![]() ![]() ![]() The Star Wars material mostly came from Star Wars Origins and the Kill Bill stuff mostly came from The Quentin Tarantino Archives. Both those filmmakers have large and active communities on the web. How did you go about finding and compiling all these clips? It didn't require me to shoot footage so I thought it'd be relatively easy, but it turned out to be outrageously time-consuming.Įpisode 2 really hits home with side-by-side comparisons of Star Wars and Kill Bill with dozens of films with nearly identical scenes. We all copy, we all transform, we all combine. And initially it seemed like a good side-project while I was working a day job. It's a blurry boundary between where one work ends and another begins. Corporations - and even many authors - want monopoly rights that are as broad and enduring as possible, but the gaping hole in that approach is that all creations contain chunks of other creations. I wanted to address the hypocrisy of property-centric views of creativity. Kirby Ferguson: Philosophical odyssey, I like that. What was your motivation to take on this quest? ![]() It’s also a labor of love - you’ve produced and funded the series yourself, with some support from viewers. The Atlantic: Everything Is a Remix is as much a philosophical odyssey as a documentary series, exploring notions of creativity and authorship across music, film, and technology. ![]()
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