RaMell Ross

Yeah, it's way easier than one might imagine. You basically don't have the character there and you have a camera operator that's sitting there as the character and then you shoot it from both scenes. So it's quite difficult for the actors because essentially their scene partner is a camera operator.

Yeah, it's way easier than one might imagine. You basically don't have the character there and you have a camera operator that's sitting there as the character and then you shoot it from both scenes. So it's quite difficult for the actors because essentially their scene partner is a camera operator.

Yeah, it's way easier than one might imagine. You basically don't have the character there and you have a camera operator that's sitting there as the character and then you shoot it from both scenes. So it's quite difficult for the actors because essentially their scene partner is a camera operator.

And of course, the character is standing behind or sitting behind the camera operator delivering their lines. But the other character who's looking down the lens is not allowed to look at them, of course. They're supposed to be engaged with the camera operator.

And of course, the character is standing behind or sitting behind the camera operator delivering their lines. But the other character who's looking down the lens is not allowed to look at them, of course. They're supposed to be engaged with the camera operator.

And of course, the character is standing behind or sitting behind the camera operator delivering their lines. But the other character who's looking down the lens is not allowed to look at them, of course. They're supposed to be engaged with the camera operator.

And so this offers, I think, an assurance that while you're encountering this image, you know that it's from a specific person's consciousness, an extension of their consciousness, one could say. And with that, it's a type of personal truth that I think one fundamentally connects to.

And so this offers, I think, an assurance that while you're encountering this image, you know that it's from a specific person's consciousness, an extension of their consciousness, one could say. And with that, it's a type of personal truth that I think one fundamentally connects to.

And so this offers, I think, an assurance that while you're encountering this image, you know that it's from a specific person's consciousness, an extension of their consciousness, one could say. And with that, it's a type of personal truth that I think one fundamentally connects to.

Yeah, I made this film, Hell County, this morning and this evening. Before this film, right?

Yeah, I made this film, Hell County, this morning and this evening. Before this film, right?

Yeah, I made this film, Hell County, this morning and this evening. Before this film, right?

Yeah, yeah. And essentially, halfway through the process, I realized that I wanted to make the camera in Oregon because... There was something that maybe we'll get into, but that has to do with photo history and authorship and the production of Blackness.

Yeah, yeah. And essentially, halfway through the process, I realized that I wanted to make the camera in Oregon because... There was something that maybe we'll get into, but that has to do with photo history and authorship and the production of Blackness.

Yeah, yeah. And essentially, halfway through the process, I realized that I wanted to make the camera in Oregon because... There was something that maybe we'll get into, but that has to do with photo history and authorship and the production of Blackness.

I think to make the camera an organ is to acknowledge first that the camera is something that others are. And it's something that abstracts. It's something that produces sort of false positives.

I think to make the camera an organ is to acknowledge first that the camera is something that others are. And it's something that abstracts. It's something that produces sort of false positives.

I think to make the camera an organ is to acknowledge first that the camera is something that others are. And it's something that abstracts. It's something that produces sort of false positives.

It's anthropological. Perfect. Yeah. Yeah. I think in terms of the way that photography and film present a truth that is perspectival but presents itself as unauthored often just by fact of it. not being clearly from someone's point of view has always been the problem.

It's anthropological. Perfect. Yeah. Yeah. I think in terms of the way that photography and film present a truth that is perspectival but presents itself as unauthored often just by fact of it. not being clearly from someone's point of view has always been the problem.