Support Arkansas Director's Film "Last Summer"

Friend, collaborator and fellow NYU alumn Mark Thiedeman has a new feature in the works. If you believe in filmmaking, LGBT issues, or simply supporting the dream of an artist, please help out with funding!

I had the pleasure of working with Mark on his short fillm, "Swimsuit," which played a few years ago at NewFest. "Last Summer" is already generating buzz from sites like IndieWire. Don't miss this chance to be a part of a wonderful project, from someone who still believes that small budgets can still make a great film!

Click the widget to find out more, and be sure to check out his earlier works!

The Films of 2010, and How I Got There

As featured on my blog interrobang‽:

It occurred to me a few weeks ago, upon finally realizing the end of 2010 and the beginning of a new year, that I have watched a lot of films within 12 months.

As a former film student and production-seeking career girl (I can't really say I'm in film until my paycheck says so - advertising, I'm afraid, does not count), this should not be surprising. Nevertheless, it is.

My taste (and experience) in the art of watching films has transformed exponentially over the last few years of my life. Obviously, my NYU film courses were the first major transition from watching movies purely for entertainment to analysis of the film craft. I had always admired filmmaking from afar, thanks to my mother's long-standing awe of classic films and Simpsons parodies. And there were always the TV movies, childhood movies, and summer blockbusters that one fixates on amidst boring suburban life. These were always, for the most part, from one of the following categories:

• Classics Films before 1970 
• Oscar nominees 
• Movie Premieres on network television 
• Disney 
• Excuses to go to a movie theater 
• Action Flicks 
• Childhood Favorites

I had never seen an art house film (nor were they part of my regular vocabulary), and indie flicks had not yet assumed the norm. My parents and friends didn't know of any, so neither did I. And besides - I was content with my list, entertaining no other possibility for film other than the usual plot-driven, dramatic/comedy/action/thriller I had grown to love and aspired to make. Under no circumstances did this include horror films - why, it took me years just to sit down to watch Jurassic Park without peeing my pants.

Cue the harsh slap-in-the-face that is film school. Some fellow classmates didn't think I had the knowledge for it. Maybe I didn't - but wasn't that the point of learning?

It was humbling to see that the art of film was not so black and white, as it had seemed; there were some films that never made it to the Oscars, but were admirable nonetheless. There were short films that only showed at festivals, B films and C films, films done for art-sake and films done for the hell of it. Some "stories" focused on character development only, while others seemed to be about nothing at all. I finally got to watch some of the breakout and cult films of the first 14 years of my life that I was never privy to, simply because I wasn't considered mature enough to watch them at the time: films like Pulp Fiction, Goodfellas, and Clerks, which was shot less than 10 minutes from my house.

At this point, one can revel in the discovery of so many new realizations, or curse themselves for being the idiot who hadn't come about this knowledge earlier. I fell for the latter, mainly because I was 17, on my own, and full of fun emotional drama.

It's taken since that first year of college to really get the courage to dip my toes into the pool of films I dared not touch before. I have to thank my professors first, and my friends after, for introducing me to them, as I trembled, unworthy. A few of them worked at the old TLA Video on 8th Street before it closed down, and each had their own specialty of favorites within the film world. If I attempted to describe each of their tastes in three words, they would be:

MARK: Brooding, Foreign, Cannes

JAMES: Character, Epic, Journeys

JOSH: Cult, Offbeat, Horror

Though there were many instances of shock and awe throughout my education, one that stands out the most as something that stuck with me quite indefinitely was The Holy Mountain by Alejandro Jodorowsky.

 This is not the type of film I would have gone to on my own - I had never heard of either the director or the title, but apparently it was big enough to be shown at IFC at midnight frequently. They insisted I go, and it being my college years, why the hell not? However, I was not ready for the symbolic imagery barrage with each chanting, triangle-trilled, vibrational-pulsed moment. Quite frankly, it was the strangest film I had ever seen, but I could not look away. And I could not stop thinking about it afterward. I've seen it three times since then, and have even written an entire thesis paper on its subject of religious symbolism. That's more intellectual fodder than Forrest Gump could ever provide.

