WEBVTT

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I'm nervous and I don't know what's going to happen.

2
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I don't know.

3
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I used to shoot documentaries and this is why you...

4
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Don't panic.

5
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It's going to be a good smile.

6
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On camera!

7
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There's something I can do.

8
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Dance?

9
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10
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Well, there's Cardinal Cody's right over there.

11
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And that's Mayor Daley's...

12
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Is it art yet?

13
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One more, one more...there it is.

14
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You see this painting here?

15
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Well, Paul Rosen and I used to live together on the south side of Chicago.

16
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And Tom Palazzolo gave us this painting because it was the south side of Chicago.

17
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This painting is the south side of Chicago.

18
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And we had it hanging outside of our apartment on the entranceway,

19
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which was kind of disrespectful, but so was the painting.

20
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And for a year and a half this painting was in the hallway to our apartment

21
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and sort of farted at everybody as they came in.

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And we gave it back to Tom for the show, art being art.

23
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But this says south side to me.

24
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We're here at the Palazzolo opening.

25
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I mean, it's a thrill.

26
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Yeah, it's a thrill.

27
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The man's a genius.

28
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He's a bloody genius.

29
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Come here, son.

30
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Come here, son.

31
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Richard Kaplan, who fools around mulling in Lynx Hall

32
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and is the founder of the Streetlight Society of America.

33
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They meet the fifth Friday of the month at the corner of Michigan Avenue and Wacky Drive.

34
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They should have had a listing of his works posted on each particular wall

35
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because by the time you look at one over there and run over to the number and dodge...

36
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Oh, Dean! Oh, Dean! Oh, Dean!

37
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I'll do a wheelchair.

38
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What's he been doing?

39
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40
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Dean, Dean, Dean, Dean.

41
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Dean.

42
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This is Jerry. This is Jerry.

43
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This is Tom.

44
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This is Jerry. Jerry.

45
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This is the camera.

46
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Okay, okay.

47
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Two hours before communion.

48
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Impure thoughts, my son.

49
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Yes. And why you alone or with others, my boy?

50
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I would not couch you with a lady.

51
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I told them. I told them.

52
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I haven't had a boy. I told them something.

53
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Bill, I'm a socialist. I don't like this.

54
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It's art. It's bullshit. I don't like the people here.

55
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I'm against this. I'm waiting to see it all crumble.

56
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Keep up the good work. I liked your film last year about, you know,

57
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about the war thing.

58
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Ships like this that are no good, they can't get any action out of them.

59
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That's what the Wall Street Journal said.

60
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No action can they get out of them. They thought they scrapped them.

61
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Well, that doesn't mean that they're going to build warships.

62
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See him?

63
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I traded him. I went to Evanston to get this.

64
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I'm the realist.

65
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What about that old argument of realists?

66
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I'm sitting here with a realist.

67
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Filmmaking's not a gamble because I think if you go into filmmaking

68
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that you know that you're just doing it for yourself.

69
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So, let's see, what is a gamble? What's your definition of a gamble?

70
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I've offered to help Tom a lot on things.

71
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He's always said that sometime he might use me in something or let me help him.

72
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But right now I guess I have the distinction of being one of the only people

73
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in Chicago's film community that Tom has never asked for a favor

74
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or has never done anything for him or with him.

75
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I'd like to. I drop his name a lot.

76
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I sometimes claim I've worked on Caligari's Cure, but really I didn't.

77
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I carried some stuff.

78
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Okay, camera's off now.

79
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I don't believe you, Bill.

80
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It's still blinking at me.

81
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This is, uh, cinema verite.

82
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Camera does not lie.

83
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Camera operator does not lie.

84
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Joe, you won't lie, will you?

85
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I never lie, Bill.

86
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Don't you, Joe.

87
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Can you tell us about it?

88
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I really think it's unethical for me to discuss what I've heard pumping panels

89
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and film festival panels say about Tom's work while I was projecting.

90
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Maybe you're projecting something else's.

91
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Yep.

92
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Have you said bad things about Tom's work?

93
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Off camera, before?

94
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Have I ever said bad things about him?

95
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Yes, you. You.

96
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No, I've never said anything bad about Tom's work.

