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When Laura is shy, I do a mini-tour of shyness in kids in film. When Ben is destructive, I do a tour of destructiveness in kids in cinema.

The order in which my niece and nephew showed their emotions is the order in which we see them in the film. I know people will ask me who this film is for.

My answer is that it is for anyone of about ten or over who likes films. I hope that they, young and old, will recognise themselves or kids they know in it.

In the film I say that in little things faces, a field, a rock pool, a 12 minute shot of kids we can see a lot. I hope that in this little film, we can see a lot about childhood and about the movies.

He started making films in his late teens and after graduating High School he went on to educate himself away from TV screens and Hi8 Cameras.

He began at The New York Film Academy producing and directing short films and working as a technical advisor. Those educational years resulted in a number of projects which recently or not so recently have been recognised internationally.

Further he was selected to the talent pool Trailblazer in by the Edinburgh Int. Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.

Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to. He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.

They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.

Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. It might be a disaster. I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.

Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.

And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs.

We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back. For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.

So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat?

The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!

Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.

As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.

This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.

I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.

I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.

I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.

Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.

I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.

Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.

About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail.

The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.

Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means. By the end there were only a couple of titles that proved difficult to obtain.

So it was with A Story of Children and Film. I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.

So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.

Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box. I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last.

This, by and large, became the order in which we edited the scenes in the film. When it came to the edit, we chose what I thought were the best examples.

The former allows me to jump between themes, notice connections, etc. The screening was presented by Cannes artistic director Thierry Fremaux.

Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water. Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.

The movie is as self-indulgent as it is brilliant. Vivian Van Dijk writes: Film director Mark Cousins has made with this film a blueprint for many film generations to come.

This is a must-see for anybody who is attending this Cannes Film Festival. Whether you are a film student or a successful film director already or just a film lover, Mark Cousins knows how to point you to the key ingredients that make children shine in film and also make their roles and behavior in film transparent.

Read the review here. Here, he shares with Film4. Another typically thoughtful trawl through the history of film seems likely.

Full interview is now online here. Ross Miller, Thoughts on Film: For any cinephile it would be tough to watch this film and not feel a sense of joy…an intimate lyrical essay on the unique way cinema can showcase childhood.

Chris Buckle, The Skinny: Michael Clancy, The Artifice: It makes for an excellent companion piece to his early opus, The Story of Film: An Odyssey, making Cousins one of the most astute and thoughtful filmmakers working today.

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A normal thunderstorm shuts down La Paz due to the poor drainage so it was a couple of days until the boys returned to school. Plenty of trees down but otherwise La Paz came off lightly.

It really is incredible that it was 10 years ago he crossed the Atlantic as a toddler, one really needs to enjoy these times, gone far too soon. We now have a week in Puerto Vallarta sin ninos for our 14 th wedding anniversary, another milestone I find hard to appreciate, again seems like last week Mel and I were working on Wild B in Italy.

Just before we head to Tasmania in November our dear friends from Seattle Rennie and Denny are coming to stay on Sonrisa — a great opportunity for us to repay their incredible hospitality.

Tasmania will be an interesting time as we sort out our lives, Mexican permanent residency and whether to sell the farm in Tasmania.

Vancouver really is one of the most picturesque cities around, with all the bicycling and walking paths we never had to resort to a car.

The Canadian dollar being on par with the ozzie dollar made life that much more bearable and enjoyable. So a big thanks to Gary and Jeanine for allowing us to stay for several days — a fantastic location.

Finally a night in Denver at the Crawford hotel and a sumptuous meal with our ever generous host Chad McWinney — the meal at Stoic and Genuine, as last time, unforgettable — thanks Chad!!

Back in La Paz, with a pretty warm September — as I am writing this Hurricane Newton is some 24 hours away so the decks on Sonrisa looking very clean.

Hopefully the 20 odd lines holding Sonrisa tight will be enough. We managed to get out to Espiritu Santo Island most weekends for cooler times and the busy school days.

A few days to prepare Sonrisa for cyclone season — a very bare yacht with all sails, halyards, covers off. We found a good home for Peluchie our family cat for the last 18 months, with 2 months away now and then the 5 month trip to Tasmania in November it was just too complicated to keep him on Sonrisa — a very sad day when he left.

Our first stop in Seattle was to Denny and Rennies, our cruising friends from Columbia several years ago — such a warm welcome.

His first unaccompanied flight, we were so proud of him as he set off. An interesting time for Huon also as this was the first instance when they have been separated — in the end the parents stressing more than the boys!

As we did last year, a magic several days down at Stretch Island in Southern Puget Sound, July 4 th fireworks, kayaking, crabbing etc with Huon happily being a shadow to 3 older boys — now one of a pack taking on all the fashions and actions of the older boys.

Plenty of activities in Seattle over the next 6 weeks along with a pleasant offer to stay in their house in Vancouver from other cruising friends we met in Costa Rica in , Gary and Jeanine from High 5 — they are taking their yacht down to La Paz, and Costa Baja Marina over the summer.

