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DON ASKARIAN'S FILMS & FILM SCHOOL
Do you like to have rare inside secret truth honest hidden information about the situation in modern cinema & film making?
See, please, below quotations from
DIRECTOR'S INTENTION

"The importance of this project is measured by life of its author, director and producer: he is in the same situation as his main character, and he could be killed too. Look, see what I produce, someone has to say it somewhere, so that it won't disappear; if I am killed or chased down, then you should realise, that's exactly why I'm doing it. The article is still writing itself, I haven't finished it, I'm sitting here in the middle of KGB country, my name and my life are already into the third decade in their blacklists, and now they've begun shooting people again, in groups -- ten, a hundred, at a time... you can't miss it, but it's not on the scale of the former empire where they would shoot thousands.
Don Askarian 17.12.2006
Perhaps it's a nightmare that is spreading, perhaps it's the truth that's murmuring; time will tell: during the last few weeks I've been getting feelings that are not particularly pleasant...the feeling that my murder is being planned; discussed, or they've already reached the implementation stage. Who knows? Two nights -- most recently last night -- I could feel it with my skin. It seems to me that I have to start by taking steps to defend my life and my property, of which the main part are my films. Would the publication of this article help to defend me?. Even the rottenest prison officer will confirm that I am the last free human in this republic, which is why I shall publish these lines whatever happens. Long live number, the number revolution! -- the only one, which is accepted without any provisos: each arsehole and every cur can call themselves a film director today - and quite right, too, very right indeed: because in the final analysis what we still don't actually know is: who's the arsehole, who's the idiot, and who's the real film director. The history of mankind is mostly the first two, as history//the story and the present of the film convincingly confirm. The money plays a smaller and smaller role -- the producer filled right up with the director's blood and with money; and, laden with the money and the thoughts of the money, brainless producers will blanch, and soon become a skeletal shadow - and perhaps it's not bad, it could even be to the good; it could mean the film director's profession, one where only counterfeiters, cheats, and whores can prevail and prosper, changes to one, which if not decent, is at least calmer. Whether the era of the pimp- producer is drawing to a close? Hardly. The Russian KGB has transformed the repellent cinematic flat-share of communism, where corpses lay scattered everywhere.... I assure you, for it makes no difference to the victim who kills him - whether it's a mullah, or a Vanya in uniform, a Mаu-Mаu Tse Tung or an executioner from Hitler's era. None of that has anything to do with film. Exactly: it has nothing to do with the film. And why not? Because it seemed to be a film, but it has turned out that there isn't any film - anything you want, but no film. And what do you expect, if mullahs, the KGB, Chinese party officials, western producers - have we left anyone out - make these absolutely-no-film films?And what films are you expecting from them?
© 2006 by Don Askarian
Full version of this article(7 pages) and it's translations into German and Russian could be ordered via e-mail donfilm@yahoo.com