Forum Klix.ba

-- theda bara

film britanske video umjetnice georgine starr pod naslovom "theda" je nedavno imao premijeru u londonu
-- http://www.georginastarr.com --
film izmedjuostalog ispituje sudbinu "nestalih filmova" u kojima je theda bara igrala glavnu ulogu. od nekih 40+ filmova samo su tri ostala sacuvana u cjelini. theda je igrala prvu filmsku kleopatru. nazalost, film je zauvijek izgubljen.

on the other hand , njen film A Fool There Was iz 1915 mozete pogledati u cjelini ovdje:
http://youtube.com/watch?v=3Pa1lvWfAn8

Povodom proslave 20 jubileja Wim Wendersov film "Nebo nad Berlinom" ponovo igra u njemackim kinima. U razgovoru za Welt Wenders se prisjeca trenutaka sa snimanja i premijere filma u Kanu.



WELT ONLINE: Herr Wenders, was empfinden Sie selbst, wenn Sie heute „Himmel über Berlin“ sehen?
Wim Wenders: Ich denke vor allem: „Mensch, wie haben wir das bloß gemacht?“ Das ist ein Film, für den es keine Formel, kein Rezept und kein Vorbild gab. „Das würde ich nie wieder so hinkriegen!“ Das bringt wohl am meisten auf den Punkt, was mir beim heutigen Sehen in den Sinn kommt.

WELT ONLINE: Woran erinnern Sie sich am liebsten?
Wenders: An die Arbeit mit dem alten Curt Bois. Wie wir da eines Sonntags morgens auf dem Potsdamer Platz gedreht haben, an der Mauer, unter der Magnetbahn, die damals da noch entlang fuhr. Kein Mensch weit und breit. Das war ja eine Stadtwüste, eine Steppe, ein Niemandsland. Die Sonne schien, es war aber trotzdem kalt. Curt war ein Witzbold. Der brachte uns alle ständig zum Lachen. Und was er alles zu erzählen hatte zu dem alten Platz, den er tatsächlich als junger Mann mit seinem Auto oft überquert hatte. Den armen Otto Sander brachte Curt an dem Tag zur Verzweiflung. Wenn Otto hinter ihm stand, was er ja in seiner Rolle als sein Schutzengel oft genug mußte, ließ Curt sich immer unvermittelt nach hinten fallen, sobald ich „cut“ gesagt hatte. Dann mußte Otto ihn auffangen. „Du bist doch mein Schutzengel!“ begründete Curt das. Auch beim Proben ließ er sich plötzlich nach hinten fallen. Nicht nur angetäuscht. Wenn Otto ihn nicht immer festgehalten hätte, hätte der alte Mann sich Gott weiß was brechen können.

WELT ONLINE: Wie haben Sie die Szenen auf der Siegessäule gedreht?
Wenders: Für die Goldelse haben wir ein maßstabgetreues Modell gebaut, zumindest für ihren Oberkörper. Das stand für unseren Dreh auf einer Wiese irgendwo. (In Berlin gab’s ja damals freie und leere Flächen en masse.) Bruno Ganz und Otto Sander konnten bequem auf ihrer Schulter sitzen. Otto hatte aber Höhenangst, da war es ihm auch bei den fünf Metern schon ganz schön mulmig. Und dann mußte er auch noch runterspringen! Wir hatten tausend Pappkartons und Matratzen ausgebreitet, und laut unserem Stunt-Coordinator konnte bei dem Sprung absolut nichts passieren. Aber weil Otto so Angst hatte (umso mehr habe ich ihm angerechnet, daß er dann doch gesprungen ist), passierte dann das Unvermeidliche: Er hat sich den Fuß verknackst und ist in die einzige Ritze reingesprungen, die sich da zwischen all den Kartons versteckt hatte. Erst für den Nachfolgefilm fünf Jahre später, „In weiter Ferne, So Nah!“ haben wir dann auf der echten Goldelse in luftiger Höhe gedreht. Aber da hatte Otto natürlich ein Double!

WELT ONLINE: Ahnten Sie damals auch nur im entferntesten, dass Sie einen Klassiker des Berlinfilms drehen würden?
Wenders: Nein, so was kann man ja nicht wissen. Gott sei Dank!

WELT ONLINE: Gibt es das überhaupt, „den“ Berlinfilm?
Wenders: Ich denke schon. Berlin hat ja sein eigenes Flair, wie keine andere deutsche Stadt, und das macht dann schon so was aus wie ein eigenes „Genre“.

