Just wanted to post a quick note that our latest outing, “You Pay Your Dues,” will be screening along with the rest of the “Best of DC” 48 Hour Film Project entries, at the Government Video Expo this Friday, November 16th. Entry to the exhibit floor is free, and the films will be screening from 1:30–2:30; if the screening order we received is correct, we’ll be screening last. That said, given some of the other films screening beforehand (including WIT Films’ remarkable single-shot effort “Seasonal Disorder” and Burning Toast’s webcam-style “While You Still Can,” among some other great entries), you won’t want to be late.
In fact, if you can, you might want to get in on Thursday’s screening, which includes “DeLeon Crossing,” directed by our own Bjorn Munson, and “The Kumbio Takedown,” winner of the overall DC competition and featuring a number of people apt to check these updates (and a crew with whom I’ve happily worked on not one but three recent productions). Schedule permitting, I’m going to see if I can get out to as much of the expo as possible (particularly given the digital asset management content, Apple’s presentations on Final Cut Server and Panasonic’s P2 workflow talk), but I do know I won’t personally be able to attend Thursday’s screening (as I’ve got an unbreakable meeting commitment). But if anyone’s planning to go, please let me know and maybe we can coordinate.
As I said, entry to the exhibit floor is free, but you do need to register at www.gvexpo.com.
In other news, I also want to note that development is proceeding on “Number One With a Bullet,” though we’re looking at early 2008 before we begin actual production. We had hoped to get working before the end of the year, but we’re happy enough with the script that we really want to do this right rather than forcing it too early. We’ll be polishing it (i.e., sending it to a couple of knowledgeable critics and asking, “Where are we going wrong?”) and doing budget breakdowns first, and then looking at doing auditions as soon as we have our ducks in a row (and since I know we’ve got a lot of actors reading, rest assured — you’ll get first notification).
On a largely unrelated side note (it’s my news blog and I’ll say what I want to), I’d like to mention that comedy troupe Crisis Lab’s effort at the New York Television Festival’s “PGP Comedy Show” is finally available for online viewing. I’m still kicking myself for not being able to attend the big show itself, but this is at least some small consolation. Speaking purely for myself, I still say they were robbed. Danny “Buddy Jackson” Gavigan, Danny “FunnyDanny.com” Rouhier, Casie “Just Met Her This Weekend But Still Think of Her as Junie B. Jones” Platt, and Kevin “Yes, I Can Do Everything” Good are in top comedic form, even if they weren’t commensurately rewarded. (And as a special bonus, you can see a large Codeword Secret contingent sitting right behind the judges during the final live show. Almost makes you think the audience was stacked. Which it was not. Unfortunately. Dammit, I should have gone.)
You can watch the show (it’s broken down into three parts) here, see the group’s original audition video, “David Beckham in LA,” here, and another sketch series from the group, “Doctors & DJs,” here. (I want to make it absolutely clear that I had nothing to do with this group’s work — I’m just a fan, and thought it worthy of commendation. Kind of like how I keep plugging Buddy Jackson.)
All right, I’ve rambled on long enough. I’ll let you get back to your nachos.
Monday, November 12, 2007
Wednesday, October 03, 2007
Upcoming Tohubohu Production Plans
Well, it’s been a while, so I figure it’s way past time I sent out an update with our latest production plans. I’ll try to keep this brief, but those of you who’ve been reading for a while will know that my definition of “brief” differs substantially from most others’.
The first thing to note is that we will not be participating in the National Film Challenge this year. While we’ve had a good run at it in years past (and won two awards), we’ve decided that we’re better off producing something over which we’ll have more control, and that we can produce on a schedule we’re happier with. (And furthermore, I’m committed to working as a production designer on another short film this month — from some of the creative team behind Codeword Secret, “The Kumbio Takedown,” and Buddy Jackson.)
Which brings me to the second thing, and that is what we will be producing in the short term: the long-delayed short “Number One With a Bullet.” This story has been kicking around for more than two years now, and I think we’re finally ready to commit to making it. For those of you who aren’t familiar with it, “Number One” is a dark comedy about a struggling writer whose debut novel is about to be scuttled by his unscrupulous editor. That is, until the editor suffers an untimely accident — and the writer decides to turn things to his advantage. But what starts as a simple (if morally questionable) cover-up rapidly escalates as others in the publication chain get a little too close to the truth.
Bjorn Munson and I are still hammering out revisions to the script (from a story by me and Lauren Walsh), but we’re far enough along that I feel confident in starting preproduction. I’ll be directing, and there will be plenty of opportunities for help on this one, as the script is fairly ambitious. If you’d like to offer your services, it’s never too early to throw your hat into the ring; while this will be put together on a tight (i.e., practically nonexistent) budget, we are looking at ways to extend our professional “footprint,” so to speak. We’re targeting a November or December shoot date, though we’ll have some firmer details once we get the preliminary paperwork rolling.
Beyond that, we still have the script for “Some Kind of Hero” (a darker crime drama) and the Tohubohu.tv series Quorum on the horizon (along with any other scripts that may fall into our laps), but I’ll keep those details under my hat a bit longer. Well, except for the fact that I just announced them here...
We are also a step closer to incorporation as a nonprofit, in that our attorney (who leads a secret double identity as my brother Ken) has just sent me the latest versions of the paperwork (well, he sent them a while ago, but I’m just getting around to dealing with them). Ideally, we’ll get those filed before too long, so that “Number One With a Bullet” can be produced under that framework.
And that’s all for now. I’m looking forward to working with many of you again soon — take care, all!
The first thing to note is that we will not be participating in the National Film Challenge this year. While we’ve had a good run at it in years past (and won two awards), we’ve decided that we’re better off producing something over which we’ll have more control, and that we can produce on a schedule we’re happier with. (And furthermore, I’m committed to working as a production designer on another short film this month — from some of the creative team behind Codeword Secret, “The Kumbio Takedown,” and Buddy Jackson.)
Which brings me to the second thing, and that is what we will be producing in the short term: the long-delayed short “Number One With a Bullet.” This story has been kicking around for more than two years now, and I think we’re finally ready to commit to making it. For those of you who aren’t familiar with it, “Number One” is a dark comedy about a struggling writer whose debut novel is about to be scuttled by his unscrupulous editor. That is, until the editor suffers an untimely accident — and the writer decides to turn things to his advantage. But what starts as a simple (if morally questionable) cover-up rapidly escalates as others in the publication chain get a little too close to the truth.
Bjorn Munson and I are still hammering out revisions to the script (from a story by me and Lauren Walsh), but we’re far enough along that I feel confident in starting preproduction. I’ll be directing, and there will be plenty of opportunities for help on this one, as the script is fairly ambitious. If you’d like to offer your services, it’s never too early to throw your hat into the ring; while this will be put together on a tight (i.e., practically nonexistent) budget, we are looking at ways to extend our professional “footprint,” so to speak. We’re targeting a November or December shoot date, though we’ll have some firmer details once we get the preliminary paperwork rolling.
Beyond that, we still have the script for “Some Kind of Hero” (a darker crime drama) and the Tohubohu.tv series Quorum on the horizon (along with any other scripts that may fall into our laps), but I’ll keep those details under my hat a bit longer. Well, except for the fact that I just announced them here...
We are also a step closer to incorporation as a nonprofit, in that our attorney (who leads a secret double identity as my brother Ken) has just sent me the latest versions of the paperwork (well, he sent them a while ago, but I’m just getting around to dealing with them). Ideally, we’ll get those filed before too long, so that “Number One With a Bullet” can be produced under that framework.
And that’s all for now. I’m looking forward to working with many of you again soon — take care, all!
Wednesday, September 05, 2007
Side Project Alert: “Codeword Secret”
This isn’t strictly Tohubohu-related, but it’s worth a mention anyway. As I mentioned before, I had the opportunity to work as a production designer on the latest project from DC 48 Hour Film Project winner Integral Arts: the independent action/comedy pilot “Codeword Secret.” It was an absolutely phenomenal experience (you can see some behind-the-scenes photos here), and directly informed some of our own purchasing decisions (let’s just say that Tohubohu will be going hi-def from now on). And on top of that, the show itself turned out great (in my oh-so-humble opinion). Developed by the same team behind the web sitcom sensation Buddy Jackson (you have been watching, haven’t you?), the show premieres this weekend at the New York Television Festival; if you’re in the area, be sure to catch it!You can see a trailer for the show at the official site (and if you look carefully, you can see yours truly ducking in panic as a background extra). If all goes well, the pilot may be picked up for production — but whatever the outcome, I don’t think we’ve seen the last of this story...
Friday, June 29, 2007
Quick Updates
Just thought I’d let everyone know that while we did submit “You Pay Your Dues” to the 2007 DC Shorts festival, it was not chosen for inclusion. We are continuing to submit to other festivals, though, so I’ll be sure to let everyone know about any future screenings.
We’re also working on a few script ideas for production this fall, as well as a fairly large-scale undertaking to launch under the Tohubohu.tv banner (the details of which we’re keeping pretty much under wraps for now).
And this weekend I’m serving as a production designer for the first episode of the follow-up to Buddy Jackson. Partly it’s because I’m a fan of the show itself (and if you haven’t seen it yet, be sure to head over and give it a look), but mostly because it’s a chance to work with Barry Gribble and the award-winning team at Integral Arts — and with an luck, learn a few things and make a few contacts along the way.
We’re also working on a few script ideas for production this fall, as well as a fairly large-scale undertaking to launch under the Tohubohu.tv banner (the details of which we’re keeping pretty much under wraps for now).
And this weekend I’m serving as a production designer for the first episode of the follow-up to Buddy Jackson. Partly it’s because I’m a fan of the show itself (and if you haven’t seen it yet, be sure to head over and give it a look), but mostly because it’s a chance to work with Barry Gribble and the award-winning team at Integral Arts — and with an luck, learn a few things and make a few contacts along the way.
Friday, May 25, 2007
Screening Wrap-Up
Well, beyond the selection as part of the “Best Of” screening, “You Pay Your Dues” didn’t take home any additional honors. A disappointment, to be sure, but not one we can really begrudge anyone — particularly given the representation of Tohubohu alumni among some of the winning entries. Veteran contributor Bjorn Munson’s Team Jabberwocky took home Best Cinematography honors for “DeLeon Crossing,” and Ryan “Machinations” Mulkay worked with Integral Arts’ “The Kumbio Takedown,” which won not only the Best Acting award, but also Best in City for Washington, DC. Congratulations!
