EMONOME

New Blog Home

2006-09-11T09:56:00.000-04:00

I've moved to a new host Wordpress. Now you can simply go to it by typing - emonome - on your browser

or by clicking here

You can also check out my new sound related blogzine The Sound Palette

See you there.

Jazz It Up

2006-08-31T23:07:00.000-04:00

I don't know why I keep using the term you see in the title, but it kinda has a nice buzz to it, doesn't it?
Anyway, spend a good amount of time trying to decorate my new baby, the Sound Minds blog site. To be able to search Google, IMDb, Reference.com, Dictionary.com, Thesaurus.com, and be able to check your full weather forecast from the same page! I'm scatting and be-bopping all over the place (paraphrasing a little known character from Seinfeld here...goes by the name...Geo...if I have to finish that for you to know who...you have never owned a TV set or, if you did...oh never mind that).

Now, you may ask, what the hell does checking the weather have to do with a site for audio folks? You're seriously asking me that? Now I'm upset.

Nah, just screwing with you. Although I am upset. Not at your asking me anything? But for wasting the past 6 minutes trying to be clever and witty and classy. Instead, now, right at this moment, that is...let's see...at 11:09 pm...I sit here a pity fool for being the wordsmith without a Thesaurus.

Sure, laugh at me all you want, but this pity may have made searching for truth an easier task for some audiophile who has but a few minutes to spare, but many Walter Murch related sources to find out while being absolutely articulate about his feeling, in writing, and with some class. And what did (s)he ever do differently?
(S)he simply clicked here

MySpacing Like Hell

2006-08-30T21:45:00.000-04:00

You can avoid signing up with MySpace all you want, it will get to you eventually. Not that there's anything wrong with that.

Let me get right to it. I'm doing this blog thing regularly (with a few months in between) and have just set up a new blog called Sound Minds which is basically a site for all things sound. There'll be articles, resources, free scriptwriting software links, tips, tutorials and all sorts of goodies. Everyone working with sound to tell stories are welcome and contribute to the blog. At some point I wish to have original content but for now, I'll happily link away. Just presented my first post about an article Walter Murch wrote for Transom and other thoughts on sound design. You know, the usual babble I chew out.
Hope you check it out and write me with ideas, suggestions, and, most of all, with your undying support.

We have to talk about how Sound Minds. Well it all started with my own personal page on MySpace. Then it went on to my creating a page for Hassberry Theatre Company on MySpace. Then I thought, "Why the hell stop there?" Hence the creation of Audio Theatre League, an idea for a centralized group for all audio theatre companies, professionals, and audiophiles of the world. We'll promote, network, share, debate, discuss and hopefully send hate IMs to each other over the use of pop filters and how Orson used to do it back then.

So there it is. All about my space on MySpace.

A Year Later

2006-08-29T15:56:00.000-04:00

Exactly a year later I mail it out, stamped with thousands of hours of my time, patience and nights staying awake working with it. Sometimes I'd stay away from it for weeks, afraid of it, but then I'd be longing to find it an audience, for others to see it taking its first steps and breathing its first adult air. I see it stand own its own now and feel proud as a papa...might feel. I'm not a papa yet, but you don't need to be one to feel proud. Kinda weird, I must admit, to do this exactly a year later. It was unplanned. Maybe it's predicting something, who knows. Katrina happened the same exact day too. The very same day.

Last week watched 'When The Levees Broke.' Spike Lee has made a doc masterpiece. And Blanchard's music...did what the images and words could not.

Back to 'it.' Let's see what happens to it in a month or two. That's all I'm willing to share...hoping 'it' finds what it's looking for. ;)

My Q&A with Syd Field

2006-04-30T23:22:00.000-04:00

Coming Soon

My Q&A with Michael Hague

2006-04-30T23:21:00.001-04:00

Coming Soon

My Q&A with Linda Seger

2006-04-30T23:21:00.000-04:00

Coming Soon

My Q&A with John Truby

2006-04-30T23:20:00.000-04:00

Coming soon.

Q&A with Johnny Sanchez

2006-04-30T22:52:00.002-04:00

Q&A with JOHNNY SANCHEZ co-producer of FIND ME GUILTY.

by Emon Hassan for US Screenwriters Network bulletin

SP: Can you remember the day you decided your career should be in films? What made you decide that?

JS: I never decided my career should be in films. What I mean is, I only knew I loved acting and above all I loved storytelling. With that I just went to where I needed to go and do what I had to do to be part of what I love.. whether it's film, t.v. or theater... or whatever new unknown mediums are invented, I just want to be part of it. As long as it involves stories I am there, and film is simply one of those mediums.

SP: Who and what were your influences growing up? Why do you think they've influenced you?

JS: I had several influences. My dad was a big one. The films he would take me to had an impact, the books he would read me had an impact. And my mother too of course. At the age of two my dad was already reading to me and before I was even a teenager I was watching films like 'The Killing Fields' with my dad. To this day that film has shaped me tremendously. I am aware of the power of storytelling. I fully appreciate the meaning of the phrase 'the pen is mightier than the sword.' The sword is a sign of strength but the pen is still mightier. To this day films like 'Hotel Rwanda', 'Motorcycle Diaries', 'Magdalene Sisters', 'City of God', 'Grapes of Wrath', 'Gandhi' and even 'Star Wars' (the original trilogy of course) are part of the library I constantly reference when looking at the world Which leads me to another point, since I saw such a powerful film at such a young age, 'Killing Fields', I believe I have empathy for the struggle within creation; which is why I completely disagree with parents who don't wish to show their children what is considered to be too intense a film.

If the parents do not wish to instill that life is full of struggle when a child is young.. then all that is going to occur is that when that child grows older they will realize on their own that life is full of struggles. What I mean is, too many parents just want to shield their kids.. and prefer not to take the lead and guide them through the struggle so that child can eventually go out and confront the world on their own. Because of that our world has tons of people who don't have a source of inspiration from which to pull from, which is why so many people end up turning to a life of disillusionment.. they don't have references of overcoming.. of hope. That is why stories are important. So I think a story that shows the reality of our world, adversity and overcoming it, is never too early to share with your child. Now, please don't misunderstand me, the parent should talk to the child about the film and not simply leave the child be in front of a screen. Otherwise, it is extremely irresponsible and not nurturing parenting.

But too many parents do the extreme opposite and just say.. no my child can't watch this my child is not a teen yet. They rather not educate their pre-teen about what these stories, these examples of life, mean and they simply just wish to turn it off. But life doesn't turn off, life will happen regardless, so why not confront it together. That is what my father and I would do. Sometimes we would even do research on the film and the story and sometimes discover our own limitations of how we view the world. In other words, it was about expanding our limitations.

If no one is around to tutor or guide the child, then I can understand, but to shield the child from real stories is shielding the child from reality. Please, this is not to be misunderstood with showing a child action films where everyone is killed needlessly.. or pornography.. I am discussing the examples I cited above.. real films about real life. Stories that show us how humanity can triumph when we confront the struggles within creation.

As far as other influences are concerned, teachers were a big thing with me... Clint Eastwood.. as a kid all my acting buddies made fun of him.. but I saw something in him.. his moments of silence. Look at him now, he understood silence then and he is a great director now.

SP: You've started out as an actor and went to a prestigious high school for the performing arts in New York City. How else were you training yourself?

JS: Besides reading about as many subjects as possible (I think this shapes your training) I trained at William Esper Studios.. as a kid I went to acting classes on weekends and in Junior High School I took acting class as a formal study and of course in H.S as well. I went to the New School for a year and in LA I trained as well with a private teacher. But watching films and tons of theater... and participating in theater and short films.. that has been the biggest training.

SP: When and why did you make the transition into writing and producing? Had you always known you would eventually, or did you feel you had to out of necessity?

JS: That is a good question. I think it was a creative desire at first and then I realized that it fulfilled a necessity. I did it out of the wish to simply create.. if I can call myself an artist, that is what artists always want to do.. we wish to create. And inevitably one plays within all the realms of creation... writing being one of them. I started writing and I found that I secretly enjoyed it. It also gave me a sense of inner strength.. for example.. I was able to create what I wanted to create. With that I also learned how to appreciate storyline more, characters, etc.. After a while it lead me to want to make my stories happen, I wanted to see them realized. But I didn't know how to go about it. This was intrinsically tied to the dilemma as an actor, we just wait for others to hire us and give us the opportunity.. we don't realize that we are our own opportunity. In other words, we can make things happen when we put our mind to it.

So I would sit with friends and write.. and Roger Zamudio was one of those buddies. I still have those scripts somewhere. But when 'Find Me Guilty' came to me I was in the middle of acting in an independent film that my friend wrote, produced and starred in. I saw him take this film through all the stages, I was deeply involved from the beginning. And that sort of inspired me. That film was 'Downtown: a street tale' with John Savage and Genvieve Bujold.
Anyways, when TJ Mancini (who was actually one of the producers on 'Downtown') and I started talking he asked me to read his film 'Find Me Guilty'. I read it and I feel in love with it. I asked TJ, "When are you going to make this film?" He simply replied "Well after I get a director and the money I'll let you know." That's when I said to myself, this is it. You know, I felt it.. I had a feeling.. and all I wanted to do was create it.. I wanted to see it happen because I believed in it. So I said to TJ 'If you let me take the script I think I can make this happen.. I never asked for anything in writing I was too naive.. and he had nothing to lose and said "Sure". I went out and grabbed my buddy Roger and after that we got our other friend Rita involved as well. We started a company and went to Bob Yari and he jumped on board.. mind you this took almost a year because by then I learned what negotiations meant.. and after the deal was closed 7 months later my friend Martha Pinson (Sidney Lumet's script supervisor on about 5 films) she helped me personally open the door to Lumet's office.

The rest is history.. of course when Vin Diesel came on board the jet took off. TJ helped expedite that stage but up until that point I was very much involved with my partners, getting the whole deal together and keeping it on track. So I did all of that out of a wish to create... and now I realize that it fulfills a necessity, that necessity being the desire to create the projects I believe in. Which is what I have now been doing since 'Find Me Guilty'. I have taken everything I learned from 'Guilty' and I am applying it to my own projects.. feature films, plays, short films, television shows, short plays, true stories.. you name it.

SP: In the early stages as a writer, what did you find hard and what easy when writing scripts? Did being an actor give you a certain advantage?

JS: Dialogue, I found dialogue to be easy. But the story and character arcs, I still find that a task. Ah, and rewriting of course. You know, I have an adverse reaction to people who go out there and say on Access Hollywood: "I wrote my film in a weekend and that was it". Anyone can write a film really quickly... but not everyone knows the significant necessity of rewrites. Rewrites is where the real work comes in, and that takes months sometimes even years. So although a script can be written in a weekend they never tell you that all the months of rewriting is what made the difference.

Too many of us self proclaim ourselves as geniuses who don't have to rewrite, as if one weekend is all it took. We want to constantly compare ourselves to Mozart. We should not be afraid to say we do rewrites and talk about how long it actually took to fully develop the story. Is it fun to do rewrites? No, I hate it.. but it's what the commitment is about.. it takes dedication and in rewrites is where the real work comes in.

I don't want to insult anyone per say.. but just go look at all the people who ten years ago were the flavor of the month and said they wrote their film in one weekend and didn't really change the script much after that initial draft. Where are they now? Well, simply said.. they don't understand the task, effort and work of rewriting and their consequent scripts have suffered because of it and it shows. Rewriting is not only essential it is also not an easy thing to do.. so yes, I am not Mozart, it that has been a hard thing.

SP: How did you exercise your writing muscles? Did you take screenwriting classes? Did you have a mentor or a friend who read and critiqued your work?

JS: I have gone to writing workshops... and I have also studied the behind the scenes of making a film,, I watch how a film grows and I study the arc of it.... how the script was created.. what they did, etc. You know a great book to read is "Star Wars: The Annotated Screenplays" it talks about all the changes and rewrites George Lucas did on the original trilogy. And to read about all the changes he did is phenomenal, no wonder he eventually found his characters and his story.. and it all works. But the new trilogy suffers from that lack of discovery.

Anyways, he is not complaining he is happy. And yes, I did have mentors.. they tend to be my friends. Ron Peterson shared with me a lot about writing.. I would see my buddy Stephen Adly Guirgis (Jesus Hoped the 'A' Train, OUr Lady of 121st, Judas, etc) go through his writing stages and see how his work developed and grew. Jose Rivera (Motor Cycle Diaries) shared with me a lot about writing and also would gather a few folks to share their work so I would watch how a piece was shaped and critiqued. I also would get tons of feedback from people and critiques on the stuff I would write.. which is hard to take but so important to accept.

And my girlfriend has been very instrumental, she is a director so she has a director's eye and always criticizes my work from that angle. She tells me what is clearly exposition, what isn't advancing the story.. what can be told visually.. what needs to be given more light.. what can be trimmed, and where I indulge.. etc. She is tough. But yeah... everyone has had an impact on my writing. And of course.. I read tons of script and plays. But I wish I read more plays.. I read way too many scripts.

SP: When you finish a script and put on your producer hat, how do you deal with the writer self from then on?

JS: I don't think the writer turns off completely. I just ask myself.. what do I want to accomplish as a producer? And if I feel I have answered what I want to as a producer then I ask myself what I wish to accomplish as a writer. If I find something is missing (whether as writer or producer) then I do rewrites so that a link is created.. the same goes for acting. In other words, I simply ask myself what I wish to accomplish overall and I trust the right questions and answers will come or I go looking.

SP: What steps do you take to make sure the scripts, yours or written by others, adapted for the screen properly? Did you consider directing?

JS: Make sure the crew and cast you trust.. with your eyes closed.. are brought on board. Basically, work with people who push me to be better rather than me be the only one pushing the envelope. For example, if I create the best project possible as writer, producer and actor.. then I would want my director and other cast and DP to be creating the best project anyone can in their area. Work with the people who are great at what they do I think is what helps make a difference.. And if I can't attract the great talent to work with me maybe I have a problem and I should consider that.. but I believe I am good at what I do.. and if I work with a team that can make me better.. then that is key. But if it is up to me to look out for myself and everyone else's job all the time?

Then why hire them? Why bring them onboard? If I have to worry about the DP and the actors, the director, wardrobe, production design, props, catering, line producing, make up, lights, the editor, music, sound you name it.. I'll go crazy. If none of them know what they are doing then I will be doing their job and then who is gonna do my job as writer or actor when I need to do that? I have a lot to worry about already. So I need to hire people who push me to be better in my areas, and who are great in their areas.. in turn that raises the bar.

I know many people who want to suffocate a project and take credit for everything.. basically they hire slaves and not creative partners. I want creative partners.. who are great in every sense of the word.. they can do everything on time, without going over budget,.. and creating the best shot .. give the best production value ever.. regardless of the budget's limitations.. and the same for cast and anyone else. If I trust everyone then it will only push me to rise.

By the way I don't consider myself a producer in the typical definition,.. or a writer... I consider myself an actor who wears different hats. I am an actor at the end of the day who just does what he has to do to create the stories he loves. As for directing film, I rather leave the directing to my girlfriend. Luckily her and I have been creating tons of projects together since 'Guilty'. One of them is 'A through M' (a short film) and it is getting such a great response in the film festival circuit.

SP: Things must get more complicated when you write, produce, and act in a project. How do you make sure they don't get in each other's way in making the film?

JS: This is similar to the question above, I surround myself with people who can do their job and who are so good at what they do that they are capable of telling me when to let go of writing, or acting, or the producer in me because they know it will be fine and that it is all already there. But I have to know first, that these people are great at what they do. And only two things can tell me how good someone is.. research and working with them.

SP: How did you come to produce 'Find Me Guilty'? What have you learned from producing this film? How did it test your abilities as a producer?

