muse-en-scene at the video lab. Sratching words on a half-soaked, yellow legal pad, winged associations in flight through consciousness, some related to the film, some not.
Ghost Dog warrior, vigilante inspired by samurai literature and spooling me through an alien place. Framing much of what shall come.
Intimate, interior safety of where I sit
Standing on an actor's mark is not standing on the earth, and film is animated by chess moves through time and space. This is well-known, but why should it matter?
Why should it matter that FW just handed a copy of Rashomon to the young child?
How can "place" acquire an emotional, sustainable complex of feeling and thought? And how and why does it eventually fade? Only now known.
And what within consciousness can fuel this?
We cannot see our own face when we speak or the mind of the person spoken to.
Distortions of the close-up. What is thought about this is not so.
As we exclude more background information and context, we do not acquire subject-insight in the way we often assume. We get details of the mask or the composition of it. Draw close enough and the face expands to surreal dimensions.
Is it a crime that murder can engender art?
Is a camera like a bomb?
Felix the cat and his box of tricks. He can change his box into anything.
One mustn't experience the cutting off of one's head at cinema.
If I can jump back and forth in digital or celluloid time, I can't possibly exist here and now. This is the key to the wonder and curse of cinema.
At what point of cinematic desperation, do we crave a car chase?
The immediacy of the hawk.
Selfies as cinema?
"Emptiness is form."
How can emotion abstract thought? Planes of thought cubes of feeling. Cubist mind and soul.
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Cinematheque Francaise
Kurgu OlmayanAt 63 yo I fell in love with Paris, interestingly, I was totally on my own, my wife had just flown back to America after a wondrous week with me in Iceland, a time of romantic and sexual reawakening. But Paris was about me and my imaginative life...