Other notable winners were Best Directing for WIT’s “Seasonal Disorder” (which also won the Audience Award for our screening), Best Original Music for the musical “Leon!” and Best Special Effects for “Urine Cake.”
Thanks to everyone for your help and support — and I’ll be sure to keep everyone posted about upcoming opportunities!
Other notable winners were Best Directing for WIT’s “Seasonal Disorder” (which also won the Audience Award for our screening), Best Original Music for the musical “Leon!” and Best Special Effects for “Urine Cake.”
Thanks to everyone for your help and support — and I’ll be sure to keep everyone posted about upcoming opportunities!
Thursday, May 24, 2007
Tonight’s Screening/Wrap Party
Just wanted to let everyone know that the official 48 Hour Film Project wrap party tonight will be held at McGinty’s Pub, located at 911 Ellsworth Drive in Silver Spring. Basically, it’s right around the corner (well, a couple of corners) from the AFI Silver Theatre. There will technically be two parties, one after the 7:00 screening, and one after the 9:30 screening. However, since Pam and I will be staying through the second screening, I can tell you right now that we’ll probably only be at the second party. Which will be the cool one.
They haven’t said anything about when they might be announcing awards, though my instinct is that it’ll be after the second screening (i.e., after all of the films have been shown). So while our film will be shown as part of the 7:00 show, you may want to pick up a ticket for the second show as well. Your call.
As far as parking goes, I’ve found the Town Square garage to be convenient (go North on Colesville past the theater, then take your first right and then turn left to enter the garage; there’s also the Wayne Avenue garage, just another block away. My understanding is that parking is free after 6:00, but don’t quote me. You can find a little parking map at the AFI Silver’s “directions” site.
This has been a phenomenal experience, and I just wanted to thank everyone who made “You Pay Your Dues” such a success. We couldn’t have done it without you.
Hope to see you tonight!
They haven’t said anything about when they might be announcing awards, though my instinct is that it’ll be after the second screening (i.e., after all of the films have been shown). So while our film will be shown as part of the 7:00 show, you may want to pick up a ticket for the second show as well. Your call.
As far as parking goes, I’ve found the Town Square garage to be convenient (go North on Colesville past the theater, then take your first right and then turn left to enter the garage; there’s also the Wayne Avenue garage, just another block away. My understanding is that parking is free after 6:00, but don’t quote me. You can find a little parking map at the AFI Silver’s “directions” site.
This has been a phenomenal experience, and I just wanted to thank everyone who made “You Pay Your Dues” such a success. We couldn’t have done it without you.
Hope to see you tonight!
Monday, May 21, 2007
Best of the 48 Hour Film Project
Better late than never, right?
We just received word that “You Pay Your Dues” is one of 22 films (out of 93 completed films) selected as the “Best of the 48 Hour Film Project” for Washington, D.C. — and as a result, we will be screening this Thursday evening at the AFI Silver Theatre. Because of the number of films selected in this round, the films will be shown in two separate screenings, one at 7:00 and another at 9:30. Our film will be showing as part of the first screening — that is, 7:00 p.m. (as will Tohubohu veteran Bjorn Munson’s directorial effort, “DeLeon Crossing”).
Right now, it looks like tickets are available for both the 7:00 and 9:30 screenings (I suspect they may have opened up a second screen), so if you’d like to come out, be sure to pick your tickets up right away. We’re waiting to hear more details about awards presentation and the after-party, but as soon as I know more, I’ll pass along the info.
Congratulations to everyone who helped make this film the success it has been. I’m immensely proud of you all! Hope to see you Thursday!
P.S.: Here is the full screening lineup — there are some duplicates in there (specifically “Inquisito Libellus,” “Seasonal Disorder,” and “The Kumbio Takedown”), presumably to fill out the schedule (though I don’t think it’s a stretch to assume that they’re the front-runners for the top awards).
Screening 1 — 7:00 p.m.
We just received word that “You Pay Your Dues” is one of 22 films (out of 93 completed films) selected as the “Best of the 48 Hour Film Project” for Washington, D.C. — and as a result, we will be screening this Thursday evening at the AFI Silver Theatre. Because of the number of films selected in this round, the films will be shown in two separate screenings, one at 7:00 and another at 9:30. Our film will be showing as part of the first screening — that is, 7:00 p.m. (as will Tohubohu veteran Bjorn Munson’s directorial effort, “DeLeon Crossing”).
Right now, it looks like tickets are available for both the 7:00 and 9:30 screenings (I suspect they may have opened up a second screen), so if you’d like to come out, be sure to pick your tickets up right away. We’re waiting to hear more details about awards presentation and the after-party, but as soon as I know more, I’ll pass along the info.
Congratulations to everyone who helped make this film the success it has been. I’m immensely proud of you all! Hope to see you Thursday!
P.S.: Here is the full screening lineup — there are some duplicates in there (specifically “Inquisito Libellus,” “Seasonal Disorder,” and “The Kumbio Takedown”), presumably to fill out the schedule (though I don’t think it’s a stretch to assume that they’re the front-runners for the top awards).
Screening 1 — 7:00 p.m.
