Log in

Previous 10

Jan. 4th, 2009


i feel like as i get older -- today being my 26th birthday -- that i should, in some way, remind myself that i'm an adult. this isn't usually difficult. most of the time i'm happy with how i react and how i deal with outside stimulus, whether it's good or bad news. i don't act irrational. i don't burst into temper tantrums or feel the need for attention eating away at me like some same-aged people i know.

but a strange friend visited me last night and i felt kinda weird. at once petty like a child. but to be honest, i felt kind of heartbroken. for the first time in a long time, i was jealous. and it felt fucking numbing. and i felt so stupid and ashamed for falling into it.

because the truth is, what led me to jealousy was none of my business. it came up in conversation. it should have been expected. i don't know what perfect world fantasy i had created that the possibility never entered my mind. but when i was told certain details, it hit me like a palette of bricks. i never saw it coming.

and i thought i had complete control.

long story short, it dug in and stayed with me for the rest of the night. it's not til today that i'm letting it go after clunking around in my mind and going through all the whys and what fors.

i guess that's a lesson in not hyping things. i guess i should stop lying to myself. perfect romantic ideals are really just misconceptions.

and it wouldn't have happened if we talked about it sooner.

agh *shrug*

- greggles

Jul. 3rd, 2008

I'm a contributor. Read this shit.

Fernando asked me, along with several other friends, to contribute to a blog on arts and entertainment. He's a fan of Alan Sepinwall, a well known TV critic. So I figure the site's going to be review and criticism oriented. Check it out below and subscribe.

Tell your friends and suggest topics also.


- greggles

Jun. 4th, 2008

HD television can save your life

first, i wanna say i miss Dan up on here. his blog was a good diversion to whatever bullshit was going on in my life. i liked his rants and his wit.

with most people, they show their different sides in their writing, hobbies, interests, or actions. few let free with a personality they're comfortable with EVERYONE seeing. i'm a certain way with my high school/Bowie friends, as i am another way with my college and work friends, sisters and parents. i am me in all those cases but, of course, i don't open up to things in person as well as i do through my writing, hobbies, etc.

the point being to read a friend's thoughts, personality, and humor on their blog is usually an amusing and odd little experience; a different side you don't get from him/her hanging out in person. and THAT i liked about dan's blog.

r.i.p. dan's livejournal(?)

second up, i just got a sweet-ass 32" LCD 1080p HD television. i just hooked it up 15 minutes ago. the 360 looks amazing. the DVD player looks awesome, even in 480p.

why am i not watching the fuckle out of it? exactly...what the hell am i doing on here?

May. 27th, 2008

moving away from ________

in about 5 days, i'm going to be moved out of my apartment in cockeysville. it's bittersweet but necessary. and my decision showed some reluctance at first but i knew WHY it had to happen. people either know the first reason or the second; but the main one being i hate the hour commute to and from work. it's aging my ambition.

to think back on 5 years living here, i realize how positive it turned out for me. i met some good fucking people. i got to see the good and bad of baltimore's film scene. i got an education and i got an ego -- not necessarily the "fuck you, i'm better" one, but the "i'm proud of the shit i do" kind. pretentious. that being said, i've become more of a critic, especially about crappy student films and mediocre independent projects. on top of that, i guess i'm becoming more of an old man: i hate most of the music this generation listens to, i go to bed at 8pm half the week, i shit in my diapers.

there are more weird people up here than down in bowie. and that's a good thing. yuppies and soccer moms, gangstas and wiggers, morons and jocks all tend to get a bit boring.

moving out sucks. the process has been a little stressful, but i got a storage container delivered so it isn't that difficult as i slowly fill it up with furniture and accoutrements. moving though has been a cleansing experience, as i sell off or trash the bleeding albatross on my back that is excess DVDs, books, papers, half-written ideas, and dust bunny-covered boxes i have no interest in or use for anymore. it's been alot about wiping the slate clean, keeping only the stuff i love. like dildos and butt plugs.

