I did not reed the full discussion archive… my intention of doing so expired by the 1st page’s end. But I think the sense I got from my “overview” allows me to jump in.
The collaboration towards a collective film idea, explored and composed through pieces of film-thoughs is an exciting challenge to me. I would certainly love to shoot a sequence here in Rio.
I think your ideas for a structure and theme are pretty good, but it occured to me that a trilogy is somewhat more complete in terms of both: shape and content. So: SEARCH-DEATH-REBIRTH can realease the energy of the movement you guys propose. REBIRTH does not need to be a good, nice, hollyday like idea… it’s just the completion of a movement started by SEARCH and realized in DEATH.
REBIRTH doens’t even need to be a full scene, or act, but a sort of narrative closure. We miss a 3rd point to draw an actual figure. But I don’t say this for any academic worry… It came to my mind ‘cause when Iseriously considered joining this collaboration, the binary topic ’SEARCH-DEATH’ wouldn’t let my heart rest-in-peace :)
We owe the whole digital revolution to binary language… But I feel sufocated when I find myself trapped into binary pollitics (I love the US, but there’s more to Human matters than the overdue Democratic-Republican dichotomy!) So my REBIRTH proposal is due to an inner necessity. Well… “need is the mother of all arts!”
I hope my last minute input may be welcome by this exciting collaborative team. It’s just too bad that I took so long to join it… and the theme is already stablished. The Tatooed Penis subject really turned me on… LOL!!!
As for the theme, reading it all made me very confuse. I’d say NO for the cientist lab plot. The Search-Death… whatever… responds to our need for a balance between a general focus and space for individual interpretations. However… it does seem kind of vague to me. Moving towards something reeds as something all motion pictures have in common. So… so far, NO for theme.
As a suggestion, considering that we need both, structural and thematic links to hold our puzzle together, I’d propose that we associate our theme (wether we stick with search and death or not) with one object or a small set of objects. I read the piece on White Material and I think it could be very expressive to follow how a given object travels among cultures. Could be the computer and/or some “ancient” thing, such as a key.
So far we’re all cool with the structure. It’s great for a long distance collaboration! And we’re about to stablish the SEARCH-DEATH theme. It’s indeed inspiring, but I did vote NO ’cause I think its not complete.
After we finish voting, I’d like us to look further into ODILONVERT and ANONIMOUSE inputs about objects related to the overall theme, and try to develop something from that.
It might work either as a 3rd narrative element we’d have in common (preventing double binds…) and as a visible “torch” to pass on, from one short film to the following one…
… as the large movie “moves toward” its own unavoidable end!
So far we’re all cool with the structure. It’s great for a long distance collaboration! And we’re about to stablish the SEARCH-DEATH theme. It’s indeed inspiring, but I did vote NO ’cause I think its not complete.
After we finish voting, I’d like us to look further into ODILONVERT and ANONIMOUSE inputs about objects related to the overall theme, and try to develop something from that.
It might work either as a 3rd narrative element we’d have in common (preventing double binds…) and as a visible “torch” to pass on, from one short film to the following one…
… as the large movie “moves toward” its own unavoidable end!
Brazil’s greatest play-writer, Nelson Rodrigues, used to say that “all unanimity is stupid”. Dead since 1980, he missed us and our creative process. Though I’m probably among those with less (if any) idea of how to put such prod together, the sound understanding of our conversations here, keep me coming back for more.
Talking about structure, ERGOTIC is a new favortie word for me! In terms of brain storming references, I’d like to add that, in fact, the psycodinamics of oral language is pretty much “ergotic”, as far as a narrative sense is concerned. Each spoken story relies on many synesthetic elements, to which both, teller and listener, must relate to, in order to “generate” a story-line, that keeps on varying from a moment to another, indefinitely… Ideographic writting can also play our minds in a very complex way.
It was the Western phonografic literature that reinforced a linear cause-consequence mechanics of thought, into a carthesian world-view. And then the same West evolves into this virtual iconic language, bridging our pre-literate past straight into a caleidoscopic future. So, even if only for curiosity sake, it might be good for us to acknowldge the Orature concept developed by Kenian scholar and novelist Ngugi Wa Thiong’o, which could help us to include a wider cultural territory into our creative map.
Again, I still don’t know how (or if…) will I go beyond script writing, but whichever miracle I may work to make it happen, won’t be miraculous enougth for a 2 day shooting schedule!!! Well… I’ll wait to add my latest ideas about our genral theme as discussion pops up… Good bye 2010!!!
Happy new year every one! our 1st monday beguins with sun and moon in Capricor. Great mood for career and work decisions… So, before this is dead:
- The common theme, and its elements, is not 100% clear to me. There were many interesting comments and inputs throughout the post, during the voting process. Are we going forward to pitching individual film stories based on, precisely, which common ideas, in terms of content?
- About the shooting day survey. A 4 day prod design is workable. But I’d pretty much need a full 7 day week.
- Please provide a short-cut link to the pitchinh tread! As embarrasing as it may sound: I’m still not used to GARAGE’s virtual environment…
1970’s. B&W images. Detail of a silver cross pending from a woman’s necklace, against her tanned skin. She holds a school notebook tight to her brest. She walks along a stone wall, topped by an iron fence, expressing anguish and anxiety. Across the fence, the grave-yard of Saint John The Baptist cemetery, in Rio, with large crosses and religious sculptures adorning the marble tombs.
Dream lile sequence. The woman on a bed, in an all white room. She can’t fall asleep. She looks to someone beside her with doubt and despair.
The woman checks a huge record book searching for the location of a specific grave. She walks through the cemetery alleys, stopping to watch the graves of Carmen Miranda and Antonio Carlos Jobim. She continues her search. She walks and walks… trapped in a labyrinth.
Dream sequence. The woman’s companion on bed is a ragged man’s army jacket. She caress it as if caressing a beloved one. The jacket is stained and has a bullet hole in the heart.
She keeps on searching. Now the urban cemetery changed into a grassy small town grave-yard, with many little white crosses signing the tombs of fallen soldiers. She finds a tomb, covered by dust and ivy branches. She cleans it, looking for the image that identifies whose rests lay in there. The old picture on it is hardly visible. She opens her notebook, filled with photos and notes about herself and a man, as in a sort of analogic Facebook. She takes one head shot off and compares with the image on the tomb. It’s not him!
Dream sequence. The woman receives a package, which she in her arms as if it was an injured person. She opens the package to find the army jacket. She notices the hole and the stain. Scene turns COLORFUL and the stain is as red as fresh blood. She embraces the jacket tightly.
The woman drags the army jacket through a bare land, pulling it “by the hand”, as if it was a body too heavy for her to carry alone. She digs a hole, so deep, that she disappears inside of it, and we can only see the dirty that comes out. She carefully places the man’s jacket onto the grave’s bottom. She puts her own necklace on top of it and begins putting the dirty back into the grave. She places a small white cross onto the tomb, opens her notebook and chooses a “thumbnail” to identify it. She attaches the chosen picture to the white cross.
Contemporary sequence. The woman with white hair coming out of cemetery Saint John The Baptist. She’s well-groomed and neatly dressed. She walks outside the wall, in the opposite direction of her opening sequence’s movement. She’s no longer in pain. She crosses a busy street. As she disappears in the crowd, subtitles dedicate the movie:
TO THE 82 POLITICAL PRISONERS OF THE BRAZILIAN MILITARY DICTATORSHIP (1964-1986) WHOSE BODIES ARE STILL MISSING.
There goes my pitch. I’m sorry if it looks too large, but I did my best to communicate my idea in the simplest way possible. I’ll be away until the 21st of January, running family errands in the country. Hope to be back on time for voting. Best!
I wanna read all pitches before vote expires. But… it’s been a little difficult for me to find them all, in the midst of our discussion. What exctly are voting for? A potential start-up film? And where is ODILONVERT’s pitch? I’d love to collaborate in the creation and eventual production of the MISSING segment I pitched. I’ve conceived it to fit a minimal production design. There should be no words, other then the dedication text in the end. I was actually going after partnerships to enable production, as I’ve got no equipment of my own. I also don’t feel comfortable asking any friend to work for free… again! If I had a partner Filmmaker, I could volunteer to act. I believe I could arrange low cost accomodations if someone is willing to come shoot Carmen Miranda’s grave, in a truly South American Way. Other segments might be held aronud here, if u’d like to take this under consideration. And I’d gladly join such production effort, depending on the given situation we find ourselves in.
Well, as a quick personal account, my trip to the country was aborted, after my grandma’s death, saturday jan 12th, in the evening. I was going there to say good bye and spend time with her in the hospital. She was 91 and in pain, so her death isn’t a tragedy… I’m a little slower this week. But back in business.
I’m happy and honored by your vote! Looks like there will be rebirth for me, after all… The script is almost ready, actually. So I’ll have it posted by the dead line. Just be kind to point me (precisely) where to.
There it goes. Let me know if anything seems unclear. I hope it adds to our process. Best! DAN
MISSING SCRIPT
SCENE 01 – EXT. DAY. SIDEWALK OF SAINT JOHN CEMETERY
B&W SCENE. MID 1970’S IN RIO, UNDER THE MILITARY DICTATORSHIP. A SILVER CROSS PENDS FROM A NECKLACE, CONTRASTING WITH MARIA’S BROWN SKIN, ON DISPLAY THROUGH HER DRESS’ DEEP NECKLINE. MARIA WALKS OUTSIDE THE CEMETERY’S STONE WALL, TOPPED BY AN IRON FENCE. SHE HOLDS A SCHOOL NOTEBOOK TIGHT TO HER CHEST. ACROSS THE FENCE, MARIA SEES THE GRAVE-YARD FILLED WITH LARGE CROSSES AND RELIGIOUS SCUPLTURES ADORNING MARBLE TOMBS. MARIA PASSES THE CEMETERY’S MAIN ENTRANCE GATE, WALKING TOWARD THE ADMINISTRATIVE OFFICE’S DOOR.
SCENE 02 – INT. NIGHT. WHITE BEDROOM
B&W NIGHTMARISH SCENE. AN ALL WHITE BEDROOM WITH NO WINDOWS. AN ANOYING SOUND WITH A CONSTANT BEAT. A WHITE BED MELTS INTO THE WALLS. MARIA LAID ON THE BED BREATHING DEEPLY, LOOKS TO SOMEONE RESTING BESIDE HER, HER EYES EXPRESS DOUBT AND DESPAIR. THIS SETTING IS ALLUSIVE OF PSYCOLOGIC TORTURE TECHNIQUES, ALLEGEDLY TAUGHT BY C.I.A. INSTRUCTORS TO BRAZILIAN MILITARY INVESTIGATORS.
SCENE 03 – INT. DAY. CEMETERY’S ADMINISTRATIVE OFFICE
MARIA CHECKS A LARGE RECORD BOOK LOOKING FOR AN SPECIFIC GRAVE.
SCENE 04 – EXT. DAY. SAINT JOHN CEMETERY
MARIA WALKS THROUGH THE CEMETERY ALLEYS, STOPS BY CARMEN MIRANDA’S GRAVE, THEN KEEPS ON WALKING & WALKING… TRAPPED IN A LABYRINTH.
SCENE 05 – INT. NIGHT. WHITE BEDROOM
CONTINUE FROM SCENE 02. MARIA’S BED COMPANION IS A RAGGED MAN’S ARMY JACKET. WHICH SHE CARESSES AS IF IT WAS A BELOVED PERSON. THE JACKET HAS A BULLET HOLE IN THE HEART, AND A STAIN AROUND IT.
SCENE 06 – EXT. AFTERNOON. SMALL TOWN GRAVE YARD.
MARIA WALKS IN A GRASSY SMALL TOWN GRAVE-YARD, AMONG SMALL WHITE CROSSES, SIGNING FALLEN SOLDIERS TOMBS. SHE FINDS A TOMB COVERED BY DUST & IVY BRANCHES, CLEANING IT UP ANXIOUSLY, AS SHE LOOKS FOR A LITTLE FRAMED PORTRAIT THAT IDENTIFIES WHOSE RESTS LAY IN THERE. THE OLD PICTURE IS HARDLY VISIBLE. FROM HER NOTEBOOK, CONTAINING PHOTOS OF HER WITH A MAN (AS IN AN ANALOGIC FACEBOOK), SHE DETACHES A HEADSHOT TO COMPARE WITH THE TOMB’S PORTRAIT. IT’S NOT HIM!
SCENE 07 – INT. NIGHT. WHITE BEDROOM
CONTINUE FROM SCENE 05. MARIA RECEIVES A PACKAGE, AS A PRISONER GETTING MEAL FROM A FACELESS GUARD. SHE HOLDS THE PACK IN HER ARMS AS IF IT WAS AN INJURIED PERSON. SHE OPENS THE PACKAGE TO FIND THE JACKET. SHE EXAMINES IT, NOTICING THE HOLE AND THE STAIN. SCENE TURNS COLORFUL; THE STAIN BECOMES AS RED AS FRESH BLOOD. MARIA EMBRACES THE JACKET AS ONE DOES TO A LONG MISSED BELOVED PERSON.
SCENE 08 – EXT. DUSK. BARE HILLSIDE GRAVE-YARD
MARIA DRAGS THE JACKET THROUGH A BARE LAND, PULLING IT “BY THE HAND”, UP THE HILL, AS IF IT WAS A BODY TOO HEAVY FOR HER TO CARRY ALONE. IMAGES OF DIRT THROWN TO THE AIR. MARIA IS INSIDE A HOLE SHE DIGS. SHE PLACES THE MAN’S JACKET ONTO THIS NEW GRAVE’S BOTTOM, AND HER OWN NECKLAGE ON TOP OF IT. SHE THROWS DIRT BACK INTO THE HOLE, BURYING JACKET & NECKLACE TOGETHER. SHE PUTS A WHITE CROSS ONTO THE GRAVE’S TOP, OPENS HER NOTEBOOK AND CHOOSES A “THUMBNAIL” TO IDENTIFY IT. SHE ATTACES THE CHOSEN PICTURE TO THE CROSS. HER HAIR IS MESSY AND HER CLOTHES ARE DIRTY, AS SHE KNEELS DOWN, EXHAUSTED.
