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Everything Everywhere Again Alive 1975
Transcript
00:00:19Hello, this is Keith Locke doing the commentary.
00:00:24This is my credit.
00:00:25I thought a film buy is pretentious since no one person makes a film.
00:00:31For fun, I chose symbols used in comic books for obscenities.
00:00:37I used whatever typewriter I could access to do the credits.
00:00:41That's why the fonts all look different.
00:00:45That's me humming in the background.
00:00:48During editing, this is actually the sound I heard in my head when I would watch the
00:00:52repetitive names of the title sequence.
00:00:55This is Jim Grano going to get water, which is a recurring action in this film.
00:01:01I wanted to break down the barrier between subject and audience, so I encourage people
00:01:06to look at the camera.
00:01:08For the whole film, I only used one lens, the 25mm or standard lens.
00:01:14Using only this lens allows the audience to understand the spatial relationships in the
00:01:19world of the film.
00:01:20space is constant and not distorted by different lenses.
00:01:27While I was editing, I often listened to a cassette of an archives recording called Songs of the
00:01:33Watusi, and this African music inspired the film's title sequence.
00:01:38The central words are like a call, and the words surrounding them are like a response to the call.
00:01:45Eventually, the title of the film is expressed.
00:02:01Here, my voice was looped and recorded by Joe Lickwa.
00:02:04Joe hacked home stereo components and created all the synthesized sounds and tones in the soundtrack
00:02:11of the film.
00:02:15I was very influenced by Michael Snow's La Région Centrale, where the camera movements
00:02:20are unorthodox and even turned upside down.
00:02:24That's really rare to see in films.
00:02:54That's Tom Burayat, one of the people in the film.
00:02:56who started Buck Lake.
00:02:58He was kind of shy at first.
00:03:04From the tree's point of view, it couldn't have been much fun to have someone drilling
00:03:08into you like we were doing.
00:03:20Most Canadians would recognize maple syrup production when they see it.
00:03:24But at one screening, someone from the UK thought this was some kind of druid ritual.
00:03:30The sounds of maple sap dripping into many pails far into the woods.
00:03:35It's like a sound art installation.
00:03:38It's indescribable.
00:03:40It alters the space.
00:04:08Then you click on….
00:04:12and it's like you want to hear you?
00:04:23we were completely off the grid no electric lights at night we relied on moonlight to see
00:04:31out of this necessity we paid special attention to the rhythms and the cycles of the moon
00:04:37i wanted to represent this here the black represents night and the filmed images represent daytime
00:04:46light from the sun and light from the moon are represented by two different audio tones
00:04:52when moon and sun are both visible the two tones blend it's spring and near the equinox so
00:04:59night and day is of the same duration the waxing quarter moon rises a little bit after dawn moves
00:05:08across the sky and sets a little bit after the sun sets the cycle of day and night moves around
00:05:15until
00:05:16finally the full moon rises when the sun sets and sets when the sun rises the cycle continues and
00:05:24this is eventually reversed when the new moon rises and sets with the sun
00:05:31you
00:06:02you
00:06:05you
00:06:25Wherever the Big Dipper is seen circling the North Star,
00:06:28I put it at the angle you would see it in the sky at dusk
00:06:32at a specific time of year being shown in the film.
00:06:36But the only sound from outside we could hear was a distant train.
00:06:41Sometimes the effect could be quite haunting.
00:06:46This image is actually upside down.
00:06:49I inverted it so the light comes from the bottom of the frame
00:06:52rather than the top.
00:06:54Making the axe feel more iconic.
00:07:05Again, the camera was inverted for this shot
00:07:08to make the saw feel more iconic.
00:07:17That's artist-filmmaker Jim Anderson working with Tom.
00:07:22Normally, the perforations at the end of a roll of film are thrown away.
00:07:27But there is a mysterious beauty here.
00:07:30Actually, I didn't have much film and I couldn't afford to waste anything.
00:07:48In the early cuts of the film, shot followed shot, scene followed scene.
00:07:53But I wanted to represent everything, including the time when the camera wasn't running.
