Eastern bloc but in countries with a big
number of movie lovers. This has directly
affected the productivity of local film in-
dustries and has destroyed their ability to

~ compete with the American competitors,
not because of the content of their films,
but more because of the technical aspects
and the cost involved.

In such a supposedly desperate situa-
tion, what is the role of an artist-film-
maker? Is there really a way out of the big
American cultural melting pot or should
we all give in and sink into it?

Onan intellectual level, it would be very
hard for the individual both as creators or
viewers to decide wether to enter the sys-

tem of production or resist and continue to
struggle over creation. Especially in media
such as film and video, the close contacts
within a tight working group create the
dangers of concentrating on the production
more so than any other medium that in-
volves only the artist, ora maximum ofa
few others. _

I am entering the world of moving images
with an awareness over all the above is-
sues. I am more or less aware of the
limitations of film and expecta significant
resistance both from meand the mediumin
the beginning, but I also hope to be able to
externalize with film some of the ideas that
during the last fifteen years have occupied
my mind. It already looks like to be the
sixth step, next to opening of the
Michelangelo book, in my life as a wan-
derer.

The more I think about my origins and
my interests the more I realize that the
kind of art I want to create has to do a lot
with story telling. The kind of ideas that I
want to share with others are more com-
plex than can be dealt with in a single
image or a series of single images. For me
the moving image is the ultimate medium.
With its different elements film has the
potential required to represent the totality
of the big reality’. The element of time
helps me to selectively arrange my images
in an order that cannot lead to confusion or
miscommunication. The element of move-
ment breaks the impressionist quality of
the single image and enables both me and
the audience to consciously look at a sub-
ject involved in an evolution over a period
of time. If dialogue is the ultimate goal of
art, what could be better than sounds and
real physical dialogue to help a work of art
fulfil its role as a communication device?

I want to pay respect to simplicity and
honesty on my films. I will not forget that
the art will not be the film that I’ve made ,
but rather what others as an audience can
do with it outside of the screening room. I
want to operate a camera that is aware of
its one dimensional ability in dealing with
the multiple dimensional world around it;
a camera that not only can register a cer-
tain audio and visual anglein front of it,but
rather tries its best to look at the world of
indefinite three hundred and sixty degrees
in the space around it . While telling a
story, my film would not drowns the audi-
ence in or alienate them as a viewer/critic.
I will try to let the viewer participate in all
aspects of making a film; a much more
practical character suitable for the ultra
Post-Modern human. This participation
would be possible when the viewers are
given the chance to enter or exit the film by
changing the emphasize on different as-
pects of the film structure.

I don’t have any desire to magnify a
portion of reality to reduce another part of
it. I want to make films about real entities,
things that I have lived with, experienced,
met and got to know during my life. My
films not only in a figurative way but also
in a very literary sense would be about
different ways of understanding the world
around us. To me there is a profound
difference between literary and visual sto-

ries. The story ina book doesn’t end when
the reader finishes reading it. The lack of
imagery has already asked the reader to
create a great number ofimages through-
out the book. This process can also con-
tinue after the story is over. In many cases
the readers will go back and read the story
over again to complete their collection of
self-made images. In a film if the role of
the images is to only communicate the
plot, then the film has been reduced to a
product which will be consumed by the
audience. In this type of film there is no
room for the audience to participate in the

creation of images: once the film is over
theaudience will automatically stop think-
ing about the story and the re-viewing of
the same movie can be compared to the
consumption of a certain brand of choco-
late bar over and over again.

In my film I try to keep the images as
different as possible so the audience would
look at it again, not as a habit, but as a
mean to find out more about the people
andthe events. AsI wrote once about Jean
Luc Godard’s movies:

“His films keep the audience so occupied
with the past that it is not only almost
impossible to guess what will happen the
next while the movie is playing, it is also
impossible for them to understand the
whole thing by the time the film is over.”

This is a kind of film that audience
would remember or see again to find out
about undiscovered points or maybe a
totally different conclusion.

The biggest objection to me in the proc- -
ess of making art is how to choose the

“means that won’t contradict my ideas. In

film, this aspect of process lies in the types
and the level of technical complications
which I would allow entry into my crea-
tion. I want to try to be as honest as
possible with my techniques. This would
also allow me to keep costs down and save
on production. A simple row of images
blended with a simple strip of magnetic
sound is much closer to spirit of the big
reality than an over processed food for
thought.

As I mentioned before the ultimate goal
of my art would be the awakening of the
potential film-maker, or photographer, in
everybody, maximizing the level of par-
ticipation by the audience in the process of
communication and making use of the
ideas that are shared through the me-
dium.

