Algis Kemezys

http://mimetoliths.blogspot.com/

I think school would bring you up to speed. It would give you a certificate and the resources are better. It takes alot to be goor even a little. Why drive yourself crasy the first time out. Under the watchfull eye of the professors you will develope faster perhaps .

FOR IMMEDIATE RELEASE MIMETOLITHS, a new 60-minute documentary by Montreal Artist Algis Kemezys, is in the official program of the Cyprus International Film Festival, March 24-27, 2006 Mimetoliths, which means ?rocks and cliffs that imitate living beings?, is Algis Kemezys? second feature-documentary. His first, Faces of Myth, was in the official selection of festivals, including Thessaloniki Documentary Festival(2004), and the Maine International Film Festival (2004). Mimetoliths travels to beautiful/mystical Crete, to closely look at its mythical landscape, to embellish it further with the filmmaker?s own sculpture, and to celebrate its stories. It embraces the Muses that have languished petrified on the sacred stones; the Phaistos Disk; intergalactic travel; Pythagoras?s golden proportion of 1 to 1.618; missing Planets; the Labyrinth; the Minotaur. The Cyprus International Film Festival is the first of its kind and takes place simultaneously in three cities, Larnaca, Limassol, and Nicosia. The birthplace of Aphrodite/Venus has recently gained membership in the European Union, and this festival is one of the ways they?re announcing the happy event. Mimetoliths, while still a work-in-progress, was presented at a special screening last Fall. Elie Castiel, writing for Sequences (#240, Nov.-Dec. 2005; page 37) had this to say (translated from the original French): ?... Mimetoliths stands as a unique and extraordinary film, rich and nuanced. It is instructive, even essential, for an acquaintance and a comprehension of the endless mysteries of nature.? Algis Kemezys plans to accompany his film to Cyprus, but he is in Montreal until March 23, and available for interviews. Please call (514) 583-5831, or write to bakxxx@videotron.ca for an appointment. -30-

Mimetoliths will be screened on 3 different screens in 3 different cities on the same evening @ Cyprus International Film Festival this March.

I agree David M. has been a most wonderfull source of knowledge and insight without being pretentious.

I think if you keeep the lighting atmospheric things will look their best. Have one main light at 45 degrees to the action for good coverage.

I would film it slightly out of focus firstly. Then in focus but with a thin film of vaseline on the filter. Make sure lots of spray and water is splasing. Shoot some scenes with only water drops on the lens. Keep the craft small for detail purposes. Good luck 1

To make pictures whos visual story needs no words but those that are there are great to be heard.

Thanksgiving was spent walking the wind blown streets of Montreal looking for my neighbors cat. When we got back the neighbor left a phone call saying the cat was there ! otherwise than that nothing special except that great big bird. The Turkey !

I thought Kubricks Eyes wide Shut totally made me unsettled with Nicole and Tom. I also think Kubrick admitted in helping fake out the moon landing. Thats why he moved to England. I believe he was a still photographer turned cinematic director. Certainly one of the gods of Cinema...RIP

Anyone have any more news on this new lens that acts more like the human eye than the standard lens. Is this the lense that will finally sink film production ?

I would say film will always be the most poetic of the two mediums. It's got characteristics that will last and always feel good on the eyes. I think that after awhile the overly clean clear transmission of DV will leave you feeling slightly less ingrained with the whole process. When you look at film you will notice that on the emulsion side the image is actually etched on the film. This coupled with it's natural grain structure has a most subtle an appealing effect. Sure things are getting closer and closer between these two mediums but the raw film will always be a transmission of light through an etching of light on gelatin film, where the other will always be cool and flat. So my advice is shoot as much film as you can while the medium lasts . Therefore ones artistic desire will always have the miracle of nature when using film and the truth lies there within that option.

So when you convert mini DV of 4:3 to 16:9 anamorphic you keep all of your lines and resolution of the 500 line DV but it is just readjust and squished into the elongated format of anamorphic 16:9?

Thanks Elhanan, good points. Next draft will be better.

Thanks very much for that Landon D.

Thanks above:The mandy site looks interesting.Glad this information came out. http://community.webshots.com/photo/465765...465767768ziAOYu

heres a link to the cover art. http://community.webshots.com/photo/465765...465767768ziAOYu

I hope this uploads.

How does this grab you ? It's the first rendition of my DVD cover for Mimetoliths.

Still 2 for 1 at the TFF I think Congradtulations are in order. Did you go to the festival ?

I am sending my new Documentary to a couple broadcasters here and in Europe. Any suggestions as to what to say and what not to say in the letter? Or any professional letter will do, it's the movie that speaks for it self. Just wondering. Should I include a resume ? etc...

Holy Cow!!! GG, What a fresh breath of optimistic enthusiasm. Producer is a bit too much of a title for the likes of me. But don't let me slow your" Keffy" Greek for good vibe. Because of your powerful and clear take charge position your more sightful into the Producing game than I. I like what Peter Greenaway does when he does it correctly. Sure he's had some overwhelming flops getting his technique right but when he does it's really quite fasinating. He also works through a series of numbers to complete an idea within the context of the film. Days of the week, countdown from !00, the completion of the pillow book ! Further at a Press conference I asked him about his look. To me they looked ocasionally like a photographers style and indeed in some cases it was just that. If he found a photographers style of photograph he would use that as a guide like into his own footage. So certainly a movie using so much talent would have to be pinned uniquely with a lot of visual style. I hope we all can keep up the conversation and arrive at something Great ! Now that my currentl project "MiMeToLITHs" is almost in the DVD Canister....

If I could make a picture like David Lean....one that would be memorable then I certainly would feel acomplished. Generally speaking I like sci-fic . Also like David Lynch's style. Now include areas as nice as Sin City but none of that rampant violence and I'd be more than excited.

Adding my 2 cents worth of info pertaining to color management is that in todays programs like final cut pro the color controlling devices are easier than ever to control color and contrast with the simple flick of the click. You can adjust your whites where you want white even turn an off color to white asnd see the effect almost instantly. I like the rule of thumb they used in particular painting styles is that very little in anything is ever black.Impressionistic paintings are one example of this. Where there is never a pure jet black and luminosity is controlled by juxtaposioning the tonalities. certainly further color management can be obtained by simply taking alot of color photographs so you can see what works and what doesn't. The other thing I have heard is to figure out what the tonality of the film should be and stick to those colors. Speaking of tonality though the Black and white Cinematography in Sin City is so absolutely beautifull to me that this film single handedly extolls tone management with only the basics Black and White.

I guess what I said above there was a bit too biased for anyones good. True I have enjoyed in the past the parameters given to me by those in charge and worked with those ideas tio produce something that was greater than I would have created otherwise. In the end I thought wow I created that under those directions. The cinematographers film would be something of a chain letter type approach but in todays world very few people have the time or gumption to work outside of the box where there is no funding to help people out. Instead I am leaning to a film idea where cinematographer offer there greatest clips into something that explores this dynamic as an exercise in the compiled documented footage but by putting many people work all together in a David lynch type way might prove interesting. If a photography magazine can put out an issue devoted to particular type imagery certainly a cinematographers film showing the best footage in many different situuations would be compelling in it's visual style and commitment to the art of the New mellenium. I guess when I made that above claim I was workling with someone who wanted me to only really fill the frame with the face and that to me seemed like a greater waste of time and cinematography because the surrounding information in any portrait comes from the stategic placing of the subject in context to their lifestyle. I was simply thinking how did this directior get ther funding to create something that only took peoples faces into account with the details of their life in the surrounding place of exposure. Thanks everyone for being inspired enough to write and sorry about coming off as a rouge cinematographer provocature.