00:07:59First, I used black leader in between scenes, and this later became specific color frames.
00:08:07The deep tones on the audio are sounds I heard in my head while watching the film in the editing
00:08:13process.
00:08:20The idea of the small white circle was to give the audience a steady visual reference
00:08:25where they can rest their eyes during shaking or changing scenes.
00:08:29I chose the circle because it symbolizes completion and the notion of totality, of everything.
00:08:37The circle also represents zero or nothing.
00:08:40So, it's everything and nothing.
00:08:43I used a typewriter and typed the letter O and photographed it.
00:09:02Rob McHenry and Tom Brouillette started Buck Lake about a year before this was shot.
00:09:08Tom and Rob met on a construction site and told each other of their dreams of living in nature without
00:09:14machines.
00:09:17Tom and Rob McHenry and Tom Brouillette started Buck Lake about a year before this was shot.
00:09:22That's Anna Grano, an artist and filmmaker.
00:09:30The nearest road was a mile or so away.
00:09:33We'd have to walk or ride on this trail if we went to the outside world.
00:09:41We paid a little bit of money, $200, to buy the wooden structure of this old barn.
00:09:47The plan was to tear it down and rebuild it at Buck Lake.
00:09:55Except for Tom and Rob, none of us had done anything like this before.
00:09:59We've been here for We отд of the rest of our December.
00:10:03We hope to see over.
00:10:08Perfectly about the harvest forward.
00:10:09Have a taste of your house!
00:10:10We've been here.
00:10:17This road is obviously a fermenting village and we're on past the little one.
00:10:19I hope that this can be interesting.
00:10:19Here we go.
00:10:41It was very hard work, and we learned on the job.
00:10:45Tom with the beard was a Boilermaker, and we followed him.
00:10:50At 26, he was also the oldest and some might say the craziest.
00:11:01Anna's brother, Jim, is removing a porcupine quill from our setter, Frijoli.
00:11:06If quills get stuck into flesh, they can eventually work their way deeper and deeper and can be fatal to
00:11:12animals.
00:11:28That's Anna Grano, and that's me and Jim Grano.
00:11:34There's Tom. I don't know who shot this, possibly Jim Anderson.
00:11:44Local people like Elwood Hunter here knew things and could do things we couldn't, and they helped us out a
00:11:51lot.
00:11:52We looked up to them. They were authentic, and we wanted to be like them.
00:11:58They knew it, and it would mock us in a good-natured way.
00:12:06Throughout the film, I used numbered word sequences.
00:12:11I didn't want to use conventional documentary voiceover.
00:12:15I wanted a kind of minimal poetry to tell the events.
00:12:45I saw this.
00:12:50Here, Elwood is dowsing for water.
00:12:54He's using a twig cut from a red willow bush.
00:12:58When there's water below, the twig is pulled by some strong, unknown force.
00:13:04Dowsing's a special ability.
00:13:06You have to be born with it.
00:13:09Rob tried but got nothing.
00:13:19.
00:14:51Somehow the logos of two brands of baking soda ended up in the film.
00:14:56As I mentioned, I used only the 25mm or normal lens, and you can see how cumulatively it creates a
00:15:05consistent and undistorted visual space.
00:15:19I was thinking a lot about filming space when making this film.
00:15:24I started thinking how the cinema frame has four corners, and how we also speak about the four corners of
00:15:32the earth, which means everything in the entire world.
00:15:39That's Leslie's three-year-old daughter, Ramona McNabb.
00:15:47At Buck Lake, putting on a special bathing outfit just to go swimming was a foreign concept.
00:15:55Local airplane pilots knew and flew low over the lake to look.
00:16:00To us, this was a stupid intrusion and tangible proof that the outside world was totally screwed up.
00:16:09The words, airplane, moon, fish, to me, represented a new reality I was experiencing.
00:16:23A moment of stillness and emptiness transmitted through camera work and framing.
00:16:29Living at Buck Lake was the first time I experienced this kind of peacefulness.
00:16:36moron, moving at Buck Lake.