we have neighbors i'm mostly indifferent about and they usually react the same. the family above us, however, has been the kindest, coolest group of people i've ever lived next to. the mother, who i blogged about a long time ago blowing up on some outgoing punk kid, is really just one of the most empowered and solid people i've met. the son and the father are good, funny people too. and as we move out, they are moving as well, sometime this summer, to PA. definitely a good memory to keep.

anyway, as i end up in bowie again, with my family and high school friends, i have some fears creeping back on me. i don't know if i'm going to be happy that close to a father i have issues with and living with a group of friends i really don't identify with anymore. i'm not that person i was in high school, and they have made it clear even up to recent events like a night out to "Indiana Jones 4" that none of them have matured past the "glory days." i'm just gonna become an isolated mess, i guess, is the fear. i hate going backwards. the truth is that i won't hang out with them anymore than i did when i lived up here.

who knows...

and now, a list.

Top 11 Reasons I Hated "Indiana Jones and the Kingdom of the Crystal Skull"

1. Harrison Ford, Steven Spielberg, and George Lucas are all too far removed from what made the originals good. And David Koepp seems to be phoning it in again.

2. Everyone's old as fuck. ("Never Say Never Again" anyone?)

3. George Lucas' producing/story duties have once again demonstrated that his creative hand sours anything he's done since 1980; Indy 4 being the worst offender to date.

4. Speaking of story, the movie is apparently culled from 3 or 4 rejected scripts, giving the final product an unfocused, everything-and-the-watered-down-kitchen-sink quality.

5. The way they handle the return of Marion is senseless, brief, and unnatural. Followed by her really having no reason to be there and Karen Allen having no noticeable chemistry with Harrison Ford.

6. Shia LeBeouf playing a character that takes half the runtime to grow on you, just before he becomes an obnoxious and arbitrary offspring of Indy and Marion. It seems the makers said to themselves, "we've seen Indy and his dad, how bout we see Indy finally become THAT dad?" He even calls Mutt "junior" by the end of the movie. And, again, the way they handle this profound plot point is with the same empty disinterest they did with Marion's return.

7. CGI has replaced most practical stunts and backgrounds. It seems Lucas has convinced Spielberg that shooting nowhere but a green screen stage is a sound investment in awe-inspiring filmmaking.

8. The supporting characters, including great actors Ray Winstone and John Hurt, all have nothing interesting to do but expectedly talk about the plot and chew up the scenery. Winstone's flip-flopping of being a good guy cum bad guy cum good guy cum bad guy is ridiculous and uninspired by the end. John Hurt is a comatose statue, playing a background character only slightly more watchable than the actual backgrounds.

9. Speaking of exposition, Indy spends over 50% of the film talking about the plot and leading the viewer around by the hand on what clues mean what, and where cryptic writings are directing us to travel to. And, we're not talking difficult to extrapolate here, people; these puzzles are just a step above a piano riddle in "Resident Evil." Sure, the series has always had a bunch of this, especially the Grail quest of "Last Crusade," but it's never been as insulting as watching someone pace around in a room and have realizations to himself for 2 hours, like "National Treasure" and its sequel. It was made fun and SHOWN in the original Indys, not just talked about.

10. Communists in this interpretation are not nearly as threatening as the Nazis or even the Thuggee Cult of "Temple of Doom." Although Cate Blanchett proves she is a shining diamond in this mess, the rest are stock characters; muscular, evil bad guys. And, their motivation for chasing these goddamn alien skulls seems set in motion by nothing more than an obsessive impulse. Plus, why does the alien kill Blanchett? Because she is truly evil? Because she wants to know everything? Who cares? (she burns up like someone who just looked at the Ark. another recapture of the old days?) Back on the topic of Communists, why didn't they borrow some from the James Bond series? He's been fighting scary Commies for decades. And, this enemy seems like nothing more than to re-establish Indiana Jones' American patriotism and shoehorn in his service to his country during WWII. It's like those Sherlock Holmes movies where he fights Nazis...and we saw how excellent those installments were.

