← Autodidact Archive · Original Dissent · madrussian
Thread ID: 12584 | Posts: 10 | Started: 2004-02-29
2004-02-29 22:43 | User Profile
*Shooting independent movies is one thing, distributing them and making profit is another. The media and entertainment doesn't have to be wrestled from the zhids, although attempts at it certainly have to be made, in conjunction with building your own. Anyone has ideas for good plots? USS Liberty may be one topic. A crime drama depicting negroes in truthful light may be another. How about a story about high school and conflicts with the boolies? *
By Peter Henderson
LOS ANGELES (Reuters) - Home movie makers, take heart. You may be able to take on Hollywood.
Take Shane Carruth, a 31-year-old from Dallas who invested $7,000, three years of his life and a virtual eternity in front of a personal computer that crashed repeatedly.
As a reward for his perseverance, he walked away this year from the premier independent film festival, Sundance, with the Grand Jury Prize for best drama.
He wrote, directed, edited and acted in "Primer," a story about a discovery that changes the lives of four garage inventors.
"Watching these independent films, you realize it is not so much about the budget but the passion of the project," Carruth said over the phone as he prepared to sign a national distribution deal with Think Film.
But it was the falling prices and growing array of features of digital equipment that made it possible for him to make his movie.
"I was just smart enough to learn this stuff, but stupid enough to try it," Carruth said with a laugh.
Like many emerging technologies, digital video has become more sophisticated and accessible to a growing number of people.
"The image quality and, to a large extent, the performance of what you can get today is comparable to the best products that were available to professionals at any price no more than, let's say, 10 years ago," said Charlie Russell, senior product manager at editing software heavyweight Avid Technology Inc.
The company has a line of products ranging from free to about $140,000. Competitors include Apple Computer Inc.'s Final Cut Pro, which runs on a Macintosh, and suites from Adobe Systems Inc. and Pinnacle Systems Inc.
Low-end systems allow editors to establish scene order, while more sophisticated ones add bells and whistles like specialized fades and color correction. Products at the top end feature lots of hard drives and are fast enough to make every change in real time.
Nearly half of Sundance films this year were shot on digital video cameras, up from about 12 percent three years ago, said Michael Phillips, Avid's principal product designer. Some of those cameras cost tens of thousands of dollars, but others, like the Panasonic AGDVX100 and the Canon XL1, were in the $2,000 to $4,000 range.
Carruth shot his movie on 16-millimeter film and transferred it to computer files that fit on a couple of 80-gigabyte hard drives he hooked up to his home PC. Then he spent months editing with Adobe Premiere software.
The computer spit out a video that was good enough to win the attention of Sundance, after which Carruth spent another $32,000 to make it ready for theater showings.
Premiere crashed repeatedly, he said, a problem that does not appear to be unique to Adobe.
Filmmaker Larry Blamire has struck a deal with Sony Pictures to distribute "The Lost Skeleton of Cadavra," his quirky $60,000 project inspired by 1950s horror movies.
Blamire hired a small professional crew to shoot the film with a digital camera and used a professional studio to edit it on Apple's Final Cut Pro.
"There were some scary moments -- when you have everything on a Mac and watch everything freeze," Blamire said. But he took it with a grain of salt.
"If it weren't for digital technology," he said, "we would not have made this movie."
2004-02-29 23:17 | User Profile
That's what I thought Yggdrasil was talking about when he mentioned every WN getting a DVD burner -- making our own pictures. Makes more sense than compiling lists of Hollywood stuff and debating the list... you're still feeding the beast when you could make a beast of your own.
America has always had regional theatres and combining that with movement filmmakers should be a no-brainer. Make movies, make copies, make a white movement. That might be a slight oversimplification. But not by much. You can't tell me WNs are incapable of something like The Blair Witch Project except it won't go to theatres. It'll go straight to the WN audience.
2004-03-01 01:15 | User Profile
The subject possibilities for pro-White movies are endless. Since it actually happened, the USS Liberty is perhaps the subject with the greatest potential to awaken & infuriate the sheeple against the Lipshitzim (which is what makes it so enticing), but surely the cost of rigging up an old hulk to look the part - and then destroying it - would be prohibitive.
