Acting Fun

I was lucky enough to be asked to act in a student production yesterday. It wasn’t much of a part, but I loved it as it let me see a bunch of my students at work. It was great to see them shooting and working as professionals. They were calm and even seemed to be having fun. I haven’t spent a lot of time on a set in a long time, so it was neat to be around for that. Even though the day was long I felt the rush of shooting which kept me going long past the time I would have been asleep. It’s always neat to see how people work together to make something creative. A group of creative and talented people working together is wonderful to see and even more amazing to be able to be a small part of it. The other great thing was the food. Mmmmm! A crew needs good food and great food helps thing go much more smoothly. It will be neat to see how things turn out.

April 6, 2004 , , ,

Citizen Kubrick

Jon Ronson has a fascinating article called “Citizen Kubrick” in The Guardian today about Stanley Kubrick‘s archive. It’s an amazing look into the massive amount of research that the filmmaker conducted with each of his projects. Each Kubrick film is precisely constructed and assembled together. I never get the sense of anything accidentally being included in one of his films. Jan Harlan‘s documentary, A Life in Pictures gives a picture of the man and his work, but Ronson’s glimpse into the Kubrick-designed boxes filled with photographs, letters and other more exotic artefacts from the artist’s life show the attention to detail that made each of his films so breathtaking. The article comes just before the opening of The Stanley Kubrick Exhibition at the Deutsches Filmmuseum and the Deutsches Architektur Museum. I wish that I could go, but the Web site has great photographs and information about the exhibition.

March 27, 2004 , , , , , ,

Film Co-op Memories

The first film set that I was ever on was “The Spectre of Rexton” which was directed by Kevin Holden. It was many years ago in the 1980s and my first impression at the time was that it was very, very warm. It was a scene with 4 actors in a building in downtown Fredericton just around the corner from the NB Filmmakers’ Co-operative. While there was a lot of waiting around, people were in good spirits and it was exciting. Most people had things to do and it was amazing to watch how everything came together. The scene was blocked, the actors rehearsed, the lighting was tweaked and then they did the scene. The actors were really good and weeks later I was able to see the rushes and it was very cool to see how it actually looked a lot better on film than it did in person. I was hooked. I only was able to go out on other special effects and test shoots since the shooting schedule was mostly at night and I had a part-time job that interfered with it. But I knew that I would love to have the chance to work on a film and started looking for opportunities to work on more stuff. I still love the place and the people there.

March 24, 2004 , , , ,

New Brunswick Filmmakers’ Cooperative is 25!

About 21 years I first found out about the New Brunswick Filmmakers’ Cooperative in Fredericton New Brunswick and today the Coop (as I will always know it) is 25. On March 1, 1979 the Coop came into being and the media arts scene in New Brunswick has never been the same. I owe the Coop so much (including my dues for this year) and it is inseparable from my own development as a media artist. Pretty much everything I know about filmmaking has come from there and it’s also probably the reason that I teach now.
The role of the Coop has changed dramatically over the past 2 1/2 decades. At first there were artists who needed the equipment to make their films. The reduced cost and portability of 16mm film equipment and the involvement of the National Film Board of Canada made it possible for a small group of artists to start telling their own stories in their own way. When I first walked into 51 York Street it was with my friend Kevin Holden who was working on a film called “Just Say Hello” which was part of New Brunswick’s Bicentennial celebration. I remember seeing the Steenbeck and learning how film was edited. I began recording sound when Doug Sutherland had no one to record sound for a scene on his short film, “Smoke.” I remember Dave Clarke, the first coordinator of the Coop. I remember my good friend Tony Merzetti the second and current coordinator of the Coop and the person who taught me so much about filmaking and lighting and editing that it couldn’t be crammed into any film school anywhere. The Coop is also where I met my friend Errol Williams who gave me a chance to work with him when I took a workshop and heard him talk about a documentary that he wanted to make about Willie O’Ree. During a break I told him if there was any way that I could help him I would. He’s given me a few chances to work with him and it’s always been fun.
So on the evening of the 25th birthday of the Coop I’m a bit sad that I can’t be there, but so proud that I’ve been able to be part of such an amazing organization that has helped so many people tell their stories. Now I’ll raise my glass which has some of the Scotch that was given to me as a present when I left the Coop a few years ago. Cheers and see you all soon!

March 1, 2004 , , , , , , , , , , , , ,

The Magical Workshop of Ann Marie Fleming

On Monday I attended a great workshop with Ann Marie Fleming, the creative force behind The Magical Life of Long Tack Sam. The workshop was a combination of the personal and the work, which is what she does in her films. Of particular interest to me is her approach to documentary and the use of humour. It disarms you and makes it easier to deal with sometimes difficult issues. I had a great time and there were gifts as well! She showed lots of work and contextualized, analyzed, and philosophized about it. It hit me right in the heart and reinforced my belief that things will work out well and important stories will be told because they have to be told. Some quotes from my notes from Ann Marie’s workshop: filmmaking: “so much heart and so much fussiness”, “we all have stories”, “the very specific is most compelling”, “all film is documentary film”, “standup is like experimental film”, and “you just have to want to do it.” She confirms my theory that filmmaking can be characterized as a recessive gene… you don’t really have a choice, you just have to tell these stories. I’m glad that Ann Marie is out there sharing her stories.

September 17, 2003 , , , ,