Brian Eno & David Byrne-Jezebel Spirit
go 'head sister.
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Relentless Representation:On Serial Photography and the Archive
The invention of photography: For whom? Against whom?-Jean Luc Godard
But never did Henry, as he thought he did,
end anyone and hacks her body up and hide the pieces, where they may be found.
He knows: he went over everyone, & nobody's missing.
Often he reckons, in the dawn, them up.
Nobody is ever missing
(John Berryman, Dream Song 29)
“All photographs are memento mori”-Susan Sontang
1“Power has its principle not so much in a person as in a certain concerted distribution of bodies, surfaces,lights,gazes;in an arrangement whose internal mechanisms produce
the relation in which individuals are caught up . . . there is a machinery that assures dissymmetry, disquelbrium, difference. Consequently, it does not matter who exercises power.
” Michel Foucault, Panopticism,p.202
3Allan Sekula, “Reading the Archive,” in Blasted Allegories, ed. Brian Walls(New York: The New museum of Contemporary Art, 1987), p. 118.
4Bernd Becher in conversation with Jean-Francois Chevrier, James Lingwood, Thomas Struth, in Another Objectivity: June 10–July 17 1988, Institute of Contemporary Arts, London 1988, p.57. Bernd and Hilla Becher quoted in an exhibition statement for ‘Distance And Proximity (Germany), Bernd & Hilla Becher / Andreas Gursky / Candida Hofer / Axel Hutte / Simone Nieweg / Thomas Ruff / Jorg Sasse / Tomas Struth / Petra Wunderlich’, http://www.photosynkyria.gr/98/ex/ex48_en.html.
5“In short, we need to describe the emergence of a truth-apparatus that cannot be adequately reduced to the optical model provided by the camera. The camera is integrated into a larger ensemble: a bureaucratic-clerical-statistical system of “intelligence”. This system can be described as a sophisticated form of the archive. The central artifact of this system is not the camera but the filing cabinet.” Alan Sekula, “The Body and the Archive”, in The Contest of Meaning, ed. Richard Bolton (Boston: Massachusetts Institute of Technology Press, 1992), p. 351.
6Walter Benjamin, Illuminations, (New York: Random House Inc. , 1968), p. 226.
7Susan Sontag, On Photography, (New York:Farrar, Straus, & Giroux, 1977), p. 14.
" Truthfully, I am "homesick" for a land that is not mine. I am haunted by the steppes, the solitude, the everlasting snow and the great blue sky "up there”! The difficult hours, the hunger, the cold, the wind slashing my face, leaving me with enormous, bloody, swollen lips. "
(Alexandra David-Néel in a letter to her husband, Eugene Néel, 1916)
You honestly think I give a fuck about what you wore today?
For real, real?
While you were outside of a Starbucks.
Tweeting low-res pics of your hindquarters.
Showing off your crotch blowout.
I was in a fucking mine shaft.
Fading my selvedge.
And reading Glenn O’drama’s bio.
On my iPad.
You city slickers slay me.
You really do.
But I guess if Rozay is a dealer.
And Yeezy is a martyr.
Then y’all are some rugged motherfuckers.
But on the real.
When’s the last time you heard it like this?
Henley and suspenders.
Scragglepuss beard and lived in White’s.
Clay pomade and fucking boulders.
Do they let you bring a shovel to brunch?
Didn’t think so.
Just because I look like a 49er.
Doesn’t mean my swagger isn’t on a hundred.
I’m chillin’ in the Sierra Nevada.
Somewhere near Kings Canyon.
Prospecting for steez.
You’re drinking a Sierra Nevada.
Somewhere near Flatbush.
Prospecting for chicks with septum piercings. "
(subtitle: macho can die as far
as i'm concerned.
and worse yet "real") (yeah i 've been reading judith butler,