influence
Not the Dentist!
From a selection of 29 individual storyboards, we drew two scenes randomly and made a short screenplay from them. Then, using resources immediately available to us, we made this short film in one day on location @ Tinkering School in Montara, California:
Tinkering School: Day 8
Go cart design, assembly and testing by the inimitable Team Tinker with snippets of boat model design and other moments of singular, whimsical tinkering mastery. Thanks to Moby for his song, Porcelain.
Tinkering School: Day 5
A few clips from the 5th day of Tinkering School:
Down to the River
Filming the Charlie Parr video last weekend
As I mentioned earlier, last weekend I went down to the river with a bunch of gear to help Dan Huiting shoot a music video featuring Charlie Parr for City of Music and the video is premiering this coming Monday on the site.
See more stills from the shoot and read the article in City Pages
Charlie Parr
Charlie Parr in Minneapolis this morning
Amidst such a perfect backdrop for his sound, the morning flew by listening to him sing and play his National down there along the river while we did our three-camera shoot. He has a new album out soon, too, so keep an eye peeled for it.
I’ll be sure to post the final edit here but, meanwhile, please enjoy this clip taken in ’09 while Charlie played Cheap Wine at the Victoria Pub in Birmingham, UK:
the steelpan gets a new coat of paint
Steelpans may be the friendliest instrument of all – unless you can think of one that’s any friendlier…?
This particular steelpan is not full-sized but still has an incredible sound. It’s tuned diatonically and is a magnet to even the slightly curious. Something about it makes it less intimidating than it is friendly.
It’s not an instrument to be used in every song or arrangement but anytime it’s played it injects the space with its festive mode. It has an easy feel to it, played with small, wooden mallets with rubber tubing on the ends for tips. An old pal showed me how to swirl various sized metal balls around the inside to make a hypnotic sound.
From Wikipedia:
The first instruments developed in the evolution of steelpan were Tamboo-Bamboos, tunable sticks made of bamboo wood. These were hit onto the ground and with other sticks in order to produce sound.
fate and the wall
A wall is accidentally knocked over leading to a discussion about the roles of choice and fate across cultures.
Maria Montessori
In 1896, Maria Montessori gave a lecture at the Educational Congress in Torino about the training of the disabled. The Italian Minister of Education was in attendance, and was impressed by her arguments sufficiently to appoint her the same year as director of the Scuola Ortofrenica, an institution devoted to the care and education of the mentally retarded. She accepted, in order to put her theories to proof. Her first notable success was to have several of her 8 year old students apply to take the State examinations for reading and writing. The “defective” children not only passed, but had above-average scores, an achievement described as “the first Montessori miracle.” Montessori’s response to their success was “if mentally disabled children could be brought to the level of normal children then (she) wanted to study the potential of ‘normal’ children”.
She believed:
Scientific observation has established that education is not what the teacher gives; education is a natural process spontaneously carried out by the human individual, and is acquired not by listening to words but by experiences upon the environment. The task of the teacher becomes that of preparing a series of motives of cultural activity, spread over a specially prepared environment, and then refraining from obtrusive interference. Human teachers can only help the great work that is being done, as servants help the master. Doing so, they will be witnesses to the unfolding of the human soul and to the rising of a New Man who will not be a victim of events, but will have the clarity of vision to direct and shape the future of human society.
Montessori’s method emphasizes learning through all five senses, not just through listening, watching, or reading. Children learn at their own, individual pace and according to their own choice of activities. Learning is a process of discovery, leading to concentration, motivation, self-discipline, and a love of learning. Montessori classes typically place children in three-year age groups (3-6, 6-9, 9-12, and so on), forming communities in which the older children spontaneously share their knowledge with the younger ones.
Arcade Fire: The Suburbs
That’s correct kids, the new album is finished and nearly in our warm, fuzzy little hands – click, drag and listen! it’s just like a real record player! weeeeeeeeee!!!
The Music of Conrad Praetzel and Clothesline Revival
The best music you may not have heard of comes from the imagination and inspiration of Conrad Praetzel, an archaeologist-turned-musician living in Northern California, who makes soulful music under the moniker Clothesline Revival.
Collaborating with great musical forces in the world, including Charlie Musselwhite, Sukhawat Ali Khan, Robert Powell, Rounder Records, the field recordings of John and Alan Lomax, among others, Praetzel continues to turn out a unique sound. With timeless qualities of a simpler era and yet also a contemporary tone, his music has a singular style making it hard to categorize. Cinematic and real, perhaps.
