MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

if film goes under, I will go under with it: Peter Kubelka (hearts) emulsion

After a 26-year hiatus, experimental filmmaker and Anthology Film Archives co-founder Peter Kubelka has a new pic, which he describes to Michelle Silva in the SF Bay Guardian: “In a visual culture increasingly permeated by digital imagery, the disintegration of the exhibition and experience of cinema appears imminent. Peter Kubelka reminds American audiences of the physical presence of cinema as an inimitable medium. With a filmography that is only 63 minutes long, avant-garde master Kubelka (born in Austria in 1934) has progressed film by his metric and metaphoric montages, which are attentive to tactile qualities and mechanics that are exclusive to film. Since the 1950s, Kubelka has remained a committed proponent of film as a pure medium…
kubelka-dichtung.jpg
“After a 26-year hiatus, he has re-emerged with a new film, Dichtung und Wahrheit (Poetry and Truth), and has toured and lectured in several cities throughout the US. The survival of film as an exhibition medium is… an issue right now. [Instructors] are projecting DVDs instead of the actual work. As a major founder of film culture, how do you feel about the future of cinema? I do not allow my films to be transferred to video and shown in digital form, which means that if film goes under, I will go under with it. But I don’t do this in order to go under. I’m absolutely convinced cinema as a classic medium will stay on, because it has a heart core which cannot be replaced by any other medium. [More ping and pong at the link.]

Be Sociable, Share!

Comments are closed.

Movie City Indie

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon