The Arivaca Independent Filmmaker's Exposition was held on Saturday April 29th at the Community Center in Arivaca, Arizona. The event was well-attended with 19-films shown over a 10-hour period. Barton Santello & Psychotropic Films sponsored the event with the purpose to bring independent films to a rural audience and provide Arizona filmmaker's an outlet to show their work.
The format of the Exposition was to show documentaries primarily of local issues during the day and short experimental films during the evening program.
For additional details with listings and descriptions of the films shown, please click on the link above.
Friday, May 12, 2006
"Outskirts" Premier's at the Arizona International Film Festival
Director Barton Santello said of the showing: "Outskirts looked great projected on the big screen and the film stood out as a unique work that was well-received by the audience"
Strange Attractor selected for Back Alley Film Fest
FOR IMMEDIATE RELEASE
Psychotropic Films is pleased to announce that its production
"Strange Attractor" has been selected in the 8th annual Back Alley
Film Festival (www.backalleyfilmfestival.com)
And will be shown at the festival in Tucson, Arizona on May 27th, 2006.
The Back Alley Cinema is located behind Bison Witches Bar & Deli 326 N. 4th Ave. in Tucson, Arizona 85705-8441
For additional postings on Strange Attractor click here: Archived Blog
Friday, April 28, 2006
Outskirts of Infinity - Live on Internet
For your viewing convenience, The Outskirts of Infinity can now be viewed at www.undergroundfilm.org
The direct link is:
http://www.undergroundfilm.org/films/detail.tcl?wid=1023623
Thank you,
Barton Santello - Filmmaker
Tuesday, March 14, 2006
Press Release: "Day Residue" Completed
For Immediate Release:
Filmmaker Barton Santello announces the completion of an new film short "Day Residue" featuring an exciting soundscape by ambient/electronic musician Richard Bone. The film is summarized as the filmmaker's perceptions of life in Aricaca, Arizona, as told through the day residue (analog) images and computer (digital) graphics.
The film will be debuted at the Arivaca Independent Filmmakers Exhibition in Arivaca, Arizona on April 29th. For more information, contact the filmmaker at info@psychotropicfilms.com.
Arizona International Film Festival
For Immediate Release:
Filmmaker Barton Santello is proud to announce that his 2006 film: "The Outskirts of Infinity" has been selected for screening at this year's Arizona International Film Festival in Tucson.
The film is summarized as follows:
This work expresses the filmmaker’s artistic vision of visual opportunities present in an Arizona ghost town. Images of the ghost town; archival footage; the secret life of the sole caretaker and the flight of migratory bats, are inexplicably woven into a mysterious tapestry of storied images unbounded by a sense of time.
"I orignally went to the ghost town of Ruby, Arizona to film migratory bats that reside in an abandoned mine shaft and possibly make a wildlife documentary. However, after spending several weeks in the town, time getting to know the caretaker and filming old ruins, I knew the film was going to become something bigger. As typical with my productions, I filmed first and put the movie together later. I trusted the present moment experiences I had on film and used several 'psycho-active' soundscapes from 'A Produce'. The finished production more than exceeded my expectations for the 'form' of film I want to create" - Barton Santello
Additonal details on "Outskirts" and its showing at the Arizona International Film Festival will be forthcoming.
Filmmaker Barton Santello is proud to announce that his 2006 film: "The Outskirts of Infinity" has been selected for screening at this year's Arizona International Film Festival in Tucson.
The film is summarized as follows:
This work expresses the filmmaker’s artistic vision of visual opportunities present in an Arizona ghost town. Images of the ghost town; archival footage; the secret life of the sole caretaker and the flight of migratory bats, are inexplicably woven into a mysterious tapestry of storied images unbounded by a sense of time.
"I orignally went to the ghost town of Ruby, Arizona to film migratory bats that reside in an abandoned mine shaft and possibly make a wildlife documentary. However, after spending several weeks in the town, time getting to know the caretaker and filming old ruins, I knew the film was going to become something bigger. As typical with my productions, I filmed first and put the movie together later. I trusted the present moment experiences I had on film and used several 'psycho-active' soundscapes from 'A Produce'. The finished production more than exceeded my expectations for the 'form' of film I want to create" - Barton Santello
Additonal details on "Outskirts" and its showing at the Arizona International Film Festival will be forthcoming.
Saturday, February 25, 2006
A Film New Called "Day Residue"
My head was all stressed out over nothing; but it was just pent-up mental energy required to tie up some loose ends incubating a new film. A visual outline of some creative seeds I planted, became known – and I saw the link to some other mindful moments I filmed over the past 6-months.
The result will be a film unveiled as series of present-moment experiences, inter-woven into a dreamlike visual tapestry. I’m going to call it “Day Residue”, because that’s exactly what it is and consistent with my 'form' for film.
Richard Bone will be providing the soundscape; and as demonstrated in "Strange Attractor" and "Flow", promises to be another exceptional union of sound and visual imagery.
Now I know I’m on the right track. What a relief: This is one film I don’t want to let stand idle and begin to decay. This concept is essentially the day residue of what it is like to live inside the ‘dream’ of being in Arivaca. From this point forward, until it’s completed, I’m just going with that.
Barton Santello
Arivaca, AZ
The result will be a film unveiled as series of present-moment experiences, inter-woven into a dreamlike visual tapestry. I’m going to call it “Day Residue”, because that’s exactly what it is and consistent with my 'form' for film.
Richard Bone will be providing the soundscape; and as demonstrated in "Strange Attractor" and "Flow", promises to be another exceptional union of sound and visual imagery.
Now I know I’m on the right track. What a relief: This is one film I don’t want to let stand idle and begin to decay. This concept is essentially the day residue of what it is like to live inside the ‘dream’ of being in Arivaca. From this point forward, until it’s completed, I’m just going with that.
