Interview to Bela Tarr [Kinoeye]

Once again I quote some intriguing views by Bela Tarr, interviewed in 2004 by Phil Ballard for Kinoeye:

Pieter Bruegel the Elder - The Dutch Proverbs
Could you talk a little about the reason behind your very long takes?
Bela Tarr: What can I tell you about this generally? The people of this generation know information-cut, information-cut, information-cut. They can follow the logic of it, the logic of the story, but they don't follow the logic of life. Because I see the story as only just a dimension of life, because we have a lot of other things. We have time, we have landscapes, we have meta-communications, all of which are not verbal information. If you watch the news it is just talking, cutting, maybe some action and afterwards talking, action, talking. For us, the film is a bit different.

And what about your approach to narrative?
 We have a different kind of narration. For us, the story is the secondary thing. The main thing is always how you can touch the people? How can you go closer to real life? How can you understand something about life, because as we talk a lot of other things are happening. We don't know, for instance, what is happening under the table, but there are interesting, important and serious things happening.

Of equal significance?
 It is full of meta-communication. That is the reason why we like to cut: always for the meta-communication. We just follow the real psychological process, not the story, not the verbal information.

You work primarily with the same close-knit group of people. You are obviously very comfortable with László Krasznahorkai (your co-script writer), Mihály Vig (your composer) and Ágnes Hranitzky (your assistant and editor). Do you work as a collaborative team or do you accept the auteur theory that the director is the main source of the work?
 I am a very autocratic guy and everything is in one pair of hands. Film-making is not a democratic process. I must decide everything. But I would be crazy, a madman, if I didn't listen to my composer, cameraman and my writer. I must listen to them because I involve them in this work and they want to do their best for the project, but the final decisions are obviously mine. Ágnes and I have the same opinion; we have the same point of view about life. That's the reason why when we are working we don't talk about art or philosophical questions or theoretical things. We just work and talk about the concrete situation: what is happening, how we can work with the actors, how they can be deeper and deeper? That's the most interesting thing.

Do you accept the criticism of your work that it's bleak? It appears to have very little hope.
No, because I think we are full of hope. If you make a film you can believe it will still exist in the next fifty years and somebody can watch this film later, which is the biggest kind of optimism.

The hope is the actual creative process?
Yes, absolutely.

So you don't accept the existential idea that the human condition is absurd?
No, it's not absurd. The world is moving and turning and people are seeing films. This is our film, that's all. We just want to show to you and to everybody how the human condition is. That's all. We don't want to judge anybody. We don't want to make any interpretation. We just want to show something of what's going on.


Complete interview: http://www.kinoeye.org/04/02/ballard02.php


Guillermo Arriaga, Bela Tarr, and "the stories".

Two inspiring and different approaches by two striking filmmakers — Guillermo Arriaga [screenwriter] and Bela Tarr [director].

Virginia Aguirre E., from Autonomous University of Mexico State interviewed Guillermo Arriaga for La Colmena magazine in 2005.
¿El artista debe tener un compromiso ético o moral, Guillermo?
—No. Básicamente tiene que haber un compromiso con contar la historia.
—Yo procuro no dar mensajes de ningún tipo. Yo procuro escribir una historia. Si las historias tienen implicaciones morales, políticas o sociales es porque la historia las deriva. Yo no lo pretendo, porque si no termino siendo pretencioso. Terminas tratando de dar mensajes a la fuerza. Lo importante es contar la historia, y si en la historia se dan esas implicaciones entonces serán orgánicas a la misma historia y no obligadas. No estoy preocupado por dar mensajes.

Eric Kohn at Indie Wire interviewed Bela Tarr in the early 2012
In "Damnation," a character says that "all stories are disintegration." "The Turin Horse" seems like the ultimate realization of that. 
I don't care about stories. I never did. Every story is the same. We have no new stories. We're just repeating the same ones. I really don't think, when you do a movie that you have to think about the story. The film isn't the story. It's mostly picture, sound, a lot of emotions. The stories are just covering something. With "Damnation," for example, if you're a Hollywood studio professional, you could tell this story in 20 minutes. It's simple. Why did I take so long? Because I didn't want to show you the story. I wanted to show this man's life. 

 Sources (It's really worth to read them):
Aguirre E., Virginia. "Mi compromiso es el amor"; rechaza el escritor el solipsismo literario: "escribo para que me lean". Interview to Guillrmo Aguirre. La Colmena. July-September, 2005.
Link: http://www.uaemex.mx/plin/colmena/Colmena%2047/Sumario47.html

Kohn, Eric. "An Interview With Bela Tarr: Why He Says 'The Turin Horse' Is His Final Film." IndieWire. February 9th, 2012.
Link: http://www.indiewire.com/article/bela-tarr-explains-why-the-turin-horse-is-his-final-film


Douglas Crise about his works

Tras graduarse en la Yough High School en 1979, Douglas Crise trabajó cortando carne en Shop ´n Save en Mt. Pleasant, trabajando mucho en la sombra. Decidó que no quería que esa fuese su carrera (especialmente después de que le cortaran el trabajo de completa a media jornada) y se metió en la University of Pittsburgh.

Empezó en Greensburg, se trasladó al campus principal para hacer sus estudios de cine e hizo muchas clases en Pittsburgh Filmmakers. ¨La única clase que no hice fue la de montaje,¨ dijo recientemente el cuarentañero Crise en la casa que comparte con su mujer, Denise, y sus perros en Burbank.

Es irónico, visto donde está Crise hoy en día: en el Kodak Theatre, como nominado al mejor montaje por Babel junto con Stephen Mirrione.

Hace una semana, compartieron una mención de honor junto con Thelma Schoonmaker (The Departed) en los premios de la American Cinema Editors. No ha habido más que dos empates en los 57 años de historia de los Premios ACE.

Esta noche las dos películas, junto a Blood Diamond, Children of Men  y  United 93 competirán por el premio más alto para cualquier editor de Hollywood.

Babel tiene 2 horas y 20 minutos de duración pero empezó, en los brutos, como una película de 240 horas en una variedad de formatos. El trabajo de los editores, junto al director Alejando González Iñárritu, consistió en darle forma de una película ligera película que uniera de una forma no perceptible tres historias que suceden en tres continentes y en cuatro idiomas diferentes.


“El editor es básicamente el narrador final de la película. Trabaja mano a mano con el director, pero el que escribe la película es el primer narrador”.

Un editor puede darle forma a una actuación, hacer que un actor parezca mejor (o peor), re-estructurar la película para que tenga sentido y, con la ayuda de música, crear un sentimiento más profundo o emociones en la pantalla. “Cuando la película llega son solo dailies. Mucha gente no sabe que cuando se rueda una película, no se hace en orden”.

Somos los últimos en imprimir algo en la historia que va a ser contada. Hasta que no tocamos la película, no es una película, es solo un montón de material que tiene que ser construido de tal forma que con fortuna mantendrá a los espectadores entretenidos y enganchados y les ayudará a sentir lo que sentimos”.

Editor: Good Night and Good Luck, Babel, Arbitrage, Trust, Spring Breakers,

First article translated from:
Vancheri, Barbara. "Former Shop n' Save meat cutter Doug Crise is 'Babel' editing nominee." Pittsburgh Post-Gazette. Translation: Pablo Hdez. Feb 25, 2007. Web. Jun 5, 2014.
Link: http://www.post-gazette.com/ae/oscar-watch/2007/02/25/Former-Shop-n-Save-meat-cutter-Doug-Crise-is-Babel-editing-nominee/stories/200702250215


RED Files in Adobe Premiere

1) "Multiple clips and sequences can be sent to Adobe Media Encoder at once"

so you should be able to take your media in the project panel and run it thru AME to create low res proxies in one go. at least according to this: http://blogs.adobe.com/premierepro/2013/09/adobe-premiere-pro-cc-october-20...

2) Premiere's native re-link has gotten better..be sure to look over the docs here: 

PC Workflow:

Relink tool:


Edit Cellar tutorials [Premiere CC]

Eventually, I'm kind of jumping into Premiere Pro (good-bye FCP7) and I like the way this guy works and explain things - besides, he's so funny talking or just waiting for the "loading bar." It speaks volumes about his hyperactive mode of editing.

Import R3D footage into Premiere CC:

Audio Sync (merge clips):

Two-timelines view to view and edit footage:

A little bit about customising short-cuts: