Free Radicals: A History of Experimental Film
These were our home movies.
Until one day, my dog peed on them.
It was the 60s:
peace, love, rock
'n' roll, hippies,
and experimental home movies.
I grew up watching films,
showing films, making films!
My dad worked for television,
his dad worked for Hollywood,
my mom painted every day...
My parents screened films
at home for their friends.
I saw all sorts of films.
My dad invited experimental
filmmakers onto his television show,
and he invited them and
their films into our home.
These days, most of my friends
and colleagues are filmmakers.
I wanted to shoot in the streets,
and I wanted a camera
that could take a knock.
You can do all kinds of
things with the Bolex,
but the Bell & Howell,
let's just push film through it.
Art has only one function
as far as the artist
himself is concerned:
that is to follow his visions.
I'm trying to paint the images
that flash through my mind,
that spark in my
hypnogogic vision...
Art can be anything,
and that's what produced
the "avant-garde".
I never made compromises and
really already a long time ago,
I didn't care anymore if
anyone likes it or not.
We did not think about history,
we were in the present, and we
were doing what we wanted to do.
We were friends, and we
were all crazy about cinema.
I filmed every day. I filmed
with friends, in school.
There were no rules.
We were totally free.
Images were everywhere.
Images were my life.
Images are still my life. And
my life is images, images...
Nobody's going to close
us, because we're crazy!
Arguably the greatest
city in the world...
Whether it's the greatest city
for experimental filmmakers
remains to be seen.
There were much better experiments being
done in Prague, in Paris, in Berlin,
long before there were
great filmmakers here.
But a half century ago, just
about a half century ago,
I started working in New
York for an arts series
where we did everything
we wanted to, every week.
We were in pre-production, production
and post-production every day.
It was difficult to put
experimental artists on television,
because television doesn't
like experimental film.
It's unpredictable;
sometimes it's a little edgy;
sometimes the filmmaker
obviously has something in mind
that the studio executives would rather
not be shown to an all-family public.
We were always told:
children are watching!
Be careful of what you
do! Children are watching!
He was right, I was watching!
This one fascinated me.
The screen was no longer a window
into a world but a flat surface,
and yet the squares seemed to
recede into a third dimension.
This is one of the first abstract
films ever made by Hans Richter in 1921.
I used to have pieces of
film of different formats,
just as a kind of a souvenir from
different film shoots that we did,
and I would bring them home and
you saw what film was all about.
It was like pieces of paper.
You had to work on it. I remember
you used to draw on film leader,
and scratch on film,
and paint on film.
A lot of other filmmakers have done this,
but you didn't know that at the time.
I was eight years old
when I met Hans Richter.
He lived not far from our house.
He was a painter but he
also played with film.
He was 85 when we
filmed him in 1973,
and I had the distinct feeling that he
was preparing himself for a summing up.
I just improvised, as I do in...
I give chance a chance, as I
do in painting, as I do in film.
That was the main credo of Dada:
a possibility of expression.
I didn't know anything
about filmmaking,
I had just a table,
on both sides light,
on top the camera which
couldn't move up and down,
so I cut cardboard,
small very thin cardboard,
squares and rectangles,
I think 40 or 50,
from very small to big, and
white, light grey and dark grey.
And later on when I needed
black I just used the negative.
Richter wanted to
go beyond the frame,
so he started painting
variations of forms on scrolls.
The filmstrip was also a scroll,
and allowed him to paint in time.
Time was becoming a new
dimension for the artist.
Rhythm in my opinion is
the essence of filmmaking,
because it's the conscious
articulation of time.
And if anything is at
the bottom of filmmaking
it is the articulation
of time, of movement.
You had never seen an abstract
film before making Rhythmus 21.
There wasn't any.
So there was no example
I could relate to.
This was so as if you
stepped into an empty room
where there is no space.
It was really an eerie
experience which I loved.
I must have been
influenced by Richter,
because years later I also made
a film with receding rectangles.
And this film got me into
a filmmakers' cooperative
and there I met many more filmmakers,
some of whom also became friends.
Then I realized I had become
an experimental filmmaker.
I didn't even know what that meant!
the wrong side of the tracks
filmmakers, free radicals.
They were totally free,
and they pushed film into
radical new directions.
I grew up making films
and I'm still making films.
In this film I'd like you to meet
my friends and see their films.
Let's watch one, a four-minute film
from 1958 made without a camera,
what we call "direct animation"
just by scratching with a
needle onto black film stock.
It's not as easy as it looks.
Len Lye scratched for weeks,
an hour of film stock, just
to get four good minutes.
You know that film, Free Radicals,
well it was made 15 years ago.
And when I see it now, I
think it still holds up.
But I'm into a different
type of kinetic art.
I'm composing figures of motion.
This I'm showing to represent
a person, that's the scale.
He is six foot high,
and they go through this arrangement
here which I call the Universe.
And sixty foot above
them then is the Universe,
and in they go to see a most
amazing kind of grouping,
a grouping which
symbolizes nature, energy...
Lye experimented in sculpture too.
Now you wouldn't call a painter
or a sculptor experimental,
but that's the word that
stuck for film artists.
I understood the promise and I
got fascinated by film itself,
and I made quite a number
of experimental films,
but only experimental films in
the proper sense of the word.
I got into making abstract films from
Hans Richter and seeing his things,
Leger for instance, you
know, where he plays...
but none of them did
this kind of thing.
But the idea of experimental
film turned me on certainly.
I suddenly found that
everything was permitted.
You could go anywhere
with any material.
You should not hold back.
Your whole unconscious, your whole belief
should sputter out, should come out.
It was really trying to find
a new form of expression.
Experimental film has been around
as long as film has been around.
But all the early
works are now lost.
The earliest experimental
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