JS: I think I may have already answered this above.. but to recap.. I met TJ Mancini who was producing a film I was starring in. TJ and I started talking about film and we would talk a lot. Eventually he asked me to read a script he had written.. "Find Me Guilty". He was just sharing it to see what I thought.. well I loved it. I asked him what he was planning on doing. how and when it was going to happen.. he just said.. "I need the director and the money".. and it hit me.. this is how it happens.. from one conversation a project can happen or not.. I can be part of this I said to myself. So I asked TJ to let me show the script around (he had nothing to lose) I never even asked for anything in writing.. I was too naive to know otherwise, and then I gathered my buddies (roger and rita) and we went to Bob Yari. They had both been good friends with Bob.. and Rita, Roger and I had known each other for years. We all met while acting in films.. being in acting class.. so we all knew our dreams and disappointments rather well and looked out for each other because of it.

'Find Me Guilty' became to us everything we had wanted to do... to show this town we can make things happen.. and make it good.... and if we had to go outside of Hollywood then we would.. but nothing was going to stop us. So at the time Bob Yari was the new kid on the block.. he was a true outsider who was only about to start a film company, and he was receptive to us. His company has grown and changed since.. but we struck at the right time, and he was open. He read it and asked us what we would do if he gave us the financing.. we said.. 'look at our resumes, we have worked with tons of people and we know we can pull on them for assistance." Meaning, all of our contacts (friends) would help us open doors. He said... ok.. but we had one stipulation, never ever go to agents. We had to do this outside of the normal venues. He wanted to make sure the Director was ALREADY interested and wanted to make the film because agents will start to ask for money even before a director has read a script. And that is a waste of time and work for an investor.

So our friends helped us get to Sidney Lumet. Of course. this took months.. none of this happened overnight. He read it and called me and we set up a meeting. Basically, I trusted Martha to do what she had to do and I never interfered. A week after Martha took the script to Sid he called me and said - I still remember this conversation - 'Is this Johnny".. 'Yes, it is" - 'Johnny this is Sidney Lumet, my friend Martha brought me your script and Johnny I have to tell you that I can make this film." I kept that call short out of fear of saying too much so we just set up an appointment to meet in person.. and my buddy/co-producer Roger came along. I learned several crucial things about producing since.. never say something that is not true.. I think Sidney saw I was always on the level with him.. I told him I was new to all of this.. but that me and my buddies had raised the funds to get the project rolling and that I could get him on the phone with the investor if he was interested.

I also told him I was an actor and that acting is all I care about, that I was only producing out of a need to create what I love as an actor. I also let him know.. that I knew.. I was a kid. But I also made it clear that I have opened the doors I'd open because I was on a mission. I was open with him and never tried to hold one over on him It would be foolish of me to play power games with him or with anyone else. But more importantly.. he had read the script and liked it. We kept in close contact up until Vin came on board.. from that point on I had nothing to do except watch it happen and learn, and that I did. I also learned to get things in writing.. if I had known better I would have done that sooner... and I learned the power of the option,, I never had money to buy the option so I unknowingly cut myself out of a lot of things. I love to create.. and I wish I didn't have to worry about contracts.. but unfortunately I now Know.. 'You don't get what you deserve. you get hat you negotiate". And I learned that the hard way, people tried to push me out. but ultimately.. I had other people I could trust.. I knew I could ultimately trust Sid to do what he had to do.. and I knew I could trust my two partners.. and that was everything I needed to keep things going. But my partners found themselves in the same boat as me and we had to negotiate hard to be given part of what we deserved.. being the people who opened some of the biggest doors but not knowing we needed things in writing... put us in a position of having to learn fast.

I also learned how much detail Sid gave to everything.. creative and not creative. He also gave me a lot of respect and would talk to me about things, I learned that he knew much more than I could ever imagine and I took it in.. I eventually realized that if I just let him do what he had to do.. things would be OK. And they were. Sid knows more about Film Making than most film makers I have ever met combined. Come to think of it.. he did write the book on 'Making Films'.. literally and figuratively. So I learned when to stay back as a producer and I learned when to fight for what the project needed.

The project needed to be shot in NY and NJ.. and we fought for that. Sid wanted to shoot in NY too and nowhere else. Creatively, I have learned to go after nothing but the ideal. Sid did that,... he did rewrites until he was happy. He researched tons. He met with Jackie Dee, he read transcripts... he worked non stop. And he talked about all the possibilities to make the film happen, he was never closed off. But he knew what to focus on and what not to focus on. I have taken this and tried to copy it on my new projects. I hope I have. And I know I have more to learn.

SP: How would you advise members to take advantage of Shooting People? How has SP helped you personally?

JS: The greatest thing that I feel the Shooting People community offers is the ability for all artists to share with each other and to have access to each other. This breaks the walls of traditional 'Hollywood'. Walls which keep us from having contact and from growing together. Which to me is ironic because as artists.. communication is a big thing. I mean we deal with everything that has to do with all forms of language and communication.

For example, Dance is a language, visual arts, music, film, theater.. etc.. It is all language.. and how can our language grow if we are kept from having access to sharing that language together?... if Hollywood builds walls how are we to share unless we break those walls down. I have found that our community breaks all these walls down. Anyone can go and find my email and write me and ask if I want to hang out or look at their script, etc... and I can do the same with others. This, unfortunately, is not the norm in Hollywood. I have to contact someone's representation and hope their representation doesn't ask me how much money I have, and hope they believe that all artist should be able to share and not only let the one's with tons of money share.

'Find Me Guilty', for example.. the first year agents totally ignored me... I felt so lost at first but I did not give up. My friends would help me meet people, I really used the back door a lot to meet talent and financiers. And that is why we are a real example of an independent film. Through SP, we have access to each other and access to each other's projects. I've had several members email me and ask me to sit with them and talk with them. I am always game for a good conversation and a good cup of tea.

As well, there are many resources I have found myself using at SP. I have gone on the bulleting and asked for advice and have given advice also to people on the bulletin. And of course, I am able to post on the schedule and ask people to come out and support my work.. but more than that.. I am able to see what else is happening in the community, what other members are doing.

I found out about the film 'Unknown White Male' through shooting people and I went out to support it. I also found myself using the resources of actors. I searched for actors and have emailed actors and have had them come in to audition for me. These are actors I found on Shooting people that I would not have found elsewhere. You guys have really opened your doors to the independent artist and have helped to chisel down the walls.. and that is so valuable to us all.

SP: The bulletin has a regular section called 'Tip Jar' where short tips are offered by filmmakers/writers. etc. on screenwriting (craft, business or industry). What three tips for writers would you put in that 'Jar'?

JS: Three tips?? Wow, I don't know if I am qualified enough to do this because I feel I am still a student of writing. Well, come to think of it... I guess that is perhaps one tip.. try to always remember we are all students. I have never met any good writer who says.. I know it all. If anything, all good writers always say to me.. I don't know everything... except for a few fundamentals.. the rest I am still figuring it out. The second tip I will share is a two-fold tip I got from a close friend - Jose Rivera (Oscar Nominee - Motorcycle Diaries). He once shared with me that a schedule helps him stay on course. That may sound strange at first because as artist we think it is cool or rebellious to not adhere to schedules. We feel we are beyond the conventional 9 to 5 hours.

But I believe Jose's advice comes down to one thing.. 'time and tide wait for no one'. Meaning, if you want to write a script.. make a schedule.. a writing/creative schedule... and stick to it. If you fall back.. make up for it. I found myself really writing when I made a schedule to do so and not just when the creative whim hit me. Because the creative whim doesn't always come.. sometimes we must know how to awaken that. It's painful because as artists we tend to go against rules. But nature isn't going to wait for us.. time will have passed and we will ask ourselves.. what happened to all those great ideas? The second part of Jose's advice to me had to do with answering a question. I asked him... ok, so you make a schedule.. but what if nothing comes? You can't force the self to write?

Basically, writer's block and how to let the creative part in us guide us and not something external, like the clock or a schedule. This is what learned from Jose.. and I believe it too, that in order for us to write our subconscious must be awakened one way or another, in other words we must know how to tap it and work with it. So how can the material world of the conscious mind.. things like clocks and schedules come into harmony with the creative subconscious? We can facilitate the process by adhering to our goal. Meaning, lets say your writing hours are from 9 am to 3pm 5 days a week.

Well, if you sit to write during those hours but nothing comes then put your writing in your subconscious.. the back burner and go do menial tasks around the house. Take care of some basic things.. try to stay away from bank statements (stressful things) or bills and from talking to your agent or lawyers, or making any phone calls which can pull you away form your own silent thoughts... and don't go out and drive or go shopping or watch a sports game or the news.. stay near your writing, but more importantly../ if you feel blocked during your writing hours, avoid activates that require much right brain activity. Look for things you can do without having to think about what you are doing.

For example.. mop, sweep, do the laundry (if you can do it from your home), clean your bathroom, kitchen, dust the house.. or clean a gadget. Basically, do the up keep chores around your home. What this does (yes, I can say this little seemingly unimportant trick works) is that it puts your writing in the back of your mind and like all thoughts in life... it goes to rest in the subconscious. Usually, it never goes away though... and the ideas will start to float around and maybe even unlock while doing other things that are menial. This puts us in a sort of trans/meditative state... does all this sound new age? Yes, it does.. but there is a big difference.. new age theories are just that.. theories.. but the subconscious is not a theory.. it has been shown already (even by science) that it exists and all of our deep thoughts are locked away in there.

We suppress most everything there. Which is why sometimes we are blocked.. the creative mind gets locked away and we must find ways to awaken it and work with it. For everyone it will be something different.. some people want to listen to music. Others want to literally go meditate, others may just look out the window.. but at the end of the day it is the same thing.. These sort of 'unimportant' activities can help awaken our silent thoughts and ideas. It may not happen in the first hour, it may not happen in the first day... but it will awaken you eventually and if you are in your house and the ideas start to come then you can easily turn to the writing and do it. Just make sure you haven't left anything in your laundry though.

And this one last tip is a personal tip I will share. Archetypes.. I think we must understand the true difference between archetypes and symbols when writing. Both are powerful tools.. but both mean totally different things too. A symbol is something that has a meaning.. but a different meaning to each person. For example.. Friday the 13th has somehow become a symbol. but in Latin America Friday the 13th means nothing.. over there it is Tuesday the 13th. Colors are symbols and so are numbers.. to one person black is good to a few others it is bad, the same with white. Cats are good in some cultures in others not. Cows scared in some.. others feel all a cow is good is for food.

Symbols change with cultures and with education.. but archetypes have a meaning that transcends boundaries, tradition and background. it hits at what the core human experience is all about The prisoner is an archetype.. everyone knows that a prisoner represents someone whose liberties are restricted by society.. the same as the slave. The parent, the teacher, the child, the student, earth, sun.. all those are archetypes. This has nothing to do with whether they are good or bad at their role.. this has to do with what the meaning of the role. So yes, archetypes and symbols are easily confused in writing but both are important tools when writing.

Video on YouTube.com

2006-04-26T23:31:00.000-04:00

Couple of months ago, I made a short music video for my friend Lena's band SCHIZOWAVE.

Basically it was an idea I had to animate her still picture collection.

She's uploaded it on YouTube, but you can watch it here.

Q&As with Hollywood Folk

2006-04-17T14:25:00.000-04:00

Turns out April is being very good to me. I've just started doing Q&As for the US Screenwriters Network bulletin and what a line-up I've had to begin with. Screewriting teachers Syd Field,
Linda Seger, Michael Hauge, and John Truby as well as producers Robert Kosberg and Johnny Sanchez (Find Me Guilty).

It has been bizarre having them answer my questions, especially Syd Field, whose book SCREENWRITING I'd read first and it taught me the nuts of bolts of writing a screenplay. All of them have been generous with their time and I appreciate that. I thank 'TV Film Seminar' for arranging these Q&As.

Coming soon: Veteran TV writer/director Ken Levine whose credits include, among many, and to name a few, MASH, CHEERS, FRASIER, and BECKER.

I'll post them here soon, so stay in touch.

Editorial Board at PRX

2006-04-14T12:00:00.000-04:00

Early February, 2006. A box arrives in the mail. I open it to find, to my surprise, a shiny statuette, better known as THE KARATE GUY. The label said Public Radio Exchange, PRX; I have been a producer/member with this fabulous organization since March, 2005. I read the accompanying letter to find out I'm the recipient of the 2005 Zeitfunk Awards for being the 'Most Active Reviewer of 2005.' Check out the pic of the Karate Guy's attempt to drop kick me.

Following day, however, came the real surprise. I am offered the Editorial Board position as a reviewer. My! Growing up, if I'd ever imagined one day I'd be offered a reviewer position, anywhere, I'd have hired an exorcist. I was honored, flattered, elated, delighted, and all sorts of feelings anyone over 12 would be ashamed to admit. It's like being a kid in King Arthur's court...or things of that nature.

Therefore, folks, I am now an Editorial Board Member at PRX. I have officially completed my first set of reviews as PRX EB for the March-April month. Some great radio pieces, folks. You ought to check them out sometime.

Finally, I'd like to thank everyone at PRX for the warm welcome. They have been generous with their time answering my questions from the time I joined PRX last year, never making me feel like just a number on their member stats. I am honored to be amongst a highly talented and experienced group of EB members/producers.

WENDY SAX

2006-03-12T23:28:00.000-05:00

A few weeks ago, I had the great opportunity to speak with Screenwriting students at NYU, courtesy of Jenny Levison. I'd met some cool people there and I'd like to introduce one of the cool, Wendy Sax. For those of you keeping tabs on the Indie film industry, she is the former Artistic Director of IFP Market as well as an accomplished producer.

Recently, Wendy has launched Moving Stories, Inc., a film and script services company in NYC. Wendy is extremely knowledgable when it comes to films and the industry and her advice and expertise will, no doubt, help all those who seek it. It was a pleasure meeting her, and I wish her all the best, because she deserves it. She is generous, patient, and supportive of filmmakers and films with potential; her track record proves it.

Check out her website by clicking on the title of this post, or clicking on the link at the sidebar.

Here's more about Wendy, taken from her website.

ABOUT WENDY

As the former Artistic Director for the IFP Market, Wendy was responsible for choosing screenplays and fiction films and the supervision of non-fiction films for the 2003, 2004 and 2005 IFP Markets. Films presented during this time included Born Into Brothels (which won the 2004 Documentary Academy Award), Mad Hot Ballroom (distributed theatrically by Paramount Classics in 2005) and the screenplays Off The Black (chosen for the 2006 Sundance Film Festival), Bonneville (currently in production with Jessica Lange, Kathy Bates and Joan Allen), plus many others. In addition, Wendy oversaw the juried screenplay and film competitions for the prestigious IFP Filmmaker Awards.

Prior to IFP, Wendy was vice president of Production and Development at ErgoArts, Inc., a New York independent-film company, where she co-produced the Sundance award winner Songcatcher, distributed by Lion’s Gate and starring Janet McTeer and Aidan Quinn. While there she oversaw the development and production of several features and documentaries, with primary responsibilities including evaluating all projects and working with producers, writers, and directors to propel ideas to their next stage of development and/or production. Prior to ErgoArts, she worked in creative development for Barbara DeFina and Martin Scorsese, transitioning to production for The Age of Innocence, Casino and Kundun—all directed by Scorsese. She began in the film business as an assistant to an agent at ICM, moving into development as an executive for Christopher Reeve, Jane Alexander, Rob Cohen and John Badham at Warner Brothers, Viacom and Universal Pictures respectively.

During her 15 years of experience working with writers and filmmakers, she has been responsible for production and programming as well as creative decisions. This gives her a unique advantage in evaluating material and providing guidance.

Newer Flashforward and The Best Confession

2006-02-17T14:24:00.000-05:00

I know I am beating these two plays to death, but can't help share these 'new' versions.

Well, these are what I like to call Radio Movies.

'The Best Confession' maybe a litte more fun to look at the screen during listening because it demonstrates my skillful title editing. (Yawn)

Happy lis-watching!!