WELT ONLINE: Könnten Sie das Berlin von damals auf einen Begriff bringen –und das von heute?
Wenders: Das Berlin vom „Himmel“ war noch die Nachkriegsstadt, die Frontstadt, die Inselstadt, die wir inzwischen alle vergessen haben. Ein Universum für sich, auf beiden Seiten der Mauer. (Aber auf der anderen konnte ich ja nicht drehen, bis auf zwei oder drei „gestohlene“ Einstellungen, die wir heimlich gemacht haben.) Auf jeden Fall waren beide Berlins je für sich einmalige Städte in der ganzen Welt. Merkwürdig grau und duster beide, aber von einer erstaunlichen Lebensfülle. Grundehrlich! Welch andere Stadt hat sich schon getraut, seine Wunden so deutlich zu zeigen? Die Stadt, die sich da heute unter dem Himmel von Berlin als eine einzige ausbreitet, hatte es lange Zeit schwer, ein Gefühl für sich zu entwickeln. In den Neunzigern zum Beispiel fand ich Berlin oft zum Davonlaufen: griesgrämig und ewig schlecht gelaunt. Inzwischen hat sich das wieder gewendet und Berlin ist in meinen Augen zu großer Form aufgelaufen. Herrlich, hier zu leben. Aufregend. Man weiß, man lebt nicht an irgendeiner Peripherie der Welt, sondern an einem ihrer Brennpunkte.

WELT ONLINE: Außer Ihnen wäre wohl keiner auf die Idee gekommen, Berlin als Hort von Engelein zu inszenieren. Die Idee entstand, weil Sie aus Amerika zurückkamen und, noch beim Schnitt von „Paris, Texas“, Ihre neue Heimat per Spaziergang und Radtour entdeckten?
Wenders: Genau. Viel zu Fuß erlaufen. Nach acht Jahren in der Fremde war das wie ein völlig neues Wiederentdecken. Oft tut das ja gut, wenn man lange weg war. Ich hatte jedenfalls wieder eine richtige Neugierde und eine Lust auf diese Stadt. Dabei sind mir dann die vielen Engelsfiguren uffjefallen. Und die tägliche Lektüre von Rilke hat das Ihre dazugetan, um mir Engel nahe zu bringen. Trotzdem habe ich mir noch beim Drehen oft gedacht: „Worauf hast Du Dich denn da bloß eingelassen?! Schutzengel! Sieht Dir doch überhaupt nicht ähnlich, Dich auf so eine Schnapsidee einzulassen!“

WELT ONLINE: Hätten Sie damals andere Routen genommen, wäre ein anderer Film daraus geworden?
Wenders: Ich kannte Berlin damals wie meine Westentasche. Und in meinem Büro in der Potsdamerstraße hingen Hunderte von Photos von allen Orten, die mich in der Stadt interessierten. Und an den meisten haben wir auch gedreht.

WELT ONLINE: Ging es Ihnen damals, aus den USA kommend, ein wenig wie Damiel: ein „Überflieger“, der durch Berlin neu „geerdet“ wird?
Wenders: Könnte man so sehen. Aus Amerika kommend, hing ich sozusagen „in der Luft“...

WELT ONLINE: Wie war Ihr Gefühl bei der Weltpremiere in „Cannes“? Wenders: Muffensausen. Bei der Pressevorführung bin ich weggegangen und so weit wie möglich davongelaufen. Ich war sicher: Die zerreißen mich in der Luft. Ich hatte ja eben nicht die Erwartungen nach „Paris, Texas“ erfüllen und was Ähnliches drehen wollen. Im Gegenteil: einen größeren Kontrast als „Himmel über Berlin“ hätte man kaum liefern können.

WELT ONLINE: Ein Großteil der Drehorte existiert nicht mehr, angefangen beim Potsdamer Platz. Ist Ihr Film auch deshalb ein Vermächtnis, weil er quasi diese ‚verlorenen Orte’ vor dem Gedächtnisverlust bewahrt hat? Wenders: Unbeabsichtigt, durchaus. Die Deutschen haben es ja immer besonders eilig, Geschichte wegzuradieren. Von der Stadt damals ist ja echt wenig übriggeblieben. Von der Mauer schon gar nichts. Ich glaube, viele Jugendliche heute, und auch Besucher, halten die für ein Gerücht. Gleichzeitig, ganz ehrlich, radle ich heute durch Berlin, und freue mich, was für eine aberwitzig andere Stadt das geworden ist. Ich bin da kein (N)Ostalgiker.

WELT ONLINE: Hat es Sie gewurmt, dass Sie damals keine Drehgenehmigung für Ost-Berlin erhielten, oder ist Ihr Film erst dadurch zu einer Chiffre geworden – weil er eben auch jene Teilung nachzeichnet und zu überwinden sucht?
Wenders: Ich hätte damals alles gegeben, im Ostteil der Stadt drehen zu können! Aber das war nicht drin. Ich habe ja dem Filmminister einen Besuch abgestattet. Und der war auch voll des guten Willens. Nur als der merkte, daß ich kein Drehbuch hatte, und daß die Hauptfiguren unsichtbar waren und durch Mauern gehen konnten (und deswegen auch durch DIE Mauer), da war mit ihm nicht mehr zu reden. Aber, wie Sie schon sagen, wahrscheinlich hat gerade diese historische Limitierung dem Film auch seine immanente Sehnsucht gegeben, diese zu überwinden.

WELT ONLINE: Sie haben mit „In weiter Ferne, so nah“ eine Fortsetzung gedreht, in der Sie dann doch noch im Osten drehen konnten. Könnten Sie sich heute einen dritten Teil vorstellen (und wo müsste dieser spielen)? Oder ist Berlin inzwischen zu ausge-, zu „überdreht“?
Wenders: Ich hänge an dieser „Fortsetzung“, vielleicht gerade weil sie unter so einem schlechten Stern stand. Als der Film rauskam, wollten die Deutschen wohl gerade nichts weniger sehen als sich selbst, oder gar ihre wundeste Stelle, dieses Nach-Wende-Berlin. Wenn Sie heute jemanden fragen: Was ist das für ein Film, in dem folgende Besetzung mitspielt: Bruno Ganz, Otto Sander, Peter Falk, Heinz Rühmann, Nastassja Kinski, Willem Dafoe, Solveig Dommartin, Rüdiger Vogler, Horst Buchholz, Michail Gorbatschow, Lou Reed... da würden wohl die meisten Leute sagen: So einen Film gibt es nicht! Ich werde auf jeden Fall wieder einmal in Berlin drehen. Aber die Engel werde ich nicht ein drittes Mal bemühen.

WELT ONLINE: Sie haben Ihre Hauptdarsteller zur Premiere eingeladen. Wie wird das Zusammentreffen – auch im Hinblick auf Marcel Wehns Dokumentarfilm „Von einem, der auszog“, in dem Bruno Ganz ein wenig traurig vernehmen lässt, dass Sie Freunde haben und dann wieder zeitweise vergessen (was Sie mehr oder minder auch selbst darin zugeben).
Wenders: Bruno und ich, wir sind immer noch gut aufeinander zu sprechen. Drei Filme haben wie immerhin zusammen gemacht! Und einen vierten werden wir hoffentlich auch noch hinkriegen. Im Film ist das eben so, und auch die Regel: Da geht man auseinander, und irgendwann weiß man auf einmal wieder: es wird Zeit, mit dem oder der wieder zu arbeiten!

WELT ONLINE: Sie äußern sich in dieser Dokumentation auch kritisch über Ihren früheren Fehler, Berufliches und Privates bei der Hauptdarstellerin verbinden zu müssen. Wie sehen Sie – verzeihen Sie die sehr persönliche Frage – in diesem Zusammenhang die vor kurzem verstorbene Solveig Dommartin im „Himmel“?
Wenders: Solveig hat Unwahrscheinliches geleistet für den Film. In drei Monaten hat sie sich unter unglaublichen Qualen zu einer richtigen Trapezkünstlerin ausbilden lassen. Die hatte Angebote hinterher, professionell in einem Zirkus weiterzuarbeiten! So eine geradezu besessene Hingabe an eine schauspielerische Aufgabe habe ich selten gesehen. Wir beide haben auch den „Himmel“ gut verkraftet. Es war der Wahnsinn von „Bis ans Ende der Welt“, der uns auseinandergebracht hat. Da sind wir über alle Grenzen gegangen, die man als Regisseur und auch als Schauspieler einhalten sollte. Und vor allem als Paar...

WELT ONLINE: Auf der DVD gibt es ein alternatives Ende, in dem auch Otto Sander Mensch wird und dieses neue irdische Dasein mit einer Tortenschlacht begangen wird. Hatten Sie dies je als wirkliches Ende geplant?
Wenders: Das war am letzten Drehtag. Und nicht so ganz ernst gemeint. Da haben wir alle einfach alle Anspannungen fallen gelassen, Schauspieler und Team, und einfach die Sau rausgelassen. So eine anständige Tortenschlacht hat es in sich! Aber schon beim Drehen, trotz oder gerade wegen des allgemeinen Spaßes, war es klar, daß die Szene wohl nie im Schnitt landen würde.