- 3mm Films: “Urine Cake” (Comedy)
- Team Diamond: “Cult of the Groove” (Comedy)
- Integral Arts: “The Kumbio Takedown” (Detective/Cop)
- Tohubohu: “You Pay Your Dues” (Detective/Cop)
- FAYM Productions: “When You Wish Upon a Fish” (Fantasy)
- Roadside Productions: “Inquisito Libellus” (Fantasy)
- Team Jabberwocky: “DeLeon Crossing” (Fantasy)
- The Quest: “Holy Saturday” (Holiday Film)
- WIT Films: “Seasonal Disorder” (Holiday Film)
- Everyday Astronaut: “Leon!” (Musical/Western)
- Burning Toast Productions: “While You Still Can” (Romance)
- Oozing Sarcasm: “3027” (Sci Fi)
- The Beta-Macks: “A.P.E.” (Animal Film)
- Cardiff Giant: “Wing Woman” (Buddy Film)
- ReelLight Films: “Semi Sweet” (Buddy Film)
- Integral Arts: “The Kumbio Takedown” (Detective/Cop)
- Agile H Productions: “C.O.P. 2000” (Detective/Cop)
- Ningen Manga Productions: “Posi+ive” (Drama)
- Gaucho Pictures: “Rooster.com” (Fantasy)
- Roadside Productions: “Inquisito Libellus” (Fantasy)
- Unknown Penguin Pictures: “Rochambeau Kid” (Ghost Movie)
- WIT Films: “Seasonal Disorder” (Holiday Film)
- Two Jews, a Goy and an Asian: “Helpful Cowboys” (Musical/Western)
- Kiss Productions: “A Bus Story” (Romance)
- Elbow Production: “E.T.R.I.P.” (Sci Fi)
Sunday, May 13, 2007
“You Pay Your Dues” Now Online
Just wanted to make sure everyone knew that Tohubohu’s latest entry in the 48 Hour Film Project, “You Pay Your Dues,” is now viewable online. It will require QuickTime version 7, and is not downloadable (in other words, you’ll have to be connected to watch it).
Our assigned genre was “Detective/Cop,” and the required elements were: Roosevelt (or Rosie) Adams, president; a bracelet; and “That’s what I’m talking about.”
Thursday night’s screening went extremely well — got to say we’re really excited about this one (and we’ve already submitted it for inclusion in this year’s DC Shorts festival — they issued an extension through this weekend for 48 Hour Film Project shorts). Thanks to everyone involved in this project; I truly think we’ve outdone ourselves this time.
Share and enjoy!
Our assigned genre was “Detective/Cop,” and the required elements were: Roosevelt (or Rosie) Adams, president; a bracelet; and “That’s what I’m talking about.”
Thursday night’s screening went extremely well — got to say we’re really excited about this one (and we’ve already submitted it for inclusion in this year’s DC Shorts festival — they issued an extension through this weekend for 48 Hour Film Project shorts). Thanks to everyone involved in this project; I truly think we’ve outdone ourselves this time.
Share and enjoy!
Thursday, May 10, 2007
Screening TONIGHT at 9:30 p.m.
Just a reminder to everyone that our latest filmic exercise, “You Pay Your Dues,” will premiere TONIGHT at the AFI Silver Theatre in Silver Spring. As of my last check, tickets are still on sale — so be sure to grab them while you can!
Hope to see you there!
Hope to see you there!
Monday, May 07, 2007
You Pay Your Dues
Whew! I was going to post yesterday about our movie-making experience with the 48 Hour Film Project, but I was too tired to successfully string words together. Here’s how it went.
Bill went to the kick-off event and drew our genre literally out of a hat. The required elements were given out to the hundred participating teams. And we were off.
Bill and I talked about our genre, “detective/cop,” and what he wanted to do with it. I wasn’t surprised when he wanted to go for a film noir feel. But I was a bit scared. We tossed around a few basic concepts, including placing some actors in the roles, and then called author and blogger Robin Brande.
Our call was the briefest of hellos — no small talk for this chick — and down to business. We told Robin our genre (she groaned) and the required elements. (The character: Roosevelt or Rosie Adams, President; The prop: A bracelet; The line: “That’s what I’m talking about.”) We talked about some things we’d been thinking in terms of style, actors, and settings. She said, basically, “Okay, I’ll call you back in an hour.”
After we hung up, Bill and I didn’t know what to do with ourselves. We’ve always had to help the writer brainstorm or actually write it ourselves. This... this... freedom was a little unnerving. We did have to make some calls, coordinate some logistics and such, but having time to do it was just... wild.
Robin checked in with the script, and she was right on track so she kept on going. We got a full script about 10:30, and we loved it. LOVED IT! Very sharp, very creative, very witty. We needed to make a couple of changes to keep with the locations we had, so she retooled that and we had an absolutely amazing script by midnight. A new record for us. Bill and I talked about the film schedule, costuming, call times, and needed props. Bill sent out an email to the team, and we went to bed.
We had the crew meet at our house at 8:00, but it was more like 9:00 when we had everyone we needed. We decided to film an office scene at my in-laws’ home. The set dressing and camera set-up took much longer than we thought, so we really didn’t start filming until 10:30. Not a stellar beginning. We were also filming some of the harder scenes, which also made it difficult.
But we’ve got great people on our team, and got through those scenes before a late lunch at 2:00. The crew took turns eating and setting up for the living room scene, which we also did at my in-laws’ house (they had taken the kids to the zoo by now). I ran the actors through their lines while the crew worked on lighting, and then Bill came in to direct that scene.