11. and of course, UFOs, Tarzan swinging with monkeys, and a Lame Marriage ending (see that lack of chemistry above).

May. 2nd, 2008

a doctrine on the love of my life, or not.

so things are starting to slow down at work again. every summer we go through a lull, where there's exactly 2 hours worth of REAL work to do in a given day.

the rest of the time i spend maybe degaussing tape stock for a half hour, then surfing the internet for film/TV stuff, and, of course, shopping for purses.

but my real desire is to get back to writing and directing. i feel like i'm starting all over because it's been so long since i've done it, actively. all the while, i've been witness to friends working on several projects of their own, most in school, some legitimate gigs.

i want to be creative again...cause Discovery, let's be honest, ain't fulfilling that.

the question burning for me is feature or short.

i've done enough shorts to feel like i need to do something new. whether that's a feature though is debateable. maybe i just want to do a music video (which i do), or another experimental (which i do).

i feel like i need to get started on the next thing without waiting for "Love, Alice" to wrap up. basically, it's ready for output to my composer, Corey, to lay in the score. he said he's going to need 2 weeks to recomp and re-time anything that's off. hopefully it is done by the third week of may because i'm trying to enter it in several festivals whose due dates run through mid-July.

i guess i constantly feel like i need closure on something before i move on to the next thing. but that's bullshit, as "Love, Alice" demonstrates -- a project that has been seriously plagued with schedule and personality conflicts since we wrapped principal photography in May of last year.

basically, the overlap has to happen. i'd be happier to be working on the NEXT thing. i've always been that way, never really resting on my laurels, wanting to get to the next idea.

i hope with the return of Barroga later this month, some project is going to start festering its way out of my head to start working on. and this time, it's utmost important to me that it look the BEST i've ever done; i mean HD, i mean REAL actors, etc.

i guess the undertaking of writing and directing, as well as producing and editing all my own stuff is the only way i can wield creative control that i'll be happy with.

i want to work in any of those capacities on OTHER PEOPLE's projects, on friend's or whoever's projects. i want to help people achieve their visions but i also realize, to me, i need to distinguish myself more now than ever before.

i feel like i found my niche of topics, style, and crew members i liked to work with throughout college and afterwards.

but now, i want to really get noticed. i want some minor interest and fame, i guess all filmmakers and artists want that, if not in a life-altering way.

so i feel that's the goal i'm going to be striving for from now on. getting well-made projects ON THE RADAR.

and i think that really rests in the look, sound, and feel of my future projects. until now, working with 24p DV was a convenience, but now i realize how much of a hinderance it was.

people don't take your projects SERIOUSLY if they're heavily compressed, YouTube quality, no matter how good your project's writing or directing is.

so it's with some embarrassment that i finish up "Love, Alice" now more than a year and a half later, when everyone and their gay grandmother is doing HD, because, visually, the project just doesn't hold up.

i'm hoping audiences can see past that and judge it on content, composition, and storytelling. the technical drawbacks to "Love, Alice" might be a nail in its coffin, but i'm still going to whore it out. i'm proud of the accomplishment. it's pretty much the Film 3 project i never got to make on my own.

and i think it's a strong art house movie. (read: pretentious shitbucket)


to the future. salut!

