richardcurran

[richardcurran]

I finally got around to another “10 hours of…” video 🍍👦🕺🏼🙂

[richardcurran]

I am a Painter - Rick Curran - 1997 from Rick Curran on Vimeo.

[richardcurran]

I am a Painter - Rick Curran - 1997 from Rick Curran on Vimeo.

[richardcurran]

Just uploaded my annual “iPhone view of 2023” video, basically I compile all images either taken directly with my iPhone, screenshot or copied onto it in 2023 and then make a video out of it.

This year’s video is 3 minutes and 37 seconds long.

[richardcurran]

Steamboat Willie (10 hour version)

This video is a 10-hour stretched version of the original approx 7m 40s animation – kind of in the spirit of Andy Warhol's 1965 film "Empire". Also I just like making "10 hours of..." movies :)

[richardcurran]

10 Hours of Steamboat Willie whistling

[richardcurran]

10 Hours of Link falling in The Legend of Zelda: Breath of the Wild

[richardcurran]

One More Try – an experimental skate video from Najeeb Tarazi on Vimeo.

An ode to effort.

Clips by Dennis Ludwig, Ryan Neddeau, and Frankie Eder

Skaters: Blake Johnson, Markus Blessing, Ben Nordberg, Walker Ryan, Ray Corey, Carlos Montes, Matthew Parra

Sound Design and Mix by TJ Dumser Music performed by Sky White Tiger

Color by Kristopher Smale

Edit, VFX, and concept by Najeeb Tarazi

Big thank you to Dennis, Ryan, and Frankie

[richardcurran]

Volcano Pilot from Mika on Vimeo.

In memory of Haraldur Unason Diego, 1972-2022.

Thank you for everything you were and everything you stood for. You will always be remembered brother.

[richardcurran]

🙂 🇲🇬🐾

[richardcurran]

605 Adults 304 Children from Michael Mahaffie on Vimeo.

605 Adults 304 Children is an immersive and intimate short documentary filmed entirely by The Peoples Temple in Jonestown.

Filmed By – The Peoples Temple Directed By – Michael Mahaffie Produced By – Clare Tucker Music By – Tyler Rogers Executive Producers – Michael Barnett, Dominique Dauwe

Soundtrack from Composer Tyler Rogers is available on bandcamp. tylerrogers.bandcamp.com/album/605-adults-304-children-ost

Festivals Screenings 2019 Atlanta Film Festival 2019 Brooklyn Film Festival 2019 Minneapolis St. Paul International Film Festival 2019 New Hampshire Film Festival 2019 Omaha Film Festival 2019 St. Louis Film Festival 2019 Tallgrass Film Festival 2019 Athens International Film Festival 2019 Riverside Short Film Festival 2019 Independent Film Festival Boston 2019 Oxford Film Festival 2019 United States Super 8 Film Festival 2019 Champs-Elysées Film Festival 2019 Monmouth Film Festival

[richardcurran]

10 hours of falling in Riders Republic.

[richardcurran]

10 hours of Franklin Clinton falling in GTAV.

[richardcurran]

10 hours of Arthur Morgan falling in Red Dead Redemption II.

[richardcurran]

The Gaze from Barry Jenkins on Vimeo.

In my years of doing interviews and roundtables and Q&A’s for the various films we’ve made, there is one question that recurs. No matter the length of the piece or the tone of the room, eventually, inevitably, I am asked about the white gaze. It wasn’t until a very particular interview regards The Underground Railroad that the blindspot inherent in that questioning became clear to me: never, in all my years of working or questioning, had I been set upon about the Black gaze; or the gaze distilled.

I don’t remember when we began making the piece you see here. Which is not and should not be considered an episode of The Underground Railroad. It exists apart from that, outside it. Early in production, there was a moment where I looked across the set and what I saw settled me: our background actors, in working with folks like Ms. Wendy and Mr. and Mrs. King – styled and dressed and made up by Caroline, by Lawrence and Donnie – I looked across the set and realized I was looking at my ancestors, a group of people whose images have been largely lost to the historical record. Without thinking, we paused production on the The Underground Railroad and instead harnessed our tools to capture portraits of... them.

