Matt dictation

Big on sort of an unspoken communication. It was about a kind of awkwardness, and loneliness, and all about a certain mood, emotion, and tone. Much of what the film conveyed was not anything that was said, or rely very describably besides it was more to be experienced than to be heard or seen, or to be understood verbally.

And, the film, “stranger in paradise” is a very good film, but it also has brilliant at the mood. It has these long awkward moments where nothing happens, so the camera is unflinching, and especially when that film was made it was rare. It was as if the camera would keep rolling when in almost an other film made the camera would have stopped. They kept in rolling. So, it makes you notice those moments. It made you aware of some of these conventions of editing and the power of not doing it conventionally. And, specifically, it was about those awkward in between moments that are not important to a linear narrative, but are incredibly important to mood, and non-verbal information. And, think that is a lot of what you are getting at.

There are some similarities visually to the film you have made, and stranger in paradise. Most of all black and white. There is a film and combination of imagery and sound, it has a timeless quality about it (non-dated) It could have been made in the 20s or the 30s, or the 90s it is has crumbling buildings, and stuff that has been there. Almost nothing in there was specific to this year, you can’t even see what the people are wearing. You are not too aware what model the cars are, and that kind of thing. But, trains seem to recall a different time.

Now, the thing that I found interesting about this film is, interesting and unexpected, is with what you are doing, it had a dramatized quality. It’s big and visual. I had the volume up to full volume. It’s loud and high-contrast black and white. So, its not subtle. In most of your color photography, it seems like you emphasize the ordinary and this is more extraordinary. Emphasizing the extraordinary dramatic interpretation of an ordinary thing.

Before making this film, I realized that it was a difficult task to find motion. People are not used to looking for motion. If you are trying to capture the landscape, it doesn’t move. You don’t need a film of that, a film that nothing was moving. I thought about why I am suing film and not photography to capture the landscape. What can film give me that photography can’t The film had my over the top motivation to make it move.

It would be interesting to see the same film with a very austere soundtrack, and to see how that would affect the mood of it.