[Sic Erat Scriptum] sounds like the prologue to a dusty paperback science fiction novel from the late 1950s. But broken down step by step, it seems reasonable. Foregrounded in acknowledgment of the Anthropocene age (the period of history where human activity is the strongest force affecting planetary ecosystems and geology), it questions whether we’re really writing our own novel, or instead cribbing notes from a story told long, long ago.
“LAMCAST: Prehistoric Palimpsests”, Landscape Architecture Magazine, 1/5/2017
[Evan Mather’s] riveting new documentary A Necessary Ruin … manages not only to make engineering sexy and preservation politics compelling, but succinctly tells the tale of one of the most tragic architectural plunderings in recent memory.
“A Legacy Robbed”, The Architect’s Newspaper, 6/30/2010
Mather’s film [A Necessary Ruin] sounds a cautionary note about imperiled modern-era structures and the often prohibitive costs of maintaining them.
“Demolished Bucky Fuller Dome Subject of New Documentary”, Architectural Record, 4/29/2010
[So What?] Creative, innovative, surprising and unexpected! An incredible message that speaks beautifully to designers and the public about an important issue.
[My Big Fat Independent Movie] is a frenetic attempt to spoof every major art-house film of the last decade … but the best reasons to see it are Evan Mather’s animated title sequence and a dead-on Christopher Walken impersonation by Neil Hopkins.
“An Exhaustive Indie Spoof”, The New York Times, 11/24/2005
Certainly, Mather’s filmography runs the gamut: animation (Fansom the Lizard, 2000), music videos (Aimee Mann’s Red Vines, 2001, and Pavlov’s Bell, 2003), live-action narrative films (“The Trilogy of Tragedy”, 1999–2003), documentaries (A Fool’s Errand, 2004), bizarre portraits of both himself and his collaborators (Clowntime is Over, 2003), open source projects (Agave, 2001–present), fan films (Quentin Tarantino’s Star Wars, 1998, et al.) and even a digital take on the Dogme95 manifesto (entitled Dogma 2.0) can all be found within the ever-expanding borders of his bizarre, irreverent and strangely intoxicating cinema.
“Digital Historie(s): The Cyber-cinema of Evan Mather”, Senses of Cinema, April 2005
The most successful web-stream films, of course, are made with the format in mind. American film-maker Evan Mather’s work, such as Icarus of Pittsburgh, is a good example: densely packed with visual and aural information, his films seem made to be watched intently, in isolation and cocooned by headphones.
“Eat My Shorts”, Sight & Sound, May 2004
While most fan films are relatively straightforward homage, Mather’s movies are strikingly original, charmingly amateurish and defiantly noncommercial.
“Amatear Autear Likes It That Way”, WIRED, 6/15/2002
Cinema has Spielberg, television has Bochco, and – thank the Lord – webfilm has Evan Mather. Every medium needs a practitioner who can play to its unique strengths and streamed video gets that in spades with Mather. His work runs from lovably lo-fi animation to this experimental black comedy, about two brothers determined to prove that the Apollo moon landings were faked.
“Cyber cinema”, The Guardian, 6/30/2001
A series of shorts that combines the Star Wars mythos with stop motion action that recalls the Rankin/Bass Christmas specials … the imaginative parodies involve outlandish comedic situtations and host of Kenner aciton figures from the space saga … Mather’s more trenchant and witty films [includes] the exuberant and gloriously sleazy animated short Fansom the Lizard and the live-action subversive conspiracy Airplane Glue.
“Our Takes: Evan Mather”, IFC Rant, May/June 2001
You would probably expect a collection of shorts with titles like Buena Vista Fight Club, Les Pantless Menace and Booger to be a little on the offbeat side, but even so, this set of recent works by animator/filmmaker Evan Mather often proves downright inscrutable. Those expecting straightforward parodies of the “Swing Blade” variety are likely to be disappointed, but adventurous viewers will be rewarded with a cutting-edge mix of traditional stop-motion animation and digitally tweaked weirdness.
“Les Pantless Menace”, Film Threat, 3/3/2001
The delightful and diverse offerings of prolific short film-maker Evan Mather, packed into a single page site, both Mac and PC-friendly. He made his name with surreal Star Wars parodies like Les Pantless Menace, one of a series of lo-tech spoofs stuffed with plastic figurines and disco soundtracks. If these crowd-pleasers leave you cold, try out his funky, rough-edged animations, such as Fansom The Lizard. An excellent antidote to the plague of one-joke Flash cartoons that friends insist on cramming into your email inbox with.
“Cyber cinema”, The Guardian, 8/31/2000
When film critics and historians look back on the early days of Web animation, we think Evan Mather will be a name whispered in awe. In a collection of shorts, Mather treats you to a world George Lucas never dreamed of—mint-condition Kenner action figures dancing to disco and duking it out with Godzilla (Godzilla Versus Disco Lando). Imagine those same figures in Pulp Fiction and you have Mather’s Quentin Tarantino’s Star Wars. He’s no Ray Harryhausen, the legendary stop- motion animator for films such as Clash of the Titans, but Mather’s animation and way with a sound clip are inspired lunacy.
Access Magazine, 7/23/2000
One might contrast this rather down-to-earth representation of Lucas — the auteur as amateur — with the way fan filmmaker Evan Mather’s web- site (http://www.evanmather.com/) constructs the amateur as an emergent auteur. 10 Along one column of the site can be found a filmography, listing all of Mather’s productions going back to high school, as well as a listing of the various newspapers, magazines, websites, and television and radio stations that have covered his work — La Republica, Le Monde, the New York Times, Wired, Entertainment Weekly, CNN, NPR, and so forth. Another sidebar provides up-to-the-moment information about his works in progress. Elsewhere, you can see news of the various film-festival screenings of his films and whatever awards they have won. More than nineteen digital films are featured with photographs, descriptions, and links for downloading them in multiple formats.