“alternative”, “avant-garde”,“experimental” and “independent” - whatever.
How our tools change the way we work interests me most, and not just theatrical mainstream. For this Cinema Papers piece I selected from the first 54 issues of the Cantrill’s Filmnotes magazine talking about ‘alternate’ film and video technology.
In 1986, I heard that the legendary Colorfilm laboratory liaison Bill Gooley was dying of cancer. I had met him a few times so I knew had to tell his story for Cinema Papers. Somewhat anxiously I rang him to see if he’d like to talk for the Technicalities section.
Characterizing Mr.Storm (and other stories) Cinema Papers #114 1997 Baz Luhrman’s William Shakespeare’s Romeo and Juliet was shot in Mexico, cut in Los Angeles and neg cut in San Francisco. Although there were a large number of Australian crew working on it, it was a feature planned as international and designed for a young American audience. […]
The April 1982 Issue of Cinema Papers that included ‘Channels TV-Videotape’ magazine and my New Products and Processes section featuring a story about David Samuelson’s front projection equipment that was being demonstrated here. Clearly my interest was more in the switch to video production tools then what was really a SFX (Special Effects) tool from […]
The first article I wrote for Cinema Papers was for the November 1980 issue. I knew Scott Murray and Peter Beilby, then the editors (editor/co-founder Phillipe Moira left them to it in 1979) Scott as filmmaker and both by reputations. We ended up working together in various ways for over twenty years. The last issue I contributed […]