Watching "Daisies" in Prague had a similar effect; I knew it must be laden with meaning; but even aside from that it was a rhythmic poem that replayed in my mind. And so since then, many fascinating films have crossed my eyes and riddled my eardrums - even, I must admit, horror films. Ryan has done a good job of forcing me to sit through them, and I can't say that I'm not grateful (though I could do without the occasional shocking scare that streaks my hair grey and inflicts possible stomach ulcers.)

The point in all of this, of course, being that traveling, meeting others and experiencing life as a more mature (but let's not get carried away), open-minded individual has given me the chance to really appreciate a film on a deeper level.

That said, I'd still take Teenage Mutant Ninja Turtles any day. You can't become too pretentious, you know.

OH, THE FILMS I HAVE WATCHED: 2010

• Labyrinth, Jim Henson (1986) 
• Made in the USA, Jean-Luc Godard (1966) 
• The Short Films of Al Jarnow, Al Jarnow (2010)
• Shutter Island, Martin Scorcese (2010) 
• Suburban Commando, Burt Kennedy (1991)
• District 9, Neil Blomkamp (2009)
• Kamikaze GirlsTetsuya Nakashima (2004) 
• Dolls, Stuart Gordon (1987)
• Day of the Dead, Steve Miner (2008)
• Mr. Booogedy, Oz Scott (1986)
• Hot Tub Time Machine, Steve Pink (2010)
• Iron Man 2, Jon Favreau (2010) 
• Metropolis, Fritz Lang (1927)
• Best Worst Movie: Troll 2, Michael Stephenson (2009)
• Possessed ["Bool-sin-ji-ok"], Lee Yong-ju (2009)
• Tetsuo: The Bullet Man, Shinya Tsukamoto (2009) 
• Brazil, Terry Gilliam (1985)
• The Tenant, Roman Polanksi (1976)
• Diva, Jean-Jacques Beineix (1981)
• Performance, Donald Cammell & Nicolas Roeg (1970)
• Daisies, Vera Chytilová (1966) 
• The Mist, Frank Darabont (2007) 
• Matthew Hopkins: Witchfinder General, Michael Reeves (1968) 
• A Town Called Panic, Stéphane Aubier & Vincent Patar (2009) 
• The Naked Kiss, Samuel Fuller (1964) 
• The Fearless Vampire Killers, Roman Polanski (1967)
• Scott Pilgrim vs. The World, Edgar Wright (2010) 
• It Is Fine! Everything Is Fine!, David Brothers & Crispin Glover (2007)
• I Sell the Dead, Glenn McQuaid (2008)
• Simon: King of the Witches, Bruce Kessler (1971)
• The Skull, Freddie Francis (1975) 
• Enter the Void, Gaspar Noé (2009) 
• The Social Network, David Fincher (2010)
• The Gate, Tibor Takács (1987)
• [REC], Jaume Balagueró & Paco Plaza (2007)
• The Red Shoes, Michael Powell & Emeric Pressburger (1948)
• Polyester, John Waters (1981)
• Solaris, Andrey Tarkovskiy (1972) 
• Nosferatu the Vampyre, Werner Herzog (1979)
• Apocalypse Now, Francis Ford Coppola (1979)
• Twin Peaks: Fire Walk With Me, David Lynch (1992)
• The Kingdom ["Riget"], Lars von Trier (TV Series - 1994)
• The Road, John Hillcoat (2009)
• Paris, Texas, Wim Wenders (1984)
• Days of Heaven, Terrence Malick (1978)
• The Exploding Girl, Bradley Rust Grey (2009)
• Four Flies On Grey Velvet, Dario Argento (1971)
• Krull, Peter Yates (1983)
• Summer Wars, Mamoru Hosoda (2009)
• Black Swan, Darren Aronofsky (2010)
• Fritz the Cat, Ralph Bakshi (1972)
• Tentacles, Ovidio G. Assonitis (1977)
• Heavy Metal, Gerald Potterton (1981)
• Innerspace, Joe Dante (1987)

Post-Production News on Thesis Film

Just updated the "Cereal for Dinner" site with news on audio work:

"Let's just say, my last view of the edit with Corey's most recent sound design and mix work left me feeling on the edge of my seat - much like I hope an audience would!

