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Posts Tagged ‘Need for Speed’

I am honored to be the featured filmmaker and to present my short film TRAVELIN TRAINS, this Friday, 8pm, June 4, 2010 as part of the RAW: Natural Born Artists event at the great Hollywood screening venue, CINESPACE.  RAW Artists is a multi-faceted arts organization showcasing handpicked artistic talents in the avenues of film, fashion, music, art, DJs, models, photography and performing arts. Each month there is a party event promoting the artists and their work.  It’s an invite only, cocktail affair.  If you want, you can order your tickets by following this link HERE.

They posted an interview with me on their site, but I wanted to take this opportunity to expand on some of those comments and offer direct links below.

Q- Tell us about yourself.

I’m a Filmmaker that’s been based in Los Angeles since 1994. Before that I lived and worked in Atlanta for 10 years. I was born in New England. I went to Emerson College.

Q- How did you first get started in film?
I started making Super 8 films when I was 10 years old. Lots of three minute in camera editing. I loved going to movies and would emulate the stories with my friends that we saw at the theater. Recently, I’ve reconnected with some of them on Facebook and it’s been fun to share these films from our youth. When I was in college I started shooting in 16mm and video. Haven’t stopped since.

Q- Tell us about TRAVELIN’ TRAINS

TRAVELIN’ TRAINS is a short 16mm black and white film I made a few years back (well, actually more then a few) about a young man in search of his father in depression-era Georgia and the blues music that both joins and separates them.  We shot it in Atlanta, grant supported. Most of the script was written in a local Atlanta blues club, “Blind Willies.”  I’m excited that people are going to get to see the film on a bigger screen, because these days it is mostly watched on DVD. I think it is the best example of my work as a filmmaker because unlike other projects I’ve done that have producers, actors, clients involved, all the decisions, both good and bad, were my own. I take full responsibility.

Here’s a youtube link to the Trailer for TRAVELIN’ TRAINS

And here’s a link to “Freight Train Blues” scene from the film.

Q- Any other films you’ve produced?
I now work professionally as a producer and director after more than twenty years as an Assistant Director for film and television. Not to say I wouldn’t AD again, if the right project financially came along. I still love to AD commercials, but you do a couple of long term projects and you fall out of the loop quickly.

I recently directed a five-camera DVD live concert of David Arkenstone and his new band, Mandala. A couple of years ago, I produced the live action segments to the EA video game, “Need for Speed: Undercover.”  Directed by Joseph Hodges and photographed by DP Jeff Seckendorf, you can see some clips on my company website, Unconventional Media.

TALES FROM THE CATHOLIC CHURCH OF ELVIS continues its award winning film festival run recently winning Best Microbudget Feature Film at The Cannes Independent Film Festival in May. I produced this “shocking” true tale of a Catholic school girl in Las Vegas! Part “Canterbury Tales” meets “PeeWee’s Playhouse,” writer, co-director and lead actress Mercy Malick narrates, as a communal theater experience leeps off the stage and onto the streets of the City of Sin.

The acclaimed documentary on the USA domestic energy crisis that I produced with director Nicole Torre, HOUSTON WE HAVE A PROBLEM has also been playing the film festivals, including this week at The Barcelona International Environmental Film Festival and opening at the Downtown Independent in July. I also just returned from a great trip to Western Ireland after producing for writer/producer Diane Namm, a documentary-comedy hybrid,  WE’LL ALWAYS HAVE DINGLE.

Q- From where do you draw inspiration for your work?

I’m drawn to music projects. Music is a huge inspiration. I can’t play so maybe that’s why I love music so much, some of my best ideas happen when I’m at concerts. I also like travel, history and true stories. For some reason, I have never been interested in love stories.

Q- From start to finish, explain your process; what does a typical film-making day look like for you?
If I’m not working for someone else or shooting a project, then the ideal day starts with emails and reading web updates on Twitter. Lots of good leads and information so I have to watch out that I don’t get sucked in and spoil the whole day riding the internet highway. So, next thing I do is take a walk for an hour, listen to music, to clear my head for some writing. It can be writing a screenplay or writing a one-sheet pitch. Sometimes instead of writing, I’m editing a project. Sometimes I’m editing stuff I shot years ago. I’m convinced that something that you put aside at one point is the focus of your interest another time. Your old films are your assets. I’ve got lots of plans for my old footage.