I think shoestring budget films focusing on small groups of actors is what's called for. Maybe a story about a decent, mild-mannered White "everyman" who's gradually forced to become race conscious after, say, losing his good job to an Affirmative Action coon or a wage-destroying spic invader, and after years of being humiliated generally by our jew-created sheisskultur. I picture such an end-of-his-rope character sitting alone in his run-down house in the evenings, using the Internet to educate himself on the jewww origin of his woes; then watching television, flipping through the channels and becoming ever more enraged as the endless barrage of crotch-grabbin' "bling-bling" monkeys, smirky turd burglars, and emasculated "white" ass-clowns assaults his senses - all these factors culminating in his decision to mete out a little free-lance justice to the Tapirs responsible.
The costs of such a production might not be too steep. Hey - what would it require? A few slapped-together house & office facades to be destroyed, flash powder, guns with blanks & fake blood?
2004-03-01 02:28 | User Profile
Great idea. :thumbsup: You would even be able to hire black "actors" to play the parts of the armed robbers by bribing a few crackheads and drunks. Most of the background footage could be made by walking or driving through any city or invaded suburb in the country.
Here's a scenario- a young man is working in some wal-mart type retail place because no other jobs are available. The very relatable woes of the post-NAFTA, illegal immigrant economy can serve as expository material. You can have a scene where he goes past a WN handing out leaflets and indicate that he thinks the guy is nuts. At some point the protagonist is brutally assaulted and robbed, at gun point by a pack of blacks while forced to lay prostrate on the ground, either at work or going to-from work. This happened to two friends of mine on separate occaisions, and I have myself, when growing up, been held at knife point by a group of hispanics, and assaulted on several occaisions by groups of negroes, so it's hardly an outlandish scenario. People can relate to it.
In the movie, the experience of being utterly humiliated and stripped of manhood and dignity would lead the protagonist to begin to question the assumptions underlying the entire multicult worldview, in the way Mad Russian suggested. If anyone remembers the movie 1984, that would be a good stylistic guide to the sort of atmosphere we'd want to portray. At the end, the protagonist will have to choose action or apathy. Just bouncin' some ideas around.
2004-03-01 02:52 | User Profile
Russia has become a source for very un-pc movies. In one of them, Brat 2, a Russian comes to the US and kills very stereotypical-looking negroes left and right. In another, Voina, Chechens are shown as animals and justice means repaying them in kind.
One review says about Brat 2: [url]http://www.ce-review.org/01/5/kinoeye5_horton.html[/url]
These faults in the construction of the film, though, are minor compared to the direction Balabanov's thinking is now headed. The central thesis of the film, as expressed in the title, is fraternity, in both a literal and a national sense. Although much of the film is set in America, Brat 2 is never anything but a film about Russia, "Russian-ness" and the bonds between Russians; it is this that makes Brat 2, the first Balabanov film to not be consciously about St Petersburg, the odd-one-out in the director's career.
The love between ones own countrymen is so important to Balabanov that it transcends all other distinctions. The real crime of Belkin and Mennis is not their contempt for the rule of law but that they betray a "brother" who has put his trust in them.
Interesting in this light is the positive treatment of those who respect the fraternal/national bond. Particularly of note is the character called "Fascist," a Neo-Nazi arms dealer from whom Danila buys guns and ammunition. Fascist, whose armoury is decked out in swastikas, is just as interested in brotherhood as Danila and tells him an old Nazi proverb about it to make his point.
Right-wing (or at the very least colonial) views also come from Dasha, a Russian prostitute working in Chicago, who is befriended by Danila. Following an argument with some Afro-Carribeans which mystifies Danila, she explains to him that blacks have a spirit which is closer to nature. The tone of her voice is certainly admiring as she says this, but at the same time it is suspiciously close to the fascist notion of the "noble savage," a concept which implies a distinct racial hierarchy. Danila, meanwhile, looks on with a complete lack of comprehension at these people, and he certainly has little sympathy for them.
This sits disturbingly next to previous portrayals by Balabanov of outsiders in Russia. The Germanic influence seems to get the thumbs up in Schastlive dni and the original Brat, but in the latter film one character is quick to express his contempt for the Jews.
It seems unlikely that Balabanov is trying to act as an impartial documenter of the social attitudes that prevail in contemporary Russian societyââ¬âBrat 2 is far too cheap, sensational and populist a film for that approach to be valid. Moreover, Brat 2 is unmistakably a film which is trying to preach a message, hardly a stance compatible with neutral depiction of these racial attitudes.
