TheFilmCompany
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Joined: 27-FEB-06
Last Online: JAN 16 2007 12:14PM
- Film: Brand Upon The Brain
- Film: Telephone Pole Numbering System
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Film Production Blog "TelephonePoleNumberingSystem"
Director's Biography
Jan 04, 2007 04:02PM
William Weiss is a Seattle-based filmmaker known for his unique skill at creating films that combine experimental and traditional narrative techniques within an analog aesthetic.
After completing "Seemann, Deine Heimat Ist Das Meer" in 2000, William began working on "The Emergency Pants Collection." Comprised of nine short films, the collection premiered to critical and popular acclaim in October 2004. One of the films "Have You Seen Me?" received the Best Experimental Film award at the 2005 Northwest Film and Video Festival in Portland, Oregon. In 2005 William completed his first feature film, "The Telephone Pole Numbering System" after being offered an unrestricted greenlight by The Film Company.
William operates his own 16mm production and post-production studio, Synaesthetic Filmproduktions, where he offers assistance to artists who want to make films the way it used to be done.
After completing "Seemann, Deine Heimat Ist Das Meer" in 2000, William began working on "The Emergency Pants Collection." Comprised of nine short films, the collection premiered to critical and popular acclaim in October 2004. One of the films "Have You Seen Me?" received the Best Experimental Film award at the 2005 Northwest Film and Video Festival in Portland, Oregon. In 2005 William completed his first feature film, "The Telephone Pole Numbering System" after being offered an unrestricted greenlight by The Film Company.
William operates his own 16mm production and post-production studio, Synaesthetic Filmproduktions, where he offers assistance to artists who want to make films the way it used to be done.
Director’s Statement
Jan 04, 2007 04:00PM
When I received the call from Gregg Lachow offering me the chance to be the The Film Company's first greenlight, he outlined a very tight production schedule that would require me to deliver the first rough cut within nine weeks! Having just put the finishing touches on a solo project that was four years in the making, I was excited at the challenge of making a film at such short notice, and with the intense collaboration that it demanded. Gregg had assembled a staff of film-artists for me to work with, and encouraged us to rely on our collective creative talents to produce an improvised feature film. We decided to build the film around an idea that I'd been carrying around in my head: What is the meaning of the numbers on telephone poles? And what if they aren't merely identifiers, but some sort of secret code?
We assembled a cast of actors that shared our spontaneous, creative spirit towards the project and wrote each day's scenes during improvised rehearsals of situations that the actors and I invented while the crew was lighting and dressing the sets. As production developed, I realized that the concept of the numbering system was not so much the central plotline as it was a metaphor for the eternal nature of curiosity that keeps us all young. And it also became apparent that the same theme was evident in production of the film itself. As filmmakers challenging conventional methods of filmmaking, we needed to unlearn all the expectations we had of film production. We didn't rely on scripts, schedules and budgets in order to mimic the intent of some preconceived notion of a movie. Instead we faced a daily reliance on reminding ourselves of what we love about filmmaking inventing and telling stories.
In the case of THE TELEPHONE POLE NUMBERING SYSTEM, both the fictional story and the story of its production are about making connections between the real world and our imaginations, and living each day like a child at play.
We assembled a cast of actors that shared our spontaneous, creative spirit towards the project and wrote each day's scenes during improvised rehearsals of situations that the actors and I invented while the crew was lighting and dressing the sets. As production developed, I realized that the concept of the numbering system was not so much the central plotline as it was a metaphor for the eternal nature of curiosity that keeps us all young. And it also became apparent that the same theme was evident in production of the film itself. As filmmakers challenging conventional methods of filmmaking, we needed to unlearn all the expectations we had of film production. We didn't rely on scripts, schedules and budgets in order to mimic the intent of some preconceived notion of a movie. Instead we faced a daily reliance on reminding ourselves of what we love about filmmaking inventing and telling stories.
In the case of THE TELEPHONE POLE NUMBERING SYSTEM, both the fictional story and the story of its production are about making connections between the real world and our imaginations, and living each day like a child at play.
Film Production Blog "branduponthebrain"
Director's Biography
Jan 04, 2007 04:02PM
William Weiss is a Seattle-based filmmaker known for his unique skill at creating films that combine experimental and traditional narrative techniques within an analog aesthetic.
After completing "Seemann, Deine Heimat Ist Das Meer" in 2000, William began working on "The Emergency Pants Collection." Comprised of nine short films, the collection premiered to critical and popular acclaim in October 2004. One of the films "Have You Seen Me?" received the Best Experimental Film award at the 2005 Northwest Film and Video Festival in Portland, Oregon. In 2005 William completed his first feature film, "The Telephone Pole Numbering System" after being offered an unrestricted greenlight by The Film Company.