SCENE 09 – EXT. MORNING. SAINT JONH CEMETERY
RIO, 2011. AN AGED MARIA, WELL GROOMED AND NEATLY DRESSED, WALKS BY THE CEMETERY ALLEYS, AS SOMEONE WHO’S JUST KILLING TIME. SHE STOPS BRIEFLY BY THE GRAVE OF ANTONIO CARLOS JOBIM. SHE’S NO LONGER IN PAIN. MARIA EXITS THE CEMETERY. SHE WALKS LINING THE WALL, IN THE OPPOSITE DIRECTION OF HER OPENING SEQUENCE MOVES. SHE CROSSES THE BUSY STREET IN FRONT OF THE CEMETERY. AS MARIA DISAPPEARS INTO THE CROWD, OVERLAPING SUBTITLES DEDICATE THE MOVIE:
TO THE 138* POLITICAL PRISONERS OF THE BRAZILIAN MILITARY DICTATORSHIP (1964-1985) WHOSE BODIES ARE STILL MISSING.
Hi Santropez,
You mean, scan right now, photos of the 1970’s look I’ve idealized for MARIA in the beggining of MISSING? If that’s what u have in mind, it sure is possible, but…
1) The actress is not yet defined. It will probably be myself, as I no longer feel comfortable inviting friends for payless jobs. Though I have a vision of her in every scene, composing the actual look that will appear in the movie is part of a process that has a lot of improvisation and unforeseen elements coming in along the way.
2) Anything I might send to u now will be provisory and it would take me few days to have it ready to send out to u… up to a week, I figure… Would that be a workable timing?
Considering all that, if u still believe this photos would add to our collective creative process, I’ll be glad to make them and post the results here, within 7 days.
Best! DAN
Hi, SANTROPEZ, while it’s all provisory, I think I have a photo for you. I just couldn’t copy and paste it from my computer into this reply slot here. Any ideas of how may I do it with my narrow computer skills?
Hi Santropez,
You mean, scan right now, photos of the 1970’s look I’ve idealized for MARIA in the beggining of MISSING? If that’s what u have in mind, it sure is possible, but…
1) The actress is not yet defined. It will probably be myself, as I no longer feel comfortable inviting friends for payless jobs. Though I have a vision of her in every scene, composing the actual look that will appear in the movie is part of a process that has a lot of improvisation and unforeseen elements coming in along the way.
2) Anything I might send to u now will be provisory and it would take me few days to have it ready to send out to u… up to a week, I figure… Would that be a workable timing?
Considering all that, if u still believe this photos would add to our collective creative process, I’ll be glad to make them and post the results here, within 7 days.
Best! DAN
Hi, SANTROPEZ, while it’s all provisory, I think I have a photo for you. I just couldn’t copy and paste it from my computer into this reply slot here. Any ideas of how may I do it with my narrow computer skills?
I’ve uploaded the stills that are inspiring my in this process to my Flicker account (dandaraphoto). I’m not sure if I’ll use these photos in the actual film. (I don’t even know if I’ll be able to make it…) But the MISSING body in this story is MARIA’s father’s. That’s how the Military Dictatorship keeps on impacting our lives. President Dilma has missing friends herself. In the years 1972, 1973 and 1974 many friends of my parents disappeared. Some were never found, dead or alive. There goes the link. I hope it may inspire you guys too. Best! DAN
Thanks, POLARISDIB, I was rather insecure about sharing them here. Though, in fact, they’re really where I’m coming from. I’d like to hear more about LAURABOT’s tips on potential funding sources. As I further develop this project, it concerns me more & more. I’ve been to the Cemitery Saint John The Baptist this afternoon, prayed at Jobim’s grave asking for his blessing; spoke to Carmen Miranda for a few minutes. Mentors of the Brazilian Republic, such as Benjamin Constant, rest there too. So does Santos Dumont, who flew around the Eiffel Tour, with his 14 Bis aircraft, which many credit to be the world’s 1st airplane. Jobim with his 19 year old son; Dumont with both his parents; Constant with his wife, who lived with him in a castle in my vicinity. Things have progressed beautifully, but the no money production horizon, tell me I better not get over excited. Nonetheless, (please allow me, as an ESL writer, I have few chances to spend the dictionary words I fall in love with!) I’d like to thank all of you for the opportunity of feeling so alive as a criative artist. I’ll never forget it! I loved all of the submissions, so far. ODILONVERT’s film poetry possibilities stroke me as I walked through the Cemetery’s alleys. The russian cow cinematography is sublime. And the latest submission I read, of a writer searching for his daughter and beinbg turned down for his political content, is so intelligent & sensitive!
After I reviewd it, I felt that I must add that: most political prisoners of the Brazilian Dictatorship were young children of an intellectual elite. The ‘people’ they risked their lives for, didn’t give a damn for their unrequested “sacrifice”. That’s why you’ll see former guerrilla soldiers in power nowadays. From ex- President F.H. Cardoso, to actual President Dilma. My parents, who came from famine to an upper middle class status (at the end, more like mid middle class, what the hell!) due to their high education, were deeply impacted by this anti-military movement. The fear and hatred against the repression was part of my every day life – but they’d never risk their public service pay checks for no marxist ideology! So… what matters to me here is MARIA’s personal search towards death, as the only way to find some closure and… luckly, rebirth. The white room set is linked to real accounts of psycologic torture imposed to my ‘uncle’ Hamilton Coutinho, who’s the one who invited me to MUBI, and who met my Dad at Law School. Being the purple sheep of a black family, and an artist where everyone focuses on bread, I dentify with Dom Quixote heroes who, eventually, ascend to the Presidency. What makes a difference to me now is the “ergodic” narrative net we all create as we charge our film ideas with each one’s very own cinematic views. “To the comedian nothing is sacred”, says Monty Python, but still… everything is divine!
Well, these are my comments in my Rio de Janeiro 40°C, with chilly red wine, after death afternoon…
I agree we must invest something in promotion. This project’s concept is so unique! it won’t be hard to spread the word!… Where is RYAN’s pitch?
For the tresurer position I’d suggest LAURABOT, I read few retweets by her mentioning funding related issues and enjoyed the way she talks about it, plus she was the one who first mentioned funding strategies for this project in the forum. Sorry SOYBEAN…
I have no means to do it on my own. So collective is the only way it’d work for me. But voting is 100% GARAGE democracy, right? I think we could have an equal budget for each segment, and each production would do it’s best with the resources they have in hands
ANONIMOUSE as Prod Executive, POLARIS DIB Assitant Prod/Director and ODILONVERT Press Officer… hummm… Can it get any better? What’s next?
