J S Lasher – Google

I always wanted to be a filmmaker, but despite the lack of funds - and funding - which made that difficult, I decided that come what may I would direct (!) - something, anything. So, what did I do? I purchased a Soviet-designed camera from 1961, which they used to shoot panoramic films in their copycat Kinopanorama® format, the Russian version [and much improved upon] of the similar 3-film American format, Cinerama. I hired whoever I could find, mostly disinterested, if not greedy, Australian filmmakers, a good many of whom treated me with either annoyance or, worse still, contempt. So, one day I decided I'd shoot some footage of "The Bounty", a replica of the vessel used in the Australian production of the Mel Gibson film. I purchased Soviet SVEMA colour film stock [an inferior version of the original Agfa-Gevaert films] because the Kinopanorama® camera was milled [as all Russian films were] for what was referred to as 'Pos Perf' [as opposed to B & H 'Neg Perf', universally employed by commercial filmmakers elsewhere]. Only Kodak in France milled 'Pos Perf', which was very costly. Could any lab in Australia process the SVEMA footage? Nyet, as the Russians would say. So, off to Russia the negatives headed. Later, after months of waiting, they returned, looking quite impressive, even if the colour palette was on the drab side. That was only the beginning, if you will. The late John Mitchell, a Cinerama fanatic, with whom I later had an ill-advise falling-out, offered to screen my 'magnum opus' in his back-yard Cinerama cinema. The footage impressed those who saw it, which only served to further my ill-advised quest to become the next Sir David Lean [I should be so lucky!?]. I cribbed together the footage [the editing took what seemed like eternity at the time], which I managed to persuade the management of the National Media Museum [I think that's what they call themselves today] in Bradford, West Yorkshire, UK to screen it during their annual Wide Screen Weekend. It was popular there, despite the fact that some purile, devious Dane decided that he would do whatever he could do to sabotage my endeavours. He almost succeeded, given the weak, if incompetent, head of the Bradford management team. But, as Winston Churchill once remarked, 'the darkest hour is that before the dawn', two saviours arrived: a filmmaker from France who was fascinated by Kinopanorama®, and wanted to finance my meagre efforts, and, later, an American who to this very day enthuses about Kinopanorama®, restoring whatever footage I've shot with utter professionalism, not to mention, infinite care. Be that as it may, footage from "Chastity, Truth and Kinopanorama", a rather obtuse title which is a direct pun on Steven Soderburg's "Sex, Lies and Videotape", is presently being restored by Mr Kimble, following which time it will appear on Vimeo and elsewhere later this year. With this in mind, I applaud Sammy, Steven's alter-ego, for his persistance-of-vision, never-say-die attitude. He's certainly my sort of hero. I'll award "The Fablemans" 8 out of 10. If there are any caveats, they would have to do with the film's length. But, otherwise the performances [particularly David Lynch's portrayal of John Ford] are first-class. Superb cinematography, a nostalgic score by John Williams, and Tony Kushner's loving screenplay make this a must see motion picture. I rest my case. John Steven Lasher President & Treasurer - Management Committee The Kinopanorama® Widescreen Preservation Association, Inc.