We left the house by 4:00 to do scenes closer to my home. My friend provided the front of her house when one of my locations fell through, and we did a few things there. Then we used the front of my house for a long scene involving five actors and finished just before it got dark. It was supposed to be a gardening scene, but since it was cold and lightly raining, we had to make some adjustments.
We sent home most of the team, and went inside to do voice-overs until about 10:00. It was a more leisurely session, though, involving pizza and joking. When the rest of the team went home, we sent our composer some music ideas and then went to bed.
Sunday was reserved for editing the film together, doing color and audio correction, adding the music and credits, putting in the title, and probably ten other things I don’t even know. This was mostly Bill’s show, with me there for moral support and to lend another set of eyes and ears to the film. We dumped out a backup tape at 5:30, so we’d have something, and Bill worked until 6:45. We arrived at the drop-off location a whole five minutes early, and turned in the final product.
I think you know a film is great when you’ve watched the same scene twenty times in editing, and it still cracks you up. That’s the case. The script was wonderful, we have some knock-out performances, and interesting camera work. We’re very happy with the results.
Our screening is this Thursday (Group F, 9:30 p.m.), and after that the film it will available online at our website. Let’s hope it’s a winner. The title for our film — involving a hardened detective, a sultry lady, a homeowners’ association, and self-help books — is You Pay Your Dues.
Bill went to the kick-off event and drew our genre literally out of a hat. The required elements were given out to the hundred participating teams. And we were off.
Bill and I talked about our genre, “detective/cop,” and what he wanted to do with it. I wasn’t surprised when he wanted to go for a film noir feel. But I was a bit scared. We tossed around a few basic concepts, including placing some actors in the roles, and then called author and blogger Robin Brande.
Our call was the briefest of hellos — no small talk for this chick — and down to business. We told Robin our genre (she groaned) and the required elements. (The character: Roosevelt or Rosie Adams, President; The prop: A bracelet; The line: “That’s what I’m talking about.”) We talked about some things we’d been thinking in terms of style, actors, and settings. She said, basically, “Okay, I’ll call you back in an hour.”
After we hung up, Bill and I didn’t know what to do with ourselves. We’ve always had to help the writer brainstorm or actually write it ourselves. This... this... freedom was a little unnerving. We did have to make some calls, coordinate some logistics and such, but having time to do it was just... wild.
Robin checked in with the script, and she was right on track so she kept on going. We got a full script about 10:30, and we loved it. LOVED IT! Very sharp, very creative, very witty. We needed to make a couple of changes to keep with the locations we had, so she retooled that and we had an absolutely amazing script by midnight. A new record for us. Bill and I talked about the film schedule, costuming, call times, and needed props. Bill sent out an email to the team, and we went to bed.
We had the crew meet at our house at 8:00, but it was more like 9:00 when we had everyone we needed. We decided to film an office scene at my in-laws’ home. The set dressing and camera set-up took much longer than we thought, so we really didn’t start filming until 10:30. Not a stellar beginning. We were also filming some of the harder scenes, which also made it difficult.
But we’ve got great people on our team, and got through those scenes before a late lunch at 2:00. The crew took turns eating and setting up for the living room scene, which we also did at my in-laws’ house (they had taken the kids to the zoo by now). I ran the actors through their lines while the crew worked on lighting, and then Bill came in to direct that scene.
We left the house by 4:00 to do scenes closer to my home. My friend provided the front of her house when one of my locations fell through, and we did a few things there. Then we used the front of my house for a long scene involving five actors and finished just before it got dark. It was supposed to be a gardening scene, but since it was cold and lightly raining, we had to make some adjustments.
We sent home most of the team, and went inside to do voice-overs until about 10:00. It was a more leisurely session, though, involving pizza and joking. When the rest of the team went home, we sent our composer some music ideas and then went to bed.
Sunday was reserved for editing the film together, doing color and audio correction, adding the music and credits, putting in the title, and probably ten other things I don’t even know. This was mostly Bill’s show, with me there for moral support and to lend another set of eyes and ears to the film. We dumped out a backup tape at 5:30, so we’d have something, and Bill worked until 6:45. We arrived at the drop-off location a whole five minutes early, and turned in the final product.
I think you know a film is great when you’ve watched the same scene twenty times in editing, and it still cracks you up. That’s the case. The script was wonderful, we have some knock-out performances, and interesting camera work. We’re very happy with the results.
Our screening is this Thursday (Group F, 9:30 p.m.), and after that the film it will available online at our website. Let’s hope it’s a winner. The title for our film — involving a hardened detective, a sultry lady, a homeowners’ association, and self-help books — is You Pay Your Dues.
Sunday, May 06, 2007
Weekend Update
Still deep into the edit of “You Pay Your Dues,” a detective/cop picture.
But I wanted to let everyone know that tickets are now on sale for our Thursday night screening — grab ’em while you can!
But I wanted to let everyone know that tickets are now on sale for our Thursday night screening — grab ’em while you can!
Tuesday, May 01, 2007
Screening Slot: Group F, 5/10 at 9:30 p.m.
Okay, so one more pre-weekend message for everyone — our screening has been scheduled for Thursday, May 10 at 9:30 p.m. (i.e., Group F) at the AFI Silver Theatre. The tickets are not yet on sale, but once they do become available, they will sell out. I’ll try to let people know when they’re available, but in the meantime, you may want to check back at the screening website for updates.
Sunday, April 29, 2007
The Home Stretch...
The 2007 48 Hour Film Project fast approaches. Just one week from... well, right about now, we will be dumping our finished film out to tape for the mad cross-town rush to drop it off at the Warehouse Theater. We’ve got a pretty great team returning this time around, but I did want to draw your attention to a couple of welcome additions. First, we have Robin Brande, author of the upcoming YA novel Evolution, Me & Other Freaks of Nature, who has graciously stepped in as our writer. And second (thanks to a last-minute agreement between SAG and the 48 Hour Film Project organizers) is actress Mary Lechter, founder of A Class Act: Acting for Young People & Adults. We are extremely honored to be working with them both, and eagerly anticipate our best entry yet.
No pressure or anything... ;-)
From this point forward, we’ll be switching production-based communication over to a smaller, dedicated mailing list, so that casual fans won’t be bombarded with every little detailed announcement. So if you want to come aboard (and haven’t let me know already), please be sure to speak now!
I also want to make one final plea for locations — we want to get as wide a variety of potential shooting spots as possible, and we’re trying to assemble a complete list of potential assets for Robin to work with. So if you’ve got anything that we can use, please let us know ASAP. Unusual is great, but ordinary is still necessary.
So for those of you on the team, we’ll be chatting more soon. For the rest of you, we’ll be in touch about screenings once we catch our collective breath!
No pressure or anything... ;-)
From this point forward, we’ll be switching production-based communication over to a smaller, dedicated mailing list, so that casual fans won’t be bombarded with every little detailed announcement. So if you want to come aboard (and haven’t let me know already), please be sure to speak now!
I also want to make one final plea for locations — we want to get as wide a variety of potential shooting spots as possible, and we’re trying to assemble a complete list of potential assets for Robin to work with. So if you’ve got anything that we can use, please let us know ASAP. Unusual is great, but ordinary is still necessary.
So for those of you on the team, we’ll be chatting more soon. For the rest of you, we’ll be in touch about screenings once we catch our collective breath!
Thursday, April 19, 2007
The Hour Fast Approaches...
I know I, for one, am surprised at how quickly the 48 Hour Film Project has come. Yes, for those of you who haven’t checked your calendars lately, the competition is in just two weeks — May 4th through the 6th. And as usual, it seems like we’ve got a lot of work to do between now and then.
I’ve already heard from several of our regulars regarding their availability, but many others either have not yet responded or were tentative in their commitments. If you fall into one of those latter categories (or if your plans have changed), please let me know as soon as possible if you’ll be able to join us this time around. The big shooting day will be Saturday the 5th, but we could also use some editing and postproduction help through Sunday, if you’re so inclined.
In addition, as always, we are on the lookout for interesting or unusual locations, props, or other quirky components you may be able to contribute to the effort (or, frankly, regular locations, props, or components). So please pass those along so we can start assembling our list of potential “assets”; we’ll want to have a fairly complete inventory of our capabilities for the writers to work with — no sense writing in a 1955 Chevy if we don’t actually have one (and if we do have one, we’d be crazy not to write it in).
More details on the specifics to come across the next two weeks, so stay tuned!
I’ve already heard from several of our regulars regarding their availability, but many others either have not yet responded or were tentative in their commitments. If you fall into one of those latter categories (or if your plans have changed), please let me know as soon as possible if you’ll be able to join us this time around. The big shooting day will be Saturday the 5th, but we could also use some editing and postproduction help through Sunday, if you’re so inclined.
In addition, as always, we are on the lookout for interesting or unusual locations, props, or other quirky components you may be able to contribute to the effort (or, frankly, regular locations, props, or components). So please pass those along so we can start assembling our list of potential “assets”; we’ll want to have a fairly complete inventory of our capabilities for the writers to work with — no sense writing in a 1955 Chevy if we don’t actually have one (and if we do have one, we’d be crazy not to write it in).
More details on the specifics to come across the next two weeks, so stay tuned!
Tuesday, March 13, 2007
“Machinations” Takes Best Sci-Fi Award
At the Filmapalooza event this past weekend, “Machinations” was just awarded Best Use of Genre (Science Fiction) for this year’s National Film Challenge. Thanks and congratulations to everyone involved!
Tuesday, February 20, 2007
Seattle Debrief
I’ve got to say, the Science Fiction Short Film Festival was an amazing experience. The trip itself was nightmarish — there’s nothing like having your travel agency neglect to actually book the ticket, and then try to stick you with an additional $480 charge if you actually want to make your flight. And neglect to inform you that the cost of your hotel room will unexpectedly skyrocket for the second night of your stay.
But despite all of that, the festival itself was fantastic. First, I participated in a special teachers’ session at the Science Fiction Museum; basically a live director’s commentary and Q&A session. (It’s kind of nice to know that Seattle-area teachers are going to be using “Machinations” to teach students about visual composition in film.) And I got a free pass to the museum and the Experience Music Project — not a bad way to kill a couple of hours before the festival proper.
(Speaking of commentaries, I should take a second to note that we have finally added a new entry to our long-neglected podcast: A commentary on “Machinations” with me and D.P. Adam Young. Enjoy.)
As for the screenings themselves, I couldn’t have asked for a better venue. The Cinerama Theatre is a surprisingly well-kept, 800-seat theater with a huge curved screen. And a good old-fashioned balcony. The filmmakers had prime reserved seats, of course — and we needed them, as the theater sold out both screenings. And that’s an audience of regular filmgoers, not a crowd stacked with the filmmakers’ friends and family.