Hi there! I jumped into this tread following ODILONVERT’s updates that show in my MUBI wall, which I should visit more often! I can’t do without beauty myself. I’m driven to it wherever it could be found. Moral beauty, as in fair business and clean hearted relationships. I find beauty in meaningful knowledge, wich can only be achieved with an open mind, free from selfish mirror like thinking. I find beauty in ugly people with sublime souls. I find it in pleasure, in pain, in the odd and the funy facts of life. I’m so obssessed about it that I could say – “beauty search” and “beauty making” are major character traits of mine.
Theoretically, there are 2 concepts that always come to my mind when I examine beauty. 1st, Gregory Bateson’s essays about GRACE as a transcultural quality of artistic expression that. when achieved, can be communicated universally, “above verbal alnguage”. 2nd the Jewish Cabala teachings, which have named the 6th sefiroth in the Tree of Life as Tipheret (forgive mispellings here!) – The Beauty. The 6th sefiroth relates to Mankind, to the 6 pointed star, to the microcosm, to the sign of Virgo, to the Godess Astrea, who presided on perfect justitice and left Earth because it sunk into sin & spritual uglyness.
I hope I’ve added useful ideas to this discussion.
Points-based voting? Sounds simpler to add up. But we’d have to post a reminder of what each number stands for as we start a round of votes. I’m very distracted myself…
I’d like to share some news. My uncle Hamilton Coutinho, who inspired my MISSING story, and who 1st invited me to join MUBI – has agreed to give me interviews about his experience as a brazilian political prisoner, in the 1970’s. He’s offered to invite some of his friends to share their memories too. Some who had been tortured, some who have missing relatives… At 1st I want him only, for I’m focusing the creative process of my fiction piece. But after the completion of MISSING, perhaps a new documentary is on its way… with a newly acquired perspective, that I just developed here, working with you.
I’m honored by, yet, another unanimous vote around my work. In terms of actual filmmaking, I’m already doing whatever could be done prior to any in-coming funds are available – location, crew, setting, wardrobe and other creative decisions are evolving quite beautifully.
But the soonest, realistic timing for production is 2 weeks after funding comes through.
Reading your script’s draft was, already, quite an AV experience. As an individual piece, I got the sensation of letters unfolding in multiple layers, presented visually and vocally, with text, voice over, lips and eye movements that, together, build the context of an ergodic mistery… as such letters point to many possible narratives.
In terms of connecting to the MISSING piece, I think that, content wise, it is the pitch that relates more closely to the agony of Maria, my character, forever searching for a loved one who’s gone. But visually, linking it to the opening segment is rather tricky. The crosses, the necklace with a pending crucifix, the photos, the cemitery’s, the graves, the army jacket… how to associate any of these elements to your beautiful letter centered enigma?
Third, I think the script must guide us through the actual images you’ll shoot. It is not so easy for us, who use to edit our own work, to realize how important a tangible script really is. So, when you work on it, keep in mind this is what you’ll have to communicate your syntax, to whoever organizes your footage into a film. Right now, it leaves lot’s of room for re-interpretations of your ideas.
I hope my contribution could be helpful.
Best! DAN
I’m glad you wellcome my comments. The idea of having dirt fall off the envelope is very surprising and dramatic. I couldn’t see your necklace was the same Maria’s necklace as I first read your script. For me too, there’s a lot of new tasks and habilities to develop here. Doing things I’ve never done before is one of the greatest things about this Project!
I enjoy the idea of individual submissions, though I suffer of a sort of submission block syndrome. I just would like us to have a plan for this project as whole, before we let segments to part. For me, it is the amazing challenge of connecting a multiple narrative, with filmmakers “across the world”, that makes the Ergodic Film Project so unique and fascinating. I think all individual films will benefit from being linked to it.
Wait! As I type, it just occurs to me that we could release it – with traillers, the concept, production notes, etc… in a web site for example, and then target some festivals, to which all fo us would subimit individually. Each of our segments would be wraped as a part of GARAGE’s Intn’l Ergodic Film Project. Luckly, one of these Fests will wellcome them all, so we could have MUBI, to back our arrangements for a world release of the whole piece. (I wonder… how Vimeo got their Sundance colective release by the way?)
The Rio-Cine Intn’l Film Fest, in August, might be a prestigious venue for that, not just because segment one is a Brazilian movie, but specially for the ground braking narrative and collaboration structure. I don’t have personal connections their, but I am very positive they’d wellcome Anonimouse and, if the timing is OK (they’re very organized, but in Brazil last minute arrangements are part of the rule) they might even invite our team here (there’s a lot of free public money to entertain foreign guests…). Brazilians are well know for thei hospitality, All meals and local fun trips are included. When I told that at the HBO Short Film Award, in Miami Beach, 2002 (after 2 days eating 99 cents hamburgers) they decided to pay for the finalists meals.
You’d have the time of your lives…
In time: I may have gotten a partner for the documentary piece that I’m developing around the MIISING creative process. This documentary is provisorily named WHITE TORTURE/TORTURA BRANCA, focusing the psycologic torture as both, an actual interrogation technique and a consequence of the political persecution, to the prisoners and to their families. My potential partner for this piece works in an AV facility of the Ministry Of Culture, here in Rio and is a long time researcher of the subject. Let’s see how things progress here.
Idea for a Collaborative Forum Film Project over 2 years ago
Hi guys!
I did not reed the full discussion archive… my intention of doing so expired by the 1st page’s end. But I think the sense I got from my “overview” allows me to jump in.
The collaboration towards a collective film idea, explored and composed through pieces of film-thoughs is an exciting challenge to me. I would certainly love to shoot a sequence here in Rio.
I think your ideas for a structure and theme are pretty good, but it occured to me that a trilogy is somewhat more complete in terms of both: shape and content. So: SEARCH-DEATH-REBIRTH can realease the energy of the movement you guys propose. REBIRTH does not need to be a good, nice, hollyday like idea… it’s just the completion of a movement started by SEARCH and realized in DEATH.
REBIRTH doens’t even need to be a full scene, or act, but a sort of narrative closure. We miss a 3rd point to draw an actual figure. But I don’t say this for any academic worry… It came to my mind ‘cause when Iseriously considered joining this collaboration, the binary topic ’SEARCH-DEATH’ wouldn’t let my heart rest-in-peace :)
We owe the whole digital revolution to binary language… But I feel sufocated when I find myself trapped into binary pollitics (I love the US, but there’s more to Human matters than the overdue Democratic-Republican dichotomy!) So my REBIRTH proposal is due to an inner necessity. Well… “need is the mother of all arts!”
I hope my last minute input may be welcome by this exciting collaborative team. It’s just too bad that I took so long to join it… and the theme is already stablished. The Tatooed Penis subject really turned me on… LOL!!!
Happy Hollydays to u all!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
I’m on it.
YES for structure!
As for the theme, reading it all made me very confuse. I’d say NO for the cientist lab plot. The Search-Death… whatever… responds to our need for a balance between a general focus and space for individual interpretations. However… it does seem kind of vague to me. Moving towards something reeds as something all motion pictures have in common. So… so far, NO for theme.
As a suggestion, considering that we need both, structural and thematic links to hold our puzzle together, I’d propose that we associate our theme (wether we stick with search and death or not) with one object or a small set of objects. I read the piece on White Material and I think it could be very expressive to follow how a given object travels among cultures. Could be the computer and/or some “ancient” thing, such as a key.
Best!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
So far we’re all cool with the structure. It’s great for a long distance collaboration! And we’re about to stablish the SEARCH-DEATH theme. It’s indeed inspiring, but I did vote NO ’cause I think its not complete.
After we finish voting, I’d like us to look further into ODILONVERT and ANONIMOUSE inputs about objects related to the overall theme, and try to develop something from that.
It might work either as a 3rd narrative element we’d have in common (preventing double binds…) and as a visible “torch” to pass on, from one short film to the following one…
… as the large movie “moves toward” its own unavoidable end!
Happy 2011 everyone!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
So far we’re all cool with the structure. It’s great for a long distance collaboration! And we’re about to stablish the SEARCH-DEATH theme. It’s indeed inspiring, but I did vote NO ’cause I think its not complete.
After we finish voting, I’d like us to look further into ODILONVERT and ANONIMOUSE inputs about objects related to the overall theme, and try to develop something from that.
It might work either as a 3rd narrative element we’d have in common (preventing double binds…) and as a visible “torch” to pass on, from one short film to the following one…
… as the large movie “moves toward” its own unavoidable end!
Happy 2011 everyone!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
Brazil’s greatest play-writer, Nelson Rodrigues, used to say that “all unanimity is stupid”. Dead since 1980, he missed us and our creative process. Though I’m probably among those with less (if any) idea of how to put such prod together, the sound understanding of our conversations here, keep me coming back for more.
Talking about structure, ERGOTIC is a new favortie word for me! In terms of brain storming references, I’d like to add that, in fact, the psycodinamics of oral language is pretty much “ergotic”, as far as a narrative sense is concerned. Each spoken story relies on many synesthetic elements, to which both, teller and listener, must relate to, in order to “generate” a story-line, that keeps on varying from a moment to another, indefinitely… Ideographic writting can also play our minds in a very complex way.
It was the Western phonografic literature that reinforced a linear cause-consequence mechanics of thought, into a carthesian world-view. And then the same West evolves into this virtual iconic language, bridging our pre-literate past straight into a caleidoscopic future. So, even if only for curiosity sake, it might be good for us to acknowldge the Orature concept developed by Kenian scholar and novelist Ngugi Wa Thiong’o, which could help us to include a wider cultural territory into our creative map.
Again, I still don’t know how (or if…) will I go beyond script writing, but whichever miracle I may work to make it happen, won’t be miraculous enougth for a 2 day shooting schedule!!! Well… I’ll wait to add my latest ideas about our genral theme as discussion pops up… Good bye 2010!!!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
Happy new year every one! our 1st monday beguins with sun and moon in Capricor. Great mood for career and work decisions… So, before this is dead:
- The common theme, and its elements, is not 100% clear to me. There were many interesting comments and inputs throughout the post, during the voting process. Are we going forward to pitching individual film stories based on, precisely, which common ideas, in terms of content?
- About the shooting day survey. A 4 day prod design is workable. But I’d pretty much need a full 7 day week.
- Please provide a short-cut link to the pitchinh tread! As embarrasing as it may sound: I’m still not used to GARAGE’s virtual environment…
Best!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
MISSING (a short movie pitch)
1970’s. B&W images. Detail of a silver cross pending from a woman’s necklace, against her tanned skin. She holds a school notebook tight to her brest. She walks along a stone wall, topped by an iron fence, expressing anguish and anxiety. Across the fence, the grave-yard of Saint John The Baptist cemetery, in Rio, with large crosses and religious sculptures adorning the marble tombs.
Dream lile sequence. The woman on a bed, in an all white room. She can’t fall asleep. She looks to someone beside her with doubt and despair.
The woman checks a huge record book searching for the location of a specific grave. She walks through the cemetery alleys, stopping to watch the graves of Carmen Miranda and Antonio Carlos Jobim. She continues her search. She walks and walks… trapped in a labyrinth.
Dream sequence. The woman’s companion on bed is a ragged man’s army jacket. She caress it as if caressing a beloved one. The jacket is stained and has a bullet hole in the heart.
She keeps on searching. Now the urban cemetery changed into a grassy small town grave-yard, with many little white crosses signing the tombs of fallen soldiers. She finds a tomb, covered by dust and ivy branches. She cleans it, looking for the image that identifies whose rests lay in there. The old picture on it is hardly visible. She opens her notebook, filled with photos and notes about herself and a man, as in a sort of analogic Facebook. She takes one head shot off and compares with the image on the tomb. It’s not him!
Dream sequence. The woman receives a package, which she in her arms as if it was an injured person. She opens the package to find the army jacket. She notices the hole and the stain. Scene turns COLORFUL and the stain is as red as fresh blood. She embraces the jacket tightly.
The woman drags the army jacket through a bare land, pulling it “by the hand”, as if it was a body too heavy for her to carry alone. She digs a hole, so deep, that she disappears inside of it, and we can only see the dirty that comes out. She carefully places the man’s jacket onto the grave’s bottom. She puts her own necklace on top of it and begins putting the dirty back into the grave. She places a small white cross onto the tomb, opens her notebook and chooses a “thumbnail” to identify it. She attaches the chosen picture to the white cross.
Contemporary sequence. The woman with white hair coming out of cemetery Saint John The Baptist. She’s well-groomed and neatly dressed. She walks outside the wall, in the opposite direction of her opening sequence’s movement. She’s no longer in pain. She crosses a busy street. As she disappears in the crowd, subtitles dedicate the movie:
TO THE 82 POLITICAL PRISONERS OF THE BRAZILIAN MILITARY DICTATORSHIP (1964-1986) WHOSE BODIES ARE STILL MISSING.
There goes my pitch. I’m sorry if it looks too large, but I did my best to communicate my idea in the simplest way possible. I’ll be away until the 21st of January, running family errands in the country. Hope to be back on time for voting. Best!