http://www.welt.de/kultur/kino/article8 ... erlin.html

http://www.tribecafilmfestival.org/play ... =713069845 / http://www.djspooky.com/art/birth.html

Saturday, May 5, Tribeca ------Paul D. Miller (better known in hip-hop circles as DJ Spooky That Subliminal Kid) re-works, re-makes, and re-interprets one of America's most controversial films, the D.W. Griffith-directed silent epic BIRTH OF A NATION. The film, which charts the rise of the Ku Klux Klan after the Civil War, has been controversial since its release in 1916.....for showing the Klan as defenders of the white race and Anglo-Saxon civilization and portraying the newly freed black slaves (mainly white actors in blackface) as the villians of Reconstruction. Calling his multimedia show REBIRTH OF A NATION, DJ Spooky presents a visual and audio extravaganza, projecting the film on a triptych, using new visual material and presenting a re-worked score as performed by the Kronos Quartet. This uniquely visceral extravaganza's goal, according to the Spook, is to create a new narrative in response to fallacies that were propagated by the original film. In Miller's own words: "BIRTH OF A NATION focuses on how America needed to create a fiction of African-American culture in tune with the fabrication of 'whiteness' that under-girded American thought throughout most of the last several centuries: it floats out in the world of cinema as an enduring, albeit totally racist, epic tale of an America that, in essence, never existed. The Ku Klux Klan still uses this film as a recruiting device and it's considered to be an American 'cinema classic' despite the racist content." The newly minted REBIRTH, which is had its world premiere at the Winter Garden last evening and has a repeat performance tonight, is a powerful expression in the evolution of art, cinema and activism.

Notes for Paul D. Miller's “Rebirth of a Nation”
- remix of D.W. Griffith’s 1915 film “Birth of a Nation.”
By Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
http://www.djspooky.com/articles/rebirth.html

Travel. Big picture small frame, so what’s the name of the game? Symbol and synecdoche, sign and signification, all at once, the digital codes become a reflection, a mirror permutation of the nation…. Where to go? What to do to get there?

Sometimes the best way to get an idea across is to simply tell it as a story. It’s been a while since late one autumn afternoon in 1896 Georges Mélie's was filming a late afternoon Paris crowd caught in the ebb and flow of the city’s traffic. Mélies was in the process of filming an omnibus as it came out of a tunnel, and his camera jammed. He tried for several moments to get it going again, but with no luck. After a couple of minutes he got it working again, and the camera’s lens caught a hearse going by. It was an accident that went unoticed until he got home. When the film was developed and projected it seemed as if the bus morphed into a funeral hearse and back to its original form again. In the space of what used to be called “actualités” – real contexts reconfigured into stories that the audiences could relate to – a simple opening and closing of a lens had placed the viewer in several places and times simultaneously. In the space of one random error, Mélies created what we know of today as the “cut” – words, images, sounds flowing out the lens projection would deliver, like James Joyce used to say “sounds like a river.” Flow, rupture, and fragmentation – all seamlessly bound to the viewers perspectival architecture of film and sound, all utterly malleable – in the blink of an eye space and time as the pre-industrial culture had known it came to an end.

Whenever you look at an image, there’s a ruthless logic of selection that you have to go through to simply to create a sense of order. The end product on this palimpsest of perception is a composite of all the thoughts and actions you sift through over the last several mirco-seconds – a soundbite reflection of a process that’s a new update of Mary Shelley’s Frankenstein or the German proto Expressionist 1920 film “Der Golem,” but this time it’s the imaginary creature is made of the interplay fragments of time, code, and (all puns intended) memory and flesh. The eyes stream data to the brain through something like 2 million fiber bundles of nerves. Consider the exponentional aspects of perception when you multiply this kind of density by the fact that not only does the brain do this all the time, but the millions of bits of information streaming through your mind at any moment have to be coordinated and like the slightest rerouting is, like the hearse and omnibus of Méliès film accident, any shift in the traffic of information can create not only new thoughts, but new ways of thinking. Literally. Non-fiction, check the meta-contradiction… Back in the early portion of the 20th century this kind of emotive fragmentation implied a crisis of representation, and it was filmakers, not Dj’s who were on the cutting edge of how to create a kind of subjective intercutting of narratives and times – there’s even the famous story of how President Woodrow Wilson when he saw the now legendary amount of images and narrative jump cuts that were in turn cut and spliced up in D.W. Griffiths’s film classic “Birth of a Nation” called the style of ultra-montage “like writing history with lightning.” I wonder what he would have said of Grand Master Flash’s 1981 classic “Adventures on the Wheels of Steel?”