- greggles

Apr. 27th, 2008

clark kentism (on the topic of BSG, GTA 4, and other exciting acronyms)

so there are little things i've wanted to think on, mull over, and reevaluate on here. however, with an increasing sense of ADD and interest in not writing the encyclopedia of mind-emptying rants i've already expressed on these topics, i feel it can be nothing short of disappointing.

over the last couple months, i've become a hardcore fan of both "Lost" and "Battlestar Galactica" - the former a show i always avoided because of the hype and just to annoy my friend Fernando, the latter a show i avoided because of the serious consequences of liking a show called "Battlestar Galactica", along with its corny, campy 1980 sci-fi baggage planted deeply in what i'd like to call...the Nerdcore.

but clearly, i have been wrong. in the quest to replace the emptiness and sorrow in my soul that "The Wire" filled for the better part of the last 3 years (6 if you're being technical), i was searching for anything well written, well shot, and well, not broken. it's so easy to jump aboard a show when it first starts. you get in at the lobby level and ride it to the top...if it's good. coming in on anything at Season Four, as i did with both Lost and BSG, is not only risky but downright guaranteed to prove the JUMP THE SHARK theory. i caught up quickly, season by season, on each show, like i've done in the past with shows like "24".

problem is, by the time i caught up and invested my time, commitment, and interest in 24's first five seasons, i got dropped into a kiddy pool of vomit, stupidity, and liquid poo we call Season Six. for those not initiated, Season 6 of 24 is probably the most unoriginal, rehashed, badly plotted example of a show resting on its laurels since Season 3 of "Ghostwriter".

or "Extreme Ghostbusters" for that matter. yeah! i said it! (what is it with ghost programs blowing?)

so, nonetheless, that's why i was skeptical to catch up to Season 4 of both respective programs. there's no way this can be good, both have to have betrayed something intrinsic to the spirit of their rep. long story short, both are fucking amazing. while i was an immediate convert to Lost fandom, BSG's first season, i felt, was spotty. i told myself i would give it the benefit of the doubt, shrugging obvious filler episodes as a "show finding itself". by the last 6 or 7 episodes of season 1, i was hooked. and after much consideration, i think the turning point rested in 2 aspects: the music and a little man named Gaius FRAKKIN' Baltar!

music in Lost and BSG is indelible.

where Lost's composer, Michael Giacchino, injects a brand of mystery score (Twin Peaks, X-Files mainstays), classic overture (Jaws, the Medal of Honor & Mercenaries video games), and delicate piano work, Lost keeps becoming deeper and more intertwined in classic adventure score and contemporary experimental movements (further down the rabbit hole, if you will). if you listen carefully, you can draw connections to so many hallmark movie scores, especially those of John Williams. the exploration theme of Lost (i.e. when any number of characters are going on a quest of getting their asses kicked) is modeled almost exactly on that cat-and-mouse piece in "Jaws" when Quint, Brody, and Hooper are in the middle of nowhere on the bobber that is Quint's boat.

and i think making those certain connex helps a viewer appreciate Lost for not only what it's trying to do with the genre but how it's placing one's emotional commitment in a familiar place, with a definite musical frame of reference to "Jaws", "Indiana Jones", "Psycho" and any Bernard Herrmann/Hitchcock combination (Kate's theme). and that's just the tip of the iceberg. in terms of source music, connecting any character to familiar pop music (like Charlie and his Oasis-like flashbacks) makes them instantly accessible without unnecessary further explanation.


GTA 4 looks amazing. i read an early review on IGN that is declaring it the best video game in 10 years, since the excellent "Ocarina of Time". they might be right, we'll find out next tuesday.

here--> http://xbox360.ign.com/articles/869/869381p1.html


jason henley, curtis thompson, and i are judging the Towson Media Arts Festival all next week. i'm excited to see student films - 99.9% blow chode, but i'll say there's nothing more inspiring to actually do YOUR OWN movie than watching a lot of missteps, unfulfilled potential and hope, and squirrelly technical knowledge. plus, there's always 2 or 3 gems that i really become a groupie whore about. mmmm, should be a nice experiment.

Greggles from Alcatraz. Out!

