The Muzzled Horse of an Engineer in Search of Mechanical Saddles R: Khavn De La Cruz Land: Philippinen 2008 Drehformat: MiniDV Format: DV Länge: 80 Minuten Sprache: Englisch /UT mehr Informationen

Nachdem ein Angestellter seinen Job verliert, beginnt er einen Irrlauf durch Manila. Von existenziellen Ängsten getrieben, fühlt er sich wie magisch von Pferden angezogen, bis seine zwanghafte Fixierung schließlich zum vollständigen Kontrollverlust über sich selbst führt.
"This is not a film by Khavn", heißt es zum Auftakt dieses Stummfilms. Kompromisslos verdeutlicht der Regisseur von Beginn an seine Ablehnung von klar definierten Konventionen und verhält sich subversiv und anarchistisch sogar seinem eigenen Produkt gegenüber. [aus dem Forumprogramm]

How would you describe the aesthetics of your film?
to quote mr morris, "fast, cheap and out-of-control." this is also what i call a Day-Old Flick - feature films shot in 24 hours (a pun on the Filipino streetfood "day-old chick").
In 2000, I wrote “Digital Dekalogo,” 10 reasons that digital is good for Philippine (and thus, World) Cinema. For six years now, this manifesto has circulated in international film festivals and has been published in Italy, Spain, Austria, etc. --- please see below ---

Why did you choose to shoot on a digital format (was it solely for financial reasons, or did aesthetics play a role)?
form follows content, and vice-versa.

Which format exactly did you choose (MiniDV, DVCAM, HDV, HD...), and why?
mini-dv.
because.

What was special about shooting digital (e.g. compared to 35mm, was it your first time with dv or are you used to it ..)?
all my shoots have been special mainly due to the location, actors, crew, people we bump into during the producion --- the format is the least interesting aspect; it's just part of the furniture, albeit an essential one. it's my 20th dv feature.

What was your shoot-edit ratio?
1:5

One good word about DV / HDV (or two):
inconspicuous - we were able to shoot in one of the busiest districts in manila without a permit.

One bad word about DV / HDV (or two):
the malicious thoughts of the unconverted celluloid purists.

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DIGITAL DEKALOGO
A Manifesto for a Filmless Philippines

Film is dead. It is dead as long as the economy is dead, when public taste and creativity are dead, when the imagination of multi-national movie companies is dead. At millions of pesos per film production, there is not going to be a lot of happy days for the genuine filmmaker, the true artist who wants to make movies, not brainless displays of breasts and gunfire.

But technology has freed us. Digital film, with its qualities of mobility, flexibility, intimacy, and accessibility, is the apt medium for a Third World Country like the Philippines. Ironically, the digital revolution has reduced the emphasis on technology and has reasserted the centrality of the filmmaker, the importance of the human condition over visual junk food.

Film is dead. Please omit flowers.

I.
Economics: A minute of celluloid film including processing costs around P1500. A minute of digital film costs around P3. Do the math. A galaxy of difference.

II.
The only way to make a film is to shoot it. Shoot when you can. Do not delay. If you can finish everything in a day, why not? Sloth is the enemy of the Muse. The shadow filmmaker has now run out of excuses.

II.
Your digital camera will not turn you into an instant Von Trier, Figgis, or Soderbergh.Your attitude towards filmmaking should be that of an amateur: half-serious, playful, light, not heavy, thus without baggage. There are no mistakes. The important thing is you learn.

III.
Utilize all elements within your resources. If you have a knack for music, score your own soundtrack. If you have writing skills, craft your own screenplay. If you have money, invest in gear. If you have none of the above, make sure you have good friends.

IV.
Work within a minimized budget, cast, crew, location, and shooting schedule. Artificial lighting is not a necessity. The story is king. Everything else follows.

V.
Work with what you have. Release the bricoleur within.You are not a studio. Accept your present
condition. Start here.

VI.
Forget celebrities. Fuck the star system. Work only with those who are willing to work with you, and those who are dedicated to the craft. Avoid pretentious hangers-on with hidden agendas. Use a lie detector if needed.

VIII.
Work with humble, patient, passionate, and courageously creative people. Ignore people who are the opposite.

XI.
If you are alone, do not worry. Digital technology has reduced the crew into an option, rather than a must. Making a film by yourself is now possible. The past is dead. Those who do not change will die.

X.
Create first, criticize later. Take care of the quantity. God will take care of the quality - that is, assuming you do believe in God. A filmmaker makes films, period.

In the name of the revolution,
Khavn