I could feel all the tension and the anticipation of every scene - it is by far the best shape it's been in since the initial edit, and I am excited to get cracking on the music and final touches so that I can share it with all of you!"

 Check out the site, and also the theme music created by Ryan Haupt here!

"Sounds" Promising!

 

An exciting news update from the official website of my short film, "Cereal for Dinner":

Before I update you on "Cereal's" status, just want to thank everyone again for their EXTREME patience - it's not easy to finish a film, let alone start one. And if you're still visiting this site and looking forward to seeing "Cereal for Dinner" reach it's completion, I am indebted to your support and understanding.

I have been trying to get an engineer to work on the film's audio design and mix for a few months now; however, due to budget constraints and lack of time, I was unable to find someone to commit. Enter fellow filmmaker, cinematographer, and editor, Corey Snyder, who flew in to save the day!

Since Friday, after a meeting to discuss the goals, Corey has been working on mixing the voices in the edit, to make sure everything sounds level, crisp and clear. The next steps will be the hardest: layering sound effects and music along with the voices to create an atmosphere that will bring "Cereal for Dinner" to life.

A big thanks to Corey; be sure to check out his other work here!
And stay tuned as we get closer to the premier of the film. I'm excited to finally bring the finished product to everyone!

Short Talk

Two great short films were recently featured on Motionographer this week; a site I don't normally peruse, but should.

One, which feeds my inner child's love of all things oceanic, was done by stop-motion whiz PES. (How do I not know about this guy??)

Dare I say, this is whimsical? At least we can all agree that the concept is imagination to the Nth power.

(Check out the full article on Motionographer.)

On the same note, the post production facility, Charlex, which was responsible for starting the company I now work for, released their newest short, ShapeShifter. I am proud to say that I know some of the creative minds behind this impressive work. They definitely did not disappoint.


(Check out the full article on Motionographer.)

However, my favorite is still their first animated film, One Rat Short, which you can watch below or on Charlex's website (If you'd prefer better quality, I would suggest going there.)


This is storytelling at it's very best; so much so, that I had to keep myself from getting too emotional in the end. Pixar, eat your heart out. Never have rats been so......lovely.

A shout-out to creative director, Todd Winter, who I now have the pleasure of working with every day!

TAXIDERMIA Gets Under Your Skin

(No pun intended)
Conversely, it also makes you want to throw up your insides.

Ryan and I had read some reviews on Netflix before renting this, and were forewarned: this is the grossest move you will ever see. It wasn't a horror film (at least, it wasn't marketed as that, but I'm sure one could argue.) The Hungarian film follows the legacy of three males: father, son, and grandson, chronologically. That's about the only part of the story that is obvious and somewhat makes sense. Not to say that the oddities this movie displays are neither entertaining nor meaningful. It's just that there aren't many films with the - pardon my french, but I feel it's a good analogy given the source material - balls to tell a dramatic story in such an utterly grotesque and revealing way.

Without going into too much detail (the details are better observed firsthand, as they are quite unbelievable), the three generations of men are portrayed within their own acts, which in turn have their own theme. This is not explicitly said, yet it is apparent once we get into the meat of the story. And yes, meat is at the heart of this tale in more ways than one.

Our first protagonist, Morosgoványi Vendel, is who we open on, in the midst of some literal playing with fire. It is clear from the uncomfortable close-ups of flame-on-skin that this is not just a game, but a sexual obsession. And so, as Morosgoványi's tale goes on, we see that much of his life on a drab, nondescript farm is spent pining over the sins of the flesh - both animate and inanimate. Quick flashes of females' wet skin, inter-cut with his lieutenant's musings on female anatomy set the tone. Poor Vengel is subservient to this family, and as a result tries to escape through his fantasies; one of which includes a pig.

