Final Cut Pro Match Frame Malfunction Myth

Whenever I used the Plural Eyes plug-in with for syncing sound (H4N) and image (7D) recorded in double systems, I would end up with match frame malfunction.  Like many other users, I have been blaming final cut pro for its poor design in match frame function.

Today I accidentally discovered the match frame malfunction myth is due to a mis-understanding of FCP’s clip-linking system.

Whenever Plural Eyes creates a new timeline, all the clips in this timeline are new clips without masterclip in the browser (even though these clips have the same name/duration and etc. with the original clips in the browser). Thus, match-frame wouldn’t work for these synced clips. If you want to make match frame work with these clips, replace them with the original clip in the timeline.

If you want to make a newly synced and combined (with the original crappy 7D sound replaced by H4N sound) clip work with match frame, link the sound and image clips, merge them and create a new clip in the browser!

I discovered this by assigning color labels to every clip I have in the browser, and noticed that some clip colors are changed while others are not. Assigning color labels will also help to keep track of the clip and its masterclip .


The Greatest Long Tracking Shots in Cinema

source: Daily Film Dose

PLEASE NOTE: YouTube has taken many of the clips off since this original post. I will keep checking for repostings. If you have links for me, please put them in the comments section. Thanks.

NOTE: As many of you know there’s a fantastic 5 mins long take in “Atonement”. Check it out.

In a director’s cinematic bag of tricks the long tracking shot is the boldest way of making a statement. It’s the flashiest and most attention-grabbing egotistical way of flexing one’s muscle. In most cases it’s a narcissistic maneuver, “look-at-me” filming technique, but rare ones, the best ones, serve to reflect and further the story in a way that can’t be reflected with traditional editing.

Let’s examine specifically the long ‘tracking’ take which involves extensive and complicated movements of the camera. The fact is filmmakers have been doing long takes since the medium was invented. In fact the first films didn’t have any edits. Perhaps the first most notable film to use long unedited takes for storytelling purposes was Alfred Hitchcock’s “Rope” (1948) which was an entire film shot in real time created by seamless cutting together a series of long 8-10 mins shots made to look like one. In 1948 it was a bold and unprecedented experiment for Hitchcock. The film works because its takes place entirely in one room for 80 minutes, so there was limited movement and lighting changes.

The difficulty arises when the camera is forced to move which complicates the logistics ie. Focus changes, lighting changes and hiding production equipment. And so perhaps the first true, universally-accepted “long tracking shot” is Orson Welles’ opening shot in “Touch of Evil” (1958). This shot was a large step up from Hitchcock’s experiment because of the extensive movement of the camera. Let’s start the list with this masterful one:


Touch of Evil (1958) – The Opening Shot – dir. Orson Welles

This shot is perhaps the greatest, because it actually has a specific purpose to its length. The shot starts on a bomb being placed in the trunk of a car. The camera follows the car into the street. As the camera moves back we pickup Charlton Heston walking with his date. Though we’re concentrating on Heston, subliminally, as the audience, the bomb is still in our minds. The sheer length of the take heightens the tension for the payoff at the end. It’s important to note that on its first release Universal placed the opening credits over the shot, which severely retracted from its power and suspense. In a later re-release Welles original intention of the scene was re-instated.


Goodfellas (1990) – The Copacabana – dir. Martin Scorsese

The other granddaddy of the long tracking shot is Ray Liotta and Lorraine Bracco’s walk through the Copacabana in “Goodfellas”. This shot’s serves to put the audience in the point of view of Karen, who is about to be swept off her feet by the temptation of the gangster lifestyle. This introduction to Henry’s world will counterpoint their eventual downfall later in the film. The movement of the camera through the tight spaces and long corridors while maintaining constant dialogue makes this shot an impressive maneuver and a benchmark in cinema.


Boogie Nights (1997) – The Opening Shot in the Club – dir. Paul Thomas Anderson

All of PT Anderson’s films have a bit (sometimes a lot) of Martin Scorsese in them. Boogie Nights is no exception. The opening shot which starts on a marquee and moves down the street and into a 70’s disco serves to introduce to us the ensemble characters. The shot ends on Mark Wahlberg moving in slo-motion triumphantly introducing Anderson’s star character. As a side note, it was rumoured PT Anderson specifically started the shot on the marquee which reads the title of the movie, to make it impossible for the studio to re-title the movie, which was done with his first film – “Hard Eight” (aka “Sydney”).


