Work

"Three Worlds" invited to screen as a "Festival Spotlight" film at VAiFF

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Three Worlds screens once again in Chicago as a “Festival Spotlight” film for the annual VAiFF. Screening takes place at 1:30pm, Sunday Oct 7th at Fort Knox Studios. Producers will be on hand to take questions. Tickets for the event are part of the festival pass. Click here:

Tomorrow is the LA premiere of "A DYING KING"

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Tomorrow starts the limited theatrical run of my friend Bobak's documentary, A DYING KING. I spent a good amount of time on this production, which spanned many years. This was a real passion project for him, and never having made a film before, he took a giant leap of faith & unsurprisingly, saw it to the end. Most people will never realize the difficulty in completing an independent film, let alone a feature-length documentary. The amount of work just compounds & whenever you think you are finished, a whole new set of challenges appear. 

You can catch the film this week in LA, starting Wednesday at Laemmle Music Hall, Beverly Hills; Thursday at Laemmle Town Center 5, Encino. A New York run starts the following week and it will tour through several cities including some European ones.

The online release starts in 2018.  

Here is a link to the LA Times review:
http://www.latimes.com/entertainment/movies/la-et-mn-dying-king-review-20171114-story.html

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Launching a campaign to finish my work.

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Ok, the time has come. I'm nearing the finish line. And, at this point, all options are on the table.

The first of which, a crowdfunding campaign to help raise the finishing funds for my two feature films (THREE WORLDS / MAN)  that are near complete.

These two finish my THREE MARKS, TOO SIGNALS series of works that includes the 2016 release, CANYON. Please consider helping. Please join the mailing list. Please pick up one of these great perks. Please spread the word. 

If all goes to plan, launching next week or the one after.

Been revisiting architecture (googie edition)....

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I recently read an article in CURBED about the possible demolishing of a NORMS restaurant on LA CINEGA and Rosewood. First, i've probably been to NORMS under 5 times in my life, and every single time it was after a night of drinking, when other options did not exist. Needless to say, I don't really have an opinion on the food they serve, and in all honesty, I don't remember too much. It probably wasn't that great, but that's just assuming shit.

But, the article was not about NORMS itself, but the building that housed it. The architecture of the GOOGIE STYLE, (50's-60's) and one of the real identity markers of Southern California. The style is so fantastic and timeless, by the shear dated quality of it. Yes, it's a contradiction, but the wholly unique attributes make it a style that stands apart. It also was a staple of some of our favorite cartoon designs.

And it's being erased from the landscape as more and more of these cafe's, bowling alleys and motels get demolished. So, maybe it's a good thing to save this little NORMS, but maybe not for the coffee.

Take a second of your day and enjoy our creative human endeavors with a little click of the mouse.

look at how remarkable this is.

look at how remarkable this is.

The LEAP towards Youtube in 2007 or scared shitless of bad comments....

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It's hard to believe that Youtube is not even a decade old. It seems to have been with us from the beginning.

What is more astonishing is that Youtube stars are more popular with teens than even the biggest top down celebrities as this Variety Survey documents. Poor ol Leo sitting in last place.

Now, these are the biggest of the big, but Youtube works in more lateral ways, and in smaller and smaller tribes, who remain vibrant and relevant. But this relevancy is different than what we were conditioned to understand. As Kevin Kelley described in his now famous (and in internet terms, dated) manifesto, "1,000 True Fans", relevancy is really only important to the people who care.

And you don't need too many people to care about what you bring to the table, as long as you're bringing something to that proverbial table in the first place. As Seth Godin would state, something REMARKABLE. Now, remember, remarkable is a shifting phrase. Pewdiepie is not remarkable to baby boomers, but he sure is too millions of teens. And that's the damn point.

So, this gets to my original thought. Back in 2007, while I was going through the ringer of an MFA program at this place, me and my pals (pretty much the whole class of fairly bright kids), all kind of shrugged our collective shoulders about using this new platform to reach out.

In the world of the higher arts, it was prestige less, a self publishing platform for people who couldn't find support in the business. A bunch of self absorbed people talking about non-important things, or terribly produced home videos with nothing to offer.   

What a fucking absolutely rubbish thought that was! And that's the difference between leaping fearlessly forward, or sticking to the status quo. You rather jump, watch somebody else jump, or sit on the sidelines watching other people take initiative and change the world.

So, here is a lesson for anybody reading this. Nothing is sacred in the arts or business, and all empires fall sooner or later (much sooner now). So, when an opportunity(really an obligation) presents itself, jump of that cliff and maybe it will work. Maybe it won't. But it's much cooler to be an explorer than a hesitant wimp. And Youtube won't last forever either. In fact, on the internet clock, it's running out of time, while a host of new platforms are springing up left and right. Are you experimenting, or rolling your eyes again? It's a choice.

So, cheers to a great 2015!




Astonishing Experience Box Set (2006 Video Installation)

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I've been sitting on a couple pieces from yesteryear never really sure what to do with them anymore.  Two video pieces in particular have stood in the vault since their premieres, both with context specific deliveries.

One particular piece, 2006's ASTONISHING EXPERIENCE BOX SET was a video installation that had its run at the Seed Gallery space in Santa Ana, California, and after, was boxed away indefinitely.  Only one DVD was made at the time (as was the plan), and was bid on, but me being overtly idealist at the time, refused to sell.  The money wasn't that great anyways, if i remember correctly.  

Now, a good many years have passed, and, in due course, the source materials been transferred into digital binary, making it's indefinite disappearance kind of disingenuous these days. My thinking is that, yes, it's stripped of its context in a pure sense, and with that, what kind of a video installation is it, when the installation is gone? And the simple answer is, a video of course. Here below is the description, and some instructions into how to make it work.  Or, just press play. I provided some context on its original form below.

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Installation Premiere: 10-7-2006
Online Premiere: 9-19-14
Instructions: Headphones and a dark room preferable.  In fact, a pseudo living room would be best (of course, I can't force you to do anything in a virtual space).

Performance Notes: 
On Oct 7, 2006, the Astonishing Experience Box Set installation premiered at the Seed Gallery at the artist village in Santa Ana California. The show ran from Oct 7 - Dec 2, 2006. The show was billed as "Light. Shadow and Motion: exploring the way light alter our environments".

The installation included an old television, a dvd player, optional headphones, a chair, and a faux living room setup. In some ways, similar to the old Maxell tape commercials, although the living space was more archaic. On the television, the Astonishing Experience Box Set played as a loop.

This was the only time that this particular installation was made available to the public, and the DVD that hosts the Astonishing Experience Box Set was never played again. The total run time of the video from start to finish was 6:52, and was broken up into 6 distinct experiences. But, in direct conflict with the installation setup, there was no restriction to the viewing of the the video in linear terms, and the option of sound (headphones) was the direct responsibility of the viewer.

Mirs - Summer God Complex (Official Visualization 2014)

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Here is the visual representation for the MIRS track SUMMER GOD COMPLEX. This video is a digital deconstruction of footage that originated from an infamous, lonely and appalling source.

That source was also the lead-in into the writing process, although it was just a jumping point, a kernel of story that evolved into something else.

The deconstruction of the source footage also plays into an internal, corrupt mind grasping at order, and at times seeing beauty in it's own destruction. The process involved the breaking down of codecs.

YOUNG BUCK available throughout the internets

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Hello Friends - 

YOUNG BUCK is out now, and free to roam the vastness of the internet.  Here are three locations where you can watch, other then right on our very own front page.

And when you visit said site, please subscribe or follow or whatever that particular site refers to the act of "subscribing" .  Because when you do, I will be very excited knowing that we bonded in some form.  

Also, leave a nice comment if you where moved to do so. Nothing in the house of ANIMALS is done by force.  But a simple reminder may remind you, how this very little act enlivens our soul.

Youtube

Vimeo

Dailymotion

Summer of 08 - a throwback to a simpler mindframe

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Adding to the universal catalogue of #tbt for the first time, I thought it a great opportunity to join in and contribute to the grand fall of civilization. 

Sometime in 2007 was my first time forming a band with more than one person in it.  And in the summer of '08, it was the first time I wrote songs with lyrics and the first time I tried to produce an album on my own.  My bandmate Art came aboard as well to try his hands behind the instruments as well.  And this was all first times for me because music is not my first endeavor.

I had co-produced my first instrumental Shanks and the Dreamers album (A DAY LATE; INSTRUMENTALS FOR ILLEGAL ALIENS) a year before, but this was different.  This one had vocals, this one had songs.

It was a crazy time, and a crazy pursuit, since I didn't know much about the recording and post process (A DAY LATE was mostly recorded live with one takes).  I was also in grad school, doing film/video projects and maintaining a job that I might discuss at a later date. But, I went in and got down with recording anyways.  And I'll admit it, the overall mix is not very good.  But, that's with that hindsight knowledge.  That’s that aftermath bullshit.  

When we wrapped the mix, my bandmate Art traveled to NY to Masterdisk to get it mastered since my schedule wouldn't allow me.  And at the legendary Masterdisk no less, home of some of the best mastering engineers in the world.  I can only imagine their auditory horror at this lo-fi, hodgepodge, too often mono mixed, crazy bedroom album.  But, shit, they took the money.  And, it ended up sounding mostly better. And, I still love some tracks on that record.  

If I had waited to learn everything, I would never attempt to take it on with reckless abandon.  Once you think you've learned enough, the world starts to simultaneously slow down and speed up in the most inopportune ways.  You become overly cautious.  Don't do that to yourself.  Just get in, and do it.  Regret it later.  Learn from it.  And, take that leap again.  You'll never learn enough.  That's the idea, the beauty of creative pursuits.  

Once you become a PRO, you're an industry.  You appease the mass because you expect that paycheck, but you're no longer relevant in the absolute sense.  You're the status quo.  In the hip hop metaphor, you’re basically rhyming about mad money in every verse because that’s your only reference point.  The industry.  So, have fun in your obscurity.  It's the greatest time you have to take on the world. 

This was the video for HUSH from the SHANKS AND THE DREAMERS album MY DARLING DIA.  This was one of the better produced tracks.  Well, at least the stereo image is fuller.  It features my good friend Stephanie Lambert, was produced by myself and Art Toussi, and I shot it mostly in my bathroom.

​If your still interested, these are some of my favorite tracks from that album; EXTRAORDINARY MACHINES, HUSH, CAMEL CRUSADER, 777, CHARLIE GET A JOB, WHITEHOUSE ( trivia, the instrumental for Whitehouse was used in Rick Curnutt's fantastic film, Free Lunch).

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The Limits of Control

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We set ourselves up to impossibilities.  Earlier this year, I decided to update this journal everyday.  This is a simple task of discipline.  And although I've said this in the past, I never committed to it until the last few months.

But...but, I fell off the wagon, as per course.  With all that pent up will power and positive 80's self talk shit, I failed at keeping my word.  

But...but why?  The simple answer is that it was never THE PRIORITY.  As soon as I was forced on some writing deadline for bigger projects (ie: feature film) and an editing responsibility that was exciting (YOUNG BUCK - The Video), I no longer felt the obligation to hold myself accountable.  Same goes for my beard, haircuts, and keeping mad muscles.  

The bigger forces overtook the smaller.  This is weak sauce 101.  I could have done both and all.  But, I choose the less stressful route.  The route that left me some metaphorical jerk-off downtime.  

And, for my own soul, that works better.  Because sometimes a motherfucker just has to sit down in front of the TV, regardless of the pretentious post-academics or over achieving ass-hats that add shame to the game.  

Do what works.  As long as you work.  Your flow triumphs checklists and made up discipline.  But try not to become a weed smoking, video game choking, fast food hoarding, eternal neophyte.  And, even if you do, make sure you go all out, with breaks in-between.  Also, call your mother once a week.     ​

​a goddamn CAT sleeping on a CAR.  Get it?

​a goddamn CAT sleeping on a CAR.  Get it?