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Journal of Independent Film and Video Artists 500 ". Nicholson Streisand!!! Bill Goldman' II do script. ./ got Brando. Redford. and Committed!. I got a Paul Simon'11 do the score, Lumet 'II direct!!'. .1 got em all. double-tier tax deal with a negative pick-up waiting in the wings and all I need is " you!. White Ox Films: Funding the Future WOMEN ALIVE! Interview with Joan Shigekawa Other Ideas: Ed Lynch Association of INDEPENDENT VIDEO AND FILMMAKERS, inc. i The EDITORS NOTE CONTENTS Dear Friends. Organism: An Interview with Hillary Harris 1 This is the first issue of the INDEPENDENT Newsletter Discards and Other Ideas by Ed Lynch 2 GAZETTE. It is an extension of the work of the Journal of Independent Film and Video Artists Association of Independent Video and Filmmakers A Conversation with Barbara Haspiel 4 Journal for Moving Image Artists Inc. in New York and is published through the Not a Pretty Picture by Martha Coolidge 5 Vol. l,No. 1 July, 1976 participation and volunteer work of its membership as Making Friends with Super-8 a service to and reflection of the independent film and by Mark Mikolas 6 video community. WOMAN ALIVE! An Interview with The independent community began in New York Joan Shigekawa 7 Editor: Ted Churchill City; it had to. Whatever may be said about our city, Video Systems by Alan Miller 10 Associate Editor: Thomas Lennon it is brutally real. New Yorkers know that the prob- Indies Present Indies 14 Executive Editor: John Miller lems are not going to go away by themselves. are We Film as Business by Freude 15 Contributing Editors: Ed Lynch, Tom McDonough learning a hard lesson and that lesson is teaching us Copyright: All Rights Reserved Design: Deborah Thomas, Ted Churchill that the rebirth of our city (and our country) depends by Thomas Lennon , 17 on the rebirth of the community. Like the city, Typesetting: Myrna Zimmerman "Comin' Home'" (Box Office. That Is) independent video artists film and are not assured of by Kitty Morgan 20 survival. The mechanism for that survival can only be White Ox Films: Funding the Future created by ourselves. And it depends as much upon The INDEPENDENT GAZETTE Is published by the by David Tulbert 21 our successful communication with one another (our Association of Independent Video & Filmmakers, Inc. -Metroliner: A Review by Charles Levine 24 willingness to help one another) as it does on suc- This first issue of the INDEPENDENT GAZETTE was The Closet Machinist by Ted Churchill 25 cessful communication between us and our audiences. made possible by a grant from the New York State Council on the Arts. The creation of the AIVF was the beginning of that process. In the last two and a half years as our The Association gratefully acknowledges those numbers increased we have experienced the growth of whose contributions made possible the First Annual our strength, a vital crossflow of information, a sense AIVF Board of Directors, 1976-77 Awards Dinner for independent film and video. of belonging and our development as a force for Ed Lynch, President change. It has been a good feeling. Ted Churchill Sustaining Members Max! Cohen As independent artists we speak individually Mrs. Ethel Altschuler Martha Coolidge, Chairperson through our work. Collectively we speak through our Eastman Kodak Co. Charles Levine community and this newspaper. But we don't just Mr. E. David Rosen Larry Loewinger, Treasurer speak about ourfilms and tapesjust as we don 7 make Mr. Daniel Phillip Messina films and tapes simply about the process. Our work Sandberg Alan Miller reflects our lives and visions as well as the lives and Kitty Morgan Supporting Members visions of others, be it in narrative or abstract, Amalic Rothschild, Vice-President documentary or theatrical form. In this respect, whe- Albert G. Ruben Co. Marc Weiss ther ornot you are a member of the AIVF, or even an Aquarius Transfer independentfilm or video artist, the INDEPENDENT Mr. Larry Mischel GAZETTE can be your newspaper as well. Trans/ Audio Corp. The Association is a not -for profit organization The INDEPENDENT GAZETTE has the potential incorporated hi New York State in July, 1974. Associate Members to become an essential element in the growth of the The Association is partially supported by the National independent community. But to do this it must be an Accurate Film Labs Endowment for the Arts Public Media Program accurate and representative reflection of that com- Back Stage and the New York State Council on the Arts. munity; notjust in the city, but the state and country. Bebell, Inc. We need a broad range of input, ideas and opinion. I Berkey Marketing Co. hope you will consider the GAZETTE your newspaper Cinelab Corp. Mr. Joseph Dragi ©Copyright 1976 