Flashforward (3:31 min)

The Best Confession (3:35 min)

Untitled Blog Entry

2006-02-15T01:59:00.000-05:00

Free Association blog entry:

Start time: 11:01 am. April 18th.
I have just erased a previous blog entry from this spot because I didn't like what was in here...let's just say it was a clip from a movie or something of that sort. Now, as I type I am thinking of things to replace it with. So far, this is the best I've come up with. So much for free associating. I think I may be terrible at it. The last line I just wrote may be good. But this last one seems bad. Anyway, what will follow may be a little better than all the ones I've written before this...let's see what I come up with...wait...wait...hold on...I think I have something good here...I see an image...what kind of image? How does one write an image. A picture would be nice...a drawing or a stick figure to explain the fantastic image I've conjured up in my head now...let me see...wait a second... where's my stick figure drawing mechanical pencil that I keep near the computer monitore...(search)...(search more)...damn...should I be timing myself...okay lemme scroll up and put a starting time at the top...there...
but should I have done that? What am I trying to prove here...that I'm a fast free association-er? But I AM! Hold on...I ws searching for my pencil...hey missed the 'a' on the word 'was'...should I go back and put an 'a' or should I just move on...what has that word done to me...don't I like the word 'was'? Is it the past tense that bothers me or the past? Too much thinking over a single word 'was'...headache...Tylenol...or Advil...do I even have either? Oh yes...I don't like to take medication...what is that about? I don't have a good reason why I don't like taking medication...so where did that come from? That's another blog subject. Blog...Blog...Blog...what a funny word...make a good horror movie title 'The Blog''...the blog that writes itself...the 'truth blog'...what the hell is a truth blog? I don't know what I;m talking about...ahhhh...a semi-colon instead of an apostrophe...go back...go back...no...stay focused...stay focused...I know I have to stay focused but what was I talking about...you were talking about the truth blog...the what...wait..who are you??? Me! I am your other blogger voice...I have two blog voices...wait a second...is this written version of talking to yourself? ...why not? t doesn't matter...you do most of the writing anyway. I just speak your mind....he heh ...thhat's a good line...I just speak your mind...can I use that...f&*%k you, that's my line...hold on here...I don't allow swearing...

Okay, sorry...apologize to your readers...wait a second...this is ridiculous...I can't be writing as two people...it's insane.......pause.......pause.....but I don't feel ridiculous...come to think of it...isn't that how people write dialogue anyway...multiple voices in conversation, or if they're stuck...cheat with a monologue or soliloquy?

I'm tired of this. I thought this free association thing would be fun...instead it's tiresome in a...weirdly fun sort of way...huh?

End time: 11:14 am April 18th.

Trailer for PRETTY

2006-02-10T16:02:00.000-05:00

New Trailer Coming Soon. Stay Tuned...at A440.

Born On The 28th of February? And A List of Famous People Who Are

2005-12-30T16:23:00.000-05:00

So, were you born on this date? Do you know of anyone who was? With nothing better to do, I'd recently created a group where all members would have the same birthday. (Click on the title to join that group)

Do all Feb 28-ers think alike? Who are they, how are they, where are they, and why are they? Is there a pattern? Is there really a connection between all who share the same Zodiac sign, being this precise?

I guess we'll find out some day. But first, it'd be great to know where everyone is. How many of 'us' are out there, do you think? I gues I am interested in finding a pattern, if there is one.

Now, wouldn't it be great if a whole lot of us who have the same birthday meet at one place for our birthday? Maybe we can do that and get in the Guiness Book of World Records.

One giant birthday card. One giant candle. One monstrous cake. A birthday party so big we'd have to rent a small town! Oh, the dreams we have.

So wanna know who else (famous, not so famous) shares our birthday?

Here is a random list

Linus Pauling (scientist) 1901--Two time Nobel Prize Winner. Considered one of the greatest Chemists of the 20th Century.====Brian Jones (musician) 1940 -- of the ginormous Rolling Stones====John Turturro (actor) 1957====Bernadette Peters (actor) 1948====Mercedes Ruehl (actor) 1948====Mike Figgis (filmmaker) 1948====Mario Andretti (speed racer) 1940====Milton Caniff (cartoonist) 1907 -- creator of newspaper comics 'Terry and The Pirates (1934 and 'Steve Canyon (1947). [The term 'Dragon Lady' comes from a character of his in 'Pirates'.]====Dorothy Stratten (model/actor) 1960====Ali Larter (actor) 1976 [my exact birthday match--moderator]====Smarty Jones (thoroughbred) 2001 -- this horse was all over the news. As well it should be.====Michel de Montaigne (French Philosopher) 1533====Berthold Auerbach (novelist) 1812====Ernest Renan was (French Philosopher) 1823====Ben Hecht (Novelist, Auhtor, Playwright) 1893====Vincente Minnelli (filmmaker) 1903====Tom Aldredge (actor) 1928 [most recently in COLD MOUNTAIN]====Tommy Tune (actor) 1939====Alice May Brock (author, restaurateur) 1941====Gilbert Gottfried (comedian) 1955====Rae Dawn Chong (actor/director) 1962====Rory Cochrane (actor) 1972 [most recently 'Hart's War]====Tangi Miller (actor) 1974 [Felicity]====Daniel Handler (author) 1970 -- Lemony Snicket series====Robert Sean Leonard (actor) 1969====Sarah Bolger (actor) 1991 -- [played Christy in 'In America']====David Esparza (sound editor) 1978 [recent works, The Pink Panther, The Ringer, Shopgirl]====Guy Maddin (filmmaker) 1956 [recent film Saddest Music in the World w/I. Rossellini]====Jennifer Kapoor (actor/desinger) 1934 [married Indian star Shashi Kapoor]====Frank Gehry (Architect) 1929====Charles Durning (actor) 1928====Saul Zaentz (producer) 1921 [The English Patient, One Flew Over the Cuckoo's Nest]====Zero Mostel (actor) 1915 [The Producers, The Front]====Don McGuire (screenwriter) 1919 [Tootsie]====Bugsy Siegel (businessman?) 1906

OTHER FEB 28 LISTS

BASEBALL PLAYERS

BRAINY HISTORY

THIS DAY THAT YEAR

NNDB

I'm sure these lists don't even scratch the surface, but it's a great start.
Again, click on the title of this blog to sign up with the group. It's FREE.

The TipspiT (Writing Tips)

2005-12-16T14:53:00.000-05:00

Clever title, eh? I actually came here to edit some of the awfully constructed sentences from my previous post. But I'll probably end up rewriting it so much that it will become a different post. "Maybe I'll write something new," I found saying to myself...(cue in Theme from Rocky) "I'll share tips on writing."

Alright, I'll get to it.

* Watch foreign films (other than the language(s) you speak) on DVD, with the sound turned off. The subtitles are often more articulate and easy flowing than what's being said by the characters. Sometimes, subtitle writers have to fit in a certain amount of information on screen without getting too wordy. Good exercise.

* When you're stuck on page X with your story, and your protaginist is not doing or saying anything you like, give him/her a rest and write from the POV of the person he/she is meeting or going to meet. Your characters need rest too after climbing mount everest and chasing after bad guys, or recouping from a bad breakup.

* Dialogue. How do you write good dialogue? My mentor Carey Harrison gave me the greatest tip about that. "Don't try to 'write' anything. Just let your characters talk to each other, listen to them, and try to keep up."

* Warming up. Before you start writing each day, before you continue the story you have been working on, take out a few minutes and write a page of material that's a 180 degree from your style, subject and taste. It should shock, embarass, or disgust you when you read it later. Do not stop see what you're writing. Do not stop for spell check. Do not stop, period. What you'll have done is opened yourself up for better reception. Your characters, from your work in progress, will feel confident and willing to open up to you more. They'll, I should say, flesh out better on paper. Which brings us to...

* ...Never judge your character's words or action. If you judge them, they will only tell you things that are PC. They will feel nervous and awkward or even stop being interesting. Does not make for interesting storytelling. Some of you may have a problem with this. 'What is he smoking?' will probably what you'll wonder. If you do, you'll have proven to yourself that you're no imaginative writer.

* Believe everything you write about. 'Would I, or any other real person do that?' should never occur to you. You've written it, and your characters just did it. 'Write what you know' is a bs advice to be ignored.

* Write the movie you would like to pay $10 and go see yourself. If it's the story of 'A man meets the girl of his dreams...in his latest dream. He wants to be with her forever, therefore becomes addicted to sleeping pills'...then be it. By the way...what a weirdly cool idea, isn't it? Just came to me :)

* Read, read, read and...read some more! I cannot stress that enough. Start with classic plays, vary the styles...Chekhov, Ibsen, Pinter, Beckett, Miller, Simon. Contemporaries like Mamet, Hare, Frayn, and the list goes on. Why a play? They're wordy! I know it's the opposite of how you write in film, but the purpose is to hone the rhythm with which you read/hear dialogue. These playwrights have written, and some continue to write, the finest and realistic (not real) dialogue and characters that when read out loud (loud enough for you only) you begin to 'hear' the characters in your imagination with a certain rhythm. That rhythm is your rhythm because it's the rhythm that defines you. Once you have that, your writing will find a rhythm of its own. Rhythm and clarity gives birth to style. A style that is recognizable as yours. Clarity is style.

* Avoid reading just any contemporary screenplays. Read good ones. If you've seen a film and have loved it, read the screenplay. Then again, screenplays aren't meant as literature pieces to read, but good screenplays are good screenplays.

* Stop worrying about how millions of 'brilliant' writers are not making it in the biz. That's their story. It does not affect your path, destiny or whatever you like to call it. Stop reading books, or listening to people, who promise you formula on writing and success. If they had any, they would have used it for themselves. Their formulas don't work, which is why they agreed to share it. No one shares their 'secret to success.'

* Listen to people you like and make you feel better. Listen to someone who gives you constructive criticism about writing. Listen to someome who listens to you, and understands your potential. Amidst all this insanity, there are wonderful people whose experience in the industry makes for valuable mentors. Find them and stick with them. Every good writer has a good reader. Be open to criticism. You'll be angry with someone for being honest, but they'll only do it for your own good without making it personal. Avoid people who think they know the real world and constantly warn you about the reality. Avoid bitter and gloomy people. It's not a requisite to be an 'artiste'...which brings us to...

* Screw the so-called 'artistes' and the wannabes, the type who think they're above regular people. Just because you think you are an artste writer type and people call you one doesn't give you the license to behave like an asswipe. Without craft there is no art, without humility there is no human. Made that one up just now, but it works. Which brings us to...

* Live life, dammit! To write is to create is to reflect is to hide is to emote is to love is to doing it all your way. Your voice is what makes you unique, your face is what makes you unique, your body is what makes you unique. Then why shouldn't your writing? Don't try to fit in. Fitting in is a lot of work that a lifelong struggle doesn't satisfy.

I guess I stepped a bit away from 'real' writing tips, but what the hell can anyone do about it. I should exhale now. I'll share more 'Philosomon' when I have them. Happy writing!

What's 'Shooting' Lately??

2005-12-04T15:07:00.000-05:00

So, I have just passed the first month of editing the US Screenwriters Network bulletin. There are now over 1500 writers, directors, producers, prod. companies, agents, film lovers, and film festival people who've signed up to receive the daily (Mon-Fri) issues.

It's unlike anything else I've done over the years. This blog was started partly because I needed a place to share with people what I'm thinking at a certain time, and to promote stuff I've been up to, but never have a regular crowd. The bulletin guarantees an audience.

This is probably the longest I've gone without posting a new entry on Emonome. I have been devoting most of my time for the bulletin. Don't have a lot of readers participating in the bulletin posts, yet, but I've been getting emails about the TIP JAR section, which seems to be really popular. I end up entering the bulk of entries, each day, but it's all worthwhile. If contents in each bulletin has helped out one person in any way, then my job is well done. Hold, let me reach my back and pat it. There, there.

It does feel incredible when your work goes out to all these people each day. I love receiving complimentary as well as angry email from folks! It tells me they take it seriously. It tells me people care. I have no doubt the Shooting People publication will go very far and will enjoy a huge success. Just a matter of time.

CUNY BA Posts My Profile On Their Site

2005-11-14T13:59:00.000-05:00

City University of New York's Baccalaurate program, aka CUNY BA has just posted my profile on their website.

Profile

It's really cool. Anyone who visits the site will see my handsomely-photographed- face-by-way-of-cleverly-angled-pose flash by at the bottom left corner of the page. If you click on the photograph, it takes you to my bio.

Basically, a CUNY BA program marries two programs you love and wished could co-exist to create one major. In my case, I created 'Entertainment Marketing' by fusing classes offered by the Economics dept. and TV/R department at Brooklyn College.

Therefore, if one wants to keep seeing two different majors legally without being accused of being a ' major playa'(pun intended), (s)he has to move to the state of CUNY BA. I did, and I am glad I did it.

So, who died and made me the spokesperson of CUNY BA? No one. But the idea of the program has been obviously way ahead of its time. This is Education On Demand. Students should be able to customize their education and not just accept what's there. When life happens to you, that's a very important option to have.

Everyone has the right to a well-rounded and diverse education, and have it in their own terms. In a perfect world, there would be a place to fulfill that.

Maybe some place nice and CUNY.

Rebroadcast of Big Apple Short Radio Drama Festival

2005-11-12T17:26:00.000-05:00

WNYE FM 91.5 is rebroadcasting Part 1 of the Big Apple Short Radio Drama Festival. You can still catch the remaining broadcasts every weekday 6:30 till 7pm on 91.5 FM

If you miss the rebroadcasts, Writers Guild of America, East is streaming them from their site at

WGAE

For those of you who're new to all of this; I'd produced and directed a series of 40+ short radio dramas for the festival. Scripts were submitted by writers worldwide through notices sent out by WGAE.

Anyway, whether you're stuck in traffic between 6:30 and 7 pm weekdays within the Tri-State area or at home wondering what media to consume, tune in to 91.5 FM.

Here's the broadcast listing: Weeekdays 6:30 pm

Monday, Nov. 14:

"Audition Island" by Dan Fiorella

With Ian Pfister, Kate Sandberg, Michael Adrienne O'Hagan.

"Rip Van Winkle" by Louis Phillips

With Daryl Lathon, Meghan Scibona, Jason Nunes, Candice Holdorf, Don Downie.

"The Best of Bob and Ray"-- 4 episodes.

Tuesday, Nov. 15:

"The Best of Bob and Ray"-- 3 episodes.

"Early Morning Appointment" by Henry Kimmel

with David Levitt, Joycelyn O'Neill.

"Flashforward" by Shabbir Emon Hassan

with Don Downie, Candice Holdorf.

"The Best Confession" by Shabbir Emon Hassan

with Don Downie, Candice Holdorf.

Wednesday, Nov. 16:

"Two Moms" by Linda Umans

with Kate Sandberg, Michael Adrienne O'Hagan.

"Conversations with Didi Dewlap/ Auditions" by Elaine Powers

with Candice Holdorf, Sarah L. Stephens.

"The Best of Bob and Ray"-- 3 episodes.

Thursday, Nov. 17:

"Beth and Samantha" by Jocelyn Meinhardt
with Carol Jacobanis, Jennifer Riker.
"Adam Rabonowitz" by Andy Bornstein
with Daryl Lathon, Casey Cole.
"The Best of Bob and Ray"-- 3 episodes.

Friday, Nov. 18:

"Conversations with Didi Dewlap/ Evangelizard" by Elaine Powers

with Candice Holdorf, Sarah L. Stephens.

"Miss Moonlight" by Luiza Carol

with Carol Jacobanis, Chris Clemens.

"The Best of Bob and Ray"-- 3 episodes.

Monday, Nov. 21:

"The Legend of Annie Oakley" by Louis Phillips

with Don Downie, Meghan Scibona, Jason Nunes, Candice Holdorf, Daryl Lathon.

"Conversations with Didi Dewlap/ The Hex" by Elaine Powers

with Candice Holdorf, Sarah L. Stephens.

"The Best of Bob and Ray"-- 3 episodes.

Tuesday, Nov. 22:

"Conversations with Didi Dewlap/ Pet Psychic" by Elaine Powers

with Candice Holdorf, Sarah L. Stephens.

"Hannah Montana, Cowgirl of Big Sky Country/ Amethyst Cowboy" by Irwin Gonshak

with Ian Pfister, Kate Sandberg.