Film makers like D.W. Griffith, Dziga Vertov, Oscar Michaux, and Sergei Eisenstein (especially with his theory of “dialectal montage” or “montage of attractions” that created a kind of subjective intercutting of multiple layers of stories within stories) were forging stories for a world just coming out of the throes of World War I. A world which, like ours, was becoming increasingly inter-connected, and filled with stories of distant lands, times and places – a place where cross cutting allowed the presentation not only of parallel actions occurring simultaneously in separate spatial dimensions, but also parallel actions occurring on separate temporal planes – in the case of Griffith’s “Birth of a Nation,” four stories at once – and helped convey the sense of density that the world was confronting… Griffith was known as “the Man Who Invented Hollywood,” and the words he used to describe his style of composition -“intra-frame narrative” or the “cut-in” the “cross-cut” – staked out a space in America’s linguistic terrain that hasn’t really been explored too much. Griffith’s films were mainly used as propaganda – “Birth of a Nation” was used as a recruitment film for the Ku Klux Klan at least up until the mid 1960’s, and other films like “Intolerance” were commercial failures, and the paradox of his cultural stance versus the technical expertise that he brought to film, is still mirrored in Hollywood to this day.But if you compare that kind of flux to stuff to Dj mixes, you can see a similar logic at work: it’s all about selection of sound as narrative. I guess that’s travelling by synecdoche. It’s a process of sifting through the narrative rubble of a phenomenon that conceptual artist Adrian Piper liked to call the “indexical present:” “I use the notion of the ‘indexical present’ to describe the way in which I attempt to draw the viewer into a direct relationship with the work, to draw the viewer into a kind of self critical standpoint which encourages reflection on one’s own responses to the work…”

To name, to call, to upload, to download… So I’m sitting here and writing - creating a new time zone out of widely dispersed geographic regions – reflect and reflecting on the same ideas using the net to focus our attention on a world rapidly moving into what I like to call “prosthetic realism.” Sight and sound, sign and signification: the travel at this point becomes mental, and as with Griffith’s hyper dense technically prescient intercuts, it’s all about how you play with the variables that creates the artpiece. If you play, you get something out of the experience. If you don’t, like Griffith – the medium becomes a reinforcement of what’s already there, and or as one critic, Iris Barry said a long time ago of Griffith’s “Intolerance”: “history itself seems to pour like a cataract across the screen…”

Like an acrobat drifting through the topologies of codes, glyphs and signs that make up the fabric of my everyday life, I like to flip things around. With a culture based on stuff like Emergency Broadcast Network hyper edited new briefs, Ninja Tune dance moguls Cold Cut’s “7 Minutes of Madness” remix of Eric B and Rakim’s “Paid in Full” to Grandmaster Flash’s “Adventures on the Wheels of Steel” to later excursions into geographic, cultural, and temporal dispersion like MP3lit.com – contemporary 21st Century aesthetics needs to focus on how to cope with the immersion we experience on a daily level – a density that Sergei Eisenstein back in 1929 spoke of when he was asked about travel and film:“the hieroglyphic language of the cinema is capable of expressing any concept, any idea of class, any political or tactical slogan, without recourse to the help of suspect dramatic or psychological past” Does this mean that we make our own films as we live them? Travelling without moving. It’s something even Aristotle’s “Unmoved Mover” wouldn’t have thought possible. But hey, like I always say, “who’s counting?”

obavezno stivo za fenove, kompletna istorija koreanskog filma nedavno objavljena na eng.: http://www.koreanfilm.or.kr/
>> pod rubrikom 'publication' izaberite 'korean film history'

I Shall Be Free - Bob Dylan
...
Well, my telephone rang it would not stop,
It's President Kennedy callin' me up.
He said, "My friend, Bob, what do we need to make the country grow?"
I said, "My friend, John,
Brigitte Bardot, Anita Ekberg, Sophia Loren."
...

ROOM 666
During the 1982 Cannes Film Festival, director Wim Wenders took advantage of the assembled pool of directorial talent to get some of the world's greatest auteurs to talk about their craft on camera. Given one reel (and 11 minutes) to answer the single question, "What's the future of cinema?" Werner Herzog, Steven Spielberg, Jean-Luc Godard, Michelangelo Antonioni, Rainer Werner Fassbinder and others expound on a subject dear to their hearts.
Jean-Luc Godard -- http://youtube.com/watch?v=3hdAcxvQrUs

Oskarovac Danis Tanović se s puno optimizma vraća u Sarajevo (Oslobođenje 10.5.)
http://www.oslobodjenje.ba/index.php?op ... &Itemid=50

SXSWclick is a year-round initiative created to showcase short-form storytelling via mobile devices and the web. Innovative film and video-makers are urged to submit their work for consideration by the final deadline for submissions on June 15. The finalists from the five categories will be revealed by June 25. The finalists will be available online as Quicktime files formatted for computers and portable devices.

