It's gold young filmmakers.

In fact, I'm David Hoffman, filmmaker.

I made this film back then because I was a young filmmaker, and I was also very interested in others doing what I did.

So think about the time.

It's the Kodak Instamatic.

It's other people making these eight millimeter cameras, little cameras and Super eight, which had sound.

And prior to this, there were some documentary filmmakers, but no riel like amateurs.

All of a sudden, out of America comes these amateurs shooting their own little movies.

Art movies off the strange films, some with audio, some with music editing themselves, coming all over the country but really booming in New York City in 1969.

So I went to PBS, which was knew back then, and they gave me a grant to make a movie called Young Filmmakers, and it's partially taking place at a conference, which is being held at Fordham University.

Fordham University and the Jesuits will leaders in this new age of filmmaking, and you're going to see some of the filmmakers, and then you're going to see a crazy thing that I chose to do, which is I took some rich kids from Westchester, gave them the opportunity to make a movie in a day, and I took some poor kids from the inner city and gave them the opportunity to make a movie in a day.

And then I looked at the two of them.

What did the rich kids choose to do with their documentary?

And what did the poor kids choose to do with their what you could call it a documentary, but really, neither of them May documentaries.

They made little stories, and they tell you why Watch till the very end if you can.

And I'll tell you more about what happened to these people and the movie.

We're gonna make up murder pitcher in the city, he breaking.

And who are we trying Robert Place?

Then we beat him up because we're seeing and we escape in the chase, and then I go and rescue my how After that we get jumped, but I make it away in a Then I go find him the next day around the building.

Moviemaking isn't what it used to be.

Once it was grand and very distant, the property of a handful of giant corporations.

Once the movie's supplied America with prepaid dreams and packaged lovers, Now you can film your own dream for a few bucks.

Film is becoming a personal medium accessible to anyone like Cray Office or balsa Wood.

The exploding creativity of American youth is engaged in the creation of a new and genuine culture, and film is one of the most important, most revealing aspect of this culture.

The films of young people are, in a sense, the most contemporary American cinema.

We knew they were different.

This generation raised on television and the Cold War, but we wanted to explore the difference.

We saw it from them, a better understanding of why they have taken to film so enthusiastically what they think and feel his artists, what they're trying to say.

You're a filmmaker.

I yes, you may.

I need an eight millimeter movie awards.

Remarkable trip to what?

What is it?

Well, it's a bad little girl that goes into a dream, and she goes into a world where people are very small.

And to do this we animated Swedish trolls.

How long did it take you to make this movie bad half year.

Why did you take so long to make?

Well, it was my first movie, and, you know, it was just very hard enemy.

Where did you learn that technique?

Well, we just started on our own.

My girlfriend?

Nine.

Why, Phil?

Well, we just thought it was a good idea.

You see, we didn't know that the film business was really in for student gonna make our own movie instead of a term paper.

So I thought the movie was easier, so I made it and, uh, let me get something that we knew something about teenage problems and what teenagers do.

They fight on me, focused on them, just fighting.

They kept on fighting.

And then I bought two fish and put them in an aquarium on I forget their names.

So did you put them together?

There was a fight.

So should the tears fighting and bingo.

We went right back to the fish.

So them fighting and finally fish kill each other.

The last sequence to kids jumping or swimming pool knows our film was good.

Come from Philadelphia.

They saw school.

We made a deal.

The House week number 13.

He's 15 14.

Att.

The beginning.

I think it's a couple guys playing cards and one guy's sneaks a crowd out, you know, from the stock.

And it's a fight.

So that's that bed.

And I'm not the bad guy over because he killed the guy that was sneaking the car he killed, not killed beating to death.

So I not come out.

I told another guy to watch the door for a cop.

So then he would sleep so that through my head and and then we hit the floor.

He looked over there.

There was absolute.

And he said to the Hawks, 13 Danish, Yes.

You know, a lot of bad guy.

No, you don't.

Did you make it up just out of your head?

Not this group did.

There wasn't supposed to be no violence in the film, but it didn't turn out that way.

Somebody already could turn that.

I don't know.

Somebody had a bright idea that Hey, how about pulling the cord out yourself?

So someone put a card in this?

I pulled it out and the other boy different.

You know how they got in tow?

What kind of world do you think it walked before the television set was invented?

A boy.

What do you learn more from television?

Set where you're teaching.

Not back yet?

No, I need you want told you more than you pay attention to a teacher, I think possibly because television set teaching just walked by a television set really expresses itself, and it has different views and, ah, difficult means Get here.

You can have people before television how they teach it.

These parents, the older people, they just don't seem to see.

You know what Philip has to offer?

They say we're living in a world television, you know.

Everything's being thrown at us and we're not putting for anything.

And this is a lot of okay, because and still you have so much more to work with.

You have so many more outlets for your imagination.

