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"You're Not Getting The Point!"
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An expressionistic, historical documentary film,
with ramafications of social archeology
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February 2008
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This is the information page about "The Pump film".
I managed to actually work on this film again.
My plans are to integrate an MPEG of the sample film onto this web site
once I figure out how to do it.
I have a link to YouTube in anticipation of that,
but I need to make sure that the material is acceptable,
given the fact that once I put it out there, there will be no taking it back.
The main difficulty I have with the existing sample film
is with poor transfers and the lack of intended effects.
My position in that regard is that,
I would need to put out the sample film with the caveat
that it is a work in progress.
I don't really want to to that, but I may have to just to get it out there.
This year is the 25th anniversary of the pump fight
and I feel that this needs to be in the hands of the people who have an interest in it.
I am striving to complete an hour long program before the end of the year
and I certianly welcome assistance if anyone feels compelled thusly.
There are issues with lost contacts and people who contributed to the sample film,
although really there is not a big issue with that. I just need to find Leslie for her stills. Anyone else who wants to contibute their materials should make an effort to contact me, since I'm serious about trying to wrap this project up.
Interviews are an important aspect of the next generation of the film,
as is also the inclusion of new footage. So I will be trying to gather some interviews
from people who were directly and actively involved.
If you feel you want to be included, then you need to make your voice known.
I do not expect to be shooting 16mm for the new footage again, although I would like to.
I do have Super 8 and I may experiment that, but for the most part
I will be conducting the interviews with video.
I will be using the internet to schedule interviews and we can shoot an interview at any time. So if you are ready to include your voice, then by all means contact me.
If you have looked at my web pages, you know that I am very busy,
so I'm depending on you to keep at me until we get it done.
Also, if you are interested in writing any text for inclusion in the film, we can discuss that.
If you would like to tape your opinions on audio tape
and submit them that might work as well.
Realize, there is no guarentee in regard to how the film will ultimately be edited.
Inclusion in the film is contingent upon signing a release for the use of the material.
Details on the release will be discussed when our conversations proceed to that point.
AG Updated 02/08
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Arthur & Sandy in 1983
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For discussions on numerous
relative projects
and
operational aspects
of
Image of the Mind Studios
and
The Alpha & Omega Society
review
the
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Theatre: For many years I thought that this film would be a good foundation for a stage drama. I even began writing the show some years ago, but like the film, the complexity of the issues and the magnitude of the rammifications stunted my efforts. I'm currently writing a stage musical and that does not leave me much time, but the prospect of writing this for the stage is still intriging to me. So if anyone has interest in this project, I find that things get done more quickly when there is dialogue on the subject
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Regarding compensation
for materials contributed
Materials used in the film will be compensated for on a deferral basis and priced per minute. Pricing will be determined by Image of the Mind Studios at a later date and will be divided to the participants based on 10% of one years income for the first year of the official release. This 10% profit sharing is dedicated to contibutors of screen time only.
All other income is the property of IMS and the investors who have contracted for participation in this film and/or the Studio.
This profit sharing shall apply only to materials provided volitionally by individuals who have either solicited and been accepted for inclusion in the film or to individuals who can provide evidence that they provided materials that were used in the film.
There will be no compensation for persons who have appeared in the film, either through visual or auditory means when that presence was captured as a historical documentation of the sequence of events, or by way an interview that was offered freely during the protest activities.
The only compensation offered, is to those participants who seek to be included in this process of the final cut of the film and who are contibuting to the completion of the film or the operations of Image of the Mind Studios.
Individuals who contributed to the gathering of the original materials will need to address that issue before the end of the first year of the final release of the film.
No other payments will be provided or should be expected.
This shall serve as the public notice of the policy in that regard
and all interested parties should make note and respond accordingly.
Arthur Greisiger
Image of the Mind Studios.
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Now that I'm moving forward with a few other films also, I expect to be giving this one more attention. Therefore I will try to up date this page more frequently and to include pertinent information and possibly images.
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To see other film projects on the bench visit;
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Excerpts from conversations regarding the style of the film;
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Update regarding production activity;
Below are excerpts from the previous conversation I posted here about the film.
* I need to have the editing systems working properly before I start interviewing, because if I don't do a rough cut shortly after I gather the original material, it will all become overwhelming and not get done. That's the situation with all the audio tapes I gathered. I have so much material that going back to review it is not something I am anxious to do.
* You might be interested in this. About a year before Sandy found out she was sick, we took the sample film up to the courthouse and showed it to the commissioners. We got a kick out of showing it to PECO Charlie, but we didn't expect everyone to respond so favorably to the film.
* Generally, most people really like what they see and everybody has lots of ideas about showing the film, but I can't put it out there the way it is. The film that we did was only a sample and not really refined enough to call a finished product.
* I won't go into a history here, but at the commissioners meeting I suggested that we put together an exhibition and use the film in the presentation. They liked that idea and thought it could be installed in the convention centre to show visitors what happened here.
* This film is an expressionistic documentary. That means to say that I expect to express my opinions thru the use of the material I have to work with. I'm not taking a neutral stance, but I'm also not taking an agressive political stance either. I'm an artist not a politician, but if my film makes a political statement it's only done so from an artistic position.
* I've concluded that the next stage of progress with the film is to open it up for participants to say what they want people to know about what happened.
* I reserve the right to edit the material as I see fit. My cinematic style is composite in nature. I do not assemble imagery in a purely linear fashion and I like to juxtapose elements to create contrast and texture in the film.
* The information I put in my films has to be extracted in order to come to a conclusion. My intent is to dump the pieces on the table like a puzzle that can be rearranged by the viewer, but I am turning the pieces over so one can see the images and hear the sounds in some semblence of order. By doing this ones concept of time and space are thrown askew and therefore the overview can be reformulated by seeing elements that can not be seen from ground level or the limited perspective of time consistency.
* That's my philosophy of the process. To me it's an artistic endeavor, even though it is documentary in nature and uses politics as part of it's asthetic form. I'm not intending to be an activist or use the film in that way. I look upon it as social archeology, presented in an experiential format, with an emphasis on the asthetic values of the medium.
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