By Ayers Baxter
What we commonly
call films were originally called moving
pictures and/or motion pictures. They did
this for a good reason. They were just that.
They were still pictures drawn or painted
and then flipped by hand in such a manner as
to create an illusion that the objects drawn
on paper were in motion.
Later,
when
film
captured
an
image
and
the
still
shots
were
attached
in
such
a
way
as
to
allow
them
to
move
through
a
machine,
the
results
created
a
similar,
albeit
striking,
illusion
that
the
items
cptured
on
film
were
alive.
A
man
walking.
A
woman
dancing.
A
man
shaving.
A
woman
riding
a
horse.
Etc.
And
thus
during
the
twentieth
century
people
began
calling
them
films
in
the
plural.
Perhaps,
however,
the
original
name,
moving
pictures,
rings
truer
to
life
as
we
know
it
today
since,
film
is
being
rapidly
replaced
by
video
and
digital
machines.
Moving
pictures
are
Motion
Pictures.
Pictures
in
motion.
Movies
are
a
shortened
street
version
of
the
two
words.
Why
I
bring
this
up
is
due
to
the
subtle
but
significant
importance
of
remembering
why
we
go
to
the
movies.
We
go
there
to
see
moving
pictures.
The
simplicity
of
this
may
obscure
the
profound
importance
of
recognizing
that
pictures
in
motion
means
that
something
or
someone
is
moving
from
one
place
to
another.
That
something
is
going
someplace.
In
ancient
days
of
motion
pictures
an
audience
might
be
happy
to
see
a
person
juggling,
a
person
running
short
distances
or
a
car
chase.
The
capturing
of
these
images
and
the
study
of
these
images
seemed
at
that
time
to
be
significant.
Important.
And
it
was.
These
small
developments
in
motion
pictures
were
called
shorts.
They
were
short.
They
held
audiences
attention
for
30
seconds.
Fine
in
ancient
times
of
motion
pictures.
Today,
audiences
demand
much
more.
They
want
to
see
grand
spectacular
motion
captured
on
film
or
tape
or
digitally.
The
requirements
to
satisfy
the
audience
today
are
as
demanding
as
the
audience.
Therefore,
a
person
interested
in
working
in
the
motion
picture
industry
would
be
wise
to
learn
all
of
the
requirements
and
all
of
the
solutions
to
all
of
the
audiences’
demands.
This
is
in
a
perfect
world.
In
our
world,
as
artist,
it
is
our
mission
to
do
the
best
we
can
to
make
this
industry
a
perfect
world.
Why?
Because
over
the
years
I
have
noticed
that
there
is
no
one
else
who
has
the
passion
nor
the
talents
nor
the
industry
nor
the
tenacity
nor
the
perseverance
to
do
it.
The
question
is
how.
How
can
we
at
this
moment
in
history
do
our
part
in
advancing
the
art
of
motion
pictures?
As
artists,
producers,
distributors,
technicians,
investors,
agents
and
audience,
we
have
the
ability
to
make
a
significant
contribution
to
this
wonderful
world
of
motion
pictures
as
long
as
we
remember
to
stay
in
motion.
Constantly
on
the
move
to
see,
know
and
experience
new
concepts,
new
ideas
and
new
people.
Never
be
complacent.
Never
say
the
words
I
heard
when
I
first
came
to
this
town
–
“We
can’t
do
those
type
of
movies
anymore.
They’re
too
expensive.
Too
long.
They’ll
never
make
another
one
like
Lawrence
or
Ben
Hur.
That
kind
of
movie
is
ancient
history.
Kids
don’t
have
the
attention
span.
Nobody
wants
to
see
those
kinds
anymore.
You
can’t
make
any
money
off
of
them.”
On
the
night
I
went
to
the
premiere
of
Titanic,
I
remember
how
many
of
the
reviewers
were
complaining
about
the
bad
buzz
on
the
set
and
the
exorbitant
costs
and
delays
and
miscasting
and
lousy
script
etc.
But
I,
being
first
and
foremost
an
avid
lover
of
a
good
story,
pondered
how
they
missed
the
simple
fact
that
the
story
was
at
times
fun,
captivating,
grand,
dramatic
and
meaningful.
The
critics
were
more
into
the
making
of
a
movie
than
the
results
of
what
was
made.
A
vicious
reminder
of
those
who
told
me
you
can’t
make
those
type
of
movies
anymore.
No
one
wants
to
go
see
them.
They’re
too
expensive,
too
long
and
they
were
wrong.
A
story
in
motion
captured
in
motion
pictures
is
exactly
what
the
majority
of
the
audience
wants.
Titanic
was
a
story
in
motion
about
characters
in
motion
that
came
to
a
significant
and
meaningful
conclusion.
That
simple
reason
is
why
people
around
the
world
stormed
theatres
and
busted
unheard
of
box
office
records.
Similarly,
there
are
people
who
believe
you
can’t
make
any
money
off
of
small
shorts.
Perhaps
this
is
one
reason
we
rarely
see
a
short
cartoon
before
the
featured
movie.
Well,
Pixar
has
proven
that
to
be
another
fallacy.
Whether
a
picture
in
motion
is
long
or
short
has
little
to
do
with
its
success.
It
is
only
when
it
is
too
long
or
too
short
that
length
counts.
What
is
too
long
or
too
short.
Well,
it
is
definitely
not
measured
in
minutes.
A
Pixar
short
may
run
a
minute
and
be
totally
satisfying.
Gone
With
The
Wind,
Lawrence
of
Arabia
and
Godfather
may
be
three
hours
or
more.
The
answer
is
simple.
A
motion
picture
is
too
long
when
the
audience
wants
it
to
end.
It’s
too
short
when
the
audience
feels
they
weren’t
told
the
whole
story.
So,
what
is
the
meaning
of
this
introduction
to
the
SHOOT
FROM
THE
HIP
column
in
nohoartsdistrict.com?
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