They're completely wrong.

And it's so hard to convince.

A few films shown at the conference were selected for special awards.

The first was given to Ken Nordine, junior High School senior from Chicago.

Heroes segments from his film make a bet.

Wait way because I think it's got its good.

It's the best way of saying Thank you.

Attack more senses than any other way of presenting an idea.

When you read something, you're reading it with your eyes.

When you listen to something, you're listening to it.

It's only one sense acting.

And when you watch a feeling you've got, you're listening.

You're watching.

You have got the presence of the audience around you.

It's all these things combined, and they literally attack the senses.

Another top award winner was John Earl McFadden, whose film is based on an actual incident from Georgia.

Boyhood.

What?

You don't get there for you.

Get out.

Give me 51 of me.

Don't throw that at me, boy.

You gotta get your black ass out of hell.

Yeah!

Huh?

Hey, give me that gun.

I gotta go get him.

Run, boy!

I won't run.

I won't.

I won't run.

I won't like outside kids.

We're having never seen it before.

When they say they sort of laugh at it, you know, like you know.

And then afterward, there tell me about you know.

Hey, man, that was a good film.

I liked it, you know?

And when they're sitting there looking at me, laughing at it and I wouldn't have y sometime, I guess because because, um, you know it's obstructing Funny.

You know, a guy like me going out making a film, and you're sitting there and you know, things like that.

Well, you know, we've been what my husband said.

Wasit will never get to make films until Phyllis.

This cheapest Pinker film isn't this cheapest paper and look what's happening.

Look, look and listen.

This is a film free for all.

The filmmakers were asked to put together pieces from the films and soundtracks that they had made.

Then they were given projectors, tape recorders, screens and mattress boxes and giant balloons.

The rest, they were told, was up to them.

If a man has suddenly given a new voice, what will he say with new eyes?

What will he look at?

We wanted an answer in our own context, so we chose to groups of very dissimilar boys and gave each the chance to make an instant movie in the same limited environment.

The first group consisted of Philadelphia private school seniors from upper class suburbia.

The second group comes from New York's Lower East Side, with one exception.

They are high school dropouts.

They work out of the federally funded university settlement club and have cooperative.

Lee made many films.

Each group of filmmakers was given film and a camera happen our to think up a movie and an hour to shoot it.

I think basically, this is gonna be a visual.

You know, the story line or anything?

Just something that's gonna affect the eye way shot.

You split it down.

Script immediately is that I want to get shapes.

You know, this shape of a 16 millimeter Goldberg.

Really?

You know.

All right, now, yeah.

Get different angles.

One from, like, down, down, you know.

Oh, a giant crazy What?

All this is very awkward.

Question is, now, how are we gonna end this last sequence and I wanted to do was show the elevator open up, no hand or anything.

Just see a real real box with the script.

You know, typing on top.

Yeah.

Two Gangsters, too.

Right?

And these two are coming into an office, right?

The guy hasn't been right.

Guys invested some money into the business, and he comes in with you, pulled in the heights, and he's coming into this business, you know, for a hideout and what not?

And he wants to see the boss, right?

And it's all like the misadventures of trying to see the boss that the whole place is invaded by hippies, right?

He comes in, and the guy at the desk is not completely pull out guns on him, and the guy's not intimidate.

You have people running around flowers in their mouth and, you know, yeah, I also you're going to walk into another room and you have a guy with Annapolis and other guys throwing darts at him, you know?

And meanwhile, the guy never gets to see the boss.

No.

All right, Right.

Car.

Go, go.

Check it out.

Come on.

Okay, let's go.

Ready made clothes.

Follow him in.

You guys look around before we look back and see.

Elliot.

Come on.

Step in.

What you got going here?

I have a $1,000,000 you know, and stop apologizing here is not working way happy, man.

I think we got 123 man, if you know what you're doing.

123 Things have been done a long time ago, man.

Too much talking too much.

Did you write that?

The Red Man the Oh, so you know the time.

1969.

I think in 1971 TV TV started up holding a video camera.

Now, filmmakers like me, we didn't like video At first.

I didn't because it looked so live so riel.

There wasn't that grain of 16 millimeter, which I loved and still love.

Of course, it didn't occur to me that digitization would allow you to make all kinds of filters to make it look like 16 millimeter, almost never, perfectly in my view.

But by 71 TV TV, you could look them up with these young guys with cameras recording action documentary men on the street with video.

I finally went to video in about 1976 but I continued to shoot 16 millimeter until the 19 nineties, and even that if I could tell a client Hey, 16 millimeter is better than video.

Some would accept that, and there is still some people shooting 16 millimeter today and shooting eight millimeter not many.

Of course, I'd like to be able to tell you what happened to the people that I filmed in that old movie.

Unfortunately, you know, I didn't keep good records I had releases but didn't keep good records.