Arundhati Roy, speaking at the Lannan Foundation Lectures:
"In follow up to the 1917 Balfour declaration which imperial Britain issued with it's army massed outside the gates of Gaza. The Balfour declaration promised Europeon Zionist a national home for Jewish people. At the time the Empire on which the sun never set was free to snatch and bequeath national homes like a school bully distributes marbles. How carelessly imperial power vivisected ancient civilizations. Palestine and Kashmir are imperial britain's festering, blood drenched gifts to the modern world. Both are fault lines in the raging international conflicts of today. In 1937 Winston Churchill said of the Palestinians, I quote, 'I do not agree that the dog in the manger has the final right to the manger even though he may have lay there for a very long time. I do not admit that right. I do not admit for instance that the great wrong has been done to the red Indians of America or the black people of Australia. I do not admit that a wrong has been done to these people by the fact that a stronger race, a higher grade race, a more wordly wise race to put it that way has come in and taken their place'. That set the trend for the Isreali's state's attitude towards Palestinians."
Google it. Or just admit that we are a higher grade race.
- J
Wednesday, December 31, 2008
Saturday, December 27, 2008
Road
I met up with David Mullet recently. He is a director I worked with throughout his RCA (Royal College of Art) years. He is now signed to RSA (Ridley Scott Associates). It's a top production company that as an up coming director, one wants to be working for. I once knew such a director called David Slade. He was and still is, a small quiet guy. When we met he was doing £5000 videos at the time. He moved on. 7 years later, he went to South Africa to shoot Rob Dougan's, 'Clubbed to Death' that cost £100,000. It is one of the best videos I have ever seen. Even now. So far, he has shot features, 'Hard Candy' and '30 Days of Night'.
He was my best friend's partner. Who he subsequently left in a cowardly fashion after 10 years of being together. It was a dramatic moment of 'our' times as they were the couple that seemed destined to be together. That was only 6 years ago. How life changes so quickly.
David Slade spent 7 years shooting for various production companies before he got to RSA. He didn't drink, he didn't smoke, he barely had any friends. He would shoot photographs and write endless treatments. He showed me his sketchbooks and lomo photographs. Both him and my best friend inspired me enough to reslise that one could make it in the film industry or at least getting paid to do what you love. For that, I cannot fault him for.
After 6 years of doing doing Cinematography, I am still chugging along and doing ok, not great, but i cannot complain. I shoot music videos and corporates and features, budgets ranging from £2000- 30,000. I do have other preoccupations and life goals. And the next step is only a beat away.
At some point in time, David let go of what seemingly was the most important thing in his life- the love and support of my dearest friend- and left to LA, never to return. He now has child and a seemingly promisng career.
I feel I am coming to a point where my decisions are going to be pivotal to development and road as a person. Not only do we follow our hearts at such times, but we must consider the significant other people in our lives who made everything you are today, possible. I don't believe in sacrificing for film anymore. Life comes first. You have to ask yourself why would you...
- J
He was my best friend's partner. Who he subsequently left in a cowardly fashion after 10 years of being together. It was a dramatic moment of 'our' times as they were the couple that seemed destined to be together. That was only 6 years ago. How life changes so quickly.
David Slade spent 7 years shooting for various production companies before he got to RSA. He didn't drink, he didn't smoke, he barely had any friends. He would shoot photographs and write endless treatments. He showed me his sketchbooks and lomo photographs. Both him and my best friend inspired me enough to reslise that one could make it in the film industry or at least getting paid to do what you love. For that, I cannot fault him for.
After 6 years of doing doing Cinematography, I am still chugging along and doing ok, not great, but i cannot complain. I shoot music videos and corporates and features, budgets ranging from £2000- 30,000. I do have other preoccupations and life goals. And the next step is only a beat away.
At some point in time, David let go of what seemingly was the most important thing in his life- the love and support of my dearest friend- and left to LA, never to return. He now has child and a seemingly promisng career.
I feel I am coming to a point where my decisions are going to be pivotal to development and road as a person. Not only do we follow our hearts at such times, but we must consider the significant other people in our lives who made everything you are today, possible. I don't believe in sacrificing for film anymore. Life comes first. You have to ask yourself why would you...
