Thursday, October 28, 2010

Bergman speaks about Antonioni

I know Antonioni said on one occasion something really good. He said that "A film is a curious medium in the sense that if you have something to say you can really say it with film, and you can be as clumsy as you like." Perhaps he didn't say 'clumsy'.... But I think that those that are emerging are incredibly talented. These young emerging directors. They know the job well. But it's not so often that they really have anything to say.
- Igmar Bergman

Tuesday, June 9, 2009

Street Art


Lately I am interested by street art. Scot Borofsky's art using enamel on cement buildings and wall in Alphabet City in Manhattan in the '80s are incredible. Ken Hiratsuka, my Chinese mentors' friend, has done incredible sculptures on sidewalks around Manhattan and on beach stones around the world. Did you ever see his art on the northwest corner of Prince + Broadway? But this bench confused me. It was in 798, the biggest art district in Beijing, but is this meant as art, is it a message, is it a joke?

Saturday, May 30, 2009

Structure



















Lately these paintings by Brian Gormley have led me to thoughts on structure, specifically film structure. I have so many little stories and scenes that I have been trying to piece together, and it all comes down to one big look at how to create structure. It was the black lines in these paintings that caught my eye, how they hold and link all the separate colors together. The lines are all different, sometimes very thin, sometimes thicker than the color chunks themselves, sometimes obscuring and almost obscured. I'm have to find my film's own "black line" since there isn't one central story or topic that can hold it all together. I guess Chris Marker uses voiceover or text as his black line when his films don't have a central or innate story.
A film teacher recently suggested that I study architecture to study structure. I should go and wander through famous temples and buildings to consider how things are ordered and built, she said. I wonder how being inside/outside a three dimensional space and being inside/outside a film on an editing timeline is similar. I don't feel the same when I'm editing a film as I do standing in a structural space. Perhaps this is my problem. I see that both buildings and films have an entrance, a place to be in, passages from one space to another, staircases and an exit.
A good friend of mine once explained that a good entrance to a building has three parts: a beginning, a place to stop and sit or rest, and an end where you actually step through into the next space. I was fascinated by the concept at the time, but never consciously connected it to the beginning of a film.

Wednesday, April 29, 2009

dream material




I recently stumbled upon Fellini's "The Book of Dreams". For anyone who hasn't seen this book, it is something! It inspired me to be more conscious of my dreams, to keep a better dream journal and try to tap into the huge amount of creative material there. I've never worked to use dream imagery in a concrete way as Fellini did in his films, and his sketches showed me new, and perhaps more useful and concrete ways, to record dreams. To create imagery out of dreams rather than to write about them presents a new way of dealing with dream material- instead of simply transcribing a dream, the imagery goes through a second creation when it is drawn down.
While looking at the book I remembered my dream from the night before: I was holding a small baby that my dad had put in my care. We were watching a movie and I forgot about the baby. I let her slip onto the floor. My father came back and was very angry because the baby had a high fever and had worsened. "It's going to die anyway", I said. "You have to pay attention and keep checking her. You can't just let her go". There are so many images and meanings and stories in dreams that flash by and are gone.
On one page of Fellini's book was a giant woman that struck me as being incredible similar to N.C Wyeth's painting The Giant, which my mother particularly loves (she is a pyschotherapist). How exciting to find images that repeat, change and grow: where do the images originate, how do they come to us, and in what form are they reincarnated through our unconscious into new life?