00:16:39To me, I work together with this one of connecting platforms.
00:17:04To us, we have all thought we had for the dead contact for attention to our body's
00:17:17Wild strawberries are smaller than the store-bought variety, but they taste good.
00:17:25Other red things were not to be eaten.
00:17:38Here, we are digging a well where old Hunter said there was water.
00:17:44We hit bedrock and couldn't dig any deeper by hand.
00:18:31Well, boys, here we go.
00:18:35Anna and Jim's father and uncle came up to show us how to use explosives.
00:18:40At that time, you could buy dynamite at a local building supply store.
00:18:58Both dynamite experts happen to arrive with injuries unrelated to working with explosives,
00:19:04but they give a sly humour to these scenes.
00:19:21Living in the woods, totally off the grid, we saw almost no designed and manufactured imagery.
00:19:28So, of the few designs around the house, a number found their way into the film.
00:19:40We planted tiny seeds and watched them grow into edible things.
00:19:46Here, I tried to map this movement and growth, for which I felt a sense of wonder.
00:20:08That's Leslie Padore.
00:20:11We started hanging out together at Buck Lake.
00:20:15We're still together so many years later.
00:20:21I remember shooting this shot vividly.
00:20:24David Anderson was standing next to me, watching.
00:20:28When I finished, he said,
00:20:30You know, everyone carries a burden.
00:20:33You either help them with their burden or fuck off,
00:20:37because anything else is static and they just don't need it.
00:20:41It's wisdom I've remembered to this day.
00:21:00Being from the city, we had never raised livestock and we made a few mistakes.
00:21:06Not knowing any better, we named the pigs and related to them almost as pets.
00:21:12When it came time to slaughter them, we learned better.
00:21:19The women at Buck Lake were feminists and wanted to be involved in doing all the work,
00:21:24especially work that was not traditional work for women.
00:21:28Here, we are laying out the foundation for the new barn.
00:21:32The construction process was new to me.
00:21:36Step by step, stone by stone, I saw that it was linear.
00:21:42To represent this conceptually, I placed the first letters of the alphabet sequentially
00:21:47in the four corners of the frame.
00:21:51Around this time, the women announced that it was unfair that the men could take off their shirts
00:21:56to stay cool in hot weather and from now on, they were going to do the same.
00:22:03We had all seen each other's bodies by then and we all agreed with the principle.
00:22:08I didn't think it was a big deal.
00:22:11However, Tom, who grew up working in construction, told me recently that it pretty well blew his mind.
00:22:19I remember the women correcting us men if we said or did anything sexist.
00:22:24We were all learning.
00:22:27In the next sequence, I wanted to express something that happened to me when I was alone
00:22:32picking blueberries on the other side of the lake.
00:22:36I tell the story in a series of subjective, impressionistic moments.
00:22:42My intention was for the viewer to feel they are experiencing this incident as if it were happening to them
00:22:48right now.
00:22:51The moments are numbered.
00:22:54The first four numbers are flipped.
00:22:57Into a basket.
00:23:06Blue sky.
00:23:08I flipped and inverted the numbers to make them unfamiliar and mysterious.
00:23:13Eating my back.
00:23:26The hesitation in my voice makes the story real and immediate.
00:23:40Wind and trees.
00:23:50Here, the film was slipping out of register in the camera.
00:23:54I like the roughness, so I added sound effects and used it.
00:23:58Out from the basket of berries.
00:24:01Out from the basket of berries.
00:24:15Suddenly feeling afraid.
00:24:24My friend Charles Bagnell did all the optical effects with an optical printer he made himself.
00:24:31He found a device in a surplus store to rotate the image.
00:24:36I shot the white symbols myself and put all elements along with Charlie's optical footage and sent it to the
00:24:42lab.
00:24:43When I got the results back, I was shocked to see the white circle perfectly centered on the horizon.
00:24:50Everything was framed by eye and I had no way of checking or adjusting the positions later.
00:24:56It all just somehow miraculously came together.
00:24:59Bouncing between rocks and clouds.
00:25:03The blue guards.
00:25:05The two in the woods.
