Playtime

I've been feeling more assured lately with this film. I came across this quote written Robert Bresson from his Notes on the Cinematographer, that I feel apply to how I will be piecing this film together:

"Dig into your sensation. Look at what is there within. Don't analyze it with words. Translate it into sister images, into equivalent sounds. The clearer it is, the more your style affirms itself."

I've almost entirely given up, mentally, of showing some kind of picturebook story. I'm relying solely on pieces where I can use sound and image to create an experience. I've given up on plot, on progression in the theatrical sense, and on any kind of journalistic sensibilities I thought I once had.

This will also cut chunks of footage, decapatating the literal and the theorhetical. It's become more and more apparent that this is a film that few might be interested in, given the way I've talked to others (friends and family excluded) about it. Since I'm not producing agitprop in the post-Robert Greenwald vaccum of documentary filmmaking, who gives a fuck with what I may be doing, so why not go my own way?

I've shot only minimally since my last post, but it's a crucial minimum. And I'm hoping to obtain footage from Seattle, where the subject of this film was at, for a VFP conference.

I'm really pushing for a February cut, so I desperately need to think in these terms, to finish finally. It's been a year and half long pregnancy, and for a first film, suffocatingly sad and exciting.