Go to Comment
Idea for a Collaborative Forum Film Project over 2 years ago
I wanna read all pitches before vote expires. But… it’s been a little difficult for me to find them all, in the midst of our discussion. What exctly are voting for? A potential start-up film? And where is ODILONVERT’s pitch? I’d love to collaborate in the creation and eventual production of the MISSING segment I pitched. I’ve conceived it to fit a minimal production design. There should be no words, other then the dedication text in the end. I was actually going after partnerships to enable production, as I’ve got no equipment of my own. I also don’t feel comfortable asking any friend to work for free… again! If I had a partner Filmmaker, I could volunteer to act. I believe I could arrange low cost accomodations if someone is willing to come shoot Carmen Miranda’s grave, in a truly South American Way. Other segments might be held aronud here, if u’d like to take this under consideration. And I’d gladly join such production effort, depending on the given situation we find ourselves in.
Well, as a quick personal account, my trip to the country was aborted, after my grandma’s death, saturday jan 12th, in the evening. I was going there to say good bye and spend time with her in the hospital. She was 91 and in pain, so her death isn’t a tragedy… I’m a little slower this week. But back in business.
Love! DAN
Go to Comment
Film Ideas and Themes for the Collaborative Forum Film Project over 2 years ago
I ove the blue dot horizon cabala thing… it’s pretty and clear. Much esier reading pitches here too. I’ll copu mine here too…
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
I’m happy and honored by your vote! Looks like there will be rebirth for me, after all… The script is almost ready, actually. So I’ll have it posted by the dead line. Just be kind to point me (precisely) where to.
Love! DAN
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
There it goes. Let me know if anything seems unclear. I hope it adds to our process. Best! DAN
MISSING SCRIPT
SCENE 01 – EXT. DAY. SIDEWALK OF SAINT JOHN CEMETERY
B&W SCENE. MID 1970’S IN RIO, UNDER THE MILITARY DICTATORSHIP. A SILVER CROSS PENDS FROM A NECKLACE, CONTRASTING WITH MARIA’S BROWN SKIN, ON DISPLAY THROUGH HER DRESS’ DEEP NECKLINE. MARIA WALKS OUTSIDE THE CEMETERY’S STONE WALL, TOPPED BY AN IRON FENCE. SHE HOLDS A SCHOOL NOTEBOOK TIGHT TO HER CHEST. ACROSS THE FENCE, MARIA SEES THE GRAVE-YARD FILLED WITH LARGE CROSSES AND RELIGIOUS SCUPLTURES ADORNING MARBLE TOMBS. MARIA PASSES THE CEMETERY’S MAIN ENTRANCE GATE, WALKING TOWARD THE ADMINISTRATIVE OFFICE’S DOOR.
SCENE 02 – INT. NIGHT. WHITE BEDROOM
B&W NIGHTMARISH SCENE. AN ALL WHITE BEDROOM WITH NO WINDOWS. AN ANOYING SOUND WITH A CONSTANT BEAT. A WHITE BED MELTS INTO THE WALLS. MARIA LAID ON THE BED BREATHING DEEPLY, LOOKS TO SOMEONE RESTING BESIDE HER, HER EYES EXPRESS DOUBT AND DESPAIR. THIS SETTING IS ALLUSIVE OF PSYCOLOGIC TORTURE TECHNIQUES, ALLEGEDLY TAUGHT BY C.I.A. INSTRUCTORS TO BRAZILIAN MILITARY INVESTIGATORS.
SCENE 03 – INT. DAY. CEMETERY’S ADMINISTRATIVE OFFICE
MARIA CHECKS A LARGE RECORD BOOK LOOKING FOR AN SPECIFIC GRAVE.
SCENE 04 – EXT. DAY. SAINT JOHN CEMETERY
MARIA WALKS THROUGH THE CEMETERY ALLEYS, STOPS BY CARMEN MIRANDA’S GRAVE, THEN KEEPS ON WALKING & WALKING… TRAPPED IN A LABYRINTH.
SCENE 05 – INT. NIGHT. WHITE BEDROOM
CONTINUE FROM SCENE 02. MARIA’S BED COMPANION IS A RAGGED MAN’S ARMY JACKET. WHICH SHE CARESSES AS IF IT WAS A BELOVED PERSON. THE JACKET HAS A BULLET HOLE IN THE HEART, AND A STAIN AROUND IT.
SCENE 06 – EXT. AFTERNOON. SMALL TOWN GRAVE YARD.
MARIA WALKS IN A GRASSY SMALL TOWN GRAVE-YARD, AMONG SMALL WHITE CROSSES, SIGNING FALLEN SOLDIERS TOMBS. SHE FINDS A TOMB COVERED BY DUST & IVY BRANCHES, CLEANING IT UP ANXIOUSLY, AS SHE LOOKS FOR A LITTLE FRAMED PORTRAIT THAT IDENTIFIES WHOSE RESTS LAY IN THERE. THE OLD PICTURE IS HARDLY VISIBLE. FROM HER NOTEBOOK, CONTAINING PHOTOS OF HER WITH A MAN (AS IN AN ANALOGIC FACEBOOK), SHE DETACHES A HEADSHOT TO COMPARE WITH THE TOMB’S PORTRAIT. IT’S NOT HIM!
SCENE 07 – INT. NIGHT. WHITE BEDROOM
CONTINUE FROM SCENE 05. MARIA RECEIVES A PACKAGE, AS A PRISONER GETTING MEAL FROM A FACELESS GUARD. SHE HOLDS THE PACK IN HER ARMS AS IF IT WAS AN INJURIED PERSON. SHE OPENS THE PACKAGE TO FIND THE JACKET. SHE EXAMINES IT, NOTICING THE HOLE AND THE STAIN. SCENE TURNS COLORFUL; THE STAIN BECOMES AS RED AS FRESH BLOOD. MARIA EMBRACES THE JACKET AS ONE DOES TO A LONG MISSED BELOVED PERSON.
SCENE 08 – EXT. DUSK. BARE HILLSIDE GRAVE-YARD
MARIA DRAGS THE JACKET THROUGH A BARE LAND, PULLING IT “BY THE HAND”, UP THE HILL, AS IF IT WAS A BODY TOO HEAVY FOR HER TO CARRY ALONE. IMAGES OF DIRT THROWN TO THE AIR. MARIA IS INSIDE A HOLE SHE DIGS. SHE PLACES THE MAN’S JACKET ONTO THIS NEW GRAVE’S BOTTOM, AND HER OWN NECKLAGE ON TOP OF IT. SHE THROWS DIRT BACK INTO THE HOLE, BURYING JACKET & NECKLACE TOGETHER. SHE PUTS A WHITE CROSS ONTO THE GRAVE’S TOP, OPENS HER NOTEBOOK AND CHOOSES A “THUMBNAIL” TO IDENTIFY IT. SHE ATTACES THE CHOSEN PICTURE TO THE CROSS. HER HAIR IS MESSY AND HER CLOTHES ARE DIRTY, AS SHE KNEELS DOWN, EXHAUSTED.