00:25:05The two in the woods.
00:25:44This is Jim Anderson and Jim Grano working in the garden.
00:25:48In summer, the mosquitoes and black flies are fierce.
00:25:53This was my first time shooting color reversal stock.
00:25:57My exposures improve as the film progresses.
00:26:09In this scene, I feel a strong influence of Chinese landscape painting.
00:26:25I had just bought one of the first very small audio cassette recorders and paddled out on the lake to
00:26:31test it.
00:26:33I put down my paddle and took up the recorder and I just marveled at it.
00:26:38This little black box which could capture sound.
00:26:43I hadn't tried it out.
00:26:45I pushed record and started saying whatever thought came into my head.
00:26:50Meanwhile, the canoe was drifting near shore and a bird began singing, chirping along with the sound of my voice.
00:26:57Little black box, little black box, little black box, little black box.
00:27:22This is Jim Anderson and Anna getting dinner ready.
00:27:40A portrait of Tom and Anna, the Boilermaker and the Artist.
00:27:45At the time, they were the nucleus of Buck Lake.
00:27:50These cats are named Hinkle and Napoloni, names from Charlie Chaplin's The Great Dictator.
00:27:57We had a very strong work ethic.
00:28:00Everyone wanted and was expected to make an effort and learn how to do things.
00:28:19This visual sequence has a word-associative meaning.
00:28:24It occurred to me while I was editing.
00:28:27I put it in, but I didn't expect anyone else would see it.
00:28:31So I was quite surprised at a screening when somebody in the audience said,
00:28:36Hey, blood, sweat, and tears.
00:29:10This entire film was shot on what were called short ends.
00:29:15This was leftover film from commercials and other film shoots,
00:29:19which I purchased cheap from this guy I knew.
00:29:23This was my first time shooting color film,
00:29:25and it could sometimes be a month before I would see anything I had shot.
00:29:30The exposures improve as the film progresses.
00:29:35This sequence follows Tom walking from the house out to the garden.
00:29:40You can pretty well see most of the trail we walked along pretty well every day.
00:29:46The garden's the only place with enough soil and sun for growing food.
00:30:16That's Leslie's terrier, Shag.
00:30:25The audio is summer insect sounds recorded and then played back at different speeds.
00:30:33In this shot, you can see clouds of mosquitoes around Tom.
00:30:38Mosquitoes really made being outdoors very uncomfortable
00:30:42and were a constant fact of life in the warm weather.
00:30:47That little gesture he makes looking at his right shoulder
00:30:50is due to being bitten by an insect.
00:31:04Pigs are very intelligent.
00:31:06They're supposed to be more intelligent than even dogs.
00:31:10Ours certainly had their endearing moments.
00:31:13We bonded with them more than we knew.
00:31:39George Short was an old lumberjack and farmer who became a mentor.
00:31:44We relied on him to show us how to do things.
00:31:48He showed us how to slaughter our pig, whom we had named Raymond.
00:31:53According to George, the proper time to slaughter animals is late afternoon.
00:31:58The slanting red rays of the sun give this scene horrific lighting.
00:32:03I remember we were really stressed.
00:32:06We wanted to do it right and prove to George that we were good farmers.
00:32:12I think you can tell from the faces of Leslie and Anna how stunned we were.
00:32:17To George, slaughtering animals was part of everyday farm life.
00:32:21But I think he picked up on our feelings that day.
00:32:25I remember he became angry at me for filming.
00:32:28He didn't think it was proper that this moment should have been recorded.
00:32:34The innocence of three-year-old Ramona changes the mood.
00:32:56We got to know the people in the tiny hamlets and isolated back roads.
00:33:01I remember George Short described his neighbor down the road as a rich man
00:33:05because he had a year's worth of firewood stacked up by his house.
00:33:14I was walking down the street in Weshago,
00:33:17and this woman called me over to show me her African violets.
00:33:28This man came in to help us dig our well once we hit bedrock.
00:33:32I remember his name is Cooper.
00:33:37This is Robert Haynes.
00:33:39A welder who lived on a back road near Buck Lake.