- J
Wednesday, December 24, 2008
2009
This year has been the quickest year on record. I have spent nearly 4 months of the year outside of the UK so that may have something to do with a warped perception of time. Altogether 9 weeks in Hong Kong, 3 weeks in Beijing, 1 week in Norway and 2 weeks in Poland. Next year though, I may be gone for most of the year.
I met with a director friend of mine who i have worked with for years up until he joined a big production company. At present he doesn't have much say in who shoots with him at this point but we hope we can work together next year. He will help forward my reel to them before he moves back to New York in Jan.
I have been offered to do some work in Puerto Rico for 5 weeks next summer. We need to wait for funding. But there is something else that I may do instead.
I don't know too many details but I may have the oppotunity to travel around rural China with two other people, one of which I met at a book signing in Beijing- for his book) which I am trying to get published internationally. It will be for over a year documenting the travelling. I am unsure as to when it will begin. Some of the routes through China can be quite treacherous. It is one of my goals to travel to many places in China though I did not expect an oppotunity like this to present itself so soon and I find myself unprepared to face a possible reality of that happening. I was ready to move to Beijing for 6 months of the year but going into rural China for twice that time is different on many levels. Despite the reality of danger and the length of time, experiencing the journey outweighs those reasons for apprehension.
I realize it may be a trip I may not come back from, though at the same time, I cannot seem to bring myself to pass up this oppotunity that may never present itself again. I understand that in the process of gaining something great, one may need to let go of many things.
- J
I met with a director friend of mine who i have worked with for years up until he joined a big production company. At present he doesn't have much say in who shoots with him at this point but we hope we can work together next year. He will help forward my reel to them before he moves back to New York in Jan.
I have been offered to do some work in Puerto Rico for 5 weeks next summer. We need to wait for funding. But there is something else that I may do instead.
I don't know too many details but I may have the oppotunity to travel around rural China with two other people, one of which I met at a book signing in Beijing- for his book) which I am trying to get published internationally. It will be for over a year documenting the travelling. I am unsure as to when it will begin. Some of the routes through China can be quite treacherous. It is one of my goals to travel to many places in China though I did not expect an oppotunity like this to present itself so soon and I find myself unprepared to face a possible reality of that happening. I was ready to move to Beijing for 6 months of the year but going into rural China for twice that time is different on many levels. Despite the reality of danger and the length of time, experiencing the journey outweighs those reasons for apprehension.
I realize it may be a trip I may not come back from, though at the same time, I cannot seem to bring myself to pass up this oppotunity that may never present itself again. I understand that in the process of gaining something great, one may need to let go of many things.
- J
Wednesday, December 17, 2008
Bille Jean in Brzeszcze
After Warszawa I planned to accompany my friend to her home town of Brzeszcze, near Oswiecin (Auschwitz). Her dad drove all the way to Warszawa to pick us up as she had brought 3 cinema chairs that needed picking up from Panavision Polska. I lay in the back of the car next to 3 cinema chairs crammed in but it was quite confortable. I wrote my journal until I fell asleep. We arrived in Brzeszcze about 2am. It was a newly built house from scratch by her father. Two years in the making though running out of money, haven’t been able to finish it though they have started living in it.
It’s one of those buildings that looks so much smaller from the outside. But the interior is large and beautiful made. These houses aren’t replicas of the houses next door but of it’s own design. It follows much of the architecture style that is prevailent around here though is not an exact mould of another house. I was surprised at the scale of the furnishing and quality of space. A fireplace with a glass door was something I had only seen in a mansion in a film or brochure.
I took a short visit to the ex concentration camp in Oswiecin which is now a museum. I was reminded of the film Schindler’s List. Original suitcases, glasses, clothes, shoes and other belongings were on display. Possessions of the murdered. In block 11 was the firing wall where they shot thousands of people. To step inside there was almost crippling. I had been to Dachau many years ago but this was something else. To know how many people starved, beaten, tortured, gasses and shot here was difficult for me to be standing in the same spot. The air was freezing and death really hangs in the air.
I know it maybe cliché but I really did sense the death and felt surrounded by the genocide when I was there.
Photography is generally not allowed so I have not one photo of the place. These are places you really have to be to even a little, understand it’s meaning as a human being.
I had a great time otherwise with my friend’s folks. We would sit and drink Vodka and smoke. I taught them some Origami and Chinese and they me some Polish. At some point, I even tried to teach her father how to moonwalk.
Most surprising about Oswiecin was the architecture of houses. Though strangely, bang in the town centre sits a ugly 70's block surrounded by quite nice buildings.
the town centre
- J
It’s one of those buildings that looks so much smaller from the outside. But the interior is large and beautiful made. These houses aren’t replicas of the houses next door but of it’s own design. It follows much of the architecture style that is prevailent around here though is not an exact mould of another house. I was surprised at the scale of the furnishing and quality of space. A fireplace with a glass door was something I had only seen in a mansion in a film or brochure.
I took a short visit to the ex concentration camp in Oswiecin which is now a museum. I was reminded of the film Schindler’s List. Original suitcases, glasses, clothes, shoes and other belongings were on display. Possessions of the murdered. In block 11 was the firing wall where they shot thousands of people. To step inside there was almost crippling. I had been to Dachau many years ago but this was something else. To know how many people starved, beaten, tortured, gasses and shot here was difficult for me to be standing in the same spot. The air was freezing and death really hangs in the air.
I know it maybe cliché but I really did sense the death and felt surrounded by the genocide when I was there.
Photography is generally not allowed so I have not one photo of the place. These are places you really have to be to even a little, understand it’s meaning as a human being.
I had a great time otherwise with my friend’s folks. We would sit and drink Vodka and smoke. I taught them some Origami and Chinese and they me some Polish. At some point, I even tried to teach her father how to moonwalk.
Most surprising about Oswiecin was the architecture of houses. Though strangely, bang in the town centre sits a ugly 70's block surrounded by quite nice buildings.
the town centre
- J
Tuesday, December 16, 2008
Warszawa
Last year was the first time I was in Warsaw. I was with my friend and Camera Assistant who's Polish and she said, 'Warszawa...' (pronounced Varshava with a roll on the R)
'What? Do they say it like that?'
'They? Yes, WE do saw Warszawa. We don't say WAR- SAW, we say Warszawa...'
From that point onwards, I say Warszawa, I say Krakow and I say Lodz ('woodge').
Nearly 90% of Warszawa was bombed to rubble during the Second World War and has been rebult since. So badly decimated that the capital of Poland temporarily moved to Lodz.
I spent a few days here after Lodz. Didn't have the greatest time here but there were some good moments.
Stare Miasto (Old Town)
Stadium
Milk bar. Old school canteen with old scholl cheap Polish food. I got told off twice here for taking pictures.
Metro, obviously.
I went into a bar and just as I got my drink I bumped into someone
I know from Camerimage who I met last year. She lives in Warszawa.
Downtown Warszawa by night
- J
'What? Do they say it like that?'
'They? Yes, WE do saw Warszawa. We don't say WAR- SAW, we say Warszawa...'
From that point onwards, I say Warszawa, I say Krakow and I say Lodz ('woodge').
Nearly 90% of Warszawa was bombed to rubble during the Second World War and has been rebult since. So badly decimated that the capital of Poland temporarily moved to Lodz.
I spent a few days here after Lodz. Didn't have the greatest time here but there were some good moments.
Stare Miasto (Old Town)
Stadium
Milk bar. Old school canteen with old scholl cheap Polish food. I got told off twice here for taking pictures.
Metro, obviously.
I went into a bar and just as I got my drink I bumped into someoneI know from Camerimage who I met last year. She lives in Warszawa.
Downtown Warszawa by night
- J
Monday, December 15, 2008
8 Days a Week
I used to think it a little excessive that people would get on a plane and travel to a place where there was a convention or sorts. Even, a film festival- unless of course you are trying to represent your pitch, script or film. I’m not sure what made me to decide to go to Lodz the first time last year. But after that, I couldn’t wait for another year to attend this one. But a year I did wait. I was off the plane and into a taxi, checked into the hotel and walked to Kaliska bar to meet a friend from last year. From plane to bar was less than an hour. Finally, I had arrived.
