Last Saturday night I had the pleasure of attending a free live performance by Bear McCreary and his team of world class musicians perform his original scores from the Emmy-deserving television show, “Battlestar Galactica.” It was the opening for this summer’s Grand Performances in downtown Los Angeles, a consistently wonderful showcase of world music. We’ve been going for years. One of those hidden treasures of LA.
As indicated on these pages in January, I think “Battlestar Galactica” is fracken great. However, I didn’t really understand how important the series was until I attended a panel last week hosted by Geoff Boucher (LA Times Hero Complex) as part of the LA Times “Envelope” Emmy screening series. Writer/creators Ronald D. Moore and David Eick were there, as well as stars Edward James Olmos and Mary McDonnell, but the surprise was that they were joined by United Nations Senior Human Rights Official, Craig Mohkiber and United Nations Senior Political Affairs Officer, Stephen Siqueria. I guess last March, this same group sat in front of the United Nations (video links here) and discussed issues ranging from human rights accountability to peace and justice in the world. They not only talked about how these issues related to BSG, but what we as nations can learn from the decisions made in the show, both by the military, demonstrated in the series by Admiral William Adama, played by Olmos, and, on the civilian side, by President Laura Roslin, played by Mary McDonnell.
If who haven’t seen the show, tens of thousands of human survivors have escaped annihilation from the man-made Cylons by taking refuge aboard a group of spaceships, lead by the aging warship Galactica. They begin a search for a new home planet, the mythical 13th colony, called Earth, chased by the Cylons, many that look human. As President, Laura Roslin sacrifices thousands of innocent civilians, abolishes reproductive choice, executes enemy combatants without trial and nearly steals an election over the course of the series. That was the point of the UN event and the Los Angeles event billed as “TV – making global issues relevant.” After showing clips from the series, the speakers shared how these shameful and violating acts continue for real across our world. As UN official, Craig Mokhiber said, “every nation on this planet has broken the rules of human rights,” and talked about how part of the UN mandate was to safeguard the human rights of everyone, regardless of race, gender, ethnicity, and station. This fictional series gave us all an opportunity to think and discuss human rights, justice versus revenge, punishing people who perpetrate crimes against humanity, by watching episodes that take place on a spaceship in the future.
Isn’t that amazing? A fictional television show that carries significant political and world issue relevance. Most important, BSG was entertaining, I never felt like I was being preached too. That is the true genius of Ron Moore and David Eick. In addition, the contribution of director Michael Rymer, as Moore acknowledged that night as “the third creative force that contributed heavily to our vision.” (It was fun to see the director get credit publicly for their creative input on a television series. It rarely happens.)
It doesn’t have to be mindless, to be entertaining. That’s why I got into filmmaking. To tell stories that make us think, react, research, formulate an educated opinion. We understand this to be true with documentaries, but as Basil Tsiokos reminds us in the terrific blog he wrote for indiewire,”8 Documentary Dos and Don’ts,” no one needs another wrongly executed doc film that’s only about message. Basil is a programming associate for the Sundance Film Festival and was Artistic Director for NewFest for twelve years. He screens a lot of films and knows that a documentary can be important and informative, but it still needs to be entertaining.
That was our goal for the documentary, “Houston We Have a Problem” directed by Nicole Torre. The film explores our dangerous addiction to oil through candid insights from the Barons, Wildcatters, CEO’s and Roughnecks that comprise the world of Big Oil. An inside look into the culture of oil that explores the history of our dependency and how it has led us to the current energy crisis. I’ve written about this film before here, when it premiered at AFI-Dallas and it continues to play the festivals. The issues the film addresses are important, but I believe we presented them in a fun, sometimes humorous, never boring way.
However, I am no Ron Moore. I’ve tried to write screenplays with significance, usually with them ending up being obvious and heavy. I look forward to Mr. Moore’s television movie “Virtuality” airing June 26 on Fox about a group of astronauts who pass the time in virtual reality modules as their interactions are beamed back to Earth as a reality TV show. The new BSG series “Caprica” starts in January, about the kind of people, think us, that would create Cylons in the first place. There is also “The Plan,” the Battlestar Galactica story from the Cylons perspective airing on Sci-Fi in November. Directed by Edward James Olmos, a trailer was shown at the event and to quote Olmos, “it is breathtaking. It’s fantastic… I couldn’t have imagined this kind of a situation happening at the end of a show, where you would actually start at the beginning. That’s a masterful piece of understanding, Ron is a genius. Because after you see ‘The Plan,’ you’ll want to go back and view the whole series again.”
In these days of Twitter informing the world of election protests in Iran before the news can cover the story, important stories, fact or fiction, WILL FIND an audience. Smart filmmakers are figuring out how to find that audience. BSG is just one of many, many great shows on television, so why go out and spend big bucks on a crappy studio remake. If you want your film seen, it’s about getting it out there, any way possible. In fact tonight, I’ll be watching the pilot episode of “Caprica” on DVD that was rented from Netflix. I’m sure the hope is that as a fan. I’ll like the new show as much as BSG and so when it airs, I’ll tell my friends and it will become “must see TV.” That’s forward thinking and we need more writers, showrunners and filmmakers to be looking forward and to tell the stories that have important relevance to our lives, yet still are entertaining. And so say we all!
