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Courtesy Prairie Lights Book Store.
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Lil Bitch 2, PDX (w/Chelsea Martin)
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Marianne Stokes, The Passing Train, 1890.
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Warner’s Corselette Advertisement,1953
![kateoplis:
“[F]or about a good hundred and ten years, movies have invented all sorts of tricks and all sorts of fancy and sometimes very charming means to make us believe that films were concurring space indeed. The camera was put on tracks and on shoulders and on steadicams and on cranes and you can put it into automobiles and planes and god knows you could even throw it out of the window. But it always ended up on a two-dimensional screen, so space was really always fake. It was always a simulation. I only realized that there was something lacking when I tried to imagine how to film Pina’s dance, because the two of us had been trying to make a film together for twenty years. I was just stalling for time and I found myself at a loss how to film her work, because my tools and my craft didn’t seem to have what it took to really do justice to Pina’s art and to the magic and to the contagious energy of it.
I only finally saw myself able to say “now I can do it” when I saw my first 3D film and realized that was the answer and that’s what we had been missing. Space, for the first time, was a tool for filmmakers. I think 3D is the greatest revolution ever since the talkies, only most people didn’t realize it because we thought it was just a gimmick for national blockbusters. Now some movies come out that show the true potential of 3D which is really a whole different way of seeing the world.”
— Wim Wenders](http://24.media.tumblr.com/tumblr_lyhyw1OnT21qzprlbo1_r1_500.png)
“[F]or about a good hundred and ten years, movies have invented all sorts of tricks and all sorts of fancy and sometimes very charming means to make us believe that films were concurring space indeed. The camera was put on tracks and on shoulders and on steadicams and on cranes and you can put it into automobiles and planes and god knows you could even throw it out of the window. But it always ended up on a two-dimensional screen, so space was really always fake. It was always a simulation. I only realized that there was something lacking when I tried to imagine how to film Pina’s dance, because the two of us had been trying to make a film together for twenty years. I was just stalling for time and I found myself at a loss how to film her work, because my tools and my craft didn’t seem to have what it took to really do justice to Pina’s art and to the magic and to the contagious energy of it.
I only finally saw myself able to say “now I can do it” when I saw my first 3D film and realized that was the answer and that’s what we had been missing. Space, for the first time, was a tool for filmmakers. I think 3D is the greatest revolution ever since the talkies, only most people didn’t realize it because we thought it was just a gimmick for national blockbusters. Now some movies come out that show the true potential of 3D which is really a whole different way of seeing the world.”
Awesome film, highly recommended. And in 3D!
