Ricardo Antunes

(02/11/1982 / Springfield, Massachusetts)

Biography of Ricardo Antunes

Lifelong love affair with cinema takes root. Laurel and Hardy film as the first. Early love of R-rated films develops early on. Watched broadcast of Roger Cormon's Alligator prior to leaving to Portugal. Reenactment of black and white film when eldest sister locks younger brother in laundry room. As sister enjoys make out session with then boyfriend while brother turns to give voice in protest for having been locked in the laundry room. Brother turns to positioning crib propped up against locked door. Rasps juice cup back and forth across bars of crib in same spirit of old prison film drama. While in Portugal, turn to lining up suspects after toy cars are stolen. Question suspects similar as interrogation in old movie seen. Questioning limited and not proficient in language as those questioned. Movie involving spatial dislocation in black and white haunted house film disturbs. Early love of surrealist cinema formed? Possibly. Viewing of uncensored Stallone film Cobra seen. Falls short in quality when re-watched years later in high school. Films re-watched in adulthood sometimes lack luster and sheen of youth (King Kong Lives) .

Once stateside, turn to developing love for R rated films further at the age of four. Love in reverence and influence develop for Die Hard, David Cronenberg's The Fly, Robocop, Raising Arizona, James Cameron's Terminator, Conan the Barbarian, Rambo First Blood Part 2 and Predator. Ride around in tricycle modeled after Rambo sequel. Attended screening of Robocop while in theaters with sister. In mid-80's John Huston's remake series of Alfred Hitchcock Presents becomes first awareness of Hitchcock. Episode of loner adolescent girl who points and pulls trigger of loaded revolver. Puts bullet into empty chamber after each pull of the trigger until fired. End of episode. Original series of Alfred Hitchcock lingers in memory and later in influence. Episode of Joseph Cotten mistaken for dead after car crash resulting in full body paralysis. Solitary tear saves from autopsy and accidental death. Found disturbing in early youth. Effective subjective camera techniques employed by Hitchcock prove effective. All throughout youth and into teenage years, films are present in viewings.

On fabled weekend early on in high school, viewing of five masterpieces. Films: Easy Rider, Raging Bull, Goodfellas, The Shining. and lastly, One Flew Over the Cuckoo's Nest all for the first time. At weekend's end, late Sunday night, watched One Flew Over The Cuckoos's Nest with parents. When film ended, epiphany comes to mind. The awe and roller coaster ride of emotion's felt while having watched these masterpieces, result of dawn of epiphany in becoming film director. Prior, felt as if lost in a sea of indecision toward future purpose. Once epiphany found, a light and purpose laden in goal in life. Result to haunting the Springfield Main Public Library to begin studies in film. First film book read was on Steven Spielberg's films. Proceed to David Mamet's book on Film Directing. First film book bought, , , Film Directing Shot by Shot. Last book read in self study on film while college bound, Scorsese On Scorsese.

Tail end of sophomore year, tune in and record AFI's 100 YEARS 100 MOVIES. Greater awareness of cinema's past take root. Realization of ignorance toward most films on the list. Purchase commemorative magazine in honor of list. Record and watch one hour series of theme based specials on AFI list. By high school's end, seen 96 of the 100 films in their entirety. Develop high influence and regard for Spielberg during high school. Watch films directed by influences of Steven Spielberg. In junior year, while listening to Spielberg's interview sound bytes on verge of weekend premiere of Saving Private Ryan. Spielberg when asked about influential living contemporaries, responds with Kubrick and Scorsese. First awareness of Stanley Kubrick. Proceed to watch any and all Kubrick films. In growing reverence, connection made in recollection of Freshmen year Western Civilization class as teacher questioned class over Paths of Glory. Moment reinforced in memory while Kubrick grows in significance to this cinephile in development.

Early on in high school, first initial viewing of Turner Classic Movies when film Stalog 17 broadcast while at sister's home. Turns to Turner Classic Movies and shortly there after American Movie Classics in search of growing cinematic influences. Proceeds to record hundreds upon hundreds of movies to VHS. Limit one film per vhs cassette recorded. Turns to films as tutor while there be lack of outlet for film education in school. Proceed to multiple viewings of masterpieces and perennial favorites to study the aesthetics that go into films and the patterns of over all construction. Opening and closing segments to films broadcast on TCM and AMC also helpful in whatever nuggets of trivia attained for self education.

Watching film's daily serve as mode of escapism from stifling and suffocating suburban environment. Good days amounted to up to watching 3 films in one day. Back to back to back. Film's romanticized as modes of living vicariously the lives of anyone from all walks of life amidst any time and place. While on one of the multiple movie theater screenings of Star Wars Episode I, to mark awareness of Kubrick's final film, a friend is pointed to a film poster of Eyes Wide Shut. The first and only film of his seen by this fan in theaters. Once free from high school altogether, film education is furthered when dozen's upon dozens of film book's purchased at college book fair.

On start of college, movie theater club served as avenue to cinema going in break from weekly grind from classes. Three film books read by the time of my first college film class. One book, Cinema as Art by Deverieaux and Stephenson, greatly eye opening in education of film. Book remains as most favored of any film books owned. Impactful in very first film classes. Having read book prior to semester, greatly substantiated further understandings in aesthetics of film as artform. Made first short film as video. Served not only as assignment but as psychological catharsis to childhood trauma.

Due to self education prior to college, the theoretical and the critical aspects to film education were worked out years before. The technical were read about but not implemented in experience as the theoretical had been. But the technical side of film making were greatly studied prior to college. Primarily the editing aspect to film making were emphasized in practice while in senior year A/V club. Read of film direction but knowledge learned from reading were not reinforced in practice until second university attended. Weak on the photographic aspect to film making once entering first production course at Hofstra University. Short film Creative Genesis: How Art Beget Wife planned for class. Not followed through to its completion due to complete loss of interest in continuing school. Did not work within limitations. Was incapable of communicating with women due to childhood stigma put into place through sexual molestations. Loss of interest and motivation in continuing took root very early on. Short film never completed. Left school with Incomplete in class. After leaving school, turn to self education once again. Read more film books in such a small frame of time in 2002 than anytime before or since. Intend to resolve incomplete presently.

Greater confidence in knowledge of the technical sides of film making due to empowerment from knowledge acquired. Endows with as much technical knowledge as possible while attending University of New Orleans. In theory: the more knowledge known, the more respect garnered on film set. Retook equivalent introductory film production class at UNO. Excelled in class. Idea of Unintentional Fallacy runs counter to the theoretical emphasized at Hofstra. Meaning what is interpreted, may or may not be the original intent of the filmmaker. Runs counter to original teachings. Offers second insight on film. Doesn't deter the theoretical deconstruction of aesthetic elements in want to get into the mindset of a filmmaker. Director in self education of films of another is questioned whether conclusions made are elaborate pretensions. Second college emphasizes the technical and not the theoretical. Greatly fills in the gaps of knowledge once lacking at first university. Praised and excelled in classes. Early practice in editing reflect head professor's stance through profinciency in editing, trains one to be a better director by developing the skill on envisioning what needed to shoot before hand.

Decade into pursuit of degree. Resultant accumulative of three and a half years of college credit. Not wanting to continue. Trying to fulfill an American Dream to be a filmmaker. Once finished, benchmark of accomplishment attained from acquired experience. Sense of completion. Resolution sets in. Next chapter started in evolution of artist as filmmaker.

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