A collision between an art form (film) and a life form (you), cinema is a limitless psychological, physiological and emotional experience in which who you are is just as important as the film's design. It is an evolving, frame-based architecture of light and sound that draws you closer and closer to the sublime. It is the ne plus ultra of design platforms.
Film is not about what you see at any given moment. It is about what has come before being reevaluated as you anticipate future revelations. Film is fluid beyond the mechanical passage of time. It is a writhing serpent of flowing energy, always changing yet always one creature. Imagine an inversion of how cinema is understood and designed: rather than being shots with edits conveniently linking them, cinema is actually a series edits with shots in between. As such the edit, the essence of and what separates cinema from all other forms, should be designed first, with the shot accommodating that edit. From the scope of the entire film down to the individual frame, cinema is the juxtaposition of countless facets over time.
Our art is the vehicle by which we share divine energy with the world. We act as a conduit for this creative energy that comes from without. Neither ego nor associated conventions and technology should corrupt or pollute that energy, nor should they dictate how it unfolds.
Cinema, from beginning to end, is a balance between design and discovery, for both the director and the audience. Design and research indicate the direction of the film, while discovery, failure, adversity and serendipity imbue it with magic. Cinema is not the convergence of disparate disciplines. It is its own platform, its own art. This is a crucial distinction; muses do not sing together, they sing in harmony.
There is nothing in reality higher than cinema; not physics, not religion, not artificial intelligence, not love. It is the ultimate, zenithal concept that can be comprehended by the human species because it not only comprises all other possibilities, it makes new ones that would be otherwise unimaginable.
Ubiquitous, affordable technology, a century of film knowledge and the reevaluation of how talent is used and how films are promoted, distributed and consumed means that we can produce higher quality product with fewer resources. This in turn enables the financial justification for more original material. In short, we are not witnessing the jaded end of a medium, but rather the gleaming razor's edge of a nascent dawn that will reveal film's true potential.
We believe that art and accessibility are not mutually exclusive. We will produce compelling products for justifiable budgets. We respect the audience. We are above the politics and depravity that corrupt the priorities necessary to pursue the next step in the evolution of the form.
We are on the threshold of a new golden age in film. It is there and it is ours to seize.