Barton Santello
Arivaca, AZ
Thursday, January 26, 2006
Outskirts: Richard Bone Weighs In
I just finished viewing "The Outskirts of Infinity" and it's truly a haunting work. The feelings that constantly swept over me while watching it were of being trapped in a twilight state between existence and non existence. It wasn't until I saw on the closing credits where Sundog is listed as "the man between two worlds" that I realized how clearly you conveyed this feeling. It's surreal of course but it's more than that. As if I were glimpsing the dream that shadows have when they sleep!
Two images especially haunted me. First the ballerina dancing as the scene crossfades onto an old piano and secondly, the closing shot where Sundog descends to...where? Back to a waking state, perhaps?
I loved it and Barry's music (A Produce) is perfection, chilling. Your work continues to evolve and become more sophisticated, if that's the right word. Perhaps your cinematic vision is becoming more clearly defined would be more accurate. In any cause, I was captivated and genuinely unsettled by the piece.
Especially considering that last night I had experienced a most disturbing nightmare. "Outskirts" brought those emotions back to the surface!
Can't wait to see what you do next....Just hope I'm part of it.
Regards, Richard Bone
www.richardbone.com
Two images especially haunted me. First the ballerina dancing as the scene crossfades onto an old piano and secondly, the closing shot where Sundog descends to...where? Back to a waking state, perhaps?
I loved it and Barry's music (A Produce) is perfection, chilling. Your work continues to evolve and become more sophisticated, if that's the right word. Perhaps your cinematic vision is becoming more clearly defined would be more accurate. In any cause, I was captivated and genuinely unsettled by the piece.
Especially considering that last night I had experienced a most disturbing nightmare. "Outskirts" brought those emotions back to the surface!
Can't wait to see what you do next....Just hope I'm part of it.
Regards, Richard Bone
www.richardbone.com
Thursday, January 12, 2006
Outskirts of Infinity Completed
My latest film: "The Outskirts of Infinity" was completed the first week of January 2006.
Running over 20 minutes in length, there was plenty of time to incorporate repeating themes and develop a structure with regards to symbolism on the human condition. The ghost town, the bats, and the caretaker are all 'elements' woven into a story (yes, there is a story here). This is not a film where I wanted to promote a specific message. Instead, this film allows me to learn more about the psycho-dynamics of the viewer, based on their perceptions and feelings derived from the viewing. This is a good picture where several viewings over time will reveal more and more complexity. The depth of which, is how far the viewer wants to go.
There are several parallels (motifs) with images from "Man Trap" (discovered after 'Outskirts' was completed).
The visual-sonic architecture of 'Outskirts' was totally unconscious. As with all my films, I shot scenes that moved me artistically; weaved them into the music-score for the maximum psycho-dynamic effects; then combined components to create psycho-active flow of information and ideas. Isn't wasn't until I burned the DVD and watched the whole film from beginning-to-end, did I discover that the film was exactly what I wanted to accomplish. This chain of events was really similiar in the production of "Strange Attractor" (nothing what I expected, but exactly what I wanted). Maybe that could be said about all my films. What's freaking-me-out is that it is a process beyond my control. It is a challenge not to interfere with this unconscious creative construction - because it means I must trust a process that can't be readily observed. I guess what keeps me from interfering consciously, is that I'm never sure where I'm going with a project. It is easier for me to get out of the way and let it take on a life of its own.
The current release is v2.0. However, I still have some 'tweaks' to the aesthetic of the film and corrections to the credits. However, the structure of the film is complete and I am very satisfied with it.
Barton Santello
Arivaca, AZ
Running over 20 minutes in length, there was plenty of time to incorporate repeating themes and develop a structure with regards to symbolism on the human condition. The ghost town, the bats, and the caretaker are all 'elements' woven into a story (yes, there is a story here). This is not a film where I wanted to promote a specific message. Instead, this film allows me to learn more about the psycho-dynamics of the viewer, based on their perceptions and feelings derived from the viewing. This is a good picture where several viewings over time will reveal more and more complexity. The depth of which, is how far the viewer wants to go.
There are several parallels (motifs) with images from "Man Trap" (discovered after 'Outskirts' was completed).
The visual-sonic architecture of 'Outskirts' was totally unconscious. As with all my films, I shot scenes that moved me artistically; weaved them into the music-score for the maximum psycho-dynamic effects; then combined components to create psycho-active flow of information and ideas. Isn't wasn't until I burned the DVD and watched the whole film from beginning-to-end, did I discover that the film was exactly what I wanted to accomplish. This chain of events was really similiar in the production of "Strange Attractor" (nothing what I expected, but exactly what I wanted). Maybe that could be said about all my films. What's freaking-me-out is that it is a process beyond my control. It is a challenge not to interfere with this unconscious creative construction - because it means I must trust a process that can't be readily observed. I guess what keeps me from interfering consciously, is that I'm never sure where I'm going with a project. It is easier for me to get out of the way and let it take on a life of its own.
The current release is v2.0. However, I still have some 'tweaks' to the aesthetic of the film and corrections to the credits. However, the structure of the film is complete and I am very satisfied with it.
Barton Santello
Arivaca, AZ
Wednesday, November 16, 2005
"Outskirts" in Post-Production
Psychotropic Films has announced that "The Outskirts of Infinity" is currently in post-production. Filmmaker Barton Santello says that no time limit has been given for the film's release; but estimates it should be completed sometime in the first quarter of 2006.
