6.11.09
Jonas Mekas
This will be the first in a series of informal "profiles" on film artists, gathering various articles and bits of information together that hopefully may act as some sort of resource for interested parties. Naturally I had thought about starting with Brakhage, but in truth there isn't much sense in doing so considering Camper's invaluable Brakhage page (I recently gathered updated addresses for all the dead or misdirected links on that page, if anyone is interested I can send them). In light of that I have decided to begin with the inimitable Jonas Mekas, whose influence and impact on the arts simply cannot be understated....
GENERAL INTRODUCTION:
WRITINGS BY/ON MEKAS:
MEKAS ON FILM/VIDEO:
INTERVIEWS WITH MEKAS:
FILM/DVD REVIEWS:
As I Was Moving Ahead... (The Village Voice)
As I Was Moving Ahead... (Variety)
As I Was Moving Ahead... (NY Times)
A Letter from Greenpoint (Reverse Shot)
A Letter from Greenpoint (Variety)
Lost, Lost, Lost (The Village Voice)
Lost, Lost, Lost (Strictly Film School)
Reminisces of a Journey to Lithuania (The Village Voice)
Reminisces of a Journey to Lithuania (Time Out NY)
Reminisces of a Journey to Lithuania (Strictly Film School)
Reminisces of a Journey to Lithuania (Slant Magazine)
Scenes From the Life of Andy Warhol (Only the Cinema)
Waden-Diaries, Notes and Sketches (The Village Voice)
Walden-Diaries, Notes and Sketches (Slant Magazine)
Walden-Diaries, Notes and Sketches (DVD) (Slant Magazine)
Walden-Diaries, Notes and Sketches (DVD) (Blogcritics)
”When I begin to work in the editing room, my method is elimination. I begin to eliminate until what's left is just what I want it to be. Then I begin to change the order, or trim something here and there. Some people have said that I'm careless, random, anything goes. The truth is that what stays in – every frame – is approved by me. The seeming randomness of my filmmaking is actually very deceiving. Because what I film is very precisely determined, chosen by my memory and intuition. And in the editing room it all goes through the Procrustean bed of my editing method. In short: I control absolutely every frame of my film.”
(If anyone has additional links, please let me know and I will be grateful to add them)
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