance artist/writer/composer. He is the inventor and sole proprietor of the Television Opera. I once listened to Perfect Lives while flying to Philadelphia. We flew threw a storm and I was positive we were going to crash. I went into a meditation and saw myself running across an infinite stretch of water. This helped to evaporate my fear. When I snapped out of it we had landed and I was told there was no storm.
PERFECT LIVES
PERFECT LIVES
Wednesday, July 29, 2009
RAM DASS/RICHARD ALPERT
BE HERE NOW
On Attachment/Addiction
On LSD
On Suffering and Karma
Interviewing Thicht Nhat Hanh
On Attachment/Addiction
On LSD
On Suffering and Karma
Interviewing Thicht Nhat Hanh
RAW
Robert Anton Wilson
On Quantum Physics
On Language and E Prime
On acceleration to 2012
On Channeling and ET contact
On Quantum Physics
On Language and E Prime
On acceleration to 2012
On Channeling and ET contact
Friday, June 12, 2009
SARNOWSKI ON OZU
The day after a viewing of Ozu's
THE FLAVOR OF GREEN TEA OVER RICE
Ryan Sarnowski: My heart was crippled last night
Wes Tank: I know the Ozu feeling
Ryan: Those moments when the wife is alone, after the maid has gone to bed...lordy!
Wes: How do you feel about the acting in Ozu's films?
Ryan: I think it's great, because its a weird blend of naturalism and unnaturalism. You have to watch the moments when people are not talking to see how they are really feeling. If anything he shows that our words are not usually what we really have to say about a situation and yet there can be those times like when the husband tells the wife that their marriage is a sour product of arranged marriages that the natural and unnatural collide.
Wes: Could you expand on what you were saying last night about the way our understanding of the relationships changes throughout the film?
Ryan: The husband says he is comfortable with simple things and he wrestles with his wife's desires to live more extravagently. She sees him as a simpleton and yet he appears to see right through her lies, even accepts them, or does he? The husband has grown so accustomed to her ways that they have in essence become simple to him. He knows that if she wants to do something, she'll lie about it and go do it.
He also knows that she'll harp on him for being simple, for slurping his food and while it makes his life more aggrevating in one degree the simple knowing that she's going to do these things provides comfort. At the same time the wife plays this role of a bitch almost of the amusement of her friends, but deep down she has grown to love him, because he is simple and lets her get away with this shit, but why does he let her.
Their love is a strange balancing act. They also have these odd relations to the concept of arranged marriage. The wife is more pragmatic, thinking that such an institution allows women to find a mate who is suitable for supporting a woman. The husband seems to see the limitations in such arrangements but he's also the one who first scolds the niece. There really is no clear resting point throughout the film as to how they feel about each other, marriage, etc. Things are constantly shifting
Wes: Do you think that has to do with this tension between what the characters are saying/what their faces say when they are not speaking?
Ryan: Exactly. Its more obvious in the husband. Especially when he just answers in one word. You can see him thinking. The same is true with the old military pal. There is a range of emotions going on as two parts of his life come face to face.
Wes: Do you think this is something inherent in all of Ozu's films, or is it particular to just this one?
Ryan: All of them. Most of them. He does have lesser films. Like some of the early ones. But even in his silent era there are great works.
Wes: Do you care to comment on his consistent use of centered shot reverse shots?
Where does his completely consistent, yet totally unique shooting language come from?
Ryan: I would gather that it comes from the simple act of sitting on a mat, across a table from another individual. So much of his style is indicative of the simple act of sitting on a floor in a traditional Japanese house.
Wes: More than any other filmmaker, his work gives me a sense that he has such a firmly rooted sense of the present, as well as the "bigger picture."
Ryan: What I find so amazing about him is how he takes these simple, almost hackneyed stories and wrings cosmic truth out of them.
Wes: If only he could be reincarnated into the body of a soap opera director.
