Anne Huber
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Contact Information*:
Hamburg Germany |
Contact Type: Artist |
| web: http://annehuber.de | |
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Bio:
Anne Huber was born in Giessen, Germany in 1953. 1972-78 she studied at Hochschule für Gestaltung Offenbach (College ofDesign). >1986-1999 Member of the »Produzentengalerie 42« (artist´s gallery) at Giessen. Filmography/Awards Info: 1. Why did you make this film? In my graphic work I often made woodcuts over many years. Therefore I wanted to try out the possibilities of woodcut in animation. First I experimented with prints, but it didn't work, it wasn't what I actually wanted. Then I got the idea of putting the wood directly into the scanner. I cancelled the subject that I had had in mind as well, let the wood work itself and improvised while observing what happened. 2. How long did it take to make this film? About one year (with breaks, I have to earn my living, anyway). 3. What was the biggest challenge you faced in making this film? To prevent chips of wood from getting into my scanner. 4. Do you have any "war stories" that you would like to tell us about the making of this film? No 5. What can you tell us about the technology/equipment that you used? Camera? Editing? Software? Hardware? Film stock? Video tape stock? Sound equipment? Etc. I did not use a camera, the film was edited on a Windows-PC and from there recorded on (S-)VHS tape. Software: Photoshop for image processing, Macromedia Director for single frame animation, Ulead Media Studio for editing. I recorded the noises (mainly my voice, violin, flute and a glass of water) with a simple microphone and edited the soundtrack with Sound Forge. 6. Do you enjoy one aspect of filmmaking more than any others? Creating the soundtrack 7. In what country or region do you live? Is it important to your art? If so, in what way? I'm living in Germany. Perhaps it's easier to get the idea of making a woodcut film there with all the tradition from Albrecht Duerer to the artists of the "Bruecke" and HAP Grieshaber than in some other places. But in general, if there is any influence on my work, it's more by the street and the neighborhood i'm living in than by the country or region. 8. What does "Microcinema" mean to you? A place for experiments and personal expression, more like cabaret than like theater. 9. What does "Independent" mean to you? Not to need the money of people which want to influence my work. 10. What are a few tips you can give to other filmmakers? I'm not feeling able to give tips... 11. Do you have ideas for another film? If so, will you share them with us? Four days a week I go to work by train, so my next project is about being on the train, the different layers of perception, both visual and acoustic. But I'm afraid it will take a long time to realize it. 12. Who is your favorite film director? ---????--- maybe Theo Angelopoulos 13. What is your favorite film? The animation "Felix in Exile" by William Kentridge. 14. What else would you like to tell us? This Contact appears in this database if Microcinema International has screened a film directed by the Contact, a film directed by the contact is featured in a DVD distributed by the Blackchair Collection Shop, or featured an organization or activity linked with the Contact. This database is used for commercial as well as informational, non-commercial purposes. It is a historical archive of Microcinema International's activities. Inclusion in this database and archive in no way implies a continuing formal relationship or affiliation with Microcinema International or the Blackchair Label nor an endorsement of its activities by the Contact. Contact details are not displayed in order to protect privacy. If you wish to contact this artist please see their website as listed above or write Microcinema International and we will be happy to forward your e-mail.
Microcinema Interview/Article:
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