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I am laying stones yet, I have not started building. It was 2003, a year since I owned a camera, 3 years since I bought a camera. In the recording I am focusing directly on the movement itself, now let’s give it a name: “Movement-centered recording”, to record the center of movement. Effective is the “mediated recording of movement,” to record the movement indirectly. If feet are the center of the movement, follow the event by recording the movements of the head, or recording the shoulders and non-feet, taking the feet out of the frame. This is the record of “movement”, not of “event”, from information to movement.

Movement is infinite, not abstract movement, but any concrete movement is infinite. It has a center but it spreads endlessly, it ceases to be visible from a distance, but it does exist. As filmmakers, we are limited to its visibility. The problem in scenes of eating together. The Colonel has no teeth, he barely chews soft things. We assume that I brought the pastries in a brand new paper bag. I eat with him he opens a level discussion: Am I eating so he can record? The main issue is cleanliness, disease, dirt, rust… I’m trying to get my stomach bent, an attempt to artificially equalize… I can’t afford to call him home: lice are there. We lived with Imam for 1 month, it would freeze in winter. Okay, our sterile life continues. I took a long shot of him trying to chew on a piece of bread. I just skip these sections. He says “I have no teeth”, he stayed. He’s prescribing medicine. From “soldier person” to “authorized person”, or doctor person now. Sandoz C six spoons a day…

If you are following a person who lives alone with a handheld camera, the look of your frame should not violate the angle, equality, equivalence limit. The colonel is trying to string the scattered rosary on the road again, and the camera angle is ninety degrees from somewhere below his knees.

pulling him up at a right angle both hand face close-up. What are you trying to show? The knowledge below is just a cliché. You have to reconsider the situation each time. Pull it off, check it, normalize it, don’t be a camera actor. Two of you are this conversation distance in the environment.

I have to talk about the blurry recording of the image at this stage because I did it, and I liked it very much. I am not talking about the cliché that gives clarity to that central figure and makes the background blurred. I am talking about the recording in which the sharpness setting is completely distorted and the figures and the movement transformed into a completely blurred flow, a shadow movement, a light movement, an abstract movement of color, toning. In particular, I say recording because I am talking about blurry recordings that fall into the camera as an impression, with an interaction between me and him in the visual thinking process of the issue we are recording, not with the help of digital effect in the montage. You will understand that he is the Colonel, and what he might be doing, but you will understand that he is already living between existence and nothing. I had made this kind of recording before, during the death fast of 2000, when we first went to the street with a camera, by turning on the slow-motion effect of Hi8.

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