A Quote by Jon Oringer

It turned out it was really easy to create commercial stock footage. — © Jon Oringer
It turned out it was really easy to create commercial stock footage.
There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.
With every project I start out on, there's no footage. It's always a big slog to find the footage.
Americans have a hard time writing moms. I'll get a script and everything's really great and well-drawn, but the mom is like stock footage, they go and get that out. They plug it in, this idea of "mother." You could lift moms out of any script, no matter what the culture, what the neighborhood, what the economic status, and you could switch them around, and they'd be the same person. I think it's because most people don't really have a human idea, a specific life that they attach to who their mother was. Their mother was there for them, so it either gets deified, or the opposite.
I really don't like to take the easy way out, if I can help it, on anything I do, I like to really make it a challenge. I don't know how to create by taking the easy routes. I've tried, you know, I've tried to let myself, but I always struggle to compensate.
Look at a football field. It looks like a big movie screen. This is theatre. Football combines the strategy of chess. It's part ballet. It's part battleground, part playground. We clarify, amplify and glorify the game with our footage, the narration and that music, and in the end create an inspirational piece of footage.
It's really not easy to be an artist. It's not easy to put yourself out there and be honest. I'm making things that are really happening to me, and it's not easy to share that with the world.
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
I turned down a lot of things that were so-called commercial. You're coming out of one film, and then they want you to be in the same one.
Before I turned 30, I worked to create Ksenia Sobchak. Ksenia Sobchak turned out to be appalling and terrible in some respects, but nice in others.
The aggregate capital appears as the capital stock of all individual capitalists combined. This joint stock company has in common with many other stock companies that everyone knows what he puts in, but not what he will get out of it.
In 1982, fellow film student Amanda Richardson and I went to Greenham Common for the day - to see what was going on and to shoot some video. The day turned into a weekend, the weekend into seven months, and the dozens of hours of footage turned into a film - 'Carry Greenham Home.'
I wasn't really writing with anything commercial in mind I just wanted to create some new music.
I've decided something: Commercial things really do stink. As soon as it becomes commercial for a mass market it really stinks.
Basically, what I do is place a stop, generally 10 to 20 percent below the current price, whenever I buy a stock. The exact level depends on my own analysis of a stock's trading pattern. If a stock violates this stop, I'm out.
Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.
I think there are a lot of people out there that are speculating in the stock market. They have all kinds of tech stocks or social media stocks. If you want to gamble in the stock market, I would much rather gamble on a mining stock than a social media stock.
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