Walt Disney à tout compris et depuis longtemps à la manière de remixer le cinéma.
Thursday, October 21, 2004
Monday, October 18, 2004
Rimbaud à Chypre
De retour de Chypre, Papa Cazals et son chef-opérateur fétiche Jacques Malnou banc-titrent à fond sur une chaise en paille un livre de gravure consacré à l'île. Pour le film "Arthur Rimbaud : poste restante" consacré aux deux voyages à Chypre qu'a fait Rimbaud dans les années 1870. Là-bas il a dirigé des chantiers de construction. Il y connaissait rien, mais il en imposait... Donc on lui obéissait. Le programme électoral de Rimbaud : "Changer la vie..."
Thursday, October 14, 2004
REMIX "Outfoxed"
"Les russes avaient la Pravda, Bush a Fox News".
Le documentaire de Robert Greenwald "Outfoxed"sur la campagne de désinformation menée par la chaîne américaine "Fox News" sur la guerre en Irak pour soutenir Bush sort en salle le 22 Octobre. Greenwald a réalisé de nombreux films, il a distribué celui-ci d'abord en DVD sur le site Amazon où il est resté N°1 des ventes durant tout l'été . Résultat plus de 100.000 ventes ! Le film sort dorénavant en salles dans de nombreux pays. Une partie des rushs tournés par Greenwald sont sous licence "Creative Commons" (cf.le post sur Lawrence Lessig). C'est à dire que vous pouvez les télécharger, les remonter, les remixer et les remettre sur Internet à votre sauce... Qui dit mieux ?
Wednesday, October 13, 2004
Dziga Vertov
"Je suis l'oeil mécanique, je suis la machine qui vous montre le monde comme elle seule peut le voir. Désormais je serai libéré de l'immobilité humaine. Je suis en perpétuel mouvement, je m'approche des choses, je m'en éloigne, je me glisse sous elles, j'entre en elles ; je me déplace vers le mufle du cheval de course, je traverse les foules à toute vitesse, je précède les soldats à l'assaut, je décolle avec les aéroplanes, je me renverse sur le dos, je tombe et me relève en même temps que les corps qui tombent et se relèvent..."
Dziga Vertov, Manifeste de Kinoks, 1923
Dziga Vertov, Manifeste de Kinoks, 1923
mon papier peint
En rentrant hier chez moi on avait changé le papier peint, j'ai cru que Wong Kar Wai et Dario Argento étaient passé dans le coin, mais en fait Eric Pajot avait posé de la vidéo sur les murs. Il fait du papier peint vidéo, du "wallscreen" for savers, c'est tout à fait beau. Ca bouge et on peut en changer tous les jours, il sera à la FIAC très bientôt. Eric a également réalisé un drôle d'ovni filmique, pour la très étrange collection de DVD produites par Sony "DVD by numbers".
Tuesday, October 12, 2004
Eternal sunshine...
Vu hier à la séance de 21h30 au cinéma le Max Linder à Paris. Cette salle donne l'impression d'être une salle qui vieillit (mal)..."Eternal sunshine of the spotless mind" de Michel Gondry participe à l'idée de faire un film qui se situerait après le cinéma. Gondry ne raconte pas une histoire, il la "creuse". L'intrigue créée par Charlie Kaufman est encore une fois minimaliste, et pourtant les personnages de Gondry atteignent une sorte de troisième dimension émotionelle qui jusqu'alors était exploitée par les cinéastes d'une manière "à plat". On pourrait dire que Kaufman écrit des histoires d"hypercinéma"...
Monday, October 11, 2004
Mike Figgis
BRUT DE BRUT CA VIENT D'ARRIVER !
1) When the first time did you understand that digital cameras could give a new regain to movie makers and movie industry ?
The potential was always there, it was a case of trying each new camera and waiting until the quality got good enough to use for movie making. I was watching the technology carefully, not jsut cameras but also editing on computer and projection as well
2) How did you see movies like “Timecode” or “Hotel”, are they like life forms, like something that could be in permanent evolution or revolution ?
Perhaps not permenant, but alive and changing for a period of time after they are released, unlike a conventional film which is dead before it gets released
3) Would you accept that movies like “Timecode” or “Hotel” would be remix by other movie makers under what kind of conditions ?
