Friday, August 05, 2005

Bourbon Renewal joins the film

George Fletcher's Bourbon Renewal, the Saratoga Springs powerhouse blues rock band, will will pump out their high octane sound during an on-screen performance in Life on the Run. Relaxing in the back room of a music store, film director Roger Wyatt took a delightful meeting with the band's leader, George Fletcher. Ideas were exchanged and concepts explored. This is the beginning of a vibrent cinematic - sonic conversation. More to follow.

Thursday, August 04, 2005

Digital Cinema tools of empowerment

The British newspaper, The Guardian, has teamed up with innovative director Mike Figgis and critic Peter Bradshaw to introduce the Guardian Laptop Film Award. In his introduction, Figgis makes the point that digital imaging technologies, both hard and software, have empowered the individual, thus creating a revolution in filmmaking. The combination of editing apps like iMovie, digital camcorders, laptops, and other consumer gear have come together to create a lo-tek digital cinematic environment where access to gear no longer determines if a film gets made or not. Talent, not technology determines cinematic success. Figgis articulates perfectly the aesthetic and technical philosophy that underlies the production of Life on the Run. Its also worth noting that the winning entry will be screened in a London cinema. Check it out at ...,4120,1542180,00.html

It will most likely take at least a year, maybe longer, to complete Life on the Run. If the Guardian's Laptop Film Award still exists at that time, I will surely enter the film in it. Clearly this is nothing to stay up nights pondering at this point. I do have a short, Road Traces, that certainly meets the Guardian's criteria. I just might enter it. Hmmmmm.

Thursday, July 14, 2005

So it begins...

"Life on the Run," my latest film is underway.

On June 26th we did a full scale test of technology, and technique. I was pleased with the outcome. Everyone had a good time and the energy was high.

Would improvisation work as a technique for me? It did and it was wonderful. One big technique test question had been answered.

I see improvisation as a form of co-evolution. It was certainly the case that day. I saw it emerge in many forms; the way I adjusted my camera coverage in response to an actor's actions. I saw co-evolution in the ways that character's were built by the interactions between actor and actor and auteur.


What does that mean? What does that have to do with filmmaking?

I sometimes wonder about that myself. For decades I've been exploring the meaning and implications of the paradigmatic revolution that our world is experiencing. Co-evolution is a big part of it. When two species, like actor and filmmaker, evolve in such a way that their actions cause change in the other, that's co-evolution. What I'm seeing is emergent meaning arising from cinematic interaction.

More to come on this.

For more, take a look at the Wikipedia definition... - there are some interesting links there.

Then there was the tek...

How is this film going to get recorded?

I learned a lot from the technology tests. Its my intention to make digital cinema. In production I view cameras as colored paint dabs on a palette, each having a unique color particular to it. Accordingly I will be recording with many cameras in many digital formats ranging from Quicktime at 320 x 240 and 640 x 480, through DV at 720 x 480. Sometimes I'll be working at 800 x 600. All of these formats and imaging systems will render unique visualizations of particular parts of the film.

"Life on the Run" will have a big palette.


Tuesday, July 12, 2005

Life On The Run - The Film

Welcome to this blog documenting production of the film "Life on the Run."