William operates his own 16mm production and post-production studio, Synaesthetic Filmproduktions, where he offers assistance to artists who want to make films the way it used to be done.
After completing "Seemann, Deine Heimat Ist Das Meer" in 2000, William began working on "The Emergency Pants Collection." Comprised of nine short films, the collection premiered to critical and popular acclaim in October 2004. One of the films "Have You Seen Me?" received the Best Experimental Film award at the 2005 Northwest Film and Video Festival in Portland, Oregon. In 2005 William completed his first feature film, "The Telephone Pole Numbering System" after being offered an unrestricted greenlight by The Film Company.
William operates his own 16mm production and post-production studio, Synaesthetic Filmproduktions, where he offers assistance to artists who want to make films the way it used to be done.
Director’s Statement
Jan 04, 2007 04:00PM
When I received the call from Gregg Lachow offering me the chance to be the The Film Company's first greenlight, he outlined a very tight production schedule that would require me to deliver the first rough cut within nine weeks! Having just put the finishing touches on a solo project that was four years in the making, I was excited at the challenge of making a film at such short notice, and with the intense collaboration that it demanded. Gregg had assembled a staff of film-artists for me to work with, and encouraged us to rely on our collective creative talents to produce an improvised feature film. We decided to build the film around an idea that I'd been carrying around in my head: What is the meaning of the numbers on telephone poles? And what if they aren't merely identifiers, but some sort of secret code?
We assembled a cast of actors that shared our spontaneous, creative spirit towards the project and wrote each day's scenes during improvised rehearsals of situations that the actors and I invented while the crew was lighting and dressing the sets. As production developed, I realized that the concept of the numbering system was not so much the central plotline as it was a metaphor for the eternal nature of curiosity that keeps us all young. And it also became apparent that the same theme was evident in production of the film itself. As filmmakers challenging conventional methods of filmmaking, we needed to unlearn all the expectations we had of film production. We didn't rely on scripts, schedules and budgets in order to mimic the intent of some preconceived notion of a movie. Instead we faced a daily reliance on reminding ourselves of what we love about filmmaking inventing and telling stories.
In the case of THE TELEPHONE POLE NUMBERING SYSTEM, both the fictional story and the story of its production are about making connections between the real world and our imaginations, and living each day like a child at play.
We assembled a cast of actors that shared our spontaneous, creative spirit towards the project and wrote each day's scenes during improvised rehearsals of situations that the actors and I invented while the crew was lighting and dressing the sets. As production developed, I realized that the concept of the numbering system was not so much the central plotline as it was a metaphor for the eternal nature of curiosity that keeps us all young. And it also became apparent that the same theme was evident in production of the film itself. As filmmakers challenging conventional methods of filmmaking, we needed to unlearn all the expectations we had of film production. We didn't rely on scripts, schedules and budgets in order to mimic the intent of some preconceived notion of a movie. Instead we faced a daily reliance on reminding ourselves of what we love about filmmaking inventing and telling stories.
In the case of THE TELEPHONE POLE NUMBERING SYSTEM, both the fictional story and the story of its production are about making connections between the real world and our imaginations, and living each day like a child at play.
Film Maker's Blog
Hello Friends of The Film Company!
Feb 27, 2006 07:12AM
The Film Company greenlights artists, not projects. We give artists whose work we love the greenlight to make the films of their choice. After a year of operation, we have completed one short (Your Lights Are Out or Burning Badly by choreographer Gaelen Hanson) and two features (The Telephone Pole Numbering System by William Weiss, and We Go Way Back by Lynn Shelton). We are in post-production on a third feature (The Brand Upon the Brain by Guy Maddin), in production on a fourth (All My Love by Brian Short) and in pre-production on a fifth (The Part I Love the Best by Megan Murphy).
The Telephone Pole Numbering System is now out to festivals, and We Go Way Back will had its festival World Premiere in January '06.
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4 Comments about TheFilmCompany
Jan 09, 2007 11:32AM
I would like to know about you
would you like to see the trailer from my last short movie it is an independent one with any budgeting...
it is at audience withoutabox La Casa Abandonada
thanks
Dec 27, 2006 05:48AM
I am very interested in possibly working with your amazing company..
Dr. Leo Casino
Dec 27, 2006 05:47AM
Dec 19, 2006 02:35PM
Amazing logo. And I can't wait to see Brand Upon the Brain
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