Raging Bull (1980) – Pesci and De Niro Walking to the Fight – dir. Martin Scorsese

No youtube clips are online yet for this shot, so I’ll describe it. Starting on Jake La Motta and his brother exiting their dressing room the camera follows them down the hall to the arena, where La Motta is to face the Middleweight Champion for the first time. The shot starts in front the brothers as they make their way through the winding corridors and tunnels, then the camera moves in behind as they enter the arena. As they make their way through the cheering crowd and into the ring, the camera lifts in the air to capture the entire arena in a wide shot. In 1980 the steadycam was a new invention, but Scorsese obviously used it to its full potential as soon as he could get his hands on it. This great shot serves the story because it highlights the greatest moment for La Motta – the fight which won him the Middleweight belt.


Oldboy (2003) – The Fight with the Hammer – dir. Chan Wook Park

Perhaps not grandiose in its flare or style – the camera only moves back and forth on one axis – but the impact of the action on screen is awe-inspiring. Fight scenes are usually choreographed around the camera so the punches, kicks and falls appear real and violent. But in one majestic tracking shot Chan Wook Park puts to shame most other fight scenes. It’s a dozen baddies with just one guy, one shot… and one hammer.

BTW: The actual long shot doesn’t start until the 30 sec mark of this clip:


The Player (1992) – The Opening Shot – dir. Robert Altman

Another one of the greats. Altman was actually sending up, or paying homage to “Touch of Evil” and actually references it in the dialogue. The shot takes place entirely outside on the grounds of a Hollywood studio. The camera tracks, and picks up pieces of conversation from several characters, all setting up and providing the backstory for the film. Altman innovatively overlaps the conversations as he moves from one conversation to the next. He frames the star, Tim Robbins, in an awkward shot through an obscured window to his office. Robbins, as Griffin Mill, is taking a pitch from Buck Henry (writer of “The Graduate”) for “The Graduate 2”. Simply hilarious.


Magnolia (1999) – Entering the Studio – dir. Paul Thomas Anderson

This shot doesn’t quite have the dramatic impact of “Touch of Evil”, “Goodfellas,” or even “Boogie Nights”, but it’s still a marvel. Anderson combines the techniques of Scorsese and Altman to create a dizzying tour of the television studio where much of the drama will go down. It’s raining and Stanley Spector and his dad are late for their game show taping. It’s a tense sequence which moves at a quick pace with much help from Jon Brion’s hypnotic music cue.


I Am Cuba (1964) – The Rooftop – dir. Mikael Kalatozov

There are half a dozen shots in this film which would make this list. Youtube happens to have the magnificent rooftop shot, which introduces the decadent lifestyle of the Cuban upper class. This shot is important because it provides counterpoint up the plight of the poor farmers and working class Cubans whom we will see in the next scene. Not only is it beautiful but it’s so bold that the shot ends with the camera following a woman into the pool and under the water.

The other shot from the film I would have included is the parade sequence which actually covers a Cuban demonstration by moving up a building, crossing the street in midair, through the top floor of a cigar rolling manufacturer and out the window again moving through mid air. I’m tired just writing this.

Note: This clip has a different soundscape, but you can still see the shot:


Children of Men (2006) – The Car Chase – dir. Alfonso Cuaron

Please don’t watch this clip if you haven’t seen the film as it contains major spoilers. Good, now that we got that out of the way, let’s discuss the magnificent chase between Clive Owen and the bunch driving away from the vicious marauders. The shot spins around to show all the characters fighting off the assailants as they drive backwards, avoid bullets and spears etc. No effects were used to create the shot other than a specially rigged car which allowed the camera to hang suspended from the roof and spin and move to capture everyone’s reactions. This shot is one of a series of long extended takes in the film – equally impressive is the rescue of the baby in the refugee camp at the end of the film.

Please note, the car scene has been removed since this original post. Therefore, I’ve included the long take gunfight scene – again spoilers ahead:


Hard Boiled (1992) – The Hospital Shootout – dir. John Woo

During the shooting of “Hard Boiled”, towards the end of a long series of days at the hospital, John Woo realized he was running out of time to shoot the remainder of the action sequences. He decided to ‘compromise’ and shoot the remainder of his scene in one shot, the result is the John Woo version of the long take. It’s almost unbelievable the carnage, gunshots, and explosions he creates with just one shot of the camera. You just have to see it to believe it.