"The Best of Bob and Ray"-- 5 episodes.

Wednesday, Nov. 23:

"Hannah Montana, Cowgirl of Big Sky Country/ Born Again Tree Hugger" by Irwin Gonshak

with Ian Pfister, Kate Sandberg.

"The Noisy Awards" by Dan Fiorella

with Ian Pfister, Kate Sandberg, Michael Adrienne O' Hagan.

"The Best of Bob and Ray"-- 5 episodes.

Thursday, Nov. 24:

"Time Square Revisited" by Irwin Gonshak

with Daryl Lathon, Casey D. Cole.

"Please Excuse the Interruption" by Andrew Greene

with David Levitt, Jocelyn O'Neill.

"The Best of Bob and Ray"-- 3 episodes.

Judging NY FESTIVALS

2005-11-08T12:08:00.000-05:00

'I'll be the judge of thaat!!??', I exclaimed as I received a letter couple of months ago from the NY Festivals organizers. Holy Day O' Connor! This is a new stage in my life. Actually sitting there, chomping on pastries and fruits, and giving programs ratings between 1 and 10?!

I'd known about the NY Festivals. They've been around since the 50's, but never dreamed of being in a panel.

I'm writing today since my judging duties are over. The awards will be handed out in January. Last night was my second session. I'd done the other in October. Both were great! I got to watch programs most of you haven't had a chance to. There were also International programs, some in English and some not, and the quality ranged from 'What did I just watch!' to 'Oh yeah'. The categories ranged between drama series and music videos.

There's no point in getting into details about the judging process, but it was a great experience for me. I met some cool people there and I understand these award selections a little better now. A lot better.

You can find more info on the NY Festivals by clicking on the title.

Editing Shooting People's US Screenwriters Bulletin

2005-11-08T11:44:00.000-05:00

Pretty late in posting this news here, but better late than...you get it. I have recently been made Editor of the US Screenwriters Network bulletin. This is a newborn from Shooting People based in th UK. SP has surpassed 20,000 members and is rapidly finding more and more film people joining every day.

Why do they keep doing that? I'll tell you why I did last year. I got to set up my online card, set up an account, receive daily email bulletins about NY Filmmaking events, and post my own messages on the bulletin...all for FREE. How cool is that!

Anyway, I've found many people I went on to work with on my projects from Shooting People. It makes things easier to look for people, projects. It makes sense that the organization would branch out into other divisions, just as they have done in the UK this past 8 years. In UK, SP has separate sections for doc makers, screenwriters, a weekly script pitch bulletin that makes it to 5,000 subscribers, and tons of festival and events info.

Why can't we do something like that in the US? And so they did. SP has, by the way, patronage from some very well known filmmakers who participate in SP events and support and love the org's efforts and accomplishments. Mind if I drop a couple of names here?...I didn't think you would...Albert Maysles, Morgan Spurlock, Danny Boyle, Mike Figgis, Stuart Beattie (a great supporter of the Screenwriters bulletin), and many more.

How did I become the Editor? Very good question. It just happened. One of those fortunate events in life you have no explanation for, but you would be foolish not to embrace it. I'd seen an ad on NY Filmmakers bulletin (the first SP bulletin in US) asking for an editor who would edit/moderate the new launch. To this day I don't know why I decided to email wonderful Jesse, editor of that bulletin, and ask about what it takes to edit a bulletin like that. Before I knew it, we were talking about the possibility of my editing the new bulletin. I met up with her a couple of times for informal interviews, exchanged email with the founders of SP in the UK...and forward to last week...the first issue of the bulletin.

What made me stand out, apparently, is my writing this blog. So, I should thank the blog and you readers (whisper: who read but never post comments)...yes, I thank you anyway. I would like to say my good looks were thought of as a possible subscription booster and , but that would just be the truth, wouldn't it. Where's the fun in that? Now, wait a minute there...that nose job was a gift!

Is this where the pitch enters? Yes, mon ami!

You can join Shooting People for FREEEEEEE by clicking on the title of this post. To receive both bulletins, you just hafta click on the boxes on the HOME page.

'THE RAVEN' now on PRX

2005-10-29T01:01:00.000-04:00

A radio dramatization of the classic E A Poe poem.

Adapted by: William Spear.

Narrated by: Thos Shipley.

Original Score by: Kevin Mahonchak

Running Time: 9:09 minutes

Produced, directed, and edited by: Emon

Listen to The Raven for free on PRX.

Bloggers You Should Know About...And Read Regularly

2005-10-20T23:04:00.000-04:00

So why haven't I found out about these people sooner? Screenwriters who are sharing their art and craft with thousands of people each day....for FREE!!

Screenwriters who actually work and make a living writing screenplays.

How many working screenwriters do you know who'll take the time out to answer your questions?

...tick tock...tick tock...tick tock...

Need I say more?
Anyways...here are a few people all you folks should know about and follow their postings regularly (don't forget me in that process, though...I'm trying my best to share my own thoughts and musings...{is that a real word?}... with you folks). Wow...this last sentence reminds me of a flashback within a flashback a la STAND BY ME.

Anyhoo...here they are. Permalinks also at the sidebar.

John August

Screenwriting by Blog

Screenwriting Life

Complications Ensue

Kung Fu Monkey

Screenwriting

What does anybody know?

2005-10-10T23:53:00.000-04:00

The rate at which things are being invented, developed, and updated these days will lead anyone to believe that soon people will run out of things to uncover. So, when you think you've seen it all, stop and think again. Have you?

Editor of Live Sound International, Keith Clark, while doing research on a project, found these quotes that I'm presenting below. Clark's editorial was more to make people who suffer from 'foot in mouth' disease, and think they've said some really dumb things, feel better. I've found it quite remarkable and couldn't wait to share with you all.

1. "Who the hell wants to hear actors talk?"--H.M. Warner, Warner Brothers, 1927

2. "This telephone has too many shortcomings to be seriously considered as a means of communication. The device is inherently of no use to us."-- An internal Western Union memo, 1876

3. "I think there is a world market for maybe 5 computers."-- IBM Chairman Thomas Watson, 1943

4. "There is no reason anyone would want a computer in their home."-- Ken Olson, founder, chairman & president of DEC, 1977

5. "Everything that can be invented has already been invented."--Charles H. Duell, director of the U.S. Patent Office, 1899

6. "A rocket will never be able to leave the earth's atmosphere."--The New York Times, 1936

7. "But what...is it good for?"-- An engineer at the Advanced Computing Systems Division of IBM, 1968, commenting on the microchip

8. "The wireless music box has no imaginable commercial value. Who would pay for a message sent to nobody in particular?"--David Sarnoff's associates in response to his urgings for investment in the radio in the 1920s

9. "The world is coming to an end in 1950."--Historian Henry Adams, 1903

10. "There is no likelihood man can ever tap the power of the atom."--Nobel Prize-Winning Physicist Robert Milliken, 1923

11. "Television won't last because people will soon get tired of staring at a plywood box every night."--Producer Daryl Zanuck, 20th Century Fox, 1946

12. "Drill for oil? You mean drill into the ground to try and find oil? You're crazy!"--Drillers who Edwin L. Drake tried to enlist in his project to drill for oil, 1859

13. "The atom bomb will never go off-and I speak as an expert in explosives."--U.S Admiral William Leahy, 1945

14. "By 2000, politics will simply fade away. We will not see any political parties."--Visionary and Inventor R. Buckminster Fuller, 1954

15. "You ain't going nowhere, son. You ought to go back to driving a truck."--The Grand Ole Opry's Jim Denny to Elvis Presley, 1954

16. "The concept is interesting and well-formed, but in order to earn better than a 'C', the idea must be feasible."--A Yale University management professor in response to student Fred Smith's paper proposing reliable overnight delivery service (Smith went on to found Federal Express)

17. "And for the tourist who really wants to get away from it all, safaris in Vietman."--Newsweek magazine, predicting popular holidays for the late 1960s.

William Goldman hit the jackpot long time ago when wrote, "Nobody knows anything."

If you have more such quotes to share, please do.

Thank you, Keith Clark, for sharing this with your readers!

Top 10 horror films of all time? You decide.

2005-10-10T22:45:00.000-04:00

UK film magazine Total Film conducted a poll recently and came up with the Top 10 horror films of all time.

1. TEXAS CHAINSAW MASSACRE (1974)

2. HALLOWEEN (1978)

3. SUSPIRIA (1977)

4. DAWN OF THE DEAD (1978)

5. THE SHINING (1980)

6. PSYCHO (1960)

7. THE WICKER MAN (1973)

8. ROSEMARY'S BABY (1968)

9. DON'T LOOK NOW (1973)

10.CANNIBAL HOLOCAUST (1980)

Read full story on the BBC website

My Question Selected for Filmmaker on PBS

2005-10-03T16:10:00.000-04:00

Well, it's not like I've won the Emmy or anything.

I'd seen Hubert Davis's film HARDWOOD on the PBS series P.O.V and, naturally, wrote to ask what equipment he'd used (I do that a lot). The question was selected and Mr. Davis was kind enough to answer. The response is now posted on PBS.

Woody Allen 101

2005-10-01T14:30:00.000-04:00

I declare that Woody Allen is one of the best writers/directors in film. Not just comedy, but in film altogether. I've seen people dismiss his films because of incidents in his personal life which is a ridiculous thing to do.

Why is he great? As a comedy writer, he is way way up there. One can judge from the various prose, plays and films he has written. His ability to write dialogue is unmatched. His scripts are tight, well constructed, and are always full of surprises. Like any filmmaker, he has his hits and misses but he manages to keep writing script after script ever year.

As a director, Allen's ability to bring out great performances by actors is noteworthy. Why do you think his films always manage to have who's who of actors? I've used the following analogy before. He is more like an orchestra conductor than a director. Actors take huge leaps in their portrayal of his characters. Now why do they do that? I'm sure each one of them will have his/her own reasons.

One aspect of Allen's direction is never discussed and that is his shot compositions. I have yet to see an unnecessary shot in his films. There're no clever eye catching camera movements. Don't get me wrong, his films have several, very clever and genius camera works, but they never attract the viewers attention away from what's important on screen, the performance. He is a minimalist in his shots with very little close-ups, inserts, and fast cutting. A lot of his scenes are simply master shots. His camera is almost never in the actors way. Quite ingenious the way he blocks the camera and actors to create smooth and seemingly effortless performances. It's difficult for me to remember crafty amazing shots or angles in his movies by themselves. They are there, no doubt, but none can be singled out like that long take from 'Citizen Kane'. However, the moments those particular shots or angles were created for are quite vivid, and, I think, that's the way it should be. For example, there is a great sequence in 'Manhattan Murder Mystery' where a shootout takes place behind a movie screen with lots of mirrors. It's a breath taking sequence with fine camera movements and angles, but the impact of the scene goes beyond the technical construction creating a sequence that shows us how life is imitating art.

There are several books written on Woody Allen's film direction and writing style. I'd rather discovered things my way. Although I have read interviews with him. I must admit I didn't like his films some years ago. It all changed after watching 'Sweet and Lowdown'. Still have a few of his films remaining to watch, but I'm getting there.

Here's something a lot of people wonder as to why Allen plays himself in his movies. Why does he have to be in the movie? Ahh, a good question indeed. But listen to my take on that. Think of 'Seinfeld', all four main characters are great and all, but would the series have worked without George Costanza? If you really think about it, all the movies that Allen's been in can only work because he's the glue that holds everything together. His presence makes all the other premises, situtations, and plots acceptable no matter how over the top they maybe. My explanation makes sense to you?

No doubt Woody Allen's a genius. His films are very intelligently designed with real, yet over the top, characters, unusual, yet familiar, situations, and all tied together with a chain of wit. He is one of the greatest American filmmakers...period.

A suggestion about watching Allen's films. Multiple viewings. Although, like any episode of Seinfeld, every time I try to watch his movies to analyze shots and compositions, I find myself, each time, captured in the story.

Below is a list of films I recommend starting out with (if you are unfamiliar with his films). Happy viewing.

1) ANNIE HALL

2) INTERIORS If I'm not mistaken, his only dramatic feature.

3) MANHATTAN

4) A MIDSUMMER NIGHT'S SEX COMEDY

5) ZELIG If you think 'Forrest Gump' was the first movie to use existing footage technique, you need to see this.

6) BROADWAY DANNY ROSE

7) PURPLE ROSE OF CAIRO

8) HANNAH AND HER SISTERS

9) RADIO DAYS

10) HUSBANDS AND WIVES

11) MANHATTAN MURDER MYSTERY

12) BULLETS OVER BROADWAY

13) MIGHTY APHRODITE

14) SWEET AND LOWDOWN Sean Penn's best performance on screen.

15) SMALL TIME CROOKS

Woody Allen Movies

A site for all things Woody Allen.

Best Music Video of The Year

2005-09-30T12:30:00.000-04:00

Recently saw Audioslave's new video Doesn't Remind Me on VH1. Reminded me of Pearl Jam's 'Jeremy'(Click on band's weblink and watch video) and Soul Asylum's Runaway Train. This video is an example of great storytelling and masterful editing. Videos rarely say anything these days, and director Chris Milk essentially made a powerful short film with the band's material. The band made the decision of not appearing in the video and it tells something about them, "It's the story, dammit!"

See for yourself.

Homegrown, Yet Not Known (Maybe)

2005-09-29T13:24:00.000-04:00

Howdy everyone!

I'm baaack! Recommending some of the titles made in the US of A. Some are older titles, some are newer, and some you probably seen to death, yet need to watch it anew. Some are Hollywood, some are not, some are too good to stay under the radar, and some have just slipped through the saturated mass of lard infested movies.

Note: Prepare to see the word 'brilliant' appear many times throughout. Times like these I miss my 'Roget's 21st Century Thesaurus in Dictionary Form'. Oh Roget, why did you have to be a couple of inches away from my arms reach?

KISSING JESSICA STEIN.

All you dudes would love to know it's a woman talkin' about kissing Jessica. All you ladies would love to know that it's not a dude's idea of a lesbian movie. It is, in fact, not a 'lesbian' movie. Hate that term. It's a gem of a movie about two women in love!

IN THE BEDROOM.

Maybe I'm an idiot for thinking not too many have seen this great film. Maybe I'm not. Another gem!

13 CONVERSATIONS ABOUT ONE THING.

I think I've talked about this little masterpiece before. If you haven't seen this one yet, you are not an indie film lover.

PERSONAL VELOCITY.

Before making my third film, I'd watched this film over and over. Why? Beacause DP Ellen Kuras shot it on miniDV with almost no artificial lighting. The DVD devotes a commentary track with Kuras who talks about the problems and joys of shooting the movie on miniDV.

MiniDV or pinhole camera, I wouldn't recommend it if the film was no good. Rebecca Miller does a great job of disappearing as a director and guiding a great cast of actors.

SWIMMING WITH SHARKS

Why George Huang did not become a sought after writer/director after this film, I'll never know. A great first movie, yet people hardly know about him. Did you?

FREQUENCY.

I've seen this one how many times, I don't know. Such a great, great movie! brilliant story telling with a lot of heart. Father and son stuff gets me and I've admitted to bawling my eyes out after watching this version of DEATH OF A SALESMAN with Lee J. Cobb. Also the Cat Stevens song 'Father and Son' gets me going too.

Anyway, FREQUENCY is a Hollywood production that gets better with repeated viewing.

STIR OF ECHOES.

This one got buried by THE SIXTH SENSE because they came out around the same time. This David Koepp directed film will keep you on the edge of your seat (Give me a break here. I can't come up with anything smarter than that). Just in his early 40s, this guy's credit list will either inspire or have people give up and apply to law school. Not that law school would be a bad decision.

PRAYING WITH ANGER.

Since we brought up THE SIXTH SENSE, check out this early Shyamalan pic where his cameo is so big, it ends up being the starring role. My intro to Shyamalania in 1998.

JACOB'S LADDER.