Friday, April 24, 2009

wednesday acupuncture

I focus on letting my body melt into nothing so the qi will have a free path. I imagine myself only flowing qi, no body, no bones, no weight at all. I don't know where the needles are exactly, I only remember how it felt when the doctor pushed them in, giving them that last reassuring push into the qi where the quick pierce of pain is. Lying and looking up at the harsh light on the ceiling, my consciousness on my body, I think of a map with a few push pins stuck into it, marking a specific memory or trip in a huge landscape of unexplored space.
It's the firm, confident way the doctor sticks these needles in that makes me love her so. 孙利秋 (Sun Liqiu, her first name means Advantageous Autumn) is fast, sometimes a finger finds the point, or measures from a bone or a joint, but usually the needles just fly in. There's no time to talk about how I feel, or explain what I reasoned out on the bus about how my dream last night may suggest a deficiency in my spleen. There are never enough beds or enough time. If I have a question, I must find room to fit it in between the flying needles. She's young and direct and quick. "You haven't come in a long time", she says as she picks up the box of needles that I left for her on the foot of the bed. "Have you been busy?" "I come once a week". "It's not okay. In one week you have to come three times."
The timer on the heat lamp over my stomach rings, and the heat dies out. The assistant, a hip girl who wears black puma sneakers and looks stylish and natural in her long white doctor's robe, comes in and turns the dial with a pair of a needle nose pliers because the knob is missing.
My bed is the third, and there are four beds squeezed into a tiny room. They are separated by dirty white curtains, and I have to balance on the bed to wiggle in and out of clothes, careful of the floor where I've often seen needles. I stack my things in a pile on the floor and hope nothing drifts under my neighbor's curtain.
I hear the woman on my right. She is getting boguan'r (拨罐儿)and she has a cough; with each movement the glass cups stuck to her back clash together. On my left a cell phone rings a popular Chinese pop song that gets louder and louder until the caller finally hangs up. In the front of the office there is the usual loud smalltalk: a woman is talking to the doctor about a mutual acquaintance's body type- "you know O blood types, they need to sleep a lot"- but soon the conversation drifts into money, as almost all conversations in Beijing eventually do, and I stop listening. I hear the cash register ringing outside in the atrium, and behind the paper thin wall at my head someone is slapping someone's shoulders and back. The sounds of the streets are a comforting drone outside. the pillow under my head must be stuffed with sand. A sharp tweak of energy comes and goes near a needle on the upper left side of my stomach- it feels like electricity. Someone else joins the conversation in the front, and the woman next to me yells because her heat lamp is burning her.
I get boguan too, and the cups suck and twist my back- I think of a hot plateau of red rocks... it's been a long time since anyone twisted the skin on my arm and I've forgotten what it's called, but the image of the plateau reminds me of Indians. "Indian Burn". I look it up later and find that it's also called "Chinese Burn". The vacuum inside the cups slowly twist my skin in opposing directions. My mind goes from plateaus to a Victorian canopy bed in an English estate where a sick person is being treated with leeches.
As I stumble up the 3rd ring road to the bus stop thinking how to fit in three times a week, I realize I forgot my box of needles.

Thursday, April 16, 2009

the other Odette Scott

This week I discovered another Odette Scott. Shocking! My greatest nightmare! I wrote her. Below is our short conversation on Facebook.

April 12 at 8:48pm
this is hilarious. my name is also odette scott!
Are you South African?
I'm American, 27 years old, and I live in Beijing, China, where I'm making films. So nice to meet you! and so weird:>)
Best Wishes,
Odette Scott

April 13 at 6:03pm
Hi, I'm Odette Scott by marriage. You?

April 13 at 7:16pm
Oh, I didn't think of that. No, I'm not married, this is my original name. Do you like it? I think it's a pretty nice name, I like the double Ts, and people in the US usually get Odette wrong but Scott is such an easy name, everyone gets it right.
Is Odette a strange name to have in S. Africa? I've never met anyone named Odette before, besides you. Have you?

April 14 at 1:07pm
I'ts ok I suppose. I have met another Odette before, she was at school with me, but she was Portuguese. I don't live in South Africa. We left SA almost 4 years ago and we are now living in New Zealand. I have 3 children, Dana 21, Natalie 16 and Robert 6.
Take care

a new gem

My Dad spends hours at a time digging in the cavernous bowels of the internet for musical gems. This one he discovered is truly special. It inspires so much. Because it is honest.
http://www.youtube.com/watch?v=xxjKSaoz380