97
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A little less flattering on a case.

98
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He gave you a new chair and said, you suburban prick.

99
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Really?

100
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I'll let you do that.

101
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Yeah, I thought it was great.

102
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Okay, why don't you tell us?

103
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Tom, now one of those kids, I believe he's a successful lawyer,

104
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he has a message for you.

105
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Hey, you gotta be a notch.

106
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Oh, you want the keys here, Carl? It's the brown one.

107
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Get some of the people getting out. We gotta get the sense of...

108
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Don't climb any ladders. You might kill ourselves.

109
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You gotta be careful where you're going. Get these good people.

110
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Good legs. Good legs.

111
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Did it happen all that?

112
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It happened, that's all right. We didn't miss much.

113
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Then you focus. Yeah.

114
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Then you focus it.

115
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Zoom out, focus. Then you frame it the way you want it framed.

116
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In a sense, you're pulling back.

117
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The focus is on the second side, right?

118
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Pulling back, no.

119
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Maybe slightly, but the theory is...

120
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Caligari's Cure had its world premiere at the Film Center

121
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at the School of the Art Institute,

122
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but I'm very pleased to say that things have gone way up since then.

123
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What do you think the history of cinema will say about Mr. Palazzolo

124
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in a century or two or... for now?

125
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I've got a feeling the history of cinema is going to keep its mouth shut.

126
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From the Lost Archives of Chicago Filmmakers History.

127
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Bill. Bill is a member and a volunteer.

128
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Bill eats donuts here frequently.

129
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But think of all the cows that we butcher.

130
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But you have to save the cows.

131
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Save the Revolutionary Cow Party. Power to the cows, you know?

132
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After three years of writing about movies for the Chicago Journal,

133
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what I noticed was that there are a lot more long takes

134
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and a lot more people looking right at the camera lens.

135
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Let me think about it.

136
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Get me when you're... when you stop by our office.

137
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And the bottle.

138
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That's it.

139
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Hi.

140
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And over here I'm holding a set of adapters.

141
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We're documenting the fact that Bill is borrowing these.

142
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So if he still has these in a month,

143
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he's supposed to be bringing them back by then.

144
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We have five adapters.

145
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From the River, the City, Valleytown, the Photographer, and other films.

146
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Van Dyck made a mark on the history of American documentary cinema,

147
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creating cinematic masterpieces of profound social relevance.

148
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His film Valleytown will also be shown.

149
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Valleytown is a tragic view of an American industrial city in depression

150
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and the human consequences of automation.

151
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Oh, that's a good song.

152
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Diana Ross and Lionel Richie.

153
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Mr. Hoffman, are these the famous books you've been speaking about for five years?

154
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Sid! Sid!

155
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Sid!

156
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...the veteran reliever Kent Tukovey who had to face Jody Davis.

157
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Blinging! Line drive single! Center failed!

158
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Joe?

159
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Joe?

160
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Joe?

161
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Joe?

162
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Where are you?

163
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I went across the street because the Cubs won and I had a dollar bet on the game.

164
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And he didn't have the dollar.

165
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So, what can I do?

166
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Where's Mike Wallace?

167
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Okay, we need a cutaway.

168
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Is there film in this camera?

169
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I just want you to know this is rare footage of me working on the books.

170
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So, if anyone says I really never do it...

171
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Get the microphone in the image.

172
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Is this Cinema So So? What is this called?

173
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Is the microphone in the image?

174
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Yeah, but the cameraman isn't. You've got to get the cameraman in the image to be really tacky. There we go.

175
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It's one of those things that rarely happens except in really trash. Really trash.

176
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Are these the famous books? Will you show us the famous books?

177
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No, I work strictly in my private...

178
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This is too weird. Is there really film in this thing?

179
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Poor Joe, you jerk.

180
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And I'm suing.

181
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God, how come this thing hasn't run out yet?

182
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I have magical powers. It'll end in four seconds.

183
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One, two, three, four.

184
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That's eight seconds.

185
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Five, six, seven, eight.

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That's eight seconds.

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189
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191
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That's eight seconds.

192
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That's eight seconds.

193
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That's eight seconds.

