◎译       名       笔记·日志·素描 / 瓦尔登 / Diaries, Notes & Sketches: Walden
◎片       名       Diaries Notes and Sketches
◎年       代       1969
◎产       地       美国
◎类       别       纪录片
◎语       言       英语
◎上映日期        1970-05-23
◎豆瓣链接        https://movie.douban.com/subject/3024645/
◎片       长       177分钟
◎导       演       乔纳斯·梅卡斯 Jonas Mekas
◎演       员       蒂莫西·利瑞 Timothy Leary
                        艾德·艾姆许维勒 Ed Emshwiller
                        杰克·史密斯 Jack Smith
                        尼可 Nico
                        伊迪·塞奇威克 Edie Sedgwick
                        安迪·沃霍尔 Andy Warhol
                        朱迪丝·马利纳 Judith Malina
                        Storm De Hirsch
                        诺曼·梅勒 Norman Mailer
                        艾伦·金斯堡 Allen Ginsberg
                        约翰·列侬 John Lennon
                        小野洋子 Yoko Ono
                        斯坦·布拉哈格 Stan Brakhage
                        卡尔·西奥多·德莱叶 Carl Theodor Dreyer
                        哈里·史密斯 Harry Smith
                        阿道法斯·梅卡斯 Adolfas Mekas
                        拉姆·达斯 Ram Dass
                        肯·雅各布斯 Ken Jacobs
                        玛丽·门肯 Marie Menken
                        迈克尔·斯诺 Michael Snow
                        卢·里德 Lou Reed
                        Angus MacLise
                        彼得·库贝卡 Peter Kubelka
                        Amy Taubin
                        雪莉·克拉克 Shirley Clarke
                        Sterling Morrison
                        约翰·凯尔 John Cale
                        格雷戈里·马科普洛斯 Gregory J. Markopoulos
                        巴贝特·施罗德 Barbet Schroeder
                        莱昂内尔·罗戈辛 Lionel Rogosin
                        汉斯·李希特 Hans Richter
                        Philip Corner
                        杰罗姆·希尔 Jerome Hill
                        乔纳斯·梅卡斯 Jonas Mekas
                        Beverly Grant
◎编       剧       乔纳斯·梅卡斯 Jonas Mekas
◎制  片  人       乔纳斯·梅卡斯 Jonas Mekas
◎摄       影       乔纳斯·梅卡斯 Jonas Mekas
◎剪       辑       乔纳斯·梅卡斯 Jonas Mekas
◎简       介

