Great scene from John Water's Cecil B Demented where a party of typical film rubes are ambushed by underground filmmakers.
So it was a stormy New Year's night here and that made for a brilliant entry into 2010. A few things I have been considering for my movements into the next decade. Snuffboxfilms is gradually becoming a subsidiary of a grander project I have been developing Ménage á Trois Transmedia, my mobile office of cross-platform art, as I have been considering myself more a video contextualist rather then an actual filmmaker as such.
I splurged out on a 16mm camera, as my previous film was shot on 16mm and to tell you the truth I'm a little bored with digital filmmaking unless it uses the technology to push narrative ideas in interesting and unusual directions. I did find it to be the case that when shooting on 16mm, the content was upheld better, the talent and crew put in more effort because of our limitations and I felt the challenges were nourishing rather then inhibiting.
I prefer to work across the mediums of theatre, film, music and painting. Not restricting myself to the simple structure of film narrative alone, and this extends into interactivity, website projects and computer games. Digital technology has allowed for a broader and more accessible facilitation of artwork but at the same time it has given every tom, dick and harry access to aiming to be successful filmmakers purely for the reward of being considered a filmmaker and unfortunately for the desire to walk the red carpet and nothing else with substance. This has meant that a lot of dull and uninteresting projects are being mollycoddled at the local Pro-Am level as something worth more then they actually should be. My desire to be more then arms length from these insipid rubes has led to the creation of Ménage á Trois Transmedia.
Fully understanding how self-rightious this may be, I have to admit that it makes me feel a lot better about what I do as an artist, and that provides for a lot in my personal perspective and my intrinsic interest in staying clear of what adversely clashes with my own ideals and creative outcomes.
Traditional cinema as we know it has been over-run with boorish men in caps playing "director" and pretending they understand entertainment, business and culture. I'm cheerfully alright with this as long as I don't have to stand next to them at film festival screenings. A lot of misguided folk get angry when people like me flaunt opinions like this, they get incensed, they take it personally, they think they are the ones being somehow attacked for what they believe to be the way and only way to go about making art. They want to beat their chests and conquer the artistic world, they want to be surrounded by glamorous women, they want a flash car and a pool and be able to tell people what to do by sitting in a chair that says "director". It is soulless. It is trite.
When Peter Greenaway stated that cinema was dead, I think more appropriately it is a dying horse that continues to be flogged in the same old fashion. Many would disagree but then perhaps they are not as picky in their views and less likely to express cynicism as people like myself enjoy doing.
So I want to fit my projects into a more diverse conversation and have been carefully laying out the plans for projects so that I may do this.
I am welcoming in 2010, with several new projects formulating in pre-production, and two old ones being picked up where they were left off. It should be an interesting decade for new approaches in art and how it manifests. I look forward to the triangular collaborations that will be born from Ménage á Trois Transmedia and the pleasures derived from creativity itself regardless of what it does for career or profit.