00:33:42In the 70s, it was unusual to have a movie camera.
00:33:46And I would ask people if I could take their picture,
00:33:50and they would pose, expecting a momentary click.
00:33:54When the sound of the Bolex movie camera started,
00:33:57they would wait, not knowing what to do.
00:33:59And sometimes this created interesting portraits.
00:34:21Meanwhile, at Buck Lake, the others got used to having their most mundane moments filmed.
00:34:26And if you say,
00:34:29and then a point . . . .
00:34:52But . . .
00:34:55We normally do not need to pose.
00:43:07Going into town caused culture shock for us.
00:43:12So many consumer goods that, to our way of thinking, nobody really needs.
00:43:18We looked different and people would stare.
00:43:44This is out on the streets of Orillia.
00:43:51And that's Tom seeing Anna off on the bus.
00:43:55We knew what was going to happen next and everyone was cool with it.
00:44:13The color red had meaning for me in this part.
00:44:18Red felt right.
00:44:20I wanted to say our hearts are unfathomable.
00:44:57The Ace of Hearts, again an image found around the house.
00:45:04A green after image of a heart appears over this shot.
00:45:09The Ace of Hearts, again an image found around the house.
00:45:11The Ace of Hearts, again a image found around the house.
00:45:16It's been a flame.
00:45:21We're standing here.
00:45:22The Ace of Hearts is a part.
00:45:37The Ace of Hearts is a part.
00:45:41We bought a cow.
00:45:43George Short helped us to arrange it.
00:45:47She is a Jersey cow, which produces milk containing a high cream content.
00:45:53We had to milk her every day, and we learned to make butter and soft cheese.
00:46:20Again, this is Ramona, Leslie's daughter.
00:46:25Early snow carries a certain mood with winter coming on.
00:46:47This is the first time we see the barn closed in and almost finished.
00:47:16Here we go.
00:47:30Shot on the first day the lake has frozen over, Tom went out to get the usual two pails
00:47:37of water and couldn't get back to shore.
00:47:46Every roll of film used to have perforations at the end forming numbers and letters.
00:47:52When I was editing, I started seeing forms and shapes in the random patterns and printed
00:47:58them on Charles Bagnall's optical printer.
00:48:02A comparison to star constellations is made in the next shot.
00:48:30Here, you can see the house sitting on top of the ridge.
00:48:34It was work just to get water every morning for washing breakfast dishes.
00:48:53Here, you can see the interior of the house.
00:48:58Three seconds
00:49:26It was work just like this.
00:49:26This is actual starlight at night using single framing and very long exposures.
00:50:09I was alone. I heard something and saw people at the barn, so I grabbed the camera and ran out
00:50:16there.
00:50:18At that time there was no road into Buck Lake, but in winter snowmobiles could drive right in up the
00:50:24trail.
00:50:26This audio I recorded another time when I was hitchhiking to the city to buy film and the police stopped
00:50:32and checked me out.
00:50:34Unknown to them, I recorded the friendly but extremely nosy exchange in my little black box recorder, hidden in my
00:50:42pocket.
00:51:07This is filmmaker David Anderson cutting down the Christmas tree.
00:51:32There's the Bolex camera case on the sleigh.
00:51:40Now it's beginning to be serious winter. This is Jim Grano chopping wood.
00:52:02Here, Leslie's getting lake water.
00:52:05There was a hole, but we had to reopen it every time we used it.
00:52:10Using an axe every day, you had to be very mindful because if the axe slipped and hit your foot
00:52:16or went into your leg, you could easily die before you got to hospital.
00:52:24Here, Tom and Anna are getting drinking water.
00:52:28We didn't drink lake water because it had to be boiled.
00:52:33Fortunately, there was a spring at the end of the lake with very pure water.
00:52:38There's our silver water container on the sleigh.
00:52:41We didn't have any fences.
00:52:44We just let the horses run free.
00:52:47They stuck around the barn.
00:52:49There wasn't really anywhere else they could go.
00:52:55The sound is me humming and breathing.
