11 May 2019
I absolutely love when in some of the pre-1970s films you would hear the motor of the giant 35mm cameras such as Mitchell Camera etc. Obviously, the attempt of the DOP and sound crew wasn’t proper enough to conceal the sound 100% (especially in the interior scenes), and as a result, you hear the hypnotic flickering sound of the shutter. Contrary to popular belief, I think flaws and defects like these bring us far closer to reality than trying to eliminate any sense of pieces of machinery, apparatuses and equipment. As if we are in the location right at this very moment with the crew and recording these scenes. The more you try to present the realism and getting close to naturalism the less effective and hence artistic the product becomes. All art is profoundly fabrication and orchestrated thoughts whether you want it or not and therefore it is just a matter of how to use these elements in your work. For me, it is fascinating how a filmmaker decides to construct and truth or falseness of reality in her/his films and more importantly so, how does one employ the techniques to execute these ideas!
Image: Pale Flower (1964)