Production
The title of The 1 Second Film derives from the fact that the animation at the core of the film project is just one second long (24 frames). The animation consists of 12 large frames (9 ft x 5 ft paintings). The frames were painted by hundreds of people during a multi-disciplinary event on March 8, 2001 (International Women's Day) at California Institute of the Arts. The event included live-performers and musicians; people attending the event were invited to help paint the frames of animation. Each frame had an art director that engaged the audience as participants; color design for the animation was selected by Jules Engel. Each of the 12 paintings is filmed twice (on 70 mm film) to create the 24 frames in one second of film.
The one second of animation will be immediately followed by an estimated one hour of end credits. Alongside the credits will be a feature-length documentary on the creation of the artwork.
The production gives a Special Thanks to everyone who registers to join on the1secondfilm.com. Crew Members then get profiles on the1secondfilm.com and can participate more and get additional film credits.
The film is being crowd-funded by public donations. Donors receive a Producer credit in the movie for a minimum of US $1.00 (with no maximum). Depending on the amount donated, the contributor is credited either as an Associate Producer (US $1–9.99), Producer (US $10–99.99), or Executive Producer (US $100 and up). Producers get listed in order of amount donated, which has led to the general public outbidding many of the celebrity producers to get a top billing.
The production also gives a Publicist credit to crew members who refer one or more people to join. Publicists get listed in order of referrals.
Read more about this topic: The 1 Second Film
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“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)