An esteemed jury will then select winners in each of five categories: "Old School Shorts," "Really Real Shorts," "Animate-It," "Sound Checks," and "What the F*#!?" In addition, there will be an audience award ("Popularity Contest Award") to encompass all categories, and viewers will be able to vote online. Winners for jury and audience awards will be announced on July 16. Along with an assortment of prizes, the winners are automatically selected to screen at the next SXSW Film Festival, March 7-15, 2008 in Austin, TX. http://sxswclick.com/rules_and_info/

ako ste zainteresirani posaljite mi PM ..

In 1945 the Nazis went to the moon. In 2018 They are coming back.

Whee! A good while back we posted links to a feature length, Star Trek fan film produced in Finland titled Star Wreck. It was made for no money at all by a pair of major sci-fi geeks and was surprisingly good - a fact backed up by download numbers way up into the millions. Well, that directing duo is back and this time they've got the backing of Finland's Blindspot, the studio that produced Jade Warrior. The project this time around? Iron Sky, a sci-fi comedy that features Nazi hordes returning to earth in 2018 after hiding out on the moon since 1945. Very silly, very fun. twitch
zvanicna stranica: http://www.ironsky.net/

Folkstreams.net has two goals. One is to build a national preserve of hard-to-find documentary films about American folk or roots cultures. The other is to give them renewed life by streaming them on the internet. The films were produced by independent filmmakers in a golden age that began in the 1960s and was made possible by the development first of portable cameras and then capacity for synch sound. Their films focus on the culture, struggles, and arts of unnoticed Americans from many different regions and communities.The filmmakers were driven more by sheer engagement with the people and their traditions than by commercial hopes.
>> http://www.folkstreams.net/

Atlanta
by Miranda July



From the stains on the mattress it was clear that people had died on this bed, slowly, over the course of a lifetime. How great, I thought. How wonderful to be a part of such a long history. What would I do in this bed? In this room? What fluids would I secrete? I looked for clues. A kitchenette filled one wall. I opened the cabinets and drawers, which were empty, except for one that was jammed shut. Something was stuck in there. I had a good feeling as I pried the drawer open. This thing, whatever it was, was important. It would tell me what to do next. This might sound like a romantic reënvisioning of the moment, but no. I am superstitious now, and I was even more so at twenty-two, standing in my first apartment for the first time. The drawer opened with a bang. The thing was a record. It was the “Original Motion Picture Soundtrack” for the 007 movie “Thunderball.” I looked at the picture on the album cover of two men wrestling underwater, and my heart throbbed, like a thunderball. I stood up quickly, and my head swelled with blood, like a thunderball. I knew what I had to do; it was massive and unavoidable, like a thunderball. I had a soundtrack; now all I needed was an original motion picture.

For this, my first movie, I drew inspiration from the summer itself. It was 1996, and the Olympics were being held in Atlanta. I lived in Portland, Oregon, but, like Atlanta, my city was hot. Especially my new, almost windowless studio apartment. I spent every day in a bathing suit and could not imagine wearing anything more. So the movie focussed on an interview with a twelve-year-old Olympic swimmer and her overbearing, negligee-wearing mom. I played both roles, pressing “Record” on a borrowed video camera and then running around in front of the lens and improvising responses to an unseen interviewer. I set some scenes at the Y.M.C.A. pool—shots of the young swimmer warming up before getting into the water. (I didn’t actually know how to swim.) Principal photography took about three days.

I recorded my soundtrack by playing the “Thunderball” album while the camera was rolling. I chose track six from side two, “Mr. Kiss Kiss Bang Bang.” I’ve never seen “Thunderball,” so in my mind this wonderful music by John Barry can be paired only with my portrayal of a mother doing an inappropriately sultry dance for her pre-pubescent daughter.

I had heard that there was one video-editing machine in the basement of the Reed College library. I wasn’t a Reed student—I’d dropped out of U.C. Santa Cruz the year before—but I had acquired an expired Reed student I.D. The student it had belonged to looked sort of like me, in the sense that she, too, was probably giving lesbianism a whirl and had cut off all her hair. In any case, no one ever used the machine, and I was rarely carded when I slid past the front desk.

