00:00 Introduction by interviewer 01:30 Brakhage denounces videos as film art and distances himself from the festival 04:30 Discusses film as art, art cinemas, and criticizes pornography (art films) 08:30 Talk about the meaning of 'art', 'cinema,' and 'film" 13:45 Elaborates on the making of his "Eye myth" 14:30 Talks about hypnagogic vision and his techniques for visual effects 18:00 Compares his reuse of Eye Myth material in "The horseman, the woman and the Moth" to composing music 19:00 Explains other visual techniques 22:30 Expounds on his and other artists' motivations 24:30 Discusses his understanding of "conservative" 27:00 Talks about Leni Riefenstahl as an artist 29:00 Ponders that sending an artist to moon would have been more valuable 31:30 Goes into the important historic role of artists and art history 33:30 Talks about the intense process when he work on films 37:00 Considers falling in love an apt metaphor for film making 39:00 Shares anecdotes about Jane Brakhage 41:30 Talks about the concept of fleeing by advancing, to approach the 'dragons' in life 44:00 Elaborates on the importance of 'creative viewing' and lauds "Ivan the Terrible" 47:00 Expounds on the act of seeing and accepting strong emotions, e.g. his film "Autopsy" 53:00 Goes into the purpose of metaphors, physical experiences, and memory 57:15 Talks about filming a glass ashtray in 'The Text of Light' 01:00:00 Compares his visual passion to the experience of words by poets 01:04:00 Differentiates the purpose of symbols 01:05:00 Talks about his ability to see auras and other 'light-likenesses' 01:09:60 End
description
00:00 Introduction by interviewer 01:30 Brakhage denounces videos as film art and distances himself from the festival 04:30 Discusses film as art, art cinemas, and criticizes pornography (art films) 08:30 Talk about the meaning of 'art', 'cinema,' and 'film" 13:45 Elaborates on the making of his "Eye myth" 14:30 Talks about hypnagogic vision and his techniques for visual effects 18:00 Compares his reuse of Eye Myth material in "The horseman, the woman and the Moth" to composing music 19:00 Explains other visual techniques 22:30 Expounds on his and other artists' motivations 24:30 Discusses his understanding of "conservative" 27:00 Talks about Leni Riefenstahl as an artist 29:00 Ponders that sending an artist to moon would have been more valuable 31:30 Goes into the important historic role of artists and art history 33:30 Talks about the intense process when he work on films 37:00 Considers falling in love an apt metaphor for film making 39:00 Shares anecdotes about Jane Brakhage 41:30 Talks about the concept of fleeing by advancing, to approach the 'dragons' in life 44:00 Elaborates on the importance of 'creative viewing' and lauds "Ivan the Terrible" 47:00 Expounds on the act of seeing and accepting strong emotions, e.g. his film "Autopsy" 53:00 Goes into the purpose of metaphors, physical experiences, and memory 57:15 Talks about filming a glass ashtray in 'The Text of Light' 01:00:00 Compares his visual passion to the experience of words by poets 01:04:00 Differentiates the purpose of symbols 01:05:00 Talks about his ability to see auras and other 'light-likenesses' 01:09:60 End
Description
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