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The book....
Without simplifying things we
are into the third the third orgiastic year of Stuart Laughlin,
Ted Fry, and Karl Krogstad creating a book together. They
have banded together in primitive passion to glorify the cult of
pictures and printed thoughts. The coming book (to be published
in the calendar year 2000) is a treasure
of the three wills. Held before you are photographs of the
three climbers roped together on their dangerous mission.
Stay
tuned for the exact timetable of book availability.
Read
on...
Theory
Sheets
Upon
completing a film, you show it. This sounds simple enough, but every
time I've shown a film I've wanted to hold the audience's hands.
Viewing a Krogstad film isn't easy. So, early on, I began passing
out what I call a "theory sheet" at every premiere engagement,
as a tool for my audience.
The theory sheets are really a cryptic guide, a second glance to
redefine why I wanted to make the film in the first place. The theory
sheets were sometimes more mysterious than the films themselves.
But, "like other performing arts, the physical existence of
a film cannot be separated from its performance. Its "art"
exists not in the film itself, but on the screen. For this
reason, the study of any work of film art must consider the history
of its screenings." From Standish D, Lawder-Yale, "The
Cubist Cinema" NY Univ. Press.
This book places all the theory sheets together, along with other
meanderings as to why and how I make films.
Let's imagine the author in a darkened room talking to himself.
He is probably thinking
about film theory relating directly to film practice. Does he think
that it is all a matter of questions properly put? Does he lie to
you so that you might better understand? Perhaps like any good short
film, his book will be too intense for any audience.
I discuss with myself graphic problems of program and principle;
that is to say, practice and theory. Here is that discussion: Listen,
and I shall tell you the secrets. And if you find my words of description
seem bizarre, consider that I believe in precision. My words are
not intended to confuse, but rather, empower the reader. I knew
it would come to this, for I've made 50 films. I will have to speak
of them someday. All that follows relates to the things that have
allowed me to make those films. The book is full of my assumptions
and givens. I believe many things that others in filmmaking do not.
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