"The raw footage has a lot of hidden artistic images that need to be extracted and given attention for further refinement. Further, there is a futher challenge integrating the sound track being provided by 'A Produce'. I'm confident all the elements to complete the film are there and the final work should be very unique and special - I'm excited about it" (Santello)
"The raw footage has a lot of hidden artistic images that need to be extracted and given attention for further refinement. Further, there is a futher challenge integrating the sound track being provided by 'A Produce'. I'm confident all the elements to complete the film are there and the final work should be very unique and special - I'm excited about it" (Santello)
Tuesday, October 11, 2005
Brenda's Blog on "Psychotropic Films"
RE: http://brendareviews.blogspot.com/
Dear Bart,
This reviewer page is an elegant post-modern multi-layer psycho-social cross-cultural addition to your work. I can see this evolving into a form in which the observer(s) is(are) part of the artistic creation and esthetic experience to be shared. It is sort of between passive experience of art and performance art in which observers are an active participant in creating the experience.
This is a refreshing alternative to what we see all too often with gifted people: preaching, getting on a soap box, talking at people, forcing an opinion or perspective onto others. Instead, metaphorically, you are inviting people into your home, a place where cognition itself is appreciated and encouraged without any investment in a particular outcome to the personal cognitive act.
Some skeptics might say that this (i.e., valuing experience over outcome) is self indulgent if not frankly hedonistic. I submit that such a judgment misses the point, or at least the potential, of your work as an exemplar of an art form. The intent is not even to achieve a particular experience or attendant emotions (happiness, sadness, fear, or whatever). In fact, your work often leads to unexpected experiences and to unwanted emotions.
I cannot help imposing my own pedagogical perspective on your work. I would say, if there is an agenda, it is to provide observers and participants with opportunities for psychological growth and development. Phenomenology or simple reflection is a skill like anything other. A developing individual needs practice and experience with difficult material or situations which prepares one for the uncertain or unfamiliar. Meta-cognitively, one must learn to learn. For me, this is the esthetic opportunity your work provides.
I look forward to watching how your work and this integral weblog unfolds.
Warm regards,
Gary Riccio, Ph.D., B.S.E.
Principal
Nascent Science & Technology, Inc.
12 Massasoit Way
Mattapoisett, MA 02739-1028
Dear Bart,
This reviewer page is an elegant post-modern multi-layer psycho-social cross-cultural addition to your work. I can see this evolving into a form in which the observer(s) is(are) part of the artistic creation and esthetic experience to be shared. It is sort of between passive experience of art and performance art in which observers are an active participant in creating the experience.
This is a refreshing alternative to what we see all too often with gifted people: preaching, getting on a soap box, talking at people, forcing an opinion or perspective onto others. Instead, metaphorically, you are inviting people into your home, a place where cognition itself is appreciated and encouraged without any investment in a particular outcome to the personal cognitive act.
Some skeptics might say that this (i.e., valuing experience over outcome) is self indulgent if not frankly hedonistic. I submit that such a judgment misses the point, or at least the potential, of your work as an exemplar of an art form. The intent is not even to achieve a particular experience or attendant emotions (happiness, sadness, fear, or whatever). In fact, your work often leads to unexpected experiences and to unwanted emotions.
I cannot help imposing my own pedagogical perspective on your work. I would say, if there is an agenda, it is to provide observers and participants with opportunities for psychological growth and development. Phenomenology or simple reflection is a skill like anything other. A developing individual needs practice and experience with difficult material or situations which prepares one for the uncertain or unfamiliar. Meta-cognitively, one must learn to learn. For me, this is the esthetic opportunity your work provides.
I look forward to watching how your work and this integral weblog unfolds.
Warm regards,
Gary Riccio, Ph.D., B.S.E.
Principal
Nascent Science & Technology, Inc.
12 Massasoit Way
Mattapoisett, MA 02739-1028
Thursday, September 15, 2005
Phoenix Film Festival
Psychotropic Films - Press Release
Arivaca, AZ
Psychotropic Films announces the submission of it new release, "Strange Attractor", to the Phoenix Film Festival. Submission to the film festival does not guaranty acceptance. Filmmaker Barton Santello adds: "Digital filmmaking is ubiquitious these days and I'm sure the judges struggle as they wade through hundred's of short films." "I hope that the retro-graphics as rendered by my vintage Amiga Computer, along with a unique story presentation, and delivered along with a solid musical score by ambient/electronica musician Richard Bone, tip the scales in our favor."
Notification of acceptance or rejection of this entry to the Phoenix Film Festival will occur at the beginning of 2006.
Arivaca, AZ
Psychotropic Films announces the submission of it new release, "Strange Attractor", to the Phoenix Film Festival. Submission to the film festival does not guaranty acceptance. Filmmaker Barton Santello adds: "Digital filmmaking is ubiquitious these days and I'm sure the judges struggle as they wade through hundred's of short films." "I hope that the retro-graphics as rendered by my vintage Amiga Computer, along with a unique story presentation, and delivered along with a solid musical score by ambient/electronica musician Richard Bone, tip the scales in our favor."
Notification of acceptance or rejection of this entry to the Phoenix Film Festival will occur at the beginning of 2006.
Tuesday, September 13, 2005
Strange Attractor - A Barton Santello Film
My new film "Strange Attractor" can be viewed on the website of Richard Bone, who is musician that provided the soundtrack for the film.
Go to:
www.richardbone.com
Then click on "Visuals" then "Videos"
Go to:
www.richardbone.com
Then click on "Visuals" then "Videos"
Tuesday, August 30, 2005
"The Outskirts of Infinity" Completes Filming
PRESS RELEASE - Psychotropic Films
Arivaca, AZ
Shot in the ghost-town of Ruby, Arizona, Barton Santello's new film "The Outskirts of Infinity" was recently wrapped. The images recorded will be combined with a music score by veteran trance musician "A Produce" to achieve a heavy "Psychotropic" effect. Filmmaker Barton Santello lays in: "I'm going to have fun in post-production with this one - anything goes." Further adding: "I'm doing this film for me. If you want to come along for the ride you're welcome. Expect the psychotropics spread on thick like peanut butter. And don't be surprised if the entire film has no context other then to mess with your head."