When I was in the eighth grade, my buddies would come over almost every day after school to my parent’s apartment to play the board game, RISK. It became a ritual and soon the topic of conversation between us, each day at lunch and recess. In fact, one time three or four female classmates came to the apartment, pleading for us guys to give up the game and spend some time with them. We said, “no way!” Ah, the decisions we make!
I’ve always been a fan of games, the more complex the better. I’ve played board games, cards, Dungeon and Dragons. I enjoy the social interaction, the elements of fantasy. After all these years it shouldn’t be a surprise that I would take my filmmaking experience and put it to use in video games, but it wasn’t until last year when my company, Unconventional Media produced the live action portions to the Electronic Arts (EA) video game, “Need for Speed: Undercover” that I really began to understand the tremendous possibilities of video games and interactive storytelling.
Last week, I had the opportunity to attend the Electronic Entertainment Expo, simply known as E3, at the Los Angeles Convention Center. Presented by the Electronic Software Association, this is the event where new games and gaming inventions are unveiled each year. The roll-out was impressive, the technology amazing. I was in awe of the big LED televisions displaying such realistic, spot on graphics. However, what really caught my attention this year is the amount of immersive game play devices being released. Nintendo introduced a device, the Wii Vitality Sensor, that clips to a player’s index finger and reads their pulse into the game. This is the same company that has been so successful with the Wii Fit, which helps a game player lose weight by bouncing on a board that feeds the movements into game play. Basically, your movements are the game characters movements, so if the game requires your character to run or jump, then you, the player must do the same. A hell of a workout. Ubisoft Entertainment introduced a competitive, more serious fitness title, “Your Shape” that actually customizes the workout based on body type.
However, the Project Natal for the XBox really knocked me over. You’ve got to watch the YouTube video attached to really understand the interactive possibilities. You can fully immerse yourself into a virtual world.
As I wrote in this blog last October, after the “E for all Expo,” the philosophy behind my company, Unconventional Media, is to deliver a fresh angle for new entertainment, incorporating movie storytelling into game play. This seems to be a growing, exciting trend in the business, although much of it remains tied to feature film releases like “Batman,” “Watchman,” “Harry Potter,” etc.. I do admit it was fun to stand next to the original Ghostbusters Ecto-1 vehicle, parked outside to promote the Ghostbuster Video game. I believe with the immersing technology of virtual game worlds, we can create storylines to form a new kind of entertainment. It’s like my fictional screenplay, “Press>Play” as reality. We enter the story, virtually.
Since I’ve always enjoyed the social aspects of game play and find the solo aspects of most video games a little lonely, like playing Solitaire, you’d think I’d be a big fan of online gaming. I’m fearful that getting involved in games like “World of Warcraft” and other multi-player online activities will become such an addiction that I’ll never go outdoors again. Hell, I won’t even play “Mafia Wars” on Facebook. However, after viewing the EA and LucasArts upcoming release, “Star Wars: The Old Republic,” a multiplayer, online game based on the franchise, but set in a different time period, I may be hooked.
After a couple of days of the loud noises and visual attacks of E3, I had to make an escape. I sat down with some friends and played “Joan of Arc,” a good old fashioned board game. The game takes place during the 100 year war between England and the provinces of France. There are castles, battles, land grabs, even the plaque, but there are also alliances between players, negotiating between teams, the human element. I miss this part of game play in video games. Sometimes, it just feels like it’s you against the machine. I like the social interaction. Maybe, I’m just a board game geek. Anyone up for a game of RISK.
A few months ago Chase Bank introduced themselves to California by taking over Washington Mutual Bank. I did not bank with WaMu, but based on my experiences with my WaMu credit card, I certainly feel sorry for those that did. Chase Bank is abusing their power and taking advantage of the small businessman, like myself. Just over a year ago I started Unconventional Media and took advantage of an offer from Washington Mutual for a transfer of funds to my new business account. The APR offer was 1.99%.
A couple of months ago I was informed that Chase Bank was now the proud owner of Washington Mutual. There were lots of cheesy pictures of happy consumers and reward programs, but no mention of interest rate increases, even in small print.
This March, I received a credit card bill reflecting an APR increase of 23.24%. I immediately called Chase customer service and spoke with a very nice lady named Brandi. They will not give you their last names, in fact who knows if these are even their real first names. Brandi informed me there was an increase, but they had made a mistake and some of the finance charge would be credited to my account in 7-10 business days. I received a letter that informed me of the rate increase to 9.99%. This month, I received a statement with no credit and still reflecting a 23.34% APR. I called Customer Service and talked to a very rude women named Wanda from Texas, who basically said that was the corresponding APR now on my account. There was nothing I could do about it and no one I could talk to about lowering it.