The cinematography is one of the best qualities of this film, in that it really takes you up close and personal. You flinch at the sight of fire near skin, a pig is butchered too close for comfort, and at one point in the film, you literally are inside the character, mirroring the feeling of being gutted. The shots are always interesting and meticulously composed, and the director, György Pálfi, does not shy from forcing you to take in the scene fully before he allows you to look away.

Next to the lustful context of Vengel's tale, the remaining two acts are centered upon two other vices: gluttony and vanity, though one is more obvious than the other. Vengel's illegitimate child, Kálmán, raised by the family his father served, becomes a speed-eater, and we are forced to experience these gag-inducing moments of slurping and subsequent hurling right from the get-go. Pálfi wastes no time.

After a life of humiliation and unsuccessful attempts at being speed-eater champion of the world, Kálmán resorts to piling all his feelings of inadequacy onto his comparably smaller, rail-thin son, Lajoska. Instead of doting on his only child, who runs a seemingly successful yet incredibly creepy Taxidermy business, he fawns on his over-fed cats and boasts about his days of gorging glory. Lajoska, much like his long-dead grandfather, is a servant and tied inextricably to his duties of feeding and cleaning his now obese father, who seems content to be so. We know that this story cannot have a happy ending, but we wish it did. The finale is a most foul one indeed, but if you can stomach the gore and see the deeper meaning, it is both a haunting and melancholy Shakespearean end to a family legacy.

Oops, My Reels

I actually updated my reels on my website not too long ago, but forgot to update them here! See below for reels of my directing, producing, and voice over work! (Editing to come soon.)

You can also get more info on my website.

Let me know what you think!

VOICE OVER DEMO 2010

New "Cereal for Dinner" Site!

Good news: my NYU 16mm thesis film, "Cereal for Dinner" (formerly titled "Day of Embers") is nearing its post-production completion!

It's been a long time coming, and I appreciate everyone's patience as we work on the finishing touches of sound and color correction. This site is a way of paying my respects to a group of fantastic people that have helped in so many ways to make this film happen.

So, without further adieu, I invite you to visit "Cereal for Dinner's" official website! Here you'll find everything on the "Cereal" world:

• Trailer
• Production Stills
• Schedule
• Film Supporters
• Cast/Crew
• Updates on the Film's Progress

Later on, we hope to keep track of film festival entries, as well as premieres. In addition, I have added links to our crew's professional websites, so you can check out what else they've been up to.

Please feel free to leave comments, ask questions or leave suggestions about things that can be added to the site. And most of all, thank you once again for your ongoing faith in the film: it's a long journey, but it's worth the time. I hope you will agree.

New Collaboration Video, "Quietly Awake"

Over the weekend, Ryan decided to record some footage with our Flip HD cam; he's been wanting to make sort of a tone poem for awhile now, and while walking in Prospect Park, we decided to just go for it.

"Quietly Awake" 2010

Ryan Haupt

Flip Cam HD

(Edited in iMovie)

CAST
Tara Rose Stromberg

(Yes, the cast is none other than yours truly. I swear, it wasn't my decision! The director was very selective.)

Quietly Awake from Ryan Haupt on Vimeo.

I'd Like to Thank the Academy....for Snubbing Avatar

Staying true to my word, I will be tuning in next year (as if I could ever kill that habit) as Avatar did not completely ruin my Oscar experience. Cameron's snarky face was an eyesore, but I got through the show, and was happy to see his ex-wife bring in the awards for Best Pic and Best Director (a milestone for all female filmmakers everywhere!......even though I didn't get a chance to see her film yet.)

Still, it wasn't as rewarding as the Oscar days of yore. Perhaps I was just easily amused back then, but I feel like the awards were so much more entertaining as a kid. At least I got to spend the night with a bunch of other wise-cracking friends who made the experience much more tolerable. (You can read about my musings here. For here, I'll keep it constructive for the filmies.)

