To keep the electricity as non-static as is possibly possible, I got a new little toy camera and I’m shooting stuff as THE FEELING hits hits hits. Rather than, like a stubborn rat, just shooting when I have a BIG MOVIE PROJECT haphaphappening. I call it the Dates Series because the only title they have is the day I shot them. Finding poesy in minutia is sort of THE THING. Sticking it to THE MAN and keeping poetry alive, FOOL! LOVE, BOB
Tonight at the Clinton Street Theater, Karl Lind has put together a soul searing program. Come see many great things, including the Eat Skull music video I made with Ben Popp.
From here on henceforward the language here, particularly language used in discussions of my film works, will more accurately reflect the rhythms, attitudes, tones, ideas, DNA, food, vibrations, and data specifics OF MY FILM WORKS.
In the past I have erroneously presented my stylistic movie manifestos and manifestations in a fashion obscuring the dubconscious leaps contained within my cinema. LIKE A TRANSLATOR too bent on translating and getting the words wrong.
I have reshaped cinema according to my specifications for a desire to see the things gone unseen. I will reshape previous average languages to do the same. Like this.
Originally posted on Newsroom:
Portland filmmaker Bob Moricz began making films in the third grade, but life changed for him after meeting George Kuchar and being invited to witness the goings-on in Kuchar’s “AC/DC Psychotronic Teleplays” class at the San Francisco Art Institute. Brazenly anti-formalist, Moricz’s trans-genre film entertainments utilize conventional cinematic tropes only to reveal the banal falsities contained within them, ultimately transcending their narrow scope by opening up new revelations through neo-expressionistic no-fi imagery. Included in this mixtape of short films and excerpts are CHARLEMAGNE! (2012), NAKED PREACHER LADY (2012), I AM UGLY AND I WANT TO DIE SO WHY DON’T YOU JUST PLEASE FUCK ME (2010), BUMPS (2009), THE SLAVES OF DESTRUCTO (2007), A NIGHT IN THE LIFE OF DORIS DOLORES (2007), NOTHING IS GOOD (2006), A BIG ASS LUST FOR SPEED (2001), RICH LITTLE RICHARD III VERSUS THE CRACK WHORE MARINE CORPS (2000), GUTWRENCHED (1991), and more. (90 mins.)
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Paraphrasing, one of my favorite film makers, Mike Kuchar, said of movies, “There are many ways to skin a cat.” This, to me, is a very profound element of filmmaking.
A crane shot creates a certain emotional effect, a specific response. Is the crane shot the only way of achieving a certain sweeping emotional response? Certainly not. The composition of a shot can create the same effect without the use of such a bulky and expensive tool as a crane. The composition of a shot goes straight to the realm of raw human emotion. Will it have the same “production value” as a crane shot? Perhaps not. But when one is making movies, emotions are an important part of the picture. Some would say, the most important part of the picture. Those human feelings need to be engaged.
People seem to enjoy fighting for their opinions. Somehow it validates the human ego to make an argument and support it with evidence. “This must mean I am right.” For some it is all about professional looking cinematography. For some it is about the rough hand held stuff. Some are slaves to the narrative. Some only go for the avant garde. Seldom are both held in the same esteem. Humans have a tendency to really go for the binary. But there are so many destinations and pit stops in between. Why fight to prove one is better than the other? Why not just accept that there are many voices out there, many ways to skin a cat.
Let us not shut down the ability to enjoy and be enlightened by things that may not fall into the realm of what we have supposed as our personal taste. Just go with it. There are so many voices. We can listen to them. They have things to say and crazy, beautiful, terrifying, wild, songs to sing!
I was watching VHS 2 the other day and it hit me how audiences can’t really accept a no-fi approach to filmmaking unless it is part of the plot. I don’t get that. What a limited viewpoint. What a narrow scope of vision. The reason I make films is because I find it the most potent art form where sound and image meld into something almost metaphysical, something with the potential to enlighten. This can be done with a Flip just as potently as it can with a Red.
Instead, we apply tired and repressive dogmas to the way we see films. We can’t just accept a simple fact like this was shot using consumer grade video equipment. It’s like the audience puts its complete faith in knee jerk reactions. “Oh, this looks cheap. This must suck.”
How sad so many portals into strange and potentially illuminating worlds are neglected because of the audience’s hang ups and inability to suspend disbelief only if a very specific and stringent set of criteria is followed by the filmmakers. It is not the filmmaker’s job to follow restrictions set by the audience. The filmmaker’s job is to push those boundaries, to take the audience some place it has never been, even if it doesn’t want to go there. Art exists to do this. Why not do it in such a profoundly effective and accessible medium such as film?
Again, commerce diminishes the filmmaker’s potential to enlighten, as well as audience’s desire to be enlightened. It is a cycle of sickness and one can break free if externally imposed expectations are replaced with intrinsic motivation to learn, grow, and to find illumination.