The Protector aka Tom yum goong (2006) – Running Up the Staircase dir. Prachya Pinkaew

It’s no “Goodfellas” that’s for sure, in fact the scene is just ridiculous, but the sight of Tony Jaa leaping up the circular staircase, and throwing guys off the side and down the stairs is just so satisfying and audacious it’s worthy of inclusion on the same list as “Touch of Evil” or “Goodfellas”. Wow. Again, you have to see it to believe it.


Carlito’s Way (1993) – The Subway Chase – dir. Brian De Palma

Brian De Palma has used his trump card too many times (ie.“Bonfire of the Vanities”, “Mission to Mars”, “Snake Eyes”) and so I’m inclined to discount his entries. But “Carlito’s Way” is one of the great long take shots. The shot follows a chase between Al Pacino’s character in flight from a trio of mobsters in the NY Subway system. It’s magnificent choreography punctuated by Patrick’s Doyle grand score.


Russian Ark (2002) – The Whole Damn Movie – dir. Aleksandr Sokurov

Using a sophisticated High Definition camera, Sokurov was able to do what Hitchcock originally wanted to do – stage an entire movie in one shot. “The Russian Ark” is more an artistic experiment than a traditional narrative film, and technically, it’s an achievement, but only a few occasions in the 96-minute running time does the film actually achieve the grandeur the storyline implies. But when it does, it is magnificent – you just have to sit through the really boring parts.

Here’s the ballroom scene:


The Passenger (1975) – Locke’s Death – dir. Michelangelo Antonioni

Warning this clip contains spoilers. A rare feat is a final long take shot. “The Passenger’s” final shot is a 7-min long opus which starts inside a hotel room, where we see Jack Nicholson’s character lying on a bed, the camera then pushes in to catch the action outside. It actually goes through the window and outside into the courtyard. By the end of the shot, the camera has turned itself around and is looking into the room where we discover Jack, while out of our sight, has just been murdered. It’s one of the more sly and devious long take shots of this list.


Of course dozens of other films have used long takes including Gasper Noe’s “Irreversible”, Godard’s “Weekend”, and many of Tarkovsky’s and Theo Angelopolis’s films.


Satantango (1994) Walking to the Police Station dir. Bela Tarr

Bela Tarr is a master, and sadly I’m not familiar enough of the work to provide ample commentary, but this clip is a beautiful shot:


Weekend (1967) Tracking Across the Farm Dir. Jean-Luc Godard

Jean-Luc Godard’s classic, “Weekend” features a series of long tracking shots, as a kind reader pointed out, ‘before it was in vogue’. Check this one out.


Breaking News (2004) – The opening shootout – Dir. Johnny To

This highly stylized crime classic opens with a wild shoot out with the police, of course, all in one take. Shades of De Palma on this one.


Strange Days (1995) – The Opening POV Chase – Dir. Kathryn Bigelow

Kathryn’s Bigelow’s opening shot is taken from the POV of a robber escaping a robbery. It’s entirely handheld and therefore very jittery and nausea-induces. But it’s lengthy. Judge for yourself.


Nostalghia (1983) – Carrying the Candle – Dir. Andrei Tarkovsky

The Russians/Soviets seem to love their long takes. Here’s a head-turner from Tarkovsky’s “Nostalghia”, which features a man’s numerous attempts to carry a lit candle across a courtyard. It’s not technically amazing, but it’s fascinating how it draws you in. It’s a remarkable example of determination.


Elephant (2003) – John’s Walk Through the Halls and Outside – Dir. Gus Van Sant

Elephant has about a dozen long steadycam shots. Here is a key shot, from the brilliant Harris Savides, which shows John walking through the halls and then outside the school. The movement and camera exposure from inside to outside is seemless. Potential SPOILERS here as well.


Kill Bill Vol 1 (2003) – The 5,6,7,8’s – Dir. Quentin Tarantino

Here’s another one of Tarantino’s De Palma homages – the famous 5,6,7,8’s shot. Robert Richardson is at the helm photographically on this one. Enjoy.


Serenity (2005) – The Opening Credits/Walk Though the Ship – Dir. Joss Whedon

By popular demand, here’s the opening of “Serenity”. Capt Mal starts out in the cockpit, then moves back through the rest of the ship introducing us to all the characters. A well-hidden cut occurs midway, but it’s two impressive long takes put together.


Snake Eyes (1998) – The Opening – Dir. Brian De Palma

Ok Ok Ok. I really dislike this film, but people wanted this shot up here. Here’s 10 minutes of the opening of Snake Eyes, whose opening shot lasts 20mins or so – too long for a 1000 mag of film, so I think there’s a cut in there.


