From: carlos.adriano (email suppressed)
Date: Sat Feb 04 2006 - 10:54:35 PST
Pablo Marin's commentaries are judicious and point out to the delicate and
intricate questions involved in such a matter that depends on lots of
specific conditions and contexts, besides the respect to the integrity of a
work and the artist's intention. Not easy, no way out.
Perhaps due to my lack of command in english I could not let it clear: no,
my main drive as we decided to make our trip to Vienna had nothing to do
with editing a book. We were interested in meeting that fascinating artist
and watching his full work, out of sheer curiosity, an intellectual /
sentient need: it was a research trip of pleasure and knowledge.
Old-fashioned naïveté? One of those crazy "utopian" impulses? Maybe... At
least one time in life one shall be allowed... Otherwise, that was a sort of
subject that establishments do not care, so if one believes in it and wants
it, he / she hopeless must go on alone adrift...
I would not guess about writing a book without seeing / hearing the films
themselves first, even if I had read overenthusiastic eulogy on his films.
However, I might admit that sharing his work with Brazilian audience was one
of the following ideas. But it must be stated that we worked at our own cost
and risk, without any support until the eventual setting up of the show
(after so many years trying "to sell" the project for sponsors); the
"investment" appeared to be a lost horizon (unless one may consider the
rewarding of a discovery or "revelation" as a regain of any investment).
I read in Cahiers du Cinéma that Olivier Assayas worked out with his film
editor on Guy Debord project (restoration and edition on dvd) also as a
(should I dare to use this?) "labor of love" (my words; Assayas did not use
these), "without money circulating among pockets" (that would be a quote if
memory does not serve me badly; or something like that; I do not have the
magazine here to confirm his phrase), at least until the final disclosure of
the project and its coming to an end as "product". Sometimes it happens,
sometimes it works...
----- Original Message -----
From: Pablo Marin <email suppressed>
To: <email suppressed>
Sent: Saturday, February 04, 2006 3:03 PM
Subject: Re: Peter Kubelka VHS
> seems to me that Carlos Adriano main drive was not
> simply viewing Kubelka´s films but in fact also edit a
> book. in those terms, the money spent on the project
> was more like an investment than anything else.
> his last sentence sure is beautiful ("I do not think
> anyone should think of `surely die without watching´
> any film; one must live to do so."), but again, i must
> agree with the "realism" of Jorge Amaro: sometimes you
> just can´t. first because of the money, and second
> because, depending on the country anyone of us live,
> you can´t rent a film if you´re not involved in an
> institution of some kind.
> pablo marin
> buenos aires.
> --- "carlos.adriano" <email suppressed> wrote:
> > Jorge Amaro wrote:
> > > Yes, I can understand perfectly, but again, living
> > outside the screening circles, it's difficult to see
> > them in any other format, If it wasn't for that
> > bootleg tape, I would surelly die without watching
> > his films. Anyways thank you for the info.
> > I do live outside the so-called "screening circles"
> > too, but there are ways to deal with that. As Fred
> > Camper put it, Kubelka's films can be rented in
> > 16/35mm prints from a variety of sources in U.S. and
> > Europe (ok, that means rental & shipping costs,
> > customs and difficulties, but that does not justify
> > quitting the search for "the real thing").
> > Embarassed to show-off myself, I'd like to quote a
> > personal account. I and my friend / partner Bernardo
> > Vorobow struggled for more than five years to bring
> > Kubelka to Brazil (fights for sponsorship etc, even
> > against trade and official Austria's lack of
> > interest): but we were able to invite him to come,
> > show all his films, give lectures, and we also
> > edited a book (which seems to have pleased him, due
> > its graphic design and content approach). We did not
> > bring his films so that we could watch them first,
> > although that would not be a bad idea (cinephilia
> > program was made out of this: one person's desire to
> > see a movie takes him / her to show it for him /
> > herself and share with others). We had already seen
> > his films before our Brazil's screenings. We
> > arranged to travel to Vienna in order to meeting
> > Kubelka and watching his films at screen and moviola
> > (research, interview, texts for the book). Our main
> > drive (after having heard about the work and got
> > interest in it) was to look for the author / artist
> > to meet the person and the work... I do not think
> > anyone should think of "surely die without watching"
> > any film; one must live to do so.
> > Carlos Adriano
> > São Paulo, Brazil
> > For info on FrameWorks, contact Pip Chodorov at
> > <email suppressed>.
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> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.