A large chunk of writing posted to my Examiner.com profile has been modified due to new Examiner policies and will no longer be available through their portal. I've attempted to re-publish these "lost" posts as they originally appeared. Link integrity varies.
Read live Examiner articles HERE.
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Avatar - From what I've heard,...
Avatar is one of those film events that simply cannot be ignored. Like it's visually advanced antecedents the Star Wars films, Avatar is blowing minds everywhere it goes. On the tip of every reviewer's tongue and slapped on seemingly every website and blog post, James Cameron's revolutionary masterwork has, apparently, changed the face of filmmaking. Just as he had planned.
It was fun watching the reviews pour in through Twitter the evening/day of release. Shortly worded insistances such as "Go see this movie." and one-word utterances like "AMAZING" and "OMGICANTBELIEVEWHATIJUSTSAW!!!11!" And these were from people who I know have an affinity and appreciation of serious filmmaking not suger-addled, pre-teen fan boys who get all revved up whenever they see an esurance ad.
My favorite quote so far is from Stephen Kopels, a 60+-year-old filmmaker and Director of Education at San Francisco School of Digital Filmmaking (Disclosure - he's my employer, btw.)
Saw Avatar in 3D IMAX OMG ....!!!!!!!!!! Just when i thought I'd seen everything in movies...... Yet another level of our technical abilities catching up with story....
It's not the wording itself that is all that remarkable. It's the excitement within. Here's a guy who knows more about movies than probably anyone you know. Usually, people with as much historical knowledge as he tend to be a bit grumpy when faced with new-fangled technology and disconcerting leaps in presentation. But Avatar was bright and unique enough and executed so well that even a guy who has seen it all can still get giddy.
I have not seen the film yet. I am waiting for a calm and less-crowded mid-day screening so that I may immerse myself in what is, from all reports, a visual assault of epic proportions. If this is truly a retina-melting experience, I want to be dead center of the theater and not miss a pixel.
My biggest gripe is the inexcusable use of the Papyrus font. I will never let that slide.
Oh. And the new Alvin and the Chipmunks movie actually BEAT Avatar in box office receipts. What does
that tell you?
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The Hawk Sound Effect? Oh - That Means We're Outside In the Wild.
There it is again! That darn hawk sound!
Nothing takes me out of film faster than seeing or hearing something with which I am already familiar. Like seeing a Chinese restaurant that was obviously once an iHop or recognizing a horrific continuity flaw. And it happened again last night during trailer for a film titled 'Bitch Slap'. (Hmmm... the online version of the trailer does not have the effect. The theatrical version does, I assure you.)
I'm talking about the tried and true Screeching Hawk/Eagle sound effect. I've seen it in three films just in the last few months. In order of awesomeness - Antichrist, Zombieland and Jennifer's Body.
You know the sound. When a big scene is opening - something outside, usually majestic and roughly natural - you often hear a hawk or eagle screech off in the distance. This is added to connote "wildness" or impending adventure. The effect has been around forever and is a staple of every Hollywood sound person. And is over-used to the point of annoyance. (Scccrreeeech...soft echo...fade out...)
Of course, this isn't the only over-used sound effect. Film dorks may be familiar with the story behind the Wilhelm scream (or The Wilhelm scream). Predictably, we turn to Wikipedia for the details:
The Wilhelm scream is a frequently-used film and television stock sound effect first used in 1951 for the film Distant Drums.[1] The effect gained new popularity (its use often becoming an in-joke) after it was used in Star Wars and many other blockbuster films as well as television programs and video games.[2] The scream is often used when someone is either falling to his death from great height or from an explosion.
(Incidently, there's a punk band out of Bedford, Massachusettes named A Wilhelm Scream.)
Here's an excellent compilation of films that have used the Wilhelm Scream.
There doesn't appear to be as much of a back-story behind the Screeching Hawk sound effect but I'm sure that the cool-kid sound effects guys get a good laugh out of it. I couldn't easily track down the actual offending effect, but the clip below will give you a good idea of what I'm talking about.
But, wait, there's more. There are all sorts of Sound Effect cliches out there. JFrater over at Listverse runs down his Top Ten.
PS: I saw the boom mic three times in Bad Lieutenant: Port of Call New Orleans. And the movie wasn't really all that good. If you are going to go for "weird and over-the-top" then really go for it.
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COLLAPSE Comes To San Francisco
Hey. You wanna see something really scary? - Dan Aykroyd, Twilight Zone: The Movie.
There are horror stories and then there is the horrifying truth. Vampires, zombies, serial murdering hitchhikers and the like; they live in a fantasy world and scare us in a temporary way. And then there is the truth. The "truth-truth". The horrifying truth that you know won't go away when the lights come back on.
By all accounts, Chris Smith's newest film, COLLAPSE, is a horror film which hits too close to home. Basically, a long interview with a curiously well-informed independent reporter, COLLAPSE, is one man's take on the state of the United States of America and it's dirty love affair with petroleum. It's called Peak Oil, folks. When it's gone, it's gone. And Michael Ruppert is going to tell you how it's all going to go down.
My friend Michael Tully of Hammer to Nail says of the film - "There’s no denying it: Chris Smith’s Collapse scared the living p*ss out of me."
"Great! Sounds like a delightful Holiday film!" says this writer as he hordes water, Clif Bars, coffee and batteries and downloads a "How To Use A Shotgun" PDF from the web.
A nice breakdown from the Lumiere website:
"Americans generally like to hear good news…But is anyone prepared for the worst? Michael Ruppert, a former Los Angeles police officer turned independent reporter, predicted the current financial crisis in his self-published newsletter From the Wilderness at a time when most Wall Street and Washington analysts were still in denial. Chris Smith has always had a feeling for outsiders in films like American Movie and American Job. In Collapse, Smith stylistically departs from his past films by interviewing Ruppert in a format that recalls the work of Errol Morris and Spalding Gray.
Sitting in a room that looks like a bunker, Ruppert recounts his career as a radical thinker and spells out the crises he sees ahead…He is especially passionate over the issue of "peak oil," the concern raised by scientists since the 1970s that the world will eventually run out of fossil fuel. While other experts debate this issue in measured tones, Ruppert doesn't hold back at sounding an alarm. He portrays a future that resembles apocalyptic science fiction. Listening to his rapid flow of opinions, the viewer is likely to question some of the rhetoric as paranoid or deluded; and to sway back and forth on what to make of the extremism. Smith lets viewers form their own judgments."—Thom Powers, Toronto International Film Festival
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COLLAPSE is at the Lumiere for one week only - starting this Friday, December 4th. The film's subject ("star", if you will), Michael Ruppert, will be present at Friday's screening.
Supplemental reading: James Howard Kunstler's The Long Emergency.
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The "Fans, Friends & Followers" Workshop Comes to San Francisco
I've been thinking a lot about a recent post by the prolific film producer Ted Hope in which he puts forth what it takes to be a producer in today's film business. Titled The Twenty New Rules: What we all MUST TRY to do prior to shooting, Hope gives it to us straight and clear and demands that filmmaker ask themselves some tough long- and short-term planning questions. The article is a must-read for anyone hoping to produce a successful film. Actually, it's a must-print. As in; print it out and stick it next to your monitor to use as uncomfortable inspiration.
The first thing on his list: Recognize it is about audience aggregation: Collect 5000 fans prior to seeking financing. Act to gain 500 fans/month during prep, prod., post processes.
Hope doesn't go into detail about how you are going to actually make this happen, however. But he's busy making a film and probably out there trying to find his own 5,000 fans.
Fortunately, there is help on the way from writer, editor, event host and all-around media guy, Scott Kirsner. Kirsner is putting on a "interactive and intensive" workshop based on his popular book Fans, Friends and Followers: Building An Audience And A Creative Career In The Digital Age. His book breaks down how you, as a filmmaker or other digital artist, can take clear and productive steps towards turning your creative effort into a paycheck.
VIA
An essential guide for filmmakers, musicians, writers, artists, and other creative types. "Fans, Friends & Followers" explores the strategies for cultivating an online fan base that can support your creative career, enabling you to do the work you want to do and make a living at it. Based on dozens of interviews with the artists pioneering new approaches to production, marketing, promotion, collaboration, and distribution, it presents strategies that work - in a straightforward, jargon-free way.
What will you learn at his workshop?
- Start building an audience as soon as you commit to your project
- Use social media tools to get the audience engaged, involved, and supporting your work
- Choose the communication channels that work best for you
- Use your time effectively
- Reach potential audience members in partnership with already-established sites, blogs, podcasts, e-mail lists, and video series
- Understand the four kinds of fans
- Build and geotag your audience database
- Create a range of merchandise, physical and digital, for fans to buy
- Turn people interested in your work into fans who support you economically, from one project to the next.
This is a one-time only event and limited to 50 people. Each attendee will get a copy of Scott's book and get a chance to network with other Bay Area filmmakers and creatives. While Standard Registration is closed, you can still squeak in as Last-Minute Registration. Buy tickets.
The workshop is TUESDAY, December 2nd from 5:30 - 8:30 and is being held at BAVC studios.
Bay Area Video Coalition
2727 Mariposa Street
Second Floor
San Francisco, CA 94110
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Ready, Set, Bag! Hits the Roxie
Tetris meets Cup Stacking - with food?
To write well about film, video and movies, it's important to keep your eyes focused on as much of the entire media kaleidoscope as you can stand. From news pulled from ragged flyers on telephone poles to big-dollar press releases, you need to be be active and aware to be a decent blogger. Interesting, relevant and import film news can be hard to find. The more you look, the more you see, I guess.
Today's film news comes from the always awesome, Mission Mission. Basically, a crowd-sourced compendium of Mission-centric news, photos, inside jokes and the occasional video, Mission Mission documents the cultural ebbs and flows of everyone's favorite SF neighborhood. (Don't call it a hipster blog or Ariel will get pissed.)
They've got news of a fun-sounding documentary about bagging groceries. Yes. Bagging groceries. Sounds riveting, eh? Actually, from watching the trailer, I bet it is. Maybe it's just me, but it's refreshing to see something very non-cool and un-meta. Good, clean fun without pretension and snarky asides.
"This movie melted my cold, dead heart." - Kat Malinowska
VIA ROXIE
Audiences are falling in love with this surprising, fun film. A distinctly American story told with heart and humor, “Ready, Set, Bag!” is about regular folks who find fulfillment in their work, always challenge themselves to do better, and take care not to crush the eggs. We all shop at the grocery store and the checker or bagger is often the only personal contact we have. It is here at the end of the checkout aisle that “Ready, Set, Bag!” chronicles the triumphs and challenges eight state champions experience on their road to the title of Best Bagger in America, and their journey to be the best they can be.
You know, just last week I had an inattentive bagger misplaced my pineapple spears. I was nearly home before I realized that they had been tilted during bagging and that the package had been dripping and draining through the paper bag and down my jacket. Had the bad ripped...? Well, I'd have lost a glass bottle or two. And I had to wash my jacket. Point is: I have a deep understanding of the importance of a quality bagger. This is serious business.
Ready, Set, Bag! screens Thursday, November 19th at 7pm at the Roxie. This is a benefit show and Mechanics Bank is donating $1 for every ticket sold to the San Francisco Food Bank. And you get a $1 off your ticket AND 50 cents off your popcorn if you bring in two or more items of non-perishable food items. (Go easy on the lima beans, please.)
They'll be a Q+A with the directors after the screening. RSVP through their Facebook page.
The Official Website - http://www.readysetbag.com/
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Black Dynamite Comes to the Bay Area
Several weeks back, I wrote about the fledgling Oakland Underground Film Festival (OakUFF). The Festival had tried to get a recently released, high-flash action film for the festival but was turned down as they were told it was destined for wide release.
Ultimately, Bay Area theaters chose not to screen it - despite it's success at both Tribeca and Sundance - so OakUFF Festival Director Kahlil Karn and Media Director Colette Washington decided to step in (and up) and screen the film themselves.
The film is BLACK DYNAMITE.
BLACK DYNAMITE is destined for cult film status. This action-packed comedy is meticulously and lovingly rooted in the great traditions of American Blaxploitation and Kung Fu films. A fresh and outrageous remix of films like “Shaft” (1971), “Super Fly” (1972), and “The Mack” (1974), BLACK DYNAMITE is wrapped in a delicious and funky original soundtrack. Directed by Scott Sanders, BLACK DYNAMITE is “...a neck-snapping orgy of martial-arts mayhem...” (Film Threat) and “...sustains the comedy while taking a nice big sucker punch at the underlying politics of our time.” (Sundance Film Festival) Don’t miss your chance to see this soon-to-be classic film that “…leaves its predecessors in the dust, largely thanks to its filmmakers’ genre expertise, zany plot/sharp comedy writing, and of course, the physical prowess and deadpan hilarity of its co-writer/star Michael Jai White, who is one bad, righteous mothaf*cka.” (Marlow Stern).
I'm not an expert on the genre, but when I first watched the clips, I thought it was an actual Blaxploitation film from the 70's. The clothing, sets, casting are very well done. It makes the Ben Stiller Starsky and Hutch remake look like it had been shot in the sci-fi future.
The soundtrack is amazing - and this isn't even my kind of music. Super-smooth and downright righteous, each track seems to be pulled via audio wormhole directly from Detroit in 1973.
Multi-instrumentalist Adrian Younge makes his debut on Wax Poetics Records with his original score to the Michael Jai White comedy Black Dynamite. Inspired by the great blaxploitation soundtracks of the 1970s, Younge commands the Rhodes electric piano, Hammond organ, Hohner Clavinet, harpsichord, synthesizer, vibraphone, guitar, bass, flute, sax, cello, and drums, crafting with a singular vision. Listen and Buy
BLACK DYNAMITE is an exclusive engagement - TWO NIGHTS ONLY. You may never had the chance to see it again!
- Castro Theater in San Francisco Friday, November 20th
- The Grand Lake Theater in Oakland on Saturday, November 21st
Both shows are at midnight and you are encouraged to attend in your best 70's outfits - for which there will be prizes and give-aways. The Press freakin' love this film - and I'm guessing that you might, too.
Lead actor Michael Jai White and Director Scott Sanders will be attending both the screenings.
Oh. You may want to buy one of these t-shirts before every kid in mid-west has one. This is going to be popular.
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A Short Film Shooting on Bernal Hill Needs Your Body
I pulled a bunch of paper off the printer at work yesterday and found something interesting. Seems that someone has got A Big Idea. And they will need your help to make it Real.
San Francisco artist Renee Rhodes is working on a video to be shot atop everyone's favorite dog park, Bernal Hill.
From the flyer:
"Hello! I am a grad student at SFAI and I am gathering a large crowd of people that will interact through movement atop Bernal Heights Park! I hope you will be part of this video.
This video is about community and ways in which the natural world and the human one intersect in strange ways."
Renee has a thing for bodies, moving. Her films have bodies moving through space in an organized yet organic manner - both in real life and computed-generated environments. From the climbing of a tree to the formation of a pinball machine-like "Entropy Machine", Renee films the human form both engaging and being engaged.
Check out this short piece - what sounds like the title to a Boards of Canada song, "Practicing For When We Need Each Other More.
From Renee's website:
Practicing for When We Need Each Other More stemmed from an interest in the complex and choreographic pattern making of starling flocks. The instinctual collective intelligence of animals does not directly translate to human groups so watching people's conscious concentration on collaboration can become very telling of the way human groups function.
To realize this project volunteers, both with and without dance training, met with me weekly for one month to practice improvised group oriented movements. The idea that groups of people may meet up on a regular basis to practice being together is a funny yet strangely rewarding idea.
An introduction/meeting/rehearsal is slated for November 7th or 8th with the additional dates of November 14th and 15th available in case of scheduling issues. The final shoot is November 22nd from 10am - 1pm.
Email Renee
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"Forty Winters" and The 34th Annual American Indian Film Festival
I worked down on Fisherman's Wharf for a tour company for over a year. It was always "Alcatraz-this" and "Alcatraz-that" all the time. I thought I had heard all there was to know about the notorious island/prison. However, I did not know that The Rock launched the modern American Indian activist movement.
A short film titled "Forty Winters" by San Francisco filmmaker Valarie Bluebird Jernigan tells the story of one man trying to recapture that spirit.
About:
In 1969 American Indians occupied Alcatraz Island, beginning the American Indian activist movement. Forty years later, one of the original activists seeks to reignite the movement by putting the political symbol of the occupation, the tipi, back on the island. He looks to his children for support. Now adults, and engaged in their own struggle for survival, his children question the real benefits of the movement and its costs to their family. Forty Winters is a story about the idealism and the aftermath of the American Indian movement as told through one family’s struggle for cultural identity and survival.
The strength of Valarie's work convinced well-known filmmaker Chris Eyre to sign on as Executive Producer and she has already seen some positive steps forward regarding distribution.
“I’ve just finished submitting grants to Kellogg Foundation, CA Council of Humanities, and Native American Public Television and we’ve gotten broadcast letters of interest from KQED and NAPT.
And my shorter film, the relocation film which I retitled “A New Frontier”, was accepted to the 34th Annual American Indian Film Festival, said Jernigan.
About the American Indian Film Festival
The 34th annual American Indian Film Festival, presented over nine days, will run Nov. 6-11 at the Landmark Embarcadero Center Cinema, One Embarcadero Center, Promenade Level; and conclude Nov. 12-14 at the Palace of Fine Arts, 3301 Lyon St. at Bay St. The festival will premiere over 80 new feature films, shorts, public service, music videos and documentaries from US American Indian and Canada First Nation communities.
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Oakland Underground Film Festival
Some film festivals explode across the media landscape like the second coming of Sundance while others begin with a more low-wattage unveiling. This is, of course, unfortunate as many of the best films make their debuts at as-yet-established festivals - but you may never hear of them. Sneaking in under the radar this year is the modest-yet-compelling Oakland Underground Film Festival.
Sponsored in part by CineSource magazine, the three-evening affair screens a handful of full-length feature films and a few shorts. Of speciale note is the film WATERLIFE.
"WATERLIFE follows the epic cascade of the Great Lakes to the Atlantic Ocean. From the icy cliffs of Lake Superior to the ornate fountains of Chicago to the sewers of Windsor, this feature-length documentary tells the story of the last huge supply (20 per cent) of fresh water on Earth.
In what may be a blessing in disguise, the festival lost it's Oakland venue at the last second but has been replaced by Allen Michaan's beautiful art deco theater, the Alameda Point Naval Base Theater.
VIA OAKUFF:
The OAKLAND UNDERGROUND FILM FESTIVAL is a showcase for independent and Do-It-Yourself film, video, and projection art to be held on September 25th through 27th at the Alameda Point Naval Base Art Deco Movie Theater. The festival provides first look opportunities at films that entertain, educate, and inspire, by celebrated filmmakers, and emerging artists alike. 2009, the first year of the festival, features a rich and eclectic program that has something for eve ryone. Attend any one of the films for just 7 dollars or get an all-festival pass for 25 dollars.
The festival is directed by Kahlil Karn and is running through Sunday.
For more info: Oakland Underground Film Festival
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Arse Elektronika 2009 - Of Intercourse and Intracourse
The sexiest event of the year - technologically speaking - is monochrom's Arse Elektronika.
Now in it's third year, the event runs from October 1 - 4th at the Roxie, ParisSoMa and a couple other locations around town.
Far beyond penis jokes and traditional dirty movies, Arse Elektronika is an orgy of big-time brains, deep thinkers, futurists, PhDs, hackers, artists, performers, scientists, experimental engineers and whimsical disruptors determined to give the entire notion of human sexuality a high tech cupcake reach around. Yes - there will be robot sex.
VIA
We may not forget that mankind is a sexual and tool-using species. And that's why our annual conference Arse Elektronika deals with sex, technology and the future. As bio-hacking, sexually enhanced bodies, genetic utopias and plethora of gender have long been the focus of literature, science fiction and, increasingly, pornography, this year will see us explore the possibilities that fictional and authentic bodies have to offer.
Our world is already way more bizarre than our ancestors could have ever imagined. But it may not be bizarre enough. "Bizarre enough for what?" -- you might ask. Bizarre enough to subvert the heterosexist matrix that is underlying our world and that we should hack and overcome for some quite pressing reasons within the next century. Don't you think, replicants?
The event kicks off with a film festival and award gala at the Roxie.
Blowfish and Monochrom present Arse Elektronika 09, a film festival with rarely- and never- before seen shorts and features on sex and technology, and the Prixxx Arse Elektronika Award Gala. Includes the Arse Elektronika Opening Celebration (hosted by Johannes Grenzfurthner, featuring Allen Stein, Annalee Newitz and other human and non-human guests). The Awards ceremony begins at 9:30. Admission = $12.00.
And while not really film-related, I can't help but to point out that San Francisco's Noisebridge will be giving a pretty amazing-sounding workshop on Sunday, October 4th at Noisebridge.
How to build a Joydick: Sex device and game control?
By Noah Weinstein and Randy Sarafan
The Joydick is a wearable haptic device for controlling video gameplay based on realtime male masturbation. Through the use of a carefully designed strap-on interface, the user's penis is converted into a joystick capable of moving the character onscreen in all four cardinal directions. For games requiring the fire button, a separate ring can be worn which converts hand-strokes into button presses. Full details of the project can be seen at http://projects.sfmedialabs.com (NSFW!)
Arse Elektronika has already hustled up some coverge at BoingBoing and, as Violet Blue is involved, I'm certain the 'fest will see some more ink soon.
For more info: Arse Elektronika 2009
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WORLD'S GREATEST DAD Opens Friday At Smith Rafael Film Center
WORLD'S GREATEST DAD, from writer/director/comedian Bobcat Goldthwait opens this Friday, August 28th, at the Smith Rafael Film Center in San Rafael.
I like Robin Williams when he isn't trying to be too funny. He was cold and sharp in ONE HOUR PHOTO. And Bobcat earned a place in my heart with his awesome turn as the disgruntled studio employee, Eliot Loudermilk, in SCROOGED.
The trailer is a great watch (see below) but find the red band version for a better feel of what the film is like. (Wondering to myself... Am I'm seeing a mash-up of Solondz's HAPPINESS and the Michael Douglas/Tobey Maguire film, WONDER BOYS?)
About the film:
A dark comedy from writer-director Bobcat Goldthwait (Sleeping Dogs Lie) that is outrageous in its premise but ultimately thoughtful and poignant, World’s Greatest Dad stars Robin Williams as a single father who begins this story as candidate for “least appreciated dad.” A high school poetry teacher who long ago suppressed his dream to be a successful novelist, Lance Clayton finds limited comfort in a casual affair with lovely art teacher Claire (Alexie Gilmore), but endures daily torment from his son (Daryl Sabara), a troubled youth who happens to be an insufferable, sex-obsessed adolescent. Suddenly a freak accident confronts Lance with both the worst tragedy and the greatest opportunity of his life. An ultimate fatherly gesture inadvertently brings him all the fame and recognition he ever coveted, but Lance must decide whether he can tolerate playing the games of a society all-too-eager to embrace inspirational fiction over sober truth. Rated R for language, crude and sexual content, some drug use and disturbing images. Writer/Director: Bobcat Goldthwait. (US 2009) 99 min.
Friend, colleague, talented filmmaker and lead writer at the top-notch film site Hammer To Nail scored a wonderful interview with Mr. Goldthwait last week. As an off-again, off-again writer myself, I found this Q+A pretty helpful.
H2N: How about in a general sense with regards to writing, specifically scriptwriting. Do you have a daily routine? Do you write when compelled? Or do you force yourself to do it even when you aren’t feeling it?
BC: My writing process is: I usually have a couple things that I’m thinking about. I tend to write them really fast. Sometimes I go to a chain quality hotel and I just sit there and write. That way I have the pressure of spending money on the hotel. World’s Greatest Dad I wrote in five days. Sleeping Dogs Lie I wrote in three days. My detractors would say that I should have probably spent another day or two on them. (BC laughs) By the way, this is all brand new. Before it used to take me forever to write screenplays because I was always trying to second-guess what would “get made.” Or “this would be a good vehicle for me” and all this crap. And about six years ago I just stopped everything. I went way back and I thought, “I’m just gonna write a screenplay to see if I can write one and hand it to people and see if it would work for them.” And that was Sleeping Dogs Lie. I’d been having a lot of problems writing this one screenplay that was very G-rated, and my friend Jack Burns just finally said, “Bobcat, you’re not G-rated.” (both laugh)
MORE INFORMATION:
- World's Greatest Dad
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Storyboarding with an iPhone? - Hitchcock Directs!
Is there anything the iPhone can't do?
Every good filmmaker knows that pre-production is critical to the success of a well-run film. Planning, planning, planning will make all the difference when it comes to Day One of your shoot. One big component of these efforts should be an in-depth storyboarding. Who stands where? Which way is the extra walking? The camera should go...here. It's this pre-visualization that will save you time and money when you hit the set and start rolling.
There are a bunch of storyboarding software options out there or you could shoot the locations with a basic point-n-shoot with stand-ins and build something from scratch.
I'm currently working on a film titled SHADOW ANGEL with a few friends - including the name-sharing-but-way-older DP, Chris Smith. A few days ago we visited one of our scenes, Comic Outpost, to work on camera angels, take photos and punch Batman in the face. Older Chris Smith (OCS), being the well-prepared DP that he is, built out the scenes using some a basic storyboarindg software. These looked great and certainly helped get us oriented. He also brought his archaic camcorder to use as a camera stand-in to allow our director, Heather Donnell, to eyeball the composition. We also had a still camera to supplement the video camera. Our iPhones were there to keep us company. But they could have been doing so much more.
The new iPhone app Hitchcock from a company named Cinemek is positioned to simplify and enhance the on-site storyboarding process. Basically, it's storyboarding using your iPhone. Simply take photos with your iPhone and use the app to build your scenario. Rearrange, delete and crop the photos to get the scenes you want. Annote them, set times and add camera moves. Build it - play it back - hate it - redo it -- better - do it again - like it - done.
Especially cool is the ability to add audio notes to the scene. Plug in dialog, add music/audio suggestions or extemporaneous thoughts. Export the final product as a PDF and email it to producers and crew.
It looks pretty amazing. Fast, flexible and almost certain to capture moments of inspiration and increase efficiency. I'm wonding about the learning curve but at $19.99, I'm not going to be the one to find out how hard it is to use.
Reviews have been very positive - my favorite being "The only thing that's missing is a distribution deal." from iTunes user 321istaken.
VIA Cinemek:
Hitchcock is the worlds first mobile story boarding application. With Hitchcock you can have your first story board up and running in a matter of minutes. Hitchcock streamlines the process of storyboarding by allowing you to compose storyboards using photos rather than the tedious hand drawing process. This allows professionals and students to portray their vision to others in a easily controllable and transportable format
See for yourself: http://www.cinemek.com/hitchcock/
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Movie Bathroom Break? RunPee.com Gives Timely Advice
It's happened to each of us. We get too ambitious with pre-movie beers, slurp down one-too-many Diet Cokes or simply forget to hit the 'loo before settling in for a film. Halfway through you realize that your bladder is mere moments away from exploding - gotta go!
I hate getting up during a movie. I believe that last time I got up mid-film was while watching The Burning of the Red Temple. And I think it's a tad irresponsible to burden those around you with your poor planning. Surely you should feel a bit a guilt for interrupting your film-fan neighbors...walking in front of them, knocking shins, spilling popcorn, mumbling 'excuse me' to the delight of the people unable to experience your visual affront. No, no...please. Feel free to shatter the wonderful illusion this film has created by stepping on my toes. Concentration broken...great. But I digress...
But if you MUST go, it'd be nice to be able to choose the 4-5 minutes of the film that you can skip and not be totally derailed plot-wise. And so we turn to the amazingly simple/awesome website, RunPee.com.
"RunPee.com lists movies that are currently in movie theater and when we think would be the best time to RunPee during those films. This way you not only know when to go but can also find out what you'll be missing. You will no longer miss those ultra-important scenes or need to come back to your seat and ask 'what did I miss?'
The site has received tons of press coverage and has the requisite Facebook page and Twitter stream. Of course, they have an iPhone app, too. Watch the video below to see how it works.
For more info: http://www.runpee.com
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Working In The Film Industry - Facts From The Bureau of Labor Statistics
Earning a living making movies is tough. The fickle and fluctuating film industry employment landscape is notorious for its tiresome boom/bust, hurry-up-and-wait realities and slippery salary standards.
Once the shine wears off, making movies becomes of a job. And like any job, it's good to be familiar with the overall future of your chosen path. We tend to rely on rumors, rosy trade publications and our own circle of confident colleagues to get a pulse on the state of employment in our respective fields. We may know what is going on in the Bay Area but what about the larger employment trends and predictions?
Have a look at what The Bureau of Labor Statistics thinks. This Federal agency gathers and crunches employment data and develops quick and easy reports and predictions to inform and educate job seekers. And this includes filmmakers, DPs, editors, actors, producers and more.
VIA
The Bureau of Labor Statistics (BLS) is the principal fact-finding agency for the Federal Government in the broad field of labor economics and statistics. The BLS is an independent national statistical agency that collects, processes, analyzes, and disseminates essential statistical data to the American public, the U.S. Congress, other Federal agencies, State and local governments, business, and labor. The BLS also serves as a statistical resource to the Department of Labor.
BLS data must satisfy a number of criteria, including relevance to current social and economic issues, timeliness in reflecting today’s rapidly changing economic conditions, accuracy and consistently high statistical quality, and impartiality in both subject matter and presentation.
What struck me first was that the summaries really don't make any effort to shine up the industry - make it more appealing. They are pretty straightforward and objective. Take the "Working Conditions".
Directors and producers often work under stress as they try to meet schedules, stay within budget, and resolve personnel and production problems. Actors, producers, directors, cinematographers, and camera operators face the anxiety of rejection and intermittent employment. Writers and editors must deal with criticism and demands to restructure and rewrite their work many times until the producer and director are finally satisfied. All writers must be able to withstand such criticism and disappointment, but freelance writers work under the added pressure of always looking for new jobs.
Or this one from the Actors sub-section.
"Actors endure long periods of unemployment, intense competition for roles, and frequent rejections in auditions."
Ouch. Just give it to me straight, doc. Heck, while your there, be sure to check the future of a job you may very well have if you choose to make filmmaking your schtick.
A sobering chart for job seekers. While a bit dated, certainly helps to show where your next gig may be coming from.
In 2006, there were about 357,000 wage and salary jobs in the motion picture and video industries. Most of the workers were in motion picture and video production. They are involved in casting, acting, directing, editing, film processing, and motion picture and videotape reproduction. Ten percent of people in the film industry were self-employed, selling their services to anyone who needs them and often working on productions for many different companies during the year.
Although six major studios produce most of the motion pictures released in the United States, many small companies are used as contractors throughout the process. Most motion picture and video establishments employ fewer than 5 workers (chart 1).
For more info: Career Guide To Industries; Motion Picture and Video Industries
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Screen Your Film On The Go - Cinemin Swivel
Hey! Watch this!
Twitter is reading my mind? Probably not. But just yesterday I was wondering about output options for my iPhone. And this morning I noted a new follower - cinemin - on my Twitter account. Of course, I checked them out.
While the cinemin page is a little uninspiring (the account only has four entries), it did succeed at introducing two interesting things. The line of neat, little projectors and a digital graffiti event that they headline.
The company, WowWee, has three different models of their mini-projectors, or "pico projectors" ranging from the Cinemin Swivel (the smallest) to the Cinemin Stick and Cinemin Station (largest). Simply plug in your iPod or iPhone and play your video content on the nearest wall, MUNI ceiling or nude model. Nothing to it, really.
I like the Swivel the best if only because it could cause the most mischief. While it doesn't throw that large of an image (480x360), its portability allows for use in odd locations at the spur of the moment. Imagine being able to play the scorpion scene from Clash of the Titans on a packed elevator. Or use it as a bike lamp.
Marketing Blurb
Introducing the Cinemin™ Swivel portable multimedia pico projector. Powered by TI’s DLP Technology for ultra clear picture quality and designed to work with handheld devices like Apple’s popular iPod and iPhone, Cinemin takes projection out of boardrooms and movie theaters and into the palm of your hand.
While this is the proper url for the company behind these gadgets - http://www.wowwee.com - there seems to be something wrong with the site. They'll probably have it fixed by tomorrow morning.
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Cut and Run: Something To Offend Everyone!
Cut and Run: Something To Offend Everyone is a traveling experimental film exhibit curated by three San Francisco women - Brenda Contreras, Mallary Abel, and Emily Davis. The trio had a great event at ATA back in April and was inspired to take their show on the road. This seems a bit like the Zero Film Festival which I covered a few months back.
VIA:
The experimental film exhibit featuring 20 filmmakers who drove away from any of your expectations and premiered at San Francisco’s Artists' Television Access in April of 2009 will begin a national West Coast tour in August.
The funds raised from this event will help with film, venue, and transportation rentals. Live musical entertainment and video installation will be presented. Beverages and pins to be sold.
Yep, this sounds like an interesting couple hours. Or not. Hard to say, unfortunately, because basic information isn't particularly handy. While the films are listed, there are no accompanying descriptions or links out to trailers, clips or other resources. This interview filmed at Pirate Cat Radio isn't really clearing things up (skip to 3:10).
However, half the fun of experimental film is experimenting with venue and crowd while holding onto the hope of being blown away by something you didn't know was coming.
For more info: Cut and Run: The Something To Offend Everyone Tour!
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ROHSTOFF 5: From BAVC With Love
Over a 30 year history, Bay Area Video Coalition (BAVC) has trained, taught, tutored and titillated thousands of filmmakers, media professionals and content developers of all sorts. But more than an excellent resource to help you polish up on your Final Cut Studio skills, BAVC is also an outlet for experimental filmmakers. (Incidently, their website is fantastic. Someone over there has superlative UI experience).
BAVC has been running a series of thought-provoking and wonderful art/film/audio/other shows called Rohstoff (Raw Stuff) since last February. Basically, the BAVC instructors remove their weathered "instructor hats" and take the floor as artists. The fifth installment features work from experimental filmmaker Sade Huron who's effort RESIDUE OF DESIRE was included in Shifting Narratives's Risky Risque! screening I covered a couple months ago.
About the film:
ANDRAGOGY
Huron works with the unwanted parts of raw footage produced during her work as an instructor at BAVC. It is an 11-channel, site-specific video installation set in an unaltered BAVC teaching lab. The piece investigates the process of learning and the interpretation of information.
You can go to her website and check out the small video of the work but I'm guessing that one would really need to be there to fully appreciate the effort.
VIA - ROHSTOFF 5: From BAVC With Love!
Yes, they teach us where to put our cursor, when to Save as a jpg and how to achieve white balance, but what really goes on in the minds of our instructors? Experience the inner workings of Jonathan Parra's animated World of Mr. Toast, Sarah Soward's Rhinotopia paintings, Josh Kanies' visual-audioscapes, Adam Shaening-Pokrasso's and David Santamaria's post-modern look at tools and icons, Sade Huron's Adragogy, Liz Hickok's Jell-o-scapes, and Sirron Norris' cartoon literalism. Raw stuff. With Love.
The Opening Reception is June 17th, 6 - 8pm at BAVC.
For more info: ROHSTOFF 5: From BAVC With Love! and Sade Huron
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After Last Season - Does Hype Sell Tickets?
Yep. That's a cardboard MRI machine.
The recent hype and commentary surrounding last weekend's release of AFTER LAST SEASON has been as confusing as the film itself. There is a lot of head-scratching going on as reviewers and film-types try to find the right critical approach with which to address the effort. And many people are asking if the film is even intended to be real - or simply a fairly elaborate, well-constructed joke of some sort. (Two of the actors, however, have gone to great lengths to support the film as a real endeavor. Actor Jason Kulas' Facebook page is amazing.)
The trailer has been making the rounds, scored placement on iTunes and has generally done what a trailer should do - build awareness and get people interested in the film.
But if this post-screening interview is to be believed, all this hype hasn't been able to sell tickets. This interview catches the entire audience from the 9:55 screening (location, unknown) - four people. Four. With all the chatter, questions and general WTF-ness associated with the trailer (believe me, tons of people are yammering about this film), you'd assume that the film would sell out. Heck, I expected After Last Season tailgating - maybe a nice homemade, homemade-MRI machine and a few printers in the basement.
Even the seemingly random screening decisions should have lent the film a certain level of "we gotta see it-ness". The film screening in only four cities: Lancaster (CA), North Aurora (IL), Rochester (NY), and Austin (TX). But here we are, opening weekend, and the buzz and ballyhoo isn't getting people into the theater (yet).
I wonder if we are at a point at which internet-based hype and intrique simply isn't enough anymore. Or, at least, not as effective as it once was (a la, BLAIR WITCH PROJECT). You could look to SNAKES ON A PLANE as an example. This film was hyped to a ridiculous extent with bloggers and film fans all aslither with snake jokes and Samual L. Jackson impersonations.
Looking at the SOAP tickets sales, you'll see a decent opening weekend but then a big 55% drop and then a 60% fall in the second week. Once the "real" word got out that the film wasn't really all that hot, all the hand-drawn kindergartener SOAP logos couldn't keep the film going. The hype had pushed the film to #1 but it was unable to maintain the manufactured interest passed the first 10 days or so. A sugar-high and a crash. (Besides, once the famous line hit YouTube and then there wasn't really a reason to go see it in the theater.)
This is really a question of the value of hype. And whether or not film audiences have perhaps tired of zany and interesting neo-viral hype and quasi-valuable chit-chat. Can this frantic coverage be trusted?
Admittedly, AFTER LAST SEASON is pretty out-there and of questionable quality. But isn't that exactly the kind of film that usually benefits the most from constant, disparate and curious coverage? The internet loves this stuff. So, why isn't the film selling out?
This could all change in the next several days, of course. Articles like mine may bump notoriety and interest up past a magic threshold of some sort and we could see lines out the door next weekend.
And then will hype will be working?
For more info: AFTER LAST SEASON - Official Site
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Shifting Narratives - Queer and Trans Experimental Film
I wrote about the importance of experimental film many months ago with The Case For Experimental Films; Independent Exposure's Halloweird Screening.
The primary point being that while it might not be your thing, as filmmakers and artists, it is imporant to leave the shutter open, so to speak, and take in as much "newness" as you can tolerate. And so it is important to make the effort to see experimental film, if for no other reason, than to be confused or bewildered. Often, great things emerge from an unfocused place of not knowing.
A local queer/trans collective known as Shifting Narratives is doing their part to keep you thinking and growing with an evening of experimental shorts titled "RISKY RISQUE!" showing this Friday, April 24th, at Mama Calizo's Voice Factory in the Mission.
VIA Shifting Narratives:
"Shifting Narratives hosts an evening of short experimental film and video, created by queer and trans artists."
Shifiting Narratives is a community of artists in the San Francisco Bay Area using narrative and experimental film to challenge dominant cultures and assumptions from a queer and trans perspective.
The collective has been working together officially in the beginning of 2008 and hosted their first screening at Femina Potens gallery in September 2008. The screening, entitled "Hotter on a Bike", was standing room only and showed the group that they were doing something important. This event was hosted in conjunction with the national Bike Bike! Conference and helped to raise funds for the non-profit: Cycles of Change.
I asked collective member and co-founder, Stephanie Yang, a few questions about the screening.
Do you see experimental film as important to the larger, traditional film community or more of a limited, if fun, sideshow?
We believe that experimental film is about giving ourselves space as artists to take risks and try on new modes of communication with each other and across communities. It’s definitely not a sideshow, however it often feels like it gets relegated to the sidelines because experimental film isn’t always as easy to access as narrative film. To both challenge and support traditional film, we do believe that we have to take risks in order to create change, and that is where a focus on experimental film comes into play.
You've welcomed people to participate prior to the screening by asking for instances in which they had taken a Risk. Why the interest in Risk and how will that be incorporated into the screening?
Beyond the connection to experimental film, risk is a big part of our lives as queer and trans artists. We take risks every day, in the ways we choose to present and represent in the world. It is a risk for many of us to be queer, to blur gender lines and to love who and what we love. Our experiences as artists also mirrors how we take risks with identity in that we each have stepped out beyond comfort – and continue to do so – in order to create, make and share our art.
At Risky Risque!, we will be inviting our audience to join us that evening in taking risks through playful interaction and program elements that move beyond a traditional film screening experience. As always, Shifting Narratives screenings offer multiple ways for an audience to engage with film and community.
Risk and Risque is developed by an organization that you co-founded named Shifting Narratives. What did you see in your life - in your experience - that made it clear that an organization like this was needed?
As a short narrative/experimental filmmaker, I had been searching for a long time to find community around this experience – linked intentionally to a queer/trans identity and connected to broader social justice/human rights movements. What I found, however, was that politicized filmmaking resided in the worlds of documentary, not with narrative film. I knew I couldn’t be the only artist seeking community around narrative film so I began to talk to friends…and eventually Shifting Narratives was formed. The idea first emerged as a way to provide online connection for narrative/experimental filmmakers who created from the margins of the mainstream…but eventually, at the beginning of 2008, we settled into our current iteration: a community of artists in the San Francisco Bay Area using narrative and experimental film to challenge dominant cultures and assumptions from a queer and trans perspective.
Shifting Narratives is also about building community from the inside-out. Some of us in the collective have formal film training, others are video artists who possess more grassroots/DIY skills, and still others are artists who have worked in other formats and are now expanding into the points of intersections and possibility film provides. We are community who teach each other and push each other to be accountable to a creative process. It is this group that grounds me as an artist wanting to make a difference through the stories I tell and the messages I express. Not only has this group nourished me, it offers me the opportunity to put into the practice the community based values I hold dear.
RISKY RISQUE! FILMS
Catching Up With Myself
Director: Maya Orli Cohen
My heart; not let me not be mad both; lonely face; sometimes ritual
7min
1998-1999
Dream
Director: Stephanie Yang
Found footage melds into a visual resuscitation of memory
3 mins
2009
(20 sec preview: http://www.vimeo.com/1446204)
Pigeon Wings
Director: Stephanie Yang
A journey to an ancestral home reveals a poetic search to belong.
2 mins.
2008
Toothbrush Tango
Director: Dara Sklar
A femme slut struggles with hygiene obsession + abundant dates
6 mins
2002
The Heart's Regeneration
Director: Celeste Chan
An abstraction of love - a video collage of direct animation and self-imagery, set to diamanda galas.
2 mins.
2009
Zip
Director: Ami Puri
Tent-tempted shame summons metal-toothed monsters.
4 mins
2009
Reflections
Director: Dominique de Guzman
Selecting a person from a crowd, we discover her filled with unexplainable longing and mystery.
7 minutes
2003
Hug
Director: David Yun
Part of a larger series of works, "Hug" uses digital scratching techniques to produce a work that aims to both visually stimulate and recall memory, emotion and sensation.
1:27 mins
2007
Residue of Desire
Director: Sade Huron (www.sadehuron.com)
Desire is a visceral emotion; these marks are the residue of desire.
3:22 mins
2009
Phineas Slipped
Director: Cary Cronenwett
What goes through the minds of a class of schoolboys during an english class?
15 mins
2003
The Shifting Narratives Collective
Ami Puri, Celeste Chan, Dara Sklar, Vanessa Huang, Linda Chiu, Stephanie Yang, Dominique De Guzman, Catrina Chaos, Therese Noel, Maya Orli Cohen
WHEN/WHERE: April 24, 7-10pm @ Mama Calizo Voice Factory
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CINEMAPOCALYPSE Stops By YBCA
One of the most creatively programmed theaters in the world, The Alamo Drafthouse in Austin, Texas, is taking their crazy show on the road, stopping at Yerba Buena with a double-feature of deranged exploitation films.
What is CINEMAPOCALYPSE?...
This April 16-25, Austin's original Alamo Drafthouse Cinema will take their popular classic exploitation movie series on the road - presenting EIGHT HUGE NIGHTS of white-hot exploitation thunder at some of the finest screening venues in the west!!! Alamo Weird Wednesday programmer Lars Nilsen and Terror Tuesday curator Zack Carlson will bring the rampaging Cinemapocalypse road trip to the Pacific Coast, and will be presenting rare and absolutely unseen treasures from the American Genre Film Archive's top secret subterranean 35mm bunker, each film destined to peel the hair from your eyeballs, scorch the skin on your cortex and make you sterile for ninety weeks. From manic hicksploitation epics to bloodthirsty shoestring goreblasts, each movie is a railroad spike through the heart of limp modern cinema. Join us in shattering the wall between you and THE BEST TIME OF YOUR LIFE!!!
For more info: Get tickets right..... about......... HERE!
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Oddball Film + Video Does Drugs
No. I'm not feeling anything. Wait. Oh, man... Yeah. OK. Now I do. Wow. Wow. What?
Taking drugs to make drug movies to take drugs to?
Right. Onward.
Oddball Film + Video is amazing. Billing itself as "a unique stock footage company specializing in offbeat footage", the company has gathered hundreds of far out, freaked out, god-awful, boring, confusing, elegant and cryptic films, industrial videos and moving image ephemera together in one big box. A lot like Prelinger? Yes - and someone more industrious than I should post a really in-depth analysis of the two.
Oddball holds screenings of some of the better batches of work every now and again. And this Friday it's all about drugs, man.
Guest curator Pete Gowdy and Oddball Films present an evening of drug-scare films from the 1960’s through the 1980’s.
Aimed at school-age kids, these films were produced to be shown in schools or on TV- whether they kept anyone away from drugs is debatable; that they are hilarious today is not.
Featured films include: the all-time classic “Narcotics: Pit of Despair” (1967), “The Perfect Drug Film” (1971) with Beau Bridges, “Dope Is For Dopes” (1972) with Fat Albert and the Cosby Kids, Marijuana, Driving and You” (1980), “Stoned” (1980) with Scott Baio and more!
Sadly, they are not screening my all-time favorite drug flick, "Case Study LSD". Or what most people call "The Screaming Hot Dog".
For more info: Oddball Film + Video
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The Film Race Is On
Two of the big challenges in filmmaking are coming up with an idea and completion. While these sound like the easy parts, most filmmakers will tell you otherwise.
There is nothing more daunting than Everything. Meaning that, when charged to make a film without any guidlines, one can literally make a film about anything. This kind of option - a bottomless chasm of "what-if"- freezes many people in a state of Potential Paralysis from which they never emerge.
The other trick is actually getting the film done; completing it. There are so many variables, schedules, obstacles and unknowns, that it becomes easy to put the film off or take a couple day break that ends up lasting a few years. It helps to have a deadline. The dead-er, the better.
And that is where things like Film Racing come in handy. A strict deadline coupled with and a specific topic, lines of dialog or props that must be included in the finished film give you just enough direction and urgency to get something done. Hopefully, something watchable.
There are a few of these types of things across the country, but the people at FilmRacing.com seem to have one of the better operations (and they own the killer url). The San Francisco version is coming up quick - get on it.
VIA
Film Racing is a nationwide competition that challenges filmmakers to create original short films under extreme time constraints. Film Racing visited 13 cities on the 2007 Tour, 17 cities in 2008, and will be visiting 20 cities on the 2009 Tour challenging filmmakers to create short films in 24 hours. The films premiere on the big screen in theaters across the country and the top films advance to compete for thousands in cash and prizes here on filmracing.com.
Check out last year's San Francisco winner, SWEEP, below. The embed code on the Film Racing site was non-op so image links to the page directly.
For more info: FilmRacing.com
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Audience of One - San Francisco Filmmaker Michael Jacobs Gets Religion
"Ten years ago, Richard Gazowsky, pastor of the Voice of Pentecost Church in San Francisco, received a “prophetic whisper” from God to make movies. Now, in Michael Jacobs’ riveting documentary, Pastor Gazowsky and his congregation are gearing up to make Gravity: The Shadow of Joseph, a $50 million dollar Biblical sci-fi epic.
Lord knows filmmaking is hard work. And I'd think even the most devout athiest filmmaker, in times of stress, has looked to the sky and asked for a little break. (Of course, it is soon followed by a "jesus f-ing christ!" when something goes awry.) But when you flip the equation and count God as your sole inspiration, guide and arbiter, filmmaking takes on entirely new feel - it becomes a mission.
San Francisco filmmaker Michael Jacobs spent a year following and documenting the Christian-based film company WYSIWYG Filmworks as it embarked on this mission of God to make a big-budget, Hollywood-level movie armed with not much more than faith in the Lord. I asked Michael a few questions about the film, the experience and what he was up to next.
Did you ever get a feeling that something magical - spiritual – did actually have a hand in getting this film made?
Wow, right off the bat with that one. Tough question to answer over email. I would have to say yes. I mean, I tell people all the time just how lucky I am that such an awesome series of events took place in a relatively short period of time. So I guess the question is, what is luck ? That, and I think there's always a little magic when a film finally comes together.
When you went in to make the film did you have any idea that it would be so, uh, interesting? Was this experience more than you bargained for?
Absolutely. I knew from Day 1 this was a fascinating group of people, and if I could become invisible, I would have an interesting character study. Over the course of a year or so I spent following them, there were countless times where I felt in over my head. But never as in over my head as the guy I was filming so that was assuring. Towards the end of my experience with them, things got way more intense and way more interesting but that only helped the narrative.
Considering this film and your American Dreamers series on Crackle, you seem to have a fondness for the the outsider – the fringe elements that make up the more colorful part of society. Has this been intentional?
I would say it's intentional insomuch as I got the Crackle job after some execs from Sony saw AUDIENCE OF ONE and wanted a similarly themed approach. That said, I do have a sincere fondness for the outsider so it was quite enjoyable to put the Crackle series together.
What are your current projects? Big plans for the future?
I'm knee deep on a video installation project for a hotel in NYC. It's completely out of scope for me so I am desperately relying on the skills and creativity of Justin Barber, an SF-based digital artist and producer the local indy fave MEDICINE FOR MELANCHOLY.
AUDIENCE OF ONE will be showing at the Roxie March 27 - April 2nd.
For more info:
Michael Jacobs and Revolve Productions
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The Memory To Media Center - Your Memories Are Film
Remember that time you got a BMX bike for Christmas? Or how about the weird UFO thing you witnessed when you were 11? Your first bank heist? It'd be great to have these things on film, yes?
It's crossed everyone's mind at some point. Now, thanks to the fearless scientists and deep thinkers at The Jejune Institute, your memories can now be made into movies.
As one of the world's leading social re-engineering institutions, The Jejune Institute has been at the forefront of maximizing human potential through the support of interpersonal trust, creativty and spontanaity since 1962. The organization relies on empirical evidence and hard science for guidance and was the proving ground of EST, Esalon and Dianetics.
Via:
Here at the MEMORY-TO-MEDIA CENTER we are able to render moving video images from your active memory. It begins with an analog signal produced by your brain waves. As the memory is recalled, electrodes placed on the scalp detect the signals which are then processed and recorded. The result is a frame-by-frame transcription of the recalled event. Through our patented optical converters, we are able to see a visual likeness of your recollections. With this specialized system YOUR MEMORIES can be saved to VHS cassette!
For more info: http://www.jejuneinstitute.org/memory.htm
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Zero Film Festival at The Dark Room
The ZERO FILM FESTIVAL TOUR hits town tonight and tomorrow night with a car-load of films and two dedicated filmmakers. Here's what to expect at tonight's screening at The Dark Room.
SODA CAN LOVE
SODA CAN LOVE (SCL) is slow. Expect to shift in your seat a few times and wonder if anything is going to happen. But also expect to have the film’s unique and beautiful flickering to linger for days and slip into your stream of thought when you least expect it.
Shot entirely 16mm, SCL looks as if it were shot in the summer of 1979. Or 1986. There are very few identifiable markers that would pin it at its actual 2008 production date. Which is fantastic feat – made all the more poignant by extensive Interstate Highway footage. These highways haven’t changed in decades and are the perfect nowhere-land to place a lost and lonely character.
The film looks as though someone has filmed this movie while it played on an old television and then put it back to film. The work spills jumpy audio, displays a vague weathering and a boasts a graininess which, at times, verges on mildly kaleidoscopic. But the overall feeling is...warm and comfortable. Soft on all edges and blurry in the middle, SCL drifts and meanders with such an clear inadvertency as to seem both pointless and thick with intent. Brilliant, gauzy and flawless sunbeams...unrefined paper, overexposed, innocent, underexposed, blurring and falling-off, pin-point close-ups, murky and splotchy, set over a sparse and warbling western-y soundtrack.
Basically, this is a boy-meets-girl, boy-loses-girl, boy-drives-to-the-desert story. (“What story? Nothing happens! There’s no action.”) Of course, there is. You just have to watch slower with less focus to appreciate the work. Take your time with this one and relax.
Need more? Have a look at the film’s MySpace page
BUSHMAN
I used to spent a lot of time at Fisherman’s Wharf when I was working for the awesome GoCar Tours and so I would see the Bushman do his thing all day long. And always wondered just how much that guy made. Thanks to local filmmaker Hanh Nguyen’s short doc, BUSHMAN, now I know. He makes $55,000 a year.
Nguyen’s short doc gets behind the branches and speaks directly to the infamous frightener. A simple and straight-forward film, BUSHMAN does what it is supposed to do without too much frippery. The piece is cut with great shots of other Wharf performers (And one at the Ferry Building – See? I’m paying attention), jumping, terrified tourists and, of course, seals. Short, fun and with a couple gems like “If I took a picture of your bush, I’d at least give yo’ ass two dollars.”
However, I have to ask: “Who is the real Bushman?”
BERENICE
“A haunting and sublime meditation on the dimensionality of time, anxiety and the potentiality of fate. Berenice is an experimental film that combines manipulated archive footage, computer animation and special effects, inspired by the short story of the same name by Edgar Allen Poe.” Bill Domonkos, Filmmaker.
Talking about this kind of film...is tough. And I think it is almost a disservice at times because the film's value comes from a viewer's fresh, un-influenced take. Honestly, I’m just going to pick out the big words that other reviews have used and string them all together. Maybe that’ll work.
Spooky, haunted, seductive, hypnotic, extraordinary, lush, amazing, chiaroscuro, sublime, terrifying, witty.
This is an experimental work – and makes no effort to be accessible. And it is a great demonstration of re-purposing old, forgotten footage. I found myself wondering about the clips’ origins. Was this an old military training film? Was the woman in the store in some kind of medical film. And what Poe story is it from which he pulled inspiration?
Domonkos pulls footage from the amazing Prelinger Archives and employs his considerable animation and design skills to create a creepy and unsettling short film that will have you thinking - but you won't be sure about what.
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These three films screen tonight at The Dark Room as part of the traveling ZERO FILM FESTIVAL.
For more info: Zero Film Festival
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Saved By Zero Film Festival
Movie-making and money are dramatically different twins, separated at birth, who are compelled to join forces for the greater good. It's at times an uneasy - or outright violent - relationship but a necessary part of filmmaking.
But this relationship has come to so dominate many filmmaking dialogs, that even after the sparsest and threadbare of low-wattage films, the first question that comes out of many peoples’ mouth is “What was the budget?” (coyly alluded to in the indie-filmmaker Q+A session in the film, BAGHEAD)
So it’s no surprise that someone finally said “Screw it. We’re taking it to zero.” In an effort to take money out of the filmmaking dialog altogether, filmmakers Brian Bores and Richard Hooban started a film festival for filmmakers who, either by circumstance or design, spend little to no money in making their film. And so we get the aptly named Zero Film Festival.
VIA ZeroFilmFestical.com
Focusing on a niche in the independent film community which has been traditionally ignored, Zero Film Festival is dedicated to screening self financed, zero budget films from the United States and around the world.
In the age where the majority of festivals are Hollywood marketing campaigns, and even "indie" and "underground" festivals screen financed films, we are here to offer something different. We recognize authentically independent films and filmmakers who take risks and fight the odds to see their visions through.
The 1st annual Zero Film Festival is the first festival of it's kind, designed to exclusively showcase zero budget films, and open up the door for original and innovative works from DIY filmmakers with inspiration and dedication (but not the budget), who sadly are all too often overlooked by the mainstream festival circuit.
Zero Film Festival has established itself as a festival representing authenticity, integrity and innovation.
Of course, someone will get nit-picky about what “zero” actually means. “Did you buy DV tapes? Yeah – than it’s not zero. Phony! Posuer! Sell out!” And that is when the sticky “What is indie” question grabs the argumentative spotlight. Of course, this is a tired and tedious discussion for any kind of artist over the age of 19. (Besides, Zero Film Festival’s mission statement gives plenty of interpretive wiggle room by including the words “self-financed” into the mix.)
I’ve been of the opinion that all things ‘indie” is determined by how much heart, sacrifice and love you put into a project. Apart from the budget aspect, it’s also about how much the project is YOU and YOURS – how much you allow your focus to waver and your idea to be molested, altered, changed, destroyed, raped, murdered, set on fire and dropped out of a helicopter hovering over the Grand Canyon during a fierce earthquake. But, yeah. Indie is a state of mind and is driven from intent and determination – not results.
The Zero Film Festival people seem to take a comparable stance. As part of submitting your film for consideration, you must write a few paragraphs on why they should care about your film. It seems that they are trying to get a read on just how much you want it - and what you endured to get it.
It’s not enough to shoot something with a zero-budget, you are asked to make up for that financial shortfall by describing the trials and tribulations you withstood, the dangers faced, and villians vanquished in order to get your Grand Film completed.
From the FAQs:
Why do you require a cover letter? How long should it be? What should it say? I'm a filmmaker not a paper writer for -----'s sake!
Answer: Tell us how much you care about your film, how much you spent, did you sell your kidney, were you arrested by the Homeland Security, did you get stitches running from security guards after getting that mind-blowing guerilla shot? It could be one sentence, could be a page, tell us why we should care about your film, we don't know... we are programmers, not professional readers for -----'s sake!
I’ve been fortunate to get a few of the films and will do my best to watch each one and give it a worthy review. Although, I’m not really the best film reviewer so I may “review” in stilted poetry or stream-of-consciousness, rat-a-tat-tat rambling. Or interpretive dance.
The Zero Film Festival will be at The Dark Room at 8pm, Tuesday, March 4th where you can catch BUSH MAN, BERENICE and SODA CAN LOVE. The next night, ATA hosts the festival. See LAST CALL, | THE ELECTRIC ARCTIC CIRCLE, ENTROPY AND ME, and BUSTER. And not that you need another reason to go, there will be complimentary drinks and live music to follow.
Need more? Here's a great interview in the LA Record.
For more info: Zero Film Festival West Coast Tour
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Evolve2009 - Bad Science Film Festival
Evolution is a hot topic these days. With rise of Intelligent Design and resurgence of fundamentalist religions, the debate of the science of evolution has leaped to front pages across the world.
Now, here we are at Charles Darwin's 200th birthday and celebrations are being held at libraries, museums and universities and other thinkin'-people haunts.
The San Francisco Public Library gets into the act with a screening of the cult film classic, Monster on the Campus. Hosted in part by comic character Ms. Monster and her Monster Melons, Tit & Tat, the screening is designed MST3K-style and snarky call-outs are to be expected.
From Evolve2009:
Come to the San Francisco Public Library for an afternoon of film featuring wacky and weird scientific inaccuracies for the Bad Science Film Festival.
Check out the 1958 classic, Monster On Campus, starring Arthur Franz & Joanna Moore with Judson Pratt, Nancy Walters, Troy Donahue and The Beast. Directed by Jack Arnold, screenplay by David Duncan. Join us as terror sweeps a college campus after the discovery of a prehistoric fish that turns animals and humans that come in contact with it into bloodthirsty monsters.
While not associated with Evolve2009, you may want to pick up one of these fantastic t-shirts.
For more info: evolve2009
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SF Filmmaker Jon Bowden Talks About THE FULL PICTURE
SFIndiefest winds down this week with a handful of showings at the Shattuck and a couple days up at Sugar Bowl. I was looking forward to the 'fest as the schedule looked fantastic but was unable to see much. My planned foray into pinku was derailed by the surprising popularity of naked asian girls (the screening sold out) but I was able to catch the excellent LET THEM KNOW. And the one films I was really excited about - EX-DRUMMER - has its final screening the night of the SFSDF Mixer so I'll have to miss it.
And I almost missed another of the better films of the festival, too. Fortunately, I was introduced to filmmaker, Jon Bowden, through another Examiner, Jeana Lee Tahnk and so I snagged a screener that I could watch from the comfort of my fold-out couch. I sat down with Jon a few days ago and talked about THE FULL PICTURE.
Synopsis
Award winning playwright and filmmaker Jon Bowden makes makes his feature film debut with an honest and often comical story about how the secrets we keep are more revealing than the truths we tell.
Like many guys, Mark Foster struggles with commitment, but given his past, he has good reason. Fifteen years ago, his parents' scandalous divorce grabbed the public's attention and shattered Mark's ideas about marriage. Even worse, Mark and his charismatic brother, Hal, were forced to pick sides and to this day, disagree over whom to fault. Unfortunately, Mark has never shared any of this with his unsuspecting girlfriend, Erika, who is about to meet Mark's embittered, camera-happy mother, Gretchen, for the first time. As Mark desperately struggles to keep his family's sordid history under wraps, during a long, awkward weekend, past issues resurface that force Mark to confront the thing he fears the most... his own lies.
The Full Picture - An Interview with Jon Bowden from Christopher F. Smith on Vimeo.
Jon's film, THE FULL PICTURE, was an Official Selection at this year's SFIndiefest and scored a huge Grand Prize win at the Rhode Island Film Festival back in August. You can catch it at the Shattuck on the 21st or, if you happen to be up near Sugar Bowl, you can see it on the 28th.
For more info: The Full Picture
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SF Film Co-Op Celebrates 2nd Anniversary With Scary Cow Film Festival
Making a movie is hard work and takes considerable manpower. And it takes money. This one-two punch of reality proves daunting to even the most dedicated filmmaker.
In 2006, local-since-2000 Jager McConnell set out to address both these challenges by creating an innovative filmmaker co-op designed to make it easier for local filmmakers to get together to make movies
With an emphasis on a "learn by doing" philosophy, Jager's Frightening Bovine juggernaut puts beginners on-set with the more experienced and encourages filmmakers to share hard-earned experience, creative insight and the tools of the trade for a shot at larger, shared artistic goal.
Call it filmmaking car-pooling? Get a couple people in your creative vehicle and you can speed the diamond lane to filmmaking success? I dunno. But when it comes to filmmaking, collaboration, community and cooperation pave the one road to salvation.
The Scary Cow Model (via)
It's a film co-op. Members of Scary Cow will form into small teams. Those teams will compete to prove that they have what it takes to move to the next level. If the other members decide the project you worked on is one of the best, Scary Cow will give your team a budget to help finance your next project. Continue to create outstanding films, and you'll continue to receive a budget from Scary Cow to fund it! You learn to make films by actually making films!
Scary Cow is celebrating their 2nd Anniversary at the Castro Theater with the Scary Cow Film Festival this Saturday. Git yer tickets!
For more info: Scary Cow
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Don 't Think, Just Shoot - Lomography Workshop
Why am I covering a still camera? Because what is film if not a series of stills run together very quickly. And if you string together enough cool-looking still images you can create a truly unique film that looks like nothing anyone has ever seen. While that may not be the original intent of the camera, I think it's a fun way to add something new to any movie.
You can get a feel of the basic Lomo movie idea at the Lomography Oktokino site. Or check out some of the ambitious work on YouTube.
This workshop is put on by the fun folks at the Propville Directory - an excellent film, video, photography and theater production directory. You may have heard of their popular Dog and Pony Show.
Everything you need to know...
Lomography Workshop. (Toy Cameras), January 24.
Lomography Workshop. What? You may know them by the names Diana, Holga or even referred to a “Toy Cameras”. Uncalculated, spontaneous and full of surprises (the images), it’s photography at its essence. Just Fun!
Sponsored by AGI and The New Lab, Just Film and Urban Outfitters.
Join us at Studio 333 in Sausalito for an experimental, fun day of photo play. Take a break from the habitual grind of commercial photography and find the playful kid that cherished her (his) first camera. Cameras for the day will be graciously supplied by Urban Outfitters.
Tickets on sale now. ($45 per person 2 for $80). Bring an art director, save money (see below!)
A panel of experts (see bios below) will open the event with a brief history and fun facts about the plastic camera movement, including Brownies, Lomos, Dianas & Holgas. The morning will take you either to a studio lighting set up or outside in beautiful Sausalito for a lomo walkabout.
A beautiful lunch from Bauer’s Catering, then a change of pace, reversing the set-ups; studio for location. We end the day with the famous Propville Dog & Pony Show™ goody bag, treats from vendors you respect, useful gifts for all in attendance.
Includes lunch, instruction, camera use and connections! Bring an art director and save an additional 10% off your admission (call us for this special rate. 415.454.1260) Use this experience to hang with one of your favorite art directors, make some great images and launch the next wildly successful, award winning campaign.
Our esteemed panelists include:
Seth Affoumado: Seth has been living and shooting in San Francisco for 16 years. He has worked on location worldwide, as well as in the studio. Specializing in environmental portraiture and lifestyle photography. An avid personal shooter, Seth’s passion for the image extends beyond his everyday work. Incorporating vintage cameras into his assignment work, Seth’s style embellishes an ordinary location into something memorable.
Roy Berkowitz:Roy has been doing photography since High School and has worked in the industry as his “day job,” probably one reason why he enjoys working with his Holga so much. Through his professional experiences, he now knows enough to be able to see through the outer layers and appreciate and capture the things right in front of his eyes. Roy strives to pare down the information overload and to find out what is the minimal amount of information needed to convey the maximum amount of emotions.
Saroyan Humphrey: Saroyan began his career as an art director in San Francisco after leaving his hometown of Charlotte, NC, at the age of 22. Within a few years he had produced award winning work for various magazines. Saroyan has since designed for a wide array of clients including Isuzu, the City of San Francisco, and Microsoft. Levraging his success, Saroyan has established an eclectic career as an art director and graphic artist. He has launched, designed, redesigned, and consulted for over 75 different publications, books, and companies.
Carol Stevens: Carol Stevens has spent the last 28 years photographing urban and rural landscapes in the U.S.
She uses many types of film cameras. As the digital world encroaches on the organic, Carol is shooting Kodak Brownies, Plastic and Pinhole cameras, and Lensbabies to recreate the pictorial view of the great masters of the early 20th century. Carol has been a participant in Fotofest 2006 as well as numerous art shows in Houston, Galveston, and Eureka Springs, Arkansas.
For more info: Propville
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The Art of Super 8 Filmmaking Workshop
I’ve been finishing up a short documentary with esteemed colleague Staci DeGagne lately. A couple days ago, we were going over the footage and we both picked out a particularly cool-looking shot. Kind of blurry and dreamy with soft edges but clear emotion. Neither vague nor insistent, the image simply “was”.
“It has that cool, Super 8 look to it,” she said.
Every once and a while, a creative technology comes along a creates it’s own thing – it’s own artistic beachhead. The Super 8 motion picture system both created it’s own world and made filmmaking accessible to the masses. First released in 1965 by Eastman Kodak, the Super 8 motion picture platform fast became the standard for hobbyists and semi-pro filmmakers alike.
While mostly replaced by video, the Super 8 camera continues to be an important tool for filmmakers seeking a certain “look”. The format has been used by people like Oliver Stone, Sam Raimi, Kevin Smith and others.
You can still get a feel for this fading art form from The Art of Super 8 Filmmaking Workshop.
This 2-hour workshop, instructed by Johnny Morehouse, covers everything you’ll need to know in order to make your own films. From finding, buying, and testing cameras, to buying and developing different film stocks, to shooting and editing your own films. Equipment operation will be thoroughly explained and each participant will receive a “How-To” Manual which is filled with practical info, shortcuts, experiments and other good stuff—including a list of film suppliers, film labs, transfer houses, and film festivals that specialize in the unique art of super 8 film making. This is a great workshop for everyone--whether you are a first-time filmmaker, a hobbyist, or an established artist who wants to add to their arsenal of creative endeavors. Super 8 film making is easy, fun, and the image looks spectacular.
The workshop will start at 7pm on Thursday, January 15 at Fort Mason. Cost? Pay what you can.
About the Instructor...
Johnny Morehouse is the founder and programming director of the Annual Super 8 Side Show—A film fest devoted to the small gauge format. In its 8th year, the fest has grown to feature super 8 films from around the world. His own films have screened in New York, Portland, Denver, Tulsa, London, and elsewhere. Johnny studied film at DU, The Northwest Film Center, and NYU. He is currently getting his Masters in Humanities at CU-Denver, focusing on documentary film.
For more info: Contact Johnny Morehouse at johnnyhongkong@hotmail.com or (303)877-6825
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Project 760 Screens Anime in Japantown
Several weeks ago, I was shopping for last-minute Christmas stuff in Japantown. I figured some kooky Japanese candy would be a good stocking stuffer and I wanted to gawk at the DVD covers for the extraordinarily imaginative Japanese pornography, too. I was strolling through the main hallway with a delightful young dame on my arm when a sign caught my eye. “ANIME SCREENING ROOM”. I’m sucker for the garish, hyper-kinetic, bright-as-bombflash, anime aesthetic. I poked my head into what was the Union Bank of California and took a look around. The unevenly darkened room held a dozen or so folding chairs laid out in crooked-ish lines. A small white screen on the far wall played washed-out anime thrown from a portable projector. I couldn’t hear much. Two young people sat together and alone and stared at the movie. Awesome newness.
I stopped at the front table where I spoke to a cheerful young man named Ray Nagar. Ray and his organization Project 760, working in conjunction with Japan Video and Media and Japantown Merchants Association (JMA), are holding occasional Anime screenings in Japantown. He’s a busy guy, splitting his time between Otaku Amusement Festival, Little Tokyo Anime Festival, Otaku Bowl and other fun stuff. He’s working hard to get more films at Japantown and is currently coordinating with JMA and Japan Video and Media to hold monthly video screening rooms which will include anime and manga-related panel discussions in the future so stay tuned.
See? Ray is busy!
Otaku Amusement Festival
Japantown Arts Festival
LTAF (LA)
Otaku Bowl
Email Ray: Project760@gmail.com
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BAWIFT Changes Name to BAWIFM
One of the longer-running film organizations in the area has made a slight change to their name. This woman's-only group has been active and influential in the Bay area for close to a decade and is part of the international organization, Women in Film and Television.
BAWIFM began as Cinema Chicks in February 2001 and is now a community of over 915 women mediamakers from all over Northern California. In May 2003 we became Bay Area Women in Film and Television (BAWIFT), a chapter of the Women in Film and Television International network. In January 2009 we became Bay Area Women in Film and Media to better reflect our multimedia community.
If you are woman involved in film, television and all things media, this is the group to which you should belong. Be sure to sign up for Chicks-Chat newsletter. Women only, of course.
They have an interesting talk coming up this Wednesday, January 14th that you may want to consider. Unlike some of their special engagements - where those with rockin' the XY combo are welcome - this presentation is for women only.
From BAWIFM:
INTERACTIVE TV:
What is it? Where is it? How can you get involved?
If you thought interactive TV was nowhere to be found in this country, you were wrong. It is being deployed all over the United States on every platform (cable, satellite, the Internet, mobile phones and on CE devices in your home).
The medium of television is changing. Those changes are taking place because of new technologies and ideas breaking in the marketplace and news everyday. Knowledgeable producers and developers are actively exploring ways to create fiction and non-fiction programming incorporating new concepts such as social networking and viral
advertising.
Tracy Swedlow, editor-in-chief of InteractiveTV Today (http://www.itvt.com), the publication "of record" for the ITV industry, will lead a panel of experts who will discuss what is happening today, how to recognize what interactive television is and is not, and how you might be able to participate fully in the TV of tomorrow.
Event Moderator:
Tracy Swedlow, CEO, Publisher, Editor-in-Chief of InteractiveTV Today [itvt]
Panelists:
Mugs Buckley, Principal, MugsTV
Bill Niemeyer, Principal, Centrimedia
John Gilles, VP of Media and Entertainment, Method
Geoff Katz, VP, Business Development and Marketing iWidgets
For more info: BAWIFM
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Discover Chinatown Video Contest
David Perry and Associates and Discover Chinatown SF are running a video contest in which you can win one of three $500 prizes. Seems like an easy way to win a few bucks and help to promote the city we all love so darn much. The deadline is fast approaching so head down to Stockton and shoot something cool. (Incidently, I could have won this contest if I had a camera rolling when I bought illegal fireworks off some well-dressed pre-teen boy who left his female counterpart behind to "keep an eye on me" while he ran off to grab his stash. This would have been for the "Citizens Working to Make a Better Chinatown" subject.)
The Basics:
Submitted videos must be no more than two minutes long and include the URL www.discoverchinatownsf.com at some point in the video. Three winning videos will be selected: “Best Off-the-Beaten-Track San Francisco Chinatown”, “Best Chinatown SF Icon,” and “Citizens Working to Make a Better Chinatown”. To enter the contest, individuals submitting videos are asked to post their videos online to the hosting site of their choice (e.g. YouTube, Google Video, Blink, Vimeo, etc.) and email their video link to video@discoverchinatownsf.com by Monday, January 12, 2009. UPDATE! Deadline extended to February 28th! (Winners in the three categories will be chosen by a panel of community leaders from Chinatown with each category winner receiving a $500 cash prize. The contest is open to everyone. Tourists, visitors and San Francisco residents are encouraged to participate.
For more info: Discover Chinatown SF
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Craigslist TV/Film/Video - Get A Job?
I check the TV/Video/Radio listings on Craigslist every once and awhile to see what’s going on out there. Who is hiring, what TV show may be holding auditions, and to generally keep an eye on new-fangled online content ideas and emerging film trends.
I’ve seen this one – and a couple variations every now and again. While certainly not traditional “filmmaking”, I guess you are shooting with a video camera and so counts as Video. If you ever wanted to play Private Investigator (and no one wants to fund your well-intentioned, but poorly conceived indie film masterpiece), you may want to give this a look.
Field Investigator
Technology centric private investigating firm seeks Field Investigator to work under general supervision, investigating suspicious workers compensation claims from various corporate clients. Duties including but not limited to: monitoring and videotaping various individuals as they conduct their normal day-to-day activities. The position is both journalistic and investigative and centers around filming, note taking and detailed report rendering on the activities captured by the investigator. Candidate must have great intuition and the ability to process many mitigating factors during the course of the investigation. Decisions are expected to be made in an accurate and timely manner and in the best interest in preserving the confidentiality of the assignment in question.
Basically you are spying on people. With a video camera. So, you are not really making movies. Or making it on TV. But "it’s a job", as they say.
This is certainly not the most artistic filmmaking/video gig out there. But for someone who doesn’t mind sitting in a car all day and keeping an eye on someone’s front door, you can make a few bucks while at least somewhat still affiliated with the production industry. You’ll certainly learn a few things about shooting in less-than-optimal conditions, how to stay focused on a task or subject, and think-and-shoot on the fly which, in the grand scheme of things, are pretty darned valuable skills.
While the base pay is $11/hr, you are required to work 50-55 hours per week and so can accrue 10-15 hours in overtime and double-time. And I imagine that this is a bit more reliable than hoping for payment from some sketchy “director-type” you met over lukewarm Tecates at a friend-of-a-friend's house party.
However, my interest is in the story that could be – the film that could be. I picture some big-idea filmmaker with an unruly imagination put in a situation in which his/her mind can wander or altogether disappear. Perhaps the hopeful and flighty filmmaker spends hours slinking in and out of his creative paradise weaving surrealistic narratives driven only by things seen through his dirty car window? Maybe the real world collides with this dreamy womb - the filmmaker gets ID’d by a grumpy cheating husband and is chased with kitchen shears. Or maybe he inadvertently captures something on video far more serious than a mere Worker’s Compensation issue. Something Mob-ish? Or maybe National Security? He catches the love his life on video, falls into a weird stalker space and uses all the surveillance equipment to track his love's every move. An obsession driven by technology culminating in an amazingly complex and rich punk rock film-musical which goes on to win Major Awards while the love-lost auteur languishes in a Detroit prison....
Apply! DigiStream Investigation and Surveillance
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SFCutters and The 8th Annual Macworld FCPUG SuperMeet
Ah, MacWorld. Media, music, movies, multi-this, multi-that, Mapples and more. January 5th brings all things Apple back to the Moscone Center for the MacWorld Conference and Expo. And if that isn’t enough for filmmakers, film editors and anyone interested in digital media, The 8th Annual FCPUG SuperMeet will be also be making a scene that week.
SuperMeet is the largest gathering of Final Cut Pro (FCP) users, gurus, heroes and dilettantes in the world. Organized in part by the venerable SFCutters (the world’s first Apple Final Cut Pro user group with a birthday way back in March of 2000), the SuperMeet is the year’s Big To-Do for the FCP set.
From SFCutters:
"This will be a Mini Macworld devoted entirely to Digital Video filmmakers, editors and content creators," added Claudia Crask, head of SF Cutters, the local FCPUG. "This is the party of the year in San Francisco for those who wish to learn more about digital moviemaking with Final Cut Studio. It's also the best place on the planet to meet fellow filmmakers who know more than you do."
Scheduled to appear on stage, (subject to change) will be presenters from Apple, who are expected to give the latest news on Final Cut Studio 2, JVC and BlackMagic Design. Editor and filmmaker Christine Steele will show off valuable FCP tips and tricks. DVD Guru Bruce Nazarian will show how to create and burn a Blu-Ray DVD to a standard DVD-R. Independent filmmaker Eric Escobar will present "Color Correction and Getting that Right Look." And, filmmaker Yun Suh will show clips from the documentary film "City of Borders," scheduled for release in 2009.
Besides a wealth of tips and general industry schmooziness,SuperMeet prides itself on gathering together a treasure trove of amazing prizes for the World Famous Raffle. This year’s total prize giveaway comes in at $40,000 with loot including; a GlideCam 400 Pro ($499), a year subscription to MediaSilo ($1,000), a full set of Digieffects ($1,300) and a FireStore FS-5 Portable DTE Recorder ($2,195). And from what I understand, the raffle is quite the spectacle. Be warned that if you are called to be a winner, you will be expected to hoot-n-holler and generally act as though you got called to “Come on down!” on the Price is Right.
SuperMeet sells out every year so get your tickets soon. And be one of the first 300 people through the door and get a gift bag filled with $200 worth of loot.
For more info: SFCutters SuperMeet
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The Noize? Oh, It's Been Broughten.
The kind of music that could be the soundtrack to someone going insane."
Artists' Television Access (ATA) screens a couple of good documentaries about the aurally challenging Breakcore and Experimental music scenes this Friday, December 12th. This is an easy one for friends of the genre and I'd recommend it for the same reason I recommended seeing experimental film a few weeks ago.
(On a sidenote, writers tend to take opportunities like this - because of the subject matter - to bust out some of their better adjectives and indulge in some serious word-wankery in an effort to describe what is at best a challenging sound. Here's my obligatory self-gratification excercise.
It sounds like...a circuit-bending, liquid-twisting, toy-smashing, static-eating, feedback-saturated, frenetic screaming maelstorm of cryptic reverb getting all pervy with the neck-snapping cracks of razor-sharp glitch awash in a spastic sonic soup punctuated by violently poignant pauses and whirs sustained for, man, what feels like forever.)
Meta-self-referential drivel aside, this is a great chance to check out an exciting and unique music scene and maybe learn a few things.
The inevitable question: "But is it music?"
Of course it is.
Shut up.
NOTES ON BREAKCORE
"*Notes on Breakcore* is a warts-and-all rave-doc about the international breakcore scene starring a lot of badly dressed men with terrible haircuts talking about a style of electronic dance music that, when played at high volume, is the kind of savage racket that's used to gently coax answers out of inmates at Guantanamo Bay. [...] Breakcore is the bastard hate child of jungle, happy hardcore, techno, electronica, acid house, ragga, electro and dub. When it's done well, by nutjobs like Venetian Snares for instance, it can be the most euphoric music in the world." (--*VICE* Magazine). (directed by Bertram Koenighofer & David Kleinl, 2006, 30min.) WEBSITE
PEOPLE WHO DO NOISE
*People Who Do Noise* is a film about the experimental music of Portland, Oregon. Extensive interviews and intimate performance footage provide an intense portrait of the motivations, emotions, and ideas that go into this uncompromising, sometimes brutal musical form. Covering a wide range of artists and styles, the film features everything from the absurdist free-improvisations of genre-pioneers Smegma, to the harsh-noise assaults of Oscillating Innards and everything in between. With an unflinching cinematic style, the film defies any trend-setting or commercial representation, opting instead for a stark portrayal of a musical underground at its most genuine and vital. For the subjects of the film, noise music is a way of life; a life in opposition to the tidy, orderly, and vacuous pop-culture experience. directed by Adam Cornelius (2008, 82 min.) WEBSITE
For more info: Artists' Television Access
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ENIGMAS AND ETERNITY: THE FILMS OF ALAIN ROBBE-GRILLET
Crass Christmas commercialism got you down? Well, heck. That's nothing that a little French cinema - armed with dreamy surrealism and fantastical interludes - can't obliderate
The smart folks at Yerba Buena continue their delightful habit of challenging San Francisco film lovers with the presentation of Enigmas and Eternity: The Films of Alain Robbe-Grillet.
Both famous and obscure, Alain Robbe-Grillet (who died in February) was a profoundly unique French filmmaker and postmodern novelist. Though best known for his screenplay for Last Year at Marienbad, he was also a director. Much of his work deals with memory, eroticism, fantasy and dreams. We present four of his directorial efforts (plus Marienbad), all of them essentially impossible to view in the US until now. Don’t miss this once-in-a-lifetime opportunity.
Re-read that last line. "...once-in-a-lifetime opportunity."
But if you aren't in the mood for kooky and important French art films, I hear Four Christmases is awesome.
For more info: YBCA Screening Room
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CineSource Launch Party And Caligari Narrative Contest
Launching a film magazine is tough. It takes sacrifice, dedication and tons of hard work. But, more importantly, it relies on a strong film and production community to contribute and help support the effort.
About eight months ago, Doniphan Blair and team stepped up to the camera and began producing a solid magazine/website named CineSource. Positioned to cover and help to promote the Northern California film community, CineSource includes long-format articles from local writers, a calendar, News section called The Loop and a few other offerings. Every strong movement, community or affiliation needs a strong voice to help bring it all together - and CineSource is shaping up to be that vehicle for the Bay Area film scene.
Both a print and online entity, CineSource can be picked up production houses, art schools and photo/film equipment rental houses all over the Bay Area.
The next issue via CineSource:
December's CineSource will be a good one, celebrating CineSource's emergence eight months ago and announcing the winner of our Caligari Scriptwriting Contest. There will also be articles on Sean Penn's "Milk," the SF School of Digital Filmmaking and David Brown's "Siberia as well as an update on the Film Arts Foundation. Executive Editor David Hakim will examine promoting yourself, Don Schwartz looks at filmmaker Robert Wakamatsu and Tony Reveaux reviews the Flash Film Festival.
The magazine is throwing their Launch Party TONIGHT in West Oakland (MAP)
1800 Campbell St., West Oakland - 6pm until midnight.
Meet the magazine owners, catch some live music, watch a film and raise a ruckus.
For more info: http://cinesourcemagazine.com
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Nice Camera! Too Bad Your Story Stinks
The filmmaking community is all aflutter with news of the new RED Digital Camera. New camera gear comes out all the time, right? So what’s the big deal? Basically, RED is a game-changing, evolutionary leap in film camera technology
Devin Coldewey, at one my favorite sites, CrunchGear, lays it out in no uncertain terms:
Unprecedented
Let’s make one thing absolutely clear: these cameras represent much more than a black eye for Sony, Panavision, and any other player in the digital cinema game. To be honest, they already had a black eye from the RED One, and the original announcement of the Epic and Scarlet gave them a fat lip and a bloody nose as well. The announcement of this completely modular, low-cost, incredibly high-performance camera and accessory suite is nothing short of a knockout punch, a hardware haymaker which even some big names may not be able to withstand. This is not conjecture, it is as close to a statement of fact as can be made before the actual cameras are tested against the competition. The stated costs, capabilities, and resolutions of the RED sensor set and accessory/lens selection utterly outgun everything else on the market by a huge margin.
Neat. Now let me see your story.
It’s easy to get wrapped up in the newest gear and think that you can “purchase” your way to a great film; like a brute-force attack on encryption. But if your story - your core narrative is weak – then that HD Camera of Appalling Awesomeness will only succeed at making it very obvious that your plot is thin and characters, shallow.
Know what would be great? A RED device/tool/machine that would improve a person’s story as much as a $50,000 camera will improve the look of your film. I think that you’d call that thing a “class”. I dunno…maybe a screenwriting course? A Workshop?
Many people think that writing a film or screenplay, while difficult, is pretty much simply sitting down and writing. With Scotch. And cigarettes. Maybe a handgun. But there is right way - at least, a better way – of crafting your story. Strip away all the romantic-writer mumbo jumbo and think of this as something you have to do. And when you want to get things done, it helps to have a plan.
Let’s see where you can get this plan. San Francisco has a few screenwriting workshops available. Notable are San Francisco Film Society’s Filmmaker Service's “Writing and Documentary Structure", and The Writing Salon's How To See, Hear and Write Visually. But for the screenwriter hoping to RED-ify their writing skills, have a peek at San Francisco School of Digital Filmmaking (SFSDF). (Full disclosure: I am an employee at SFSDF as made pretty darned clear in my bio above).
SFSDF has recently developed a new screenwriting course named Screenwriting Intensive. This workshop will take you from bright idea to complete, industry-standard screenplay in 16 weeks. Both spacious and deep, the Intensive gives you the mental freedom to explore your characters, plot and conflicts while providing insight and support to help you write your story through to the very end. But where it really stands out is by offing the unique opportunity of having your scenes read by trained actors and actresses on camera. There is really nothing like seeing your words read aloud by people that know what they are doing.
Screenwriting Intensive is led by the talented and experienced writer/director James Savoca (http://www.savocafilms.com). James has over a decade in the business, writing for both screen and stage. He has worked with such people as Jon Gries (NAPOLEON DYNAMITE, REAL GENIUS) Samaire Armstrong (ENTOURAGE, THE OC,) John Lurie (DOWN BY LAW, OZ) Drea de Matteo (THE SOPRANOS, SONS OF ANARCHY) and others. His last film, AROUND JUNE, was the first film to sell out at this years Mill Valley Film Festival.
Watch (video) James talk a little about the workshop here or by clicking the image above.
Is Screenwriting Intensive the RED of screenwriting courses? I don’t know if you can draw an exact relation, but I'm certain that taking this workshop will add a few K’s to your ability to tell a story.
For more info: Screenwriting Intensive
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The Where-Is-Your-God-Now? Burger
After all the kooky viral video I've seen online, it's nice to be on the other side. This time, it was my film that I watched scamper its way up the Google rankings, get picked up by blogs, and generate witty/snide remarks in "Comments" sections. The rumoured Where-Is-Your-God-Now? Burger had finally been released onto the World Of The Wide InnerNet.
Because I spend an appalling amount of time online and had a stint at an online PR firm, I know a few things about the online video space. Indeed, my film was designed for the internet - designed to go viral. For instance, I knew that the title alone would draw a fair number of eyes because of a previous association.
After uploading to Vimeo, I searched around for a good first website - a site with a high likelyhood of posting the clip. I emailed the link video to a popular hamburger blog A Hamburger Today and hoped for the best. A couple hours later I got an email saying "Honestly, I've seen the donut burger thing *a lot,* but this video was so well shot and edited that it brought a tear to these jaded eyes. The next morning, the Where-Is-Your-God-Now? Burger was front page and had begun its trip around the internet.
Seems that a fair amount of people check that site because my views spiked to triple digits quickly. My referrers started at two. Hours later my referrers had jumped to over 10.
With this coverage, I posted the A Hamburger Today url to both my personal and professional Facebook and implored friends to give it a look. The combined few hundred active users jumped on the film and forwarded it. View count climbed some more. Several more referrers.
Then, Social Media Super Scientist Eric Elkins twittered the link to his people - I noticed another big jump. Then he posted a story as the SF Internet Business Examiner and several dozens more views registered. I re-posted the coverage that Eric had given me back to my Facebook profiles giving more steam to those original placements. I emailed the links to all my friends - all of 'em.
I posted the link through the CONTRIBUTE link on SFist and waited for something to happen. I was confident that they'd pick it up - they have good taste in SF-ish type things. Sure enough, a couple hours later - bam - front page. I watched the stats counter immediately tick away several dozen more views. A hundred or so more were quick to follow. While the comments were good overall, this one was pretty much nailed the concensus: "I'm going to vomit."- Akit.
Of course, I posted the film to my own blog and updated that entry when I got coverage from SFist, A Hamburger Today and the Examiner. That entry started racking up views from people searching Google for combinations of "Where-Is-Your-God-Now? Burger" and my view counter continued to spin. And now I'm posting here on SF Examiner and will reflect this posting on Facebook and my own site.
Damn - this is a lot of work.
Oh look...a couple more referrers popped up while I was writing this. Neat.
Here's the thing with viral video. You can link it, submit it, promote it and generally strafe the internet with your film, but if it's just not all that good, it simply will not work. I guess it's called knowing your audience? And even if your film is The Most Genius Thing EvAr, you may still have trouble cracking several thousand views. You can hire someone like this fellow but be aware that some consider this approach a bit douche-y.
Now, here I am about 12 hours later and I've got over 3,200 registered views. (Note: I was told that the stats "were down for service" for several hours today and I may have lost tons of views.) And I think that the ride is over. Unless someone big picks it up and gives it a boost, this viral run has ended. It looks like my contribution to the viral video scene has worked.
And while the meal certainly took its toll, it was much better than getting hit in the nuts while riding a BMX bike naked over a pair of smoldering Real Dolls singing "I Believe I Can Fly" or something equally silly. Maybe next time.
The Where-Is-Your-God-Now? Burger from Christopher F. Smith on Vimeo.
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Wild Combination: A Portrait of Arthur Russell
WILD COMBINATION is director Matt Wolf’s visually absorbing portrait of the seminal avant-garde composer, singer-songwriter, cellist, and disco producer Arthur Russell. Before his untimely death from AIDS in 1992, Arthur prolifically created music that spanned both pop and the transcendent possibilities of abstract art.
