Jesse Widener of Klamath Film

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Heralded news news learn is now. Empowering the community base, slow the news, your news with falls, Oregon. Empowering the community and serving mclamb basin. This is the the news facing us pop. Greetings and welcome to base views heralded news podcast featuring interviews with local experts discussing issues important to the climate basin. I'm kirtland key with the herald news this week. We're joined by Jesse Widener Klamath film here to discuss one of my favorite topics, movies, upcoming events, such as the annual climate independent film festival and a special screening with a very special guest coming soon. Jesse, thank you so much for taking the time out of your schedule to join us here. Well, we will get into everything that Clem film entails and just a little bit. But I always like to start these things off a little bit of background on our guests themselves. Can you educate us a little bit more about who Jesse Widener? Sure. So I've actually got a fairly wide arts back there used to work as a draftsman architect California for about seven years before I moved up here, I've studied music composition, do some drawing some writing. I practiced photography for several years before I started getting into the film thing. So the film thing actually really comes from being the sort of great medium. It's an amalgamation of all these other disciplines that you. You can do kind of throw all these different dispirit interests into one thing. So what was the first video project that you worked on? The first project was probably the first project I did with Klamath film, and it was on one of those old. I don't say hold the nineties hand held nineties early two, thousands of Devi Cam with the digital video tape. And one of the first things I learned was that the screen on it is not as it shows brighter than what the actual film was. So I was exposing to the screen and when I actually took the footage home to work on, it was so dark. I had to crank everything is still looked nasty and black, and it was horrible. I'm from Hollywood is well, I grew up in Eugene, but I spent a long time in Hollywood and those Devi cameras there fuzzy because when I was working on a lot of projects, some of those cameras were fifty thousand eight hundred thousand dollars now that everything's gone digital. They're selling those things on EBay for one hundred bucks. People can't get rid of them. Yeah, yeah, ours, ours is more of a consumer grade one though that we were. We're using it was, you know, like something you'd pick up Fred Meyer or whatnot, and it just wasn't that hot and me not knowing what I was doing with it was even worse. So well, one thing that I have found fascinating being involved in film is the number of people like yourselves that got involved in simply by doing, didn't have formal Bagger. There are film schools that people can go to, but lots of times people just get involved when it for the sake of having an idea grabbing a camera and giving a try and kind of learning as you go. Right. That's a funny thing because I think you know, obviously the film industry is still young, maybe one hundred years, old hundred twenty years old. Just you know, it's not like painting or something like that, and it's been a master apprentice industry for a long, long time. You know, you start working on a film as gopher basically, and work your way up. And then at some point you did start getting into the film school stuff with that sort of seemed to be the advice path go to films go, go to USC, go to southern California, whatever the case maybe and then it not in the last probably twenty years with the advance. In technology with the internet, having all of these YouTube videos, and there's several channels that teach you how to do all these filmmaking techniques or whatnot. I think it's really democratized and commodities that industry where you can just from your house, you'll get a five hundred dollar camera. It's amazing compared to anything from, you know, ten twenty years ago and then sit on YouTube for your to do stuff. You know, the technology's advanced, but what's really fascinating to me as just a fan of film in general. I love going back to the old silent film era, the little black Charlie Chaplin Buster Keaton and stuff like that. And you look at the things that they were doing. They were inventing how films are made then. And while the technology may have changed the method for creating film really hasn't and over the course of a century, right? Yeah. The structure is generally isn't actually, I have a slight complaint about structure of fill. You know, when when film for start out, you're talking late, eighteen hundreds early nineteen hundreds and nobody really knew what to do with it. You know there was this massive creativity of, you know. What? What wild things can I do? You know what weird effects can I do? How can I freak people out that never seen something on screen like this and somewhere in the teens, the nineteen teens. It's sort of took on this the purpose of films to tell a story. And I think it's really been pigeonholed in that one hundred years. You know, it's it's like saying the purpose of painting before there was photography. The purpose of painting was to be as realistic as possible and the medium geared towards that realism until in the eighteen hundreds of the camera came out and they realize somebody could just snap a picture. So you know what was the point of painting now that's when you saw painting expand into, you know, pression ISM and surrealism and Dada. ISM cubism and Jackson Pollock jap- technique and all this kind of wild stuff. And

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