In the evening, I like to have a glass of wine and read the newspaper. If the news doesn’t get me too angry, I check emails again, but sometimes I get lost on the internet trying to get more information. I don’t trust just one news source anymore. I’ve got to know the WHOLE story. At night, I either catch some live music or watch a movie or show on television. I’ve got a big pile of books that I want to read by my bed, but rarely get there early enough to get in some good quality reading. If I do, then I consider that to be an exceptional day.

Q- All time favorite film?
MODERN TIMES – Charlie Chaplin

Q- Are there any filmmakers–past or present–who strongly inform and influence your work?
There are many filmmakers that have influenced my work, but I’m most attracted to the filmmakers that try different styles, take some risks with different genres, sometimes successfully, other times not as much. I think a filmmaker is limiting themselves as an artist if they keep doing the same style over and over again. Stanley Kubrick, John Huston are good examples of directors that did different kinds of films. I think Clint Eastwood is proving to be a pretty diverse filmmaker.

Q- Are there any specific reoccurring themes or subjects that you explore and deal with most in your work?
Not really. As stated above I like diversity.

Q- Any previous films/collaborations that you are most proud of?
In 1999/2000, I co-produced with director/producer David Zeiger, the 13 part documentary series for PBS,SENIOR YEAR. We are about to release it on DVD and it’s amazing how after 10 years so many of these issues are still the issues of High School kids. It feels very contemporary. I wish more people had seen it and I hope with the DVD release they will. It was a pretty amazing series. We introduced a lot of cinema verite techniques, like diary cams, time lapse, that you see on most reality series now.

David is also talking about releasing on DVD the documentary we both produced and directed in 1995, DISPLACED IN THE NEW SOUTH.  The film explores the cultural collision between Asian and Hispanic immigrants and the suburban communities near Atlanta where they settled. It was the inspiration for the Indigo Girls song, “Shame on You.” You can see clips from our film in the music video. The interesting thing is the documentary covered issues still being debated in Arizona and the rest of the country.

That’s what I mean when I talk about filmmakers keeping their assets, their films. You never know when an interest will come again, look at TRAVELIN’ TRAINS.

Q- Why showcase with RAW?
Any opportunity to show some of your work on a big screen to a new audience is exciting. I’m honored to be a part of a show at a great venue with a group of artists I didn’t know before.

Q- Any current rising stars within the genre that you would recommend we look out for?
So many of the projects I’ve been involved with as a Producer lately have had limited funds. I wouldn’t make the commitment to help the Directors if I didn’t believe they were rising stars. I’m honored to have been able to help facilitate the directing visions of Mercy Malick, Diane Namm, David Zeiger, Nicole Torre, Stefan Rhys, Joseph Hodges, BrandU

But I should add, I still consider myself a rising star. I’d still like to direct a feature film. I’ve been trying to find financing for my narrative film, PRESS>PLAY and a couple of times we’ve almost had the money in place. In 2006, I was supposed to direct another feature. We had a cast and location and everything, but at the last minute, the money went dry. I’ve been developing a documentary film on Arborglyphs since 1992 with visual artist/musician Sandy Corley, entitled WITNESS TREES. Now that 3D programming for television is becoming a reality, there is renewed interest. So you never know where it’s going to come from. Just keep working on the projects that inspire you. I guess that’s the “artist” part of me. Thanks for having me.

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I’ve just returned from a three week trip to the west coast of Ireland, Kerry County to be exact. Beautiful country. The weather was erratic, as I’m told it is at this time of year, including rain, snow, sun and heavy winds all changing within the hour. I was there to Line Produce a feature doc-dramedy entitled, “We’ll Always Have Dingle,”about filmmaking and film festivals in Dingle, Ireland, wrapped around recreated classic Hollywood films. Become a Dingle Doc Facebook Fan.

The project was produced and directed by Geoff Wonfor (“Beatles Anthology“) and produced by my good friend Diane Namm (“The Sacrifice” “Telemafia“) and Debbie Vandermeulen of Fusion Entertainment. The Irish crew was top notch, including DP Eugene O’Connor, AC Conor Kelly and Trevor Cunningham handling sound duties. The real surprise was the amazing assistance from a group of ten students from the Irish training program, FAS. All were enthusiastic and creative. We couldn’t have done the project without them.