What flows here is non-narrative. There is no story told. Throughout production, we halted our filming many times for moments like these. Moments where… standing in the spaces our ancestors stood, we had the feeling of seeing them, truly seeing them and thus, we sought to capture and share that seeing with you. The artist Kerry James Marshall has a series of paintings of ancestors for whom there is no visual record but for whom he has supplied a visual representation of their person. For me, most inspirationally, "Scipio Moorehead, Portrait of Himself, 1776."

Of the painting, from the Met Breuer exhibit KERRY JAMES MARSHALL: MASTRY – “In this painting Marshall created an imagined self-portrait of a real African American artist, Scipio Moorhead, who was active in the 1770s. Few if any images of Moorhead exist in the historical record. Everything we know of his legacy is based on Phillis Wheatley’s first book of poetry, published in 1773 while she was a slave [sic] in Boston. The book’s title page illustration is an engraving of the writer, reportedly modeled on a painting by Moorhead. The engraving remains the only visual proof, however tenuous, of Moorhead’s existence."

In the way that Mr. Marshall sought to honor Mr. Moorhead through this imagined physical representation of the artist, we have sought to give embodiment to the souls of our ancestors frozen in the tactful but inadequate descriptor “enslaved,” a phrase that speaks only to what was done to them, not to who they were nor what they did. My ancestors – midwives and blacksmiths, agrarians and healers; builders and spiritualists, yearn’ers and doers – seen here as embodied by this wonderful cast of principal and background actors, did so very much.

Housekeeping: From end to end what you are hearing here is Nick’s original score. And yet even at fifty minutes, this is barely twenty percent of the score for the show. The same with the images; maybe five of these shots are in the actual show? There are no spoilers here. Other images in this format appear there but not here. All told, we archived four hours of these portraits. They flow in story order, from Georgia to Indiana. NOTE: one of these things, you’ll notice, is not like the others. In the context of the show, its presence will make sense.

A FEW SHOUTOUTS – None of these shots are planned. Occasionally, when the spirit moved us, we stopped making the planned thing and focused on making THIS thing. So shoutout to my brother James for sure; we had a show to film and yet he never questioned, he brought his best to this. Always. Caroline Eseline. Our costume designer. The majority of the souls you see here are inhabited by background actors. Which meant at any moment, the camera could go from a close-up of number one on the call sheet to… a portrait of number 500. It did not matter. Every soul needed full embodiment. And every damn time I saw someone and was moved to portraiture, there was no doubt of their readiness. The same goes for Lawrence Davis and his wonderful group of hair stylists. And Doniella Davy and her makeup team. Mark Friedberg. Liz Tan, Spoon, Jesse and the directing team. Jarrett Morgan, aka Da’ Possum. Alex Bickel. Daniel Morfesis, who cut this and all the teasers that came before. OUR BACKGROUND ACTORS. My most humble thanks.

This is an act of seeing. Of seeing them. And maybe, in a soft-headed way, of opening a portal where THEY may see US, the benefactors of their efforts, of the lives they LIVED.

Much love to you. And so much love to THEM.

-B

[richardcurran]

London Graffiti + The Factory, Nethergate, 1993 from Soft Error on Vimeo.

1993 - London graff trip. VK (Lyken & Dolby) Painting 'Must I Obey' piece at the Factory, Maclean's Garage, Nethergate, Dundee. Various Skating & BMX.

[richardcurran]

Helvetica from Film First on Vimeo.

Filmmaker Gary Hustwit has decided to stream his films for free worldwide to viewers stuck indoors during the COVID-19 crisis. We'll be streaming a new film every week. We hope you enjoy them, and please stay strong.

March 17 to 24: Helvetica Helvetica (2007, 82 minutes) is a feature-length documentary about typography, graphic design and global visual culture. It looks at the proliferation of one typeface as part of a larger conversation about the way type affects our lives.

Get more info about the film: hustwit.com/helvetica

Posters, T-shirts, and other film merch: ohyouprettythings.com/shop

Join Gary Hustwit's mailing list: hustwit.com/mailing