Cue Bob Dylan...How many listings must one film have, before you rent it and watch?...end cue. Yes, you're right. I've listed this Adrian Lyne film numerous times already. So, why haven't you seen this one yet?

LOVE AND DEATH ON LONG ISLAND.

Brilliant film with John Hurt, yessiree...the Elephant Man himself. Question: How many films with John Hurt have you seen without realizing they had John Hurt in them? Click on the name link to his credit list and prepare to be shocked! Or pleasantly surprised, if that suits your heart rate. For example, did you know he played the billionaire S.R Hadden in my favorite sci-fi film CONTACT?

VANYA ON 42ND STREET

A brilliant film based on a classic Chekhov play. It may sound boring, but it is anything but. If I'm not mistaken, the location of the film is the current Ford Theater in Times Square, then almost in ruins. Brilliant performances by a cast of actors, including Julianne Moore.

THE SPANISH PRISONER and HOUSE OF GAMES.

Two David Mamet films. You will love both of them, no doubt.

MEAN CREEK.

A great indie film. Came out last year. Very well narrated with no boring moments.

DANGEROUS LIVES OF ALTAR BOYS.

This one should not be missed. Just a wonderfully crafted film with some young actors. Animation sequences were used brilliantly to tell the live action story.

There you are, Filmophiles. Hope you enjoy the list of movies. If you don't, too bad.

+++All of the above selections can be borrowed from New York Public Library.+++

Foreign Exchange Cinema

2005-09-28T13:26:00.000-04:00

Here, again, goes my film list.

Takashi Miike's
GOZU.

You think you've seen it all? You think David Lynch's films are far out? You don't know weird until you've seen Miike's films.

Hany Abu-Assad's
RANA'S WEDDING.

A beautifully crafted film shot on location in Jerusalem.

Ken Loach's
THE NAVIGATORS.

A foreign film listing? Maybe not, but I'll put it in just to make you watch it. Loach's characters don't live on screen. They live off and show up on film. I consider him one of the great filmmakers. This film is funny, sad, and real. There's no acting here. Just being.

Chi-Leung law's
INNER SENSES.

Hong Kong's answer to a little known, neglected film called THE SIXTH SENSE. SENSES is Leslie Cheung's last film before he committed suicide. Cheung is well known for the enormous FAREWELL, MY CONCUBINE.

Kiyoshi Kurosawa's
BRIGHT FUTURE

I've bragged about Kurosawa's (not that Kurosawa) CURE many times before. CURE is one of my all time favorite films. (My all time fave list runs prett-y long, by the way). BRIGHT FUTURE can be paired up with GOZU, as two unusual 'non-genre' films, to watch back to back.

Again, all of the above can be borrowed from the New York Public Library (click on the sidebar link).

The School of 'Panic Room'

2005-09-26T13:32:00.000-04:00

Was watching Jean-Pierre Jeunet's A VERY LONG ENGAGEMENT the other night. Great movie! The extra features on the DVD, however, even more. One behind-the-scenes featurette covered almost everything from storyboarding sessions to the finished product in detail, complete with ADR recording, wild sound recording, costuming etc. While it's a common feature on DVDs, I hadn't seen any that has step by step progression of filmmaking in such detail. Being a big sound guy, I was amazed to learn that the sound recordist was essentially the director of all things sound in the film, even directing actors re: sounds and noises. The film has an amazing look and feel, and the DVD shows the viewer how exactly the filmmakers have acquired that. For aspiring filmmakers and established filmmakers alike, behind the scenes features are a great way to learn how other filmmakers work. You can't have a better tool for learning with a pause and rewind button.

Sound desginers would appreciate extras on 'Spider-Man 2' and 'The Bourne Supremacy' DVDs, especially the latter where the car chase sceen is broken down into several segments that viewers are able to check out as an interactive feature.

Robert Rodriguez's 'Once Upon A Time In Mexico' bears a '10 minute filmmaking school' extra that pretty much gives the viewer an insight to his philosophy of filmmaking, which is a 'who gives a rats ass how it's done, this is how I do it, and so can you' approach. Must admit to loving that approach meself.

All this was well and nice until I got the 3-disc set of David Fincher's PANIC ROOM. Hands down the best extra features put in a collection. Worth every penny! Disc 1 has the feature with two separate commentary traks. Disc 2 deals with pre-production and production phase of the movie. Let me tell you what that contains, because it's like going to film school with Fincher. The disc includes footages of every camera test, lighting test, and lens test they've donee before filming as well as provided tech specs of lens and lighting. It has footages of all the explosion tests, Previs demos, storyboard demos with two commentary tracks as well as two separate tracks with production sound and final mix of the first 20-30 mins of the movie. The production section features an hourlong documentary called 'Shooting Panic Room'. For someone like me who always has a 'How was that done?' question when watching a film, these features are manna from heaven. It's almost as good as being on the set. At least it was for me.

Disc 2 does the same. Separate sections on Scoring, Digital Intermediate, Sound Design, VFX, and a great section where certain parts of the film are demoed from the script stages to final mix, complete with footages of dailies and tests.

David Fincher is one of my favorite directors and to be able to see his approach to filmmaking in such detail is extra special. This is a must see or have, if you ain't broke like me, for any filmmaker.

Did you know?

Nicole Kidman was cast and had worked for 3 weeks on Panic Room. After she had to leave the production due to an illness or something, Jodie Foster was cast in the last minute. Foster, eager to work with Fincher, left the Cannes Film Festival jury board and flew to work.

Useless information, you say. So why read this far, pal?

What is WHAT?

2005-09-23T13:10:00.000-04:00

And WHAT is what I'm here to introduce. WHAT is 'Washington Heights Artists Theater', an organization I'd founded earlier this year to create a community of artists living in and around the Washington Heights area. A site that would provide information, news and links to folks taking the A train home...or C...or 1. Fine, M4 and M5 buses too.

Be sure to click on the title to take a gander at the new site. Leave comments, suggestions, ideas and a check for $100...just kidding about the comments.

I hope to make a new meaning out of 'What happened?'

OOOOOHH...I finally have my title subheader. Yipee!

Weir No Angel...But He Is One of the Best Directors

2005-09-13T23:39:00.000-04:00

Awesome title, ain't it? Hate it? Oh don't say that...I've stayed up all night to perfect it. Some respect in a plastic bag, please. Tabloid newspaper titles crack me up. I have to share a couple of examples...'Housekeeper stole Bobby's Dinero'...or 'Brown "Bagged"'...after Michael Brown resigned, or 'No Supe For You'...after some football team lost earlier this year. The list goes on...

Okay, let's not keep ya'll in suspense here. This post is about Peter Weir, the great Aussie di-reck-torr. Why him all of a sudden? That's because I had a re-realization (it's a blog, people. I can re-anything)...after watching three Weir films in a row (with long HBO breaks, and showering) that he has to be in my 'Favorite Directors'list, the Top 10 kind. I wondered, then, why he hasn't already yet. After tearing off a few sideburn follicles, I came to the conclusion that I have been blind to his magnificence. Yeah, that must be it.

Anyway, the films were 'Dead Poets Society' (my 4th or 5th viewing...wait, you're telling me Robin Williams is not a real Captain?), 'Fearless', and 'Master and Commander: Far Side of the Vearld...' Of course, there's the 'Truman Show' and 'Green Card' and 'Witness' and 'Married...with Children'...kidding. But anyway, my point is...if you watch any of these films, especially the three I'd mentioned watching, you'll see 3 things that gets a director the title 'Great' behind or after his/her name.

1. (S)He becomes invisible.

2. You let your disbeliefs hang out to dry.

3. And the big one...the story finds its ideal interpreter.

Watching 'Dead Poets', I realized (I realize a lot, if you've noticed) that each character, if played by the actors slightly differently, would have crashed the movie. A good director, after all, is like a conductor...thank you, but not talking about the Public Transportation kind. A good director makes unfolding of things look easy and effortless on screen. A good director finds a balance. Ah, balance...that's the word. Most of all, a good director makes it look like there was no director at all. Which is why Woody Allen is up there in the Top 10.

So...this is my cue to rave about 'Fearless', one of the best films I've seen. The way photography, music, sound, and performance come together as unified story teller is a great example of a director understanding balance. The opening and closing sequence of 'Fearless' is just a small example of Weir's brilliant filmmaking.
I would urge filmmakers to listen to...I repeat...listen to 'Master and Commander' once, and then watch the film with the sound turned off. You may want to do that with all your favorite films, but it will show you why Weir conducts great talent behind and in front of the camera with sure hands.

Note: DVDs are the best film school text books you'll ever buy...or borrow.

Therefore, my friends, don't feel weird about re-visiting Weir. (crickets chirping)Yeah, that'd be my cue to re-think the whole humor writing thing. You can stop sweating now, Dave Barry.

Untitled Diary Part 4: To Crew or Not To Crew

2005-09-08T00:08:00.000-04:00

Anyone who thinks (s)he can get away without a crew to make their film is nuts! The value of a good crew in any film is...well, priceless. If your vision is to be realized with the greatest precision, you need a good team of crew members. Then again, notice I said 'good' before I said crew.

What do I mean by a 'good' crew? Great schooling? Excellent background? Knows their sh...tuff? All of the above would be great, but would it be affordable for yor pre-Spielberg phase? I've heard a story and, it seems, so have a lot of other people, about an NYU student who spent $30,000 for a 10 minute student film. I've even heard that number to be just slightly, oh let's just say $70,000, more. Bless that person for buying that MegaMillion ticket the previous year.

Getting back to the point here. Finding a good team of crew members who'll work for 'exposure' and 'great experience' is very unlikely. Do you really think good gaphers and grips are sitting on their behinds and wondering, 'How should I say no to Ridley Scott when he begs me to be in his film?' (A lot of actors, writers, directors, on the other hand, do.) No, they are constantly working, networking, and working it. Is there a ghost of a chance you will get to work with them on your film?

And please, show some respect to Sound Recordists and Boom Mic operators. Even before you start filming, if you can. It won't hurt you to consult with them while you go location scouting. Never say 'we'll fix it in post'...it's obnoxious, and is akin to Wofgang Puck frying your steak and saying 've'll feex it at ze dinner taybol'...or something like that. Provided, again, if you're working with a good sound crew. I've always thought yelling cut on a 'bad' sound take is as important as the 'bad' picture take. Maybe I love the aspect of sound too much, but if you disagree with me in saying that sound is not 60% of a successful film, then stop reading this post right away and go take off your speakers and watch everything silent. A lot of filmmakers tend to put a music bandage on bad sound in their films. It's like putting bandages on a triple bypass cut. It's obvious. Don't the filmmakers listen to their favorite movies? Even better, don't they listen at all? Music on film is almost always simultaneously playing with the ambient sound. You heard me?

Am I ranting here? I should really talk about what I'd started to. And that is, when do you not crew? When you possibly can't afford to. Or when crew members won't return your calls or answer your emails or postings. A lot of people think they can do crew work, but a lot of people think they can act too. Would you get people who think they can act in your film? I didn't think so.

I have been proudly saying how I've filmed this project without a crew. Do you really think I would have done that if I had a great DP, camera operator, lighting designer, and a sound recordist available to collaborate with? Collaboration doesn't mean getting your name on a separate card during opening or end credits. It seems everyone talks of collaborating because it makes them feel important. To collaborate means to bring in and share an aspect of individual filmmaking expertise to the set. It means being creative in the best and worst circumstances. It means to think of the film first. How many people have we worked with who think they're incredibly talented with nothing to show for?

Therefore, if you can't find the right crew, don't crew at all. Sometimes the right crew person is the right person with the right attitude and drive, minus the experience. That person will do their best to learn on the job, and you'll know if they'll be helpful on the set. There's nothing wrong with learning on the job. I've done that with radio and I've done that with this current project. In the end, I'm glad I didn't have a crew. The amount of sweat I've let trickle down my forehead is testament to the hours I've had to put in to get it right. Learned a lot during the process. Best of all, learned my own shortcuts and...secrets. Thanks for asking, but not sharing them with you.

Do it yourself, and as much as you can handle, if there're no options. The worst that will happen is, you'll not get quite what you want. Any experience, whether or good or bad, teahces you something good, nonetheless. The best thing to learn from any experience is what NOT to do in future projects. Also, every project is a way to learn about your own self. You are bound to surprise yourself, but it has to be a challenge. "And that's", as Miss Martha would say, "is a good thing."

Untitled Dairy-Part 3: Pullin' Focus and Camera Holding

2005-09-03T00:29:00.000-04:00

Allow me a few bits of reflective thoughts on the 'Untitled' project. While it was a great experience for me to burn and learn (the best way to learn anything, in my opinion) I have a new found respect for an aspect of shooting that is taken for granted...focus pulling. Watch any film and notice how perfect the focus puller's executions are. I'm sure all you DV filmmakers know that auto focus on DV cameras can be a be-yotch when shooting moving objects or unevenly lit areas. It tends to focus on the brightest spot, for those of you who went...'whaa?' With the AG-DVX 100 A, I've had to constantly maneuver my left hand back and forth from the iris and focus ring.

How, you ask? You cradle the camera with the palm of your left hand, keep the forefinger on the focus ring and the thumb on the iris wheel. With available lighting, you better know how you to multi-task your digits. Let's say, the scene involves a character walking in from outdoors into an apartment building, walks down the hallway and enters the apartment, walks through the corridor of the apartment and settles by the brighlty day-lit window. What's a Haskell Wexler to do? My solution was to manipulate iris settings with the varying lighting throughout that passage. Keeping focus was hard, but practice makes perfect. For those who have pets at home...you get my drift.

Anyway, getting back to my salute to focus pullers...I salute you. You folks deserve a round of applause.

On to other camera related thoughts. I've heard a lot about how the eye piece gives a more accurate picture than the LCD screen on a AG-DVX 100 A. Baloney on a rye! For the whole production, my true friend was the LCD monitor. At the end of a shoot day, I'd play the scenes on a television set, and it was very close to the LCD screen. Maybe I didn't set up the eye piece right, but it always seemed milky bright. Also, don't let the Zebra thingy fool you. A little bit Zebra on the picture can be good. Again, it's all a matter of taste. I have no Cinematography background, but I know how I want my pictures to look like.

In the end, what matters is if the image you see on your Panasonic Omnivision with 4 Head FM Radio Stereo TV closely matches the picture in your head. Note: It will never match your vision...but if it's 70%, you've done well.

Regarding camera operation, I've mostly shot hand held. Tripod-ed a few shots, but I wanted that documentary look anyway. I've done a lot of CU because in times of editing, they will come to your rescue. I've chosen a lot of unusual angles, not to show off my 'vision', but they've helped me with maintaining continuity. Okay, I admit to a few pretentious angle shots, but, hey man, it all worked.

I have to say a word or two about angles. So far, I've almost never chosen an angle to say something with it. They've always been an instinctive decision. Once I see characters in a scene, the inner Emon's voice chirps..."Third Man" "Third Man". You should listen to your inner voice too. Not always will your planned angles and compositions work on the set. The location is where your final decisions should be made. Again, my opinion.

Feel free to post your comments and experiences. It's free to post here, you know. Don't be shy. Shyness brought me nothing the first 25 years of my life. The keyboard is mightier than the...sword? What's the new equivalent? Tap out some of that finely crafted sentences you've so longed to share...right here...on this blog.

Writers Guild of America streams radio plays

2005-09-01T12:14:00.000-04:00

Part 1 of the recently broadcast Big Apple Short Radio Drama Festival on WNYE has been uploaded for streaming by Writers Guild of America, East

I was the festival director and one of the producers besides producing, directing, and editing all the Hassberry Theatre Company plays.

Thank you, WGA, East!

'Untitled' Diary: Part Two

2005-08-30T23:11:00.000-04:00

Original shoot days planned: 12-13.

Equipment pick up and drop off dates: August 18th and September 1st.

Actual shoot days: 5

Shoot Start Date and Time: Thursday, 25th around 4:00 PM.

Shoot End Date and Time: Monday, 29th at 9:45 PM.

Total hours captured on tape: Approximately 11.

Total hours on location shooting: Approximately 36.