How I wish I’d splurged on a brand-new VHS tape for the master cut. I had no interest in archival quality back then; I was too pleased with my crafty recycling of a tape I’d got from Goodwill. Thus, when my film ends, the video crashes back into the movie I taped over: “Superman.” My audiences often complained when I tried to turn the VCR off at that point, so I found myself watching “Superman” again and again, minus the early stuff about Krypton. In time, my movie was Superman’s origin story.

Late one night, I stumbled out of the Reed library with my finished movie in hand. I smiled condescendingly at the students in the foyer and walked past them into the night. Finally. Finally I wasn’t just a rebellious bundle of hopes. I had some hard evidence to back me up. It was like a degree but quicker; like a job but more fun; like a boyfriend but forever. At ten minutes, the movie is about five minutes too long. I called it “Atlanta.”

This summer I’m writing my second feature-length film. It seems a lot harder this time around, with all the pressure, real and imagined, and it’s easy to feel that I have become less free with each successive work, that it has all been downhill since “Atlanta.” But watching it again for the first time in years I realized that this movie, made with nothing and for no one, is all about pressure. Its star is competing in the Olympics; she’s going for the gold, and she’s twelve. She has done nothing her whole life but train for this moment. What she doesn’t realize is that this moment will come again, and again, and again.

NEW YORKER / June 11, 2007
http://mirandajuly.com/

Ljubav je hladnija od smrti - kome pripada Fassbinder?
Svadja oko rediteljove stvaralacke bastine slici prici iz njegovih filmova.
o detaljima: http://daily.greencine.com/archives/003918.html

Kako prepoznati umjetnika ??
http://www.youtube.com/watch?v=iXT2E9Ccc8A

Prijave za učešće na Prvom Sarajevo Talent Campusu
Konkurs za prijavu učesnika na Prvom Sarajevo Talent Campusu, novom obrazovnom programu Sarajevo Film Festivala, otvoren je u ponedjeljak 21. maja 2007.

Mladi filmski stvaraoci i studenti filmskih škola iz regiona, moći će se prijaviti za učešće na Sarajevo Talent Campusu putem online formulara koji će biti dostupan na web stranici Sarajevo Film Festivala do 21. juna 2007.



SARAJEVO TALENT CAMPUS

Sarajevo Film Festival s velikim zadovoljstvom objavljuje da će se Prvi Sarajevo Talent Campus, novi obrazovni program namijenjen mladim filmskim stvaraocima iz zemalja Jugoistočne Evrope, održati od 20. do 25. augusta 2007. u okviru 13. Sarajevo Film Festivala. Projekat koji SFF realizuje u saradnji sa Berlinale Talent Campusom (http://www.berlinale-talentcampus.de) i Berlin Film Festivalom, okupiće u Sarajevu ugledne filmske profesionalce iz regije, ali i svijeta, koji će tokom šest dana mladim, talentovanim filmskim stvaraocima održati niz predavanja i praktičnih radionica iz različitih disciplina filma – režije, produkcije i glume.

“Uz osnovni cilj stvaranja platforme koja će mladim, talentovanim autorima pružiti jedinstvenu priliku da uče i usavršavaju svoja znanja kroz rad sa najeminentnijim predstavnicima filmske industrije iz regije i svijeta, Sarajevo Talent Campus će njegovim učesnicima omogućiti pristup globalnoj filmskoj mreži“, istaknuo je direktor Sarajevo Film Festivala Mirsad Purivatra.

Purivatra podsjeća da je Sarajevo Film Festival nakon uspješnog zaokruživanja programskih cjelina, razvio i industrijski segment Festivala kroz koprodukcijski market CineLink.

“Sada smo spremni krenuti sa razvijanjem nove festivalske cjeline čiji cilj je stvaranje uslova neophodnih za dodatno obrazovanje i usavršavanje mladih talenata iz ovog dijela Evrope. Provjereni model Berlinale Talent Campusa, upravo je idealan način za realizaciju ovog projekta“, naglašava Purivatra.

Rezultati Berlinale Talent Campusa govore sami za sebe i opravdavaju izbor i primjenu upravo ovog modela na Sarajevo Talent Campus: u proteklih pet godina Berlinale Talent Campus ugostio je više od 300 međunarodnih filmskih eksperata i filmskih umjetnika i oko 2.500 mladih filmskih stvaralaca iz više od 120 zemalja. Mnogi učesnici ovog Campusa, u međuvremenu, uspješno su realizovali svoje projekte i prikazali ih na prestižnim festivalima širom svijeta, a za mnoge od njih nisu izostale ni nagrade.

