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/

Above:Footprint SAR_7: rain and sun and wind lend supportive-atmosphere to today's-training

"Cartier Bresson has formed me a lot. I have been in Paris just to meet Cartier Bresson. I had no money, I moved to Paris, I knew the restaurants where he was going every day. I stayed outside the restaurant. Waiting. Some day I saw Cartier Bresson entering. I thought: Now I wait, he is going to eat." See: '"Go to take a reading Luciano Tovoli"' [ interview with Cinematographer Luciano Tovoli ]

Above: FPS Sunday 9K SAR with Jesse today (2002). "Most [people], when experiencing fear or anxiety, tend to magnify the unknown. Training, including knowledge and experience gained in simulated situations, has the power to reduce the unknown and contribute to the control of fear." From: The Air Force Survival Training Manual.

"I expected it to be heavy."

Jesse van Broekhoven, member AV Haarlem

"Our practice cannot be perfect, but without being discouraged by this, we should continue it. This is the secret of practice."

Shunryu Suzuki in 'Zen Mind, Beginner's Mind'(page 73)

"Many of us have come to consider comfort as our greatest need. Comfort is not essential, and we often value it much too highly when the alternative is survival. You must value your life more than your comfort and be willing to tolerate heat, hunger, dirt, itching, pain and almost any discomfort. If you expose yourself to capture because you have a blister and think you can't walk another mile, you have not thought the situation trough. Reason is the key to this change of attitude; reason which identifies discomfort as a temporary problem in comparison with the much more serous problems you will be faced with if you are captured." '

From:'Survival Training Edition', first published in 1962 by Air Training Command/Department of the air Force, reprinted in 1978 (chapter 1, page 8: 'The Will and Ability to Survive')
 
"The Tibetan tradition maintains that contemplation on suffering is much more effective when it is done on the basis of one's own personal experience, and when it is focussed on oneself, because, generally, we tend to be better able to relate to our own suffering than to that of others. This is why two of the principal elements of the Buddhist path, compassion and renunciation, are seen as two sides of the same coin. True renunciation arises when one has a genuine insight into the nature of suffering, focused upon oneself, and true compassion aries when that focus shifts to others; so the difference lies simply in the object of focus."

The Dalai Lama: 'The Dalai Lama's book of Transformation',first published in India in 2003, page 89-90.
 
"It is not the strongest of the species that survive, nor the most intelligent, but the one most responsive to change." 

Charles Darwin as quoted by Don Mann in the introduction to 'The US Navy Seal Survival Handbook'(2012)

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

Above: SAR_9 footprint

"In any process of change, the complementary tendency toward stability must always be taken into account. If, for example, the manager puts all the emphasis on change [...] frequently the opposite response is provoked as an attitude of resistance. In The Law of Opposites, such opposition is creatively transcended trough the insight that, in the process of change, change as well as stability are always recursively involved. Any manager wanting to initiate change has to respect stability. If he wants to realise stability, he has to honour change."

Dr. Michael M. Tophoff  ('Chan Buddhism: Implications of Awareness and Mindfulness-Training for Managerial Functioning')

SAR training is Kick-Ass-training: taking-over from previous 'management' (that led to overload and injury -- usually fear driven management) and re-establish control ("Get in, get it over with and get out! ").Change requires collaboration on all levels. Trough the creation of unity the runner leads/inspires/guides/informs/balances the transformation at hand. It requires growth from egotistical overload-behaviour towards- and transformation into- an Alert-balanced runner, who emphatically and sensibly controls his behaviour. SAR training is focussed upon improvement of technique and effeciency. Trough Strategic use of available resources, including time, terrain, weather, technical-support -- and injury treatment, food and rest.

Familiar terrain for storytellers,who are trained and experienced inhabitants of this threshold zone. The best stories take place (t)here, it provides the dramatic content -- the protagonists awakening willpower and conflict coming from ignorance -- that storytellers focus upon, record and loyally show.

Mark Divine wrote in his Blog 'Trust Actions NOT Words continued…': "The relationship of those in a loyal bond is transformational versus transactional. Like trust, it is a two-way street, in that loyalty is earned through mutual action. Loyal teammates don’t tolerate negativity, backstabbing, or activities that harm the team. Loyalty requires that you examine and shore up your weaknesses so that you can carry your own load to support the team. Trust and loyalty, when accompanied by honor and integrity, lead to high-performing individuals and teams."

Mark Divine's blog 'Trust Actions Not Words continued': http://www.sealfit.com/blog/marks-blog-trust-actions-words-continued/

Dr. Michael M. Tophoff: http://www.tophoff.nl/en/

Above: FP 30K SAR BL training. SAR: Unity in the making.

Above: FP 30K SAR BL. SAR: grace under pressure.

Above: FP-SAR-4-30K-BL-training. SAR: resilience.

Above: SAR FP 30K BL. SAR [act 2.1.1] : comfort-zone.

Above: FP SAR BL 30K-training. SAR [ act 2.1.2 ] : expedition.

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

Above: FP 30K SAR BLT [ training ]. SAR [ act 2.2.1 ] : key-light.

Learn about key-light: http://www.rogerdeakins.com/forum2/viewtopic.php?f=1&t=2546

Above: FP SAR 28K BLT. SAR [ act 2.2.2 ] : protagonist.

"All I need to make a comedy, is a park, a policeman and a pretty girl."

Charles Chaplin, as quoted in documentary 'Charlie: the life and art of Charles Chaplin' by Richard Schickel (2003)

Learn about protagonist: http://www.independent.co.uk/arts-entertainment/films/features/martin-scorsese-in-conversation-guilt-trips-of-the-great-director-9000873.html

 Above: after SAR 30K BL. SAR [ act 2.2.3 ] : Freedom [ Crossworm ]  Click on image to proceed.

"I put the cash back in the music, and move it to you."

Crossworm

Hear more: https://www.youtube.com/watch?v=maHlFPT5zTU

And: https://www.indiegogo.com/projects/parasite-avenue-limited-edition

And: https://www.youtube.com/watch?v=Mbws40MwKBM

And: http://www.youtube.com/watch?v=i-WDxpqmBGs

And: http://www.soundclick.com/bands/default.cfm?bandID=307719&content=music

And: https://www.facebook.com/CrosswormMusic

And: http://www.youtube.com/watch?v=3hHlKrmr06Y

And: http://www.mediafire.com/download/ib1s7ea8bybi2xj/Crossworm+-+2008+-+Mouth+Full+of+Dirt.zip

Above: FP30K SAR BLT. SAR [ act 3.1 ] : product, valuable-asset with a brand-tag on it, in a distributable-form -- " [ a ] contribution to world cuisine" ( from: "A fish called Wanda" ). 

[ Alex Simon: ] What should a director look for when hiring a cinematographer, and vice-versa, what should a cinematographer look for before working with a director?

[ Vittorio Storaro: ] I can't answer the first question, but I can the second one. From the first moment I meet a director, I try to express myself. You say 'yes' or 'no,' based on your feeling that this story and this director are going in the same direction that you are going. If you feel that, that you are attracted to the story and the director's vision, then you should do it. You have to have some common ground. If you feel comfortable with all these elements, then they're the right person. Sometimes you meet wonderful, gifted people, but for some reason you don't feel comfortable and you pass, you say 'no thank you,' because they were not going in the same direction you were going at that time. There is always something inside you that will push you in the right direction that you will discover through writing, or music, or performance, that will help you discover who you are and what your life is about. This will help you grow up, and help you learn about yourself. In turn you can give this gift to somebody else: your children, your students, your audience. You share this spirit. And in doing that you feel that you are part of the human journey.

Vittorio Storaro [... ] THe Hollywood Interview: http://thehollywoodinterview.blogspot.nl/2008/02/vittorio-storaro-hollywood-interview.html

[ John Fauer: ] Vittorio Storaro, ASC, said that sometimes you just have to say no.

[ Gordon Willis: ] No is a very important word. Yes is not a good word all the time. It doesn’t get us more work. In fact, no gets us more work, because anything works while we’re shooting it. Nothing works in the screening room if it’s no good. What was said the day before is forgotten once everyone gets in the screening room. If we said no to something bad, and it turns out to be right in the screening room, the no said the day before is forgotten, but they’ll never forget about the yes if it’s no good.