Number of crew members planned for shoot: 2...Sound and Camera.

Number of crew members eventually: Just me.

Verdict: I'm happy it was just me. Was able to plan and execute everything I'd planned on location.

Obstacles as a lonesome crew member: Not too many. I didn't log camera or sound report. Minor inconvenience with changing tape and batteries and hooking up light and sound, but it was worth it. Took some getting used to, but was fine. Was a bitch capturing long scenes hand held.

Advantages as a lonesome crew member:Was able to monitor all aspects of shoot. Lot more freedom in moving around actors. Was great capturing long scenes. Settings were more intimate, quiet, lot less clutter and actors were able to focus a lot more. Was able to schedule shoot time and breaks with lot more flexibility. Was able to cater to changes very quickly.

Number of actors going in: Approximately 11.

Final number of actors: 4.

What happened: Everything a traditional shoot couldn't dream of.

Verdict: Couldn't have worked with more perfect actors for the project. There were new changes to story, character, location and actors almost every other hour. The actors took those changes in moments notice and applied them to project. Major change occured on Day 3. Lost 3 actors and a location due to unfortunate series of events. Due to the fault of none. Dropped two entire storylines and changed the course of the story. Toughest decision to make, but made it nonetheless.

First meeting with actors: Friday, 19th from noon till 7 pm, every hour.
First concrete story idea: Morning of Monday, the 22nd.

First character created: Adam.

Last character created: Marie.

First major change in filming the story: Friday, 25th around 6 PM.

Last major change in filming the story: Monday, 29th around 4 PM.

Last addition of any kind to character of story: Monday, 29th around 8 PM.

'Untitled' Diary--Part One

2005-08-30T22:32:00.000-04:00

Project Conception: Sometime in June

Project Summary: Two Week Shoot. Find the film during shoot and post. Largely improvised with actors working from and with given characters.

Reason: Didn't have a script when booking equipment. Had to use the opportunity.

Who to thank for project support: Prof. Katherine Fry and Prof. Frederick Wasser.

Who to thank for equipment support: George Casturani.

Who to thank for equipment and training: My good friend Kurt Odenwald.

Who to thank for having the balls to do the project: Um...you know.
Equipment booked: June 23, 2005

Equipment approved:

Panasonic AG-DVX 100A, two shotgun mics, two Lavalier mics, one Mole Richardson 4*200 watt Tweenies, one Rifa-Lite, one field mixer, a Quad box, a Fishpole, two headphones, two XLR cable, two AC cord, reflector, 2 floor mics.

Equipment eventually picked up:

Everything except Tweenies. In addition took tripod, light dimmer.

Equipment eventually used for entire shoot:

Camera and one shotgun mic. Also used tripod, one floor mic, one Lavalier mic, and couple of blue gels...but rarely.

Bought from hardware store:

A clamp-on reflector for $6.99, a Sylvania 65W flood light and a 100W clear bulb for use in a couple of scenes.

What did I do for lighting:

Used mostly available lighting, and whatever lamps and lamp like things.

Locations used for shoot:

Two.

Locations initially planned:

Close to 8 or 9, including Central and Fort Tryon Park, a cemetary, and a car interior.

On The 11th Day of Production---It's a wrap!

2005-08-30T01:30:00.000-04:00

Fresh from the location, the shoot is finally over. Officially it ended 9:45 pm last night, August 29th. As usual, after a project, I'll go through a period of depression. I'll then pick myself up, and move on to the next project.
As of right now, I have an intense feeling of accomplishment. I'll talk more about what actually happened in the next few days. Then, I may not.
But, let me thank the actors who've made it all come together, and made the process a lot easier. Their patience, commitment, and professionalism throughout filming has been nothing less than extraordinary. It's a leap of faith with this project, and they've given me immense support throughout.
Final cast list as follows:

Sarah L. Stephens.

Graham Stevens.

Noelle Teagno.

Geoffrey Barnes.

Thank you, Sarah and Graham, for putting up with me and my wild project. Thank you both for allowing me to film in your apartments. And most of all, thanks for your enthusiasm and patience. Your participation meant a lot to me, and has brought life to the characters. You've stayed calm amidst all the craziness during filming and have given performances beyond wonderful. Thanks for accepting last minute changes almost every other hour. They were big changes, but you both showed a lot of grace.

To Noelle. Thanks for the wonderful performance of Marie. Thanks for the impromptu dinner scene set up and your support of the film. You've helped lift the party scene to a higher level and have given it a touch of joy.

Thank you, Geoffrey, for bringing Peter to life with a letter perfect characterization. You've been brilliant all throughout pre- and production!

7th Day of Production (click here for project details)

2005-08-26T11:07:00.000-04:00

Yesterday marked the 7th day of production. It was a good day. Good day to learn things, good day to find things, and a good day in many ways. I had promised earlier to write about the project during production each day to, sort of, chrinicle the advancement of things. Unfortunately, the nature of the project doesn't permit me to actually write details of the day's shoot.

Ideas are coming to me as I film, and as I face obstacles. First, let me tell you why I can't give more details. The actors are participating with very limited information about there characters. They are also in the process of discovery, as am I, by improvising and finding out as they do the feeling, the attitude, and the character of their characters...for lack of a better terminology.

Now, I'll give some examples of the process of filming. Let's say I have a location, character in mind for a certain scene or storyline and for some reason something has come up, let's say, a big audition for the actor or the apartment being fumigated, then I have to find an alternative solution. In my case, with limited time it only means changing the story. Or, let's say an actor skinned her knuckles while doing a particular sequence, we worked that into the story.

In short, something is always changing, every day and every other hour. I have to find ways to not let that affect the production and use the changes in the story.

What do you do when the one light you have to work with does not work and you're shooting in an apartment lit only with fluorescent lighting? You move on. I don't have the luxury to wait for the right lighting, the right atmosphere, or the right anything. I have to film with what I've got, and believe me, it makes for some very big compromises, yet ones that make you keep it simple and clean.

I have to admit there isn't a whole lot of a difference between a well planned shoot and a shoot that has to go with what it's given, and that is, again, just my take on this. It's accepting what was captured on camera. The advantage to the latter is, you are more open to what happens in front of the camera and, like the former, not killing yourself for the best take. After all the best takes are never filmed. The best takes are probably 60% of the best take you've imagined. Searching for perfection is a luxury and requires a lot of patience, both of which are scarce in real life. I like the element of surprise in front of the camera, especially when someone gives me something I would have never thought up with the very characters I have sketched out for them.

I tend to go off on a tangent a lot, but the progress is going well. It's unfortunate that I can't share the whole story of the movie, or I should say the current version of the story, with anyone. Not even the actors, but they are appearing before me as the characters which is a very good start.

I have less than a week to go. With 6 days of surprises in between.

Fifth Day of Production

2005-08-23T21:22:00.000-04:00

Sad to not be able to work with OBSHBSFV DBLFT due to SAG technicality. The timing was just unfavorable. Had to change story line quite a bit. Her enthusiasm in the project moved me and I'll definitely find a way to work with her in the future.

Finalized two additions in the project. IFPGGSFA DBSOFU and ZQHZL KNQUZMR.

Fourth Day of Production

2005-08-22T22:40:00.000-04:00

Ahh the things the mind can do when time makes the clock gallop. Crystallization has begun and all those thoughts, ideas, and random images that have been floating around are finally settling down and are introducing themselves to one another.

A story for the movie was born today, dear friends. In the next few days, I expect to see it speak, take it's first steps, hit puberty, and go off to college wearing miniDV.

Each actor is being given, separately, his/her character outline.

Can't wait to see what happens when the characters meet on screen.

Third Day of Production

2005-08-21T22:49:00.001-04:00

Had a good day in many ways. Lots of advancement. Not a single frame is shot, though. Not a single word written in the script form.

Am I worried? Heck no!

Random questions:

Can you name the top 5 most educated countries in the world?

Who is Mircea Eliad?

Where did the term 'Steal my thunder' come from?

Name the first names of two famous Renoir's? Are they related?

Chicken or the egg?

Allow me the answer to that:

Chicken, because the egg...(to be continued)

Third Day of Production

2005-08-21T22:49:00.000-04:00

Had a good day in many ways. Lots of advancement. Not a single frame is shot, though. Not a single word written in the script form.

Am I worried? Heck no!

Random questions:

Can you name the top 5 most educated countries in the world?

Who is Mircea Eliad?

Where did the term 'Steal my thunder' come from?

Name the first names of the two famous Renoir's? Are they related?

Chicken or the egg?

Allow me the answer to that:

Chicken, because the egg...(to be continued)

Second Day-Part 1

2005-08-20T12:41:00.000-04:00

Getting to know the equipment phase. What I have is great for a one man operation, if used the right way, of course. Funny, or perhaps not, how the length of XLR cables, availability of shotgun and PZM mics, how many mic inputs available on the camera, and a single Riffa light will dictate a lot of what the movie will look like as well as the story. Some of that equipment I wasn't been familiar with (certainly never knew about PZM mics. Wonder what PZM stands for), but it's no rocket science. I have to thank my good friend Kurtmeister Andronicus (nick name) for a Cliffs Note tutorial that proved invaluable. Never underestimate the instruction manual either. And it's times like these that I thank myself for spending hours looking for articles, interviews, and reviews on various aspects of filmmaking. It didn't have to cater to one's immediate goals, because simply reading interviews with professionals can give you invaluable insight to your own plans.

I am perfectly aware a one man shoot scenario can prove limiting. But that's like saying the defined chord structure in the middle of a jazz standard is too limiting for Django Reinhardt to reach new improvisational stratosphere. Ask him, he's still alive and influencing people all over the world. Limited options are best when time is of the essence. It makes one go back to the basics and keep it simple and clear.

There are films that need a specific look, tone and structure, and the directors demand nothing less. Hitchcock films come to mind. Pedro Almodovar is another example, he is even known for line readings. Don't know if it's true, but it has worked wonderfully for him.

Then there are (were) directors like Cassavetes, Godard, Winterbottom, Kar-Wai, DeSica who take on a project with ideas, but are not married to it. Some of Godard's are still a little hard for me get into, but that's another story. I have to keep mentioning the Maysles brother's influence here. A perfect example of going with what you've got.

Alrighty then, enough talk. These little thoughts that I so willingly share with the Milky Way galaxy inhabitants on this blog, I found, are as much for myself to come back to as they are for dear readers entertainment. Many a times, one goes through a period of 'What am I doing with my life?', or 'I'm not sure of the career I chose', or even 'Who am I kidding...I suck!' phases. If you tell me you don't go through that, then meet me someday and I will salute you with national television coverage in tow. That phase I have compared to recharging the battery before attaching them to the camera. When the batteries are picked up from the box, they scream "Look at me, I am a mess...I am weak, insecure, and unsure of providing you with 6 hours of camera time as promised by my creator. I know when I started out I was full of promise, strength, and durability but I didn't care. But now, I have aged and have dents around my body, my electrons are sagging, and I don't look good around you any more. I don't want to disappoint you when I give out two hours in the middle of an important shoot...just let me go (sniff sniff)"

I'm being cute here but the moral of the battery reference is, after the re-charge...when the 'charge' light goes off, and it's all juiced up...the same battery screams out, "Bring it on, Scorsese".

Us humans are, therefore, not so different from our Joe Battery relatives when taking on the challenges ahead needs re-charging...and I mean the re-charge period that is Haagen Dazs eating, Kleenex finishing, calling mom and whining about life being unfair, other people blaming, shoulda, coulda, woulda wondering, miserable feeling, self-esteem vaporizing phase that would even scare Count Dracula.

But I'm glad life is referred to as a circle. I'm glad the clock is round and it always comes to a point where it chimes along with the opening bass intro of a 'Seinfeld' rerun. I'm glad we circle the sun and not Uranus. I'm glad what goes around comes around. I'm glad tomorrow is today with a new face. I'm glad we have an 'Empty Recycle Bin' component in our memory. Hard to find the icon so we can click on it like a mad person, but it's, people...always there under the folder 'Healing'.

I'd said enough talk some paragraphs ago. Don't trust me when I promise that. This self-indulging blog entry is about me showing off and I admit that. An entry in this blog makes me feel on top of the world for surprising myself with thoughts I didn't know lay dormant in me. It is my re-charge phase in the last seconds before the 'charge'light goes off. Right now...12:34 pm...I enter a feeling of unexplained joy. The cup of life will runneth over soon, but the joke's on life, I drink from a bucket, dammit. I feel lifted...and separated. And that, my friends, as Martha Stewart would say, is a good thing.

First Day's Review

2005-08-19T23:39:00.000-04:00

A very good first day of production. I've met with actors, and had a great first meeting. The energy is great, and the rush is in the right direction. Generally, production day means actual filming, but oh no...I had to, just had to make it more unusual, didn't I?

Anyway, a very good start I must say. I'll probably end up taking this weekend to shape the whole baby up. Then, we shall ask the movie fairy to bring it on.

Production Day One

2005-08-19T10:10:00.000-04:00

Today is a good day, my friends. To stay true to the pressure, no shoot is arranged for today. I'm meeting several of my actor friends and we'll go over the layout of the shoot. From today on, things should move very fast. The idea for the meet is to know each other's faces, places, attitudes, schedules, ambition, goals, ideas, back stories etc.

There's a reason this cast and crew came together for this project.

Finale crew list:

Emon

No I did not miss anyone. That's all.

Semi Final cast list:

ISBIBO UUFWOU, QZQZF QSDOGDMQ, AZQNJ HZBNAZMHQ, OBSHBSFV DBLFT, NPSK EWBDTPP, ETMCG AKZXSNL, NBVSFP DSBEMFA.

Oooh, you all hate this, don't you? Believe me, that is the cast list. First person to decipher these codes gets a non-speaking part in the movie.

Now, this is only the beginning of the full cast list, and I'll be damned if I spelled it out with the English alphabet.

Pre-Production Over

2005-08-19T10:08:00.000-04:00

Vacation is over for moi. As you can see, folks, I have not been posting much about the pre-production lately. What do you care, anyway? But, the fact is, storyboarding, shot listing, and...what?...oh yes, I haven't been storyboarding and shot listing...funny, the dream seemed so vivid. I did do some fun stuff...at least one out of three.
From this point on, the progress of the shoot will not be posted in detail. It will just be 'Good Day' or 'Bad Day'...although I doubt the latter is likely. Whatever happens, will happen for a reason and I want to use it for the shoot...good or bad. Ready for your close-up, Mr. Scorsese...there I am with, what my good friend Kurt calls, 'Shabby' jokes...get it? my first name?...never mind...I have to stop doing that to readers...all one and half of you (Pause, author slaps himself). Hurts.

'The Best Confession' on PRX (click here) and some thoughts.

2005-08-13T13:24:00.000-04:00

Length: 3 min 31 sec.

We'd just finished recording voices for 'Flashforward'. On my hour and a half long train ride to Brooklyn College radio station, I had quickly written a two page idea. It started with nothing except that a guy's voice says 'Linda, I have a confession to make'. She says, 'I know what it is'. I kept on writing and found myself thinking it would be cool to do something different with the same lines. I didn't know what. I wrote a bit more and later typed up the pages at the studio quickly.

Now, the night before I was listening to Erik Satie's 'Trois Gymnopedie' which happened to be on the same CD as the 'Enchanted Lake' piece. I found myself listening to it over and over again. I knew I had to use it somehow. Since I had the CD with me the next morning, I realized that it would make a perfect accompaniment to the second piece, which I had, by now, titled 'The Best Confession'. I asked my friends, actors Don Downie and Candice Holdorf if they'd do me a favor and record the second one very quickly. I played the music for them a couple of times to create a mood. They were fabulous. The recording was done very quickly, and soon they left.

Later, I found myself sitting down at the computer with no idea how to make the piece work. My only condition with the Erik Satie piece was to use it in its entirety. I didn't have 3 mins 31 seconds of dialogue. The confession concept was there but I didn't know how to make it sound modern and not just two people talking. I didn't have SFX I liked, so I had to design them. For example, the confession eraser machine sound was created by fusing a seat belt click and a computer beep and phasing it backwards. Also I wanted the last note of the music to hit at just the right place. It was tough. I tried several ideas until it all came together.

