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I had to find a point of view, a frame to contain what could have been an unwieldy subject. As I filmed, I noticed that they went from shy to grumpy to performative to destructive, all in a short time.
The 12 minute shot could, I realised, be my frame. When Laura is shy, I do a mini-tour of shyness in kids in film. When Ben is destructive, I do a tour of destructiveness in kids in cinema.
The order in which my niece and nephew showed their emotions is the order in which we see them in the film. I know people will ask me who this film is for.
My answer is that it is for anyone of about ten or over who likes films. I hope that they, young and old, will recognise themselves or kids they know in it.
In the film I say that in little things faces, a field, a rock pool, a 12 minute shot of kids we can see a lot. I hope that in this little film, we can see a lot about childhood and about the movies.
He started making films in his late teens and after graduating High School he went on to educate himself away from TV screens and Hi8 Cameras.
He began at The New York Film Academy producing and directing short films and working as a technical advisor. Those educational years resulted in a number of projects which recently or not so recently have been recognised internationally.
Further he was selected to the talent pool Trailblazer in by the Edinburgh Int. Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.
Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to. He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.
They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.
Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. It might be a disaster.
I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.
Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.
And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs.
We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back.
For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.
So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat?
The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!
Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.
As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.
This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age. I was hooked and wanted to learn more, so started reading many books on film too.
Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.
I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.
I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.
Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.
I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.
Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.
About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail.
The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.
Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means. By the end there were only a couple of titles that proved difficult to obtain.
So it was with A Story of Children and Film. I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.
So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.
Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box.
I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last. This, by and large, became the order in which we edited the scenes in the film.
When it came to the edit, we chose what I thought were the best examples. The former allows me to jump between themes, notice connections, etc.
The screening was presented by Cannes artistic director Thierry Fremaux. Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water.
Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.
The movie is as self-indulgent as it is brilliant. Vivian Van Dijk writes: Film director Mark Cousins has made with this film a blueprint for many film generations to come.
This is a must-see for anybody who is attending this Cannes Film Festival. Whether you are a film student or a successful film director already or just a film lover, Mark Cousins knows how to point you to the key ingredients that make children shine in film and also make their roles and behavior in film transparent.
Read the review here. Here, he shares with Film4. Another typically thoughtful trawl through the history of film seems likely.
Full interview is now online here. Ross Miller, Thoughts on Film: For any cinephile it would be tough to watch this film and not feel a sense of joy…an intimate lyrical essay on the unique way cinema can showcase childhood.
Chris Buckle, The Skinny: Michael Clancy, The Artifice: It makes for an excellent companion piece to his early opus, The Story of Film: An Odyssey, making Cousins one of the most astute and thoughtful filmmakers working today.
Teddy Jamieson, Herald Scotland: Dial M For Movies: Gambling has become a part of the social culture. The casinos run well because the regulations are tight.
The amount of money Filipinos spend on online gambling is 1. With the introduction of more online games for Filipinos to play, it will rise significantly over the coming years.
Cagayan is host to most of the larger online casino companies which serve Asia and operate in an identical manner to the large international casinos.
There is a ban imposed on the online Gambling sites in the Philippines to provide three games, Last Two, Jueteng and Masiao by law. They are free to provide any other game.
There are over variations of the slot machine games available in the Philippines casinos online, making them by far the most played games.
This makes these licensed casinos very safe places to invest your money and makes them some of the most tightly regulated casinos around.
For security and peace of mind, online casinos in the Philippines make a lot of sense. Bronze Casino is relative new in the online gambling industry.
This online casino site is owned and operated by Alpha Interactive Solutions N. V company and boasts of offering the most generous bonuses and promotional offers.
However, the welcome bonus package is subject to 45 times wagering requirement before the winnings can be withdrawn. Other than the lucrative welcome bonus, Bronze Casino has a rich game portfolio which is powered by the leading software developers like NetEnt, Microgaming, and Betsoft.
The games offered include online slots, table and cards, jackpots, and live casino games. All games are available in instant play mode and they are fully compatible with major mobile operating systems.
As we can see, the Philippines offers an interesting choice for casinos online gamblers, providing a broad range of venues from within Cagayan Freeport or the PAGCOR regulated rest of the country.
With the tight regulation, the casinos here provide peace of mind and fair games, which are always good things to help make playing more enjoyable.
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Here you can access some of them:. The lengthy interview which covers many different subjects on and around childhood is online here. Film Fest Gent in Belgium.
A review in Dutch here. Vancouver International Film Festival in Canada. Doku Arts in Berlin. Amanda Randall has reviewed the film for Take One.
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