For me, the highlight of the shoot was the day spent at Cuminole Beach on the Dingle Peninsula. Until recently, the peninsula was remote from modern influences and therefore, the language and traditions of the area have survived intact to a greater degree than in most of Ireland. This is evident by the local Irish news report on the production. (See it here, about nine minutes into the broadcast.) We were recreating a scene from David Lean’s 1970 film “Ryan’s Daughter” (which was originally filmed in the area). We couldn’t have asked for better weather and visibility. From the location you can see the Blasket Islands, including one that looks exactly like a giant man sleeping in the ocean. It really wasn’t difficult to understand how the Celtic myths and legends began in this part of Ireland.

Dingle is a gorgeous, small fish and farming village, rich with Celtic history and known for its pubs and friendly people. I met a bunch of American ex-pats and local artists, some to surely be life long friends. Unfortunately, because of the workload, I didn’t get to see much at the actual Dingle Film Festival, but was very impressed by the crowds of avid film lovers. It reminded me of the early days of the Sundance Film Festival.

I did get the opportunity to introduce our documentary film, “Houston We Have A Problem,” which played at the film festival. After the screening there were many discussions on the film and American energy policies at the pub. Amazing, how European audiences seem to get the film and understand the history of U.S domestic energy better then most Americans. I also sat on a panel for the RED camera. This seems to be the camera of choice for independent features in Ireland. “We’ll Always Have Dingle” was shot on the RED. I showed some RED clips that I produced through my company Unconventional Media for the EA video game, “Need for Speed:Undercover.”

After the exhausting eleven days of production, I traveled inland to Trelle, the industrial center of Kerry County. I presented a two day workshop on Line Producing/UPM and AD work for the FAS students. The students seemed real interested in the process of shooting film and television in the United States. Many comparisons were made to production in Ireland, but really, other then budgets, the differences are few. I passed around information about our OneOnOne Film Training program at the class conclusion.

My last night was spent in Cork, Ireland, a city on the southwest coast. The city reminded me of a small San Francisco, but with lots more history. I visited the birthplace of the amazing guitarist Rory Gallagher and an exhibit on Medieval life in that part of the country. At the end of the night, I ended up at a pub catering to foreigners with lots of loud Americans. At that moment, I wasn’t sure I was ready to leave and get back to all that.

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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.

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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.

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820-afidiff09_laurel_cs31This 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.

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Yesterday, the Visual Effects Society (VES) announced the nominees for the VES Awards and “Need for Speed:Undercover” was nominated in two categories, Outstanding Pre-Rendered Visuals in a Video Game and the one that truly reflects Unconventional Media’s work, Outstanding Real Time Visuals in a Video Game.  Directed by Joseph Hodges with cinematography by Jeff Seckendorf, Unconventional Media produced all the live action portions to the Electronic Arts release.

Much has been written about the blending of the live action and game animation (and the use of the RED camera) including Moviemaker Magazine, Moving Picture Magazine, LA Splash and American Cinematographer.

This is the 7th annual VES award ceremony recognizing outstanding visual effects in over a dozen categories of film, animation, television, commercials and video games. Comprised of more than 1,600 members in 17 countries, the Visual Effects Society is the entertainment industry’s only official trade organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio leaders, supervisors, PR/marketing specialists and producers in all areas of entertainment.

The award ceremony will take place on February 21, 2009 at the Hyatt Regency Century Plaza Hotel in Los Angeles.

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A few days ago I was returning with my sister Lindsay Mofford and our friend Stefan Rhys from the full length screening of “Che” at the Nuart theater.  The two of them couldn’t see how director Steven Soderbergh could allow the studios to release the film in two parts instead of the four+ hour version that we had just throughly enjoyed.  I argued that they seemed like two different films, both in filmmaking style and tone.  They were even shot at different aspect  ratios.  Soderbergh may have always planned them as two different films.  The conversation continued with discussions of classic great films, both Lindsay and Stefan had recently seen Sidney Lumet’s 1976 film “Network” again on Netflix.  We talked about Paddy Chayefsky‘s great screenplay, including the fight between Diana (Faye Dunaway) to Max (William Holden) and her apology, “I’m sorry I impugned your cockmanship.”  We all agreed, “Such a great line.”  They just don’t make them like that anymore.  Well, OK, Sidney Lumet  and Steven Soderbergh are still making great movies.

I’ve been reading a lot about the past recently, not just 2008 (which is to be expected with the New Year), but even further back.  The Sunday, December 28, New York Times was filled with articles about how things are changing so rapidly, mostly because of digital technology and the Internet.  In Michael Kimmelman’s article, “Imperfect, Yet Magical” he writes about Polaroid’s decision to stop manufacturing the film for their instant cameras.  Digital cameras did them in, even though some amazing art, including the work of David Hockney, has been created with those white-bordered prints.  As to be expected, many  are protesting by signing petitions at SavePolaroid.com.  Others are happy to see its demise, Polaroid film never being a great thing for the environment.