Great Expectations (1999) Kissing in the Rain – Dir. Alfonso Cuaron

Alfonso loves his long takes. This one cleverly spliced a few shots together, but is a great moment nonetheless. Enjoy.


Nine Lives (2005) – William Fichtner Sequence – Dir. Rodrigo Garcia

Rodrigo Garcia’s “Nine Lives” is composed of nine different each showing a part of a woman’s life. This one features the great character actor William Fichtner showcased like he should.


Irreversible (2002 ) – At the Club – Dir. Gaspar Noé

Gaspar Noé’s notorious film with Vincent Cassel and Monica Belluci. Here are a couple of segments mended together over a span of a full day and night. All segments are long tracking shots. Warning this clip contains some graphic material. Viewer discreti…. Ahh just watch it, it won’t kill you.


Werckmeister Harmonies (2000) – The Hospital Riot – Dir. Bela Tarr

Just watch your jaw drop with this climatic scene (shot) from “Werckmeister Harmonies”. This may contain spoilers as it comes towards the end of the film. But there’s no shocks or twist, just one amazing shot. Enjoy


Frenzy (1972) – Tracking out the apartment – Dir. Alfred Hitchcock

A reader wrote in about Hitchcock’s fantastic offscreen murder which occurs while the camera tracks back from a woman’s flat into the street. It’s perhaps one of Hitchcock’s greatest moments of suspense. Amazing:


一. 中国十大禁播影片


获日 本东京国际电影节大奖。以悲哀、灰暗的基调讲述几十年的故土旧事,透视埋在历史灰烬下的人的命运,审查未通过即参赛,导致中国电影代表团退出东京电影节。因诋毁社会主义形象,诋毁之政党形象,该片迄今不能获准上映。


















获戛纳国际电影节评委会奖。影片以独特的视角揭露了日 本军国主义者的凶残本性,圈内口碑不错,因没有突出某些政治派别的良好形象,迄今不能公映。


获荷兰鹿特丹国际电影节最佳影片奖、日 本银座影展大奖。影片以王家卫的电影风格叙述了一个爱情悲剧故事,表现对爱的执著和爱之意义的探讨。因首先在台湾上映遭禁映。



二. 世界十大禁播影片

1.《索多玛120天》Salo or The 120 days of Sodom (1975年首映)




2.《操我》Baise-moi (2000年首映)




3.《不可撤消》Irréversible (2002年首映)




4.《罗马帝国艳情史》Caligola (1979年首映)




5.《感官世界》Ainocorrida(In the Realm of the Senses) (1976年首映)

这是日 本电影,但是未删节的原版在日 本至今仍被禁演。故事描写的是二战时期日 本偏远山村一个女佣和男主人之间惊心动魄的爱情故事。特别是本片触目惊心的结尾,可以说是即在情理之中,又在想象之外。

该片是根据一个真实的事件改编的。当时这个事件曾轰动整个日 本。这个电影所描写的爱情模式,对后来日 本文学影响深远。几年前轰动一时的渡边淳一的小说《失乐园》,就曾受到这部电影的影响。这个电影可以让你相信幸福和悲剧常常就在一念之间,乐极是要生悲的。

6.《魔法圣婴》The Baby of Mâcon (1993年首映)




7.《杀人不分左右》The Last House on the Left (1972年首映)

该片是美国著名恐怖电影导演wescraven(scream, anightmareonelmstreet)的处女作和成名作,也是他最具争议的一部电影。故事讲的是四个罪恶累累的恶棍劫持了两个中产家庭的少女,把她们囚禁在离她们家不远的一座房子里进行轮暴,虐待,折磨,最后残忍地杀害。随后他们无意中逃到其中一个被害女孩的家里躲避追捕。孩子的父母在弄清楚这些人就是杀害他们女儿的罪犯后,把他们灌醉,然后用更加残暴的方式来惩罚这些恶棍,为女儿复仇。



8.《迷上瘾》Requiem for a Dream (2000年首映)



9.《切肤之爱》Oodishon (Audition) (2000年首映)


听上去象部爱情剧?告诉你,这是一部恐怖片。但绝不是好莱坞能拍出来的恐怖片。该片是日 本新一代导演miike的代表作。



最后再提一句,你如果一直对外表清纯温柔的日 本女人抱有好感,那么看过这部电影以后大概就不会这么想了,呵呵。

10.《我唾弃你的坟墓》I Spit on your Grave (1978年首映)




Why are College Drop-outs so Successful?

Few days ago, Steve Jobs died. As one of the greatest men in the 21st century, he has never earned a bachelor’s degree!