by Association of Independent Video and Film- and use it as such. We are all independent and we now makers, Inc. No portion of this magazine may be reproduced in any have another vehicle for that vital expression. Film Counselors, Inc. manner, either in whole or in part, without written permission from Gary Youngman Co. the publisher Ted Churchill Mr. H. J. Goldstein Guffanti Film Labs J. G. Films Midwest Film Prods. Millimeter Nehls & O'Connell, Inc. Plastic Reel Corp. Professional Films Quality Film Labs Mr. Irving Rathner Mrs. Samuel Rosen Shell Paper and Cordage Co. Vacuumate Corp. How then to acknowledge the legions of un- paid people whose volunteer energies have en- abled the Association to survive and grow in its first two years? To list all those who have given of their time and intelligence is an undertaking too vast to consider. Members have made speeches, brewed coffee, answered phones, sat through six-hour meetings, donated their films or tapes to be screened, stuffed envelopes, drafted statements, served on the Board, been ruled out of order, driven across town and country in the middle of the night, formed committees, transcribed tapes, turned their living-room couches into beds, borrowed their' relatives' trucks and typewriters, come to the Association meetings to speak and share their expertise . .unsung heroes and heroines .... 1 ORGANISM: From Time Compression to Time Capsule An Interview with Hilary Harris Interview by Ted Churchill Transcriptions and editing by John Hiller Organism is a macrocosmic view of New York City negative aspects of the city and trying to just grasp the film. A very difficult concept and one which will be which makes an analogy between living tissue and the physical complexity of it, just on that level, to show interesting to get across on film without screen dia- city. arteries all structure of the Traffic are seen as the that we're embedded in a symbiosis. logue. I've done quite a few experiments with it, and I bloodstream circulating through the urban body and Now Organism represents one of the themes of the know I'm on the right track, but it's still quite a its skyscrapers as the skeletal structure. The city's big film, what I call a time/space theme. It's the most challenge to get it done. escalators, streets, railroad lines, shops, markets, distant view of the city that you can get. It's like one of Anyway, does that give you a sense of where bridges, beaches and parades are seen as parts of a those aerial shots of seeing the islands lying there Organism came from? delicately balanced living structure. surrounded by the water and just contemplating the TC: It does. physicality of it and the mechanistic life of it on a HH: Where it wants to go? TC: In terms of production. Organism is very purely kind of mechanistic/ biological level. I tend to TC: Yes. Your whole film, though, is not going to I'd like unique. you to talk about how it was done think of the city as nature, a physical kind of nature. I be in stop motion, is it? technically and what it meant to you. don't make a dichotomy between the city and the HH: Oh, no. No, no. It'll. .as a matter of fact, I'm HH: I got into film through abstract films. I like to country because it is a special kind of nature and it dying to get back to live action photography because bring that up because people don't think of me in that has beauties, and I'm trying to bring up some of those the camera movement is one of the expressive tools of field since I haven't done abstract films for a long beauties. I think that helps us to love it better and to the filmmaker for me. And that's why Organism was time. My second film, Generation, was a completely relate to it better. So Organism looks at this very quite frustrating at times and the reason I went to the abstract film of a kaleidoscope pattern and a very key distant view and sort of gives you a super perspective extent of building some of the special equipment. film for me; I learned a lot making it. It took me a which gives you a special relationship. In the big film, TC: Special equipment? year to it make and only lasts three minutes. It was, or that will be one strand, one theme. HH: Yes. The camera is basically a recording sort for of formed me, a kind of "essence" basis for Now the next thing I want to do is on the work device, and the way we can get expression into that my approach to film. symbiosis, the work activity, the incredible way that recording device is to move the camera, follow our I'm often doing research on a kinetic generator we all depend on each other for life and existence in subjects, work in counterpoint with the movement, in which I hope, eventually, will evolve and allow me to the city.

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