I won't say much, since the internet is being bombarded by people's opinions on the Oscars (and most of them are the same). I WILL say that the one good thing about being disillusioned by the drama surrounding the awards is it makes me realize that winning an Oscar doesn't have to be the only way to prove one's worth in filmmaking. I always believed this was the case; but in reality, the world is not so black and white, and there are many great artists who are never rewarded for their work, or never gain the recognition that comes from winning a coveted Oscar.

If you've got a loyal audience, and most of all a loyal conscience, then you can feel certain that what you've created is indeed a magnificent creation.

Of course, an Oscar wouldn't be so bad either.

Alice For Reals

Just found this gem on my morning blog surf: the world's 1st screen adaptation of "Alice in Wonderland".....over 100 years ago!

This beautiful 35mm B&W was shot only 8 years after the birth of motion picture technology. In the wake of the new Burton "Alice," this is certainly a breath of fresh air. They just don't make 'em like they used to.



Read all about it at BFI, or take a peek at this snippet from YouTube:

"The first-ever film version of Lewis Carroll's tale has recently been restored by the BFI National Archive from severely damaged materials. Made just 37 years after Lewis Carroll wrote his novel and eight years after the birth of cinema, the adaptation was directed by Cecil Hepworth and Percy Stow, and was based on Sir John Tenniel's original illustrations....

....With a running time of just 12 minutes (8 of which survive), Alice in Wonderland was the longest film produced in England at that time. Film archivists have been able to restore the film's original colours for the first time in over 100 years."

DOE Update: New Title Christened + Music

Just thought I'd pass on the good word that my film DOE ("Day of Embers") has officially been re-titled "Cereal for Dinner."

This was a decision made based on the following:

a.) "Day of Embers" sounds like a post-apocalyptic epic thriller, whilst my film is about two kids, a sprinkler, and a lawnmower that happens to catch fire. It doesn't need the fanfare.

b.) I wanted a title that tied into the childhood theme and that meshed with the message; I was having dinner with Ryan and my producer, Josh, when I started talking about my family (which is what the script was based on) and the fact that we were so chaotic and odd that we used to eat cereal for dinner frequently. A lightbulb appeared over each of our heads, and the title was born.

In addition to re-vamping the title, I have been trying to rework the edit to make it shorter and more engaging. Unfortunately, I can't do any sound design until the edit has been finalized, and it desperately needs it better sound. In some ways I feel this is hindering the actual editing process, but I have no choice but to cut what I can as is.

One thing I have been trying to do to help with the flow is to incorporate some music beforehand to get a feel of where I want it and how it can be utilized to affect the emotions portrayed onscreen. Ryan has put together one main theme to use throughout to represent the kids; it has a very bittersweet, ethereal, summer sound. I am also experimenting with some other songs he's created before that are more fast paced (see original trailer) to hype the energy up for the scenes with the parents arguing and lawnmower climax.

Check out Ryan's new track (and other music) here!

Oscar Nom Nom Noms

Here they are: my own deliciously juicy tidbits on the Oscar nominations this year.

I haven't seen all the films that were nominated, or those that should have been, so it's with some reluctance that I make a fuss over any of this. But I will put forth my opinion anyhow, since everyone else is doing it, and if you don't want to read it you can just leave this blog, go find some smug, self-proclaimed film buff's nifty list and proceed to silently judge them.

DISCLAIMER: I have not, nor have I ever claimed I am a film buff.

PHEW. My conscience is cleared.

My first question would be, where is the film Moon? First time director, Duncan Jones, did a fine job with this 2001-esque story. The space sets look amazing. Mostly because, I would think, they are ACTUAL sets. Really conveyed the eeriness and isolation of being alone on a distant planet. This should have at least been given a nod for director or screenplay.

And far more perplexing is the fact that Sam Rockwell wasn't nominated for Best Actor. He basically carried the film himself! (And if you've seen it, you know that means much more than what it appears.)

And, I gotta say it...The Limits of Control got no love. Don't even get me started.

Also Somers Town (Shane Meadows).....Bad Lieutenant (Wernor Herzog)....Drag Me to Hell (Sam Raimi)....? Really, nothin........?