Now sound designers do it all the time, nothing new. But for me, it was magical since the story, mood, pacing, feel was created that very day.

Creating a story and shaping it into a final product wasn't new to me at that point. In October, I had participated at the Cinemasports competition in NYC. I'll tell that story some other time when I have the video stream available.

So, what's the point of telling these stories about the radio plays and the movie? I've found myself, since Cinemasports, insanely attracted to situations where there is a race against time. I also realized how much I went with my instincts and how they've rewarded me.

There is also a lesson in this, and that may not have come off clearly. I couldn't have done any of that alone. No matter how much of a genius you are (neither am I), you can't do everything by yourself. When I had to find actors to do the voices, I called my friend Don right away, because he is someone I could trust with my material. He came through in the eleventh hour, again. I needed a female voice, but with such a short notice it's not always possible. Then, I remembered Candice Holdorf. She had auditioned last year for my short PRETTY, and Don had read with her. I wanted to find a way to work with her, so I gave her a call. This was the first time I'd called her after that audition, and it was the night before the recording, at 10 PM. A true professional that she is, she was up the next morning at 8 AM, and traveled a hour and a half to BC studios.

It wasn't just the recording of the plays that was filled with lessons or surprises. It was the events leading up to that day. Let me explain. I'd met Don because a friend of his auditioned for a role in my movie. She contacted Don later and told him about me looking for actors for my radio plays as well. Don followed up for the radio plays and ended up being cast as Mark in my short. I found out he lives just 6 blocks away from me. Candice auditioned for the short a month or two later after Don was cast to play opposite his character. I'd seen her info on Shooting People. 3 months later, I call her up out of the blue for the radio play. The next thing I know, she lives on the same avenue Don and I live on, just blocks apart. Carol Jacobanis, who I'd contacted after seeing her info on 'Backstage' told me about Shooting People just a month or two before I saw Candice's information. When I was in need of an actor to play Stacey after letting go of an actor just two weeks before shoot, Don brought me Guenia Lemos. I don't know about you folks, but stuff like that really, as the Oracle said, bakes my noodle. I have several 'Karmic' stories like these. At a later time, friends.

In summary, my current movie project is on a much, much larger scale than what I'd been part of previously. I believe the stars will line up the right way. I have come to know some new people in the past few days who will take this new journey as a team. As I see it, this latest project may just be the first move in a bigger chess game. Who knows what will come out of this? Maybe something bigger and greater than we'd ever have expected.

If we can live life not knowing what the next minutes have in store for us, then a movie project like this is a walk in the park.

A math professor of mine once said to me that stuck with me and sort of summarizes my approach to life, "If you see light at the end of the tunnel, you're facing the wrong way".

'Flashforward' on PRX (click here)

2005-08-13T11:58:00.000-04:00

This is a great radio example of my current movie project concept. I had to explain CUNY TV how a radio drama is put together. Well, actually I was supposed to just do an interview. Instead, I told them I would show the whole process while they were there. So I wrote two pages of this play the night before. Just dialogue and no SFX cue, music cue whatsoever. While writing, I was listening to 'Enchanted Lake' from 'Swan Lake'. I thought why not use it somehow.

We recorded it the next day. The actors did their lines. It was quick, and CUNY TV folks were recording.

As I sat down to edit it afterwards, I looked through the list of SFX and started to add all those other elements in the play. The music worked nicely, but I needed to add more to the words and spacing. CUNY TV decided to not stick around for the whole thing. So I had a chance to experiment a little more with the play.

Therefore, all the other SFX and ideas you'll hear were employed during editing. Not a new concept, but nonetheless for me it was a tiny groundbreaking moment.

Although nothing prepared me for the next play.

'Fragile' on PRX (click here)

2005-08-13T11:51:00.000-04:00

My first radio play. I'd written it as a class assignment and thought it would be a shame if I couldn't actually get to produce it.

'Who Wants To Marry A Sound Effects Guy?' by Dan Fiorella now on PRX (click here)

2005-08-13T11:48:00.000-04:00

Format: Radio Play

Length: 3 min 34 sec.

Synopsis: Radio reality show.

With: Ian Pfister and Michael Adrienne O' Hagan.

Produced by: Hassberry Theatre Company.

Directed and edited by: Shabbir Emon Hassan.

'The Interview' by Heidi Regan on PRX (click here)

2005-08-12T18:36:00.000-04:00

Format: Radio Play.

Length: 8 min 21 sec.

Produced by: Hassberry Theatre Company.

Directed and Edited by: Shabbir Emon Hassan

'Take Your Best Shot' by Elaine Powers on PRX (click here)

2005-08-12T14:07:00.000-04:00

Format: Radio Drama.

Length: 8 min 59 sec.

Synopsis: A man develops allergies to political parties.

Actors: Ian Pfister, Kate Sandberg, and Graham Stevens.

Produced by: Hassberry Theatre Company.

Directed and edited by: Shabbir Emon Hassan.

On The 5th Day of Pre-Production

2005-08-11T23:12:00.000-04:00

Like a true bum didn't get much done today. Made some contacts, made some calls, and made a nice little paper hat. Oh yeah, got spammed a lot. Crew people wanting to give me their best service for a lot of money that I don't have. How about reading the whole notice, people?

But, I did put in a little pencil time with my notebook. They're more like tips, suggestions, and directions for myself during shoot.

Slow day. The deadline person that I am, there're still 8 days...a week and a day...no...make it 192 hours to go without taking out time to shower, eat, sleep, chat, commute, watch a movie...you get the picture.

Looks like I'll have to slap my own behind, stay up late and do some real work.

On the 4th Day of Pre-Production

2005-08-10T15:03:00.000-04:00

Announcing participation of Sarah Stephens, another friend who has worked with me on several radio plays.

Thank you, Sarah!

'Pick Up' uploaded on PRX

2005-08-09T23:57:00.000-04:00

Click on the title and check out this radio drama by Benita Cullingford. Perfect timing because you folks can check out Carol's (see previous posting) performance as Kath.

On The 3rd Day of Pre-Production

2005-08-09T23:26:00.000-04:00

Beautiful! As of 3:05 pm another good friend and actorCarol Jacobanis is on board.
Also check out the production company she's a part of called Weird Sisters Films

Thank you, Carol!

On The Second Day of Pre-Production-3

2005-08-08T16:35:00.000-04:00

As of 1:01 p.m. my good friend, actor Graham Stevens has agreed to participate on the project. We have worked on many a radio plays together and I am delighted that he is on board. In a few days, I will upload some of those radio plays on my PRX site so you good folks can check out his contribution.

On The Second Day of Pre-Production-2

2005-08-08T16:25:00.000-04:00

Should've mentioned earlier re: participation of fellow filmmaker Nathan Bush, currently in Berlin, will work with the project in some capacity from the 23rd till 28th. We don't know what yet, but will find out when he returns. Nathan had responded to my posting on
Shooting People

Thanks, Nathan!

On The Second Day of Pre-Production-1

2005-08-08T11:16:00.000-04:00

Couple of things have developed today, as well as the last two days. Have made good progress with certain outdoor city locations I had in mind, and will soon get permit to film there. I thought of acquiring location first and then write around it. I've often looked at a nice location in the city and thought of a possible scene/story. Went location scouting this weekend. Actually it was a long walk my dear friend Shira and I took downtown, and caught some cool locations. Perfect for evening shoots. Anyway, went in the notebook.

I have been writing. Yes, finally. I think announcing to the world about my intentions made me sit down and write.
NOTE: I will never reveal the actual story, or theme I have in mind to anyone, except a couple of key people.

But I will reveal this. Three different stories, three different themes. Nothing new. Every possible combination has probably been attempted. There's also a past, present, and future theme. Okay...so who hasn't done that by now. But, I think I want all three to happen at the exact same time. Hmm...how? Why? Gotta suffer with that for a bit more. As I'm writing this...very...line...I think I am coming up with ...a couple of ideas... as to... the 'hows' and 'whys'...hmm...'February 29...what's with this date?...interesting....(long pause)...gotta go write this down. See ya later, people.

Who Wants to Become a Documentarian?

2005-08-07T12:48:00.000-04:00

All right folks. Ideas are streaming thru me like Niagara Falls on speed. Since my posting on Shooting People and here, I've recieved some good responses from several people who'd like to participate.
So I got to thinkin'...Why not someone make a behind the scenes doc about this? Won't bring you any fame and fortune, but do you care if you love film? You were planning on practicing on a guniea pig anyway, right?

Now, whatever new ideas pop up...I'm sharing with you all. So, they may range from the most dumbest-est to some pretty bright ones. This is one of the latter.

Interested, anyone?

Since we're talking pictures, why not someone take still pictures of the project? Or how about artists drawing us...caricatures, too, are welcome!!

12 Days of Pre-Production

2005-08-06T22:42:00.000-04:00

One the first day of pre-production my true love...Let me tell you about the most ambitious project I have sentenced myself to.
I am shooting a feature DV film (appx 80 minutes) starting August 19th thru September 1. Two weeks.

The situation here is slightly different, though. The movie, or the idea rather, will be partially scripted (means I don't have one yet) and situation driven. Cast has not been finalized, location's not been finalized, and definitely not the story line. You're wondering why am I not being taken away in a straightjacket yet.

Well, here's the thing. I want to see how far I can push myself and this idea. The concept is not new. Famously filmmakers like Godard, Wong Kar-Wai, and Michael Winterbottom have tackled similar ideas successfully. Although they've had ample time and resources at their disposal, at least compared to what I have now.

This project would make for a great reality show, methinks. Not really, but the behind-the-scenes story should be highly entertaining, I hope. Will I make it to the end? What will I accomplish in two weeks? How do I plan to? Will anyone show up to help out? Fact is, I don't want to think about it.
So, why embarrass myself by announcing this project to the world? I don't know...it may not be embarrassing after all. I guess I want to test the 24-hr filmmaking concept to the extreme. I do understand the whole thing can fall apart and make me the 'toast' of the town.

Each day till the shoot starts, I will make an effort to reveal a little of what I've accomplished to you good folks. There're many things I have started and have never finished...like my 'History of Pretty' thing (Who cares about that anyway?), but I'll try to, at least, leave a little information on the blog.

Filmmaking is constantly filled with last minute surprises. Usually, there's heartbreak when planned events fall apart or change. But in this case, I am spared that. I have to go with what I've got. I can change the whole direction of the project at will, at any time, and at any cost. I will find the story during shoot and during editing.
Call it Dogme styling, Kar-Wai stealing, documentary shooting, underdog rooting, ego inflating or whatever you can come up with. What I've got is...two weeks, several neat ideas, and each new day to lead me the way. Enough talk...let's start the race, shall we?
Root for me, anyone?

Jeff Harris Band episode on PRX

2005-07-28T22:17:00.000-04:00

Hello all. Check out the interview/performance session with Jeff for my Monday Morning Magazine program on PRX

Pictures from PRETTY

2005-07-24T22:26:00.000-04:00

Check out some of the stills from the movie on MySpace.com

Guenia goes to Washington ...

2005-07-23T13:39:00.000-04:00

...to perform in a play. The Clean House is playing at the Woolly Mammoth Theatre, and check out the review Washinton Post wrote about her and the play. More reviews can be found on the site. The play is enjoying an added performance run. Some of you know Guenia as 'Stacey' from my short 'Pretty'. If you're out there in VA, check out the play and say hello to Guenia.
Who's Who in The Clean House.

Fan makes a Star Wars film

2005-07-23T12:53:00.000-04:00

This is what I mean by independent filmmaking. Very impressed. Check out the story about Star Wars: Revelations

AAIFF 2005 Sunday, July 17

2005-07-17T23:44:00.000-04:00

Attended the festival today. Checked out three programs...MTV 72 Hour Film Shootout, The Oz Imagination (click on title above for details) , and the feature 'Blue Hour'. Before I say a thing or two about the programs and a truly renegade filmmaker, allow me to sing praises of all the ACV people at the festival. I felt like a star attending their programs, and they were attentive to needs of their guests, and filmmakers...like parents. Everyone is special.

The MTV sponsored 2nd Annual 72 Hour Film Shootout was a pleasant surprise. What a lot of these filmmakers have done in 72 hours is quite impressive. I've participated in a 9 hour film thing myself last year, so I'm aware of the overall quality of films that make it to a screening. I saw a few very well done movies, and one that blew me away. Francisco Aliwalas's 'The Kiss'. This film looked like a million dollars, but in reality was done for $30. Yes, that's right. More on Aliwalas later.

The 'Oz Imagination' program consisted of works by Australians of Asian descent, including the 2005 Oscar nominee,Birthday Boy. Overall, the topics were varied and the stories engaging. I was especially impressed with the quality of sound design on all these films.

I ended the night with Francisco Aliwalas's feature, Blue Hour. Aliwalas will undoubtedly become a big name filmmaker in the near future. There's no stopping this guy. On top of winning the 72 Hour Film Shootout, we learned that his feature was made for $1000...the cost of tape. Again, it was himself armed with a Panasonic DVX-100A (for all you tech buffs) with a Leica lens, and no additional mics. This is guerilla filmmaking at its best. It's fast paced, always moving, always changing locations, never dull. This film is an inspiration for all filmmakers who are strapped for cash, but are dying to tell a story. Aliwalas shot 40 hours of footage, edited on Final Cut Pro, scored it, and used the bells and whistles available on his editing software. The man knows how to use his resources.

The Big Apple Short Radio Drama Festival on WNYE FM 91.5--Part II

2005-07-13T22:33:00.000-04:00

The second part of the radio drama festival begins this Friday. Complete broadcast schedule, available at Writers Guild of America, East site. Selected plays from Part I available on my PRX site.

Just Finished Reading

2005-07-11T11:50:00.000-04:00

Two great books on Hollywood.
Lynda Obst's

Hello, He Lied. Basically her experience working in Hollywood trying to get projects made, learning her craft, and writing about people she's worked with and learned from. It's not a 'Producing for Dummies' type book at all. Very good read with ample suggestions and tips for budding producers only an insider can share.

I found myself inseparable from Sharon Waxman's Rebels On The Backlot. It's about six directors, Tarantino, Soderbergh, David O Russell, Fincher, PT Anderson, and Spike Jonze. The structure of the book is what fascinated me. Not the usual, boring, way other books write about directors and their 'DVD Production Notes' like stories of the movies that have made them famous. Instead, they play like characters in a big novel, struggle like them, and behave like actual humans, complete with the good and bad sides. At times I stopped and thought, "I don't know if I admire that person anymore." Nonetheless, it's a great read, and unlike any other Hollywood book I've read so far. Yes, I have read Peter Biskind's Easy Riders, Raging Bulls.
One slight error I hope the publishers have corrected. On page 101, Waxman writes about watching Julia Stiles in 'Traffic' as she goes with a friend to look for drugs. I don't think so. But she wrote correctly watching eighteen-year-old Erika Christenssen on pg. 321. Don't know I how that slipped by the editors.
Anyways, the links to the books will take you to a price comparison site called FetchBook.info. Great site for budget conscious book lovers.

Girl With A Gun Productions

2005-07-06T22:16:00.000-04:00

Two good friends of mine, Meghan and Jason, have just established a website of their company Girl With A Gun Productions. Check out their site, and please go see one of their productions sometime.
Girl With A Gun Productions
Here's the link, and from now on will be on the right sidebar. For some reason, everytime I post something new my profile drops all the way down the page. Never have I scrolled down so furiously.

My 'Watch out and Listen Out' series

2005-07-03T20:25:00.000-04:00

Stephen King, in his recent speech at the graduation ceremony of the U of Maine, said 'It won't kill you to watch one film a month that has sub-titles'. That man is great. Anyway, in this edition of my 'Watch Out and Listen Out' series, I will recommend a couple (we'll see about that) of things I've liked a lot.
Watch Out:
A few movies that are gems and should not be missed if you believe in cinema.

