A Quote by Hollis Frampton

Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of 3 historic montage styles, for three perceptual modes mimed by that work.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
Well, I'll be honest with you, sometimes you don't know you're playing a moment that's going to be in a montage. Sometimes it's a scene that didn't work out the way you hoped it would be and ends up in a montage.
If the many and the One be indeed the same Reality, then it is not all modes of worship alone, but equally all modes of work, all modes of struggle, all modes of creation, which are paths of realization. No distinction, henceforth, between sacred and secular. To labour is to pray. To conquer is to renounce. Life is itself religion. To have and to hold is as stern a trust as to quit and to avoid.
Imitation is the homage mediocrity pays to greatness.
The experimental film scene was very much misogynistic as well. I don't know if you have read what little attention was given to the films of Joyce Wieland, who was the wife of Michael Snow. Michael was the "genius" and she was not. If you look at the films they're wonderful, but very different. Michael was very proud of the films too, so it was not coming from him. It was coming from the general environment. I think both Chantal Akerman and I shared that. We wanted to find a language, which was the language of women.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
The invention of photography has dealt a mortal blow to the old modes of expression, in painting as well as in poetry, where automatic writing, which appeared at the end of the nineteenth century, is a true photography of thought. Since a blind instrument now assured artists of achieving the aim they had set themselves up to that time, they now aspired, not without recklessness, to break with the imitation of appearances.
I think part of that comes from time's passed, and she's been in an environment where training is part of the thing. It's not like we do a montage of her discovering her powers like in every X-Men film but yeah, there's no montage. But she does have these new abilities that we pick her up with.
I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.
I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.
I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.
A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.
It takes between three and six hours to make each snowball, depending on snow quality. Wet snow is quick to work with but also quick to thaw, which can lead to a tense journey to the cold store.
Whenever I work on a film, I have three rules. Only three and I tell them to every screenwriter. I say let's retain the spirit and the intent of the overall story. Let's make it the best film that we possibly can.
To illustrate the vain conceit that the universe must be somehow pre-ordained for us, because we are so well-suited to live in it, he [Douglas Adams] mimed a wonderfully funny imitation of a puddle of water, fitting itself snugly into a depression in the ground, the depression uncannily being exactly the same shape as the puddle.
A mathematician is a person who can find analogies between theorems; a better mathematician is one who can see analogies between proofs and the best mathematician can notice analogies between theories.
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