So it was cool to jet off at the last second and catch some films and rub elbows in Park City. I didn’t see as much as I would have liked, but I did feel like I was able to chat with a good amount of people. I was surprised at how many people I ran into from the Bay Area … and I know there were a ton more hanging around.
One of the best parts of the trip was seeing Cory MacAbee’s new series Stingray Sam. His team always pulls together quite the show. And the craft with which they do their job is always worthy of admiration. Pulling off a stylized cowboy space musical is already a significant task … but to do it with style, humor and a message takes talent. I look forward to sharing it when it comes out.
Cory at Stingray Sam Q&A
Mark, Ryan and I had a good time talking cinema with old and new friends. Probably more so as Sundance was a veritable ghost town … with most who could travel at the inauguration (as Ozi would say “Go-Bama!”) and the rest stuck at home suffering the economy. So there was no pushing through crowds (although most films were still sold out) and just a smattering of party boys and girls.
The word from the PCFMF was our film did well and the festival staff felt they the film really informed them to what was going on. Unfortunately none of us were there to usher it or field any questions from the audience. But at the least we were heard.
Mark and Jason on Main St.
I was happy to be able to go as a number of friends had films there this year. Running into them and supporting their experiences gave a good insight to the festival. I’m understanding more and more (and this is more true as the landscape evolves) that while film festivals are not the critical point for a film, they are important things to participate in and can help push a film along. It’s a combination of the invitation to participate and the potential collaboration with fellow filmmakers that is a real value. The chance to poke our heads out of the cave and see those who do what we do so that we might do it on a grander scale. And at least when I broke my Sundance cherry, she was (relatively) gentle.
Just heard yesterday that THEY TURNED OUR DESERT INTO FIRE is playing at the Park City Music Festival. Unfortunately, it screened this evening a couple of hours ago … I was able to get some word out via FB and an email blast, but it would have been nice to have been there to support the film.
So that’s why I’m sitting here, putting plane tickets on hold. I got a call from Ryan Harper (who directed Circulation) that there was a bed in a condo with my name on it if I wanted … cheap. And I just got off the phone with Josh Lind of the Dandy Dwarves who is en route to support their short at Sundance. And Mark Brecke is available to go out there with me. And Mark’s bud Cory McAbee will be there premiering his new work at Sundance.
It’s looking a lot like I’ll be freezing my butt off starting Sunday night.
Cool … received word this morning that my DP reel was selected as the Reel of the Month at Poptent, the online community of XLNTads. Poptent is their crowdsourcing video platform for which we did the Bud Designated Driver spot. The Reel of the Month is another on-going contest that they have.
There were a lot of other good reels this time around (honorable mentions are posted on their blog). I’m not sure what made mine stand out, but … Sweet!
All a part of putting yourself out there … now I’m going to go and update my reel with more of the cool stuff from Lucifer’s Crewcut.
To see the latest reel click go to the reels section of my website … It was my Showreel for DP work that won. But there is plenty more good stuff on there.
Cool! So one of the Doritos spots I worked on (camera op) and provided gear for was selected as the top five! It’s a great spot and made possible by the talents of a number of people involved. Good friend Bob Brindley plays in it (and it’s where I was introduced to Erin Coker). The Dandy Dwarves put it together and did one hell of a job at it. The concept was a last second game plan and I thought it was pretty cool when I heard it. Just the right amount of off-the-wall.
So now what … head over to http://www.crashthesuperbowl.com and click to vote once per day (for TOO DELICIOUS)! The top vote getter is going on TV during the Superbowl! To see the spot spot directly check http://www.crashthesuperbowl.com/#/gallery/video/330/
The spot was shot on our Red with the Red 18-50mm T3 zoom. A smattering of HMIs fleshed out the landscape with some kino fill. I also appreciate the details like the name of the company as Dusterman and Crunché.
I just wanted to congratulate and recognize filmmakers Scott Solary and Luci Westphal for getting their film ALL GODS CHILDREN out there. Mark and I met up with them at the Sarasota Film Festival and felt an instant kinship. Both of our films were under funded, not connected in the business and dealt with difficult subjects. Both issues still exists and there is very little being done about it. This is an important step for them in their campaign to raise awareness … follow up with screenings and discussions. I know the troubles they’ve had getting the film finished this year, and I thought they deserved a moment in the spotlight for a job well done.
Finally after a long road … It began with taking an idea that resulted in a short film. Stacey, Mark and I then expanded that out to be a comprehensive analysis of a complex situation. We now move deep into the last stages of a film’s existence … getting it out there. THEY TURNED OUR DESERT INTO FIRE has signed a distribution deal with Documentary Educational Resources for worldwide non-theatrical rights.
We are very excited with this partnership and hope they will help leverage us out there to reach farther with our message. They seem to be interested in continuing on the festival circuit, especially internationally, releasing on DVD for all markets, and finding us a home with some of the broadcast markets. Mark will continue to play a role of ushering through the film in the different iterations and making appearances to help complete the story.
Soon we should have the new master for the DVD release and get it out there. Plus we’ll see about cutting down a 52 minute version for Euro broadcast markets.
There will be more to come on this chapter … but this is a milestone to note.