Eastern bloc but in countries with a big
‘number of movie lovers. Thishas directly
affected the productivity of local film in-
dustries and has destroyed their ability to
compete with the American competitors,
‘not because of the content of their films,
but more because of the technical aspects
and the cost involved.

In such a supposedly desperate situa-
tion, what is the role of an artist film
maker? Is there really a way out ofthe big
‘American cultural melting pot or should
‘we all give in and sink into it?

Onan intellectual level, it would be very
hard for the individual both as creators or
viewers to decide wether to enter the sys-
tem of production or resist and continue to
struggle over creation, Especially in media
such as film and video, the close contacts
within a tight working group create the
dangers of concentratingon the produc
‘more so than any other medium that in-
volves only the artist, or a maximum of a
few others.

Tam entering the world of movingimages
with an awareness over all the above is
sues. I am more or less aware of the
Timitationsoffilm and lexpecta significant
resistance oth from meand themediumin
the beginning, but I also hope tobe able to
externalize with film some ofthe ideas that.
during the last fifteen years have occupied
‘my mind. It already looks like to be the
sixth step, next to opening of the
Michelangelo book, in my life as a wan-
derer

‘The more I think about my origins and

my interests the more I realize that the
kind of art I want to create has to do lot.
with story telling. The kind ofideas that
want to share with others are more com:
plex than can be dealt with in a single
‘image or a series of single images. For me
the moving image isthe ultimate medium,
With its different elements film has the
potential required to represent the totality,
of the ‘big reality’. The element of time
helps me to selectively arrange my images
nan order that eannot lead to confusion or
miscommunication. The element of move-
ment breaks the impressionist quality of
the single image and enables both me and
the audience to consciously look at a sub-
ject involved in an evolution over a period
of time, If dialogue is the ultimate goal of
art, what could be better than sounds and
real physical dialogue to help a work of art
fulfil its role as a communication device?

I want to pay respect to simplicity and
honesty on my films. 1 will not forget that.
the art will not be the film that I've made
but rather what others as an audience can
do with it outside of the screening room. 1
want to operate a camera that is aware of
its one dimensional ability in dealing with
the multiple dimensional world around it;
‘a camera that not only can register a cer-
tainaudioand visual anglein front ofit,but
rather tries its best to look at the world of.
indefinite three hundred and sixty degrees
in the space around it . While telling a
story, my film would not drowns the audi-
cence in or alienate them as a viewer/eritic.
Iwill try tolet the viewer participate in all
aspects of making a film; a much more
practical character suitable for the ultra
Post-Modern human. This participation
would be possible when the viewers are

given the chance toenteror exit the filmby
changing the emphasize on different as-
pects of the film structure.

1 don’t have any desire to magnify a
portion of reality to reduce another part of
it, Iwant tomake films about real entities,
things that I have lived with, experienced,
met and got to know during my life. My
films not only in a figurative way but also
in a very literary sense would be about
different ways of understanding the world
around us. To me there is a profound
difference between literary and visual sto-
vies. The story ina book doesn't end when
the reader finishes readingit. The lack of
imagery has already asked the reader to
createa great number ofimages through:
‘out the book. "This process ean also eon:
tinueafterthe tory isover. Inmany cases
thereaders willgoback and read thestory
‘over again to complete their collection of
selfimade images. In a film if the role of
the images is to only communicate the
plot, then the film has been reduced to a
product which will be consumed by the
audience. In this type of film there is no
room for the audience to participatein the

creation of images: once the film is over
theaudience will automatically stopthink-
ing about the story and the re-viewing of
the same movie can be compared to the
consumption of a certain brand of choco-
late bar over and over again.

In my film I try to keep the images as
differentas possible sothe audience would
Took at it again, not as a habit, but as a
‘mean to find out more about the people
andthe events. As wroteonceabout Jean
[Lue Godard’s movies:

“His films keep the audience so occupied
with the past that it is not only almost
impossible to guess what will happen the
next while the movie is playing, itis also
impossible for them to understand the
whole thing by the time the film is over.”

This is a kind of film that audience
would remember or see again to find out
about undiscovered points or maybe a
totaly different conclusion,

‘The biggest objection to me in the proc-
ess of making art is how to choose the
means that won't contradict my ideas. In
film, this aspect of process lies in the types
and the level of technical complications
which T would allow entry into my crea.
tion. I want to try to be as honest as
possible with my techniques. This would
alsoallow me to keep costs down and save
on produetion, A simple row of images
blended with a simple strip of magnetic
sound is much closer to spirit of the big
reality than an over processed food for
thought.

‘As I mentioned before the ultimate goal
of my art would be the awakening of the
potential film-maker, or photographer, in
everybody, maximizing the level of par-
ticipation by theaudiencein the process of
communication and making use of the
ideas that are shared through the me-
ium.