Yes, this is possible I suppose but mainly I think of it in terms of my own mixing, it remains my piece of film and I have not let it go yet. I encourage other people to do their own work and continue developing it. I mean, I have no interest in interpreting someone elses film.
4) You alternate production of Hollywood movies and more “experimental” movies. Someone like Richard Linklater do the same thing today with his movies. Is it a new system to do movies in Hollywood ? Does the big studios try to find a new economy and a new way to produce movies ?. Or is it something that it was impulsed by movie makers a few years ago ?.
Going back to Cassavetes....he financed himself by doing more commercial work. The reality is that these experimental ideas are usually not very profitable so it becomes necessary to find a way of financing the work. At least by working in a studio you are still in touch with filmaking and filmakers.
5) Do you work for that kind of projects with people that are not part of cinema industry ? Computer programmers, digital video companies, independent developers, free software companies ?
Yes and no. I do things for Panasonic, get involved in design and new products. I designed a camera rig and now work with Manfrotto in Italy. I was involved a bit with Apple when they had their AppleMasters program. Things like that where it ties in with the creative process, otherwise I stay independent because it's quicker and easier.
6) Do you believe in creativity about very short films that could be broadcasted on mobile phones or Internet ? And why ? That kind of movies look like first Lumiere brothers movies (very short, funny…). Do you have any ideas about the future of movie theater in few years and the way that people will watch movies in few years ?
Not sure about phones and stuff like that - as a beginnning to a career it is ok, a way in. The problem is like you say, it's a bit jokey and one line. I think people will always prefer to see films in a group. Digital projectors make it possible to set up cinemas quite easily and in venues that are flexible, clubs and bars and even houses. This is a good thing. Also for poorer cultures it is more democratic and accessable.
6) Do you think that with weblogs phenomen on the Internet and now videoblogs we can see new formats, new kind of movie scripts for new supports and new tools of distribution (like peer to peer network) ?.
I don't know enough about this to comment intelligently
7) In which way Hollywood try to “control” that digital revolution, and her creativity. Is there in big studios today new departments, maybe research departments to develop a new way of making movies or is it still a domain reserved to independent production companies like your company ?
This is a political-economic-capitalistic issue. Studios have too mmuch money invested in the old technology to contemplate serious change. Change can only mean a scaling down, huge job losses, loss of control of distribution etc. It is therefore not remotely in their interest to do this. In fact it is in their interest to actively discourage digital innovation. The hi-def industry is just as high maintainance as 35mm and is encouraged because it is less of a threat. Any change will have to by-pass the Hollywood industry. The change is inevitable but will take longer than I thought because of these vested interests.
8) Do you think that digital revolution and your creativity and your talent brings to your movies a new panel of emotions, feelings Something that could be synchronized with the complexity of real life ?
I think so - I think it creates that possibility because the medium is recognized as somehow real, of the people, not something divorced from the everyday. You still have to be a good filmaker, you still have to know and understand the complexities of cinema and story telling, all the rules still exist to be obeyed or bent or disobeyed, it has invigorated a very unhealthy art.
9) What kind of project do you work on ? “Time Code” and “Hotel” are they a one shot experiment , a new form of telling a story, or something like “I can do it, you can do it”.
Both films asked (of me) a lot of fascinating questions. Whaqt if you took this idea in a different direction, what if you combine these 2 ideas. What if...what if.... I carry on with this dialogue and see where it goes by doing more films.Hope this is useful. Best wishes - mike figgis
A lire sur le site de la compagnie de Mike Figgis à Londres, Red Mullet, un entretien entre lui et Jeff Wall (le photographe).
1) When the first time did you understand that digital cameras could give a new regain to movie makers and movie industry ?
The potential was always there, it was a case of trying each new camera and waiting until the quality got good enough to use for movie making. I was watching the technology carefully, not jsut cameras but also editing on computer and projection as well
2) How did you see movies like “Timecode” or “Hotel”, are they like life forms, like something that could be in permanent evolution or revolution ?
Perhaps not permenant, but alive and changing for a period of time after they are released, unlike a conventional film which is dead before it gets released
3) Would you accept that movies like “Timecode” or “Hotel” would be remix by other movie makers under what kind of conditions ?
