16DP/Cameraperson Needed ASAP - San Francisco and Portland
Hey everyone - this is really important. Please reblog to help me spread the word.
Looking for a San Francisco-area DP or camera op, ASAP, for a low-budget/indie documentary on queercore and queer punk rock. Own equipment optional, should be willing to travel (driving from SF to Portland for more shooting), LGBTQ+ affiliation a huge plus. Shooting starts in SF on April 22nd and will wrap in Portland on June 1st. If you or someone you know would be interested, PLEASE shoot me a message - and please reblog to help spread the word!
Thanks so much!
(via wickerboy)
Currently watching: Mega Shark vs Crocosaurus (2010), dir. by Christopher Ray
It’s exactly as good as it sounds.
Forthcoming Performance Review
I saw an amazing show this past weekend. Chicagoans - if you’re into multi-media cutting-edge dance performances, you need to see This is a DAMAGE MANUAL at Theater Wit (by Belmont and Sheffield).
A quick synopsis: Produced and performed by Atalee Judy and the BONEdanse danseurs, This is a DAMAGE MANUAL is a potent mix of anxiety, punk rock, prescriptive ’50s psychology mumbo-jumbo and bad dreams, exploring the cyclical process of what it is to be “damaged” - and alive in spite of (or because of) it.
How I ended up seeing this show is kind of an interesting story. A couple years ago, I PA’d an indie here in Chicago (same PA gig I wrote about in my previous advice post). I spent most of those 3 days trying not to get in the way of the steadicam operator, Carl. Now, a couple years later, I reunite with him out of nowhere at my grrl Chrissy’s birthday party at the MusicBox, seeing a midnight showing of Wayne’s World (Chicago really is a tight-knit town for creatives). I also met his girlfriend/creative partner, Chrissy’s close friend Atalee. Of course I knew about Atalee, due to her being an innovative and intense local dancemaker/choreographer, so it was really cool to meet her. She invited me to see her dance show, This is a DAMAGE MANUAL, and Chrissy got me comped for opening night because I was so excited to go. Opening night was this past Friday and I can say (with great self-awareness) that I made a fool of myself begging Carl to use me for whatever he might need in future BONEdanse productions - second camera, camera assistant, carrying his equipment… anything.
And then I went to my boyfriend’s apartment and cried. I was so overwhelmed and moved by the show that I fell into a self-analytical spiral of how I call myself an “artist” and “filmmaker” but don’t really live up to it at all. And This is a DAMAGE MANUAL not only forced me to confront my own lack of productivity - I also realized a lot about myself from the themes of the show: anxiety, identity, stagnancy, being overwhelmed, feeling strapped down, and reeling from constantly stimuli that only do harm.
So I’m gonna write a review on it. I won’t be able to write anything else, anyway.
What have you seen or heard recently - be it movie, performance, concert, album, exhibit, etc. - that deeply moved you? What feelings came with it? Did it motivate you to do something, or did it aid in self-reflection?
SUNS is going into the studio next week and every extra dollar will help them make their first full-length, When We Were Us, even more amazing. If you’ve got some cash to spare, stop by their Kickstarter and trade that scratch in for an advanced digi-download, or even vinyl, posters, shirts and more!
If you need convincing, give them a listen here: sunsband.com/media.html
Donors who hit up the $100 reward will see me (and the band, I guess~) at the record release show!
Hafu is a film about the experiences of mixed-Japanese living in Japan.
Japan is changing. Meet the new generation of mixed-Japanese.Check out more about the upcoming film here: hafufilm.com
Also, film needs donations. Help if you can!
Japan’s long been one of my desired destinations for a total immersion culture study. The concept of Hafu (a loan-word from the English word “half”) is not only meant to explore this phenomenon occurring in what once was an almost completely homogenized society, but to also give us insight into how we take “mixed race” for granted. I’m pumped to see how this turns out. And if you have the means to donate, click the link above!
(via iscaro)
SUNS still needs $2,700 to meet their goal - if you haven’t checked these fellas out, please do so. Not only are they really fun guys, they’re super-talented musicians (one guitarist in particular is pretty darn dreamy) with remarkable work ethic.
You don’t need to give ‘em your money if you don’t have any, but please please please spread the word. I really wanna see SUNS get the attention they deserve. And if you donate or post about them, please let me know! :3
I hated Wristcutters: A Love Story
I found it boring, meandering and contrived, and absolutely loathed every single character. I don’t even care if Tom Waits is in it for like 10 minutes - it’s a story about whiny white kids who kill themselves to totally piss off their parents and end up in this ironic limbo-zone where they can go on road trips and fall in love with eachother.
Barf. Not sorry.
At one point there was a Bomb the Music Industry documentary in the works. Is that still happening?
Yeah, that’s still happening. I like music documentaries a lot and all the ones that I think are really interesting take place over a long period of time. And Sara Crow (the director) felt the same way. So I think that’s where we’re at—if the documentary came out today, there really wouldn’t be an ending. There’s a lot more to capture. It’s funny because since the Kickstarter campaign people have been like “Where’s the documentary?” But [Sara] doesn’t want to make a documentary in just a year and half. Like, fucking Dig! took like eight years to make. I think Some Kind of Monster took three or four years to make. And those movies are awesome. So I think to make it a really good movie people just have to be a little more patient.
-Megan Seling interviews Jeff Rosenstock in The Stranger this week. Check it out!
Sara Crow is so cool. Better believe I’ll be the first to see this when it premieres at the Gene Siskel Film Center (even if I’ve already seen it).
A gorgeous mixed-media animation about a tragic robot
KURZSCHLUSS (2009) by Miriam Frank, Georg Utz and Xaver Xylophon
Sound by Daniel Hatvani
(This is a repost)
Indie Lookout: The Ghosts (2011), dir. by Eddie O’Keefe
Everyone who reads Filmme Fatale should check this project out. From what I’ve seen so far, this modern day period piece is a delicious combination of pop culture tropes, archetypes and homage; an ill-fated love story told from the perspective of a teenage girl experiencing her first sexual awakening. I know The Ghosts, transient feral-faced kids who are more safely envied from afar than loved from the front lines, that gang we all feel entitled to when the rest of the world becomes polarizing and bland. They are danger, a symbol of teenage salvation, but only for a moment. As The Girl, we are to become a Ghost, then surpass them and their need; in this, we find ourselves stronger.
The stylizations of this coming-of-age story will definitely resonate with anyone who’s fond of ’50s rebel flicks and jangly rock n’ roll. On a production level, any aspiring filmmaker will immediately recognize the production value and high reference level - these guys are good! Great cinematography (the framing is spot-on!), great lighting, great acting, great soundtrack. I’m curious to know the shooting specs - so envious of that grain.
I’m honored Mr. O’Keefe wrote me about this, and I’m thrilled to share it. To him I say: congrats on your impending public launch - shit, congrats on completing such a cool film - and kudos for skipping out on the film fest circuit! If you’re ever thinking of taking The Ghosts on the road, come back to Chicago and hit a sister up. I’d love to see this, projected in its entirety.
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Click here to Like The Ghosts on FaceBook
And here to go to the blog
And here’s Eddie O’Keefe’s reel an’ shit
