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You are such a dork,” I exclaim as my fingers flit over the multitude of images and videos of Will Smith. Pinned quotes and sayings are highlighted, and I chuckle when I recognize a few. “Oh. My. God. Did you actually learn these on purpose?” He reels me into his arms and kisses the top of my head. “Will I be cementing my dork status if I answer affirmatively?” “Absolutely.” I look up into his beautiful eyes. “But I only love you more for it.

for a brief moment it is his fate, and nothing else, that is frozen into immobility on the stage. The moment of the minor figure. Both before and after this he remains the same, the man who reels off those smart lines, one of which has acquired an immortal status in Norwegian literature: ‘If you take the life-lie away from an average person, you take away his happiness as well.

So let me get this straight,” Ysabel asked. “You lost five prisoners, have no idea how or when, have no video footage due to some malfunction, and you can’t even make one chained up soul talk?” “When you put it that way, it sounds bad.” Ysabel stepped up to the warden and although she remained shorter than him by almost a foot, she seemed to grow somehow in presence. “What’s bad is if you let any more prisoners escape, the Devil won’t have to fire you because I’ll come down here myself, carve your body parts off one at a time and feed them to the hounds. Incompetence is unacceptable and I will not tolerate it.” “Yes, ma’am.” Remy laughed as Crax reeled back from her, a dazed look on his face. He was still chuckling as they exited the rusted gates. “What is so damned funny?” she asked through gritted teeth. “You. I mean, you couldn’t even hold your own against Pedro last night and yet you’re threatening the warden of Hell’s Prison. That takes balls.” He received no warning, just a flick of her hand and he went flying, his impromptu airborne status halted by a crag of rock. And not a smooth one. -Ysabel, Crax, & Remy

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Working on a shoestring, which in my case is more often a matter of circumstance than of choice, never appeared to me as a cornerstone for aesthetics, and Dogme-type stuff just bores me. So it’s rather in order to bring some comfort to young filmmakers in need that I mention these few technical details: The material for La Jetee was created with a Pentax 24x36, and the only “cinema” part (the blinking of the eyes) with an Arriflex 35mm film camera, borrowed for one hour. Sans Soleil was entirely shot with a 16mm Beaulieu silent film camera (not one sync take within the whole film), with 100-foot reels – 2'44" autonomy! –and a small cassette recorder (not even a Walkman; they didn’t exist yet). The only “sophisticated” device – given the time – was the spectre image synthesizer, also borrowed for a few days. This is to say that the basic tools for these two films were literally available to anyone. No silly boasting here, just the conviction that today, with the advent of computer and small DV cameras (unintentional homage to Dziga Vertov), would-be directors need no longer submit their fate to the unpredictability of producers or the arthritis of televisions, and that by following their whims or passions, they perhaps see one day their tinkering elevated to DVD status by honorable men.

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