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')


See also:


Above: Footprint after 32K SAR BL training.

"The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword, are portions of eternity too great for the eye of man."

William Blake as quoted by Joseph Campbell 'The hero with a thousand faces' ('The world navel', page 44)

"Photography is a luminous drawbridge trough which the story has to reach the audience and the audience has to acces the story, the DP and the director have to built it together with the same objectives. Cinema is synthesis: the rapid and ever increasing popularity of the cinema is due to the possibility of concentrating huge amounts of information in its images, and the immediacy of the process with which the eye transmits them to the brain.

The set of rules that technique [...] allows us are indispensable to express ourselves better, more thoroughly and rapidly with the available means. It would be almost impossible to do […] without a great technical training. Everything is to be measured in terms of balanced relationships to serve the story that is committed to us. The enjoyment of the cinematographic show will be the more complete, the less the technique disturbs the story.

To know one's limits is indispensable even to a director of photography -- it is an invaluable gift because the curiosity it generates stimulates one to invent and experiment."

Guiseppe Rotunno in 'Guiseppe Rotunno', published in 1999 by Camerimage, Poland (page 30, 31, 69)


Above: Footprint after Today's 32K SAR dune/beach-traning. Not all trainings-days are created equal; some are more handsome than others… The intertwining wind, sun, high-tide provide great touch to circumstances and training-experience.

"The most difficult task for today's director of photography is to "think" in black and white again. He must become mentally color-blind, imagining what each scene will look like on the screen when it loses the colors it has in reality. Because black and white provides less visual information, I [...] use more lights than usual. To "draw" characters and objects, I almost always [ need ] a backlight to avoid confusing the foreground figures with the figures in the background. On the other hand, my work [ is ] made easier because I […] blend lights with different color temperatures without any problem; for instance, I [...] mix daylight with electric light without needing corrective gels.

As I have said before, I feel it is almost impossible for a black-and-white film to be in bad taste visually. The variegated, vulgar colors of contemporary life vanish, and are replaced by an absolute elegance -- like evening dress."

Nestor Almendros: 'A Man With A Camera', page 272 (first published in Switserland in 1980)


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)



Above: Footprint after todays 32K SAR dune-beach training

"History does not repeat itself, but it does rhyme." Mark Twain, as quoted today by George Friedman in 'Borderlands: The New Strategic Landscape'

"Our feet flattened, our backs straightened, our buttocks strengthened their muscular arrangements to permit us to run. And as more and more we became specialised earthlings, so more and more it became anatomically impossible for us to return to the arboreal life. Such trends take place in an evolving world. A minor alteration of behaviour and body, a change of equivocal value, may command that further genetic alteration beer of increased specific value until a course is determined, and horses are set upon their way, men upon theirs. Now evolution becomes irreversible.

As important as our anatomical adjustments to the terrestrial life were the psychological changes which such life commanded. Shyness is a luxury permitted the mountain gorilla in his high, remote, cloud-softened bamboo thickets. The modesty once demanded of the tiny, primitive mammal in his monster-dominated times retained a value in the lives of jungle primates with profound green tangles of vine and leaf in which they might vanish. But for the ape of the field in those long-gone Miocene times, hiding places might be far from hand. Not unlike the baboon today, the aggressive spirit became a survival asset. Time and again we had no alternative but to stand and fight. And the social necessity, since the time of the true lemur a primate compulsion, doubled and redoubled its survival value."

Robert Ardrey, T'he Territorial Imperative', page 255 (published in 1966)

"The drive to maintain and defend a territory can be regarded not as a cause but only as a condition of human war. One can recognise its workings in the fury of a Finland attacked by a monstrous large enemy; in the madness of Hungarians attempting to reassert their land's integrity; or in the lonely, irrational heroism of the Battle of Britain, when never did so many owe so much to so few.
These were defensive social actions taken in strict accordance with territorial law and deriving from profound instinct the unbelievable magnitude of their energy. But in every case territory was the condition of war, not its cause.

Robert Ardrey, from: 'African Genesis' (1961) as quoted on page 245 of TTI

"For Poland, Slovakia, Hungary, Romania, Serbia and Azerbaijan […] there is not yet an emergency. But one could materialize with surprising speed. The Russians are not intrinsically powerful, but they are more powerful than any of these countries alone, or even together. Given American strategy, the United States would be prepared to begin providing aid, but substantial aid requires substantial action on the part of the buffer countries.

The first and second world wars were about the status of Germany in Europe. That was what the Cold War was about as well, although framed in a different way. We are once again discussing the status of Germany. Today it has no western threat. The eastern threat is weak, far away and potentially more of an ally than a threat. The force that drove Germany in two world wars is not there now. Logically, it has little reason to take risks."

George Friedman, 'Borderlands: The New Strategic Landscape'