Showing posts with label sight and sound magazine. Show all posts
Showing posts with label sight and sound magazine. Show all posts

Friday, 26 August 2016

Make A film, its eez-eh // Fabrizio Federico's ((PINK8 Manifesto


Pink8 Manifesto

  • Film school is poison.
  • Short films are NOT acceptable, it MUST be a feature.
  • The cast must NOT know what your film is about. 
  • Mistakes are beautiful. 
  • Technical film experience is inessential. 
  • Bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect are perfect. 
  • Your film must be made on no budget, just sporadic money.
  • Look for street superstars to be your cast.
  • The director must raise "get-by" money by finding a job that challenges their ethics.
  • The director must have a main character role in the film.
  • Filming must be done without any preparation or a traditional script.
  • Your film must be 95% improvised.
  • Special lighting is not acceptable.
  • No HD Cameras
  • No 3D
  • No Green Screen
  • The director must edit the film alone.
  • Continuity is wrong.
  • Answer to one person only—yourself.

Wednesday, 18 November 2015

Dark Side of Cinema


Since 1878 (which = 6) the birth of cinema has danced with many partners, splintering the art of filmmaking down many different paths, similar to how tarot cards, the Qabalah and other jaberwockery that was persecuted on its first introduction. But from its birth certain filmmakers have brought to the table a more tribal Wicca ingredient to mystic filmmaking. Especially proponents of the counterculture.

"Do what thou wilt shall be the whole of the Law'' 
Aleister Crowley
 
 Exploring insanity, ecstasy, nihilism, dreams, carnal and occult practices, their subjects and topics are far far away from mainstream cinema, prefering to create a visual approximation to eternity. 

Tapping into an energy similar to a UFO that on first viewing may seem alien, but there lies its true magick, and rewards. Many consider these films avant garde, spacey and cosmic, with goo-goo sights and third eye disturbed states of minds, but altered states of consciousness have always pushed the boundaries of creativity. 
Showing a way of life beyond the artificial veil of a fake plastic society and displays the divine Babylon of life. With such tools as ESP, ley lines, hexagrams, sitars, astral travel, Eastern mysticism, past lives, LSD and other supernatural invocations. An impending apocalypse at the crossroads of cinema was bound to be introduced to open minded audiences, almost as a form of telepathy classes into the unknown.

These filmmakers guide the viewer in the same manner as a healer would. Creating a rhythm of sound and vision that a shaman, sorcerer or witch doctor would be proud of. In their films all the children are insane, on the edge of the city, ''I was in a German psychiatric clinic when I received inspiration to go out and make a film, and it healed me'' says the youngest filmmaker Fabrizio Federico in our list. 

Here are some of their spells:

 
 
Rosemary's Baby (1968)

Loon (2017)


Out of the Blue (1980)

     Mister Lonely (2008) 

 
El Topo (1970)

   Lucifer Rising (1974)

 Performance (1970) 



Monday, 13 July 2015

Fabrizio Federico - Film Interview gone WRONG


                                                         






Tuesday, 5 May 2015

PINK8 Manifesto - A Crusade on the Nature of Cinema




Pink8 Manifesto

  • Film school is poison.
  • Look for street superstars to be your cast.
  • Your film must be made on no budget, just sporadic money.
  • Mistakes are beautiful.
  • The director must raise "get-by" money by finding a job that challenges their ethics.
  • The director must have a main character role in the film.
  • Short films are NOT acceptable, it MUST be a feature.
  • The cast must NOT know what your film is about.
  • Continuity is wrong.
  • Filming must be done without any preparation or a traditional script.
  • Your film must be 95% improvised.
  • Special lighting is not acceptable.
  • No HD Cameras
  • No 3D
  • No Green Screen
  • The director must edit the film alone.
  • Bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect are perfect.
  • Technical film experience is inessential.
  • Answer to one person only—yourself.

Tuesday, 18 November 2014

Cult Cinema - Fabrizio Federico new film Pregnant

                                    
                                       http://pregnantmovie.moonfruit.com/


Monday, 23 June 2014

Pregnant - International Trailer

 


Dive into a ‘Pop Symphony for Film’.

