Filmmakers who started out using Super-8mm...

[Alex]

Plexifilm's first release followed by FRUIT OF THE VINE (1999) a skateboarding documentary shot in Super 8 mm,

http://www.plexifilm.com/release120502.html

I found this description...

Shred-heads will dig Fruit of the Vine, a skateboard doc shot on Super-8 in locales including Seattle.

<font color="#a62a2a" size="1">[ January 29, 2003 06:23 PM: Message edited by: Super-8mm in the DigitalAge ]</font>

[Alex]

From Iran.

Babak Payami ? Ever since I can remember, I had this passion for films and filmmaking. At a very young age I got access to this Super-8 camera and I played around with it. For me, life as an immigrant, I?ve been an immigrant since I was six years old and basically living on my own or relatively independently since my later teenage years. So I stuck to it, I?m a late starter, I made my first feature at the age of 32. In principle I?m self-taught as a practical filmmaker. If you want to be a filmmaker you don?t buy it from a University, you just get on and do what you?re doing. I don?t want to discourage people from going to film school, it was a catalyst and I learned a lot from it. I would be a very bad example of how to become a filmmaker, probably my life story is exactly how you don?t become a filmmaker, yet I became a filmmaker.

t has definitely changed and evolved. There are a lot of positive aspects, the increase in the number of films and the new blood that is being injected into the industry, there a lot of good, new Iranian filmmakers that are starting to make films. Hopefully this type of independent filmmaking will persevere in Iran.

http://www.rlff.com/db_world/cinema....rviews_246.htm

[Alex]

Jem Cohen:

Working off an archive of his own film footage, Jem Cohen's projects have no actors yet
interesting characters. They are not documentaries but they generally contain no staged
scenes. They have no show-off shots yet use time-lapse, slo-mo and camera movement to
create a rich atmosphere. A friend introduced me to Jem Cohen's work about three years ago.
As a fan of the big city, I loved Cohen's THIS IS A HISTORY OF NEW YORK (1987), a street-
shot portrait of the metropolis done in world-altering super-8 film. I was then blown away by
BURIED IN LIGHT ('94), a document of Cohen's travels through Central and Eastern Europe.
His super-8 captured what it looked like before corporate change would alter it forever. Then
I got jealous. Cohen's LOST BOOK FOUND ('96) is the film I had always wanted to make. Shot
on NYC streets in super-8 and 16mm, BOOK is a spooky mix of documentary and narrative,
telling the story of a push cart vendor's encounter with a book full of mysterious listings of
places, objects, incidents - the key to the hidden city. I knew when I met Jem I would ask him
how he made a film with my thoughts.

http://www.cinemadmag.com/issue_two_articles.html

[woods01]

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><font size=2 face="Verdana, Helvetica, sans-serif">Originally posted by Actor:
Spielberg made several films on Regular 8 before making his breakthrough film Amblin. By the time Super8 game along he was already working in Hollywood.</font></td></tr></table></td></tr></table></BLOCKQUOTE>

He made a series of 8mm movies that got
increasingly ambitious. I've forgotten the
name but his last one was a feature length 8mm
that containted elements of what would later
be "Close Encounters of the 3rd Kind". When he
got to Hollywood no one was interested in his
8mm films so made two shorts an aborted
bicycle racing movie and "Amblin" on 35.
Which I think won a few awards and was his
showcase movie. I'd like to know how he finaced
his 35mm shorts. Its pretty amazing he managed
to do all this before he was 25.