Details of the film are shrouded in secret: However, filming took place in the mine shafts of Ruby, with the caretaker, and exclusive footage of millions of bats pouring out of a cave.
Relase of the film is expected by the end of this year (2005).
Arivaca, AZ
Shot in the ghost-town of Ruby, Arizona, Barton Santello's new film "The Outskirts of Infinity" was recently wrapped. The images recorded will be combined with a music score by veteran trance musician "A Produce" to achieve a heavy "Psychotropic" effect. Filmmaker Barton Santello lays in: "I'm going to have fun in post-production with this one - anything goes." Further adding: "I'm doing this film for me. If you want to come along for the ride you're welcome. Expect the psychotropics spread on thick like peanut butter. And don't be surprised if the entire film has no context other then to mess with your head."
Details of the film are shrouded in secret: However, filming took place in the mine shafts of Ruby, with the caretaker, and exclusive footage of millions of bats pouring out of a cave.
Relase of the film is expected by the end of this year (2005).
Tuesday, August 09, 2005
Strange Attractor Released
RE: Strange Attractor - A Barton Santello Film
Bart,
I AM ABSOLUTELY THRILLED! I just watched "Strange Attractor" for the second time and am completely captivated by the visual imagery. As you may know, I've been watching early film works by Brakhage and Fischinger and your piece is on par with those pioneering works. The marriage of audio and video is inspired, the edits (to the music) ingenious. I assume you plan on entering this work in video festivals as it must be seen! I know you must be proud of the work. The energy and talent put into it are clearly evident.
Marleen already wrote me that she loved it also. Why don't I leave it up to you two to decide how you want it presented on the site? Anything you both decide is fine with me.
Warm Regards,
rb
Bart,
I AM ABSOLUTELY THRILLED! I just watched "Strange Attractor" for the second time and am completely captivated by the visual imagery. As you may know, I've been watching early film works by Brakhage and Fischinger and your piece is on par with those pioneering works. The marriage of audio and video is inspired, the edits (to the music) ingenious. I assume you plan on entering this work in video festivals as it must be seen! I know you must be proud of the work. The energy and talent put into it are clearly evident.
Marleen already wrote me that she loved it also. Why don't I leave it up to you two to decide how you want it presented on the site? Anything you both decide is fine with me.
Warm Regards,
rb
Tuesday, August 02, 2005
Harddrive Crash Sets Website Release Back
Psychotropic Films Press Release
Arivaca, AZ
A harddrive crash on the administrative computer of Psychotropic Films, wiped-out 4-months of programing effort, just short of the launch of the company's website. Although the computer's files were backed-up just a few weeks prior to the crash, a key program file containing the HTML code of the website was not backed-up because it resided in the program's proprietary directory, rather than the "My Webs" folder where all the graphic elements for the site were stored.
Principal and filmmaker Barton Santello expressed extreme disappointment at this latest setback to establishing an online presence and completing a artistic multi-media project. Santello confides: "I was using a new authoring tool (NetObjects Fusion 8), so not only did I have to ramp-up the learning curve for the software, but I was trying to mold my vision for the site into the capability of the software."
Santello says: "Since I'm not a website developer, I don't have any preconceived notions of how a website should be constructed: Therefore, my concept was that the layout of the website will take the visitor on a journey through the filmmaker's mind, allowing navigation through the subconscious, altered states, dreams and the mind's link with the Internet's own developing consciousness. All of which relate back and represent completed films, films under production and ideas."
Redevelopment of the website will commence in the late fall of 2005. Stay tuned.
Arivaca, AZ
A harddrive crash on the administrative computer of Psychotropic Films, wiped-out 4-months of programing effort, just short of the launch of the company's website. Although the computer's files were backed-up just a few weeks prior to the crash, a key program file containing the HTML code of the website was not backed-up because it resided in the program's proprietary directory, rather than the "My Webs" folder where all the graphic elements for the site were stored.
Principal and filmmaker Barton Santello expressed extreme disappointment at this latest setback to establishing an online presence and completing a artistic multi-media project. Santello confides: "I was using a new authoring tool (NetObjects Fusion 8), so not only did I have to ramp-up the learning curve for the software, but I was trying to mold my vision for the site into the capability of the software."
Santello says: "Since I'm not a website developer, I don't have any preconceived notions of how a website should be constructed: Therefore, my concept was that the layout of the website will take the visitor on a journey through the filmmaker's mind, allowing navigation through the subconscious, altered states, dreams and the mind's link with the Internet's own developing consciousness. All of which relate back and represent completed films, films under production and ideas."
Redevelopment of the website will commence in the late fall of 2005. Stay tuned.
Wednesday, July 20, 2005
Email to Richard Bone
Richard:
I really appreciate your support on these projects. I wonder what it must feel like to be in your shoes - having someone else take what you created and put it into a form unimagined?
Actually I may turn the tables on you here. The Strange Attractor I'm editing now is different than what I imagined the film to be. It's now colorized black and white video as opposed to stark B&W. Also, I decided to incorporate some of the unrehearsed performances of the actors into the film, which created a new perspective that ended-up working with the music from COXA. However, in additon; I may create the B&W version and give it to you, A PRODUCE and others, to play with from a soundscape standpoint (remember my idea about having several muscians, each originating a soundtrack based on their inner interpretation of the film!) There would be no time limit or obligation: Just a seed waiting to germinate and sprout.
I liken what other artists do similiar to a pure element in nature (the Periodic Table of the Elements). And also my films as a pure element. Then what I do is combine the two elements together like a chemist to create a new compound (e.g. two parts hydrogen & one part oxygen = water).
Regarding the bats disc. I don't know if anything could be done with it from a sonic standpoint, but I have used it as a relaxation exercise (meditative I guess like you mentioned).