Internacionalni filmski festival u Berlinu je s radošću prihvatio saradnju sa SFF-om i Sarajevo Talent Campusom kao ogrankom Berlinale Talent Campusa, što je još jedna potvrda neprikosnovene pozicije Sarajevo Film Festivala kao centra regionalne filmske industrije i prestižnog mjesta susreta filmskih radnika iz regiona i cijelog svijeta čemu svjedoči i izjava direktora Internacionalnog filmskog festivala u Berlinu Dietera Kosslicka: „Veoma smo sretni zbog činjenice da je novi Talent Campus u inostranstvu našao novi dom u Sarajevu, na festivalu koji je poznat kao središte istočnoevropskog filmskog stvaralaštva“.

O razlozima novog oblika saradnje između Sarajevo Film Festivala i Internacionalnog filmskog festivala u Berlinu Kosslick naglašava: “Kao što već znate, dobre prijateljske i visoko produktivne veze između ova dva festivala već postoje, i to između CineLinka i Berlinaleovog Koprodukcijskog marketa, kao i između TeenArene Sarajevo Film Festivala i programa Generations, dijela našeg Festivala koji je namijenjen filmovima za djecu i mlade. Zahvaljujući ovim vezama, rodila se ideja za našu novu saradnju“.

Na kraju svoje zvanične izjave povodom pokretanja Sarajevo Talent Campusa Kosslick je poželio svojim partnerima – talentima i ekspertima – nadahnjujuće, ohrabrujuće i ugodno druženje u okviru Campusa tokom narednog Sarajevo Film Festivala. “Što se tiče dugoročnih očekivanja, veselimo se mogućnosti da u Berlinu ugostimo učesnike Sarajevo Talent Campusa – zajedno sa njihovim budućim projektima koji će biti promovirani i filmovima koji će biti prikazani i proslavljeni“, navodi Kosslick.

U svom prvom izdanju, Sarajevo Talent Campus biće otvoren za mlade filmske stvaraoce i apsolvente filmskih akademija iz: Albanije, Bosne i Hercegovine, Bugarske, Crne Gore, Grčke, Hrvatske, Mađarske, Makedonije, Rumunije, Slovenije, Srbije, Turske i UNMI Kosova. Očekuje se da će u prvom izdanju Sarajevo Talent Campusa učestvovati oko 70 mladih filmskih stvaralaca. Proces prijavljivanja kandidata počinje 21. maja i trajaće do 21. juna 2007. godine, a konačna selekcija učesnika biće objavljena 5. jula 2007.

program: http://pravoljudski.cps.edu.ba/program.php?lang=bh

Videotaped in a concert arena parking lot before a Judas Priest show in '86, HEAVY METAL PARKING LOT is truly the most magnificent portrait of dirt-rockin', headbanging, booze guzzling, dope smokin', trailer trash America has ever seen. It's truly an ingenious masterpiece, made complete with the vast display of bare feet, muscle shirts, bare-chested guys, bleach blonde frizzy perms, Mullets From Hell, BIG hair, bad teeth, scar tissue, and by far, the largest collection of late '70s Camaros ever seen in one location. http://youtube.com/watch?v=WhRCVm-1r2k

In memoriam Michelangelo Antonioni

Ako se pitate sta je Antonionija cinilo filmskim maestrom jedan od mnogih primjera je legendaran kraj njegovog
filma Pomracenje >> http://myspacetv.com/index.cfm?fuseacti ... id=5350039


-- Antonioni, Monica Vitti i Alain Delon

Wim Wenders se oprostio od prijatelja sa pjesmom

As sad as I was to learn
that you are gone,
as happy I was to hear
that you went in peace,
the way you wanted to,
conscious and clear.

Awareness and clarity,
perception and rigour
were your strengths,
and you relied on them
all through your life
and up to your death.

Modernity for you
was not a fleeting trend
but to fully seize
contemporary life
while anticipating
its possible futures.

I am proud
that I had the privilege
to meet you,
and that I was allowed to see
your mind and your eyes
at work.

You left us a treasure:
your writing, your painting
and your way of looking
that all condensed into
the timeless architecture
of your films.

Your experiences
that you shared with us
have shed a lasting light
on ours,
not just in cinema.

Grazie, Michelangelo.

Wim Wenders,
Sicily, July 31 2007



-- Antonioni i Monica Vitti

Dva novija filma u kojima se prepoznaje trag koji je Antonioni ostavio na filmadzije nase generacije

Iklimler (engl: Climates) - r: Nuri Bilge Ceylan
http://www.apple.com/trailers/independe ... s/trailer/
Izgnanie - r: Andrei Zvyagintsev
http://www.youtube.com/watch?v=3y5s7KLs1mM

Novo u kinima:
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