Apr. 25th, 2008


i got some glasses yesterday. first time i've ever had glasses. it's weird being able to see things so crystal clear. i wasn't legally blind or anything, but after being told i have astigmatism about 4 or 5 years ago, the presence of The Ol' Fuzziness has become more prevalent with each passing year. the small digital read out on my decks at work roped me closer and closer just to make out weird blobs of blue pixels representing hours, minutes, seconds, and frames. i felt old. i felt ill. and to be honest, i put it off for so long because i was scared some eye doctor was gonna say i had something worse. i always think the worst is going to happen. like eye cancer, or detached retina, or the always suicide-inducing "googily eyes".

anyway, they're awesome. i like 'em. the general concensus so far is that i look astute and more knowledgeable with them on. or at the very least, a smart-looking Nazi (a cracker with a library card, if you will).

oh, and they're Phat Farm. aaaamazing.

- greggles

Mar. 15th, 2008

The Wire 2002-2008 (I Fuck Your Handshake)

it happens in bursts. i remember i have a LiveJournal account, decide to post something...or not. then another long stretch occurs until i remember AGAIN that i do, in fact, have a blog to, at the very least, entertain, analyze, and give the old shot of psychotherapy to my life. i would say "entertain my friends" or write "for my audience". but let's be honest, i'm probably the only person reading this shit. others might find this site by accident, skim my bullshit, pick up on one CAPITALIZED word or phrase, and leave a jerky quip like "that's all very clever, greg. too bad you wasted it on empty, meaningless blogging. imagine if you put all that commitment into your REAL life..."

so, really, the point of this changes every time i get on here. i'll usually open the post, fill in my mood and music, and start writing, whether i have an idea or not. i guess that's why most of my posts recently begin with re-establishing setting, where and how i am, and connection to my previous posts. an apology for being gone -- apologize to who? -- or random thought always suffices. then, i really DO find something to talk about. i finish what usually equates to a short encyclopedic dissertation, then i change my mood and music, and fill in the subject line. hmm, genius.

but, the reason i did jump on here today is important to me. it isn't to update you (me) about my short film, "Love, Alice" (now over 3 years -- december 2006 to march 2008 -- in production), or make excuses for the speed bumps and downright walls in my creative life. nor is it about venting. nor is about some random stupid insights or some observations that i figure are just downright fucking nuggets of o holy truth. no, no.

i wanted to write something about "The Wire", a series my two close friends and i have admired for a long time. there are no qualifications i'm going to list for why the series is amazing or how big of fans we are. simply put, the show's great -- the best thing on television ever, only bested by "Alias": Season Four -- and we're some of the most committed admirers of its greatness.

"The Wire" ended with a 94-minute series finale last sunday. it was arguably the best show of the series, and with it went something at once very depressing to let go and yet very satisfying for one to realize they witnessed.

never before has a series engaged social, political, institutional, and psychological issues in such an unapologetic way without eventually betraying its structure, campaign, and higher meaning.

that's a big thing to say, and most would start searching for a rebuttal to an outrageous claim. but i present this argument:

- most programs tailor their subjects and characters to an audience, a network, and to ratings. "The Wire" put blacks and whites on screen depicting every facet of American life, good and bad, rich and poor, cop and criminal, gay and straight. and even though Season 2 faked you out with more white faces, in no way did "The Wire" ever become the white suburban housewife's perception of blue collar inner city life.
- it didn't let viewership influence WHO and WHAT found its way into each season, each story. proof is in the fact that from season 3 until most of its recent episodes, it suffered some of the lowest cable viewer numbers across the board; a fraction of what heavyweight, "The Sopranos", used to carry on an average week. and while those numbers would call for automatic cancellation -- "Deadwood" anyone? -- for the very fact that it turned off HBO's bread and butter, the bohemian artiste crowd and the rather superficial couch potatoes just wanting 30 minutes of raunchy comedy or Real Sex exposé, "The Wire" had something that can never be denied: critical praise. that along with fervent hardcore fans made "The Wire" an anomaly of art & commentary being allowed to roam free with very little corporate interference.
- the show's themes continued unabated throughout its five seasons, infused with a liberal, borderline socialist compassion. and like a Russian novel (or manifesto), something it is often compared to, the breadth of the show's depiction and investigation into self-destructive character and socio-political prisons of American life was ever-widening. although it spit unpopular subjects in the faces of viewers, such as inner city education, political corruption, and despicable poverty, it never reevaluated or sugarcoated its stance to make for an easily ignored, passive viewing experience. if you didn't agree with the politics, so what?
- like films of the 1970s, "The Wire" FORCES you to engage it. fuck it, you do not get to fold your laundry or balance your checkbook while it's on in the background (the gods will not save you). you do not get anything out of "The Wire", a seemingly familiar crime drama, that you do not put into it. if you don't actively become obsessed, the show just becomes another variable in your misunderstood quest for guffaw-inducing succubus stupidity; another trite, fleeting place holder of your time. like the saying goes, great art doesn't give you the answers, it poses more questions. and that's what "Wire" fans stuck with the series for: debate, discussion, and, in the case of me and my friends, endless quotables.