Sigh.

"Best Picture"
Couple things wrong with this picture...first of all, there are 10 nominees. That's a lot. Also, Avatar is on the list...now here's the dilemma. I haven't seen Avatar (I have no desire to, really - don't shoot me, I'm not pretentious, I'm just choosy with spending my livelihood money), but the last time I checked it was pretty much animated.

The rule, so I've heard, is that you need at least 75% animation in your film to qualify as an "Animated Picture." Maybe that's not the case with Avatar. OR perhaps it isn't...perhaps they just wanted to nominate Avatar because it is the highest grossing film, like, ever, yada yada, and James Cameron totally created a world of his own and blew our 2D minds with flying jellyfish and he must truly be a great director to like, even imagine this. (I mean, my sister draws giant mechanical, flying sea creatures, and it didn't cost her millions and a few years of her life, but I digress...)

To top it off, Up was also listed under Best Picture. Which was, yes, a good film. Perhaps not just for the graphics, but for the story and how it was executed.

IF that were the case...then why is there an "Best Animated Picture" category as well? Is that just for the mastery of the particular craft of animation, or for story, or both? And if so, how is that different from "Best Picture"? In my opinion, a good film should have both. So why pigeonhole animated films into their own category when they essentially achieve the same goals?

Lest we forget that once upon the time Beauty and the Beast was nominated in the "Best [not Animated] Picture" category...

"Best Actor"
Jeff Bridges. I like him. Not enough to see him play a drunk country musician...but I have faith. Morgan Freeman again, seriously? Did they even bother to watch him in the movie this time?

"Best Supporting Actor"
I don't even care about the others (though I have a little crush on Christopher Plummer..); maybe it's easy to play a criminal when it's a Nazi, but Christoph Waltz' villain in Inglorious Basterds made me pee my pants.

"Best Actress"
They nominated Penelope Cruz for - no, not Broken Embraces - but...Nine. WTF.

"Animated Feature Film"
WHERE THE HELL IS PONYO YOU SHITHEADS!? Honestly, I could cry. Did they forget about Miyazaki's masterpiece? Beautiful illustrations, GREAT English casting, a classic fairtytale story - no good or evil, even - just the circumstances of two kids. Well one fish, who dreams of living on land, and one kid, who wants to help her. Maybe the simple plot served as the excuse for its lack of Academy appeal.

Ohhhh I forgot, movies have to have things that EXPLODE and make REALLY LOUD ANNOYING NOISES and end in an EPIC BATTLES in order to gain mass appeal from younger audiences. ::rolls eyes::

Though, I admit, I'm still torn on this list. Remember I said before that this category needn't exist? It's because these ARE the best pictures of the year, by far.

I was hesitant to see The Princess and the Frog as I've lost my loyalty to Disney gradually over the years. I was also a Little Mermaid fanatic, and I was afraid of wounding my inner child further. I will say this: they have redeemed themselves in the world of cel animation. And the music (though Randy Newman annoys the crap out of me) was fully entertaining. That art deco scene was a pleasant surprise.



The Fantastic Mr. Fox is so fun to watch. Yes, George Clooney was basically playing himself. And yes it's a Wes Anderson film; but boo to all the naysayers. He could be an asshole for all I know, but as a director, Anderson did some kick-ass stop motion, and I laughed wholeheartedly through its entirety. Haven't experienced a movie like this since Wallace & Gromit...

(....which is also on the list for Animated Shorts! When the hell did that come out and why haven't I seen it!?)

Remember as a kid how some movies used to give you the creeps? Make you afraid that something would grab you in the dark, or that your parents would suddenly disappear...and you would DIE? Coraline brings those scary, yet necessary feelings back. I felt like a kid again, and I'm sure the whimpering children next to me enjoyed it as well ("Oh no Coraline, don't go in there!!!" ::Screams::)

Up. My friend Josh puts it perfectly: the first 10 minutes of the film are probably the best moments of drama written in history. The rest was a rollicking fun (albeit predictable) Disney movie. Not too shabby.