Remembering Gordon Willis, ASC: http://www.fdtimes.com/2014/05/20/remembering-gordon-willis-asc/

Above: FP 30K SAR BLT. SAR training: confidence [ready to lead, ready to follow].

"Herrschen darf man nur wenn man dienen kann." - Rainer Werner Fassbinder

"When you let someone else handle a mission critical task, then you had better understand the ramifications of what happens if they mess up. It is certainly important to delegate and trust, but you must also have the wisdom to verify that the task they performed will lead to mission success. The only way that you can verify at that level is if you know how to do it perfectly yourself." - Mark Divine

Read more: http://sealfit.com/sealfit-blog/sealfit-blog-divines-10-ways-to-be-a-kokoro-leader-part-2/

"The human spirit craves freedom to express itself and when that freedom is cut off externally, the spirit turns within to find it. But not many have learned how to turn within. [ Victor Frankl ] made a choice to not let his mind be captured by [...] dire circumstances and [...] brutal people [...]. This choice to turn for freedom within led to great liberation, and he felt free in spite of his physical incarceration. He then chose to deepen his spiritual strength by serving his fellow prisoners by teaching them to be truly free. Those who learn freedom at this level will never experience, nor tolerate, tyranny or loss of mental freedom again."

Mark Divine about Victor Frankl in his last 'Seal Fit Blog: Freedom': http://sealfit.com/sealfit-blog/sealfit-blog-musing-on-freedom/

Above: FP 30K SAR BLT. SAR [ act 3.3 ] : director. When you aim your camera at a subject, the results start to speak beyond words available at the time of the making! This is my experience both with motion-picture and still-photography. Related to SAR [ Strategic Alert Running ] , I find it helpful to use a camera to picture the result of a training. It shows aspects that you may need to become aware of, as part of working on improvement of technique and efficiency. I would call it Photo Generated Injury Analysis, or PGIA.

Above: Footprint after 32K SAR training

"You smell like a passing garbage truck" Quoted: son Melle on the condition of my Aegon/Ajax trainings-shirt.

Time for a new T-shirt.

And a new series of posts: dedicated to the core of training on South Kennemerland and Velsen's dune-trails and beach-scape's. 

Above: PGIA SAR BL 30K. Sar [ epilogue ] : toolbox.

As shown in the previous contributions, individual SAR-trainings are united into a patchwork, or paradigm, that very much resembles the way dramatic screenplays and movies are constructed. Many of the films that I have seen (and liked), seem to be built from 14 equal parts, which are structred and united into four main portions (acts); preceded and topped off by (respectively) an introduction (prologue) and the conclusion (epilogue).

P - act 1- act 2.1 - act 2.2 - act 3 - E

____________  x _____________

1) In the prologue (1/14) the main problem is introduced: there is conflict on every level.

In his recent blog 'The secret to optimal performance', Coach Mark Divine delivers a great insight in the moment where the protagonist is propelled into action: "While flying into Baghdad International on a C-130 I was about as nervous as I have ever been. It’s not every day that you fly into a hot combat zone with a weapon you haven’t had time to prepare with. That really got my sweat pumps flowing. My stress levels were rising fast, and I wasn’t sure what to do. So I got out of my seat and began to do whatever pose came to my mind, focusing deeply on my breathing to calm myself down. [ … ] That moment was the first official Warrior Yoga training session."

2) Act 1 (2/14 - 4/14) focuses on the emotion, establishing the main context, time and lighting.

3) Act 2.1 (5 - 7) is about darkness, comfort-zone, obstacle, imprisonment, being locked up, visually it is about lenses.

4) Act 2.2 (8 - 10) is about character, the will, his feelings, also about key-light and camera-angle.

5) Act 3 (11 -13) is about fill lighting, about being part of the environment, about chemistry, about the look and feel, the unity of the elements  (light and shadow).

6) The epilogue (14/14) shows the resolved situation, the conclusion, the return to restored equilibrium.