Long Gone, Of My Native Land, Receive, EnTrance, Myths and Memories, Between Previous and Past are each a different feel and distinct combination of players, instruments and styles.
They Came From Somewhere is Praetzel’s first collection of all original compositions in over ten years, featuring legendary blues artist Charlie Musselwhite and is being released soon.
Highly recommended listening – some samples and links to purchase available via Conrad’s record label, Paleo Music.
Plastic Bag
Ramin Bahrani-written-directed-and-edited, Werner Herzog-narrated and original soundtrack by Kjartan Sveinsson of Sigur Rós?
Goodbye Solo
Every now and then a film moves me, lifts and tosses about my sense of the world, of knowing myself and my own culture, let alone the cultures of others and where mine fits in. Then, it sets me down gently, back in the place I was to begin with. Only then, the place looks a whole lot different. Better? Not necessarily. Worse? Not necessarily. Just – different.
Yesterday a good pal showed up and had brought me Goodbye Solo. I watched it not once but twice before falling to sleep with images of Souléymane Sy Savané, Red West and the road ahead of all of us, wherever or whatever our situation.
One of the most beautiful things about this film is how Ramin Bahrani chose to tell it visually. The cinema of the whole thing is masterful. The relationship between these two unlikely characters is developed elegantly without a hint of muscle-y force.
I could rant on and on about the reasons why I love it, why this is a film to be celebrated but for two reasons I will leave you in peace: 1) I do not wish to dilute it for anyone reading this who has not yet taken it in, and 2) I already did so at length to my pal who brought it to me, thanking him for the gift of spending 91 minutes of my life watching the work of a truly gifted filmmaker who should be an inspiration to generations of filmmakers to come.
Thank you, Ramin.
Cinematography: We’ve come a long way?
We don’t have to ask why we love videos and movies, visual literacy is becoming more important as time goes on.
Produced by Thomas Edison and directed and filmed by Edwin S. Porter, The Great Train Robbery was the first narrative movie ever made.
Thinking about today’s conventions I see in contrast to the silent films of the early years of cinema, the first thing is obvious: there are a lot of talking heads. The cinematic elements that make me love movies, especially silent movies, are mostly lacking, having given way to VFX and complicated dialogue. Cool effects work well in the right places but, as we learned from the great, early filmmakers, a story is best told with a visual, artful use of the tools to lead us to make connections on our own. This is what cinematography is. The American Society of Cinematographers defines cinematography as:
a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event.
The difference between a good film and a great one is that even with the audio removed a great film stands on its own. The audience can still make sense of the action because the cinematic elements keep moving the story forward.
Silent films didn’t have the luxury of audio tracks to bolster what was happening on the screen. Directors worked feverishly to keep the inclusion of cards with words on them to a minimum as audiences often found them distracting because they broke a certain rhythm to the visual story that was unfolding before them. The fundamentals of editing were more than enough for directors in those early days as they saw a seemingly infinite number of conventions that could be used to craft atmospheres, psychological experiences that led audiences to emotional heights and dramatic lows in response to the visual sequences taking place in front of them.
In contrast to now, when a majority of popular films have so many stylistic choices in common, produced with technology that can shoot high and low, inside and out, leave no stone unturned, no thought of a character unknown, possessing perhaps a similar cultural rhythm about them, too, that can at times make them feel almost like the same movie. Technology has certainly opened up many more options for modern day shooters, myself included. Shooting with a Canon 5D Mark II allows us to shoot cinema quality footage at 24p at a fraction of the cost. However, as in design, there is a time and place for whitespace, which is to say, to not exploit the tools for all they’re worth just for the sake of exploiting the tools for all they’re worth. Does it add to the story? Yes? Keep it. Does it not add to the story? Lose it.
I surely don’t mean to discount the work of the great cinematographers of our age, only to suggest that limitations are what create the opportunities for innovation, not a lack of them. The life pursuits and soaring accomplishments of a legion of great screen directors in the early days of cinema stand testament to it.
So how has the rapid deployment of these new tools impacted our ability to tell a story cinematically? Surely it’s both helped and hindered. A great story is still a great story, regardless of what tools are used to tell it.
Neil Postman: Education as a Cure for Stupidity (Part I)
Who is Neil Postman?
Wanna watch more? I sure did. Click here.