"Directing"
If Cameron wins, you can count me out of next year's Oscars. He's an asshole. Don't believe me? Remember when he won for Titanic? ....Yeah.

"Writing" (Original Screenplay)
I think Quentin really deserves this one. Killing Nazis hasn't been this good since Indiana Jones.

Well, my rant here is done.

So, after all that, will I be watching the Oscars? Well, since I don't have cable at home, no. Unless there are a generous few willing to let me loll around in my PJs for 5 hours whilst eating Pringles.

(Read all about my Oscar ritual, which has been seriously disrupted by the bummer of reality, here.)

Matchgirl in 35mm

In 2006, I attended the 35mm Film-making program at FAMU in Prague for one semester. During this time, fourteen of us wrote, shot and edited our own short films. I was lucky enough to shoot on 35mm film and do some post work with the talented folks at Barrandov Studios.

Though the program was rewarding, it was grueling to be up against the high expectations of our Eastern European professors. However, I must say this prepared us for the inevitable harsh criticisms of the actual film world, and forced us to break out of our comfort zones as artists.


The idea for "Matchgirl" (another working title; suggestions welcome) came from my childhood love of the Hans Christian Anderson story, "The Little Matchgirl." It was one of those stories that mom used to read to me, and subsequently made me cry every time. It's tragic, but sweet; and to a kid, those two conflicting emotions are both confusing and somewhat disturbing. When I knew I'd be visiting ye olde Prague, I thought it was the perfect backdrop for a fairytale. However, the reality of shooting a period piece proved difficult, and I later revised my script many times to reflect a more modern tone. Yet, I believe the heart of the story is still there.

I did a rough cut in Europe, and then re-edited once I was back in the city for an editing course at Tisch. Sound design was difficult, as there was no sync sound when we shot. I had to make do with the school's sound library, and when you view the film as is stands, you will see it still needs a little work in that department. The biggest element missing is music, so if anyone has any ideas or knows anyone who can compose, let me know! It really needs something, as there are gaps that needs to be filled in order for the drama to follow through.

So take a peak and let me know what you think; I'd love to hear any feedback, as I think this short deserves to be submitted somewhere, as there were so many people who gave their time to make it happen. And it goes without saying that it still occupies a special place in my heart.

Commercial Acting Work

Acting is something I've always loved, and I had the chance to flaunt some of my acting chops (though they be minimal) in Florence, Italy for the 2006 NYU "30 Second Commercial Reel" class. While attending screenwriting courses, I collaborated with friends under the direction of professor, Amos Poe, to create some spur-of-the-moment, but nevertheless pretty ingenious specs.

There's a story behind each one, but I'll let you do the imagining. It was great fun, and I'm glad to see that all of them have been keeping up with their film work!

"Untitled Fragrance Commercial" 2006
Director: Jessie Hur

"Cornetta Ice Cream" 2006
Director: Asal Hejazi
Actors: Tara Rose Stromberg
Jessie Hur

"Hunt's Ketchup"
Director: JR Skola

You can see more specs from the class of 2006, as well as those from other years at Amos' site, pianospecs.com.

"Day of Embers" Edit Halfway Done!

Just thought I'd share with you all the good news; I have finished editing the 1st half of the film, and will be done soon! Once we have this 2nd edit completed, sound design and color correction will begin. I am trying to find time in between working my 10 hour days (and that's when I'm lucky to get out on time) so that I can get this baby going.

For now, I can use all of your help in trying to find a good title. I know I've said it before, but "Day of Embers" just ain't cuttin' it. It doesn't do the film's story any justice, which at the very basic is a story of a girl growing up and facing everyday family problems. I had toyed around with "little earthquakes," but you guys tell me what you think.

Meanwhile, I'll continue to keep everyone posted! Thanks again for all your ongoing support!

Works on 16mm

Back at NYU: Tisch, I took a semester of 16mm Filmmaking with professor Rick Litvin. They were shot with a crew of four (a rotating crew of Director, Cinematographer, Sound, & Gaffer), in whatever locations were available, and with whatever props we had ready, on a chunky, German Arri camera.

Here are some of my works, in order from earliest to latest:

"Lost in the Library" 2005

A little girl gets finds herself separated from her sister on a trip to the library, shot in the eerie NYU Bobst Library. My favorite of the 16mm shorts.

CAST
Michelle Coughlin
Lili Stromberg

"Rain Shower" 2005
One of the more experimental films I've done (I'm not very good at them). I had this idea during a peculiarly rainy week, of a girl fainting/dreaming in the shower.

CAST
Tara Rose Stromberg

"Waiting for Dad" 2005
Time passes slowly when you're waiting for dad to get home safe and sound.

CAST
Ceri Stromberg
Lili Stromberg
Jim Stromberg
Tara Stromberg

"Changing Season" 2005
I like this Stranglers song, so I just sort of came up with some images - half film, half drawn - to go with it. It was shot in New Jersey's Longstreet Farm, where I used to volunteer.

CAST
Michelle Coughlin

Jarmusch's "Limits of Control" Premiere

I had the great privilege to attend my first ever independent film premiere for Jim Jarmusch's new feature, "The Limits of Control" last night at the Landmark Sunshine Cinemas on East Houston.

Ryan works at PointBlank Films as an intern, and Jim, along with colleagues Carter and Stacey, invited both of us to view the film amongst cast, crew and fans. The evening was topped by a quaint dinner party at Shang's on Orchard Street, where Bill Murray, Tilda Swinton, Paz de la Huerta, John Hurt, Gael Garcia Bernal, Isaac De Bankolé, (and Amos Poe!) made merry with champagne, Ketel One, and jerk chicken. I must say I was partial to the fried rice. Best I've ever had.

But enough about the party! The film was truly a sight to behold, shot by Christopher Doyle and written by Jarmusch himself. I have never paid more attention to each and every single frame as I had in this piece. De Bankolé's placid exterior was unmoving, yet strangely interesting. The hallucinogenic music (from Boris, and even Jarmusch and Carter's own band) created a very cinematic reality that while never bordering on satirical, did sort of make you wonder.....what's going on here?

Very European, I would say, if I had enough knowledge of European movies to say so. I CAN say that I enjoyed the acting, especially De Bankolé, who had no other way of expressing himself but through his unflinching face and consciously controlled movements. Every other character had little time on screen, but made it count (even down to the lowly Spanish waiter), as each were memorable and unique in personality.

Ask me what they were talking about and why?......the hell if I know, at least for now. But I definitely listened. I have to admit, the story is still playing back in my mind as I attempt to understand the hidden meanings. But is a Jarmusch film really meant for analysis? He has said himself that a film should be about the experience.........and I suppose that in this case, it certainly was.

NYU 1st Run Film Fest

Alas, I was not able to see all of the films (maybe if some people had TOLD me ^.^;;), but I did make the 7pm Sunday, April 29th showing of four films, including this Bollywood musical/comedy (which was entertaining, funny and genuine):



Arranged"/Suraj Das
(Starring friend, and former Prague film colleague, Nardeep Khurmi, and edited by friend and Florence-colleague, Asal Hejazi!)

Also saw good ol' Amos there, back from Italy, and in his trademark fedora. Sadly, Nardeep, the star of "Arranged" wasn't there, and I didn't get to look around for anyone I knew, but I'm proud of you all and hope to god I can get my film done soon!

Showcase YOUR Works!

Dear Friends and Colleauges.

I think this is a great way to keep in touch about upcoming and current projects to recruit people and audiences, generate feedback, and keep the word flowing! I know all of you have your own projects (whether it be film, TV, music or art based) so please, PLEASE keep me updated and I'll add stuff to my post. I can put up videos, pictures, links, whatever. And this way, we're all in the loop and the news gets out.

So don't hesitate to drop me a line. I'll be happy to pass the word along. After all, we're all in this together.

Now go out there and make some art................and stuff.