Film Essent Archive for November, 2012

This is it. Vote.

Voted. Dropped off our ballots. Finding it hard to concentrate on anything else today. This is it. Months of supporting Obama, carving money out of our limited budget every month to give to his campaign. Months of talking to friends inclined to support Romney, trying to (hopefully gently) persuade them to change their minds. Months of waiting, watching polls, watching debates. Hoping. It all comes down to today. Has it all been enough?

What values will our country uphold today? Will we support women’s rights, universal health care, education, immigrants, the right of two people to marry the person they love, the idea that the rich should not benefit on the backs of the poor and the struggling middle class? I wish I didn’t care so much. I cannot help but care so much. Now, I’d like to drink a Xanax smoothie and crawl under a quilt under it’s over, please.

Our president looked powerful and presidential last night at his last campaign speech. Never have I put so much faith in one man to fight these battles on our behalf. May the odds be ever in our favor.

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch