top of page

What Inspires Cinemalab?

Steenbeck.jpg
Comingled Containers dir. Stan Brakhage 1997
Kuleshov Effect
America
dir. Garrett Bradley
How a Mosquito Operates
dir. Winsor McCay
Superstar: The Karen Carpenter Story
dir. Todd Haynes
Don't wait for a "good" camera. Make the film any way you can with whatever camera you can afford. Another example of a filmmaker not waiting: Superstar: The Karen Carpenter Story above, by a restless Todd Haynes. Be restless.
The Bit Player (trailer)
dir. Mark Levinson, DP Claudia Raschke
Lucas Blalock's Digital Toolkit | Art21 "New York Close Up"
1895-1908 Loie Fuller's Serpentine Dance (highlights from the greatest movie pioneers' films)
Included in this compilation: 0:00 Georges Méliès 0:15 William K.L. Dickson, William Heise "Annabelle Serpentine Dance" (1 April 1895) 0:20 William K.L. Dickson "Serpentine Dance by Annabelle" (September 1896) 0:25 ? 0:29 ? 0:34 William Heise "Crissie Sheridan" (October 1897) 0:37 Alice Guy "Danse serpentine par Mme. Bob Walter" (1899) 0:51 Louis Lumière "Danse Serpentine" (5 August 1897) 2:57 Segundo de Chomón "Création de la serpentine" (1908)
Make tests, make movies, tests become movies that become tests for later movies, and on and on and on . . .
The Gift of Room Tone - Criterion Collection
Superstar: The Karen Carpenter Story - alternate transfer than above, in case you had trouble viewing that version.
Kelly Reichardt talks indie filmmaking I THE BEST SHOW with Tom Scharpling
Filmmaking plays a role in correcting assumptions and illuminating eras of our history. Sometimes we step back and see the past more clearly, and having the skills to convey complex topics via film takes persistence and lots of research and interviews. Stanley Nelson is one of the most important documentary filmmakers working today.
Here's a clip from a movie I'd like to see. Please let me know if you see it's going to play somewhere.
I find this short artist portrait inspiring. Toward the end of the video, Henry Wessel shows a stack of his year of work prints, and then reveals the volume that actually move to the display stage. It's a reminder that we have to practice, make a volume of work, in order to learn and grow. Also, he limits himself to one small camera and one lens. No LUTs, no menus, no submenus, no matte boxes (not that there's anything wrong with them...)
bottom of page