My love for movies wasn’t born out of an appreciation for the pictures, much less the technology that made them possible. I was moved by the whole experience that comes with watching movies, the seamless magic, the waking dream they evoke in us. I wasn’t initially moved to find out necessarily how they worked that magic on me. What got me into movies was that I wanted to know more about that dream: the subjects, the story, the people, the places, the time, the history. Films made me into a wannabe scholar, a historian, a journalist, a story teller.
Until recently, I never allowed myself the right to call myself a filmmaker. Like many other aspirants and students, I tended to revere the artists of this craft as something close to gods. I found it hard to place myself in that kind of company, instead I let myself be a journalist, not that many of those practitioners don’t approach the same heights, but I found that world a little more accessible, a little less daunting.
I never was able to shake the film bug, either making them or studying them. Almost ten years ago I started making short films full-time, professionally, by accident, after the bottom seemed to drop out of the newspaper industry. In the summer of 2016, I mustered up the courage and nerve to bet on my dream and started the Riverbed Productions Co.
Cine Impreciso, not to be confused with the Cuban filmmaker Julio García Espinosa’s treatise “Por Un Cine Imperfecto”, is no treatise at all, but how I tend to approach life in general: a sort of multidisciplinary endeavor that weaves disparate connections and embraces ambiguity and mystery.
I envision this as one filmmakers log, journal, whatever, where we can explore and discuss all the things that inform and enrich our cinema, our life in general. A place to not necessarily discuss the “how to”, there are many great resources out there already for that, but rather the “why not?” of cinema and all the mystery and magic it inspires.