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Updated showreel!

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#eyewitness, a short film (and pilot episode of Rose d'Or Award winning series SWIPE)

Watch it full screen!

written & directed by Martijn Winkler produced by Mandy Lim (c) VERTOV

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Mood

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Your Phone | Fredrik Stabenfeldt

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Wie heeft de filmacademie nodig als je Werner Herzog hebt? Met name advies nummer 2 onderschrijf ik van harte:

Paul Cronin’s book of conversations with filmmaker Werner Herzog is called Werner Herzog - A Guide for the Perplexed. On the back cover of the book, Herzog offers a list of advice for filmmakers that doubles as general purpose life advice.

1. Always take the initiative. 2. There is nothing wrong with spending a night in jail if it means getting the shot you need. 3. Send out all your dogs and one might return with prey. 4. Never wallow in your troubles; despair must be kept private and brief. 5. Learn to live with your mistakes. 6. Expand your knowledge and understanding of music and literature, old and modern. 7. That roll of unexposed celluloid you have in your hand might be the last in existence, so do something impressive with it. 8. There is never an excuse not to finish a film. 9. Carry bolt cutters everywhere. 10. Thwart institutional cowardice. 11. Ask for forgiveness, not permission. 12. Take your fate into your own hands. 13. Learn to read the inner essence of a landscape. 14. Ignite the fire within and explore unknown territory. 15. Walk straight ahead, never detour. 16. Manoeuvre and mislead, but always deliver. 17. Don’t be fearful of rejection. 18. Develop your own voice. 19. Day one is the point of no return. 20. A badge of honor is to fail a film theory class. 21. Chance is the lifeblood of cinema. 22. Guerrilla tactics are best. 23. Take revenge if need be. 24. Get used to the bear behind you.

24 pieces of life advice from Werner Herzog

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WINTER IS COMING

Looks like the Dutch Roadside Assistance is a big fan of Game of Thrones. Epic parody.

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Spectacular. Eerie. Sad.

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Safari Gone Wrong

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Les yeux sans visage

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The Good ‘Ol Days

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“I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations. Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.” —Dziga Vertov

Dziga Vertov’s 1929 silent film Man with a Movie Camera  has been voted the world’s best documentary ever by a poll of filmmakers and critics organized by the British Film Institute’s Sight & Sound magazine.

David Abelevich Kaufman is documentary’s Jumpin’ Jack Flash. Indeed, there is a photograph of him caught in mid-air, jumping. His pseudonym ‘Dziga Vertov’, which translates as ‘spinning top’, could not be more apposite. And his masterpiece, Man with a Movie Camera (Chelovek s kinoapparatom, 1929) is a flash spinning-top of a movie. It has taken more than 80 years, though, for this to be fully recognised. Man with a Movie Camera is a ‘city symphony’ film of a kind not uncommon in the 1920s. These films celebrated the vibrancy of the modern cityscape with pastiches of urban images, for the most part neither set up nor reconstructed. Vertov, though, plays fast and loose with the conventions of such films, to profound effect. He superimposes, splits the screen, deploys fast- and slow-motion and extreme close-ups, and animates using stop-motion. Most surprisingly, he shows us the processes whereby a documentary is made. The eponymous man with the movie camera is his brother Mikhail, and his wife, Yelizaveta Svilova, is his editor. Both appear at work on screen.

Vertov’s agenda in Man with a Movie Camera signposts nothing less than how documentary can survive the digital destruction of photographic image integrity and yet still, as Vertov wanted, “show us life.” Vertov is, in fact, the key to documentary’s future. It is no wonder that two years ago Man with a Movie Camera entered the top ten in Sight & Sound’s ‘Greatest films of all time’ list and that now it tops the poll for the greatest documentary ever made. It is not merely that a great film now receives its just deserts. Vertov has no reason any longer to be “sad.” —Brian Winston, excerpted from a new essay in September 2014 issue of Sight & Sound

The Internet Archive makes Dziga Vertov’s silent masterpiece available to download or stream, in MPEG2/4 and Ogg. The DVD of the film is available at British Film Institute.

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Heb ik zoooooo nodig! @

The Barisieur, A Clever Combination Alarm Clock and Coffee Brewer

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Haha, classics postmoderntextized!

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Lovely Barcelona!

Spectacular video by Rob Whitworth using an innovative Flow-Motion technique. See if you recognise all locations!

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Abstract views

Alex McLean, a licensed pilot and photographer, took these gorgeous photos “just by sticking his camera out the window”.

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Photographer Peter Macdiarmid collected modern photos from around Europe and overlaid World War I-era images, giving a sense of how much–and how little–has changed since the War to end all Wars.

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Thank god... ;-)