Tag Archives: Clips

The Images of the Sounds of A Life’s Work

Last week I posted some sounds of A Life’s Work. Here now are the matching images.

Please remember that I was selecting sounds for the contest and wasn’t too concerned with the quality of the captured images, so if you see some flaws in the shots, a little unsteadiness or a focus issue, be forgiving.

Locations: Arcosanti, Cordes Junction, AZ; The Allen Telescope Array, Hat Creek, CA; Hyde Park Records, Chicago, IL; The Riley Digitization Center, Baylor University, Waco, TX; Interlochen, MI; Buckley, MI.

It Was 50 Years Ago Today: A Clip

April 8, 1960. Frank Drake conducts the first SETI experiment, pointing a radio telescope in Green Bank, West Virginia, at the star Tau Ceti.

To commemorate the anniversary, here’s a snippet from a sample I put together a while back. In it, Jill Tarter talks about the pioneers of SETI research.

I hope you like it.

For more on my encounter with Frank Drake, see The Golden Record post.

Whose shoulder’s are you standing on?


You might also be interested in this: SETI’s Jill Tarter on Gender Bias in the 1950s: A Clip

Searching for Gospel Vinyl – A Clip

Ta-da! A clip of the fourth subject, the Black Gospel Music  estoration Project’s Robert Darden.

Wolfgang Held and I followed Robert around the South Side of Chicago in August 09. Here he is looking for some rare gospel vinyl at Hyde Park Records. I loved this place. Being there transported me back to the days when I worked in a record store, right after I graduated from college, 900 years ago.

Let me know what you think of the clip.

And oh, pay attention to this clip, and maybe brush up on the others. They’ll be a quiz later on. Seriously. And the winner gets a prize. No kidding.

Cloning Redwoods: A Longer Clip

Back in August of ’09 I linked to editor (and new dad!) Cabot Philbrick’s website. He had included a portion of the redwoods section on his reel. That clip was truncated and sized for Cabot’s web site. Here’s the whole redwoods section (6 minutes 29 seconds–you get to see two and half minutes more) and the screen size is a wee bit bigger, too.

Let me know what you think.


My Google alerts notified me of this very good article about an exhibit of Paolo Soleri’s work.

But when I read the tagline, I had to smile: “Visionary architect unveils ecological architecture designs.”

If you Google “visionary+Soleri” you’ll get more than 16,000 results; it is the adjective most often applied to him and his work. Some words stick to people like cockleburs to a wool sweater. “Visionary” is one that has stuck to Soleri. How does he like being called a visionary?

(This is a clip I put together a long time ago. It’s rough and may not make it into the finished film for various reasons.)

I filmed a talk Soleri gave at the New School in 2005. He was introduced by Paul Goldberger, the architecture critic for the The New Yorker. Here’s a portion of that introduction.

In an interview a couple of years ago, he said that, and I quote, “ … the mind that thinks I am a dreamer is not connected with reality. I think I am realistic, but I may not be a practical individual. The practical is very often almost the opposite of the real.”* The practical is often almost the opposite of the real. For an age that … elevates the practical, these words are a sobering and urgent call. They are a call to break away from the mundane concerns that prevent us from seeing things we need to see. That prevent us from aspiring to our noblest potential. A rabbinical scholar once said that, just as a hand placed too close to your face can block the view of the most beautiful mountain, so can the routine of daily life prevent us from seeing the profound depth and majesty and potential of the world. Paolo Soleri’s view has never been blocked. He has seen clearly for generations now.

There’s really nothing I can add to that.

* Works & Conversations, Architecture as Salvation: Conversation with Paolo Soleri, interview conducted by Richard Whittaker; May 21, 2000.

Paolo Soleri at Dome House: A Clip

In October 2006, Wolfgang Held and I flew to Arizona to interview Paolo Soleri. While we were there Soleri visited his first commission, Dome House, in Cave Creek, AZ.  I was told that his trip there was something of a rarity and we were fortunate to be able to film it. I suspect this is because Soleri doesn’t live in the past.

Here’s a three-minute and 25-second section of the sample, edited by Cabot Philbrick. Let me know what you think.

Special thanks to Stefan Grace, Mary  Hoadley, and of course Paolo Soleri.

What’s A Life’s Work about? It’s a documentary about people engaged in projects they won’t see completed in their lifetimes. You can find out more on this page.

We recently ran a crowdfunding campaign and raised enough to pay an animator and license half of the archival footage the film requires. We need just a bit more to pay for licensing the other half of the archival footage, sound mixing, color correction, E&O insurance and a bunch of smaller things. When that’s done, the film is done! It’s really very VERY close!

So here’s how you can help get this film out to the world. It’s very simple: click the button…

Donate Now!

… and enter the amount you want to contribute (as little as $5, as much as $50,000) and the other specifics. That’s it. No login or registration required. Your contribution does not line my pocket; because the film is fiscally sponsored by the New York Foundation for the Arts, all money given this way is overseen by them and is guaranteed to go toward the completion of this film. Being fiscally sponsored also means that your contribution is tax-deductible. So why not do it? The amount doesn’t matter as much as the fact that you’re helping to bring a work of art into the world. And that, I think, is really exciting!

Questions? Email me at d a v i d ( aT } b l o o d o r a n g e f i l m s {d o t] c o m

Four Minutes of A Life's Work: A Clip

Editing is a collaborative process.

In the spring I worked with editor Cabot Philbrick and constructed a 27-minute work-in-progress sample of A Life’s Work. I’m delighted that Cabot is including a portion of that work on his editor’s reel and you can view it online. I’m especially tickled because he’s showcasing the footage I shot! Of course it’s hard to go wrong when you’re shooting tree climbers scaling giant trees in a redwood forest.

This clip  follows David Milarch at Roy’s Redwood Preserve in northern California. Champion Tree Project spearheaded the project to clone the redwoods. The climbers are from Bartlett Tree Experts.

This four-minute section can’t convey the structure of the film, but it will give you a sense of the style. Check it out and let me know what you think.