DIRECTOR STATEMENT:
NOISE MACHINE came about during a rather tumultuous and unpredictable period of my life. I was dealing with numerous different problems at the same time and the emotions associated with them eventually became intertwined with each other, leading to constant self-reflection and reevaluation . While the film started out being one particular interpretation of one specific problem, as production continued, the internal meaning behind it shifted while the narrative plot line remained the same. Upon realizing this, I decided to experiment with divorcing it from any clear meaning, allowing the film to act as a sort of artistic Rorschach test for whatever the viewer wants and sees within the film.
Technically, this film is a mix of old-school, analog filmmaking with the luxuries that modern equipment have granted me. The film was shot using a Bolex H-16 rex 6 with Kodak Tri-x black and white film. The visual edit was done physically, primarily using tape and splicers and color was put on the film using ink, paint, and pens. These aspects of the film were digitally enhanced for the final festival version. Though an analog backing track does actually exist, I decided for the final version to redo it digitally, allowing for more auditory precision and control.
This film, from its content to its production is my homage to classic arthouse cinema, while fully utilizing the tools that I have come to know and master in the internet age.
DIRECTOR BIO:
J.F. Tannen is a third year film school student. He has been creating and experimenting with various forms of media for over ten years. He was worked on numerous projects, ranging from television, feature films, shorts, and radio broadcasts. NOISE MACHINE is the second analog film he has produced. He is currently in the process of writing his first feature film. He finds it odd that he is writing about himself in the third-person.