Wait to you see what's coming together for my time filming in the ghost town of Ruby. It's a real 'psychotropic' piece called "Outskirts of Infinity". A PRODUCE is providing the sonic for that. It may have a clip or two of the bats, but I don't know what I'm going to do with all the bat footage - I would say at least a million pour out of that cave!!
Take care, Bart
I really appreciate your support on these projects. I wonder what it must feel like to be in your shoes - having someone else take what you created and put it into a form unimagined?
Actually I may turn the tables on you here. The Strange Attractor I'm editing now is different than what I imagined the film to be. It's now colorized black and white video as opposed to stark B&W. Also, I decided to incorporate some of the unrehearsed performances of the actors into the film, which created a new perspective that ended-up working with the music from COXA. However, in additon; I may create the B&W version and give it to you, A PRODUCE and others, to play with from a soundscape standpoint (remember my idea about having several muscians, each originating a soundtrack based on their inner interpretation of the film!) There would be no time limit or obligation: Just a seed waiting to germinate and sprout.
I liken what other artists do similiar to a pure element in nature (the Periodic Table of the Elements). And also my films as a pure element. Then what I do is combine the two elements together like a chemist to create a new compound (e.g. two parts hydrogen & one part oxygen = water).
Regarding the bats disc. I don't know if anything could be done with it from a sonic standpoint, but I have used it as a relaxation exercise (meditative I guess like you mentioned).
Wait to you see what's coming together for my time filming in the ghost town of Ruby. It's a real 'psychotropic' piece called "Outskirts of Infinity". A PRODUCE is providing the sonic for that. It may have a clip or two of the bats, but I don't know what I'm going to do with all the bat footage - I would say at least a million pour out of that cave!!
Take care, Bart
Tuesday, July 19, 2005
New Perspective For Strange Attractor
I completed filming "Strange Attractor" over the weekend and after pulling and all-nighter last night - I already have a rough edit in hand. As present-moment awareness should have it, the film in post-production is becoming something different that what I first imagined. But this is good because I'm using input from the two actors that deals with their creative perspectives and contribution to the project. Jim Ericksen's suggestion of filming a gas-stove burner igniting turned-out to be a fun creative exercise. Jim also suggested filming himself looking into a mirror and he exits the door from his study in the film. I put a sequence together from that filming exercise which added significantly to the films artistic value.
Also unexpectedly in the editing, I used footage of both Cindie Wolf and Jim Ericksen that really brought out both their characters and this helped add a nice cohesion to the film story. In other words, instead of rigidly following what was in my mind's eye for the film, I let the contribution of the actors shape both the 'content' and the 'feel' of the film. This is what present-moment filmmaking is all about. You have to recognize new information and let it assimulate itself into the film. Introducing these new elements broadened the artistic value of the piece.
I Also, the images in post-production are colorized black and white video run through a primitive video board installed in a vintage 1985 Commodore Amiga computer, using software developed at the time to create real-time digital colorization as the video is displayed on the monitor - really cool - essentially post-production became an excercise in 'performance' art.
So what happens now to the original movie concept of Strange Attractor? Well there very well may be another version of the film true to my original vision - we'll see.
Barton Santello
Arivaca, AZ
July 2005
Also unexpectedly in the editing, I used footage of both Cindie Wolf and Jim Ericksen that really brought out both their characters and this helped add a nice cohesion to the film story. In other words, instead of rigidly following what was in my mind's eye for the film, I let the contribution of the actors shape both the 'content' and the 'feel' of the film. This is what present-moment filmmaking is all about. You have to recognize new information and let it assimulate itself into the film. Introducing these new elements broadened the artistic value of the piece.
I Also, the images in post-production are colorized black and white video run through a primitive video board installed in a vintage 1985 Commodore Amiga computer, using software developed at the time to create real-time digital colorization as the video is displayed on the monitor - really cool - essentially post-production became an excercise in 'performance' art.
So what happens now to the original movie concept of Strange Attractor? Well there very well may be another version of the film true to my original vision - we'll see.
Barton Santello
Arivaca, AZ
July 2005
Sunday, July 17, 2005
Strange Attractor Update
On July 16th, the filming of Strange Attractor was completed. A big milestone for 2005. Now comes the hard (fun) part of digital filmmaking: Take the film and put it in my 'form'. My form being the most present-moment I can take this material. While simultaneously using technology tools that are both state-of-the-art and vintage (I like the vintage equipment, especially my Amiga 1000.)
Strange Attractor it seems, upon inspection of the video run through the Amiga 1000's LIVE! videoprocessing board, will be better served, viewed as two seperate films. The first version will be a hip retro image (as processsed by the LIVE! video card on the Amiga) digitally crafted via LIVE!'s vintage software in real time as the video is recorded raw off digital tape.
The second film will be the black and white version of my original vision for the films's presentation.
Both versions will have music provided couresty of Richard Bone {www.richardBone.com)
The result is my original design for the film; with the bonus of a seperate present-moment artistic version film, from the same source material. The best of both worlds.
Bart Santello
Filmmaker
www.psychotropicFILMS.com
Strange Attractor it seems, upon inspection of the video run through the Amiga 1000's LIVE! videoprocessing board, will be better served, viewed as two seperate films. The first version will be a hip retro image (as processsed by the LIVE! video card on the Amiga) digitally crafted via LIVE!'s vintage software in real time as the video is recorded raw off digital tape.
The second film will be the black and white version of my original vision for the films's presentation.
Both versions will have music provided couresty of Richard Bone {www.richardBone.com)
The result is my original design for the film; with the bonus of a seperate present-moment artistic version film, from the same source material. The best of both worlds.