Lodz, pronounced ‘Woodge’ has been described in a Polish film as‘the arsehole of Poland’. Indeed many of the crumbling buildings peel paint so beautifully it looks like art. Much money has been spent on the main shopping and entertainment centre, ‘Maufactura’ and the soon to be built arts centre, supported by David Lynch. But Lodz, like many cities in Poland is fairly bleak looking. Bleakness has it’s quiet beauty. While walking from the grand theatre to the other cinema to the bars on and off Piotrkowska, one will come across this bleakness. Among the film students, films, alcohol, established Cinematographer’s and us, the mist of Lodz surrounds us. Though during this festival, all of us create this air, this shared love of film and comradery that makes the broken pavements, the cold, the grim architecture, all part of the festival. There was serious discussion about moving the festival to Warsaw, but it’s not happening. This festival belongs to Lodz. It is where Kieslowski and Polanski studied at the famed film school. Lodz needs this festival, even if it is being moved to the new arts centre.
Many people, including myself did not think the festival was very good this year. Due both to the lack of good films and lack of attendance, I felt it too. At first I was unsure whether of not it was because it was my second time there but after the students failed to turn up in force on their competition day, it seemed clear. Despite this, I was able to again meet new people both UK camera assistants and young Cinematographers.
Nonetheless, many of us stayed up to chat, drink and dance till 6am for 8 consecutive nights. We wouldn’t see much of each other during the day but would all meet at some point at the Centrum hotel where they hold the crummy eurotrash disco. We would spend most of the time in the lobby chatting. Among us were regulars Michael Chapman (Taxi Driver, Raging Bull) and Roger Deakins (Old Country for Old Men, Jarhead). One night I had got there early and saw Michael Chapman at the bar drinking straight Vodka. I had a brief work with him the other day so he knew my face. We started chatting and I wanted to buy him a drink He insisted he buy and I said I wasn’t going to argue with him. He said good because he’s run crews of hundreds. It’s Michael Chapman so when when he says jump, that’s what you do. When asked if he was shooting anything, he replied, ’No, I’m retired, I’m just an old fart!’. We did end up having a small conversation about what he said in the seminal book, ‘Masters of Light’ and about Vancouver.
People I knew started arriving when I was talking to Roger Deakins. He’s a friendly guy though aware how many people want to speak to him. I was lucky enough to speak to him for about 15mins. So noticeable was this that everyone I spoke to afterwards would ask me what we talked about.
Both Deakins but more so Chapman, when you get up close, are pretty frail. Billy Williams too though always in good spirit.
At the press conference for Ellen Kuras’s documentary, ‘The Betrayal’ (which took 23 years to make) I ended up asking the most questions (as with Harris Savides last year). So afterwards at the café, she knew my face. We chatted a little as we were both walking out of the Community Centre.
At times, many of us young Cinematographers can think that many of these established people have some special ability but far from being the truth, I have realized that many of them do not. Through the opportunity to experiment to hone their craft, they have become, a very skilled artist. But it does take experience.
On the last day though, me and a new friend Neil stayed up till 8am and ended up having a free breakfast at the Centrum hotel with all the established Cinematographers including Billy Williams, Michael Seresin, Tom Stern and even Alan Parker who came in with massive brown dungarees. When you see most of them talk about their work either at the press conference or in a workshop, they obviously have an air of something about them, as ‘masters’ of their craft. When I spoke to Roger Deakins and Michael Chapman, when you get up close, they both are quite frail men. At breakfast watching Michael Seresin stand next to the shoddy coffee machine, it was an interesting sight. They became even more human than they were during the workshops and talks. Half awake, eating breakfast quietly, these modern legends of film making in one room and there, I was.
On a last note, this year was made easier as I have been learning bits of Polish this year and was able to order food and drinks and express pleasantries. It makes so much difference… I highly recommend it.
Viggo Mortensen, with lots of panting Polish young women in the audience
Tram tracks
Ewelina. My girl in Lodz
L- R: Ania, my friend and AC. Magda who i met last year
Us, young DP's
Ellen Kuras
Roger Deakins lighting workshop
Polish restaurant. "Poprosze Zurek i Kawa..."
