original version of Nam June Paik's 'film scenario'

1. While playing any other film, put on and off, on and off - many times - the NO SMOKING sign in the hall.

2. Project a very colorful color-film, such as striptease etc -, to a pool, waterfall, or to the jet of the water on a midsummernight, &/ or to the snow of wintergarden in a very cold midnight. One may lounge there.

3. Project the projector without film on the screen, so that we can enjoy the dust, dots, the movement of the dust of the screen, lense, air, ETHEL.

4. A composition anonyme - poly-dimensional study of film ...
More than five interpreters stand in corners and center of the hall, with their own projector. Each interpreter has same or different strip of film. All the interpreters play their part through moving the projector itself with characteristic directions, directions, forms, directions, speeds. They can also change the film motor speed and the brightness of the film projector with variable resistance. They can even also put on-off the main lamp of the hall and the lamp of the projector. They can even also shoot the eye of the audience with the projector and 2000 W spotlight.
... Anyway they can combine all technic, described in this scenario (No. 1 - No. 10). Very loud accompaning sounds can be used or not.
If good played this piece can surpass almost all films, filmed, from C. Chaplin to Liz Taylor.

5. Project a very excited agitating scene of Hitler's speech (from Führers Wochenschau) in very slow speed.

6. The interpreter is cameraman. He should film very famous building, such as U.N.Building (New York), Notre Dame de Paris or Cathedral de Cologne.
He begins to film with full exposure and continue closing the lense very very slowly, that finally the film ends with no exposure. The developped film should show the delicate scale, ranging from the darkness up to the bright white, which express the curve and pulsation of the interpreter. Therefore he should take very much time (minutes and hours) for one round.
It can be filmed many times by same or different interpreters, also in color, in sunny, rainy and snowy days. You may still polish the film after the development, when the result is not satisfactory. Cut off the motor and lamp of the projector. Put the variable resistances between them and A.C. current. Regulate the speed of motor and the brightness of the lamp seperately. Through this technic the film ceases to be the repeat-art and attains the high quality of unrepeatable einmalige live performance music and drama.

7. The mental training to accept fully, natural movements is a good exercise for zen.
For instance you may follow a heavily burdened truck for about 30 minutes, filming it uncessantely, and show the film, without editing.
Or for instance you may film and record the schoolboys, playing in the recess time from the roof of primary school in preferably Brooklyn or Monmartre, without interruption and show it and play back it to the audience, without editing from the beginning up to the end.
Please lock the door of the hall, that no one can escape, before the film ends.

8. One should develop an unfilmed film and project it in the screen. The interpreter is supposed to play it many many times before the public performance, to get more "snow" on the transparent film.

9. Project a scotch tape and see.

10. Project the projector without film and you may sit in the middle of white screen just without comment, or you may cut the hair little by little very slowly, or you may perform a real (unfilmed) scene, which you meet very often in commercial film such as bettiquette scene, fight and kill scene, detective scene in the middle of white screen. Play it between many commercial or avantgarde films.

11. A pretty actress in Theater am Dom (Köln), whose name I forgot, suggested me to operate the projector with hand. It is a genial Idee.

12. You can make any boring Hollywood film interesting, if you cut the film several times and splice it again or put the lamp on and play cheap transistor radio in your seat.