I would like to post more often

bandcamp

i am learning how to make digital recordings just got a nice mic and breakout box. i am recording using audacity and uploading to bandcamp here are the tracks




http://electricinertia.bandcamp.com/track/hum-test hope you enjoy listening to my fun i will be in new orleans for my first high art film fest its called the timecode:Nola filmfest2 thank you for reading my blog jonathan hancock

watch these and see the new walrus pelt

this happened one night in st. petersburgh

hey all i just wanted to remind you of the fact that i am getting to the point i am going to florida in the month of october and i am oogling the places to stay should be a very fun time. i am going with some friends on the right hand just going with brendan, shawn and nick. remember this day as it will be the first tour that i have ever been on. iw would like it to be memorable and fun. so it will.

heres a video i made i hope it turned out alright. the editing is pretty good and i want to do a lot more of the super 8 but untill now i am using the video
thanks for watching ron

burning man

i am going to burning man
yay

the remodernist manifesto

Remodernist Film Manifesto

1. Art manifestos, despite the good intentions of the writer should always “be taken with a grain of salt” as the cliché goes, because they are subject to the ego, pretensions, and plain old ignorance and stupidity of their authors. This goes all the way back to the Die Brücke manifesto of 1906, and continues through time to this one that you’re reading now. A healthy wariness of manifestos is understood and encouraged. However, the ideas put forth here are meant sincerely and with the hope of bringing inspiration and change to others, as well as to myself.

2. Remodernism seeks a new spirituality in art. Therefore, remodernist film seeks a new spirituality in cinema. Spiritual film does not mean films about Jesus or the Buddha. Spiritual film is not about religion. It is cinema concerned with humanity and an understanding of the simple truths and moments of humanity. Spiritual film is really ALL about these moments.

3. Cinema could be one of the perfect methods of creative expression, due to the ability of the filmmaker to sculpt with image, sound and the feeling of time. For the most part, the creative possibilities of cinema have been squandered. Cinema is not a painting, a novel, a play, or a still photograph. The rules and methods used to create cinema should not be tied to these other creative endeavors. Cinema should NOT be thought of as being “all about telling a story”. Story is a convention of writing, and should not necessarily be considered a convention of filmmaking.

4. The Japanese ideas of wabi-sabi (the beauty of imperfection) and mono no aware (the awareness of the transience of things and the bittersweet feelings that accompany their passing), have the ability to show the truth of existence, and should always be considered when making the remodernist film.

5. An artificial sense of “perfection” should never be imposed on a remodernist film. Flaws should be accepted and even encouraged. To that end, a remodernist filmmaker should consider the use of film, and particularly film like Super-8mm and 16mm because these mediums entail more of a risk and a requirement to leave things up to chance, as opposed to digital video. Digital video is for people who are afraid of, and unwilling to make mistakes.** Video leads to a boring and sterile cinema. Mistakes and failures make your work honest and human.***

6. Film, particularly Super-8mm film, has a rawness, and an ability to capture the poetic essence of life, that video has never been able to accomplish.***

7. Intuition is a powerful tool for honest communication. Your intuition will always tell you if you are making something honest, so use of intuition is key in all stages of remodernist filmmaking.

8. Any product or result of human creativity is inherently subjective, due to the beliefs, biases and knowledge of the person creating the work. Work that attempts to be objective will always be subjective, only instead it will be subjective in a dishonest way. Objective films are inherently dishonest. Stanley Kubrick, who desperately and pathetically tried to make objective films, instead made dishonest and boring films.

9. The remodernist film is always subjective and never aspires to be objective.

10. Remodernist film is not Dogme ’95. We do not have a pretentious checklist that must be followed precisely. This manifesto should be viewed only as a collection of ideas and hints whose author may be mocked and insulted at will.

11. The remodernist filmmaker must always have the courage to fail, even hoping to fail, and to find the honesty, beauty and humanity in failure.

12. The remodernist filmmaker should never expect to be thanked or congratulated. Instead, insults and criticism should be welcomed. You must be willing to go ignored and overlooked.

13. The remodernist filmmaker should be accepting of their influences, and should have the bravery to copy from them in their quest for understanding of themselves.

14. Remodernist film should be a stripped down, minimal, lyrical, punk kind of filmmaking, and is a close relative to the No-Wave Cinema that came out of New York’s Lower East Side in the 1970’s.