194
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That's eight seconds.

195
00:16:48.260 --> 00:16:49.060
That's eight seconds.

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197
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That's eight seconds.

198
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That's eight seconds.

199
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That's eight seconds.

200
00:17:16.160 --> 00:17:16.960
That's eight seconds.

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202
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203
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205
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That's eight seconds.

206
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That's eight seconds.

207
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That's eight seconds.

208
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That's eight seconds.

209
00:17:18.040 --> 00:17:18.840
That's eight seconds.

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211
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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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217
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That's eight seconds.

220
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That's eight seconds.

221
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That's eight seconds.

222
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That's eight seconds.

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That's eight seconds.

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225
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That's eight seconds.

226
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That's eight seconds.

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That's eight seconds.

228
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That's eight seconds.

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231
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233
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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

236
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That's eight seconds.

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That's eight seconds.

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239
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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

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That's eight seconds.

246
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That's eighth seconds.

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That's eight seconds.

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That's eight seconds.

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Even after you my love

250
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Even after you my love

251
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252
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I'm very tired.

253
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However, if we need ships, don't wait.

254
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And if they're no good, if they can't get any action out of the ships, they may as well

255
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scrap them.

256
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What good are they?

257
00:19:32.280 --> 00:19:34.200
Sometimes you can watch them going along there.

258
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This is a very good example of how we can get them out of the ships.

259
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I saw that article in the Wall Street Journal.

260
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Things are going pretty good so far.

261
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The quality is debatable, but everybody's real up.

262
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And we've got a good crowd here later, more later.

263
00:19:51.180 --> 00:19:57.600
We've been looking at this for three days now, and we haven't heard anything funny.

264
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The situation's getting pretty desperate, and I'm contemplating suicide.

265
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We won't even know by 7 o'clock in the morning.

266
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It's great to be here in Chicago.

267
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I love Chicagoans.

268
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I love Chicago.

269
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And here's one else.

270
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Wait, here's another one.

271
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Oh yeah?

272
00:20:28.340 --> 00:20:29.860
How do you know I'm from Chicago?

273
00:20:29.900 --> 00:20:31.820
Well, I just took a look at your face.

274
00:20:39.620 --> 00:20:45.680
I'm trying to get together video equipment and audio equipment to send to Nicaragua with

275
00:20:45.680 --> 00:20:50.100
a group that I taught super-rate filmmaking to, but they're now doing video production.

276
00:20:50.740 --> 00:20:55.860
And they're working with the Sandinista Labor Union, the Centro Sandinista de Trabajadores.

277
00:20:55.860 --> 00:21:02.560
So far, I have gotten people to give me liberated 3 quarter inch videotape, much more of which

278
00:21:02.560 --> 00:21:09.620
I could use, and Betamax tape of any sort, any kind of audio jacks or 3 quarter inch

279
00:21:09.620 --> 00:21:16.680
video jacks, coaxial cable, staples, magic marker, carbon paper, scotch tape, batteries,

280
00:21:16.920 --> 00:21:22.680
especially rechargeable batteries, anything of that sort which is possible to get, especially

281
00:21:22.680 --> 00:21:27.260
of course if anybody knows how to get a used character generator, then they could subtitle

282
00:21:27.260 --> 00:21:31.680
their own tapes into English and send them here to the United States for solidarity work.

283
00:21:32.040 --> 00:21:37.140
So this is a plea asking for supplies, and I'll get the stuff down to Nicaragua as soon

284
00:21:37.140 --> 00:21:37.700
as possible.

285
00:21:37.780 --> 00:21:38.320
Who are you?

286
00:21:38.500 --> 00:21:39.880
I'm Julia Lasage.

287
00:21:41.180 --> 00:21:42.040
Eight o'clock, is it?

288
00:21:42.220 --> 00:21:42.660
Eight.

289
00:21:44.640 --> 00:21:45.340
Joke, okay.

290
00:21:45.340 --> 00:21:58.760
Well, once upon a time, which became the haven for independent media artists, or I should

291
00:21:59.340 --> 00:22:11.180
rephrase that, filmmakers, videographers occasionally, performance photographers, those who were

292
00:22:12.040 --> 00:22:20.740
or could not find a place through more conventional showcases as it were.

293
00:22:22.040 --> 00:22:23.940
And I think this is a good thing.

294
00:22:25.100 --> 00:22:26.180
I'm not being very...

295
00:22:29.920 --> 00:22:30.640
Hi there.

296
00:22:30.780 --> 00:22:37.200
Today is November, well, it's November 1983, and we're standing in front of Chicago filmmakers.

297
00:22:37.200 --> 00:22:40.980
My name is Mark Grant, and I am a Chicagoan.

298
00:22:40.980 --> 00:22:45.420
I was born here, and I've made films here for a couple of years.

299
00:22:45.420 --> 00:22:51.000
Actually, I don't live here anymore, but I've been asked to say, for the sake of history,

300
00:22:51.080 --> 00:22:52.780
a few things about Chicago filmmakers.

301
00:22:56.640 --> 00:23:00.780
The important thing about it is that it gives a place to work for people who don't have

302
00:23:00.780 --> 00:23:05.500
that much money to work, and it encourages a film community in Chicago.

303
00:23:05.500 --> 00:23:10.880
And that, you can't underrate enough, and this is really awful.

304
00:23:10.980 --> 00:23:11.700
Can we do it again?

305
00:23:12.880 --> 00:23:15.400
I can't think of a fucking thing to say.

306
00:23:17.060 --> 00:23:18.140
All right, we'll try it again.

307
00:23:20.020 --> 00:23:20.240
Yeah.

308
00:23:26.480 --> 00:23:30.480
Look, the really important thing about Chicago filmmakers is that it gives filmmakers a place

309
00:23:30.480 --> 00:23:31.160
to work.

310
00:23:33.700 --> 00:23:38.600
The important thing about working is that filmmakers in Chicago should stay here.

311
00:23:38.700 --> 00:23:39.920
They should find something here.

312
00:23:39.940 --> 00:23:42.900
You don't need all that fucking stuff about Los Angeles and New York.

313
00:23:43.100 --> 00:23:44.780
They aren't the film centers of the world.

314
00:23:45.320 --> 00:23:48.960
And if you just take the time to...

315
00:23:48.960 --> 00:23:49.860
Not take the time.

316
00:23:49.880 --> 00:23:52.680
If you can find the time and the money to keep working to make more movies,

317
00:23:53.440 --> 00:23:54.520
Chicago would be a great place.

318
00:23:54.640 --> 00:23:55.180
I don't know.

319
00:23:55.260 --> 00:23:56.780
Oh, that's really stupid, too.

320
00:23:58.720 --> 00:23:58.980
John?

321
00:24:01.160 --> 00:24:01.680
It's awful.

322
00:24:02.580 --> 00:24:04.420
I'm just blanked out.

323
00:24:05.160 --> 00:24:07.620
Well, congratulations on 10 years.

324
00:24:08.480 --> 00:24:10.180
It's been an important 10 years.

325
00:24:10.240 --> 00:24:12.340
The next 10 will be even more important.

326
00:24:13.420 --> 00:24:17.480
Like, as an independent filmmaker, it's really essential that there be something like

327
00:24:17.480 --> 00:24:24.320
filmmakers in the city, and that's how come I let Joanne Shanghai be on the board

328
00:24:24.320 --> 00:24:26.400
several years ago, whenever that was.

329
00:24:28.500 --> 00:24:29.900
And I don't know.

330
00:24:29.980 --> 00:24:32.800
I think the things that are happening now are real good and exciting,

331
00:24:32.840 --> 00:24:36.900
and that it's important to sort of re...

332
00:24:36.900 --> 00:24:39.700
People need to get rededicated and re-involved,

333
00:24:39.700 --> 00:24:44.700
and we need more people to start coming around and working to make the place grow.

334
00:24:47.880 --> 00:24:49.360
And send money.

335
00:24:49.500 --> 00:24:50.780
I don't know.

336
00:24:52.500 --> 00:24:53.980
Okay, so that's it.

337
00:24:53.980 --> 00:24:57.640
I've got to get back to finishing this independent documentary,

338
00:24:57.780 --> 00:24:59.060
the new Taylor Chain film.