Bart Santello
Filmmaker
www.psychotropicFILMS.com
Monday, July 04, 2005
Changing The Form of Film
email to Steve
Kubrick, in the last years of his life, talked about creating a new "form" for film. I don't know what that meant, but he implied that he wanted to change the structure or DNA of filmmaking.
My movies (e.g. Man Trap) are filmed simply because I felt something important and was moved by each image. I didn't plan to put the guy at the end to look and the camera and then look away suggesting that he was resigned to be a tool in the man trap of the factory. I just took the footage and had no idea what I was going to do with it, and doubing if it was good for anything.
But ManTrap ended up coming together just like a dream - a bunch of fragments from my
day coming together to form a story - who would have known. The same is happening with the "Bats of Ruby" a film I'm working on at present. I have the same thing, a bunch of images: But this time I have the confidence to create something really artistic, unique and true to how I "see" things.
Kubrick, in the last years of his life, talked about creating a new "form" for film. I don't know what that meant, but he implied that he wanted to change the structure or DNA of filmmaking.
My movies (e.g. Man Trap) are filmed simply because I felt something important and was moved by each image. I didn't plan to put the guy at the end to look and the camera and then look away suggesting that he was resigned to be a tool in the man trap of the factory. I just took the footage and had no idea what I was going to do with it, and doubing if it was good for anything.
But ManTrap ended up coming together just like a dream - a bunch of fragments from my
day coming together to form a story - who would have known. The same is happening with the "Bats of Ruby" a film I'm working on at present. I have the same thing, a bunch of images: But this time I have the confidence to create something really artistic, unique and true to how I "see" things.
Saturday, June 11, 2005
Tough Week of Filmmaking
Journal entry by Bart
Here's an update: When you have two films to shoot at ounce and a million other things to do, the clock ticking down and combine that with the unpredicability of filming wildlife, I was seeing things starting to get chaotic. Filming is where the uncertainty mounts. Did I get on tape what is in my head?
Tonight I filmed a simple scene (for Strange Attractor), of a burner from a gas stove igniting-off. The lighting wasn't what I had expected, but the digital tape showed some of my lighting tricks worked really well. This tiny transition shot, really picked-up my spirits. It's the reminder that a film is built one scene at a time. And a good film must be a string of deliberate and purposeful images.
Interesting, that the gas-burner idea which came from Jim Ericksen (collaberator in the film), would end up being the image that sparked the whole filming effort.
That's the whole point, I never know what's going to work, so I have to document everything I can. But my own limitations try to box me in, so that's why I have to get creative.
Earlier in the week I lost a whole night of shooting (for the film: Bats of Ruby) because I had one button switched "on" that shouldn't have been and over-saturated the image. Another night, I had to switch a battery in mid-shoot of the bat's flight, then ran out of tape. All due to carelessness, juggling two projects and the clock - the details will derail you.
However, after reviewing all the footage, I feel I have been capturing the essence of what I'm trying to accomplish. Trying to remain true to the idea.
Stay in the moment - Stay in the moment. That's is what I keep saying to myself. And to "breathe".
Here's an update: When you have two films to shoot at ounce and a million other things to do, the clock ticking down and combine that with the unpredicability of filming wildlife, I was seeing things starting to get chaotic. Filming is where the uncertainty mounts. Did I get on tape what is in my head?
Tonight I filmed a simple scene (for Strange Attractor), of a burner from a gas stove igniting-off. The lighting wasn't what I had expected, but the digital tape showed some of my lighting tricks worked really well. This tiny transition shot, really picked-up my spirits. It's the reminder that a film is built one scene at a time. And a good film must be a string of deliberate and purposeful images.
Interesting, that the gas-burner idea which came from Jim Ericksen (collaberator in the film), would end up being the image that sparked the whole filming effort.
That's the whole point, I never know what's going to work, so I have to document everything I can. But my own limitations try to box me in, so that's why I have to get creative.
Earlier in the week I lost a whole night of shooting (for the film: Bats of Ruby) because I had one button switched "on" that shouldn't have been and over-saturated the image. Another night, I had to switch a battery in mid-shoot of the bat's flight, then ran out of tape. All due to carelessness, juggling two projects and the clock - the details will derail you.
However, after reviewing all the footage, I feel I have been capturing the essence of what I'm trying to accomplish. Trying to remain true to the idea.
Stay in the moment - Stay in the moment. That's is what I keep saying to myself. And to "breathe".
Friday, March 04, 2005
Bart-O-Vision
Email conversation with A Produce
Bart Santello: Yea, just like the Planet of the Apes series, the Man Trap film keeps having reincarnations of its own. I know what you're thinking at this moment: "Leave well enough alone", but this is the point of 'present moment film making'. Yea, I thought the film was 'final' back in the fall. But I just filmed another cool scene the other day, and tonight started manipulating the image on the cinematic computer - bingo - not only did I get the scene to fit within the existing length of the film, I realized I had an opportunity to tweak and edit other clips - The result is a definitely improved film...Now, after I make those new copies for you, you will soon have version 4.1 (kind of like software, without the upgrade cost and compatibility issues- ha!), and you can view it to your heart's content to find these new mods. Your soundtrack was left without modification.
PS: I have a new version of my digital editing software on order, which will have the capability to produce 'surround sound' and 16 x 9 wide-screen format. I will then convert the film to wide-screen since the video I filmed is wider than your TV set. So in v4.1.1 of ManTrap you'll see it presented in: "Bart-O-Vision".
It's going to be an exciting year, I've generated so many ideas for films without effort; they are falling into the palm of my hand. I'm even dreaming the scenes AND in a passive-lucid sense editing them too. This is all happening in real time; it's all happening now!!