I signed the petition, but how many things can we really hope to save in this changing world.  On the very next page of the newspaper was an article by David Streitfeld about the destruction of book publishing.  Turns out it isn’t because of lack of interest in books, it’s because book lovers are finding cheaper ways to read and buy books on the Internet.  To quote, “more books are available for less effort and less money than ever before.”  He not only mentions Amazon.com but introduced me to ViaLibri.net, a book search engine of 20,000 booksellers around the world, ready to uncover your next read.

Reading about how the Internet is the demise of book publishing reminds me of all the discussions, including here on this blog and at our Nashville office Unconventional South, of how downloading music has ruined the recording companies.  In 2008, one Billion songs were purchased online, while CD sales fell nearly twenty percent.  The music industry is scrambling to cope with this change.  In the Arts and Leisure section of the same New York Times, Jon Pareles writes in his article, “Songs from the Heart of a Marketing Plan” that record labels are now creating “360” deals with artists, in which they share in concert tickets and merchandise sales.  The biggest new source of income for musical artists is in licensing fees for commercials, movie and television soundtracks and video games.  The concern, of course, is that in the past, the record labels job was selling the music and the artist, licensers have no interest beyond the immediate sales effect of a certain song.  So the shift goes from recording songs from the heart to making music that marketers can use.  Didn’t Neil Young warn us all many years ago that this was where things were headed in “This Note’s for You?”

If it requires marketing and branding to get your music heard, is that so bad?  Music has always had a role in marketing.  Most successful musicians believe that licensing does build interest in the music that can pay off with record sales.  The key is staying true to your art while taking advantage of the new opportunities.  In the Music section of that same December 28 issue of the Times, Vivien Schweitzer writes in her article, “Aliens are attacking.  Cue the Strings.” that music scores whether rock, rap or classical are becoming an integral part of video games.  It seems as the game industry matures, they’re getting better at storytelling.  Steve Schnur of Electronic Arts (EA) is quoted as saying, “music is the reason for the emotional response that games never had 10 to 20 years ago.”  We certainly found that to be true when producing the live portions of  “Need for Speed:Undercover.”  In prep, the discussions on music were considered just as important as visual content.  According to the article, television and film producers want more ambient music, while software companies want strong statements.  However, the biggest challenge for the composer is switching from linear to the interactive of video games, the music has to reflect different possible outcomes within each part of the game.

Listen, I still love the sound of an LP over a CD or digital recording.  I don’t mind getting up ever 25 minutes to turn over the record, that’s why I still own three thousand records.  I also have close to that many CD’s.  However, we need to embrace the fact that new media has changed the industry, not only music, but other creative endeavors.  Because I also love listening to new bands on Pandora, Ourstage and MySpace.

The changing industry is even having an effect on syndicated cartoonists. According to Leslie Berlin in her New York Times article (same date, quite an issue), “The Comics are Feeling the Pain of Print,” cartoonist are feeling the same bite as musical artists.  Newspapers are declining.  Cartoonists are using the web to sell books, calendars, stuffed dolls to compensate.  Sites like Comics.com and Webcomics Nation present many of the same strips found syndicated in newspapers, plus some new ones only available on the web.  Another site, GoComics.com even has a version for the iPhone.  Like most things on the Internet, the comic sites didn’t have much success with subscription fees, but marketing banners seem bring in some income.

In 1976, when the film “Network” was released, news as entertainment seemed like a far-fetched fantasy.  Things have changed, but in many ways things remain the same.  Many of the issues documented in the terrific Gus Van Zant film release “Milk” are being fought today in California with Prop. 8 and elsewhere in this country.  I gathered my information the old fashioned way, I read the Sunday New York Times, not on the Internet, it was delivered.  But I put it in my Blog, you can still read the articles online.  In 2009, we don’t have to leave everything behind to move forward, we just need to figure out how to make all this new technology work to our own artistic and financial advantage.  So take those fading Polaroids, maybe scan them and create a website.  Take your music and find a new way to market it.  Write your novel or make your film and self distribute it.  Use the web for success, that’s my resolution.  There are no good old yesterdays, just present day.

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nfs_maggie_in_hotel_2Nice Article on the Need for Speed: Undercover in LA Splash magazine.

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