Composed of movements depicting a trip through a VHS tape into the banks of 21st century Mondo digital technology addiction, and the pregnant pause of the character's existence which leads to their inner stagnation.

 

With each scene depicting a personal quest for salvation, we follow a DJ shaman intent on oblivion through clubland, a desert drifter get's in touch with a purer world after escaping a violent cult.   An actor reminiscing about his deceased child’s stillbirth, and a nymphomaniac developing pregnancy addiction, these counteract segments involving lazy, disillusioned anarchists -  the homicidal preacher facing an existential crisis and a transfigured philosopher who’s descended into the madness of a demon psyche.

 

All are a springboard into hysteria by means of going through your private hell and making it to the other side reborn after witnessing a psycho-sexual ceremony involving ritual. 











 

Tuesday, 3 June 2014

Fabrizio Federico - Babylon London interview



     Interview by  Amelida Hasani 




       As an independent filmmaker how important is the accessibility of digital distribution for you? And what are the advantages of platforms such as Raindance Releasing who hold your feature, Black Biscuit? 

It’s the highest thing that a film director could wish for,  if only we prayed for it sooner, the flood gates have been opened up and cinema is turning into a mad house, filmmakers can make any type of film they want. I’ll never make mainstream films that are tailored for boring cinema chains like Showcase. Raindance embraces alternative cinema more than a lot of other film festivals. Its what Sundance should have become, everything doesn’t have to be professional or even cohesive to make sense and they understand that. The advantages are you get to lease your film out to distributors and keep things simple, I have a 2 year fair and honest licensing deal with Raindance, it’s not even about the money anymore because if your film becomes a hit in the mainstream market everyone involved in the films production is going to get ripped off anyway, also filmmakers get to focus on a pure aesthetic without having to make cuts for the censors.



2.      I am aware that your feature is also available for free viewing via youtube, why did you opt to put it online in this way? 

It was free on YouTube for a few years and from there it built up an audience and now I want to experience the support of like minded people, before I had more time to concentrate on doing everything. I had filmmakers like Lars von Trier, Jonathan Caouette, Bruce LaBruce and Nick Zedd support the film and it developed this DIY Punk audience, the idea that anyone can make a feature film out of everyday life, scripts are such a drain you miss out on so much spontaneity, Im free spirited, I’ll improvise entire films based around different years. For my next feature called Pregnant Im going to concentrate having the film shown in South Korea, Im surprised the internet hasn’t been banned sometimes. Put your work online for a worldwide audience and lets put corporations who monopolize the film industry out of business.

    

3.      With the growth of VOD platforms as well as digital distribution the advantage has been that more filmmakers are able to showcase their work to a wider audience, but in relation to this there seems to be the worry that traditional cinema viewing will go in decline. Do you think that is a possibility? 


Yes and it’s about time I don’t see it as a worry, films should be shown everywhere, the group Exploding Cinema screen films under bridges and others have been screened in insane asylums and homeless shelters. People are going to want to get together, it’s a long story. A lot of peoples TV screens are almost as big as a movie theatre screen anyway these days, people will just have to get up and organize their own events instead of sitting around if they miss the old movie experience so much, I wish there were more car drive-in movie theatres, they were a good idea, and it’s smoother to get off with your date in a car.


4.      For independent filmmakers as yourself what is the aim when distributing a film, is having your feature on a big screen the mission or has that changed? 


It hasn’t changed for everybody because some people still really want to see their film on a big screen, which is for some filmmakers, my movies work better in small groups, either with tiger blood or poetic misfits looking to see the world scrambled. For me the occasion or happening is more important that just showing my films on any generic big screen. At the moment Im organizing Black Biscuit to be screened at my Psychedelic Pussycat club night in Nottingham on April 25th at the Chameleon. My aim is to turn on and tune in every country through the black market door especially in places like Iran.


5.      Finally, who are the audiences you aim to attract to your work? 

People with an open mind who are looking for movies that challenge them, movies such as Performance, The Brown Bunny, Trash Humpers, Being John Malkovich, or Alps. I see cinema as alchemy. Something where you should walk away after a screening feeling melted and altered.

http://blackbiscuit101.moonfruit.com/