Looks like you are a new visitor to this site. Hello!
Welcome to Hope For Film! Come participate in the discussion, and I encourage you to enter your email address in the sidebar and subscribe. It's free! And easy! If you have any suggestions on how to improve this website or suggestions for topics please don't hesitate to write in to any of the blogs.
(If you keep getting this message, you probably have cookies turned off.)
We will work together to build it better. We will use the tools we have, but not let them restrain us. Let’s turn our limitations — financial & otherwise — into assets (may our chains set us free). We will not let ego drive us away from an ambitious and interesting cinema. Let’s acknowledge that defining a true author in cinema is hard, and the act of creation is rarely original. Everything is a remix.In an era of Grand Abundance, it is best practice to be even more generative, but less authorial. And if all that is where we are, where does it leave us?
I am always looking for new methods of collaboration and new ideas of how someone else might riff off of one artist’s work. Multiple authors have multiple arms and louder voices; their success is everyone’s & their failure no one’s. If we [...]
Whether it is “Doc Ellis And The LSD No No” or “I Met The Walrus“, I have a unique spot in my heart for Animated Docs. It may just be because on the surface it doesn’t seem to make sense: how can truth be animated? But then, ultimately my mind rebels against itself and determines that it makes more than sense: it makes truth.
Today’s installment, further enhancing my affection for the genre as a whole is, Sascha Ciezata’s (iT’S ALIVE! ANIMATION) “When Herzog Rescued Phoenix”
Guest post by Bill Plympton.
I’m very excited to be given the opportunity to pontificate about the state of indie film on the wonderful “Hope for Film” site.
If some people don’t know me, it’s understandable. My name is Bill Plympton, I create animated shorts and animated feature films. And because they’re animated, it’s very difficult to get any press, respect, or even distribution for my films. I also have two other strikes against me – they’re not family oriented films, and they’re very low budget. So there you go! That’s my dilemma. How do I get distribution for a film that no one wants to touch?
I think a lot of the prejudice is because there is sex and violence in my films, and the audience in America believes that animation is sacred territory. How dare I put raunchy material in a purified, Disney-created art form? That’s blasphemy! I’m tainting the holy art form of cartoons.
Yet Quentin Tarantino puts tons of sex and violence in his films and they’re very close to being cartoons. So, why can’t I? Why can’t the U.S. Public make that great creative leap from kid cartoons to adult animation? [...]
Oh, we know this story, don’t we? Get’s me every time, even when it’s robots telling it instead of my friends and collaborators — which isn’t to say there aren’t some well-deserved happy endings either.
Check out the other episodes too. There are five of them.
Hat tip: Chris Monger
P.S. Watch “Temple Grandin” which Chris co-wrote on Sat 2/8 on HBO. I would, if I had cable or the DVD…Tweet