Image

Bruce Branit - World Builder (high quality)


A strange man uses holographic tools to build a world for the woman he loves. This is a short by filmmaker Bruce Branit known also as the co-creator of 405.

Filming took one day, and post-production two years. A Michelangelo of our times? As creative as painting, writing, composing... the artist is using digital tools, creating worlds, merveilleux!

An architect's dream!

___
Direct link: World Builder.


Update March 13th:

Awww, this is so sweet! This video has been viewed over half a million times, and he has time to send out these tiny batches of thank-you's...an amazing guy, clearly.

bbranit has sent you a message:

World Builder Thanks

To:[about 20 people, including me]

Thank you for your support and your kind comments. Really an overwhelming and amazing response. Now I am speechless. It's been a real pleasure to see everyone embrace this movie. The feedback has been tremendous!

If you are on Facebook please stop by and become an official fan of the short. I hope to be able to expand upon the story of the builder and his love in a larger feature film as many of you have asked about. Everyone here and their response may help make that happen. So check out....

http://www.facebook.com/pages/World-Builder/73936485659

...I hope to have some updates and inside info on there every now and then.

Bruce Branit
Comments

In the Discretion of Inspiration

It's been a long time since I last painted, about a year and a half. Why did I give it up? I think I sacrificed my art for a relationship where it may have been problematic but now I realize not painting was the real problem. Still struggling with issues of creativity, in other words.

I don't mind the painting, quite like its bright colours, find the women a bit detached from one another, but then they are separate poses by the same model over the course of a few hours one evening at a lifedrawing session. If I did them again, I'd like to paint them with the wings of angels... and, who knows, may.

I realized that the figures have composed themselves into pairs - the two on the far right I don't particularly like - the colouring is too thick, but then again they're more earthy than the others, more ripely body, hence more sensual. The central two I rather like, somehow reminding me of the centuries of art looking out at me, it's hard to explain; one looks straight at us, I left the features of her face deliberately delicate, not forceful lines, and the other I happily left with her head in the clouds, almost sculptural, and she's quite androgynous too, sort of like 'The Thinker.' On the left are figures growing out of the swell of sky and earth, colours themselves. They remind me a little of Michelangelo's 'Slaves' who are both emerging from and yet still part of the marble, but my figures are free and lithesome, like flowers dancing in the breeze. There is one rising like a vivid plume, too, who echoes the far right one with the walking stick, herself a figure, in my mind, of the Australian walk-about medicine woman of earthy potent power, bald perhaps from illness she's gone through, but she's there, an onlooker, a protector, one who cares for the soul. All the figures are sensual to my eye. They blossomed on the page like flowers in a wild garden, nature spirits, fertile with the creativity of nature and spirit.

This little painting comes out of the womb of life, the women who are like flowers in the garden we all play in through our years of living.

Overall I'm pleased with this renewed effort to paint again. I have already bought a sheet of paper for the next one...

This is how to do it - to continually have something 'on the go,' bit by bit things get done, you just have to keep dabbling, keep reaching in, taking a moment here and there to add a line of paint, or a phrase, or a little prose poem, and then you find you have a book, or a set of paintings to show.

Inspiration is in the moment, in discreet, distilled moments of time.

I happily share my journey with you.
Comments (2)

On the Mystical Theology of Spring


*the consequences of
what the composition is
centred around are of
great importance*
theologica mystica
the deep interior
Botticelli's Venus, innocent and flowering, beautiful
and fragile, a powerful goddess and
untouched maiden, a blossom of love
that is the garden itself...
Who is the
birth

of
Comments

Comparing the creative processes of words, paint, voice...

The various art forms are intriguing. Today I'm thinking in terms of editorial capabilities with words, paint, or voice.

Words are easiest, as long as you've kept earlier versions, it's possible to go back, or follow a thought forward to something else, to change the piece of writing entirely, or add to, clarify, work on it until the words sit still (this can take a little time, and only happens after the words stop nagging you with their undoneness).

Paint is a less forgiving. If you go too far or not far enough the paint will give you some leeway, but there's a point where overdone is overdone and there's no going back. Paint has a Rubicon, and I go in fear of it. It takes a long time to plunge into paint for this reason. Gathering the ideas, sketching, this takes time, erasing is possible and I do it often, buying or selecting the paint, this is important, like creating a little medicine bundle against what is to come. It's all laid out on the floor, one is in one's overalls, hair tied back, no phone, the jars of water, the tubes of paint in a row, the palette awaits. It's what I imagine it's like to get into a racing car, or to climb to the very end of the highest diving board. You wait. You steady yourself. Then you go into a Zen frame of mind. You let everything go, you hit the accelerator, you dive. You trust your body will know what to do. You are fully present and completely alert. It is not time to hesitate. The flow begins. I paint with my fingers, my hands, and I can't see what I'm doing in that everything is so wet and sliding that form hasn't begun to emerge. That comes later, as it dries, and there is a paradoxical sense of disappointment, discovery, and a newness, accepting what's emerged, and working with it more slowly, with a paint brush, to make things go in or come out, to echo colour or form, to balance or unbalance, the finishing touches. It's like letting a tornado spin through you. It's the most utterly fearful thing I do, putting my life on the line like this.