Just the odd other yacht floating around. Two weeks just getting back into the cruising mode as we are now tied to the marina most of the time.

The highlight was the diving with seals at Isla Los Islotes, where the seals where very happy to perform for the camera with an apple as a toy.

A really wonderful trip with excellent weather. Last weekend we visited La Duna for an evening with several of our local Mexican families.

This rustic and very environmentally friendly resort provides a magic location just to chill and chat for the children and adults that went very late into the evening.

February was rather quite, school runs, Mel studying all rather domestic. I popped down to Barra Navidad, south of Puerto Vallarta to bring Princess 1 back to La Paz, as expected on the nose most of the way so, double the time taken to get down there, some 3 days for some miles much of the time at around 7 knots.

A few days later to Cabo San Lucas so she could be hauled out for her yearly maintenance. We had a magnificent week with our dear friends from Monaco, Poala, Antoine and Daniel their 6 year old son.

Our new old two car family made arrangements easy. Mel was also busy for a few days helping arrange provisions for a couple of large yachts, something we might consider more of later on.

Finally we actually had some of that thing called work. Princess Two in the Caribbean was within days without a crew — Mel biting the bullet, agreed to come along for 4 weeks to cook.

Leaving the boys for such a time was a very big decision, but with our delightful La Paz friends and children Igor and Daniella we could feel they were in very safe hands.

Princess Two was in St Thomas the US Virgin Islands, the first demonstration trip was cancelled and the second charter with guest from Mexico city is best not talked about we did our best in trying conditions with untrained crew — the fact that the two Mexican crew were left tips and the 3 Anglo Saxons were not says it all — funny to experience a little discrimination on our side, makes one respect what other non-white Anglo Saxon cultures have to deal with.

Our taxi driver, Sobers, providing me with several hours of laughs as we went shopping for parts and food.

With 4 crew for the mile trip from St Thomas to the Bahamas a couple of long nights, made longer by the 10 minute departure in the Turks and Caicos of the rather useless South African stewardess.

Now in Hurricane Hole Marina for the last day of a very quick two day hand over to the 4 new crew. Cipriano, our hard working and delightful Mexican mariner will stay until the boat heads to Florida in April.

Looking forward to being back on Sonrisa with the boys and Peluchie for the normal Easter cruise. Es werden Ihnen dann alle Events angezeigt, die eine kulinarische Komponente haben.

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Google Analytics ist ein Web-Analyse-Dienst. The movie clips are like the palette of colours we use to paint the picture. I had to find a point of view, a frame to contain what could have been an unwieldy subject.

As I filmed, I noticed that they went from shy to grumpy to performative to destructive, all in a short time. The 12 minute shot could, I realised, be my frame.

When Laura is shy, I do a mini-tour of shyness in kids in film. When Ben is destructive, I do a tour of destructiveness in kids in cinema.

The order in which my niece and nephew showed their emotions is the order in which we see them in the film.

I know people will ask me who this film is for. My answer is that it is for anyone of about ten or over who likes films.

I hope that they, young and old, will recognise themselves or kids they know in it. In the film I say that in little things faces, a field, a rock pool, a 12 minute shot of kids we can see a lot.

I hope that in this little film, we can see a lot about childhood and about the movies. He started making films in his late teens and after graduating High School he went on to educate himself away from TV screens and Hi8 Cameras.

He began at The New York Film Academy producing and directing short films and working as a technical advisor. Those educational years resulted in a number of projects which recently or not so recently have been recognised internationally.

Further he was selected to the talent pool Trailblazer in by the Edinburgh Int. Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.

Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to. He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.

They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.

Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. It might be a disaster.

I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.

Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.

And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs. We got eaten by midges.

About 50 people pulled the Screen Machine with ease though not me, because I had a bad back. For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.

So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat?

The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!

Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.

As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.

This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.

I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.

I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.

I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes.

Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.

I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.

Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.

About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail.

The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.

Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means. By the end there were only a couple of titles that proved difficult to obtain.

So it was with A Story of Children and Film. I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.

So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.

Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box. I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last.

This, by and large, became the order in which we edited the scenes in the film. When it came to the edit, we chose what I thought were the best examples.

The former allows me to jump between themes, notice connections, etc. The screening was presented by Cannes artistic director Thierry Fremaux.

Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water.

Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.

The movie is as self-indulgent as it is brilliant. Vivian Van Dijk writes: Film director Mark Cousins has made with this film a blueprint for many film generations to come.

This is a must-see for anybody who is attending this Cannes Film Festival. Whether you are a film student or a successful film director already or just a film lover, Mark Cousins knows how to point you to the key ingredients that make children shine in film and also make their roles and behavior in film transparent.

Read the review here. Here, he shares with Film4. Another typically thoughtful trawl through the history of film seems likely. Full interview is now online here.

Ross Miller, Thoughts on Film: For any cinephile it would be tough to watch this film and not feel a sense of joy…an intimate lyrical essay on the unique way cinema can showcase childhood.

Chris Buckle, The Skinny: Michael Clancy, The Artifice:

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