because everything is so accessible so instantly
I spend it's like you're endlessly
I think in the mid-90s the way people felt about going to the video store
like to rent the video and you're like oh my god
I can't get out of here in under an hour
and I'm picking everything up and it's like I'm
and you're going through not only anticipation of pleasure
but also self-judgment for it
I never did watch raging Bowl I should take that home tonight
no but I really don't want to watch it
I want to watch you know
worms or whatever like this
you know and and but I find that that's what my experience of being on Netflix is
I can spend an hour just looking at what's on this and not watching it
just like you know reviewing titles and being like oh yeah
I don't like looking eating the menu adding things to your queue but not actually doing
anything about it like oh good all the Mike Lee I'll put all of those on my queue and it makes
you feel like you've watched them but you have it it's like buying books at a bookstore just because
you bought Moby Dick doesn't mean you've read it but it's there it's there I think in that way we
experience it's like the experiential quality of actually watching a movie or reading a book or
listening to an album will become the thing that is actually rare because I think you know the
ability to name-drop things is not an accident that actually has no value but it but it feels
like with all the information aggregated that you can have all this experience with art that is not
actually consuming it at all so what happened I mean I want to come back to this idea of DV or
HD or chasing the gold standard of film right and having this idea of it as rogue or independent it
can be like Hollywood standard rate independent movies right and there's something lost and
gained and gained and lost in that I don't know how I feel about all of it I do kind of have a
distaste of things that pretend to be something else like on an iPhone camera there have all these
applications where you can take a picture and then you can make it look like a Polaroid or something
else and I think I have a natural inclination to say yes but it's not a Polaroid so I don't
like it as much but I don't know why I have an affinity to feeling like it needs to be the
thing that it is a kind of authentic connection right and I think that there's something just
as authentic about digital but I think it should be honest about the fact that it's digital right
but I just finished shooting a film that I wrote where it's we shut it digitally in the Canon 5d
and we're going to process it we're gonna do this process with it so it'll look like Woody Allen's
Manhattan which is just like that that wouldn't I mean it's true and it's like amazing it has
that kind of like the way like those those blacks are really deep so that even when a
person's face is in shadow you can kind of feel you - yeah the detail in contrast contour right
but it will be its faked if we didn't shoot it on 35-millimeter black and white but we will be able
to create the effect of it which I kind of feel uncomfortable with but also kind of looks great
you