My latest idea came while listening to the first track of Robert Rich's "Below Zero", it reminded me of the different stages of sleep (hypnagogic, REM, NonREM, Hypnapompic) and the imagery associated with it. Then I realized that I need to make a film that visually portrays each of these stages of sleep. I mean, I've been keeping a dream log for 25 years, you would think I have some insight and raw material for this!! You want to work a soundtrack for this one? Take your time. This project is several years out (that's because the effort to portray what the mind is creating visually each second is staggering).
A Produce: In effect, that what "Smile On The Void" was supposedly all about. I'm not sure I nailed it quite in the same way Robert Rich did. You should really order his "Somnium" 7 hr audio DVD--it's quite amazing to have on in the house at various volumes for that period of time. As you probably know, he used to perform these things live, and I actually witnessed one in '96 in Santa Monica. It was one of the more memorable experiences of my life....
Bart: And that's where my vintage Amiga multi-media computers come in. I've been buying Amiga Software and primitive video processing boards on eBay for pennies, what you couldn't touch for hundreds in there heyday. Just tools for the tool box.
A Produce: Great! It always good to have some out-dated gear that nobody thinks has value anymore, but where imagination is the key. You've got a lock on stuff that no one even thinks about anymore. I'm in somewhat the same "dilemma"--most of the gear in my studio now is considered "vintage" but it gets me where I want to go which is really all I'm interested in these days.
Bart: Also, there are some things I need to film once I'm down Arivaca. It struck me tonight that maybe this is where Jack Gariss comes in...It's just a hunch...You know what I'm talking about..
A Produce: I just made a dub of a board tape (not off the radio) of a show Jack did way back in '77 that kicked off a series on creativity. You may find it useful, if not for a show, just for the experiencing of the moment. There are seven "moments" in this series. This is the first one, and it's on its way to you...
www.pyschotropicfilms.com
Bart Santello: Yea, just like the Planet of the Apes series, the Man Trap film keeps having reincarnations of its own. I know what you're thinking at this moment: "Leave well enough alone", but this is the point of 'present moment film making'. Yea, I thought the film was 'final' back in the fall. But I just filmed another cool scene the other day, and tonight started manipulating the image on the cinematic computer - bingo - not only did I get the scene to fit within the existing length of the film, I realized I had an opportunity to tweak and edit other clips - The result is a definitely improved film...Now, after I make those new copies for you, you will soon have version 4.1 (kind of like software, without the upgrade cost and compatibility issues- ha!), and you can view it to your heart's content to find these new mods. Your soundtrack was left without modification.
PS: I have a new version of my digital editing software on order, which will have the capability to produce 'surround sound' and 16 x 9 wide-screen format. I will then convert the film to wide-screen since the video I filmed is wider than your TV set. So in v4.1.1 of ManTrap you'll see it presented in: "Bart-O-Vision".
It's going to be an exciting year, I've generated so many ideas for films without effort; they are falling into the palm of my hand. I'm even dreaming the scenes AND in a passive-lucid sense editing them too. This is all happening in real time; it's all happening now!!
My latest idea came while listening to the first track of Robert Rich's "Below Zero", it reminded me of the different stages of sleep (hypnagogic, REM, NonREM, Hypnapompic) and the imagery associated with it. Then I realized that I need to make a film that visually portrays each of these stages of sleep. I mean, I've been keeping a dream log for 25 years, you would think I have some insight and raw material for this!! You want to work a soundtrack for this one? Take your time. This project is several years out (that's because the effort to portray what the mind is creating visually each second is staggering).
A Produce: In effect, that what "Smile On The Void" was supposedly all about. I'm not sure I nailed it quite in the same way Robert Rich did. You should really order his "Somnium" 7 hr audio DVD--it's quite amazing to have on in the house at various volumes for that period of time. As you probably know, he used to perform these things live, and I actually witnessed one in '96 in Santa Monica. It was one of the more memorable experiences of my life....
Bart: And that's where my vintage Amiga multi-media computers come in. I've been buying Amiga Software and primitive video processing boards on eBay for pennies, what you couldn't touch for hundreds in there heyday. Just tools for the tool box.
A Produce: Great! It always good to have some out-dated gear that nobody thinks has value anymore, but where imagination is the key. You've got a lock on stuff that no one even thinks about anymore. I'm in somewhat the same "dilemma"--most of the gear in my studio now is considered "vintage" but it gets me where I want to go which is really all I'm interested in these days.
Bart: Also, there are some things I need to film once I'm down Arivaca. It struck me tonight that maybe this is where Jack Gariss comes in...It's just a hunch...You know what I'm talking about..
A Produce: I just made a dub of a board tape (not off the radio) of a show Jack did way back in '77 that kicked off a series on creativity. You may find it useful, if not for a show, just for the experiencing of the moment. There are seven "moments" in this series. This is the first one, and it's on its way to you...
www.pyschotropicfilms.com
Saturday, July 17, 2004
You Send Me the Message
Email to "A Produce"
Amazing!! In the first 2 minutes of your soundscape: “You Send Me the Message”, you have an electronic riff they fades out and it is replaced by over 30 minutes of an entirely different soundscape. I realized that tonight while listening to it. What balls it took for you to have a totally different sonic structure at the beginning of that song, then totally replace it with a new sonic structure, with the original riff never to return. I think that’s an amazing piece of sound design. You may not think anything of it. But listen to it again and tell me if I’m wrong. I doubt it !
Amazing!! In the first 2 minutes of your soundscape: “You Send Me the Message”, you have an electronic riff they fades out and it is replaced by over 30 minutes of an entirely different soundscape. I realized that tonight while listening to it. What balls it took for you to have a totally different sonic structure at the beginning of that song, then totally replace it with a new sonic structure, with the original riff never to return. I think that’s an amazing piece of sound design. You may not think anything of it. But listen to it again and tell me if I’m wrong. I doubt it !