A recording of words are the least forgiving of all. A run-through, it has to be all of a piece. Due to the cadence of the voice, which keeps changing, each moment it changes, the air or the particular openness of the glottis or the emotion pushing up or disappearing make the voice different, and so you can't add a word or a phrase here or there and have the piece maintain it's consistency. Subtraction is possible, but again, tricky. The listener will hear it. The momentum is lost. And so with my recordings I find I grate at sections, like other bits, and have to go with whichever version somehow is 'listenable,' that I can bear to live with. It's hard to say what the criteria for this 'listenability' or 'bearability' might be because in a year I might feel very differently.

Unlike with words, where you can diddle endlessly, going over and over a piece, leaving it, coming back, rewriting, polishing, or with paint where it is possible to work patinas over the original whirlwind, you can't with a recording, not the particular track that captures the cadences of the voice, but you can record the same piece over and over.

Perhaps the process of writing is like creating a medicine bundle that you can contiue to compose, add to, pick away at, shift or change; whereas, the process of painting (for moi) is like throwing the contents of a prepared medicine bundle onto the canvas to do their transformative work; and the process of recording, with the ability to re-record, like endless medicine bundles of the same, until finding the one that holds the spirit?

As I speak of these processes, it seems that they move towards the performative.

With all three forms, the final criteria is 'Can I live with it?'

If so, it's bearable.
Comments

Pruning A Wild Creativity

Wild creativity where I continually have to prune the excesses, this seems apropos. Slicing, trimming, removing. Articles, connectives, pronouns, prepositional clauses, whatever slows down the immediacy. Sudden leaps from one image to another, something invisible hovering between that connects them, something other than a random placement on the page, that is. Honing while listening to an internal rhythm, the syncopations of an inner aesthetic, what's overdone and weedy, or too sparse, how to. Otherwise I'd overrun, a confusing conglomerate of overgrowth.

Meditate perhaps for the same reason. To hone wildly outbursting thoughts. Clarify an inner terrain. Make it livable within the self. A friend recently said that I had the busiest mind of anyone they knew and no wonder I had to meditate.

Editing oneself. Ah, so.

How about you?
Comments (3)

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Bruce Branit - World Builder (high quality)


A strange man uses holographic tools to build a world for the woman he loves. This is a short by filmmaker Bruce Branit known also as the co-creator of 405.

Filming took one day, and post-production two years. A Michelangelo of our times? As creative as painting, writing, composing... the artist is using digital tools, creating worlds, merveilleux!

An architect's dream!

___
Direct link: World Builder.


Update March 13th:

Awww, this is so sweet! This video has been viewed over half a million times, and he has time to send out these tiny batches of thank-you's...an amazing guy, clearly.

bbranit has sent you a message:

World Builder Thanks

To:[about 20 people, including me]

Thank you for your support and your kind comments. Really an overwhelming and amazing response. Now I am speechless. It's been a real pleasure to see everyone embrace this movie. The feedback has been tremendous!

If you are on Facebook please stop by and become an official fan of the short. I hope to be able to expand upon the story of the builder and his love in a larger feature film as many of you have asked about. Everyone here and their response may help make that happen. So check out....

http://www.facebook.com/pages/World-Builder/73936485659

...I hope to have some updates and inside info on there every now and then.

Bruce Branit
Comments

In the Discretion of Inspiration

It's been a long time since I last painted, about a year and a half. Why did I give it up? I think I sacrificed my art for a relationship where it may have been problematic but now I realize not painting was the real problem. Still struggling with issues of creativity, in other words.

I don't mind the painting, quite like its bright colours, find the women a bit detached from one another, but then they are separate poses by the same model over the course of a few hours one evening at a lifedrawing session. If I did them again, I'd like to paint them with the wings of angels... and, who knows, may.

I realized that the figures have composed themselves into pairs - the two on the far right I don't particularly like - the colouring is too thick, but then again they're more earthy than the others, more ripely body, hence more sensual. The central two I rather like, somehow reminding me of the centuries of art looking out at me, it's hard to explain; one looks straight at us, I left the features of her face deliberately delicate, not forceful lines, and the other I happily left with her head in the clouds, almost sculptural, and she's quite androgynous too, sort of like 'The Thinker.' On the left are figures growing out of the swell of sky and earth, colours themselves. They remind me a little of Michelangelo's 'Slaves' who are both emerging from and yet still part of the marble, but my figures are free and lithesome, like flowers dancing in the breeze. There is one rising like a vivid plume, too, who echoes the far right one with the walking stick, herself a figure, in my mind, of the Australian walk-about medicine woman of earthy potent power, bald perhaps from illness she's gone through, but she's there, an onlooker, a protector, one who cares for the soul. All the figures are sensual to my eye. They blossomed on the page like flowers in a wild garden, nature spirits, fertile with the creativity of nature and spirit.

This little painting comes out of the womb of life, the women who are like flowers in the garden we all play in through our years of living.

Overall I'm pleased with this renewed effort to paint again. I have already bought a sheet of paper for the next one...

This is how to do it - to continually have something 'on the go,' bit by bit things get done, you just have to keep dabbling, keep reaching in, taking a moment here and there to add a line of paint, or a phrase, or a little prose poem, and then you find you have a book, or a set of paintings to show.

Inspiration is in the moment, in discreet, distilled moments of time.

I happily share my journey with you.
Comments (2)

On the Mystical Theology of Spring


*the consequences of
what the composition is
centred around are of
great importance*
theologica mystica
the deep interior
Botticelli's Venus, innocent and flowering, beautiful
and fragile, a powerful goddess and
untouched maiden, a blossom of love
that is the garden itself...
Who is the
birth

of
Comments

Comparing the creative processes of words, paint, voice...

The various art forms are intriguing. Today I'm thinking in terms of editorial capabilities with words, paint, or voice.

Words are easiest, as long as you've kept earlier versions, it's possible to go back, or follow a thought forward to something else, to change the piece of writing entirely, or add to, clarify, work on it until the words sit still (this can take a little time, and only happens after the words stop nagging you with their undoneness).

Paint is a less forgiving. If you go too far or not far enough the paint will give you some leeway, but there's a point where overdone is overdone and there's no going back. Paint has a Rubicon, and I go in fear of it. It takes a long time to plunge into paint for this reason. Gathering the ideas, sketching, this takes time, erasing is possible and I do it often, buying or selecting the paint, this is important, like creating a little medicine bundle against what is to come. It's all laid out on the floor, one is in one's overalls, hair tied back, no phone, the jars of water, the tubes of paint in a row, the palette awaits. It's what I imagine it's like to get into a racing car, or to climb to the very end of the highest diving board. You wait. You steady yourself. Then you go into a Zen frame of mind. You let everything go, you hit the accelerator, you dive. You trust your body will know what to do. You are fully present and completely alert. It is not time to hesitate. The flow begins. I paint with my fingers, my hands, and I can't see what I'm doing in that everything is so wet and sliding that form hasn't begun to emerge. That comes later, as it dries, and there is a paradoxical sense of disappointment, discovery, and a newness, accepting what's emerged, and working with it more slowly, with a paint brush, to make things go in or come out, to echo colour or form, to balance or unbalance, the finishing touches. It's like letting a tornado spin through you. It's the most utterly fearful thing I do, putting my life on the line like this.

A recording of words are the least forgiving of all. A run-through, it has to be all of a piece. Due to the cadence of the voice, which keeps changing, each moment it changes, the air or the particular openness of the glottis or the emotion pushing up or disappearing make the voice different, and so you can't add a word or a phrase here or there and have the piece maintain it's consistency. Subtraction is possible, but again, tricky. The listener will hear it. The momentum is lost. And so with my recordings I find I grate at sections, like other bits, and have to go with whichever version somehow is 'listenable,' that I can bear to live with. It's hard to say what the criteria for this 'listenability' or 'bearability' might be because in a year I might feel very differently.

Unlike with words, where you can diddle endlessly, going over and over a piece, leaving it, coming back, rewriting, polishing, or with paint where it is possible to work patinas over the original whirlwind, you can't with a recording, not the particular track that captures the cadences of the voice, but you can record the same piece over and over.

Perhaps the process of writing is like creating a medicine bundle that you can contiue to compose, add to, pick away at, shift or change; whereas, the process of painting (for moi) is like throwing the contents of a prepared medicine bundle onto the canvas to do their transformative work; and the process of recording, with the ability to re-record, like endless medicine bundles of the same, until finding the one that holds the spirit?

As I speak of these processes, it seems that they move towards the performative.

With all three forms, the final criteria is 'Can I live with it?'

If so, it's bearable.
Comments

Pruning A Wild Creativity

Wild creativity where I continually have to prune the excesses, this seems apropos. Slicing, trimming, removing. Articles, connectives, pronouns, prepositional clauses, whatever slows down the immediacy. Sudden leaps from one image to another, something invisible hovering between that connects them, something other than a random placement on the page, that is. Honing while listening to an internal rhythm, the syncopations of an inner aesthetic, what's overdone and weedy, or too sparse, how to. Otherwise I'd overrun, a confusing conglomerate of overgrowth.

Meditate perhaps for the same reason. To hone wildly outbursting thoughts. Clarify an inner terrain. Make it livable within the self. A friend recently said that I had the busiest mind of anyone they knew and no wonder I had to meditate.

Editing oneself. Ah, so.

How about you?
Comments (3)

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