quote of the week

“I've been betrayed by circumstances!”
(Sôseiji/Gemini, Tsukamoto Shinya (1999))

quote of the week

“- 'What is a cynic?' - 'A man who knows the price of everything and the value of nothing.'”
(Oscar Wilde, Lady Windermere's Fan (1892))

“the torch” #28 – in the crux: Trailers

These days there is an art to almost everything, it seems, the “art” of investing, of housekeeping, scheduling, or even relaxing. How about wrapping, then? This argument can be stretched, of course, indefinitely if need be, but what is being addressed is the issue of marketing and, to be more specific, the question of packaging and advertising a film – most pointedly by way of a striking preview to launch a substantial theatrical release. Japanese culture is known to hold some rather eclectic views about refinement in marginalia or aspects of life elsewhere perceived too common or obscure, and the opening scene in Matthew Barney’s “Drawing Restraint 9” might provide a clue to just what such visual origami could be: your meticulously crafted trailer.
All art eventually will attest to the degree of skill that brought it forth and so to match appearance with a substance matter is as well an ethical task, betraying honesty. Be careful, then, what you sell your film by (and for) – argues: “The Torch”.

(pic©mo)

quote of the week

Aug', mein Aug', was sinkst du nieder?
Goldne Träume, kommt ihr wieder?
Weg, du Traum! so gold du bist;
Hier auch Lieb' und Leben ist.

Eyes, why downcast now? What shining
Dreams return, what repining?
Golden dream, I break your spell!
Here is love and life as well.

(Johann Wolfgang von Goethe, On The Lake (1775))

quote of the week

“I say even if all these remarks are correct in themselves, the manner in which he brings them forth shows that his understanding is clouded by simplemindedness and presumption. The commentators tell us: the correct understanding of a matter and misunderstanding the matter are not mutually exclusive.”
(Franz Kafka, The Trial (1925))

“the torch” #27 – In search of the perfect film – or audience?

This column by definition raises many a burning question and customarily tries to undermine some of the best-held beliefs in our developing filmmaking community, but no other issue, perhaps, has had a more crucial point to make, none has put more at risk than this one. Obviously, learning is essential and it is always the acquired skill that empowers the filmmaker to shape a vision and affect people in their lives and dreams by their very profession; and this is a long and winding, in fact, an unending road to travel with much patience. But education is no substitute for talent or inspiration. To stick with the rules as recorded in the books, your invaluable art instruction – it's not a choice, if only for him who already masters the craft. That’s because every game needs to be played according to the rules, or else it just amounts to brutish wilfulness but will never be fair – and yet, it is equally true that the play is the most basic principle in nature variation coming to life.
Stakes are high for we are talking about perfection and nothing less, so do position yourself: here.

(pic©mo)

quote of the week

“Nouns name the world. Verbs activate the names. Adjectives come from somewhere else.”
(Anne Carson, Autobiography of Red (1998))

Go SIFF!

Guess what spring brings: the 21^st edition of Singapore International Film Festival will serve us yet another careful selection of some of the best in contemporary Asian and World cinema. Running from April 4 to 14 this year, this well established launching pad for many a filmmaker from Singapore has actually added a whole new section, Singapore Panorama, to its programming scheme, and a new venue, Sinema Old School, as well. So we are in for a number of surprises, I bet, and this being said, there should be no more doubt left with anyone as to where everybody will come together shortly, right?!
For details, go visit their official website: here.

(pic©Singapore International Film Festival 2008)