Yes, this is possible I suppose but mainly I think of it in terms of my own mixing, it remains my piece of film and I have not let it go yet. I encourage other people to do their own work and continue developing it. I mean, I have no interest in interpreting someone elses film.
4) You alternate production of Hollywood movies and more “experimental” movies. Someone like Richard Linklater do the same thing today with his movies. Is it a new system to do movies in Hollywood ? Does the big studios try to find a new economy and a new way to produce movies ?. Or is it something that it was impulsed by movie makers a few years ago ?.
Going back to Cassavetes....he financed himself by doing more commercial work. The reality is that these experimental ideas are usually not very profitable so it becomes necessary to find a way of financing the work. At least by working in a studio you are still in touch with filmaking and filmakers.
5) Do you work for that kind of projects with people that are not part of cinema industry ? Computer programmers, digital video companies, independent developers, free software companies ?
Yes and no. I do things for Panasonic, get involved in design and new products. I designed a camera rig and now work with Manfrotto in Italy. I was involved a bit with Apple when they had their AppleMasters program. Things like that where it ties in with the creative process, otherwise I stay independent because it's quicker and easier.
6) Do you believe in creativity about very short films that could be broadcasted on mobile phones or Internet ? And why ? That kind of movies look like first Lumiere brothers movies (very short, funny…). Do you have any ideas about the future of movie theater in few years and the way that people will watch movies in few years ?
Not sure about phones and stuff like that - as a beginnning to a career it is ok, a way in. The problem is like you say, it's a bit jokey and one line. I think people will always prefer to see films in a group. Digital projectors make it possible to set up cinemas quite easily and in venues that are flexible, clubs and bars and even houses. This is a good thing. Also for poorer cultures it is more democratic and accessable.
6) Do you think that with weblogs phenomen on the Internet and now videoblogs we can see new formats, new kind of movie scripts for new supports and new tools of distribution (like peer to peer network) ?.
I don't know enough about this to comment intelligently
7) In which way Hollywood try to “control” that digital revolution, and her creativity. Is there in big studios today new departments, maybe research departments to develop a new way of making movies or is it still a domain reserved to independent production companies like your company ?
This is a political-economic-capitalistic issue. Studios have too mmuch money invested in the old technology to contemplate serious change. Change can only mean a scaling down, huge job losses, loss of control of distribution etc. It is therefore not remotely in their interest to do this. In fact it is in their interest to actively discourage digital innovation. The hi-def industry is just as high maintainance as 35mm and is encouraged because it is less of a threat. Any change will have to by-pass the Hollywood industry. The change is inevitable but will take longer than I thought because of these vested interests.
8) Do you think that digital revolution and your creativity and your talent brings to your movies a new panel of emotions, feelings Something that could be synchronized with the complexity of real life ?
I think so - I think it creates that possibility because the medium is recognized as somehow real, of the people, not something divorced from the everyday. You still have to be a good filmaker, you still have to know and understand the complexities of cinema and story telling, all the rules still exist to be obeyed or bent or disobeyed, it has invigorated a very unhealthy art.
9) What kind of project do you work on ? “Time Code” and “Hotel” are they a one shot experiment , a new form of telling a story, or something like “I can do it, you can do it”.
Both films asked (of me) a lot of fascinating questions. Whaqt if you took this idea in a different direction, what if you combine these 2 ideas. What if...what if.... I carry on with this dialogue and see where it goes by doing more films.Hope this is useful. Best wishes - mike figgis
A lire sur le site de la compagnie de Mike Figgis à Londres, Red Mullet, un entretien entre lui et Jeff Wall (le photographe).
Friday, October 08, 2004
Free Culture
A lire absolument afin de comprendre en quoi les inculpations pour téléchargements illicites qui pleuvent en ce moment sur nos têtes de petits français (50 inculp.) et européens (700 inculp.) sont pathétiques. "Free culture", le bouquin est au format .pdf sur le site de son auteur Lawrence Lessig. Elu par la redaction de Technikart, guru du mois... Si vous avez du mal avec l'anglais lisez le papier "Les prolos du hacking" sur mon site web.
Lawrence Lessig c'est lui en bas...