Now, over fifteen years since his passing, Arthur's work is finally finding its audience. Wolf incorporates rare archival footage and commentary from Arthur's family, friends, and closest collaborators—including Philip Glass and Allen Ginsberg—to tell this poignant and important story.
I was able to speak with Matt a couple days ago via phone. While a great chat, my audio had a couple hiccups. The beginning of the interview is a bit janky so please excuse the dropped sentences. LISTEN TO THE INTERVIEW.
WILD COMBINATION: A PORTRAIT OF AUTHUR RUSSELL wil be at the Roxie from November 7th - 13th and it appears to be running non-stop. The film shows TEN times on Saturday and Sunday alone.
For more info: http://arthurrussellmovie.com
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Michael Tully's SILVER JEW
Part travelogue, part documentary, SILVER JEW follows the popular indie music outfit Silver Jews on a quick hop to Tel Aviv where they play a couple shows and visit Jerusalem.
You've probably seen the listing already. SF360 has included it in two emails and is currently featuring the film on it's homepage. And I'm certain that the Pitchfork kids are chatting it up. But I have a top secret journalistic mega-weapon that has afforded me a near unheard of access to the filmmaker. We're old friends.
I was able to grab some time with Michael via the wonders of iChat and crafty third-party software. Basically, I recorded an interview via iChat. While it is certainly no CNN hologram, it will give you a bit more insight on the film and its maker.
For more info: http://www.myspace.com/silverjewmovie
Tickets: https://www.trilogyticketing.com/sffs/
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The Case For Experimental Films: Independent Exposure's Halloweird Screening
Before the Internet vacuumed up every bit of celluloid ephemera and VHS video art (and spawned through the simplification of availability, a new generation of kooky content) and made it available on anything with a screen and internet connection, if you wanted to see hard-to-find, weird-as-hell films, you had to make an effort. Maybe you had to know a guy who knew a guy. Kind of like trying to find clean LSD in Texas. In 1996, a dedicated gaggle a film kids in Seattle who shared a love of whacked-out, crazy films began screening hard-to-find (and even harder to comprehend) short films to small but dedicated audiences. This passion beget an organization named INDEPENDENT EXPOSURE.
INDEPENDENT EXPOSURE screened their annual HALLOWEIRD installment a couple nights ago at Bollywood Café.
Of course, now with teh Wbe, I can watch a dozen of bizarre films of all flavors and genres in the comfort of my own fold-out bed. But due to the sheer numbers of films, it helps to have a trusted source like Independent Exposure to handpicked the good ‘uns.
After a surprisingly good dinner (Hint: Get the somosas),I settled back, watched Joel Bachar give a quick intro, and opened my brain to movie madness.
While the films were hit and miss, I think the important thing was the basic exposure to the work. Simply seeing something so unfamiliar and unlikely. If you consider yourself a filmmaker, I think this is a great reason to see experimental, weird or oddball films. These films are risky half-accidents, purposeful points of perplexing perspective and raging ruminations on the good old What If?. They are, well, weird.
But it is this "otherness" that I think is important to filmmakers. You may see a technique or approach in a risky, experimental film that you won’t see most anywhere else. A filmmaker that has nothing to lose is willing to make moves that someone with a producer or logical plot in the way won’t make. With no one to answer to – nor apologize to – a maker can spin and spit furiously, stab wildly or tear slowly in a pure effort to express his or her own Raw Reason For. There are a lot of good ideas out there in left field.
And while, for most people, an entire work consisting of nothing but full-on “effect” gets a bit tedious or annoying, a good filmmaker may be able take that new look or complicated shot sequence and use it in a more sparing or strategic manner to snap-up his/her own more industry-standard film.
The screening ran the awesome Rubber Johnny short before the films. I had forgotten how incredible that is.
HIGHLIGHT: The English band LOKA had a music video in the show. The song is excellent.
For more info: http://www.independentexposure.com/
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Shoot to Win: Seeking A Better Film/Video Contests Aggregator
Video and film contests are all the rage now. From big national brands to local-yokel HVAC shops, everyone seems to want to get in the YouTube-y film contest scene. As Director of Marketing of a film school, I see a few of these things a week. Most of them are half-baked efforts lacking any real focus – as if they simply wanted to play with the other cool kids that are having contests. (Notable was a Ramada “Do Your Thing Video Contest” which asked participants to film themselves as they, well, did their thing. “Their thing” was, quiet literally, anything in the world.)
The smart folks at VidOpp put together a nice little site where you can find, research and analyze dozens of film competitions at once. These are not Sundance-level film festival but contests and competitions put on by local and national companies and corporations. While a good effort, the concept is certainly not running at full potential. The overall UI is a drag and there is scant comparative functionality. (Would it kill you guys to run a side-by-side comparison of similar contests?) But they keep it updated daily and I did receive an introductory email a few weeks ago so it looks like they are making a go of it.
But this idea could be far bigger and far more lucrative for both filmmaker and film-needer. Under the right management with the proper smarty-pants coders, this idea could be a game changer. If the site was more robust, far more data-rich, and much better promoted, you could create a Content Makers/Content Needers dichotomy that would drive a successful business.
After a few months of properly arranging data, redesigning the UI and promoting the hell out of it (partnerships galore) you’d have something interesting. What eventually emerges is a powerful, dynamic film trade where filmmakers and content folks do the capitalism tango in the ebb and flow of the free market. For instance, Chevy offers $10,000 for a :30 spot on whatever SUV their trying to unload. But over here you have Odwalla offering $15,000 + a lifetime’s supply of juice. Assuming that the basic parameters of the desired film or commercial are the same, filmmakers would be more apt to go for the higher-paying spot.
So competition increases and the Content Needers find it more and more difficult to get quality content. They’ll need to offer something better than the other guy to continue to get the best work. So they bump up the cash prize, throw in a trip to Vegas or screen your submission during the Super Bowl.
Meanwhile, Content Makers are scouring the site running all sorts of prize, duration, subject matter comparisons and other analytics to find the best possible piece for them. If I were a snowboarding filmmaker, I’d much rather search by a skate+surf filter maybe focused within 500 miles of San Francisco. Or maybe I’m horrible at the :45 spot but would nail a 3-minute mini-doc on water rights in the Southwest. Of course, everyone wants to do a piece for someone like Nike and so Nike can offer less.
Eventually, a Needer could be forced to consider simply hiring a traditional ad shop outright as the promotion costs, contest management + the actual prize money actual exceeds the current market rate.
Smart companies would go to this site first, research the overall market and then custom tailor their video competition to the existing going rates. They could either create a contest and open it to the masses or they could contact a Maker that has already won a few similar contests directly - someone’s whose work they admire.
Of course, savvy Content Makers would do their homework, too, and learn a lot about market thresholds. They’ll be able to better price their work based on very real, public figures. Gone is the nebulous lack of confidence of “What should I charge a company for a :30 spot?" You’ll have months of data on which to base an educated offer.
The site would have its own Screening Room. While the world certainly does not need another website at which to watch video, one could simply create a Vimeo Channel and be done with it.
The site would have the potential to weaken sites like TurnHere.com that exist to broker content deals between Makers and Needers. Why pay a middleman 25% or so when the site makes these relationships transparent and possible from the start? You may have more management headaches, but a strong eBay-esque buyers/sellers ranking should fix that right quick.
If someone wants to get together and rip the lid off this thing, throw me an email!
VidOpp: http://www.vidopp.com
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Hi My Name is Ryan - SFIndie DocFest Screens Another Winner
Another winner from SFIndie’s DocFest. This time we travel to Phoenix, AZ where a young man-boy-guy-kid named Ryan Avery seems to be single-handedly creating a music/art scene in the oft-sweltering state. HI MY NAME IS RYAN catches Avery before heading off with the Mormons for a two-year missionary stint. Honest and endearing interviews coupled with crude cellphone footage and a wealth of kooky photos keep the film fun to look at and the cacophony of musical madness will remind you of every small-town indie/punk show you've ever attended. The interviews with Ryan’s local nemesis are genius.
From the film's website:
Hi My Name is Ryan is a documentary film about Ryan Avery – the milk and cookies connoisseur, the photobooth artist, the fake moustache aficionado and the punk rock performance artists. Faced with the battles of adolescence, Ryan takes happiness into his own hands, determined to make life awesome. However, his methods go far beyond typical teenage behavior. Discovering the therapeutic power of entertaining others, he begins a constant involvement in a preposterous number of bands, performance groups and art projects. His performances steadily push the boundaries of decency, absurdity and safety – forcing all in his path to consider the universal question: “What is art?”
Either this guy is a few years from a comfortable stardom or he’ll be the second coming of GG Allin. His current project is the thrash band Father’s Day. I bought a t-shirt and he was kind enough to throw in some music. The songs were burned on a mini-disc, as data, for PC-only. Awesome.
Here’s a hastily cobbled together video of the post-screening Q+A. (VIDEO)
FINAL SCREENING IS TONIGHT AT THE ROXIE
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Wei, Wei Good: SFIndie DocFest 2008
SFIndie’s DocFest 2008 kicked off strong last Friday with a moving menagerie of documentaries of all sorts. From the ominous rumblings of the radical Christian Dominionist presented in the crisp expose SILHOUETTE CITY to the wacky “only-in-America” hi-jinx of COME ON DOWN, DocFest offers something for even the most jaded cinema fiend.
I flipped a coin on opening night and saw the Swiss piece THE BIRDSNEST: HERZOG & DE MEURON IN CHINA on the construction of the Beijing National Stadium for the 2008 Olympic Games. Subtitled but easy to follow, the film covered the four years prior to the Games as the famed architects deftly maneuvered unfamiliar Chinese tradition while attending to the demanding necessities inherent in building such a unique structure.
While the construction itself was amazing (I found myself hoping that some forward-thinking Hollywood folks were on-site filming some as-yet-to-announced post-apocalyptic feature as the early months of the construction looked positively brutal. It was a once-in-a-lifetime stage.), I was more intrigued by the Chinese artist/architect who was working directly with the Swiss. Named Ai Wei Wei, this portly, cherubic character was introduced, in part, by showing a bunch of photos he had taken over the years. In particular, his short series showing his middle finger being held up to famed global attractions was compelling. While basic, what was impressive is that one of these sites was China’s own Forbidden City.
Uh - that is pretty darn punk rock for someone whose family was exiled by the Chinese decades earlier. And from what I know about Chinese Communism, they really aren’t all that down with dissent. What looked like the front wall to his studio had the letters "F", "U", "C", "K" displayed proudly.
I did a little research on Ai Wei Wei and found a good piece in The New Yorker. His website is a bit sparse, sadly.
I left the film a bit more cheerful than when I went it. What I expected to be a film-by-numbers documentary reminded me, instead, how truly great works, whether they be stadiums or sonnets, come from Big Idea Artists.
While I was impressed by the actual construction of the stadium, I left with an appreciation of a greater truth. And that is what a good documentary should deliver.
For more info: SFIndie DocFest: http://www.sfindie.com/
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Politics, Propaganda, Filmmaking, Fonts
Film can be a very powerful medium. It can bring us to cry, laugh, pause in solemn reflection or shriek with fear. Can it swing elections?
Forget the handful of cute “presidential” films you may have seen. BULWORTH, PRIMARY COLORS, AMERICAN DREAMZ and films of that ilk poke fun at politicians and the people that traffic in public policy and provide, at best, an amusing fun-house mirror reflection of the state of our national political environment. It’s doubtful that someone would change their vote based on Kevin Costner’s ‘Aw shucks, I’m doin’ the best I can’ effort in the under-appreciated SWING VOTE. These films are entertainment first, and politics a distant second.
But a new film centering on radical Islam and the threat it poses to Western culture will most likely change a few minds. Over the past several weeks, a non-profit named the Clarion Fund has delivered over 25 million copies of an incendiary new film called OBSESSION by way of newspaper inserts, an aggressive media effort and powerful word-of-mouth campaign. Shot and edited by filmmaker Wayne Kopping, OBSESSION claims to be an inside look at the dark and vicious world of radical Islam and how this evil force is mere seconds away from strafing your local mall's food court with AK-47s.
The purveyor's website wastes no time in bringing out the Big Fear. The first few seconds of the trailer is, predictably, 9/11 footage. And they name-drop Hitler in the the first sentence of their About page.
While the producers swear up and down that the time of this release has nothing to do with the election, it appears that the bulk of these DVDs have been introduced to swing states like Colorado, Ohio and Florida. And since it is well-understood that Barack Obama is a raging (closeted) Muslim, the timing of the release of this film can hardly be called coincidental. Will it change minds and score votes for McCain? Hard to say.
Of course, this is not really a ‘film’; documentary or otherwise. It is slick, well-funded propaganda designed to keep people off-balance, afraid and confused. It's easier to tell people what to do when they are scared. And I wish I could believe that the folks at Clarion's intentions were good; that they really set out to educate and inform from a good place in their hearts. But I fear that this is really just another step in creating a new Us vs. Them dichotomy from which to launch SAMs and lob molotovs.
BONUS: Animotion - OBSESSION
For more info:http://www.obsessionthemovie.com