Of significance in learning about film is coming across filmmaker John Cassavetes’s work and perspective about film. Some of the very rudimentary objectives in film and in discovering his views are infinite in the sense of simply finding a passion within a craft, particularly film, whether independent or non-commercial. The important thing to remember, at least for me, is that looking at people and the diverse highways that their lives take shapes scenes in a realistic yet original way that maybe black and white or in color. I haven’t yet seen Cassavates’s work, but I plan to see and review for myself his films and adaptations of his work.
To me, his work really didn’t fit into a genre, per se, at least when learning about what it took to make film, film. One of the most important things to learn about with film is checking out each decade of film, obviously looking and studying different types of film and different directors. I had the good fortune of looking at some tapes of him working at film,filming, and discussing film from the seventies recently and his personal perspective and take on film–and the subjects he chose to work with whether in the subjective-sense or through the dichotomy of yet a dynamic human race. What was captured and continues to be captured is authenticity managed in the most personal of ways; and a way to go about developing this is to approach non-commercialism as non-obtrusive and in a way that focuses on human regard whether that be immoral or moral, consequently in a provakative way, which is what I think Cassavetes did. I’m looking forward to delving more into his work. The most recent adaptation I’ve discovered is a DVD version of Love Streams also from screenwriter Ted Allan. There’s something to be said about not necessarily the primitive–but the intrinsic physiology of humanity and how relentlessly unforgiving personal attributes make or can make film manifest.