339
00:24:59.200 --> 00:25:02.620
You can look forward at filmmakers sometime next year.

340
00:25:03.420 --> 00:25:04.000
Put it in there now.

341
00:25:04.340 --> 00:25:06.840
We don't have to, but at least it's in stock.

342
00:25:07.520 --> 00:25:10.980
And we'll start with one aisle at a time.

343
00:25:11.380 --> 00:25:12.300
One aisle.

344
00:25:13.500 --> 00:25:17.040
What are you getting us on?

345
00:25:17.220 --> 00:25:19.260
I honestly don't care if I ever see a film again.

346
00:25:19.280 --> 00:25:21.460
You've reached the Office of Women in the Director's Chair.

347
00:25:21.460 --> 00:25:24.500
No one will be in the office for the next year as we are recovering

348
00:25:25.100 --> 00:25:27.260
from 15 hours of non-stop.

349
00:25:27.320 --> 00:25:32.080
The shark on Broadway, if I hadn't met you, if I hadn't met you.

350
00:25:32.380 --> 00:25:35.260
Where are the garbage bags? What do you do with them?

351
00:25:35.560 --> 00:25:37.300
Where are...

352
00:25:37.840 --> 00:25:39.920
Okay, that's enough. Stop it.

353
00:25:49.240 --> 00:25:51.060
Okay, well we're here at the Film Center.

354
00:25:51.160 --> 00:25:54.340
And we're going to have a little discussion about Chicago filmmakers

355
00:25:54.340 --> 00:25:55.880
in honor of the 10th anniversary.

356
00:25:56.020 --> 00:25:59.740
And our guests on the panel tonight are, here's Marlon Brando,

357
00:25:59.860 --> 00:26:02.780
who dressed specially for the occasion and is torn undershirt.

358
00:26:03.160 --> 00:26:06.500
We have noted German cinematographer Robbie Mueller.

359
00:26:08.500 --> 00:26:09.900
Noted Cuban cinematographer, Robert M. Moller.

360
00:26:09.900 --> 00:26:09.900


361
00:26:09.900 --> 00:26:11.680
And we have also noted the cinematographer Nestor Almendras.

362
00:26:12.660 --> 00:26:14.960
And Dennis Hopper, the special guest star.

363
00:26:16.240 --> 00:26:19.680
Now Dennis, do you remember that night at Chicago Filmmakers

364
00:26:19.680 --> 00:26:23.860
when Joe and Brenda and I were working on this promotional film

365
00:26:23.860 --> 00:26:28.000
for Chicago Filmmakers and we were spreading green glitter on hot dogs

366
00:26:28.000 --> 00:26:31.120
that were on this turntable that Joe rigged up?

367
00:26:32.420 --> 00:26:34.340
Dennis says yes, he remembers clearly.

368
00:26:34.340 --> 00:26:42.440
And then there was this other time that there was a Chicago Filmmakers party

369
00:26:44.440 --> 00:26:48.860
and somebody told this story about Alan Ross falling in a tub of ice,

370
00:26:48.920 --> 00:26:51.160
but I don't think it actually happened that night,

371
00:26:51.160 --> 00:26:52.980
although there was a tub of ice there.

372
00:26:53.460 --> 00:26:56.040
I think Marlon remembers that occasion pretty well.

373
00:26:56.060 --> 00:26:57.580
He's nodding his head yes.

374
00:26:58.320 --> 00:27:01.440
And Marlon, you remember? Yeah, yeah, he says yeah.

375
00:27:03.280 --> 00:27:09.040
And then there were like some other times when people put the film on

376
00:27:09.040 --> 00:27:13.440
in the wrong order and reel three came on first instead of reel two.

377
00:27:13.580 --> 00:27:17.020
I think the cinematographers on our jury remember that.

378
00:27:17.520 --> 00:27:19.880
You remember that Robbie? Yeah, Robbie says yeah.

379
00:27:19.920 --> 00:27:21.660
You remember that Nestor? Yeah.

380
00:27:21.860 --> 00:27:24.720
Yeah, boy, those old memories at Chicago Filmmakers.

381
00:27:25.960 --> 00:27:28.500
All the celebrities in the world gather there.