00:52:59This was the sound I heard in my mind when I was editing the winter footage.
00:53:04I think it represents the monotonous day-to-day existence during cold weather.
00:53:19That's me.
00:53:21Anna just grabbed the camera and shot it.
00:53:24Tom's brother, Beaver, otherwise known as Robert, was really into cars and had an Alfa Romeo sports car which we
00:53:32were towing somewhere.
00:53:34The Alfa wasn't very good in snow and we all thought it was a little bit weird to own such
00:53:39an impractical car.
00:53:40It was bizarre.
00:53:45It was so weird to have cats in the rain.
00:53:46Now .
00:53:54Where are we to go?
00:53:56What do we do?
00:53:56Over here , why is that?
00:54:03We're going to meet abs when you put ania on an air-order situation in the air,
00:54:04if we were jed balloons?
00:54:04What happens earlier ?
00:54:06There's depending your time and not our bodies Erst should take the time and hold them by entering fear.
00:54:22Every so often we would go to the post office to pick up our mail.
00:54:44This is a trip to the feed mill to buy grain for the animals.
00:54:49I wanted the audience to see this sequence from inside my head.
00:54:54As I was recording the audio, after a while I started to get dizzy flashes after taking
00:55:00a deep breath.
00:55:02It's very subjective, but I put these flashes in at exactly the moment at the end of the
00:55:07black.
00:55:08The white superimposed image is to give a steady visual reference so people can rest their
00:55:13eyes.
00:55:15I chose four corners, again because it was like the four corners of the earth, and also
00:55:20because it's like the viewfinder of a camera, which is how I was seeing these images at
00:55:25the instant this is happening.
00:55:54Here, Susie.
00:55:56The Siberian Husky had a painful encounter with a porcupine.
00:56:23The daily chore of getting water once again.
00:56:26The ice has formed over the hole, freezing a few minnows.
00:56:30I had the camera in one hand and the axe in the other and was filming and chopping ice
00:56:36the ice at the same time.
00:56:42The sea is here and is done.
00:57:06I had the camera in one hand.
00:57:29The camera was running while I was doing something with the camera controls.
00:57:34The superd images work really well here for resting the eyes.
00:58:08Carrying water again.
00:58:10This time it's Jim Agrano.
00:58:13Chop wood and carry water has a real meaning here.
00:58:16The camera was running while I was doing something with the camera.
00:58:55Leslie at sunset, taking water out to the barn.
00:59:18This day the air was a little warmer and there was life in the form of birds around the house.
00:59:24If you look close, you can see a little silver circle on the wall.
00:59:29That's a convex truck mirror someone wedged there.
00:59:33This mirror appears again later.
00:59:43It's warm enough for mist and there's a little meltwater on the lake ice.
01:00:08This is the only shot in the film using a different lens.
01:00:12This is shot with a 10mm wide lens.
01:00:17I was single framing to pixelate the clouds and for some reason this caused a scratch in the film as
01:00:23it went through the camera.
01:00:25Again, another happy creative accident.
01:00:29Perhaps the camera knew and wanted to tell the audience that this shot is different from the others.
01:00:35When you're out alone with your camera, you tend to anthropomorphize.
01:00:39If you look close to the camera, you'll see the camera.
01:00:56Okay, this scene is not at Buck Lake.
01:01:00I thought it was obvious at the time I was editing the film, but I should make that clear.
01:01:06This was an animal cruelty case and we were asked by the Humane Society to go along with George Short
01:01:12to see if we could help care for these poor horses.
01:01:39George was called as a witness during the animal cruelty trial.
01:01:44He gave us a word-for-word account.
01:01:48According to George, he was ridiculed by the slick defense lawyer they had brought up from Toronto.
01:01:55Mr. Short, you claim this horse had pneumonia.
01:01:59You're not a trained veterinarian, Mr. Short.
01:02:02How do you know it had pneumonia?
01:02:07George, who had worked with horses all his life, answered,
01:02:10A blind man could feel it with his cane.
01:02:14The defense had no comeback.
01:02:17The prosecution won the case.
