Thursday, March 12, 2009

Peter Esmonde Lecture

I really liked what Esmonde had to say about the "reality" of documentaries. I agree with him in that saying documentaries are completely true portrayals of reality is "horse shit." No matter how observational and objective we aim to be in our filmmaking, our documentaries are still a construct of reality. Even if our cameras were hidden, like the lipstick cams used in Taxicab Confessions, we still have to edit the footage into something concise enough not to bore the shit out of our audience.
For an example, the other day I was watching Taxicab Confessions with a friend of mine, who like most is relatively media-illiterate. She made some remark about how short the cab rides seemed to be and I began to tell her about how the producers had to edit the rides into episode format and were likely to only include the most sensational or compelling footage. "If they included everything the person said we'd be bored to death," I told her. Reality television and documentaries might be closer to "reality" than narrative, but by virtue of the editing process, we essentially "edit" reality into a different version of itself. We take out the parts that we don't think are important or interesting, but that other people might have included. All of us are familiar with how easy it is to portray our subjects in a particular light. In my documentary from last semester about study drugs, I interviewed people and used only a couple minutes in the final cut. Some people definitely thought that Justine, one of my subjects, came off as kind of crazy. I found it funny because I know her personally and I don't think that's the reality of it or what I really wanted to do. But I didn't even take her out of context, I simply included the footage I thought was most interesting. So, even though our work might help to expose the greater truths of society (like how the phenomenon of using non-prescribed study drugs is certainly real) we can also easily come off as misrepresenting the truth (like how Justine is really a pretty sane individual). The Heisenberg Uncertainty principle states that you cannot know both the exact velocity and the exact position of a subatomic particle at the same time because the very act of measuring changes the momentum of the particle by a degree that cannot be determined. Think of our cameras as the photons of light that bounce of the particles in order to measure them.

3 comments:

  1. Very good points Lauren. I enjoy that aspect of the lecture, but I also took some other things home with me. First, I admired Peter's knowledge of film history and everything involving producing motion picture. I really enjoyed his attitude towards mainstream documentary media even though it was cynically baised. I could tell in his manner that it realy was a frustrating time when he was a young professional. In ways it scared me to think I am going to be exploited once I get out of college, but I also got some motivation from Peter in the fact that he did other fields of work to make money.

    I really paid attention to his references to colleagues and other medi professionals he has worked with an relied on to complete this amazing documentary. It emphasizes it is really tough to come up with the "total package" all by yourself. I believe you do need o perspective, insight, injection, and opinions of other people in your film. I'm not saying to be indecisive, but be open minded to implementing other sides to your work.

    Just like we have seen so many times, Peter emphasized the relationship with his character. I always find it so interesting to hear filmmakers speak on this matter. I myself like to document people and things that have a connection through fascination with me. Peter mentioned how he found artist like Trimpin so compelling and interesting, and I do too. I think it is so damn important that we take the neccessary steps to become very close and comfortable with our subjects before we even ever think about capturing any of the moments. I have learned this with all of my subjects, and I could not speak upon it enough.

    Thanks again Doc Center for brining such an affluent filmmaker for our informal education.

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  2. I too enjoy the lecture and I too enjoy both things that John and Lauren have pointed out. And just like my colleagues, I took some good points. Some of the things that stood out from his lecture was the importance of getting experience, even if as Peter pointed out, you might get exploited. It is sad to hear that part, and I know that sometimes as students ourselves do not even want to hear it but I believe it is good sometimes to hear the truth. I really like his honesty about that, but I also believe that even though he was not happy with the whole business and the way companies work, I still think that the experience that he gain from all of those different jobs helped him find and decide the kind of films/docs he wanted to make.

    Something that I do want to point out, is that I tend to agree more with Ellen's and Picasso's point of view about the truth, but I also can see Peter's perspective. I to think that we as filmmakers open a window for other people to tell you their stories and their truth, and like peter said, it might not be the whole truth, but then things can get too complicated to the point we will be asking, "what is the truth? and who get to decide that?" ...and I don't think none of us want to go that far...

    Overall, GREAT Lecture!!

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  3. SO glad that Peter provoked so much good discourse and thinking about what we are doing. I just posted his favorite quotes under Jason's comment on Trimpin (which Peter is sending to us for our library) but will post his quotes again here:

    SELECTED QUOTES compiled by peter esmonde


    “Cinema is the most beautiful fraud in the world.”

    -- Jean-Luc Godard

    “The greatest danger for those working in the cinema

    is the extraordinary possibility it offers for lying.”

    -- Michelangelo Antonioni

    “Among all the arts, cinema is probably the most responsible for this enormous

    process of conditioning and stupefaction that has been going on.”

    -- Roberto Rossellini

    “Isn’t it horrifying? In cinema we keep repeating the same things over and over again.

    The only change possible is in the choice of certain frames, in a new lighting trick.

    What matters is to prove that we can repeat the same story over and over again,

    always providing it with the same variations. This is a sign of enormous impotence.”

    -- Roberto Rossellini

    “A filmmaker does not invent an infinity of different types of shots and scenes.

    Rather, he invests each shot and scene with his [own] philosophy.”

    -- Nagisa Oshima

    “The future of cinematography belongs to a new race of young solitaires

    who will shoot films by putting their last cent into it and not let themselves

    be taken in by the material routines of the trade.”

    -- Robert Bresson

    “Filmmakers who use the thick walls of film companies as an excuse for failure

    to become actively involved deserve condemnation . . . Those walls are far

    more frightening when they take away the filmmaker’s active involvement

    than when they reject it . . .”

    -- Nagisa Oshima

    “The great danger for an artist is to find himself comfortable. It’s his duty

    to find the point of maximum discomfort, to search it out.”

    -- Orson Welles

    “The thing that’s important to know is that you never know.

    You’re always sort of feeling your way.”

    -- Diane Arbus

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