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steadicam was not up to. After all the rigging and preparation was over, the tree was topped. This climactic short appears in the final film from six different angles.
Like Cadillac, Spartree is a visual exercise in style. Everythings leads up to the one shot from which the film was first conceived. As in Cooperage, the old Weyerhauser footage explains and provides counterpoint to the principle action. But these are not educational films in the usual sense even though they are selling well to educational film libraries. Borsos is not overly explicit in conveying the concepts behind making a barrel or topping a tree. Instead, he skillfully observes without narration, and in this way conveys process. This reticence works in Cooperage, but in Spartree, there is a weak moment. A blacksmith is seen beating into form an unexplained metal object. It is never completely understood what this object is, although one might assume that it has something to do with the cables.
But Borsos doesn’t care about explaining each point. “You shouldn’t have to tell the viewer everything,” he says. “I believe that the audience must work at understanding the film. If the filmmaker does everything for the viewer, then he’s just acting like some audiovisual babysitter and the viewer gets
less from the experience.
Recently, Borsos has been working on a short for the NFB (all is forgiven), a history of nails throughout the ages. He is also hard at work researching and going over. script drafts for a feature film on the first Canadian train robbery. Much of Borsos’ energy these days goes into his Vancouver-based production company, Mercury Pictures Inc. Borsos believes that a filmmaker must keep working in the medium, even if it means commercials, industrial films, or starving. “I used to work in a local film lab named Alpha Ciné in Vancouver for two years. Sometime during those two years I decided that I had to make pictures full time instead of dissipating my energies all over the place. So I quit, and starved for a while, but things are getting better. I don’t understand writers or artists who drive cabs or wait on tables. I suppose you can do it, but I'd rather starve than waste away mentally.”
Phil Borsos has achieved the perfect blending of skills for an independent filmmaker. His visual style is as meticulous, clear, and precise as his organizational skills, and he is an effective distributor and businessman. If he keeps up his present commitment to the medium, we will no doubt have much to look forward to. O
The owner and his 1954 Cadillac: a “flamboyant expanse of metal and chrome”
20/Cinema Canada