Jonas Mekas screening talkback

Jonas Mekas screening talkback



haiku rabbits Jedi – have you seen loss loss loss one of my favorite sequences called rabbits Shanghai food and it's sequences like that and now we're rolling in the snow I mean he could be counting to himself but I'm not on the screen he's well he says enter parentheses no well when he's going to Vienna before he goes he's leaves Lou's way Mia it's called reminiscence of a journey to way Mia he hadn't seen his mother for 25 years and his the farm he grew up in and it's so interesting because now he Jonas he seems you know elegant and he likes fine wine and fine food and fine restaurants and there it that farm he grew up in you know they don't have one running water and they had the oven outside and it's really interesting to me his family and his his love he was buried today in this way Mia he went back to be buried in the family cemetery so the numbers are for chapters like in heaven poetry or sequences yeah it seems like a lot of the like the different chapters varied a lot in terms of like their length was there any kind of purpose to that like there were some really short ones and like some longer ones I think it was dictated by the activity like one heat when they're dancing and it's like it he's catching the rhythm of the dance and the dancers so or if he's just looking at flowers and fields it's shorter sometimes yeah I think around I think around like the 60 60 like 60 to 64 65 mark there were some like 20 like 15-second little a lot of them were about like to check in there are the goods yeah I was just wondering it seems like a lot of those seem like they could have been combined into like one larger chapter and I was wondering if there was a reason why they were suffering I think that it rhythms like when you listen to a piece of mood music say a symphony if there's Cadence's and variations if you have the same structure then you're missing the rhythm there is not a structural is filmmaking so it's not formulate it's not dictated by a formula he's more poetic and that poetry has various rhythms and like a piece of music I could I prefer variations rather than oh you could combine these flowers and these films I think No anything that I'm just saying I'm just telling you what I think you did do you know / what course of time what did you say obviously because I was yeah but the interesting thing is 19 1951 you see everything's really really young isn't that amazing / what do you know / what course of time the whole film took to put together I think that film it starts in 42:51 I think it took a long time like 20 years Jonas didn't work fast he worked slowly and construct it's constructed on film not digital digital you work faster I think some people do it not me so he had the intention of making it over the course of 20 years yes I think he did because he he starts in the New York and then he goes back with me did you have a question was that a very artistic choice I think it's it's also what Phil's talking at with if you run up I like the when he goes to cover because after a while I was getting used to the black and white many color becomes so vivid I think first of all if you're traveling to lose weight and you're going to that really rustic area I think you had to carry like ten rolls of film and if we ran out of stock then that was intended then we went to be anything about more but in Leslie get access to film stuff especially 16-millimeter I think that it and they snot a structuralist filmmaking so eight filmmakers so he he has like he has handheld camera so that camera shakes and a booth and some young students said to me that they thought it was just you know the camera so shake it was disturbing but I think of it as a rhythm that it's like you play the piano music yeah and then it becomes you filled until make them we fill the rhythms of the filming or moving the camera which is part of the filming process his filming process all right well thank you so much a man

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