The quality of the films varied, as one might expect. In some cases the concept was intriguing but the execution lacked. In others those two factors were reversed. A few films missed on both counts. And some were right on the money. Some personal favorites of mine were “Transgressions” (which ended up taking home the Grand Prize), “The Un-Gone,” “Maklar, Anyone?” (the Audience Favorite winner), “Singularity,” and “TV Man.” I also enjoyed “Haunted Planet” and “Face Machine,” and got a real kick out of the animated romp “The Tragical Historie of Guidolon the Giant Space Chicken.” The space effects in “Mizar” were absolutely asonishing (and on full 35mm film, no less). And I want to make special mention of “Agnieszka” and Douglas Trumbull award-winner “13 Ways to Die at Home”; I definitely enjoyed both of them, but they both fall firmly into the category of “What the hell was that?”
We didn’t take home any awards — not that we expected to, given the quality of the competition and the fact that there really weere only three awards given. But the audience really seemed to love our little picture; and in that theater, that was really some reaction. Talk about a rush. And even beyond the films, the experience of being to able to interact with other filmmakers and film fans was priceless.
Of course, lest I leave the experience thinking all was well with the world, I was brought back down to Earth on the return flight, where I had what was supposed to be a four-hour layover at Midway airport. Which kept on creeping later and later, until it reached nearly the six-hour mark. Sure, I was able to sit and watch the Superbowl (or at least the first three quarters) in an airport bar in Chicago, but that novelty wore off pretty fast. Didn’t manage to crawl out of a largely-abandoned National airport until one in the morning. Lost the whole day just trying to get home (and had to get up for an early meeting the next morning).
It was so worth it.
While I’m rambling, I might as well add a few quick news bullets:
But despite all of that, the festival itself was fantastic. First, I participated in a special teachers’ session at the Science Fiction Museum; basically a live director’s commentary and Q&A session. (It’s kind of nice to know that Seattle-area teachers are going to be using “Machinations” to teach students about visual composition in film.) And I got a free pass to the museum and the Experience Music Project — not a bad way to kill a couple of hours before the festival proper.
(Speaking of commentaries, I should take a second to note that we have finally added a new entry to our long-neglected podcast: A commentary on “Machinations” with me and D.P. Adam Young. Enjoy.)
As for the screenings themselves, I couldn’t have asked for a better venue. The Cinerama Theatre is a surprisingly well-kept, 800-seat theater with a huge curved screen. And a good old-fashioned balcony. The filmmakers had prime reserved seats, of course — and we needed them, as the theater sold out both screenings. And that’s an audience of regular filmgoers, not a crowd stacked with the filmmakers’ friends and family.
The quality of the films varied, as one might expect. In some cases the concept was intriguing but the execution lacked. In others those two factors were reversed. A few films missed on both counts. And some were right on the money. Some personal favorites of mine were “Transgressions” (which ended up taking home the Grand Prize), “The Un-Gone,” “Maklar, Anyone?” (the Audience Favorite winner), “Singularity,” and “TV Man.” I also enjoyed “Haunted Planet” and “Face Machine,” and got a real kick out of the animated romp “The Tragical Historie of Guidolon the Giant Space Chicken.” The space effects in “Mizar” were absolutely asonishing (and on full 35mm film, no less). And I want to make special mention of “Agnieszka” and Douglas Trumbull award-winner “13 Ways to Die at Home”; I definitely enjoyed both of them, but they both fall firmly into the category of “What the hell was that?”
We didn’t take home any awards — not that we expected to, given the quality of the competition and the fact that there really weere only three awards given. But the audience really seemed to love our little picture; and in that theater, that was really some reaction. Talk about a rush. And even beyond the films, the experience of being to able to interact with other filmmakers and film fans was priceless.
Of course, lest I leave the experience thinking all was well with the world, I was brought back down to Earth on the return flight, where I had what was supposed to be a four-hour layover at Midway airport. Which kept on creeping later and later, until it reached nearly the six-hour mark. Sure, I was able to sit and watch the Superbowl (or at least the first three quarters) in an airport bar in Chicago, but that novelty wore off pretty fast. Didn’t manage to crawl out of a largely-abandoned National airport until one in the morning. Lost the whole day just trying to get home (and had to get up for an early meeting the next morning).
It was so worth it.
While I’m rambling, I might as well add a few quick news bullets:
- Thanks to the Arlington Cinema and Drafthouse screening, Tohubohu has taken in its first appreciable revenue; at just over $100, it doesn’t really begin to cover the amount we’ve spent on production (and the even greater amount we’ve since spent on promotion), but it’s still a really nice feeling to get that check in hand.
- Still no news on any potential awards from the National Film Challenge, and we probably won’t know anything until Filmapalooza in March. And that’s assuming they post any announcements immediately: While we’d certainly like to have a representative in attendance, our budget is pretty much spent after the aforementioned Seattle trip...
- The Internet Movie Database now has reasonably complete listings for both “Quite Contrary” and “Machinations” — so if you worked on either of those films, be sure to give those entries a look to make sure you’re credited properly (and even if you didn’t work on either of them, go give them your ratings and comments)!
- The 2007 48 Hour Film Project for Washington, D.C., will take place over the weekend of May 4th through the 6th. Clear your calendars...
