11/8/09
11/7/09
극장전
이제 생각을 해야겠다. 정말로 생각이 중요한 것 같다. 끝까지 생각하면 뭐든지 고칠 수 있어. 담배도 끊을 수 있어. 생각을 더 해야돼. 생각만이 나를 살릴 수 있어. 죽지 않게 오래 살 수 있도록.
10/22/09
8/25/09
일기 3
오늘 새로운 단어를 많이 배웠다.
시점/관점 - point of view, perspective
과정 - process
현장 - the actual spot, the scene of the action
만족 - satisfaction
만족하다 - be pleased, be satisfied
구도 - composition
각도 - angle
표현 - expression, representation
표현하다 - to express, to represent
8/17/09
What have I done in the past month?
- Directed a movie, my first in Korea, called Tom and Jaehee (톰과 재희)
- Went home for two too short weeks, spent time w/ the Moms, the friends, the movie theaters
- Had a positive, affirming conversation with Young Oh (오영균), my Korean professor in college
- Made three new 'film' connections in Seoul, all pretty random
- Found an awesome equipment rental house, J4, near Sinsa Station (신사역)
FML.
- Went home for two too short weeks, spent time w/ the Moms, the friends, the movie theaters
- Had a positive, affirming conversation with Young Oh (오영균), my Korean professor in college
- Made three new 'film' connections in Seoul, all pretty random
- Found an awesome equipment rental house, J4, near Sinsa Station (신사역)
FML.
일기 2
내가 매일마다 일기를 쓸 거라고 약소했지만 그 약속을 지키기는 좀 힘들다. 좀 더 열심히 하겠다, 지금부터. 짧아도 괜찮고 재미없어도 괜찮고 실수 많아도...괜찮다.
사실은 시를 쓰고 싶다. 아마 앞으로 시를 쓸 것이다.
사실은 시를 쓰고 싶다. 아마 앞으로 시를 쓸 것이다.
8/2/09
일기 1
오늘부터 매일 한글로 일기를 쓰기 시작할 것이다. 좋은 연습이기 때문이다. 내 인생과 일, 생활, 영화 등에 대해서 쓸 것이다. 지루할지 모르겠지만 해야 할 일이다.
7/27/09
7/23/09
7/17/09
7/7/09
7/2/09
6/25/09
What's Been Happening
I'm on IMDB (two credits deep, yo)! The feature film I shot back in '06 (Madison Hall) is finally, FINALLY making its way to festivals.
Feeling energized of late; trying to be responsive and receptive to the ideas that just won't go away. I'm pulling together two new film projects at the moment; shooting the first in AZ in August, directing the second in Seoul in the fall. Details on the way!
I've seen some really great, really engaging films in the past month (all Korean, wouldn't ya know) - Park Chan-wook's Thirst (박쥐), Bong Joon-ho's Mother (마더), Hong Sang-soo's Like You Know It All (잘 알지도 못하면서) and Jeon Soo-il's Himalaya, Where the Wind Dwells (바람이 머무는 곳, 히말라야), a couple of which are still screening with English subs somewhere in the city.
I'm taking a short trip (four days, three nights) to Jeju Island (제주도) at the beginning of July. I intend to spend a day or so scootering around Udo (우도), a sort of cow-shaped island just fifteen minutes off Jeju's east coast. Another half day'll be spent at Jeju's Love Land, a sex-themed outdoor sculpture park. I'm also going to do my darndest to find and scarf down some spicy blow fish soup (yeehaw!). Pictures, video to come.
In preparing for this Jeju excursion, I picked up a Korean driver's license yesterday. The process was simple, though annoying. I basically had to hand over my AZ driver's license, pay some money, take a written test (in ridiculously incoherent, so-poorly-translated-I-thought-I-might-fail-the-damn-thing English), pay some more money, submit some photos and wait. The entire process took about two hours, but it's done! I can rent any car, motorcycle, scooter or go-kart my little heart desires.
And that's it! See you soon.
