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Extra info for A Critical Cinema 2: Interviews with Independent Filmmakers (Bk. 2)

Example text

MacDonald: Did film grab you right away? Breer: By the time of Jamestown Baloos I was enthusiastic. But at first I was scared of the camera. I had an aversion to photography, partly, I suppose, because of my father's enthusiasm for it. The only big fight I ever had with him was over his taking pictures of me, and of stopping things to take pictures of the family. He came to visit me in Europe, and we'd go to a restaurant, and he'd stand on the next table and take pictures. It was embarrassing. It seemed to me then that he photographed everything before he reacted and could only react after he'd developed his pictures.

Breer's animations continually toy with our way of making sense of moving lines and shapes. At one moment, we see a two-dimensional abstraction, and a moment later a shift of a line or a shape will suddenly transform this abstraction into a portion of a representational scene that disappears almost as soon as we grasp it. In Wavelength (1967) and Back and Forth [«] (1969), Snow sets up systematic procedures that allow him to reveal that certain types of events, or filmstocks, or camera speeds cause the same filmed spaces to flatten or deepen, to be seen as abstract or representational.

His film style is often wildly free-form; his gestural camera movements, quick editing, and single-framing create a sense of childlike excitement about the people and places he records. His films are sensual but avoid the erotic, and in recent years they have celebrated the joys of the conventional nuclear family. Baillie's filmmaking began when he moved to San Francisco and often reflects the Eastern influences that were so pervasive on the West Coast during the sixties. While he too developed a hand-held personal style, its tendency has always been toward the meditative.

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