01:02:19Everything will stop momentarily, and then we will bury it.
01:02:41I think you can see this was a very difficult experience for us.
01:02:50This is birch bark on a living tree.
01:02:53I find something very soothing looking at this.
01:02:59But here's another question.
01:03:00This one is going to be a better place for us to feel good, as we all know.
01:03:00Even before we come, direct our house, let's know.
01:03:03We'll do this.
01:03:03We'll wait for you guys.
01:03:04You're going to do it.
01:03:04Now this is .
01:03:10So, let's look at this one.
01:03:27Theodore and Mrs. Smith stood in front of their new place.
01:03:32Again, expecting the click of a still camera, they held their poses, and you can see an
01:03:38incredible strength showing from within.
01:03:47A lot of making this film, choosing images and their order was subconscious.
01:03:53I chose images that felt right.
01:03:56I didn't articulate it when I was making the film, but looking at this image, I now see
01:04:03how much the idea of home and understanding your place on this earth was very central.
01:04:12Again, the image of the axe made more iconic by inverting the shot in the optical printer.
01:04:19It would have been much easier to have inverted the camera at the time, but the idea came
01:04:24to me during editing.
01:04:33Jim Anderson, Splitting Wood.
01:04:37We met in high school and made many films together.
01:04:41You can see the easy camaraderie going on between us.
01:04:58By this point, I had become very interested how camera movements are like brushstrokes in Western
01:05:04and Chinese painting.
01:05:06I was thinking how movement of the image expresses the inner motion of the camera operator.
01:05:14I felt unbelievably joyful that spring was approaching, and I spun in circles with the camera rolling.
01:05:22I didn't have a tripod.
01:05:25I practiced this movement a few times to get it right.
01:05:29The water hole is open.
01:05:32Life reawakens.
01:05:34The sound of a distant plane and nearby bird sounds.
01:05:38I felt this was just the right sound for this moment in the film.
01:06:06That's the circular truck mirror mentioned earlier.
01:06:08I held it and again used the spinning movement for entrancing depth effects.
01:06:36Here's Jim Anderson again.
01:06:39We were all feeling it.
01:06:41Spring is on the way.
01:06:46Being in red with just a little bit.
01:06:46Let's see.
01:06:47Let's see.
01:06:47We're all feeling it.
01:07:04Nothing really is, too.
01:07:15I was completely alone at Buck Lake for a few weeks.
01:07:19This guy showed up out of nowhere.
01:07:21He had just got out of prison and had nowhere to go.
01:07:26He was hitchhiking and somebody told him how to walk into Buck Lake.
01:07:32He talked me into letting him stay at the house.
01:07:35His name was Graham.
01:07:37It was really strange.
01:07:43Prison is too painful to talk about.
01:07:50He smashed his cell once.
01:07:52He can sing a song about anything.
01:07:56He called me Sir.
01:07:59He washed the clothes, and for three weeks they were a frozen block.
01:08:06He asked how long he could stay.
01:08:08I hedged, and he split.
01:08:13He came back a week later.
01:08:18He said he met dogs and marshmallows out there,
01:08:21and he said he knew he was one of them, too.
01:08:25He never cooks, he never does dishes.
01:08:29He asked how long he can stay, and I was evasive.
01:08:34He's putting on his boots.
01:08:38He knows an Indian woman in B.C. who will marry him.
01:08:41Who will marry him.
01:08:56Jimmy Grano asked Leslie to cut his long hair.
01:09:01A haircut.
01:09:03A sign of change and renewal.
01:09:13Elwood rechecks the position of the well.
01:09:24The earth, now soft and fertile.
01:09:30Spring's first flower.
01:09:35Frogs return.
01:09:37This one with a leech on its back.
01:09:55The winds are warming.
01:10:00These images and sounds are meant to take us back to the beginning of the film.
01:11:00The final image is a large beaver dam lake we had never seen before.
01:11:05Something new and an image of hope.
01:11:11The last words aren't the end because every inhale is followed by an exhale.
01:11:44The final image is a large beaver dam lake we had never seen before.
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