SCENE 09 – EXT. MORNING. SAINT JONH CEMETERY
RIO, 2011. AN AGED MARIA, WELL GROOMED AND NEATLY DRESSED, WALKS BY THE CEMETERY ALLEYS, AS SOMEONE WHO’S JUST KILLING TIME. SHE STOPS BRIEFLY BY THE GRAVE OF ANTONIO CARLOS JOBIM. SHE’S NO LONGER IN PAIN. MARIA EXITS THE CEMETERY. SHE WALKS LINING THE WALL, IN THE OPPOSITE DIRECTION OF HER OPENING SEQUENCE MOVES. SHE CROSSES THE BUSY STREET IN FRONT OF THE CEMETERY. AS MARIA DISAPPEARS INTO THE CROWD, OVERLAPING SUBTITLES DEDICATE THE MOVIE:
TO THE 138* POLITICAL PRISONERS OF THE BRAZILIAN MILITARY DICTATORSHIP (1964-1985) WHOSE BODIES ARE STILL MISSING.
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
Hi Santropez,
You mean, scan right now, photos of the 1970’s look I’ve idealized for MARIA in the beggining of MISSING? If that’s what u have in mind, it sure is possible, but…
1) The actress is not yet defined. It will probably be myself, as I no longer feel comfortable inviting friends for payless jobs. Though I have a vision of her in every scene, composing the actual look that will appear in the movie is part of a process that has a lot of improvisation and unforeseen elements coming in along the way.
2) Anything I might send to u now will be provisory and it would take me few days to have it ready to send out to u… up to a week, I figure… Would that be a workable timing?
Considering all that, if u still believe this photos would add to our collective creative process, I’ll be glad to make them and post the results here, within 7 days.
Best! DAN
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
Hi, SANTROPEZ, while it’s all provisory, I think I have a photo for you. I just couldn’t copy and paste it from my computer into this reply slot here. Any ideas of how may I do it with my narrow computer skills?
Best! DAN
Go to Comment
Ergodic Film Project Communications over 2 years ago
MY PASTED COMMENTS 1:
Hi Santropez,
You mean, scan right now, photos of the 1970’s look I’ve idealized for MARIA in the beggining of MISSING? If that’s what u have in mind, it sure is possible, but…
1) The actress is not yet defined. It will probably be myself, as I no longer feel comfortable inviting friends for payless jobs. Though I have a vision of her in every scene, composing the actual look that will appear in the movie is part of a process that has a lot of improvisation and unforeseen elements coming in along the way.
2) Anything I might send to u now will be provisory and it would take me few days to have it ready to send out to u… up to a week, I figure… Would that be a workable timing?
Considering all that, if u still believe this photos would add to our collective creative process, I’ll be glad to make them and post the results here, within 7 days.
Best! DAN
Go to Comment
Ergodic Film Project Communications over 2 years ago
MY PASTED COMMENTS 2
Hi, SANTROPEZ, while it’s all provisory, I think I have a photo for you. I just couldn’t copy and paste it from my computer into this reply slot here. Any ideas of how may I do it with my narrow computer skills?
Best! DAN
Go to Comment
Ergodic Film Project Communications over 2 years ago
MY UPLOADED PHOTOS
I’ve uploaded the stills that are inspiring my in this process to my Flicker account (dandaraphoto). I’m not sure if I’ll use these photos in the actual film. (I don’t even know if I’ll be able to make it…) But the MISSING body in this story is MARIA’s father’s. That’s how the Military Dictatorship keeps on impacting our lives. President Dilma has missing friends herself. In the years 1972, 1973 and 1974 many friends of my parents disappeared. Some were never found, dead or alive. There goes the link. I hope it may inspire you guys too. Best! DAN
http://www.flickr.com/photos/dandaraphoto/sets/72157625805675835/
Go to Comment
Ergodic Film Project Communications over 2 years ago
Thanks, ROBOKO, I had some local help and used flicker instead!
Go to Comment
Ergodic Film Project Communications over 2 years ago
Thanks, POLARISDIB, I was rather insecure about sharing them here. Though, in fact, they’re really where I’m coming from. I’d like to hear more about LAURABOT’s tips on potential funding sources. As I further develop this project, it concerns me more & more. I’ve been to the Cemitery Saint John The Baptist this afternoon, prayed at Jobim’s grave asking for his blessing; spoke to Carmen Miranda for a few minutes. Mentors of the Brazilian Republic, such as Benjamin Constant, rest there too. So does Santos Dumont, who flew around the Eiffel Tour, with his 14 Bis aircraft, which many credit to be the world’s 1st airplane. Jobim with his 19 year old son; Dumont with both his parents; Constant with his wife, who lived with him in a castle in my vicinity. Things have progressed beautifully, but the no money production horizon, tell me I better not get over excited. Nonetheless, (please allow me, as an ESL writer, I have few chances to spend the dictionary words I fall in love with!) I’d like to thank all of you for the opportunity of feeling so alive as a criative artist. I’ll never forget it! I loved all of the submissions, so far. ODILONVERT’s film poetry possibilities stroke me as I walked through the Cemetery’s alleys. The russian cow cinematography is sublime. And the latest submission I read, of a writer searching for his daughter and beinbg turned down for his political content, is so intelligent & sensitive!
After I reviewd it, I felt that I must add that: most political prisoners of the Brazilian Dictatorship were young children of an intellectual elite. The ‘people’ they risked their lives for, didn’t give a damn for their unrequested “sacrifice”. That’s why you’ll see former guerrilla soldiers in power nowadays. From ex- President F.H. Cardoso, to actual President Dilma. My parents, who came from famine to an upper middle class status (at the end, more like mid middle class, what the hell!) due to their high education, were deeply impacted by this anti-military movement. The fear and hatred against the repression was part of my every day life – but they’d never risk their public service pay checks for no marxist ideology! So… what matters to me here is MARIA’s personal search towards death, as the only way to find some closure and… luckly, rebirth. The white room set is linked to real accounts of psycologic torture imposed to my ‘uncle’ Hamilton Coutinho, who’s the one who invited me to MUBI, and who met my Dad at Law School. Being the purple sheep of a black family, and an artist where everyone focuses on bread, I dentify with Dom Quixote heroes who, eventually, ascend to the Presidency. What makes a difference to me now is the “ergodic” narrative net we all create as we charge our film ideas with each one’s very own cinematic views. “To the comedian nothing is sacred”, says Monty Python, but still… everything is divine!
Well, these are my comments in my Rio de Janeiro 40°C, with chilly red wine, after death afternoon…
Love u all! DAN
Go to Comment
Ergodic Film Project Communications over 2 years ago
I agree we must invest something in promotion. This project’s concept is so unique! it won’t be hard to spread the word!… Where is RYAN’s pitch?
For the tresurer position I’d suggest LAURABOT, I read few retweets by her mentioning funding related issues and enjoyed the way she talks about it, plus she was the one who first mentioned funding strategies for this project in the forum. Sorry SOYBEAN…
I have no means to do it on my own. So collective is the only way it’d work for me. But voting is 100% GARAGE democracy, right? I think we could have an equal budget for each segment, and each production would do it’s best with the resources they have in hands
ANONIMOUSE as Prod Executive, POLARIS DIB Assitant Prod/Director and ODILONVERT Press Officer… hummm… Can it get any better? What’s next?
Go to Comment
What Ever Happened to Beauty? over 2 years ago
Hi there! I jumped into this tread following ODILONVERT’s updates that show in my MUBI wall, which I should visit more often! I can’t do without beauty myself. I’m driven to it wherever it could be found. Moral beauty, as in fair business and clean hearted relationships. I find beauty in meaningful knowledge, wich can only be achieved with an open mind, free from selfish mirror like thinking. I find beauty in ugly people with sublime souls. I find it in pleasure, in pain, in the odd and the funy facts of life. I’m so obssessed about it that I could say – “beauty search” and “beauty making” are major character traits of mine.
Theoretically, there are 2 concepts that always come to my mind when I examine beauty. 1st, Gregory Bateson’s essays about GRACE as a transcultural quality of artistic expression that. when achieved, can be communicated universally, “above verbal alnguage”. 2nd the Jewish Cabala teachings, which have named the 6th sefiroth in the Tree of Life as Tipheret (forgive mispellings here!) – The Beauty. The 6th sefiroth relates to Mankind, to the 6 pointed star, to the microcosm, to the sign of Virgo, to the Godess Astrea, who presided on perfect justitice and left Earth because it sunk into sin & spritual uglyness.
I hope I’ve added useful ideas to this discussion.
Go to Comment
Ergodic Film Project Communications over 2 years ago
We should definitely vote for ratio!
Go to Comment
Ergodic Film Project Communications over 2 years ago
lol… U gays are all very funny.
By the way: I practice the workaholic no food diet myself, which I alternate with greasy pasta meals…
As for the votes, I’d rather pass the DANDARA’s script inquire. So…
1. blanck
2. SANTROPEZ’s 1st choice
ODILONVERT’s 2nd choice
THEGAMGEE’s 3rd choice
3. yes
collective
4. 1/69
Go to Comment
Ergodic Film Project Communications over 2 years ago
Points-based voting? Sounds simpler to add up. But we’d have to post a reminder of what each number stands for as we start a round of votes. I’m very distracted myself…
I’d like to share some news. My uncle Hamilton Coutinho, who inspired my MISSING story, and who 1st invited me to join MUBI – has agreed to give me interviews about his experience as a brazilian political prisoner, in the 1970’s. He’s offered to invite some of his friends to share their memories too. Some who had been tortured, some who have missing relatives… At 1st I want him only, for I’m focusing the creative process of my fiction piece. But after the completion of MISSING, perhaps a new documentary is on its way… with a newly acquired perspective, that I just developed here, working with you.
Best! DAN
Go to Comment
Post a song you are currently listening to over 2 years ago
Henri Salvador – Dans mon ile
Enviado por Henri-Salvador. – Explore outros vídeos de música.
Go to Comment
Post a song you are currently listening to over 2 years ago
Henri Salvador – Dans mon ile
Enviado por Henri-Salvador. – Explore outros vídeos de música.
Go to Comment
Ergodic Film Project Communications over 2 years ago
@ODILONVERT, ur enthusiasm means a lot to me!
Go to Comment
Ergodic Film Project Communications over 2 years ago
I’m honored by, yet, another unanimous vote around my work. In terms of actual filmmaking, I’m already doing whatever could be done prior to any in-coming funds are available – location, crew, setting, wardrobe and other creative decisions are evolving quite beautifully.
But the soonest, realistic timing for production is 2 weeks after funding comes through.
Best, DAN
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
@ODILONVERT
Reading your script’s draft was, already, quite an AV experience. As an individual piece, I got the sensation of letters unfolding in multiple layers, presented visually and vocally, with text, voice over, lips and eye movements that, together, build the context of an ergodic mistery… as such letters point to many possible narratives.
In terms of connecting to the MISSING piece, I think that, content wise, it is the pitch that relates more closely to the agony of Maria, my character, forever searching for a loved one who’s gone. But visually, linking it to the opening segment is rather tricky. The crosses, the necklace with a pending crucifix, the photos, the cemitery’s, the graves, the army jacket… how to associate any of these elements to your beautiful letter centered enigma?
Third, I think the script must guide us through the actual images you’ll shoot. It is not so easy for us, who use to edit our own work, to realize how important a tangible script really is. So, when you work on it, keep in mind this is what you’ll have to communicate your syntax, to whoever organizes your footage into a film. Right now, it leaves lot’s of room for re-interpretations of your ideas.
I hope my contribution could be helpful.
Best! DAN
Go to Comment
Submissions to the Ergodic Film Project over 2 years ago
I’m glad you wellcome my comments. The idea of having dirt fall off the envelope is very surprising and dramatic. I couldn’t see your necklace was the same Maria’s necklace as I first read your script. For me too, there’s a lot of new tasks and habilities to develop here. Doing things I’ve never done before is one of the greatest things about this Project!
Go to Comment
Ergodic Film Project Communications over 2 years ago
I enjoy the idea of individual submissions, though I suffer of a sort of submission block syndrome. I just would like us to have a plan for this project as whole, before we let segments to part. For me, it is the amazing challenge of connecting a multiple narrative, with filmmakers “across the world”, that makes the Ergodic Film Project so unique and fascinating. I think all individual films will benefit from being linked to it.
Wait! As I type, it just occurs to me that we could release it – with traillers, the concept, production notes, etc… in a web site for example, and then target some festivals, to which all fo us would subimit individually. Each of our segments would be wraped as a part of GARAGE’s Intn’l Ergodic Film Project. Luckly, one of these Fests will wellcome them all, so we could have MUBI, to back our arrangements for a world release of the whole piece. (I wonder… how Vimeo got their Sundance colective release by the way?)
The Rio-Cine Intn’l Film Fest, in August, might be a prestigious venue for that, not just because segment one is a Brazilian movie, but specially for the ground braking narrative and collaboration structure. I don’t have personal connections their, but I am very positive they’d wellcome Anonimouse and, if the timing is OK (they’re very organized, but in Brazil last minute arrangements are part of the rule) they might even invite our team here (there’s a lot of free public money to entertain foreign guests…). Brazilians are well know for thei hospitality, All meals and local fun trips are included. When I told that at the HBO Short Film Award, in Miami Beach, 2002 (after 2 days eating 99 cents hamburgers) they decided to pay for the finalists meals.
You’d have the time of your lives…
In time: I may have gotten a partner for the documentary piece that I’m developing around the MIISING creative process. This documentary is provisorily named WHITE TORTURE/TORTURA BRANCA, focusing the psycologic torture as both, an actual interrogation technique and a consequence of the political persecution, to the prisoners and to their families. My potential partner for this piece works in an AV facility of the Ministry Of Culture, here in Rio and is a long time researcher of the subject. Let’s see how things progress here.
Love! DAN
Go to Comment