Tuesday, January 30, 2007
Expanding the “Official” Catalog
Just wanted to mention that “Machinations” has joined “Quite Contrary” in being included in the Internet Movie Database. No details yet (they’re coming), but the film’s there (thanks to its acceptance into the Science Fiction Short Film Festival).
And while we’re on the subject, more details have been added to the “Quite Contrary” page, meaning a lot more of the folks who worked on it have been recognized (and there are still more additions to come). Congrats to all!
Oh, and when you get a chance, you may want to head over and make sure your details are correct. And vote for the films! (Rate “Quite Contrary” here and “Machinations” here.)
And while we’re on the subject, more details have been added to the “Quite Contrary” page, meaning a lot more of the folks who worked on it have been recognized (and there are still more additions to come). Congrats to all!
Oh, and when you get a chance, you may want to head over and make sure your details are correct. And vote for the films! (Rate “Quite Contrary” here and “Machinations” here.)
Thursday, January 25, 2007
Baltimore’s Battle of the Films... and DAVE
Right on the heels of our screening at the Science Fiction Short Film Festival next weekend, we will have one — and possibly two — screenings at the inaugural Battle of the Films in Baltimore. The first screening — on Thursday, February 8 — will feature “Screening Process,” and if we make it to round two (only five films will move on), the second screening — on Thursday, February 15 — will feature “Quite Contrary.” Now, as befits a true “battle,” these are all about viewer reaction — how we do is measured by the rigorously tested and eminently scientific method of audience applause volume.
In other words, we need people to show up. Preferably loud people.
The screenings will be hosted by The Cinema Lounge at Gardel’s, located at 29 South Front Street in Baltimore, and they’ll start at 7:30 pm. So please come if you can!
I also wanted to take a moment to give a quick shout-out to Tohubohu alumnus David Seitzinger, who just finished a program of grueling work at The DAVE School (as in Digital Animation and Visual Effects) in Orlando, Florida. His class’s final project, “Creepers,” is up for viewing on their website. Give it a look — some pretty remarkable stuff! Congratulations, David!
In other words, we need people to show up. Preferably loud people.
The screenings will be hosted by The Cinema Lounge at Gardel’s, located at 29 South Front Street in Baltimore, and they’ll start at 7:30 pm. So please come if you can!
I also wanted to take a moment to give a quick shout-out to Tohubohu alumnus David Seitzinger, who just finished a program of grueling work at The DAVE School (as in Digital Animation and Visual Effects) in Orlando, Florida. His class’s final project, “Creepers,” is up for viewing on their website. Give it a look — some pretty remarkable stuff! Congratulations, David!
Sunday, January 07, 2007
Bicoastal Machinations
We’ve got not one but two screenings to highlight today.
First, “Machinations” has just been accepted into the Science Fiction Short Film Festival, taking place February 3 in Seattle, Washington. We’re pretty damned proud of this little accomplishment, and are really excited about the opportunity to showcase all of our hard work to an appreciative audience. If anyone wants to fly out — or if any of our West Coast contingent wants to give it a look-see (not to mention giving us the chance to catch up) — let us know and we can get tickets and coordinate schedules!
Congratulations — and my personal thanks — to everyone involved in our achieving this honor.
And more locally (well, for our DC-based contingent anyway), the film will be screening at 4:00 p.m. on January 13 at the Arlington Cinema and Drafthouse. This screening will be a showcase of locally-produced films for the National Film Challenge, and we’re really happy to have this venue in which to host it (sure beats the hell out of my office’s common room). Tickets are only $5 apiece — and since it’s a restaurant to boot, there’ll be plenty of food and drink available as well. We really want a big turnout for this one — especially since theater revenue (well, once we recover the amount we paid to get the theater in the first place) will be divvied up by which film attendees are there to support (you’ll have a chance to express your preference upon entry). Frankly, it’d be nice to make back some of our expenses for a change... So while we’ll understand if you can’t make it all the way out to Seattle, this one there’s no excuse for missing...
Well, unless you’re a left-coaster, of course.
First, “Machinations” has just been accepted into the Science Fiction Short Film Festival, taking place February 3 in Seattle, Washington. We’re pretty damned proud of this little accomplishment, and are really excited about the opportunity to showcase all of our hard work to an appreciative audience. If anyone wants to fly out — or if any of our West Coast contingent wants to give it a look-see (not to mention giving us the chance to catch up) — let us know and we can get tickets and coordinate schedules!
Congratulations — and my personal thanks — to everyone involved in our achieving this honor.
And more locally (well, for our DC-based contingent anyway), the film will be screening at 4:00 p.m. on January 13 at the Arlington Cinema and Drafthouse. This screening will be a showcase of locally-produced films for the National Film Challenge, and we’re really happy to have this venue in which to host it (sure beats the hell out of my office’s common room). Tickets are only $5 apiece — and since it’s a restaurant to boot, there’ll be plenty of food and drink available as well. We really want a big turnout for this one — especially since theater revenue (well, once we recover the amount we paid to get the theater in the first place) will be divvied up by which film attendees are there to support (you’ll have a chance to express your preference upon entry). Frankly, it’d be nice to make back some of our expenses for a change... So while we’ll understand if you can’t make it all the way out to Seattle, this one there’s no excuse for missing...
Well, unless you’re a left-coaster, of course.
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