382
00:27:28.500 --> 00:27:33.200
And I remember the time Marlon Brando punched out Richard Burton

383
00:27:34.080 --> 00:27:36.880
and Kenneth Anger was there too that night I think.

384
00:27:39.060 --> 00:27:42.220
And there are a few other celebrities on the premises.

385
00:27:42.820 --> 00:27:44.820
That's the way it is at Chicago Filmmakers.

386
00:27:46.980 --> 00:27:52.460
I think Chicago Filmmakers should survive because it's great to take a lunch break over here.

387
00:27:53.880 --> 00:27:56.420
So here's to the future, you know, and great lunch.

388
00:27:57.420 --> 00:27:59.580
Real problem. Harold won't march.

389
00:27:59.800 --> 00:28:02.420
I'm really upset. I want my vote back now.

390
00:28:06.380 --> 00:28:11.000
To me that I could get everything cheap except processing.

391
00:28:11.520 --> 00:28:13.040
Now I can get processing free.

392
00:28:13.620 --> 00:28:15.700
The whole issue of film is the lab.

393
00:28:16.380 --> 00:28:20.340
That we have to take over the labs, you know.

394
00:28:20.840 --> 00:28:22.460
We have to have control.

395
00:28:22.740 --> 00:28:24.880
Producer control of the lab is processing.

396
00:28:24.880 --> 00:28:28.620
That's the capitalist place that we haven't hit yet.

397
00:28:28.640 --> 00:28:32.020
Let's get smart, Filmmakers. Let's go get them now.

398
00:28:40.460 --> 00:28:42.920
People yell at me from cars and stuff.

399
00:28:43.980 --> 00:28:50.160
My film? Secondation? Or fecondation? Or fuckundation? Or fuckundation?

400
00:28:51.120 --> 00:28:52.760
Is that what you want to know about, secondation?

401
00:28:55.460 --> 00:28:56.140
Hello?

402
00:29:07.820 --> 00:29:14.500
In 1978, Jay Paul, Stanislavski and I were working down in the loop overnight making microfilm.

403
00:29:14.680 --> 00:29:17.740
And we would, on weekends.

404
00:29:18.440 --> 00:29:21.660
And we would come to Chicago Filmmakers before going into work.

405
00:29:21.660 --> 00:29:26.660
And during the summer, on a hot summer night, Immune System played here.

406
00:29:27.020 --> 00:29:28.140
It's one of their first concerts.

407
00:29:28.220 --> 00:29:31.420
And they cleared off the front by the screens.

408
00:29:32.040 --> 00:29:33.540
And they had the band in there.

409
00:29:34.180 --> 00:29:37.040
And there were about 500 people here that night.

410
00:29:37.500 --> 00:29:39.020
More people than I've ever seen in Filmmakers.

411
00:29:40.520 --> 00:29:42.620
And everyone was trying to dance.

412
00:29:43.640 --> 00:29:48.560
And this was before Immune System had really figured out that they were a dance band.

413
00:29:48.560 --> 00:29:51.540
And they were playing songs that were about 15 minutes long.

414
00:29:51.940 --> 00:29:56.300
And everyone was getting really tired of dancing for 15 minutes at a stretch.

415
00:29:56.440 --> 00:30:01.480
And there was also about 300 people in the auditorium.

416
00:30:02.320 --> 00:30:06.480
Where it probably seats about 60, 70, maybe 90.

417
00:30:08.000 --> 00:30:10.180
And I remember I was dancing.

418
00:30:10.960 --> 00:30:16.180
And there was a cute little girl sitting across on the edge of the stage.

419
00:30:16.180 --> 00:30:18.620
And she kept staring at me all night.

420
00:30:20.380 --> 00:30:26.080
And finally about halfway through the night, she motioned at me to come over and listen to her.

421
00:30:26.460 --> 00:30:28.040
So I wanted to know what she said.

422
00:30:28.740 --> 00:30:31.120
And I leaned over, put my ear to her mouth.

423
00:30:31.140 --> 00:30:34.760
And she said, please don't step on my feet.

424
00:30:56.440 --> 00:30:57.840
Thank you.