Ryan: yes, that would be nice. But people would just sleep through it... :)
Wes: DAYTIME TELEVISION, HELLO
Ryan: He'd have to sex it up, a lot.
THE FLAVOR OF GREEN TEA OVER RICE
Ryan Sarnowski: My heart was crippled last night
Wes Tank: I know the Ozu feeling
Ryan: Those moments when the wife is alone, after the maid has gone to bed...lordy!
Wes: How do you feel about the acting in Ozu's films?
Ryan: I think it's great, because its a weird blend of naturalism and unnaturalism. You have to watch the moments when people are not talking to see how they are really feeling. If anything he shows that our words are not usually what we really have to say about a situation and yet there can be those times like when the husband tells the wife that their marriage is a sour product of arranged marriages that the natural and unnatural collide.
Wes: Could you expand on what you were saying last night about the way our understanding of the relationships changes throughout the film?
Ryan: The husband says he is comfortable with simple things and he wrestles with his wife's desires to live more extravagently. She sees him as a simpleton and yet he appears to see right through her lies, even accepts them, or does he? The husband has grown so accustomed to her ways that they have in essence become simple to him. He knows that if she wants to do something, she'll lie about it and go do it.
He also knows that she'll harp on him for being simple, for slurping his food and while it makes his life more aggrevating in one degree the simple knowing that she's going to do these things provides comfort. At the same time the wife plays this role of a bitch almost of the amusement of her friends, but deep down she has grown to love him, because he is simple and lets her get away with this shit, but why does he let her.
Their love is a strange balancing act. They also have these odd relations to the concept of arranged marriage. The wife is more pragmatic, thinking that such an institution allows women to find a mate who is suitable for supporting a woman. The husband seems to see the limitations in such arrangements but he's also the one who first scolds the niece. There really is no clear resting point throughout the film as to how they feel about each other, marriage, etc. Things are constantly shifting
Wes: Do you think that has to do with this tension between what the characters are saying/what their faces say when they are not speaking?
Ryan: Exactly. Its more obvious in the husband. Especially when he just answers in one word. You can see him thinking. The same is true with the old military pal. There is a range of emotions going on as two parts of his life come face to face.
Wes: Do you think this is something inherent in all of Ozu's films, or is it particular to just this one?
Ryan: All of them. Most of them. He does have lesser films. Like some of the early ones. But even in his silent era there are great works.
Wes: Do you care to comment on his consistent use of centered shot reverse shots?
Where does his completely consistent, yet totally unique shooting language come from?
Ryan: I would gather that it comes from the simple act of sitting on a mat, across a table from another individual. So much of his style is indicative of the simple act of sitting on a floor in a traditional Japanese house.
Wes: More than any other filmmaker, his work gives me a sense that he has such a firmly rooted sense of the present, as well as the "bigger picture."
Ryan: What I find so amazing about him is how he takes these simple, almost hackneyed stories and wrings cosmic truth out of them.
Wes: If only he could be reincarnated into the body of a soap opera director.
Ryan: yes, that would be nice. But people would just sleep through it... :)
Wes: DAYTIME TELEVISION, HELLO
Ryan: He'd have to sex it up, a lot.
Thursday, June 4, 2009
THE GIRLS
In college I made two videos with about my sisters, Alli and Ann Tank.
I have always enjoyed their energy and philosophies on life.
Between the two videos you can see my shooting/editing style changes dramatically, but their stance on the inherent goodness of the universe remains unchanged.
UP AND DOWN AND ROUND ABOUT
THE BARN SWALLOWS
I have always enjoyed their energy and philosophies on life.
Between the two videos you can see my shooting/editing style changes dramatically, but their stance on the inherent goodness of the universe remains unchanged.