X resembles the midpoint of the story. Which is a major turning point. Look at the great films: it usually resembles both a sacrifice and a birth that will lead up to a sound battle plan, needed to resolve the problems at hand. Take note of the midpoint of 'Seven Samurai' by director Akira Kurosawa for example. In that scene the village-elder is consulted at his home in the watermill. The Samurai squad leader reveals the strategy, while he carries a baby-child (new-life) on his lap, advising the villagers to abandon -- sacrifice -- the houses outside the village ring and focus all strength on protecting the area within the compound.

In SAR training the use of the storytelling-paradigm can not be separated from the application of PGIA [ Photo Generated Injury Analysis ]. The images shot right-after-finishing-training, visualise what can only be fully seen and understood trough the use of PGIA. Looking with an extra set of eyes; seeing what is visible from an external-perspective only. The stuff we are unable to see, experience, digest and strengthen our immune system with, ourselves -- however obvious to others! The proverbial log: "Why do you see the speck in your neighbor’s eye, but do not notice the log in your own eye?" What Mark Divine refers to as BOO, Background of Obviousness: belief systems and undercurrents in our subconscious that are so obvious that we don't notice them.

As is with motion-picture storytelling, images are used to tell the story and to make the audience aware ("The silent pictures were the purest form of cinema" - Alfred Hitchcock). The audience might see the monster approaching behind the protagonist, the main character himself may not be aware of its approach then and there and be conscious of its danger. He will though, some time later, when he finds himself in the middle of the problem, face to face with accute-danger, he is forced to get into action! As the Reverend Joshua Duncan Sloane-character says in the Sam Peckinpah movie 'The Ballad of Cable Hogue' (1970): "I see tragedy has already struck this cactus Eden".  

In real life the monsters approaching us can be as small as an insect (see 'prologue', upper-left-side-frame), or a vainly, too tightly knit trousers-band around the left-leg, pinching the bloodstream, some time later leading to Shin Splints: http://bartvanbroekhoven.com/en-US/running/61-midsumer-saturday-morning-run-wind-sun-water-32kms  (and using SAR to heal that).

Previous 13 trainings on row:

Prologue: http://bartvanbroekhoven.com/en-US/running/109-sar-1-storytelling-1-14-prologue

Act 1.1: http://bartvanbroekhoven.com/en-US/running/110-sar-2-storytelling-2-14-part1-3

Act 1.2: http://bartvanbroekhoven.com/en-US/running/111-sar-3-storytelling-act-1-2

Act 1.3: http://bartvanbroekhoven.com/en-US/running/112-sar-storytelling-4-act-1-3 

Act 2.1.1: http://bartvanbroekhoven.com/en-US/running/113-sar-storytelling-5-act-2-1-1

Act 2.1.2: http://bartvanbroekhoven.com/en-US/running/114-sar-act-2-1-2

Act 2.1.3: http://bartvanbroekhoven.com/en-US/running/115-sar-act-2-1-3

Act 2.2.1: http://bartvanbroekhoven.com/en-US/running/116-sar-act-2-2-1

Act 2.2.2: http://bartvanbroekhoven.com/en-US/running/117-sar-act-2-2-2

Act 2.2.3: http://bartvanbroekhoven.com/en-US/running/118-sar-act-2-2-3

Act 3.1: http://bartvanbroekhoven.com/en-US/running/119-sar-act-3-1

Act 3.2: http://bartvanbroekhoven.com/en-US/running/120-sar-act-3-2

Act 3.3: http://bartvanbroekhoven.com/en-US/running/122-sar-act-3-3-storytelling

See also (quoting director Akira Kurosawa): http://bartvanbroekhoven.com/en-US/running/97-sar-7-along-the-way

About PGIA: http://bartvanbroekhoven.com/en-US/running/122-sar-act-3-3-storytelling

More about 'Seven Samurai' (1954): http://www.criterion.com/films/165-seven-samurai

'The secret to optimal performance': http://sealfit.com/sealfit-blog/sealfit-blog-the-secret-to-optimal-performance/?utm_source=SEALFIT&utm_medium=email&utm_campaign=blog