• SAR_5_Along_the_way

    Above: FP 32K SAR Best-Level-Training on dunetrails and in beachscape. Intertwining wind, rain and high-tide provide excellent dynamic circumstances.

    " […]… suddenly it rained, there was a storm. We decided to use it. We grabbed the Steadycam and we just did it. Then the rain stopped. I think we could do it in two takes. That forced us afterwards to get rain on the street because there was only a dissolve and it was supposed to be three minutes later, but that worked in our favour. This is a very old trick. If you wet all the streets you have twice as much light. It doubles all the reflections. It has been used in old gangster movies of the thirties and forties. in our case it just happened and we where forced to do it."


    Nestor Almendros about his work on the Three-part-anthology' New York Stories ', episode -- ' Life Lessons ', directed by Martin Scorsese (1989), in the (unpublished) report ' Framing; A Symposium on Cinematography, 1990 ', edited by Andreas Fischer-Hansen, Igor Koršic and Tina Sørensen (page 81)


  • SAR_7_along_the_way

    Above: FP 30K SAR BL training. Training at BL (Best Level) automatically introduces recovery and healthy behaviour into training experiences: overload exceeds BL-territory (leads to injury and drifting away from BL). SAR training is trail-training, focussed upon improvement of technique and effeciency. NO MATTER WHERE, NO MATTER WHAT: create optimum character-exposure and accelerated progression (run, built, jump, plunge, climb, fall, swim et cetera). Evolve alert and creatively and efficient and technically sound. Trough strategic use of available resources, including time, terrain, weather, technical-support (and injury treatment, food and rest).

    "Do today what others won't. Do tomorrow what others can't. Hooyah!" - Mark Divine

    *) "The task of the lighting technicians is an extremely creative one. A really good lighting man has his own plan, though he of course still needs to discus it with the cameraman and the director. But if he does not put forth his own concept, his job becomes nothing more than lighting up the whole frame. I think, for example, that the current method of lighting for color film is wrong. In order to bring out the colors, the entire frame is flooded with light. I always say the lighting should be treated as it is for black-and-white film, whether the colors are strong or not, so that the shadows come out right."

    *) "During the shooting of a scene the director's eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the camera's are rolling. I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn't right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way.I believe this is what the medieval Noh playwright and theorist Zeami meant by "watching with a detached gaze.""

    *) "What is cinema? The answer to this question is no easy matter. Long ago the Japanese novelist Shiga Naoya presented an essay written by his grandchild as one of the most remarkable prose pieces of his time. He had it published in a literary magazine. It was entitled "My Dog," and ran as follows: "My dog dog resembles a bear; he also resembles a badger; he also resembles a fox…." It proceeded to enumerate the dog's special characteristics, comparing each one to yet another animal, developing into a full list of the animal kingdom. However, the essay closed with, "But since he's a dog, he most resembles a dog. I remember bursting out laughing when I read this essay, but it makes a serious point. Cinema resembles so many other arts. If cinema has very literary characteristics, it also has theatrical qualities, a philosophical side, attributes of painting and sculpture and musical elements. But cinema is, in the final analysis, cinema.""

    Akira Kurosawa: "Advice to young people considering a career in filmmaking", adapted by Audie E. Bock, first published in 1975, cited from 'Something Like an Autobiography' (page 191, 'Some Random Notes on Filmmaking')

    More: http://bartvanbroekhoven.com/en-US/running/78-sar-11-dirt-dive

    See also: http://sealfit.com/blog/

  • SAR_9_along_the_way

    Above: FP SAR BL 30K training. How to train? Run from - to and unite start - finish! Start it, do it, repeat it.

     "I am writing this from Budapest, the city in which I was born. I went to the United States so young that all my memories of Hungary were acquired later in life or through my family, whose memories bridged both world wars and the Cold War, all with their attendant horrors. My own deepest memory of Hungary comes from my parents' living room in the Bronx. My older sister was married in November 1956. There was an uprising against the Soviets at the same time, and many of our family members were still there. After the wedding, we returned home and saw the early newspapers and reports on television. My parents discovered that some of the heaviest fighting between the revolutionaries and Soviets had taken place on the street where my aunts lived. A joyous marriage, followed by another catastrophe -- the contrast between America and Hungary. That night, my father asked no one in particular, "Does it ever end?" The answer is no, not here. Which is why I am back in Budapest.

    Hungary is a country of enormous cultivation and fury. It is surrounded by disappointments that can become dangers. Europe is not what it promised it would be. Russia is not what Europeans expected it to be. Within and without the country, the best [prime minister, leader of a right-of-center party and quite popular] Orban can do is balance, and those who balance survive but are frequently reviled. What Hungary could be in 2005 is not the Hungary it can be today. Any Hungarian leader who wished to avoid disaster would have to face this. Indeed, Europeans across the continent are facing the fact that the world they expected to live in is gone and what has replaced it, inside and outside of their countries, is different and dangerous."

    George Friedman in 'Borderlands: Hungary Maneuvers', published today on the Strafor website.

    Read more: http://www.stratfor.com/weekly/borderlands-hungary-maneuvers

  • SAR_act_2.1.3

    Above: FP 30K SAR BL training. SAR [ act 2.1.3 ]: licensed beginner.