UP AND DOWN AND ROUND ABOUT
THE BARN SWALLOWS
Tuesday, June 2, 2009
Wednesday, May 13, 2009
INGMAR BERGMAN
FACE TO FACE
THE SEVENTH SEAL
SCENES FROM A MARRIAGE
HOUR OF THE WOLF
AUTUMN SONATA
See Also:
FANNY OCH ALEXANDER
CRIES AND WHISPERS
THE SEVENTH SEAL
SCENES FROM A MARRIAGE
HOUR OF THE WOLF
AUTUMN SONATA
See Also:
FANNY OCH ALEXANDER
CRIES AND WHISPERS
Tuesday, May 12, 2009
ALEX COLLIER
Contactee with Human Extra Terrestrials from Andromeda
1994 INTERVIEW WITH RICK KEEFE
MOON AND MARS
2008 LECTURE
2009 INTERVIEW WITH RICK KEEFE
1994 INTERVIEW WITH RICK KEEFE
MOON AND MARS
2008 LECTURE
2009 INTERVIEW WITH RICK KEEFE
Wednesday, May 6, 2009
BILL HICKS
PLAY FROM YOUR FUCKING HEART
DRUGS
ALL MATTER IS MERELY ENERGY CONDENSED TO A SLOW VIBRATION
WE ARE ALL ONE CONSCIOUSNESS EXPERIENCING ITSELF SUBJECTIVELY
THERE IS NO SUCH THING AS DEATH
LIFE IS ONLY A DREAM AND WE ARE THE IMAGINATION OF OURSELVES
HERE'S TOM WITH THE WEATHER
EVOLUTION
NAH...
Tuesday, May 5, 2009
DON COSCARELLI
PHANTASM I-IV
LET THIS BE AN OPEN OFFER TO DON COSCARELLI:
VEHEMENT BEHEMOTH WILL AID IN ANYWAY NEEDED FOR THE CREATION OF PHANTASM'S END.
LET THIS BE AN OPEN OFFER TO DON COSCARELLI:
VEHEMENT BEHEMOTH WILL AID IN ANYWAY NEEDED FOR THE CREATION OF PHANTASM'S END.
Wednesday, April 29, 2009
CAVELIGHT
Completed 3 hour, 57 minute version of In Clamatore.
The final version will be somewhat different than this. I think that means shorter, but this is a Vehement Behemoth. Its not about the length, its about telling the story the way it needs to be told. Scoring still needs to happen, mixing, etc. Edits will change internally, but the end of the film has been reached. Dubbing a limited (11/11) vhs copies of this version, if you would like a copy they are $50. (( think i'm joking? wctank@gmail.com )) Praying for courage to have a private screening sooner than later.
Started work on the novelization of In Clamatore. This will eventually be offered as a companion to the film to offer added depth to the characters and story, as well as a continuation of the narrative. A hollywood adaptation of the novelization to be potentially directed by David Cronenberg is in the works. In Clamatore spinoff entitled EUGENE'S JOURNEY starring Mike Yocum in very early talks.
The final version will be somewhat different than this. I think that means shorter, but this is a Vehement Behemoth. Its not about the length, its about telling the story the way it needs to be told. Scoring still needs to happen, mixing, etc. Edits will change internally, but the end of the film has been reached. Dubbing a limited (11/11) vhs copies of this version, if you would like a copy they are $50. (( think i'm joking? wctank@gmail.com )) Praying for courage to have a private screening sooner than later.
Started work on the novelization of In Clamatore. This will eventually be offered as a companion to the film to offer added depth to the characters and story, as well as a continuation of the narrative. A hollywood adaptation of the novelization to be potentially directed by David Cronenberg is in the works. In Clamatore spinoff entitled EUGENE'S JOURNEY starring Mike Yocum in very early talks.
Wednesday, February 11, 2009
Epiphany
IN CLAMATORE:
The process of losing something already gone... Not seeing what is right in front of your face. The evolution of a year, of a life... Letting go versus holding on, face to face with all of the elements. Confronted by a future that will never happen, yearning for a past that never existed.
The process of losing something already gone... Not seeing what is right in front of your face. The evolution of a year, of a life... Letting go versus holding on, face to face with all of the elements. Confronted by a future that will never happen, yearning for a past that never existed.
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