15. Remodernist film is for the young, and for those who are older but still have the courage to look at the world through eyes as if they are children.


** The only exceptions to Point 5 about video are Harris Smith and Peter Rinaldi; to my mind they are the only people who have made honest and worthwhile use of this medium. (Aug. 2008)

***(The position on digital/video has changed since this manifesto was written in 2008- the group is inclusive toward use of any motion picture format. See recent essay here).

got the film footage back. so expect the full thing in a couple of weeks.

chicken

i am in the process of making a really good animated live action film. trying to include everybody that i can. arthole. alex cardosi. cheasea donnellon. sweet makeup girl, chris adams, ianscott. doing music. ofcourse jon lorenz coming up with surf music. my roomates jamie payne and claire tarbell. maybe phillip spangler. and christopher ezra.

its called chicken and it is a film i am working on that i need your imput and if interested be a villain. like snidley smiley. Its a hot rod film that takes place in the apocalyptic future only there was a fallout so all the cars are from the 60s and before. I have a mustang gt that my dad will drive in the country and somehow i will film strapped to a flatbed trailer and shoot simple stunts. I need help with a story line.
i have visuals but no story please help.
i have a rocketeer helmet and jetpack. I have tons of fabric. if you want to make a skeleton suit. my aunt used to have a fabric store st. thereasas textile trove so i could get you basically anything you want. I m taking request.
anyway this project is going on from as early as wednesday at 6:30 where we are collaborating (arthole collective is helping me draw and feed me ideas.) on the principle animation of the project in edgewood at my dads house.
so there is your invite have a good day.
call me if there is a problem with me name dropping or if you have a suggestion.
859-653-8150

tumblr up

check out www.cincifilmdiy.tumblr.com for news about films in the cincinnati area.
this project is sure to pick up with events to share movies and give people an experience of films they might not see at the movie theaters

going to Chicago and then new york traveling is good.

some new links

youtube videos transfered from super-8

dangers of Road Rage
http://www.youtube.com/watch?v=dUIpR4JElQ8

The Electric Inertia
http://www.youtube.com/watch?v=J8IJIRnvnss

CincyNati
http://www.youtube.com/watch?v=6LMV8opic5U

CincyEnigma
http://www.youtube.com/watch?v=IfE7cvmyojU

week before the show

so it is that time, a week before the show at Creative Gallery. Normally i would be so nervous about performing that i would lose interest in the show all together. but i am genuinely excited to be there. to set up everyting. I know it is going to be a big hassle but what fun thing isn't initially. Glass blowing is still going well and i really want to make a functioning movie camera or just a pinhole in glass. you think that might be done? Pissed off Caitlin pretty bad, but that happens a lot. so Im not stressed. I got all the film transfered for local 127 and Daves footage is on its way. hope to see it soon. Things are going good and being productive.

Though not as productive as i would like to be. I bought a van. it is heavily modified to look like a greenhouse. I plan to do something with it. why did i buy it. I don't know?
oh well ill just scrap it. get it over with.

screentest film fest

Twas a great day.
Spent the day watching films at the Carnegie. SOFA was there, Kids home movies and Cincy world cinema. I still need to join these institutions but all for another day.
I am not sure whether or not they liked my film but it was great to see it on the big screen nevertheless, awesome to put on my resume. I still like that film a lot. but it was a certain time in my film making career. I would really like to do more animation. I just dont have the ideas yet for a great animated film.
production of Herbie swank is going great. Just printed off more scripts with storyboards.

things to do. tuesday the 27th

4:00pm get tuxes
5:00 Meet David and give lowdown, script and confidence
6:oo set up at jeff Ruby's
7:00 shoot cigar section
730 shoot in kitchen
800 move to local 127
10 Tonic
closes at 10 might have to do that another day.

thats all for now

remember to score a soundtrack with anthony, James and Nickolas sometime once developed and edited digitally.

don't worry about including in creative show.
this is one for the film fests.

story boards

here are some site location drawings that i did from memory for the shoot at local 127, it may be a little off, but here is the basic shots that i have in mind.
As far as the production goes i now have in the crew, David Averdick, Chris Hoeting and Cameron Richardson all shooting footage. for the actors I have Wendy and Anthony, Matthew and Anna, James Payne and the Server Caitlin. Also Steve the winetravelor and somnlier.