Lawrence Lessig
Avocat, il travaille depuis trois ans a adapté le droits des auteurs (réalisateurs, musiciens, écrivains, artistes...) à Internet grâce à son contrat type Creative Commons. Ce contrat permet à tous les artistes qui utilisent le réseau comme mode de diffusion de dorénavant choisir si leurs oeuvres appartiennent au domaine public ou sont destinées à un but commercial. Un document indispensable et un personnage désormais incontournable.
Thursday, October 07, 2004
Maître Bondoux
René Bondoux, professeur de cinéma et de lettres classiques au Lycée Turgot tente de faire lire ET traduire SIMULTANEMENT aux élèves de terminale une biographie d'Anthony Mann qu'il a chopé sur Internet . Ca lui prend un peu la tête...
Frédéric Bas et son collègue, bossent dans la cave de Point du Jour sur un doc hyper secret sur Willy de Ville. Le doc. est a été tourné autour d'une discussion entre Willy et son producteur Jack Nitzsche... Jack Nitzsche, c'est quand même le type qui a fait la musique de "Performance" avec Mick Jagger, de l' "Exorciste" de William Friedkin et du film "Hardcore".
St Jean Stéphane
Pasolini aurait apprécié cette position christique interprété par Jean-Stéphane Michaux de Point du jour. Pris en sa compagnie un petit café en face de la Banque de France. Il est crevé (les producteurs ont toujours des problèmes...). Il vient de lancer un tournage sur les studios Ghibli. Myazaki a dit OK. Plus tard, il laissa exploser sa joie.
Adickted
Philip K.Dick
Le voilà... Philip K.Dick. Aujourd'hui, tous le monde le connaît. Ou encore mieux, tout le monde le connaît, sans le savoir. "Adickted : Philip K.Dick de Blade Runner à Minority Report", un documentaire que j'ai réalisé il y a deux ans autour de l'influence de l'oeuvre de Dick sur pas mal d'artistes contemporains (Sonic Youth, Cronenberg, DJ Spooky...)... "La réalité, c'est ce qui refuse de disparaître quand on a cessé d'y croire." Méditez là-dessus, j'ai mis pas mal d'années avant de savoir ce que ça pouvais bien vouloir dire.
Live from Technikart
Olivier Malnuit, redac-chef adjoint de Technikart, dans son bureau (un des plus bordélique de Paris). Il prépare activement le dossier sur l'activisme américain au 21eme siècle (en lisant "France Soir") et le prochain Technikart Futur(s). La soirée Marie-claire à du mal a s'estomper, d'ailleurs il ne se souvient de rien....
Ca tourne, ou presque...
Moi (en chausson gris...) et Eric Beaufils (basket noire...), mon monteur-truquiste en plein brainstorming dans le jardin de sa demeure à St Maur des Fossés. C'est avec lui que j'ai monté dans sa cave et sur son G5 le film sur Philip K.Dick ("Adickted") programmé au Festival du Nouveau Cinéma de Montréal... St Maur c'est la ville où a été tourné "Mon Oncle" de Tati. La photo a été prise par mon fils Valentin (2 ans)... remarquez le cadrage est assez balaise...
Wednesday, October 06, 2004
La fin de la Télé
Magasin de télévision
Rue Patay, près de l'Ina a deux heures de l'aprem, je vois ce magasin de réparation de télévision et de radio qui doit bien dater des années 60. Destroy ! Aujourd'hui, on ne répare plus de télé ou de radio, trop compliqué... A l'Ina, conférence organisée par SOpleased sur la télévision sur mobile. Les représentants des grands network français sont là : Canal Plus, TF1, NRJ Tv (oui ça existe). Pendant trois jours ils ont discuté de savoir comment ils allaient pouvoir mettre des émissions de télévisions sur le téléphone mobile. La technologie le permet désormais c'est un des futurs business à venir...
Pocket cinema
Aujourd'hui rencontre avec James Robinson qui s'occupe de la compagnie Cinema Electric a Los Angeles. Une société de production de films très courts pour les téléphones mobiles. Cigare et cognac à 4 heures de l'aprem'. Il m'apprend que 20% de leur chiffre d'affaires se fait en France et que les américains ne sont pas encore tout à fait près pour le cinéma mobile. Pour une fois il semblerait que nous ayons une longueur d'avance. Sur quoi et pour quoi ? Ca personne ne le sait...