From my first glimpse of those wonderful moving screens, I was hooked good: especially animated movies like Snow White, Fantasia and Alice in Wonderland — specifically, the gobbling Preston Blair ostriches in Fantasia and a wonderfully green lawn in a Donald Duck Chip'n'Dale short have helped to warp my mind. Never got over it.
When in W.W.II Japanese director Ozu Yashujiro saw a captured copy of Fantasia, he said "We will lose the war." He was right.
This section recapitulates some of the effects all this has had in my work and play. But first things first:
The Hall of Fame
Tom and Jerry
I started my wanderings by setting up Vista Film to distribute Japanese movies in Holland. I had then already got into photography, also because of its relation with cinematography. Later, I did get to work in movies, doing a lot of stills at the time when Dutch movie making was turning into an industry. We worked like a bunch of circus gypsies. In between, I learned the ropes, uh, cables, of sound recording for movies. All sound engineers agree this is the hardest type of sound-work to do, both physically and technically.
By the way, still photography for movies is not so easy, either. Also the quality and quantity of light those Dutch cinematographers had the immortal crust to come up with.
In between, I made a filmograph of Victor Moscoso's strip Cosmic Comics; and still later Edgar Palm en Otrabanda, a combination of super-8 film and slides (in Technicolor
, too!). On and off, I have been shooting 16 mm material that you may characterize as screen savers, for all I care. As techniques improve and bandwidths get broader, some of that stuff may eventually make its way to a site like this.
For a list of all my screen and other credits, at least those I have managed (or care) to remember, click here. Even a (gaah!) CV.