6/3/09
Interviews with cinematographer Christopher Doyle
http://www.filmmakermagazine.com/fall2005/features/wild_man.php
"I think our purpose as filmmakers or as storytellers or whatever you’re going to call us is to say that at this particular point with this relationship, with this social structure, in this political climate, this is the best film I could do. I think that’s all we can do. Then we’re not exploitative, we’re not the Spielbergs or the whatever. Then it becomes extremely personal, for better or worse. So don’t get confused by digital or non-digital or money or not — just do the best fucking film you can with your abilities at that time. I mean, why else do we make films when we could have gone into real estate?"
http://www.greencine.com/article?action=view&articleID=168
"I was in Istanbul two weeks ago and I was just amazed that the film school was actually people who were studying medicine and engineering. I thought, "This is the best film school in the world. Much better than NYU," because I was at NYU the next week and they were total assholes. They were all about contracts and business. It was just a marketing thing. [In Istanbul] they all speak English, they learn in English. I thought, "This is the future." That you have people from other disciplines who are interested in filmmaking. We spent the whole day together. It was the most engaging experience I've had in... I want to make a Turkish film next year, because that's it, it's about life, it's not about technicalities. You show me the green button and I press it and the film rolls. That's about it. That's what I know."
http://www.space-age-bachelor.com/features/old/1037414888.htm
"I think space and time are basic elements of any film, but especially so in our films. I think I've spoken a couple times about how location scouting is one of the most important determinant of style for us. When we find the right space, and because we have a lot of complicity, similar tastes, and a tacit understanding, that when we find the right space, it implies a certain way of lighting, a certain way for the actors to move through it, and for the art director certain kinds of textures and things like that."
http://www.ifc.com/film/film-news/2008/03/christopher-doyle-on-paranoid.php
"At heart, we are not too dissimilar, even given what is often superficial cultural disdain. Sure, I feel more at home in Asia. Yes, many American obsessions are not my own. But when our common humanity can be explored and communicated with people of "heart" with real intention to "share," there are no boundaries. I have made many films in many languages and cultures I am not of, but I rarely feel foreign. Watch the faces and the images. The subtitles are only a tool."
http://seattlepi.nwsource.com/movies/188063_doyle27.html
"I went to France and tried to learn cinematography. Then I realized that I didn't care. So I came back to making films as I could. I think I started to know what I was doing in the middle of "Days of Being Wild" (in 1991). You can't learn how to make films. You gotta make mistakes and you have to appropriate the mistakes, and then you learn from those things. Then you have a voice."
http://dearcinema.com/interview-christopher-doyle/
"I was shooting an ad campaign for Nike in Shanghai. Apart from the technical and creative crew there were these company executives who had these documents or files in their hands and kept on checking out if we were shooting what we told them. Often they would stall the shooting telling that a particular shot was not in the storyboards. Who gives a damn about storyboards if you are getting better visual possibilities on the location? I am always trying out new shots on the location. That’s my job as a cinematographer. There are hundred better ways to take a shot. Who the hell were they? Will accountants teach us to make films?"
http://www.reverseshot.com/legacy/summer04/doyle.html
"I think the only time I see films is on planes. I take a lot of planes, so I do manage to see lots of films. But to me film is not the basis of my life, my creative energy comes from other things, usually music, or people, or the way in which I live. The people who decide to work with me know that. Therefore, what you mention is their job. Gus Van Sant knew that. Psycho is not a film but a conceptual artwork. I don’t think you need to see the film. It’s just a concept, a very expensive one. It cost $20 million to make and $40 million to promote. If you went to Hollywood, and tell them let’s do some performance art, they wouldn’t give you 60 million. They did in this case. My role in Psycho was not to know, not to remember the original film."
http://www.youtube.com/watch?v=BrjekWJyp2k
"You have to find the film, not make the film."
http://www.youtube.com/watch?v=zV0uw9edleY&feature=related
"If you don't have experience, why would you dare to talk to other people about experience?"
http://www.youtube.com/watch?v=NGYfOlesIdk&feature=related
"The question is not, 'What is art?' The question is, 'What is an artist?'"
http://www.youtube.com/watch?v=LcwJZXEi23I&feature=related
"A film is not like a play - a film is basically stuck in time."
