I also enjoyed the youtube out-take and especially the end, a
highlight, with Danielle Huillet's discourse on washing (and women who
wash - leave it hanging!).
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On 20/01/2011, at 6:14 AM, Barry Alpert wrote:
> STRAUB/HUILLET AT WORK ON VITTORINI’S SICILIA!
> via Pedro Costa
> You’re serving stones in gravy.
> I don’t trust your fanaticism.
> Matter resists us / you can’t just cut anywhere.
> I worked on my framing.
> Masterpieces which hold together because of the soup
> impression--we resist verisimilitude.
> Don’t start there-ing me!
> There’s no there!
> Cutting film / cutting time;
> you can’t turn your actors into statues.
> I told him, “That’s a good take.
> Do another for me.”
> Whether we should have a see-saw movement--it’s not chewing gum.
> The cameraman already had an ax in his hand.
> STRAUB/HUILLET AT WORK ON KAFKA’S AMERIKA
> via Harun Farocki
> If I had an apple I wouldn’t cross my arms
> I’d like to feel a colon there
> No pause just a hard caesura
> We’ll pull at it till it explodes
> We must destroy all the pauses
> They’ll only remain below the surface
> Perhaps speak in the movement
> That would be the solution
> This time don’t rush the word “photograph”
> That was another new version
> We have a rich harvest of the other version
> We’ll have to take it apart
> Barry Alpert / Silver Spring MD US / 1-19-11 (2:11 PM)
> When I first registered that the National Gallery of Art would be
> screening two documentaries by established filmmakers on the process
> of composition of a collaborating couple of filmmakers, I hoped that
> I might be able to produce a pair of doubly ekphrastic cine-poems.
> Despite difficulty revising each intuitive initial draft, I'm happy
> with the final product. The second poem first appeared as a snap on
> 12-22-10, 3 days after I had witnessed the source for the first
> poem, Pedro Costa's film "Where Does Your Hidden Smile Lie?"
> Perhaps on another occasion I might publish them in reversed order,
> but here I wanted to provide you first with a poem you hadn't
> encountered previously, followed by its companion. Let me offer as
> well a link to an out-take from Costa's film (with English
> subtitles) which illuminates Jean-Marie Straub and Daniele Huillet's