Walden (Diaries, Notes & Sketches) de Jonas Mekas États-Unis, 1969, 16mm, 180’, nb et coul., vostf filmé entre 1964 et1968, monté en 1968-1969
  Walden est le premier des journaux de Jonas Mekas, rassemblés sous le titre générique Diaries, Notes & Sketches – le premier monté, même si Lost Lost Lost, achevé en 1976, montre la période précédente, de 1949 à 1963.
  « Depuis 1950, je n’ai cessé de tenir mon journal filmé. Je me promenais avec ma Bolex en réagissant à la réalité immédiate : situations, amis, New York, saisons. […] Walden contient le matériel tourné de 1964 à 1968 monté dans l’ordre chronologique. La bande-son utilise les sons enregistrés à la même époque : voix, métro, bruits de rues, un peu de Chopin (je suis un romantique) et d’autres sons, significatifs ou non. »
  Jonas Mekas
  « Je n’ai pas disposé de ces longues plages de temps nécessaires à la préparation d’un scénario, puis au tournage, puis au montage, etc. Je n’ai eu que des bribes de temps qui ne m’ont permis de tourner que des bribes de film. Toute mon œuvre personnelle est devenue comme une série de notes. Je me disais : je vais faire tout ce que je peux aujourd’hui, parce que sinon je ne trouverai pas d’autre moment libre avant des semaines. Si je peux filmer une minute, je filme une minute. Si je peux filmer dix secondes, je filme dix secondes. Je prends ce que je peux, désespérément. Mais pendant longtemps, je n’ai pas visionné ce que je filmais et emmagasinais ainsi. Je me disais que tout ce que je faisais, c’était de l’entraînement. »
  Jonas Mekas, 1972
  « Walden de Jonas Mekas s’impose, près de trente ans plus tard, comme un document cinématographique essentiel de la vie artistique new-yorkaise à l’une de ses époques les plus grandioses. Sans jamais choquer ni se confesser, Mekas a imprégné chaque instant de ce très long film des nuances de sa personnalité. Parmi un vaste éventail de personnages, pour la plupart non nommés ou simplement appelés par leur prénom – bien que certains soient mondialement célèbres –, le seul portrait psychologique est celui du cinéaste lui-même : un poète lituanien exilé, fasciné et torturé par sa lente américanisation. Le film est dominé par un rythme staccato nerveux qui s’épanche régulièrement en grandes exaltations. En accumulant massivement des images, Mekas s’est constitué des archives uniques en leur genre pour assembler ce journal visuel, le premier d’une longue série. Aucun autre film ne restitue à ce point la sensation propre à ce temps et à ce lieu, telle qu’on peut la retrouver en regardant le film aujourd’hui. En tant que personnage secondaire apparaissant régulièrement devant la caméra de mon ami, je suis conscient combien sa représentation des autres reste fragmentaire et elliptique, et cependant ces images sont devenues pour moi les indices visuels les plus forts de la personne que j’étais il y a trente ans. Ceci est peut-être la clé de l’œuvre de Mekas : sa découverte d’une forme cinématographique laissant transparaître ses changements d’humeur, sans imposer un masque cohérent de lui-même. Il a ainsi construit une oeuvre qui laisse les autres apparaître dans leur ambiguïté phénoménale. »
  P. Adams Sitney, 1996, Le Livre de Walden, éd. Paris Expérimental, 1997
  « Disons que, cinématographiquement parlant, il n’y a peut-être rien de plus beau que les trois premiers plans de Walden : des arbres dans un parc bleuté par les reflets du soleil d’hiver, la neige et l’aube du printemps ; du temps, proustien ou haché en haïku, du temps qui tient dans la main, du souvenir partout. »
  Philippe Azoury, « Vivace Jonas Mekas », Libération, 31 octobre 2000
Volume 1: Walden:引用

Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. When one writes diaries, it's a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don't get it at all. To go back and shoot it later, it would mean restaging, be it events of feelings. To get it now, as it happens, demands the total mastery of one's tools (in this case, Bolex): it has to register the reality to which I react and also it has to register my state of feeling (and all the memories) as I react. Which also means, that I had to do all the structuring (editing) right there, during the shooting, in the camera. All the footage that you'll see in Walden is exactly as it came out from the camera: there was no way of achieving it in the editing room without destroying its form and content. Walden contains material from the years 1964-1968, strung together in chronological order. For the soundtrack I used some of the sounds that I collected during the same period: voices, subways, much street noise, bits of Chopin (I am a romantic), and other significant and insignificant sounds. "They tell me, I should be always searching; but I'm only celebrating what I see." - (from the soundtrack) "I make home movies - therefore I live. I live - therefore I make home movies."

Disc Title: Walden
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Subtitle: English / 6.094 kbps
Subtitle: French / 8.907 kbps
Subtitle: Lithuanian / 7.468 kbps
Subtitle: German / 9.226 kbps
Subtitle: Spanish / 8.738 kbps
Subtitle: Italian / 8.575 kbps
Subtitle: Japanese / 5.741 kbps
Subtitle: Korean / 7.033 kbps

Volume 2: Lost, Lost, Lost:

These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in October 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community, their attempts to adapt themselves to a new land and their desperate efforts to regain independence for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan. Reel three and reel four deal with my life in Manhattan on Orchard Street and East 13th St. First contacts with New York poetry and filmmaking communities. Robert Frank shooting The Sin of Jesus. LeRoy Jones, Ginsberg, Frank O'Hara reading at The Living Theatre. Documentation of the political protests of the late fifties and early sixties. First World Strike for Peace. Vigil in Times Square. Women for Peace. Air Raid protests. Reel five includes Rabbit Shit Haikus, a series of Haikus filmed in Vermont; scenes at the Film-Maker's Cooperative; filming Hallelujah the Hills; scenes of New York City. Reel six contains a trip to Flaherty Seminar, a visit to the seashore in Stony Brook; a portrait of Tiny Tim; opening of Twice a man; excursions to the countryside seen from two different views; that of my own and that of Ken Jacobs whose footage is incorporated into this reel. The period I am dealing with in these six reels was a period of desperation, of attempts to grow roots into the new ground, to create new memories. In these six painful reels I tried to indicate what it feels like to be in exile, how I felt in those years. These reels carry the title Lost Lost Lost, the title of a film myself and my brother wanted to make in 1949, and it indicates the mood we were in, in those years. It describes the mood of a Displaced Person who hasn't yet forgotten the native country but hasn't gained a new one. The sixth reel is a transitional reel where we begin to see some relaxation, where I begin to find moments of happiness. New life begins. What happens later, you have to see the next installment of my diaries... - March 31, 1976


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Subtitle: English / 10.374 kbps
Subtitle: French / 14.126 kbps
Subtitle: Lithuanian / 13.036 kbps
Subtitle: Korean / 12.544 kbps


Volume 3: Notes for Jerome:

Award Presentation to Andy Warhol
16 mm, 12 min., 1964
The Film Culture magazine Independent Film Award, a basket of fruit, for 1964 is presented to Andy Warhol. We see Andy among some of his leading stars: Baby Jane Holzer, Gerard Malanga, Ivy Nicholson, and Jonas Mekas, presenting a basket of fruit to Andy: mushrooms, carrots, apples, bananas which then they all eat with great pleasure. "I can recall seeing only one Warhol film which was wholly pastoral and un-neurotic in feeling, which contained or provoked none of these or other disturbing implications; and that turned out not to be a Warhol film at all, as I thought at the time, but a kind of homage, by Jonas Mekas, to Warhol--really a work of Mekas' own sensibility though seemingly in the official Warhol style. When I saw Award Presentation I was hung for days on the kind of imagination revolutionary enough at once to conceive of a film as something so simple and to make that simplicity so pleasurable." - James Stoller, Film Quarterly

Film Magazine of the Arts
16 mm, 17 min., 1963, French/Korean subtitles
Show Magazine needed a promotional film, and somebody suggested to them that I make it. I agreed to do it. They paid well. I conceived the film as a serial film magazine that would come out once a month, or every three months. We shot a lot of footage, with Show Magazine people always present, always dropping issues of Show Magazine on the floor everywhere. When I screened the first draft of the film for them, they were shocked to see that I had eliminated all those magazines and much of the footage of fashion models they had me shoot (although you see some of that at the very end of the film). So that was the end of that project. I think that concept of a film magazine, had they really supported me, was a good one and would have received much better publicity than the kind of thing they wanted. There are some parts I like very much: I like the whole thing, really. They seized the original right after the screening. They were planning to hire their own editor to reedit the film their way. They also took all the outtakes, but decided finally not to do anything with it. All my prints are from the work print.

Cassis
16 mm, 5 min., 1966
A small port in the South of France, a lighthouse, the sea. The year was 1966. The month of July. I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from the morning till after sunset, frame by frame. This film is the result of it.

The 24 hours that pass over the Cassis landscape take only a few minutes in this episode, but, during that time, the sea, the sky and mountain are brushed in by a mighty hand; boats and people are animated otherwise than in daily life. The effect is at the same time uncanny and yet immediately recognizable as belonging to the artist's inner vision. One is elated. One laughs without its being funny. - Jerome Hill, Interview, 1970

Hare Krishna
16 mm, 4 min., 1966
Filmed on Nov. 5th, 1966. With Phil Corner, Barbara Rubin, Srila Prabhupada. Sound: Allen Ginsberg and the participants. One Sunday afternoon in New York - beautiful new generation - dancing in the streets of New York - singing "Hare Hare" - filling the streets and the air with love - in the very beginning of the New Age - Allen Ginsberg and Peter Orlovsky (on soundtrack) singing.

Notes on the Circus
16 mm, 12 min., 1966
Ringling Bros., filmed in three sessions (three-ring circus); colors, motions and memories of a circus. Edited in camera (an exercise in instantaneous structuring). Sound by Jim Kweskin's Jug Band (can be watched also silently). Dedicated to Kenneth Anger who provided the Ektachrome film stock, in one of my many dry periods.

Report from Millbrook
16 mm, 12 min., 1966, English/French/Lithuanian/Korean subtitles
Report from Millbrookwas filmed in 1965, on a weekend visit to Timothy Leary's place. It was a light summer outing. No LSD. Tim took me for a walk, though, and we talked about LSD. At one point in our walk we stopped on a little bridge. We looked into the stream silently. Tim broke the silence. He had noticed, he said, that I was only reading while other guests were using the occasion, under his supervision to go through an LSD experience. I told him that the chemicals that motivate and drive artists are more powerful and mysterious than LSD or any drug. On that note we turned back and ended our walk. There was nothing more to say. In 1966, Tim's place was raided by the local sheriff. The East Village Other taped an interview with the sheriff about the raid. I used the interview as the soundtrack for the film. The footage can also be seen in a different version in Walden.

Travel Songs: The Song of Avila, The Song of Italy, The Song of Assisi, The Song of Moscow, The Song of Stockholm
16 mm, 22 min., 1967
Five different "songs" or segments: footage from Avila (Spain), Stockholm, Moscow, Assisi, Italy. Brief images, a lot of single frame activity.

In Between
16 mm, 52 min., 1978, English/French/Korean subtitles
The material for this film is footage that didn't find a place in the Walden reels. Some of it begins in between Lost Lost Lost and Walden. It's mostly New York, and some travel footage. The city friends: Richard Foreman, Amy Taubin, Mel Lyman, Peter Beard, David Wise, Andrew Meyer, Salvador Dali, Jerome Hill, David Stone and Barbara Stone, my brother Adolfas filming Double Barreled Detective Story, Diane di Prima, Alan Ginsberg, Norman Mailer, Ed Sanders, Gordon Ball, Henry Romney, Jack Smith, Shirley Clarke, Louis Brigante, Jane Holzer, etc. etc. It's a period piece. The sounds were recorded about the same time. Bits of radio music, bits of records, my own voice, and voices of my friends. Mel Lyman playing banjo on the roof of 23rd Street was actually recorded on the roof, with the wind blowing into the mike.

Notes for Jerome
16 mm, 47 min., 1978, French subtitles
During the summer of 1966 I spent two months in Cassis, as a guest of Jerome Hill. I visited him briefly again in 1967, with P. Adams Sitney. The footage of this film comes from those two visits. Later, after Jerome died, I visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. Other people appear in the film, all friends of Jerome: Taylor Mead, Bernadette Lafont, Charles Rydell; Barbara Stone and David Stone and their children; Noël Burch, Judith Malina and Julian Beck and the Living Theater collective; Mrs. Chaliapin, Jean-Jacques Lebel, Michel Fontayne; Alec Wilder, P. Adams Sitney and Julie Sitney; and Jerome's perhaps closest and oldest friend, whose name I forgot, but whom he always called Rosebud. The soundtrack was all recorded during the same period, during the same visits to Cassis. Piano improvisations are Jerome's and Taylor Mead's; the soloist (Monteverdi's Lasciatemi morire! and Giordani's Caromioben) is Charles Rydell practicing, in Cassis; the ocean and most of the wind is the late summer mistral; and so are the cicadas, street music. Those were happy but lonely summers for me, I thought a lot about home. That's why this film, this elegy for Jerome is dedicated to the wind of Lithuania. Sometimes, though, I had a feeling that Jerome was as much of an exile as was I. - October 27, 1978


Disc Title: Notes for Jerome
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Subtitle: English / 6.286 kbps
Subtitle: French / 10.334 kbps
Subtitle: Lithuanian / 2.249 kbps
Subtitle: Korean / 7.39 kbps


Volume 4: Reminiscences of a Journey to Lithuania:

Reminiscences of a Journey to Lithuania
16 mm, 82 min., 1972, English/French/Lithuanian/Korean subtitles
The film consists of three parts. The first part is made up of footage I shot with my first Bolex, during my first years in America, mostly from 1950-1953. It shows me and my brother Adolfas, how we looked in those days; miscellaneous footage of immigrants in Brooklyn, picnicking, dancing, singing; the streets of Williamsburg. The second part was shot in August 1971, in Lithuania. Almost all of the footage comes from Semeniškiai, the village I was born in. You see the old house, my mother (born 1887), all the brothers, goofing, celebrating our homecoming. You don't really see how Lithuania is today: you see it only through the memories of a Displaced Person back home for the first time in twenty-five years. The third part begins with a parenthesis in Elmshorn, a suburb of Hamburg, where we spent a year in a forced labor camp during the war. After the parenthesis closes, we are in Vienna where I see some of my best friends - Peter Kubelka, Hermann Nitsch, Annette Michelson, Ken Jacobs. The film ends with the burning of the Vienna fruit market, August 1971.

Paradise Not Yet Lost
16 mm, 96 min., 1979, English/French/Korean subtitles
Filmed in 1977, edited in 1979. These reels of my film diaries contain the film "notes" taken during  the calendar year 1977, arranged chronologically. The film is divided into six parts. The first part takes place in New York. We see a lot of home life and SoHo. We see a lot of our daughter Oona whose third year of life this is. Some other subjects: Peter's Concert (Peter Kubelka); A visit to Marie Deren (Maya's mother); St. Patrick's Parade; Spring in Central Park; etc. The second, very brief part, takes place in Sweden, visiting Anna Lena Wibom. The third part takes place in Lithuania. Myself, my wife Hollis, and our 2-1/2 year old daughter Oona visit my mother on the occasion of her 90th birthday. Oona meets her young cousins, we drink home made beer, we walk through the woods, gather mushrooms and wild strawberries, we fool around. The fourth part is in Austria, visiting Peter Kubelka and Hermann Nitsch in Prinzendorf. We taste Hermann's wine, we talk to Peter's donkeys, we visit Pater Nicolaus in Kremsmuenster, and then we go to Italy, with Peter, in pursuit of Michelangelo's wine, Canaiola. The sixth part is back in New York; a visit to Willard Van Dyke, upstate; Oona's third birthday; a fire on Broome Street; more home scenes; the beginning of winter storms. It's a diary film buy also it is a meditation on the theme of Paradise. It is a letter to Oona; to serve her, some day, as a distant reminder of how the world around her looked during the third year of her life - a period of which there will be only tiny fragments left in her memory - and to provide her with a romantic's guide to the essential values of life - in a world of artficiality, commercialism, and bodily and spiritual poison. - November 1979


Disc Title: Reminiscences of a Journey to Lithuania
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Subtitle: English / 13.929 kbps
Subtitle: French / 15.938 kbps
Subtitle: Lithuanian / 15.484 kbps
Subtitle: Korean / 12.824 kbps

Volume 5: Scenes from the Life of Andy Warhol:

Scenes from the Life of Andy Warhol
16 mm, 36 min., 1990, English/French/Lithuanian/German/Korean/Chinese subtitles
Music: Velvet Underground, recorded in 1966. Opening segment taped at the Dom at the first public performance with Nico. End section: Mass for Andy Warhol at St. Patrick's Cathedral. The film is made up of my film diaries related to Andy Warhol from the years 1965-1982. Locations are New York and Montauk: The Factory, house of George Maciunas, village gate, psychiatrist's convention, home of Stephen Shore, Warhol Estate, Montauk, etc. The "cast" includes Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Andy Warhol, Allen Ginsberg, Ed Sanders, Barbara Rubin, Tuli Kupferberg, Peter Orlovsky, John Lennon, Yoko Ono, George Maciunas, Vincent Fremont, Henry Geldzahler, Paul Morrissey, Karen Lerner, Jay Lerner, Peter Beard, John Kennedy Jr., Lee Radziwill, Tina Radziwill, Anthony Radziwill, Joe D'Alessandro, Caroline Kennedy, Mick Jagger, Jade Jagger and many other. Completed in June, 1990.

Zefiro Torna
16 mm, 37 min., 1992, English/French/Lithuanian/German/Korean/Chinese subtitles
Footage of George Maciunas taken between 1952 and 1978. Includes footage of his parents, footage of many Fluxus events and scenes from Maciunas' private life and his friends, such as Yoko Ono, John Lennon, Andy Warhol, Joe Jones, Almus Salcius, and many others. Soundtrack: a madrigal by Monteverdi (Zefiro Torna) and me reading from my diaries kept during the last two years of Maciunas' life.

Happy Birthday to John
16 mm, 24 min., 1995, English/French/Lithuanian/German/Korean/Chinese subtitles
October 9, 1972, an exhibition of John Lennon & Yoko Ono's art, designed by the Master of the Fluxus movement, George Maciunas, opened at the Syracuse Museum of Art, curated by David Ross. Same day an unusual group of John and Yoko friends, including Ringo Starr, Allen Ginsberg, Paul Krassner, and many others, gathered to celebrate John's birthday. This film is a visual and audio record of that event. We hear improvised songs, sung by Ringo, John, Yoko and their friends, not as a clean studio recording, but as a birthday party: singing, free and happy. There are other images included in the film that develops like a "music video": the John & Yoko party at Klein's (their agent), June 12, 1971; August 1972, John and Yoko concert at Madison Square Garden; the Central Park Vigil after John was shot; and some other footage that I have taken on different occasions of John and Yoko.

This Side of Paradise
16 mm, 35 min., 1999, English/French/Lithuanian/German/Korean/Chinese subtitles
Unpredictably, as most of my life's key events have been, for a period of several years in the late sixties and early seventies, I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy's and her sister Lee Radziwill's families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship. The time was still very close to the untimely, tragic death of John F. Kennedy. Jackie wanted to give something to her children to do, to help to ease the transition, life without a father. One of her thoughts was that a movie camera would be fun for children. Peter Beard, who was at that time tutoring John Jr. and Caroline in art history, suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that's how it all began.
The images in this film, with a few exceptions, all come from the summers Caroline and John Jr. spent in Montauk, with their cousins Anthony and Tina Radziwill, in an old house Lee had rented from Andy Warhol, for a few summers. Andy himself spent many of his weekends there, in one of the cottages, as did Peter Beard, whom the children had adopted almost like their older brother or a father they missed. These were days of Little Fragments of Paradise.

Disc Title: Scenes from the Life of Andy Warhol
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Subtitle: English / 16.717 kbps
Subtitle: French / 20.616 kbps
Subtitle: Lithuanian / 19.963 kbps
Subtitle: German / 21.918 kbps
Subtitle: Korean / 15.489 kbps
Subtitle: Chinese / 16.655 kbps


Volume 6: Out-Takes from the Life of a Happy Man:

Out-Takes from the Life of a Happy Man
16 mm, 68 min., 2013, French/Spanish/Lithuanian/Chinese/Korean subtitles
In my editing room there is a shelf with many cans of film going back as far as 1950. There are all materials that relate to my finished films, from 1950 till now, but they somehow couldn't find a place in them. They are, in filmmaking language, out-takes. And they are all slowly fading. Some are already faded. On the occasion of my Serpentine show, I decided that the time had come to finally collect all this footage in my final film-as-film. Result of that decision is this film. Footage covers a lot of home life and materials that I took of my friends, the city, nature, and during the visits to Lithuania. All put together in my usual random chance "order."

Quartet #1
16 mm, 10 min., 1991, English/French/Lithuanian/Korean subtitles
Around 1991 I began to worry about the huge amount of unedited footage that I had on my shelves. I had to do something with it before it begins to fade. One idea was to begin to edit it all in the form of quartets. This quartet was my first try in that direction. I was not too happy with it and did not continue the project. Instead, I began working on a much bigger idea which resulted in As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty. The film doesn't have much to do with the form of what's known as Quartet. In 1991 I was despairing with the amount of unedited diaristic material that I had. I was searching for ways of dealing with it. This film is a result of my searching.

Cinema Is Not 100 Years Old
AV, 4 min., 1996, French/Korean subtitles
The real history of the cinema is the invisible history - history of friends getting together doing the thing they love - for us the cinema is beginning with every new buzz of the projector. With every new buzz of our cameras our hearts jump forwards, my friends!

Song of Avignon
AV, 8 min., 2001, English/French/Lithuanian/Korean subtitles
Reflections on my 1966 trip to Avignon that helped me to survive a deep crisis I was going through. Some random images from the period, the sunrise approaching Avignon, from the train, etc. Soundtrack: texts from my diaries of that period, read by Angus MacLise.

