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Filmmaker Forces Censors To Watch 10-Hour Movie of Paint Drying (ibtimes.co.uk)
An anonymous reader writes: A British filmmaker has forced the people who decide how to censor films to watch a 10-hour movie of paint drying on a wall following a protest fundraising campaign. Charlie Lyne launched a Kickstarter to help raise the money needed to send his 'documentary' of a single shot of paint drying on a wall for consideration as a protest against the 'stronghold' the organisation has on the British film industry. The BBFC charge an initial fee of $144.88 to view a film and decide what certificate to give it, and then and additional $10.15 for each minute that the film lasts. The idea was the more money Lyne could raise via his fundraiser, the longer his paint-drying film could last. The campaign eventually nearly £8,500, meaning he was able to send in a 607 minute video which the examiners had to watch in its entirety.
Pick a damn unit of currency and stick to it!
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SJW, n: "Someone I don't like, and by the way I'm a fuckwit" - AC
No hard decisions, even if they had to 'watch' it they could just sit around chatting with coffee. It is a nice idea to DoS the censor's office but this method that involves horsing 8,500 quid straight into their pockets is not the way to do it
I wonder, is it entirely possible, that there was no racial bias...that all the movies selected actually WERE thought to be better than the movies not selected....
Or, is it that today, if you have a group of movies made by minorities and non-minorities, you cannot, by merit alone have only consideration of the non-minority movies and categories.
Do we now have to have a quota of minority movies and actors considered just to have diversity regardless of merit?
Light travels faster than sound. This is why some people appear bright until you hear them speak.........
You can't truly appreciate the nuance of paint drying without watching it in real time, everything else is just being a poseur to impress your art-house friends ... but they'll know you just fast forwarded ... they'll know, man.
The heart-wrenching existential agony at 3h52 minutes when the paint crinkles like an adolescent nipple blown with soft, warm breath for the first time can't be fully appreciated in anything but real time.
The suggestion of human suffering at 5h57 when a small droplet forms is utterly lost in anything but real time.
The utter elation at 9:37 when you realize, finally, we are reaching denouement and resolution can't simply be watched on fast forward.
You lose all of the majesty and vocabulary as envisioned by the film maker in his Neitzchean expression of the inhumanity of paint as a metaphor for moving past obstacles, and stepping over the carcasses of ones foes.
Of course it needs to be watched in real time.
Lost at C:>. Found at C.
They're British. It's almost a foregone conclusion.