Filmmaking

It's really cute.

I went to the Rochester Institute of Technology and I studied film production undergrad.

And then I got my master's of business administration with a focus on marketing and management.

And I really wanted to work at Sports Packers since I wanted to be in the world of active living and all those good things.

Yeah.

Those are the movies that I know that came out that year, and they really resonated with me when I saw them, and it was something that I thought was groundbreaking, filmmaking-wise, and even story.

I think a lot of that stuff was, and character, role building, all that stuff.

Those two movies really made an impression on me, is what I'm saying.

Welcome back to the SVP Podcast Mobile Filmmaking.

I'm your host, Susy Botello, and you're listening to Episode 222.

Hey, guys, guess who I've got as a guest for this episode? I've got our old friend.

Well, actually, you're not an old friend, but you are a good friend from a long time ago.

Réka Shikli.

I know we talked about this, but that just feels like so long ago.

Yeah, yeah.

You're telling me now and I'm like, oh, yeah, we did discuss this because you were in episode 186 of the podcast.

So I, I'm hoping we're gonna get to put out actually a, a lot more.

Um, this is just a little taste of, of an amazing era in Danish filmmaking.

filmmaking.Um, there is a lot to unpack on this release.

Uh, you've got multiple interviews.

You've got, um, essays in the booklet, obviously.

[laughs]

In the Hollywood version.

Um, but no, it was, it, it was very technical.

Mm-hmm.

And remember, as always, you can get in touch with us on 086-123-9595.

Now, I'm delighted to be joined in studio by Ellen Gough, Limerick journalist with the Clare Champion, Tracey Reddy from Citizens Information, and Dr. Simon Maguire, Lecturer of Creative Broadcast and Film Production at LSAD.

You're all very welcome.

Morning.

it, it really is, like, it's kinda disturbing as well for, for so many of us.

It is, and the pressure is on a lot of different groups.

And again, speaking as a lecturer, and myself and my colleagues in the Creative Broadcast and Film Production program in LSAD, we're well aware of AI, and we're trying to teach our students ethical and moral responsibilities when it comes to recording using any device.

But unfortunately, with these glasses, the horse has bolted.

So it's kind of like how it all like happened.

are you interested in like would you say like i like would you be making films with your like phones like growing up or what would you be doing or did you have video cameras

i did yeah with like my cousins oh yeah yeah it's usually on youtube somewhere oh

mine are too uh well mine are videos mine are oh geez mine are uh

That's something you're going to lose as you get older.

And it's something I think you need to keep close to you, you know, like that kind of childhood creativity and imagination that you'd have back then.

But yeah, I think I think that's what people need to remember when they're making films is it's OK to be childish.

Even if it was painful school time or things that, you know, would have inspired your ideas when you were growing up.

So it just meant I was flexing the muscle the whole time.

Filmmaking.

and one thing led to another, Craig, and here I am.

Yeah, doing adverts would be a good way to just practice and hone your craft and things like that, I imagine, because it's the same process, right? It's just much more condensed.

If you can actually see what's happening through the visual mud, that is.

Cinema, The Magic Vehicle, A Comprehensive Guide, Journey One, 1913 to 1950.

To grasp what Tinosuke Nogasa accomplished with his 1928 film Crossways, or Ju-Ju-Ro in Japanese, we have to look at the entire cinematic landscape of the 1920s.

We're looking at a time when the West was completely, and I mean entirely, ignorant of the vigorous, frankly astonishing film production happening in Japan.

It's shoddy storytelling disguised as emotional grit.

I mean, ask the listener directly, would you honestly sit through this relentless depressing misery today and call it entertaining?

Cinema isn't solely about being entertained with a spot of tea and a biscuit.

It's about being moved, about being confronted, about being challenged.