and while most shows have to change their formula in sake of better ratings, better writing, and to at least stay viable for future debate (see "24"), "The Wire" is perfect -- an infinitely relevant, intelligent, and tragic thesis on what we'll NEVER do to improve our ignored shadows, those hopelessly lost urban landscapes.

"The Wire" was written for film buffs and crime fiction fans. so they would know what's going on in the world around them.


- greggles

Jan. 12th, 2008

"random thinkles: a return" a.k.a. the short, the sick, and the bunk

1. i have been thinking recently about the state of classics vs. remakes. don't get your hopes up, this isn't a dissertation. for one, i can't think of more than 3 or 4 examples right now. second, i'm not nearly organized enough to spew forth scalding hot education for your wacky, pedophilic eyes. but i don't think remakes are necessarily a bad thing.

where once i was reluctant to view Gus Van Sant's "Psycho" and give it any cred compared to the original, i can now see virtues in the re-staging, the updating of events (more obviously Norman's masturbation while watching his prey), and the contemporary approach to characters the actors brought; the notable ones being well...notable.

James Bond, the same. where i was rather wrapped up in "Connery is God" like my family and most critics spouted off, as an adult, i now appreciate Timothy Dalton's version of the character (even if the stories of his two entries were pretty hammy). Dalton as Bond was dark and reluctant, a killer on shaky ground. Much like how Daniel Craig plays him, with a dash of Connery debonaire ass-fuckery thrown in. that's why Craig might be the best to date.

for another example, "Insomnia". two versions, two excellent spins to the story. even if the Hollywood one is straightforward, at least it's executed with intelligence and not stupid slapdash plotting.

i think there's a point to re-imagining a character or story for a new audience or time period. to just make money, it's frivolous and empty. but if an update has bearing on a new concept or feel, it could be more important and MORE REFINED than the original.

a) Philip Marlowe re-imagined from wise-cracking badass Bogart in "The Big Sleep" to wise-cracking clown with a gun Gould in "The Long Goodbye". the stories reflected their times. "Sleep" was about the seediness of 1940s Los Angeles gangster/porno culture. "Goodbye" much more about the alterna-lifestyle, post-hippie phase of the Western cityscape, with all its mind freeing, health conscious, psycho babble spin.

b) "Bob Le Flambeur" and "The Good Thief". not much to say. this might be a subjective thing. but "The Good Thief" is, overall, better paced, characterized, and focused the way the original was not. (except for the annoying freeze frames. fuckholes.) and i love me some Jean-Pierre Melville, so it's taken me awhile to come to this change of heart. whereas most 1950s pre-Wave & 1960s New Wave suffers from time and place, most of Melville's films are solidly structured and directed. but even Jules Dassin's "Rififi" isn't the top shelf of caper movies anymore. therefore, neither can "Bob" or "Le Cercle Rouge" for that matter. updating is important. if the "Rififi" remake with Pacino coming out is anything like "Good Thief", it'll be an enjoyable time.

