Kevin Obsatz graduated from the University of Southern California’s School of Cinematic Arts in 2001, where he learned classical Hollywood-style film production, and how to get things done.
He worked on independent feature films and narrative short films across the US, gaining valuable production experience until he grew frustrated and burnt out by the resource-intensive process.
He spent time in Paris hanging out with a scrappy group of underground experimental filmmakers, working primarily with hand-processed super-8 film, where he developed a love of messiness, chance, and instinct.
He moved to Minneapolis and focused on documentary filmmaking for several years, engaging in the process from start to finish – planning, shooting, directing, editing, marketing. The teenage protagonists of the film called him “Cameraman” because for two years, they only saw him with a camera in front of his face.
After shooting hundreds of hours of footage for that documentary, he learned to appreciate strict limitations: he started Video Haiku which had a rule about five shots or fewer, two minutes or less, and soon he picked up a spring-driven Bolex which only shoots 30 seconds at a time and only holds 100 feet (under three minutes) of film.
He is indebted to a Jerome Foundation grant and a workshop at the Handmade Film Institute in Colorado for introducing him to the process of developing 16mm film in buckets and drying it on a clothesline. This experience in 2008 sparked a practice of short experimental filmmaking with the Bolex and a 16mm pinhole camera, which are the primary art-making tools that Kevin continues to use today.
My CV / Resumé: KO_CV_7_2014