cinema archive and performance space

here is an email that i have been sending around maybe you have some ideas?
hello,
My name is Jonathan Hancock, I am a film maker/ artist based in Cincinnati.
To get to the point, I am planning to open a micro-cinema that houses a visual archive of films and video, a performance space and an art gallery. I would like to restore the Imperial theater on 280 W.McMicken or use a smaller location above the player piano shop on 611 main st. I am pre-planning all the logistics of how this cinema will function. I have a list of distributors for film and equipment, I have several locations that i am interested in fixing up, I have a crew that is ready to work with me to accomplish this goal. Do you know of any federal grants that would help to fund some of the basic expenses involved in restoring an old existing cinema, finding 35mm projectors? Do I need to get a distributors license, a merchants/vendors liscense to show films? this cinema would be for the community, I could offer free demos and access to students to inspire the minds of young film-makers. I have a bunch of friends that would be interested in playing music to films as well. The cinema would be an alternative space with multiple functions. If you could offer any advice, help or contacts I would be eternally grateful.
I look forward to hearing back from you at your convenience.
If you need any more information about the specifics of my project,
please dont hesitate to call (859) 653-8150
thank you,
Jonathan Hancock

youtube videos transfered from super-8
dangers of Road Rage
http://www.youtube.com/watch?v=dUIpR4JElQ8

The Electric Inertia
http://www.youtube.com/watch?v=J8IJIRnvnss

scanning fun

\


micro cinema

script

Here is the first draft of the script. it is an open script so

if you have any ideas to spice it up, please share.

Herbie Swank
a documentary on Cincinnati

1 shwartz point scene
pan the stage, empty seats
quick zooms of musicians once seated.
cu shot of Ed standing up and rousing the crowd.
stand up bass player slapping away.

2 animated sequence
shoot the showcard flipbook 1frame at a time.

3 title sequence
use tracing paper to fade into title card "Herbie Swank" hold

for 5 frames then place the title card a "jon hancock

procuction"

use acetate transparencies througout the movie for

transitioning and variety. From the Photography as a tool book.

It should add a scientific aesthetic to the film.

4 intro shot of Jeff Ruby's show title card "Jeff Ruby's"
get the lions outside and curve over to the smoking area.
far shot of people smoking cigars in front of the meat locker.
time lapse the cars from the other side of the street.
close up of cigar smokers and light laughter.
zoom into steak

5 immediatly cut to steak on broiler.
chef Garitson flips the steak.
pan the catwalk where they prep plates to be sent to the hungry.
run the whole kitchen and back rooms
5 frame shot of the dishwasher angles choppy feeling.

transition using quick animation of street stills 1 frame
going from Jr to 127 shoot door local 127 for title card.

6 pan from kitchen to Steve to chef's table downward motion.
Abe lincold (jamie Payne) holds glass up to chefs.
holding their "finest" bottle of wine he pours the glass

abe smells the wine sticking his hole nose into the goblet
he gets his beard wet from all the wine. cleans it with his

mouth
7 quick shot of everybody using eye movement.
steve geddes chef of local 127 smiles at
matthew proud dignified and regal looks at
anna studious kind and pregnant looks at
Abe lincoln peculiar but well spoken looks at
Lindsey Whittle (needs a stage name) her hat billowing in the
wind with a lovely floral plumage.

8 surprised she looks at server (Caitlin) who goes over the

specials of the night holds up certain ingredients due to no

sound. her acting should be very animated and gesturing.

9 an enthusiastic thumbs up from matthew (possibly caesers crown

to make comical)
a round of laughter

10 Instantly the food appears. close up of each plate quickly.
all charecters hold up their glasses in extreme wide angle shot
from below looking up at the glasses as a trophy.
wine is poured into glasses
cheers and clinks


11 a hot kissing scene freeze shot. fade out to white using the

transition backwinder.

12 roll credits possibly incorporating scene details from the

local 127, chandeliers, lemons in the wall, kitchen functioning.

use the acetate sheets for credits. print with white ink for

titles.

shoot on kodachrome or ektachrome 64t depending on if i can get a

second camera operator. once edited expand to 16mm. dubb sound in

later. Use field recordings for minimal sound effects, trumpeting

for car sputterings, record in Dewey's for loud clankings, ect.

Jonathan Hancock sept. 2009