2. i think the mediocrity with which most movies and shorts are put together is fairly amusing. it might start with an idea someone gets excited about but it quickly turns into a fiasco. hence, "Date Movie".

3. The Wire's back. best shit on television. nuff said.

Dec. 7th, 2007

a learning experience

it's been awhile since i updated. i really had nothing to say, to vent, to spew into wordful meaning. i almost considered closing this account and just moving on. i wonder if i'm getting anything out of blogging anymore. i rarely get angry. i rarely have things to bitch and complain about anymore. my life, as far as events are concerned, is pretty boring right now. between playing video games, seeing movies, and working, there's pretty much nothing worth blogging about.

the main thing going on is that we're finally finishing up the last little bits of "Love, Alice"...a short film we started shooting in January of this year. a fucking year later and it's almost done. it's not a feature, wtf. schedule conflicts have been so bad between actors, crew, and i during this whole process, it's almost made me fear how doing a real FEATURE would be. during production, it was difficult but manageable every now and then to get 4 people together and our actors and shoot some scenes. in fact, when we DID get together, we got alot of work done, alot of "film in the can."

during post, things slowed down. work schedules conflicted more and more between chris and i. in fact, let's be honest, laziness became less of a choice and more of an excuse. there just wasn't drive to finish what slowly became a bigger and bigger albatross. the project lost focus and had to constantly be re-analyzed on return to it, several times. when things drag on too long, interest starts to wane. i had to constantly reconnect and get excited about my own project. it wasn't until i started seeing it work on several levels -- character, story, editing -- that i thought it was imperative to get this done to show people.

we were supposed to finish everything by august 30. around october, both chris and i got serious about it again, at least that's when it seemed to materialize. a final cut was done. sound started being worked on, and about early-november, the cut was given to our composer, corey nolet.

that's pretty much up to this point. the final touches are being done. sound is being polished. we were going to premiere december 16th at fernando's little screening night but an auditorium could not be secured. now, we're looking to premiere the first week of january, once everyone returns from christmas vacation.

i'm proud of the project. i want it to be over and done with, but it might be the best thing i've ever done, so i can't be too "sick" of it.

there's really no one to fault in how the project stalled. i feel like the situation was always an obstacle. and with low to no budget indie movies, schedules are ALWAYS going to be a problem. at least we didn't have a slew of problems with actors or equipment, like my previous projects had.

in short, like people say of hard times and ventures, it was a learning experience. and it's not even like i'm ashamed or disappointed with the final product.

we "took our time" (haha) but it really did get done. and the score and sound are really filling it out and making the short that much better.

i think what's going to make the next short or my jump into features manageable is self-reliance. i need to be editing and producing on my own. not to say either fernando or chris did a bad job. they knocked it out of the park and did everything i asked of them, and for nothing more than a "thank you" in return. and i'm grateful. i want to work more with them, and any ensemble-crewed movie we work on next, i'm excited for.

but to schedule and edit on my own is going to compact the completion of my films and make them work better. i won't lose interest. i won't fall into the traps of reevaluating work before it's all done. i need to get that editing suite together, start getting more experience and reconnect to/relearn that craft...so hopefully i can get some work in addition to my own films.

nonetheless, it's almost finished for good. and then we can have fun showing it and taking it to some festivals.

i also realized what my drive was to do this short in the first place. the seeds were planted to do a project for my friend, josh's Halfway There festival. but i really wanted to do a legit, kinda "epic", dramatic piece. i wanted to do a Film 3 movie, a final thesis film...because, after all, i PRODUCED my final film at towson, i didn't direct it or have any creative input really. i wanted to have that experience. and i think as a learning tool, this project taught me more about story and directing actors than "Harry Lutz" or other projects did.

i'll post soon.
"Love, Alice" - copyright 2007?

Previous 10