The shocking news reminds me of the fact that many successful people, including the top billionaires in the world – founders of Microsoft, Facebook, Dell, Apple, Oracle, and Google all dropped out of college or graduate school. This disproportionate amount of dropouts who have made great achievements vis-a-vis losers with college and graduate school degrees makes me wonder: what’s the key to successful, and what’s the meaning of education?

Here is a list of some billionaire dropouts:

  • Sir Richard Branson

Estimated net worth: 8.6 billion USD
Billionaire Sir Richard Branson

Sir Branson left school when he was only 16. Ironically, his first successful business was publishing a magazine called Student. Today, Branson is known for his brand Virgin, which includes Virgin Records, Virgin Atlantic Airways, and over 300 other companies. Also adding to his grandeur, Sir Branson bought his own 79-acre Caribbean island when he was just 24 and he was knighted in 1999.

  • Dean Kamen

Estimated net worth: Unclear, but thought to be in the billions USD
Billionaire Dean Kamen

Dean Kamen, a prolific and ingenious inventor, dropped out of Worcester Polytechnic Institute before graduating. Although best known for the Segway PT, Kamen holds more than 80 US patents and has created many products such as the AutoSyringe and iBOT robotic wheelchair. When Kamen travels to work, he has to decide which of his two helicopters to take. For longer trips, he pilots his own private jet. He also owns a small island near Connecticut that generates its own electricity from wind.

  • Bill Gates

Billionaire Bill Gates

Estimated net worth: 58 billion USD
Bill Gates has topped the Forbes list of “The World’s Richest People” continually since 1995. Gates took an interest in programming while attending preparatory school in Seattle. To earn time on early shared computers, Gates and his classmates offered to debug corporate software. When he was 14, Gates earned $20,000 from his first programming venture. After scoring a near-perfect 1590 on his SATs, Gates enrolled at Harvard but left, without a degree, to co-found “Micro-Soft”. Today, one of Gates’ homes in Washington has an annual property tax of about $1 million. In 2006, Gates claimed that he wished he wasn’t the world’s richest man, because he disliked the attention it brought.

  • Paul Allen

Billionaire Paul Allen

Estimated net worth: 18.0 billion USD
Paul Allen befriended Bill Gates while they were both attending a private school in Seattle. Allen went on to attend Washington State University, but dropped out after two years. He was also the one who convinced Bill Gates to drop out of Harvard in order to start Microsoft. The two co-founded the company in 1975, but Allen has distanced himself from the company since then. In addition to more than 100 million shares of Microsoft, Allen owns 12 professional sports teams, plenty of real estate, and has stakes in dozens of technology and media companies such as Dreamworks Studios.

  • Ralph Lauren

Billionaire Ralph Lauren

Estimated net worth: 3.6 billion USD
In high school, Ralph Lauren was known to sell neckties to his fellow students. In his yearbook, he stated that he wanted to be a millionaire. He studied business for two years at Baruch College but never graduated. Nonetheless, he has far surpassed his goal of becoming a millionaire. In 2006, Polo Ralph Lauren had a net income of $300 million.

  • Steve Jobs

Billionaire Steve Jobs

Estimated net worth: 5.7 billion USD
In addition to being the CEO of Apple Inc, Steve Jobs became the largest individual shareholder of the Walt Disney Company after selling Pixar Animation Studios in 2006. In 2007, he was chosen as Fortune Magazine’s most powerful businessman. That’s quite an honor for someone who dropped out of college after just one semester. Although his yearly salary is officially just $1, Jobs has received “executive gifts” including a $46 million jet and nearly 30 million shares of restricted stock. Because capital gains are taxed at a lower rate than salary income, this is also a tax minimization strategy.

  • Larry Ellison

Billionaire Larry Ellison

Estimated net worth: 18.4 billion USD
In 1977, Larry Ellison put up $2,000 to start what would become Oracle Corporation, the world’s second-largest software company. Ellison briefly attended the University of Illinois as well as the University of Chicago, but received a degree from neither. Today he is known for his extravagant lifestyle. He owns a 450 ft, $200 million yacht, exotic cars including a McLaren F1, over a dozen multi-million dollar estates in California, and several jets, which he is licensed to pilot himself.

  • Michael Dell

Billionaire Michael Dell

Estimated net worth: 17.2 billion USD
Michael Dell started a computer company called PCs Limited while attending the University of Texas at Austin. It became successful enough that Dell dropped out of school to operate it, and the company eventually became Dell, Inc, with revenues of $57.4 billion in 2007. In 2006, Dell and his wife gave a $50 million grant to the University which he attended but never graduated from.

