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Murch: “Frequently, accidental things that Anthony [Minghella] discovered during filming suddenly emerge as talismanic and essential, even though at the time of shooting, they are tangential and unplanned.  The English Patient, for example, begins with [a B-camera POV shot] and it ends with another B-camera point-of-view…  I think if at the time of shooting Anthony had tapped the camera operator on the shoulder and said, ‘You’re shooting the beginning of the film’… they might have gotten a little flustered thinking they have to make it more significant.  But all of this gets revealed in the high-pressure cauldron of the editing room. Godard has a great phrase for it: the transformation of chance into destiny.”

Minghella: “This process has been remarkable on Cold Mountain, because we seem to have reduced the material by 50 percent…”

Murch: “More.”

Minghella: “More than 50 percent, without actually touching the vertebrae in any shape or form.”

–Walter Murch, interview from Minghella on Minghella by Timothy Bricknell

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Untitled short by Sweeney and Sprott (2011)

Still from an untitled short film by Jason Sweeney and Fiona Sprott.

Still from an untitled short film by Jason Sweeney and Fiona Sprott.

This short is a collaboration between Jason Sweeney (creator of Stereopublic) and Fiona Sprott, as part of their joint venture, Unreasonable Films.  I love the textures in this film, the sound collage and the tape hiss, the digital noise, the slight frame jump.  It brings a lot of motion and life to a series of still images, and it’s all done in the editing room.

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