category: film/video

Zabriskie explosions

An Antonioni mashup on Youtube: ‘Blow-up’ sequences from Michelangelo Antonioni’s “Zabriskie Point” (1970) cut-up + layed-down to the original soundtrack:

Cinematic stains of the great directors: Antonioni

In honor of the passing of the Italian director Michelangelo Antonioni last month, here is a shot of the ink spilling scene in L’avventura, and then three alterations of the image as it passes into memory:

lavventura-stainx4sm.jpg

The bird in the Ballet Mechanique

The bird in the Ballet Mechanique:

There is a single sequence of a few frames in Fernand Leger’s Ballet Mecanique that seem to sum up both the intention of the film and its mystery. At exactly two minutes and fifteen seconds into the film a bird appears. It is a parrot (perroquet, a cockatoo) turning to face the camera and then turning away. It disappears in a flash of light and is not repeated.

Lars Von Trier & Jorgen Leth - ‘The Five Obstructions’

indieWIRE has a good story and interview with Jorgen Leth about his new film with Lars von Trier, “The Five Obstructions.” Some excerpts:

Danish directors Jorgen Leth and Lars von Trier have created the ultimate exercise in sado-masochistic filmmaking. And guess who’s the sadist? In “The Five Obstructions,” Lars von Trier subjects his predecessor Leth to a series of five filmmaking trials, each based on the remaking of Leth’s 1967 short film “The Perfect Human” according to different “obstructions.” Reminiscent of von Trier’s Dogme rules, the regulations include, among others, that every shot should be 12 frames in length, that one version had to be filmed in the most miserable place in the world, and one version had to be animated.

…

Leth also proves himself a worthy opponent to his young rival — always using von Trier’s mischievous limitations as springboards for creative solutions. (As von Trier whines, “The trouble is you’re so clever that whatever I say inspires you.”) In fact, all of Leth’s altered “Perfect Humans” are gems of innovative filmmaking. By the end of “The Five Obstructions,” it’s not easy to discern between obstructer and obstructed, victor and vanquished.

…

iW: You’re also a poet and I was wondering how you relate your poetry to your filmmaking, because poetry doesn’t seem to have any limits. And yet you say that limitations help to create art?

Leth: For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you’re free. You start in the corner and you don’t know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it’s a big surprise and relief if it’s good. That’s the ideal state for filmmaking. I like the idea of chance coming into filmmaking, in shooting, in editing, and I do make space in my rules of game for chance. William Burroughs, Andy Warhol and John Cage are major influences for my work. Godard is the only cineastic influence.

Hello, I Must Be Going

Groucho Marx, as Captain Jeffrey Spaulding, in Animal Crackers (1930):

Spalding (speaks): Well I’m certainly grateful for this magnificent washout, eh, turnout, and, eh,
now I’d like to say a few words…
(sings) Hello, I must be going.
I cannot stay, I came to say I must be going.
I’m glad I came, but just the same I must be going.

Mrs. Rittenhous: For my sake you must stay.
If you should go away, you’ll spoil this party I am throwing.

Spalding: I’ll stay a week or two.
I’ll stay the summer through.
But I am telling you that I must be going.

Mrs. Rittenhous: Before you go will you oblige us
and tell us of your deeds so glowing?

Spalding: I’ll do anything you say.
In fact, I’ll even stay!

All: Good!

Spalding: But I must be going.

« Home | film/video