From: Cari Machet (email suppressed)
Date: Thu Oct 20 2005 - 16:49:18 PDT
dear mark-
ur a genius of a beautiful man
thank you
thank you for your integrity
and time and energy
all the information was so great to read/learn
i very much meant no disrespect to you or ur work
it is just the painted work is so different
so complex to print...la la
thanks for understanding my impassioned remarks
but i do feel a need to apologize anyway
- not that my soliloquy's are really about me -
i cried when reading the list of his films
i wonder of his "persian series"
and the later painted work
bcause of the whole thing of what went down with the
ink/paint
that he had to use a different ink/paint
i am concerned that the later ink/paint is not as
stable chemically
ie won't hold up as long, withstand as much
thank you so much for ur kindness and especially in
asking to talk
i would love to talk with you
and will make arrangements w/ you off list
be well
and thanks again,
ur amazing and it is our great good fortune to have
you
c
--- Mark Toscano <email suppressed> wrote:
> Hi all -
>
> First, especially in light of Cari's totally valid
> comments/concerns about the Academy and Brakhage and
> preservation, etc., I'd like to invite anyone who
> wants to talk to me about the Brakhage restoration
> project (or any other related project for that
> matter)
> to email me personally at
>
> email suppressed
>
> at which point i will be happy to make arrangements
> to
> either speak with you on the phone, in person (in
> L.A.
> or another location we might happen to both be at),
> or
> email, although i'll state in advance that i usually
> don't have a heck of a lot of time to have long
> elaborate discussions in email.
>
> Cari, I especially would like to talk to you about
> this, if you want. I'm being totally sincere.
>
> In very general terms, I don't know if I can write
> some quick thing that would reassure folks in this
> forum who might be nervous about the Academy - an
> organization likely seen by many as the
> quintessential
> "industry" or "commercial" film entity - restoring
> the
> work of Stan Brakhage and other experimental makers.
>
> I can try. I'm not sure what specifically would be
> helpful.
>
> First of all, the Academy Film Archive is a
> nonprofit
> institution, part of the Academy Foundation, which
> is
> the nonprofit arm of the Academy of Motion Picture
> Arts & Sciences (AMPAS). This Foundation includes
> many other subentities, such as The Players
> Directory
> (a casting directory thing to help actors get
> visibility), the Nichols Fellowship (a screenwriting
> fellowship thingy), and the Academy's amazing
> library,
> which is fully accessible to any
> researcher/student/etc. who wants to access it.
>
> The Foundation's activities, which are numerous and
> quite diverse, are funded for the most part by the
> Academy Awards themselves. The Foundation works
> from
> an endowment which is supported to some degree by
> income generated from the Awards show. I have to
> admit I don’t know a lot of the details of this, so
> these are very general statements.
>
> In terms of the Archive's mission, it's quite broad
> and inclusive, as we consider anything worth
> conserving/preserving/restoring that "advances the
> art
> and/or science of motion pictures", which means just
> about anything. Tons of experimental work in
> particular would be considered essential and
> pioneering work in this context.
>
> The director of the Archive is Michael Pogorzelski,
> and the head preservation officer is Josef Lindner.
> Both of them are UW Madison graduates, former
> students
> of folks like JJ Murphy and David Bordwell. In
> addition to their love of film history and film in
> general, both have a serious interest in the
> avant-garde, and both have personally overseen quite
> a
> few restoration projects dealing with avant-garde
> work, specifically films by Warren Sonbert, Bruce
> Baillie, John Whitney, Oskar Fischinger, Hy Hirsh,
> Jules Engel, Jane Conger Belson Shimane, Patricia
> Marx, etc.
>
> Since I was hired in 2003, I've been put largely in
> charge of most of the avant-garde projects, which
> have
> grown quite noticeably in quantity since then. I
> previously worked for three years at Canyon Cinema
> as
> the print traffic/de facto assistant director
> person.
> I had, in those three years, developed a major
> familiarity with the films, the makers, and the
> state
> of the materials, having talked to filmmakers about
> their materials, gotten to know what their common
> problems were, seeing the state of available prints,
> etc. When I was hired at Academy, it seemed that
> this
> was of particular interest to them, to have someone
> who was more familiar with this ‘world’, with the
> idea
> that I would be focusing on a lot of this kind of
> work.
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.