The Lodz, Hells Angels Father Christmas club
- J
Lodz, pronounced ‘Woodge’ has been described in a Polish film as‘the arsehole of Poland’. Indeed many of the crumbling buildings peel paint so beautifully it looks like art. Much money has been spent on the main shopping and entertainment centre, ‘Maufactura’ and the soon to be built arts centre, supported by David Lynch. But Lodz, like many cities in Poland is fairly bleak looking. Bleakness has it’s quiet beauty. While walking from the grand theatre to the other cinema to the bars on and off Piotrkowska, one will come across this bleakness. Among the film students, films, alcohol, established Cinematographer’s and us, the mist of Lodz surrounds us. Though during this festival, all of us create this air, this shared love of film and comradery that makes the broken pavements, the cold, the grim architecture, all part of the festival. There was serious discussion about moving the festival to Warsaw, but it’s not happening. This festival belongs to Lodz. It is where Kieslowski and Polanski studied at the famed film school. Lodz needs this festival, even if it is being moved to the new arts centre.
Many people, including myself did not think the festival was very good this year. Due both to the lack of good films and lack of attendance, I felt it too. At first I was unsure whether of not it was because it was my second time there but after the students failed to turn up in force on their competition day, it seemed clear. Despite this, I was able to again meet new people both UK camera assistants and young Cinematographers.
Nonetheless, many of us stayed up to chat, drink and dance till 6am for 8 consecutive nights. We wouldn’t see much of each other during the day but would all meet at some point at the Centrum hotel where they hold the crummy eurotrash disco. We would spend most of the time in the lobby chatting. Among us were regulars Michael Chapman (Taxi Driver, Raging Bull) and Roger Deakins (Old Country for Old Men, Jarhead). One night I had got there early and saw Michael Chapman at the bar drinking straight Vodka. I had a brief work with him the other day so he knew my face. We started chatting and I wanted to buy him a drink He insisted he buy and I said I wasn’t going to argue with him. He said good because he’s run crews of hundreds. It’s Michael Chapman so when when he says jump, that’s what you do. When asked if he was shooting anything, he replied, ’No, I’m retired, I’m just an old fart!’. We did end up having a small conversation about what he said in the seminal book, ‘Masters of Light’ and about Vancouver.
People I knew started arriving when I was talking to Roger Deakins. He’s a friendly guy though aware how many people want to speak to him. I was lucky enough to speak to him for about 15mins. So noticeable was this that everyone I spoke to afterwards would ask me what we talked about.
Both Deakins but more so Chapman, when you get up close, are pretty frail. Billy Williams too though always in good spirit.
At the press conference for Ellen Kuras’s documentary, ‘The Betrayal’ (which took 23 years to make) I ended up asking the most questions (as with Harris Savides last year). So afterwards at the café, she knew my face. We chatted a little as we were both walking out of the Community Centre.
At times, many of us young Cinematographers can think that many of these established people have some special ability but far from being the truth, I have realized that many of them do not. Through the opportunity to experiment to hone their craft, they have become, a very skilled artist. But it does take experience.
On the last day though, me and a new friend Neil stayed up till 8am and ended up having a free breakfast at the Centrum hotel with all the established Cinematographers including Billy Williams, Michael Seresin, Tom Stern and even Alan Parker who came in with massive brown dungarees. When you see most of them talk about their work either at the press conference or in a workshop, they obviously have an air of something about them, as ‘masters’ of their craft. When I spoke to Roger Deakins and Michael Chapman, when you get up close, they both are quite frail men. At breakfast watching Michael Seresin stand next to the shoddy coffee machine, it was an interesting sight. They became even more human than they were during the workshops and talks. Half awake, eating breakfast quietly, these modern legends of film making in one room and there, I was.
On a last note, this year was made easier as I have been learning bits of Polish this year and was able to order food and drinks and express pleasantries. It makes so much difference… I highly recommend it.
Viggo Mortensen, with lots of panting Polish young women in the audience
Tram tracks
Ewelina. My girl in Lodz
L- R: Ania, my friend and AC. Magda who i met last year
Us, young DP's
Ellen Kuras
Roger Deakins lighting workshop
Polish restaurant. "Poprosze Zurek i Kawa..."
The Lodz, Hells Angels Father Christmas club- J
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