Ein Märchen aus alten Zeiten
AV, 6 min., 2001, French/Korean subtitles
It comes from a poem of a German poet Heine. It's a third line of a poem that he wrote and it goes something like this in a free translation:

I do not know what it means
but it keeps coming back to my mind
a (fairy) tale from far far back (Ein Märchen aus alten Zeiten)

The 9/11 event was so beyond normal human comprehension (which understands only small horrible events) that I had to put it into the category of a fairy tale - I have a pile of old literary magazines from end of 19th century and beginning of the 20th - and I was searching for some image from the past to introduce this event - and I found this young girl in her dream of something like she could be thinking about things of long long ago - since then I have discovered that it was a photograph by a very well known end of 19th century woman photographer, but I do not remember her name right this moment. The 9/11 event was so beyond my own comprehension - you can understand and react to a death of one, or two persons, but I could not react to the death of 2500 people - it was an abstraction, a fairy tale - that's why I framed my 9/11 film (shot from my roof) with the fairy tale, with the image watching the story, the story of 9/11. Like any other fairy tale coming from the past - by this girl, this child dreaming, listening, and dreaming about the tales coming from the past.

A Letter to Penny Arcade
AV, 14 min., 2001, French subtitles
I made this video on June 23rd, 2001, as a video letter to my dear friend Penny Arcade who a few days earlier had asked me why I love New York. I truly and truly love New York! This Letter to Penny Arcade is also my Love Letter to New York.

Williamsburg, Brooklyn
16 mm, 12 min., 2002, French/Lithuanian/Korean subtitles
Footage I shot in 1950, my first year in New York, more precisely, in Brooklyn. Williamsburg was a small miserable part of Brooklyn inhabited at that time mostly by Lithuanian immigrants and Hassids. That was my new home. Miserable home but hom. And I knew that Henry Miller had lived in Williamsburg, I passed his house every day. So I was happy to be there. And I was free! I was free and I had just acquired my first Bolex camera.

Silence Please
DV, 4 min., 2014, No subtitles
Made for a billboard projection project in Luxembourg, a project that never became reality, this video is an exercise in silence and sound.

My Bolexes
DV, 6 min., 2015, French subtitles
Jonas Mekas shows us the five Bolex cameras that he used to make all his films, 1950-2000. They also helped other filmmakers (Jack Smith, Gregory Markopoulos, Naomi Levine...). "I'm on my fifth Bolex now. They survive for one decade, then the springs retire." - Pip Chodorov

Disc Title: Out-Takes from the Life of a Happy Man
Disc Size: 23,326,280,529 bytes
Protection: AACS
Playlist: 00004.MPLS
Size: 11,682,803,712 bytes
Length: 1:07:58.741
Total Bitrate: 22.91 Mbps
Video: MPEG-4 AVC Video / 19995 kbps / 1080i / 29.970 fps / 16:9 / High Profile 4.1
Audio: English / DTS-HD Master Audio / 2.0 / 48 kHz / 1602 kbps / 16-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 16-bit)
Subtitle: English / 0.003 kbps
Subtitle: French / 13.275 kbps
Subtitle: Lithuanian / 11.526 kbps
Subtitle: Korean / 10.942 kbps
Subtitle: Chinese / 11.787 kbps
Subtitle: Spanish / 12.059 kbps

Volume 7-8: As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty:

My film diaries 1970-1999. It covers my marriage, children are born, you see them growing up. Footage of daily life, fragments of happiness and beauty, trips to France, Italy, Spain, Austria. Seasons of the year as they pass through New York. Friends, home life, nature. Nothing extraordinary, nothing special, things that we all experience as we go through our lives. There are many inter-titles that reflect my thoughts of the period. The soundtrack consists of music and sounds recorded mostly during the same period from which the images came. The piano improvisations are by Auguste Varkalis. Sometimes I talk into my tape recorder, as I edit these images, now, from a distance of time. The film is also my love poem to New York, its summers, its winters, streets, parks. It's the ultimate Dogma '95 movie, before the birth of Dogma.


Disc Title: As I Was Moving Ahead Part 1
Disc Size: 39,416,500,203 bytes
Protection: AACS
Playlist: 00002.MPLS
Size: 39,151,134,720 bytes
Length: 2:15:30.541
Total Bitrate: 38.52 Mbps
Video: MPEG-4 AVC Video / 34857 kbps / 1080p / 24 fps / 16:9 / High Profile 4.1
Audio: English / DTS-HD Master Audio / 2.0 / 48 kHz / 1683 kbps / 16-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 16-bit)
Subtitle: English / 11.119 kbps
Subtitle: French / 16.313 kbps
Subtitle: Lithuanian / 14.217 kbps
Subtitle: Korean / 14.202 kbps