Snowbird

REPOSTED WITH MY SITE RELAUNCH... This is a short film that I originally shot on 16mm. It is my first "narrative" film (well, apart from "Exploding Science Lab III" from my early days as a filmmaker). The film was shot in New York State at the end of 2003 and didn't get finished until just recently (though a rough copy of it played in the Short Film Corner at the Cannes Festival Market in 2004). The film stars Perry Daniel and was shot by Carl Fuermann (and hey, this one has sound!)

The above link takes you to the IFC Media Lab. If you like it, give me a vote. If not... well, maybe just make a graceful exit (don't "single-star" me- I'm beggin' ya! Think of the ducks!)

If you'd rather not deal with the stress (or you are a chronic "single-starrer"), but would still like to see the film, go on over to Snowbird on blip.tv where it plays just the same!

Special Features Section: Perry is sitting in front of the reservoir that supplies New York City with its drinking water. Needless to say, when the sun went down we were harassed by both the local Police and the Feds for our "suspicious" activities! On top of all of this, it turned out that the car we had borrowed from a friend was recorded as having been impounded but never released. Translation: as far as they were concerned, we were driving a stolen car and up to no good. Oh, and they also suspected that our bottle of water was actually a bottle of vodka (Absolut and Smart Water have similar bottle designs). We managed to clear everything up, though. The Police were actually very friendly and let us finish filming- with a stern warning that if we crossed over the guardrail, they would "turn us over" to the Feds!

Views From Views

The world of experimental film has become a very interesting place for me lately. More words on that later. First, I wanted to post some pictures that I took at my screening, which took place on October 7th. The setting: The Walter Reade Theater. This is where the Views from the Avant-Garde portion of the New York film festival plays. Before the programs start, we all gather in the gallery. I was very pleased to see that the program in which my film was playing was sold out:

I recognized a few faces, but as I said, I feel that I have become estranged from this world. A group in which I once felt so at home and seemed so welcoming to me seems at once elitist and alienating to me now. So I did what any normal person would do. I went to the bathroom with my iPhone to do some quick e-mails and take photos of my fish purse:

What? Wouldn't you do that?

After bonding with my fish, I decided the two of us needed to get to the theatre before the films started:

So yeah. Then the films started and I stopped taking photos and playing with my toys. Great program. Great films, all around, actually. I've exhausted all of my past strength to write detailed critiques about avant-garde films, though. I might write about a couple yet... It just always took a great deal of effort to write about these works and I kind of felt that the energy was lost. Again, more on that later.

I was kind of surprised by how many of these works were digital this year. Much of the experimental film world has been fairly "anti-video" for a while. With the exception of the occasional hiss at the video projector (yes, someone actually hissed), it seems like this "rule" might be beginning to bend (this is the avant-garde, after all- we're supposed to be all about bending the rules). Though I have been doing a lot of video work lately, my film was shown on 16mm. Unfortunately, the 16mm projector bulb was having "issues" which resulted in my already dark film being projected MUCH too dim. I've grown out of my "artist throwing a fit" stage and have accepted the uncertainties of working in the medium I have chosen. Besides finding it somewhat unfortunate, I simply let it go.

Besides, there was a director's party to get to and wine to be had:

I really didn't drink all that much wine. I just liked the way my phone's camera handles reflected light in low-light situations. Now, for stars (the movie kind that don't emit their own light making them actually uninteresting subjects for my camera phone):

Jason Schwartzman!

Not really. I thought it was him, but I'm really bad at the whole "identifying people" thing. But I swear this is Wes Anderson:

Huh? Huh?! Forget it. I have no real pictures in this category. They actually kicked us out rather early, but this being New York, we just moved to a new bar.

Most of these folks are filmmakers whose films were in the Avant-Garde program, but I will spare them from being identified by my text here (that makes it Googleable and, let's face it, some people don't want a fuzzy strangely-lit picture of themselves popping up on the Internet when stalkers Google their name).

Finally, I snapped a couple of photos of graffiti outside of the restaraunt. A friend of mine asked me to snap a couple of shots because she thought it was beautiful. I agreed:

In the House of Equal and Opposite Reaction

My apologies- I slacked over the weekend! The next film in my series is not an easy one to watch, I must warn you. It juxtaposes a moment of pure joy with one of horror. While there is no up-close imagery of violence or bloodshed, it captures one such moment from a distance- the burning of the World Trade Center towers before their collapse. I felt it necessary to warn any readers who might not want to relive the moment in images (I often fall into that category myself).

(Again, this film is silent. Originally shot on black & white super-8 film.)