Friday, July 16, 2004
My Film Company
My film company is: “Psychotropic Films” – Films To Change Your Mind”. These films are about who YOU really are. When I have an idea for a film; it just arrives. I call it present-moment filmmaking. Sometimes I film ordinary things, but in my mind I have extra-ordinary ideas behind what will be the final basic visual presentation. And the music score (Sound design)is the other 50% of the film. The goal is to deliver a psycho-active experience for the viewer to experience.
Monday, July 12, 2004
Man Trap Bliss
Email to "A Produce"
Fantastic news - I completed a new film "Man Trap" tonight. I used your "You Send Me the Message" from Altar" as the psycho-active soundscape. AP, this film cannot be described - you just have to see (and hear) it to understand what I'm talking about. I love when it all comes together from just being mindful of simple events in life. Every moment a poem to me. Random events become the floating residue that are captured in its pure form, and thus inspire a visual dream of sorts. I'll get a copy in the mail to you ASAP.
Fantastic news - I completed a new film "Man Trap" tonight. I used your "You Send Me the Message" from Altar" as the psycho-active soundscape. AP, this film cannot be described - you just have to see (and hear) it to understand what I'm talking about. I love when it all comes together from just being mindful of simple events in life. Every moment a poem to me. Random events become the floating residue that are captured in its pure form, and thus inspire a visual dream of sorts. I'll get a copy in the mail to you ASAP.
Saturday, July 10, 2004
ManTrap Micro-Summary
I just finished a film called “Man Trap”. Filmed with a Sony digital camera in the movie mode at an undisclosed industrial location. At first I had no idea what I was going to do with these images, I was going about my day and this is what I saw and was moved artistically by. I had doubts though. Then over the course of two nights, I applied effects to the images, edited and laid-down a heavy industrial-ambient score by "A-Produce". The result was something that was so true to my core essence. I loved the feeling watching the completed film for the first time. It was like I was having a lucid dream.
Wednesday, April 14, 2004
Night Curve
Email to "A Produce"
Last night I put together a "pre-visualization" Video CD of one scene in my Apollo film using NIGHT CURVE. This will give you a better idea of what I'm doing here (albeit preliminary). What I'm finding in these NASA videos is an inadvertent artistic quality of the film imagery taken with these primitive cameras, shifting lighting and awkward camera placement. When you get the Video CD, you will notice at the end of the scene, an artistic quality (e.g. sand kicked-up by the Lunar Lander rocket motors, vibrations, shadows). Ironically, at the end of NIGHT CURVE is a string of haunting riffs in your score and I edited the film so that the lander is stopped on the moon and this haunting sound is like a warning to the astronaut's that they have a arrived at someplace quite different and unfamiliar. It's perfect!!
Last night I put together a "pre-visualization" Video CD of one scene in my Apollo film using NIGHT CURVE. This will give you a better idea of what I'm doing here (albeit preliminary). What I'm finding in these NASA videos is an inadvertent artistic quality of the film imagery taken with these primitive cameras, shifting lighting and awkward camera placement. When you get the Video CD, you will notice at the end of the scene, an artistic quality (e.g. sand kicked-up by the Lunar Lander rocket motors, vibrations, shadows). Ironically, at the end of NIGHT CURVE is a string of haunting riffs in your score and I edited the film so that the lander is stopped on the moon and this haunting sound is like a warning to the astronaut's that they have a arrived at someplace quite different and unfamiliar. It's perfect!!
Wednesday, February 25, 2004
"Bent" Casio SK-1 Keyboard
Email to the "Junk-Junkie"
I was talking to my musician friend about the "modded" and 'circuit-bent' 1986-vintage Casio SK-1 synthesizer purchase and he thought I should be using digital music creation software instead (cheaper/better). I was thinking that it is probably true that I can create a greater range of sounds using software, but I have two reasons why the SK-1 is a cool choice: 1) I think it is better to create music using "analog" input such as having a keyboard to touch knobs and sample. It's like drafting board for design: Sure you can use CAD software, but there is nothing like pencil-to-paper with an eraser nearby and you feel the creation is coming from you and not via a computer interface. 2) I look at the 'circuit-bending' work you are doing and consider it an art form. It's like going into a gallery, seeing a cool painting and saying: "I want that on my wall".
I was talking to my musician friend about the "modded" and 'circuit-bent' 1986-vintage Casio SK-1 synthesizer purchase and he thought I should be using digital music creation software instead (cheaper/better). I was thinking that it is probably true that I can create a greater range of sounds using software, but I have two reasons why the SK-1 is a cool choice: 1) I think it is better to create music using "analog" input such as having a keyboard to touch knobs and sample. It's like drafting board for design: Sure you can use CAD software, but there is nothing like pencil-to-paper with an eraser nearby and you feel the creation is coming from you and not via a computer interface. 2) I look at the 'circuit-bending' work you are doing and consider it an art form. It's like going into a gallery, seeing a cool painting and saying: "I want that on my wall".
Monday, January 12, 2004
Sunday, June 08, 2003
Chicken Scratch a Post Post-Postmodern Film
I completed a short digital film this weekend called "Chicken Scratch". It came out of an idea from a gathering in March 2002, of people interested in Postmodern thinking and art. Attendees brought their own postmodern art, but we collaborated on a few multi-media pieces during the event. The idea was to dip a chicken's feet in paint and have it walk around on a canvas and that would be a (Postmodern) art piece. Not only the art on the canvas would be Postmodern, but so would the film documenting the chicken doing its thing. Well it never happened that day, but just last week I was talking with my friend Gina and she said that there was a chicken in her backyard, so lets make the movie. We did. Viewing the finished piece last night, I realized that because the film had no expectations or boundaries - just imagination, it reached a whole new level. Now I'm starting to think this may be one of my best works to date.
http://www.youtube.com/watch?v=TF-OG2xDryQ
http://www.youtube.com/watch?v=TF-OG2xDryQ
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