  • Kirk Kerkorian

Billionaire Kirk Kerkorian

Estimated net worth: 18.0 billion USD
Kirk Kerkorian dropped out of school in the 8th grade. His first venture was an airline that flew from Los Angeles to Las Vegas. In 1962, he bought 80 acres of land along the Las Vegas strip for just under $1 million, and he continued making his fortune from buying and developing properties in Las Vegas. Currently, Kerkorian has a large stake in all of the following hotels: Bellagio, Excaliber, Luxor, Mandalay Bay, MGM Grand, New York-New York, Circus Circus, The Mirage, and more.

Source and Read More:
We Don’t Need No Education
Wikipedia List of College Dropout Billionaires
Billionaire College Dropouts
Larry Ellison’s “Loser” Commencement Speech at Yale (a parody)

Interview with Hans Breder

This is an interview of local experimental cinema in Iowa City with Professor and Intermedia Artist Hans Breder, conducted at Hans Breder’s house in April 2011.

Here are the spark notes that I took from the interview:

1. The interdisciplinary and performative notion of intermedia program; Breder’s preference of art instead of the convention of theatre.

2. Dance is about the body, the forever issue of art.

3. The intermedia program used to emphasize ideas, now it’s all about technology.

4. Participation of audiences; performer/observer relationship.

5. Video functions as documentation of performance. Example: Breder showed me a photography on his wall, and he says that it’s a documentation of the sculpturing state.

6. Breder is very critical about the educational institutions, he thinks the system is going down, and people used not to be worrying about money. He also dislikes the concept of classroom. He thinks that people learn more outside the classroom, and everywhere, even a person’s apartment can be a classroom.

7. He takes his student to travel. He criticized American history & American students’ knowledgelessness of world history vis-a-vis its European and Asian counterparts. He thinks he made the right decision to come to US to get inspired in a different culture. He also believes that an artist should work with other artists to get refreshed and updated.

8. Breder inspires me to “go beyond the concept.” He thinks art and science are one, they should not be separated. Breder has a great interest in Quantum Physics. He talked about

9. Hans Breder attended some theology seminar, but he is a non-believer.

10. Hans Breder thinks Mao is a great artist. Mao wrote poetry in classical forms and he said not to publish his poems because he didn’t want to influence young people.

11. Video Art was added to the Intermedia program because the digital time is coming and students need a degree and some techniques to find jobs. Video does the function.

12. Breder also taught his students presentation skills. He thinks “being able to talking about someone’s work for at least 50 minutes” is important.

13. Breder was very good friend with Andy Warhol and Jack Smith. He made art with alcohol and he likes party. He used to be New York based, and he goes back to New York a lot. He applied for founding to bring his artist friends from New York to Iowa City, which initiated the visiting artists program as part of the intermedia program.

14. Breder said that the MFA Intermedia program in Iowa City is the first one in the United States. He thinks the program is going down after he retired and he says he is trying to stay away from them (the program).

15. Breder thinks that artists/students used to come to Iowa City to work with him, the professor, instead of the program. He emphasized his art education background in Germany, and also the teacher/pupil method. He said he paid only 5 dollars to go to school in Germany, and everybody are paid to get education in Germany. The US scholarship system is not as good, because only a few people can get it.

16. He is unhappy about the fact that people are coming to a program for degrees. He is nostalgic about the friendly environment where people used to work and collaborate, but now it’s different. “It used to be more interesting.”

17. Breder is critical about the current politics and the cut-down of the university funding. He said he was glad that he came to United States earlier, he would not come if it’s now. He also thinks that the Europe is a better place for artists because of its socialist system.

18. There’re some Chinese artists who came to the Intermedia program as well, but they lost touch with Breder, and he has no idea what they are doing.

19. Breder said that Chinese art are becoming more and more important and visible internationally, which is partly due to the economy. He also thinks China is going to take over the current status of the United States (probably as the new art center).

20. Hans Breder thinks that people can tell from the first time they meet, a feeling about another person. He thinks that I gave him a very good impression, otherwise he would not accept my interview.

21. He said he is rude and straightforward, and he refused to show his work to me, even if his wife (a professor in Communication Studies department who saw me in the building before) brought a photo collection over to the table.  He showed me his workstation and

22. I am welcome to come back and talk to him, or watch his video art; and I should buy and read his book on Amazon: Intermedia: Enacting the Liminal.