Well, there is something I can do about it. There is something we can all do about it. I wrote letters to the President and California Senators Boxer and Feinstein. The banks took billions in taxpayer bailouts, then turned on their own customers – hiking interest rates on credit card balances, changing fixed rates to variable, adding new card fees, reducing good customers’ credit limits. If at all possible, boycott Chase, find another bank, an honest bank. There are a couple. Several comprehensive credit card reform bills have been introduced in the House and Senate during the 111th Congress. For instance, Senator Christopher J. Dodd (D-CT) has introduced the “Credit Card Accountability Responsibility and Disclosure Act of 2009″ (S. 414). This legislation would prevent credit card companies from increasing interest rates on customers in good standing for reasons unrelated to their behavior. Additionally, it would require credit card companies to notify customers 45 days in advance of an interest rate increase and would allow the customer to cancel the card prior to the increase. Support this bill, call your Senators, congressmen, sign the petition at www.Creditcardreform.org
I’ve paid off my Chase credit card account, but I am owed hundreds of dollars in overages. I imagine the same thing is happening to many other people, some who don’t have the luxury of paying off their bill. What the bank is doing is illegal credit card abuse and the industry must be reformed to protect the American consumer.
Tucker Stilley has always shown an interest in quantum physics, but his “Virtual Artist in Residency” at The Monte Vista Projects Gallery is the first time I’ve seen so much work by one artist dedicated to the scientific theory. It’s like a visit to SpaceCollective.org with paints and music. Curated by his fellow Massachusetts College of Art classmate and friend, Sam Durant (who has a great show of his own “This is Freedom” at the Blum and Poe Gallery) this is an LA Times critically acclaimed, must see presentation that has been extended until May 3rd, 2009.
I’ve written about my brother-in-law’s amazing work on this blog before when a showcase of his video art was presented at the REDCAT in 2008. Diagnosed with ALS (Lou Gehrig’s Disease) in 2004, Tucker no longer has control of his limbs, so he uses a reflective bindi-dot on his forehead to control a complex system of computer technology. The “How We Do It” video explains the method behind the creation of his on-going hyper-signal artwork, “The Permanent Record of NewJack_Rasputin.”
In the program notes for the Monte Vista, Tucker writes, “I feel it is logical, my own nervous system failing, that I would spontaneously generate an alter-ego, tear a hole-in-space and try to escape. My situation warrants immediate and drastically uncompromising self-metamorphosis. An exquisite new aesthetic unfolds when you are standing on the deck of a burning ship. Being paralyzed amplifies the uneasy link between intent and action and brings into question the true meaning of this place and time that we occupy…and of what our ultimate audience might prove to be.”
If this is a blog about Unconventional Media, then Tucker’s pirate avatar, NewJack Rasputin is leading the charge, wielding a sword. First stop at the gallery should be a read of the comic book, written and created by Tucker. It is the backstory of NewJack Rasputin. It is as cryptic as most of Tucker’s work, requiring close scrutiny. Each reading I discover new thoughts and true life personal history. Most of the comic book is available to view online at Tucker’s site, www.TuckerStilley.com.
There is a virtual media experience where gallery visitors and online viewers can interact with Tucker as he works. The viewer has the experience of being inside the computer, looking at the artist’s “frailty and strength.” Online, no matter where you live, you can catch Tucker making art – most days around 2 – 9pm, Pacific Time (Note: if you hear “crickets” he’s not at his console). I’ve never seen the webcam technology put to better use. As we watch we could become part of his next work. At the gallery, there is a “keyboard” below the computer screen encasing over 465 used, reflective bindi-dots. To the left of the computer are his recent brain scans. Symbolic representations of the time Tucker has used just the turn of his head to create his art. Above the brain scan are redefined photographs of three talents who also had ALS, Mao Tse-Tung, Leadbelly and Charles Mingus; now all with Mickey Mouse ears.
In one corner of the gallery is a collage of xeroxed photos and 8 1/2 x 11 sheets of printed words stained with red wine and tea. (I’m in one photo, can you find me?) Since the disease has made it difficult for Tucker to speak, the sentences, to friends, family and medical staff, read like poetry and haiku, a real understanding to the artists present psyche. “T.O.E. (Theory of Everything),” a scroll of inkjet print outs and xerox photos overlaps one end of the word collage. This is an older work, (which I’m proud to say I own a signed reprint copy), from his early days of computer art. More stuff like this can be found at his website. It’s a strong piece to have in the exhibit, not only because one image on the scroll shows Tucker drawing with his hand, when he could, but it also evokes the theories of time travel and quantum physics found in much of the recent works, many with “Time Weave” in the title. One example, “Time Weave 63-11 Roberta” is a great representation of a person being in more then one place at a time.
The color prints of computer generated art, some of it originating from super 8 film footage or old photographs, much of it requiring viewing at different distances to fully understand the scope. “Gimpcon Auto-collage, Self Portrait” looks to be a collection of patterns and shapes until you step back far enough to realize it is a portrait of Tucker wearing sunglasses. Same holds true with “Last Wine Stomp at Dressle.” My favorites of manipulating visual images into color were the “3-D Hawaii” series and “Midnight Nude at Noon.”
The “Ghost Photo” collage series reminded me of some of the first photographs from the last century that we’ve been researching for the New Orleans Paraplex documentary or stills from old silent films. I also really liked “El Morro,” a freeze frame shot from one of Tucker’s short videos. In the video, a big tire tube appears on the beach in a seven second circle of life at the edge of the Pacific. In the still frame, the tire is frozen, peering out to the horizon, like a cast member from “Lost.” Speaking of “Lost,” a shout out must go to the poster at the entrance to the gallery. This is from a conceptual art piece Tucker did a few years back covering telephone poles with posters of an Iquana-lizard man lost like a neighborhood dog.
It’s an incredible show. If you can’t make it to Los Angles, so much of Tucker’s art work can be seen on his website. And just like his art, there are many “Easter Egg” surprises to explore and lead you to his music, video and other art. It is a real interactive website. Also visit “All Hands on Board,” a social networking site of friends and fans of Tucker Stilley’s work. It is also another portal to his “Hole in Space” webcam. For me, he is a mentor to the real possibilities that can be achieved with new media, new technology and new ideas.
Monte Vista Gallery
5442 Monte Vista Street
Los Angeles, CA 90042
As a follow up to my previous blog on mentoring, I had the privilege yesterday of attending a director’s retreat sponsored by the DGA. The subject was the best tools for directing actors in feature films and television. It was a wealth of information that I’ll only be able to touch on here.
I came into the retreat with more experience then some from my theater directing background (I’m still a directing member with Theatre Neo) and having read Judith Weston’s wonderful book “Directing Actors” and Sidney Lumet’s important book, “Making Movies.” Both books were mentioned more then once. I’ve never taken any of Weston’s workshops but have worked with director’s that have gone through her course and met her a few times at the International Film and Video Workshops (now Maine Media Workshops). I can’t recommend it enough.
Director John Badham (Saturday Night Fever, War Games), opened with a keynote address promoting his new book, “I’ll be in My Trailer.” Badham, now directing episodic television, has been in the business for over 35 years. He outlined five common mistakes director’s make that the other director’s (Neil LaBute, Kimberly Pierce, Jamie Babbit, David O. Russell, Jeremy Kagan, and Gordon and Helen Hunt) reiterated in the panel discussions. First mistake, especially common in television is the “anonymous” director. They all discussed the importance of introducing yourself to the actors, especially the nervous Day players. Many directors get caught up in the technical and get flustered when the actors appear on the set with their own ideas. Rehearsal is the most important thing and time with the actors must be scheduled into a production. Television is harder because of time, but even a read through will help the director and actor’s relationship. Come in early and go to the trailers while the actor is getting make up, introduce yourself, address their concerns before you go to the set at call time.
All the directors found it better for the production if they had enough rehearsal time. Neil LaBute discussed respecting the actor’s process, no matter how crazy it seems. Casting is so important especially with short rehearsal times, but if an actor is forced on you because of financing, you’ve got to research what that actor is capable of doing, rethink how you’ll approach the project. At least, get a lunch meeting before you meet on the set. Some actors know the camera, understand lenses. They can deliver their performance in a few takes, others only really deliver after many takes. The more you know about the actors personalities and previous work, the better you can plan your schedule, shooting the coverage of the actors based on their strongest ability to deliver.
The second mistake is hiding behind video monitors and yelling out direction or saying “nothing,” which is even worse. Now, I’ve worked on a few feature films with directors like this and it never fails that the end product suffers. If nothing else, say “great” after “cut.” “More energy” is not good direction. Action verbs that mean the same thing but at different degrees works much better then “Make it bigger” or “Make it smaller.” Directors need to be by the actors. Kimberly Pierce wears a small video monitor around her neck, so that she can do both. Helen Hunt felt a little distance is good for sex scenes, certainly a limited crew around the actors. All the directors hate the “village of idiots” that gather around a video monitor.
Both David O. Russell and Neil LaBute are doing their next film on digital so that they can just keep rolling, let their actors play, but Helen Hunt has been on a couple of digital features and finds them “too loose, not enough focus.” Kimberly Pierce likes the ability to do more takes by changing the film lens and asking for the actor to give a different performance. She sees no use in having the same take over and over again. All agreed that having a second camera (B camera) will save you in the editing room.
Another big mistake is the director wanting to be the nice guy and never creating his or her authority. Discipline actors that haven’t done their homework or learned their lines. Failure is OK, but not reading the script is not. It’s also useless to explain the scene to the actor, they can read that in the script. They need to understand what their character wants in the scene and why? But don’t give them the answer, they need to own the reason, then they can bring it to their performance. Notes are important to the actor, but give it to them privately, a secret note, not a public shout out.
What if the actor doesn’t do what you want them to do, for the blocking of the scene or the line reading you expect. It’s a big mistake to just tell the actor where to go, you need to help them find it out on their own. Another big reason for the rehearsal process. Gordon Hunt, Helen Hunt’s father and a long time television and theater director, including numerous episodes of “Mad about You,” suggests using the term, “how about” when prompting actors to try a blocking idea. If the actor states that his character wouldn’t do that, then ask what his character would do, most of the time it isn’t the action, but a word that bothers the actor. Hunt also revealed his secret to getting a line reading. On the next take, if you are the director, you yell out to begin the next take at the particular line you want corrected and you give the exact line reading you desire. It’s worked for him almost every time for close to fifty years.
The fifth mistake is saying “No.” You need to help the actor get out of their personal polite space. If an actor has an idea, let them discover it doesn’t work on their own. I certainly have discovered this technique in many of my theater productions. Actors have come in with some strange concept or prop and usually discover if it isn’t working. On the other hand, they sometimes added a richness to the character that I didn’t think about before. Be open. “We will do it” is better then “you will do it”. Also, realize that if an actor has a problem with his or her wardrobe, don’t ignore it because usually it has nothing to do with wardrobe and everything to do with the character they are portraying. That’s an issue that needs to be resolved immediately.
Helen Hunt added much to the day because of her experiences from both in front and behind the camera. In her view, all directors should take acting classes to understand the actor’s point of reference. I agree and certainly find myself falling back on those Emerson College acting courses to guide my directing work. Neil LaBute started as a student actor and many of his best films have been done working with actors like Aaron Eckhart that he has known since those days. One of my favorite times directing was when I made the web series, “Unconventional,” because I pulled about fifteen actors that I had worked with in the theater, here in Los Angeles, and we created these characters based on my notes and the actors ideas. There was no script, it was just me, a camera and the actors. It was exhilarating and fun. It’s the reason I got into this business in the first place. It was nice to be reminded. To quote director Martha Coolidge, “the most important role of a director is to work with actors.”
This last week I’ve been in the editing bay cutting down the video we shot of the Conscious Entrepreneur Experience workshop presented by Kim Castle and W. Vito Montone of BrandU. I previously wrote on this blog about the amazing experience, but as I look over the footage something new is resonating. A discovery that the importance of any business is to give back and mentor the next generation. That’s how good ideas stay fresh and grow.
I never thought about teaching, other then the occasional workshops that I lead for One on One Film Training or at the Maine Media Workshops (formerly the International Film and Video Workshops), but as I get older I’ve started to realize how much I enjoy the mentoring process. Maybe it’s because my parents were teachers or that my children are now young adults and no longer require as much guidance, whatever the reason, I enjoy sharing the experiences that I’ve had in over twenty years in the film and television business. Hell, it’s probably why I’m writing right now.
Lately, I’ve been asked to sit on some media panels and every time I’ve not only enjoyed the experience, I’ve walked away with new contacts and some bit of new information. Last week, I was asked by the posthouse Secret Headquarters to share my experiences as a producer using the RED camera on “Need for Speed:Undercover” and the Panasonic 900 on the documentary “Houston We Have a Problem.” Not only was the food great and the folks at Secret HQ terrific, but the other panelists Sandy Collora, Drew Brody and Mary Liz Thomson had so much to offer about their own experiences.
I had the same feeling a few weeks earlier when we premiered our documentary, “Houston We Have a Problem” on March 27th at AFI Dallas. The film, directed by Nicole Torre of New Angle Media is about the Oil Barons, Wildcatters, and roughnecks and their long struggle to feed America’s ferocious oil appetite. A real inside look into the energy culture and just how our country became so addicted to oil. The good news is the city of Houston and many of the oil honchos believe we must go “Green” for a secure domestic energy future. AFI Dallas posted an interview on Vimeo. The film played very well with great reviews on KERA (local Dallas PBS station) and even on IMDB. I was asked to be on a panel about documentaries and the changes with online media, joined by “Rock Prophecies” director John Chester and Pete Schuermann of “Haze;” monitored by online SpoutBlog writer Karina Longworth. The end discussion grew sticky with what is considered fair use in docs. Once again, I enjoyed participating and learned some new things, as well as met some great new contacts.
I was extremely disappointed that I couldn’t serve on the panel at NAB when I was asked by PixelHead Network for Promax. They had interviewed me a few months back at a Cinema Innovators Event about my company Unconventional Media and our commitment to New Media. I’m not going to make it to NAB this year because of memorial plans for a recent family loss, but really would have loved to share my production experiences with a larger crowd.
I know that there are a lot of people exploring a new career for themselves as a “Life Coach.” I’m not interested in that and don’t see that as a fufilling role. To be honest, I’m not convinced many of these other people (some friends) should take that role either. However, if someone wants some guidance, I’m open to help. Some folks don’t believe they have the time in their business to assist others. I think they’re wrong. There is an interview with Joe Sugarman on the upcoming BrandU DVD. Joe created BluBlocker Sunglasses and ran JS&A (forerunner of Sharper Image), a highly successful mail-order company in the 1980s, the largest supplier of innovative electronic products in the U.S. He pioneered many of the sales and marketing techniques widely used today, as well as introduced household products like the calculator, cordless phones, and digital watches to the world. He declares that the most important thing in a successful business is helping a fellow human being. It’s not how we usually imagine business people thinking, but as my own production business grows, I’ve come to realize it is the only way to think. I’ve always been into helping others, I thank cutting this BrandU DVD is helping me understand why.
It’s a lot of time and energy to keep up your profile on Facebook, MySpace, Twitter, Linkedin, Ning sites and dozens of other social networking sites. However, if you’re trying to make a living in the creative arts, be it an independent filmmaker, musician, artist, then you’ve got to look at it as part of the job.
Here’s just one recent example with my short film “Travelin’ Trains.” A few weeks back I notice Greg Sarni has become a Facebook friend with my sister Lindsay Mofford. Now I remember Greg, not well, but I remember drinking beer and hanging out with him at Emerson College. We reconnect, become online friends. On his Facebook site are photographs and notes about his days running the Boston Blues Festival. I mention “Travelin’ Trains,” my short blues film about a boy in search of his father in the Depression-era South. It’s full of traditional, acoustic blues. He wants to see it, especially because one of the stars is Chicago Bob Nelson. A few years back, Bob collected the Blues Trust Lifetime Achievement Award. Greg is a fan of his music and makes mention of the prize and film in his online newsletter, Blues Trust. He also adds the Cacchi link where you can see my film for free. The film gets a jump in views including a recommendation on Twitter by the famous Ash Grove bar in Los Angeles. I see the text and Twitter back that we need to do a documentary on the history of one of the most important folk clubs in the country. Discussions and developments begin. Thanks Greg.
Do you see where I’m going with all this? At Unconventional South in Nashville, we are constantly talking to an incredible roster of talented musicians who know that the old ways of creating an audience no longer apply. Brian Adams knows this and is developing the network television series “Stone Cold Sober in Music City” with an online home base. You can read more about that venture in a previous blog. We’ve also been exploring that with Billy Falcon, his daughter Rose Falcon and The Sowing Circle on Ustream. A wonderful write up at indiemusictech.com covers what a musician has to do these days to get their music heard. It was also a big issue of discussion at the SXSW music conference as referenced in Wired magazine.
Mashable.com is a wealth of information of guidelines, with success and failure stories of what works for artists and entrepreneurs. The write up about Ning job networks and entrepreneur networks are two of my favorite resources. How do I know when there is a new article? I follow them on Twitter. When a new story is online, they’ll put a link on Twitter. I can access it if I’m interested. This process is exactly the same for all us artists. You release a new song, photograph, film, art show and let people know it is there. The fans decide if they want to access it or not. They hear or see it and your network spreads the word. If they’re not spreading the word then something isn’t grabbing their attention.
Now everyone has their own set of rules of what and how they want to communicate via the web. I use MySpace mostly for listening to new bands and keeping track of gigs via bulletins. I reserve Facebook for my actual friends, mainly because I’ve got some friends on there that I’ve known since Junior High School. I’d rather not share those old stories with someone I just met at a networking event. In those cases, I stay linked to the business contacts, new and old, via LinkedIn. And for me, Twitter is all about the RSS feed. I’m following you because either I like what you have to say, play, write or communicate. If you’ve got a suggestion, I want the link. I hope those that follow me feel the same way about my “tweets.”
Now I know there are dozens of other social networks including “Ning” sites like my Brother-in-Laws site, All Hands on Board, which can be very specialized. I just don’t feel like I need to be on all of them. It might look like some sort of desperate need to be noticed. You see, there is a fine line and only you can decide what is needed to get the word out and what is too much. We each make our own rules and that, my online friend, has got to be one of the greatest things about social networks.
It was reported last week in the trades that Michel Gondry had been hired by Sony Pictures to direct the feature “Green Hornet” starring Seth Rogen. Between Rogen and Gondry, I’ve got a feeling this won’t be your usual Superhero comic book movie. I’m interested in what Michel Gondry does with the material, I’ll tell you why.
Many, many years ago, I worked as the 1st AD for Gondry on a Sheryl Crow music video, “A Change Would Do You Good.” At the time I was doing a lot of big budget music videos, usually for the production company, Propaganda Films. This was my first with Gondry, although he already had a great reputation for making interesting, artistic videos, especially for Bjork.
The concept for “Change” was that Sheryl Crow was a “Bewitch”-like character, shaking up the lives of people, give them a chance to step into someone else’s shoes before returning to reflect on their own life. Big concept for a three minute song, especially when you start including an all star cast. Of course, at they time, most of them, other then Ellen Degeneres, were hardly known. Heather Matarazzo had just been discovered in “Welcome to the Dollhouse.” Molly Shannon had only a few seasons of Saturday Night Live under her belt. Jeff Garlin had not yet co-starred with Larry David in “Curb Your Enthusiasm.” Years later I had the opportunity to work with Mary Lynn Rajskub as Chloe O’Brian on a few seasons of “24” and with Andy Dick on a whole series of comedy shorts for the MTV Movie Awards, but at this time, they were basically “unknowns.” BTW, most of those short films are up on YouTube.
It was a difficult shoot, coordinating everyone’s schedules around the various stage sets and their other gigs. Michel, who is originally from Versailles, France (and was still struggling with English), was having a hard time communicating his vision or I was having a hard time understanding, which slowed things down. I think, for me, the highlight was when Sheryl came to the set and for whatever reason felt I had adjusted the schedule to accommodate her, so she gave me a big, wet kiss, which I’ll never forget. I liked her instantly!
Now before I get lost in sentimental memories, the reason I’m writing is because of Michel and his desire to direct a feature film. This was way before “Human Nature” and “Eternal Sunshine of the Spotless Mind.” He wanted to direct a feature film and at the time, the one he wanted to direct was “Green Hornet.” It was a different script, but based on the same comic book. Any time he wasn’t working on prep for the music video, he was meeting with his assistant, breaking down ideas and storyboarding his vision of the “Green Hornet.” I wonder how many of those ideas from over ten years ago will find their way to the upcoming production? I guess things really do come around if you want them bad enough.
I think about these things and relate them to my own life, my own projects. I believe everyone has their own projects that at different times get put on the back burner. I have my directing projects like “Press>Play” that I’ve tried to launch for almost as long, or in the case of “Witness Trees” even longer. I get frustrated when it isn’t moving forward, but just like Michel Gondry, I’ve taken other great projects offered to me to keep the creative juices productive and to bring in some finances. It’s nice to know that sometimes the pet projects return, even bigger and better then you ever dreamed, even if they now star Seth Rogen. Either way, a change has done me good, looks like some great stuff is brewing for Unconventional Media, even though it’s not originally mine. At least I’ll always have Sheryl’s kiss.
There has been some great recent posting including Mashable.com and Dorkmuffin on the best outlets on the internet for new musical artists, definitely worth checking out. However, neither mention live internet streaming, which gives the opportunity for anyone in the country, and sometimes the world, to be part of an audience seeing and hearing a performer live. I enjoyed the last stream Unconventional South uploaded of Billy and the Sowing Circle so much, I was hung over the next morning. That’s how real it felt, just like I was sitting at the Blue Bar in Nashville from my living room in LA.
This time things will be a little different, it’s an informal house party. Since we are still experimenting, Michael Catalano of Unconventional South, will be flying solo with camera and sound. It will be an intimate, uncut live performance. If you read my post on “Stone Cold Sober in Music City” you know one of the things I love in James Szalapski’s film, “Heartworn Highways,” are the scenes of Guy Clark, Townes Van Zandt, Steve Earle and others sitting around the living room, playing music, drinking, smoking and espousing the importance of back-to-basics country. I hope this video stream Saturday night will evoke that same feeling.
The “Sowing Circle” is a conceptual night of music Billy Falcon started two years ago. Billy is a well established musician and songwriter, mostly known for writing over 12 songs for Bon Jovi, including most of the hits. To Billy, the Sowing Circle is “at its worst a lot of fun, and at its best, it’s something tribal. Unplanned and unrehearsed; it’s gifted singers, songwriters, violinists, guitar players, sax players, trumpet players, percussionists… coming together for the love of the music and nothing more. Audiences are not merely spectators, they become part of the experience, with musicians sitting next to them and microphones set up for them to join in at will.”
Mix in some Dead, Springsteen, Bon Jovi, Hank Williams and Phish and you only begin to understand the Sowing Circle. Tune in for this is a rare opportunity to not only hear, but see some of today’s most prolific and talented songwriters and performers including Billy’s wonderfully talented and beautiful daughter, Rose Falcon, present their music in the most honest and direct way possible. Join Billy, Rose and all their visiting guests this Saturday, February 28th, 9:30pm EST, 8:30pm CST, 6:30pm PCT by following this UStream link.
This weekend, on the West Coast, the fun doesn’t stop there. On Sunday, March 1st at 2:30pm, the short film I produced “The Sacrifice” is playing at the Beverly Hills Shorts Film Festival. Written and directed by Diane Namm, “The Sacrifice” recounts the gripping tale of 13-year-old Esmee Johnson on the day in which cult leader Rev. Dobbins comes to take her as his wife.
“The Sacrifice” was shot on Super 16 film, the multi-talented cast includes: Chris Mulkey (Cloverfield, Friday Night Lights, X Files); Darby Stanchfield (Mad Men, Jericho); Jon Lindstrom (Must Love Dogs, Right on Track, and General Hospital); Richard Riehle (Office Space, Grounded for Life) and Molly Quinn (Castle, A Christmas Carol, directed by Robert Zemeckis) ). Ivy Isenberg was the Casting Director. I’m so glad to see the film continue to get festival play. A great weekend ahead, indeed.
I just finished watching David Merrill from MIT demonstrate cookie-sized, computerized tiles called Siftables that can be stacked and shuffled in your hands. Anyone, even a young child, can do math, play music, and interact with their friends with these amazing digital blocks. I watched in awe at TED.com. The next generation of the computer and communication.
The yearly Technology, Entertainment & Design conference, now in year seven, is an amazing gathering of Today’s real thinkers. This year’s conference, which was just recently posted on their Website, was once again filled with incredible inventions and new thoughts on issues that affect our world today. If you don’t know much about TED, I highly recommend seeing Daphne Zuniga’s documentary on the 2006 conference, “The Future We Will Create: Inside the World of TED.” A review can be found on my friend Stefan Rhys blog, Signal>Noise.
Although I haven’t actually been to a TED conference, I did recently have the opportunity to go to two other forward thinking conferences. A few weeks ago, I joined director/producer Nicole Torre of New Angle Media at the GoGreen Expo and was impressed with the advances and possibilities for a better, greener future. I was raised on Earth Day and traditional American Indian philosophy (see my upcoming documentary project, “Witness Trees“), so a lot of this was as old as when Jimmy Carter was President talking “Green,” but it is wonderful that the masses are finally stepping out of their SUV’s for a better, cleaner planet. I firmly believe that anyone looking for a job and with the new Economic Stimulus Bill, “Green” is the future. If you’re interested check out Earthprotect.com. That’s why I was at the conference promoting Unconventional Media and why I decided to help produce Nicole Torre’s upcoming documentary, “Houston, We Have a Problem.” It’s a feature film on the energy crisis from the perspective of the Houston oil man. We’re in the final stages of post production, research clearances, music rights, but if anyone wants to hang their hat on an important film, we sure could use the pocket change.
Last weekend, I attended the Conscious Life Expo. Once again, I was impressed with this wave of spiritual thinking and world peace. People were truly promoting change for our planet. Now I admit there were a few “weird” and wild ones at the conference and I met more psychics in one day then I’ve ever met in all my years working with the International Society of Paranormal Research (ISPR). I’m certain we can now cast our show “Psychic Boot Camp” for the Paraplex in New Orleans.
We were at the Expo to capture an exciting, upcoming DVD for BrandU’s Conscious Entrepreneur Experience. I’ve known W. Vito Montone and Kim Castle of BrandU for a long time. These guys know what they are talking about when it comes to understanding your business as a creative universal expression, regardless of the product or service offered. Much of what they cover in their lectures and workshops has been the inspiration for me in my own creation of Unconventional Media. It was Kim Castle and her insights that created the original Eric Mofford logo.
This DVD will explain and show the greater path to financial freedom and personal fulfillment. “CEE” can almost guarantee the growth and profitability of your business while still making a powerful and positive impact on the world.
Kim and Vito have always been ahead of their time with new ideas. Kim has been helping clients with their company identity for over twenty years. Vito has spearheaded projects for Disney Interactive and created the first Virtual Convention for Star Trek, among many other projects. I remember Vito and I getting together and talking about the possibilities of interactive media, kiosk point of sales and brand marketing in Atlanta in the late 1980’s when no one would listen. This DVD not only includes their own knowledge and expertise, but includes a TV talk show format featuring irreverent and witty interviews by Kim with multi-million dollar conscious entrepreneurs, Spike Humer, Marcia Miller and Joe Sugarman. The live music was supplied by the wonderful techno artist Coco O’Connor.
These guys took risks and succeeded, an inspiration for any business, be it independent filmmaking or bracelets like the “I Love Bracelets” launched by Marcia Miller out of her apartment while pregnant with her first child. Since its inception, “ILB” has sold more than 2 million bracelets, earrings, and necklaces, exclusively to more than 7,000 retailers, gift stores and fashion boutiques. Mr. Humer has been the behind the scenes life coach for several of the world’s leading experts in the field of personal and business development. He has hands-on experience leading both public and private companies throughout North America.
I’ve got to admit my favorite was Joe Sugarman, who created BluBlocker Sunglasses and ran JS&A (forerunner of Sharper Image), a highly successful mail-order company in the 1980s, the largest supplier of innovative electronic products in the U.S. He pioneered many of the sales and marketing techniques widely used today, as well as introduced household products like the calculator, cordless phones, and digital watches to the world. His world-class drive, business acumen, insatiable curiosity, and uncanny ability to tap the buying mind, keeps him ahead of the pack and always forging new frontiers. This guy didn’t always succeed, but he was always willing to chase the dream.
The Conscious Entrepreneur Experience DVD is going to be a valuable tool for anyone ready to start or rethink their own business. The whole experience was an incredibly worthwhile experience for me. I guess it will soon be available at Intention Products. I truly believe I had a rare opportunity to hear and see two speakers before they present at a future TED conference, and for that I feel privileged. These are amazing times indeed.