If Brat 2's patronising and "colonial" attitude to blacks is dubious, the film's Russian-language website spells out Balabanov's attidude plainly on a page entitled (in English) "Black & White". Under the pretext of attacking "political correctness" it basically describes how, in the USA, white people are terrified of blacks but are completely unable to do or say anything about it for fear of being labelled racists. As the height of absurdity, they give the example that Americans can't say "watermelon" any more because, apparently, that was once a slang term for negroes. Balabanov himself is quoted as saying: "There are a lot of drug dealers amongst the blacks, they are on social security, they don't want to work." [1] and at the beginning of the "discussion" Bodrov opines:
The negro problem [sic] is a taboo subject which it is not acceptable to speak out loud about. These days, black people have a huge advantage when looking for a job: if a black person and a white person go for a job at the same time, the black person will always get it. The employer is simply too afraid of being accused of racism.[2]
...among other prime quotes which display the fundamental racism of the film's makers. [3]
Don't you want to watch that movie after that review, or what? :lol:
By the way, the first Brat is available on Netflix, and is not pc as well.
2004-03-01 08:25 | User Profile
[QUOTE=madrussian]Don't you want to watch that movie after that review, or what? :lol:
[/QUOTE]
YEAH!
And it's at Ebay for a penny (no bids yet):
[url]http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3390139826&category=41540[/url]
I think the first one is there too. The "no regional" coding DVDs work on our players, right?
2004-03-01 16:05 | User Profile
The subject possibilities for pro-White movies are endless. Since it actually happened, the USS Liberty is perhaps the subject with the greatest potential to awaken & infuriate the sheeple against the Lipshitzim (which is what makes it so enticing), but surely the cost of rigging up an old hulk to look the part - and then destroying it - would be prohibitive.
I dunno, N.B. They're doing an awful lot with computer technology these days. Granted, your average garage film guy isn't going to have the budget for all the harware that Dreamworks had access to for Shrek or whoever made the utterly forgettable, but technically interesting Final Fantasy:the Spirits Within. However, I think a lot could be done in this area to work around the cost of blowing a ship to pieces. Maybe we could ask the IDF for gun-camera footage and any film they shot from their PT boats while they were reloading the tubes and machine guns?
Funny you mention the Liberty though. I was thinking it would be delicious irony if Mel plowed the profits from Passion into a Liberty project with a budget and attention to detail of a Blackhawk Down. I imagine the crew of AGTR-5 would fall all over themselves to help Gibson on a project like that. The film could be marketed as a great story of heroism never told and leave out any overt anti-Israel sentiments, since the story itself is anti-Israel enough. Release it on Veteran's Day or June 8 and watch Hymie's spin machine provide the publicity. Even if they learned the lessons from the Passion flap and left the movie alone, the story alone would be very beneficial to planting the seed of questions about whether our "only ally in the Middle East" is really an ally at all. This would be a great "damned if they do, damned if they don't" situation for Hymie to find himself in, which is exactly where he needs to be put, after dishing out said treatment for decades.
Can you imagine? No heavy screenwriting required. The story writes itself. Of course it would need to include a scene on the carrier America's bridge where the relief force of F-4s is called back on direct orders from D.C. 'Bout time McNamara got skewered as the cockroach and water-carrier he is.
:thumbsup:
2004-03-01 22:01 | User Profile
[QUOTE=Ragnar]YEAH!
And it's at Ebay for a penny (no bids yet):
[url]http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3390139826&category=41540[/url]
I think the first one is there too. The "no regional" coding DVDs work on our players, right?[/QUOTE]
They should. I wonder how good of a deal can be had on those kind of Ebay auctions.
2004-03-01 23:16 | User Profile
[QUOTE]A crime drama depicting negroes in truthful light [/QUOTE]
The Wichita Massacre: a home invasion mass murder little known outside Kansas and the online WN community.
Prison rape, forced prostitution and extortion: virtually all of the victims are White males, virtually all of the perpetrators are black and hispanic. Focus on why there is almost no media exposure and few, if any, prosecutions.
As to the other problem:
An animated documentary detailing the vast amounts of money and materiel stolen from U.S. taxpayers and given to Israel since 1949.
2004-03-02 01:16 | User Profile
Funny you mention the Liberty though. I was thinking it would be delicious irony if Mel plowed the profits from Passion into a Liberty project with a budget and attention to detail of a Blackhawk Down.
I had the same thought. No matter what he says publicly, we all know Gibson despises the jewws - especially now that they've spent over a year shitting on him & his father. What better way to really twist the knife in the guts of the scum than to plow a portion of the enormous profits earned by his Jesus blockbuster into a Liberty film? What a devastating knockout combination that would be!
Throw da hook, Mel! Da hook!