http://www.youtube.com/watch?v=iuWZI0yUUHU
BBC Culture Show with Chris Doyle
http://www.youtube.com/watch?v=Rb7AClJsrhI&feature=related
Warsaw Dark
"I think our purpose as filmmakers or as storytellers or whatever you’re going to call us is to say that at this particular point with this relationship, with this social structure, in this political climate, this is the best film I could do. I think that’s all we can do. Then we’re not exploitative, we’re not the Spielbergs or the whatever. Then it becomes extremely personal, for better or worse. So don’t get confused by digital or non-digital or money or not — just do the best fucking film you can with your abilities at that time. I mean, why else do we make films when we could have gone into real estate?"
http://www.greencine.com/a
"I was in Istanbul two weeks ago and I was just amazed that the film school was actually people who were studying medicine and engineering. I thought, "This is the best film school in the world. Much better than NYU," because I was at NYU the next week and they were total assholes. They were all about contracts and business. It was just a marketing thing. [In Istanbul] they all speak English, they learn in English. I thought, "This is the future." That you have people from other disciplines who are interested in filmmaking. We spent the whole day together. It was the most engaging experience I've had in... I want to make a Turkish film next year, because that's it, it's about life, it's not about technicalities. You show me the green button and I press it and the film rolls. That's about it. That's what I know."
http://www.space-age-bache
"I think space and time are basic elements of any film, but especially so in our films. I think I've spoken a couple times about how location scouting is one of the most important determinant of style for us. When we find the right space, and because we have a lot of complicity, similar tastes, and a tacit understanding, that when we find the right space, it implies a certain way of lighting, a certain way for the actors to move through it, and for the art director certain kinds of textures and things like that."
http://www.ifc.com/film/fi
"At heart, we are not too dissimilar, even given what is often superficial cultural disdain. Sure, I feel more at home in Asia. Yes, many American obsessions are not my own. But when our common humanity can be explored and communicated with people of "heart" with real intention to "share," there are no boundaries. I have made many films in many languages and cultures I am not of, but I rarely feel foreign. Watch the faces and the images. The subtitles are only a tool."
http://seattlepi.nwsource.
"I went to France and tried to learn cinematography. Then I realized that I didn't care. So I came back to making films as I could. I think I started to know what I was doing in the middle of "Days of Being Wild" (in 1991). You can't learn how to make films. You gotta make mistakes and you have to appropriate the mistakes, and then you learn from those things. Then you have a voice."
http://dearcinema.com/inte
"I was shooting an ad campaign for Nike in Shanghai. Apart from the technical and creative crew there were these company executives who had these documents or files in their hands and kept on checking out if we were shooting what we told them. Often they would stall the shooting telling that a particular shot was not in the storyboards. Who gives a damn about storyboards if you are getting better visual possibilities on the location? I am always trying out new shots on the location. That’s my job as a cinematographer. There are hundred better ways to take a shot. Who the hell were they? Will accountants teach us to make films?"
http://www.reverseshot.com
"I think the only time I see films is on planes. I take a lot of planes, so I do manage to see lots of films. But to me film is not the basis of my life, my creative energy comes from other things, usually music, or people, or the way in which I live. The people who decide to work with me know that. Therefore, what you mention is their job. Gus Van Sant knew that. Psycho is not a film but a conceptual artwork. I don’t think you need to see the film. It’s just a concept, a very expensive one. It cost $20 million to make and $40 million to promote. If you went to Hollywood, and tell them let’s do some performance art, they wouldn’t give you 60 million. They did in this case. My role in Psycho was not to know, not to remember the original film."
http://www.youtube.com/wat
"You have to find the film, not make the film."
http://www.youtube.com/wat
"If you don't have experience, why would you dare to talk to other people about experience?"
http://www.youtube.com/wat
"The question is not, 'What is art?' The question is, 'What is an artist?'"
http://www.youtube.com/wat
"A film is not like a play - a film is basically stuck in time."
http://www.youtube.com/wat
BBC Culture Show with Chris Doyle
http://www.youtube.com/wat
Warsaw Dark
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