MY STORY in pictures is called @PARIS
IN words it goes like this: I’ve
I’ve been making movies since I was seven years old. Back then we had rotary dial phones and Milton Berle. I made silent horror movies with my cousins with an old Revere camera (yea, that’s a Bolex in the picture but I wasn’t seven then either.) You’d take the film to the drug store and two weeks later it would come back from Kodak. I’d screen my films in the living room.
Now you not only have the capacity to shoot and edit – with sound – but post your work for an audience of maybe millions. And you can do it all in a matter of hours? Maybe minutes.
So I worked for 60 MINUTES for 14 years, NIGHTLINE for 8 years and now SUNDAY MORNING (since 2003) I’ve been all over the world – or well, a lot of it… been detained in virtually every country on the African continent, but I’d go back.
Point of all this is in 1994 I was hired by NIGHTLINE to do “video journals;” I’d go to Iran and Haiti and the South Bronx with (in those days) a Hi8 video camera – alone. I’d shoot the story, write it, cut it and appear as the reporter, cost-effective for them, an incredible education for me. I’m basically doing the same thing for Sunday Morning except I don’t go to war zones and not only do I work in HiDef with a camera slightly larger than my hand but I’m able to cut the stories in Paris and send them to NY by FTP – through the internet (France Telecom offered fiber optic long before Verizon). So I’m making six-minute stories with nothing more than a laptop and the equipment that slips into a Domke bag.
Andy Warhol’s movies were generally ridiculed and dismissed by virtually everyone outside of his circle. Fact is that the “interminable” movies he made like SLEEP (6 hours), EMPIRE (8 hours) and **** (24 hours) were a brilliant commentary on the difference between movies and all other media. Movies are EDITED and the simple fact that Warhol stuck a single image on the screen for hours at a time challenged the foundation of what cinema was about. If D.W. Griffith and Sergei Eisenstein can be credited with “inventing” modern cinema, Warhol should at least be appreciated for having defied it. Personally, though I only saw one hour of it and that was almost forty years ago, **** was one of the most stunning films I’ve ever seen.