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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.
Teddy Jamieson, Herald Scotland: Dial M For Movies: The Toronto International Film Festival has announced the line up of its edition. More information on their website.
Without pedantry, he speaks like a professor in love with his discipline, who wants the viewer to share his enthusiasm.
What a way to start a Telluride! A review from the Adelaide screening can be read here. The deal was brokered by Oli Harbottle, head of Distribution for Dogwoof, with Adam Dawtrey who has produced the film.
Read the story here. Here you can access some of them:. The lengthy interview which covers many different subjects on and around childhood is online here.
Film Fest Gent in Belgium. A review in Dutch here. Vancouver International Film Festival in Canada. Doku Arts in Berlin. Amanda Randall has reviewed the film for Take One.
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If you plan to return to the game, but something changes your plan, retrieve your chips and forfeit the seat as soon as possible. Spend enough time in a poker room, and it will happen!
When a player leaves the game, other current players get first dibs on it before a new player is seated. If you want to move, just be the first to speak up when a seat you want is vacated.
To prevent arguments about who claimed it first, most poker rooms have a "seat change" button available. Just ask the dealer for it when you first decide you want to move.
That will reserve your "right of first refusal" as seats open up. Slide it back to the dealer when you move. Sometimes you may decide that you need not just a new seat, but a whole new table.
For this, you need to ask permission from the "floor person," i. They will be happy to accommodate your request when they can do so without leaving a game short-handed.
You can just pick up your chips and walk away. Exiting lines like "Good luck, guys," "Thanks for the game, everyone," or "Sorry, gotta go get the kids in bed" are trite but sociable.
Be a good sport, smile, and say something friendly and disarming. It will make you feel better about the loss to have been able to keep your composure.
In a few places, the dealer will cash out your chips. Ask for a chip rack to carry them in — or just help yourself to a rack if you see one lying around.
They are often on empty tables, or on the floor under the table, or in stacks near the cashier. Many casinos give you credit towards some sort of rewards program for your hours of play.
You may get swiped in at the front desk or at the table. Robert Woolley lives in Asheville, NC. He spent several years in Las Vegas and chronicled his life in poker on the " Poker Grump " blog.
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