The Return

Karakter

Insomnia (not the C. Nolan movie)
(**Speaking of...have you seen the lesser known Nolan film 'Following'? Oh well...Following)

Star Maker

A Pure Formality (w/G. Depardieu and R. Polanski)

Cure (probably mentioned this one before)

Tesis

The Circle

Girl On The Bridge

One of my favorite directors,Krzysztof Kieslowski, has made several great films. I will share that list later. Happy Watching. Remember, none of these movies are boring. I wouldn't recommend them to you folks if they were. If you want great storytelling in cinema, then rent them. They are not paying me to say the following, but if you can't rent them Netflix them.

MUST LISTEN:
System of A Down's Mesmerize...one of the best metal albums, in my opinion. Norah Jones's Come Away With Me...well that's not really news. If you haven't discovered Eva Cassidy yet...then listen to any one of her albums. You can't miss out on a singer with that voice. In fact, check out this wonderful radio documentary on
Eva
Alrighty then, enough for now. More later.

Guitar Lessons for beginners over 40

2005-07-03T18:13:00.000-04:00

No, this is not an ad for a self help book, my friends. I have decided today to change my student demog. For years I have been teaching children, youngsters, adult, and childish adults. I have been blessed with some very talented children who have bright futures even if they don't pursue music.
Now, I am going to welcome potential students over 40, especially beginners, who have always wanted to learn to play the guitar, and love to listen to music. So why do I think this is blog worthy? I want to spread the word. I have never believed age should be a factor in learn a new anything. Not everyone wants to learn to play an instrument to perform at Madison Sqaure Garden or Carnegie Hall. Learning doesn't have to be a drag. You are never, never too late to learn anything. Period.
I'm sure some of you will know some of your friends who have friends who have friends who wants to learn an instrument. Have them write me. Yes, I am selling my expertise. I know I am not even 30, but as a teacher I have patience that would make Mr. Holland look like Bob Knight. I'm tired of hearing music teachers not having patience to teach older students. I want to hear from you. And no, I won't say no to students who're just old enough to say 'Dadda' or 'iPod'. I welcome anyone who is sane. I just won't market to anyone under the age of 40.

Live Music To Die For, Right Here In The City

2005-06-27T22:14:00.000-04:00

My good friends Mike Blaxill and Debbie Andrews are performing with their band GLADSHOT this coming 29th, Wednesday. Besides being excellent musicians and songwriters, they are just the nicest people you'll meet. I'll let them invite y'all.
This Weds, June 29th at 2:30, GLADSHOT (Debbie Andrews, Mike Blaxill, David Ross, Tony Tino, Spencer Katzman) will perform for a "LIVE 8" free concert at Virgin Megastore at Union Square in NYC (14th St and Bway) -
It's an all day concert for Bob Geldof's ONE campaign to fight global poverty and AIDS. Mark Knopfler plays at 5:30, Billy Corgan at 7, Michelle Shocked at 5, we go on at 2:30 - Other bands are Heavenly States, Head Automatica, The Swedes, Outernational and Trouble Dolls - Music starts at 1 pm.
The Virgin Group is working with Bob Geldof and the Make Poverty History Campaign to help to give additional voice to the initiative to end World poverty. As part of Virgin's effort of support, they're working to highlight the One Campaign in the U.S. with the intention of letting everyone know how they can contribute their support and make a difference.
Some websites with more info

Asian AIF Festival 2005 Info and Invitation

2005-06-26T20:52:00.000-04:00

Hola amigos, amigas, and pelicula consumers and makers,
I've emailed the invitation below to everyone on my mailing list, and posted it on other listservs, postings, street telephone poles, basketball player's forearms, airplane with a smoke thingy, even tried smoke signals. If I can get 28 doves, pigeons, or the underappreciated crows, I would make them circle the city and spell out the details too. Some unionized, some freelancers. Anyway, so I thought if anyone accidentally stumbles upon my humble blog...wham..another invitation. As they say, you can't buy publicity like this. So here it goes again. Some of the information may be already...ahem...informed before, but I can't edit them out now. I've got sandwich boards to write on.
Oh, yes...I'll be back with more 'History of Pretty' and will be posting photos from the production. Oh yeah! ----------------------------Here is the posting.--------

Hello everyone,
I am delighted to invite you all to my short DV film screening at the 28th Asian American International Film Festival (I call it 'the festival with a filmmaker's heart') this coming July 22nd, Friday @ 6:30 pm. Read on for details.

Title: PRETTY

Genre: Drama/Mystery

Running Time: 25 minutes

Cast:Guenia Lemos as Stacey
Don Downie as Mark
and Jennifer Riker as Josie

Written, produced and directed by Shabbir Emon Hassan

Synopsis: "Two women find each other at an art gallery one afternoon. A week later, they find themselves in a bloody mess."

Tickets go on sale JUNE 27th.PRETTY is part of the 'MANY FACES of EVE' themed program (running time 98 minutes)

July 22nd, Friday @ 6:30 pmTix Price: $10 (for whole program with several short films)

Tix can be purchased by phone at 212-327-9385

or FAX: 212-517-8315 (attn: AAIFF BOX OFFICE)

Program Code for PRETTY: ASMANY

Screening location:
28th Asian American International Film Festival

Asia Society and Museum

725 Park Avenue @ 70 Street
www.AsiaSociety.org

To find out about other cool shorts programs and features at the AAIFF 2005 www.asiancinevision.org
www.aaiff2005.blogspot.com
or call 212-989-1422

If you have questions about moi movie, please email me. I'll see you at the screening.

thanking you all,
Emon

Press Conference/Don't miss the launch party

2005-06-24T00:26:00.000-04:00

Hello peoples. ACV held a press conference the day before yesterday at the Asian Cultural Center on E 40 Street. Cool meet. Met with other filmmakers and all the nice folks from ACV and Asian Society were there as well. I wasn't ready for my podium moment, but filmmakers were given a chance to introduce their films. Considering how I can get when more than a few pair of eyes are set on me, I think I did well. The audience laughed, and while that can be interpreted in many ways, allow me to pick the best one...they liked my presentation. Okay, enough about you, now about me.
I encourage filmmakers to attend meets like this. Why? For instance, I will be attending a couple of people's films come festival time just because I've met them, liked meeting them, liked talking with them. If they hadn't appeared, I wouldn't have met them, liked talking to them, found out about their films, and may have ended up chosing another program. There is a silent bond that exists among filmmakers attending the same festival because they've all ended up on a common platform taking similar paths. First time makers and experienced makers all have stories to share. So why not take this opportunity to meet others?
Okay then. Redeem yourselves and come attend the Festival Launch party this coming Thursday, 30th, at the Prey Bar and Lounge. For details click on the AAIFF2005 link on the sidebar or just click here if you feel that lazy.
http://www.aaiff2005.blogspot.com
Peace out, my peoples.

History of PRETTY--Part 2

2005-06-20T22:43:00.000-04:00

I am baack. So, I have to convince the television department that I can shoot a movie although I have never done it. They said, "No problem. Prove it. Create a budget, shooting plan, and submit to us." So I made up a mock budget plan, one of my early drafts of the script, shooting schedule etc. The TV center at Brooklyn College helped out a great deal here with answering my questions regarding the equipments I needed since I had to follow their rate cards to create a budget. I completed it, and took it to our then department chair Hal Himmelstein who flipped through the pages and gave me permission to use the department's equipments. So, I am set. I'll get a Sony VX 1000, a shotgun mic, couple of lights and I'm making the movie. This is in March of 2004, mind you. I am now getting ready for a late April or early May shoot. I have to take my MS semester into consideration. Can't screw up school. All I have to do is call up couple of my actor friends, couple of my friends who can hold boom mics etc, shoot quickly and I'll have a movie. Wrong! Little did I realize that I had just begun the first of a three part nightmare of making a movie...Pre-production, production, and post-production. A good reason for waiting to write this second part of the 'history'?...As of June 14, 2005 I woke up from that nightmare and put my 25 minute movie to bed. Sent off a final copy to Asian Cinevision for the July 22nd screening. Was it worth a year of struggle and hard work? Absolutely! Would I recommend it? Absolutely. I dove into this thing with one goal in mind, make my darn movie. If it sucked, it will suck my way. I just wanted to shut up the person who kept saying, "What I really want to do is make movies."
NEXT: Pre-production: The months before the September 30th shoot.

History of PRETTY-Part 1

2005-06-10T10:25:00.000-04:00

Late 2002, I sat down to do a free exercise. Pen and paper, simple. Wrote the first few lines and read it back. Didn't make sense. The character's name had appeared only, Stacey and Josie. I only write dialogue and almost never worry about descriptions in the early stages. In fact, I'd be happy if somone else did it for me. Also, I always write with myself as the director in mind. The first page was essentially Josie and Stacey chatting, until one of them says, "Has he stopped bleeding?" 'Wow', I thought, 'I probably have something cool here'. Within the next couple of days I had a one act play called 'Pretty In Green', a dark comedy/murder story. I wanted to stage this for our 'One Night Stand' series at the Producer's Club. Couple of my friends and I had started this series where we'd write, produce and direct our plays when no one else would produce it for us. The three of us would always have our works, and invite one new writer each production. The only rules were, bare stage and minimal props. Each shared the responsibility of inviting a certain number of their own people, depending on the number of seats at a certain Producers Club venue, something I had learned from playing clubs and bars where if you didn't invite your guests, you didn't get paid. In short, the 'Pretty' was staged for the 2nd ONS show, January 2002, and it was sold out. I did lighting for my play and did the flashback sequence by turning down and up the lights and having the actor who played Stacey tie her hair back for the flashback scene.
Flash forward to Fall 2003. I am, by now, sick about talking about making a movie, and the talk was boring everyone, including me. I had started my MS program in TV/R at Brooklyn College and realized I could make a movie with the department's DV camera and equipments. As an MS student, I technically had no access to the equipments. I didn't want to be in the MFA program. Frankly, it would have been a waste of time for me. All I wanted were the equipments. Filmmaking, no matter what your theoretical background, is really learned on the job. You approach it fresh off the boat, you develop your own solutions, and shortcuts. Then, the time came for me to convince the department why they should let me use their equipments. (Continued)

Introduction to The History of Pretty

2005-06-09T14:22:00.000-04:00

I know no one has asked me do a history of a movie that is not itself historic by any means, but then again, this is my blog. When I had first embarked on the production, I'd desperately searched for tips, suggestions, help, and all sorts of encouragement from elsewhere. Encouragement! Newsflash--they who are sure you'll fail in your ambition will encourage you the most. Again, this is my opinion, as of 2:32 pm June 9th, 2005, but it has been true for the most part. I must say I was lucky to have genuine support from a lot of people, but, like I said, I got lucky. This 'history' will be me looking back from the first day I had the idea for PRETTY. It wasn't known as Pretty and the process wasn't always so either.
Usually, stories behind the making of a first film are more dramatic than the movie itself, and it has even greater dramatic value if it's the filmmaker's first experience working on a film set, and that his schooling in writing. producing and directing has been in books from the Public Library only. Now that's a recipe for a probable disaster.
So, why am I doing this 'history'? Simple: I am promoting my movie, and myself...with complete disregard towards the correct use of grammar. It won't be a chronological account of the progression of the film, as done by Robert Rodriguez in 'Rebel Without A Crew" (must read, folks!). I also guarantee you, it won't be a long history either. It's more of a look back at my experience, and, while I do the looking back, I will share my thoughts and philosophy on filmmaking and other forms of making. And yes, this being self indulgent. If you have better things to do than read this regularly, then I curse you! Just kidding. Enjoy!

Filmmaker Resources...and more

2005-06-07T12:41:00.000-04:00

Well, let's see here. I would like to share some of my resources. Often I find filmmakers lengthening instead of broadening their horizons. A well rounded person equals a better filmmaker, wouldn't you agree? Has anyone read the wonderful little book on directing by Elia Kazan? Great book, read it. I believe it's called 'On Directing'.
Anyway, here are some links. If people find it useful, please let me know. I will eventually add them as permanent links.
Once in a while the permanent links on the right side of the page will go through changes. NYTimes Online is the first news source I go to every day. New York Public Library is my film and life school, so I include their link in gratitude. My PRX link is for you wonderful people to check out my short radio fiction pieces. They're not the typical Old Time Radio style with a microphone and coconuts slammed together to emulate horse sounds. Asian Cinevision, or AAIFF 2005 link is there for a simple reason. They treat me like a star and thanks to their encouragement, I have started this blog in the first place. A great organization to be part of. Writers Room is a wonderful BBC site that has blessed me with their Script Smart Template for all mediums. It's free and its US version is just amazing. A friend, Matthew Carless, designed it and it is compatible with MS Word. Why pay hundreds of dollars for script writing software when you have this easy to use gem? I wrote most of my scripts with this, and will probably never buy any other software. Unless they write a script for me and sell it to studios and decline the 10% fee while cook and clean my apartment. I'll include a direct link to the downloads page below.
Today, I'll add a couple of new permanent links. Box Office results site. World Press, a wonderful world news source, and Script O Rama, a site I love for its collection of film scripts for free.
Alrighty then.
Script Smart Downloads page (US Gold version)
http://www.bbc.co.uk/writersroom/scriptsmart/downloads.shtml

BBC 7 --A great site for radio drama enthusiasts ( I love their comedy programs)
http://www.bbc.co.uk/bbc7/drama/index.shtml?Today

Folks in sound editing and design will like this site
http://www.transom.org/tools/index.html

How should I do this? Mission Statement--sort of.

2005-06-07T00:20:00.000-04:00

By now I should know what a blogger must do with his blog. But, here I am trying to figure out how to add content. I am too lazy to do research. I guess the whole point of blogging is to not do what others do. So, as I'm writing now ( I think best when I write as I don't edit much when I do) I have decided to go with the flow. I, therefore, would like to outline a mission statement for my blog.

"I will write whatever I feel like writing about on a particular day. One day about writing, the next maybe about movies (surprise), or someday I'll share my thoughts on why Ramen Noodle Soup deserves recognition for being the partner to many of us during our struggling 'wonder' years. I will take on all different subjects and talk a little bit about everything without coming off as a know-it-all."

Well, that's it. Let's go for a ride, then, shall we? Let's see where this road takes us all.
Reading now:
Bruce Bauman's 'And The Word Was' www.brucebauman.net

Recently watched:
In the theaters:
Unleashed with Jet Li and Bob Hoskins
Short review: Good action sequences. Terrible story. And terrible, terrible acting by the girl who plays Morgan Freeman's daughter. Dear Lord!

At home:
Shadows and Fog (Woody Allen)
Decent movie. Not his best. Great black and white cinematography. Tons of characters who later become well known.
Aguirre:Wrath of God (Werner Herzog)
Didn't know what the big deal was.
The Wind Will Carry Us (Abbas Kiarostami)
Great cinematography. Beautiful location. Sadly, missed the point of the story. Anyone care to point it out?
The Ladykillers (Coen Bros.)
Typical Coen Bros. flick. Great style and cinematography. Blends comedy and dark elements quite well.

Has anyone seen Kiyoshi Kurosawa's (no relation to Akira) CURE? Great movie! One of the best thriller's I have seen. Is up there with Se7en. Check out the public library for a copy www.nypl.org

Chime in with your recommendations. Would love to hear your thoughts, even if you disagree with me.

Asian Cinevision

2005-05-14T00:25:00.000-04:00

Hey all. Just wondering who else out there has his/her film in this year's Asian American International Film Festival. I want to know about your film. My short film PRETTY has been selected and I am looking forward to the screening.
Emon

Introduction

2005-05-09T15:10:00.000-04:00

Anyway, this is my first attempt at the blogosphere. I don't know what this will lead to, but I do intend to meet a whole lotta you people. So, let's start by introducting myself. Check it out at PRX www.prx.org/user/emon For those of you who don't feel like clicking on the link, my name is Shabbir Emon Hassan, better known as Emon. My short film PRETTY has been selected for the 28th Asian American International Film Festival, and I am also actively producing radio dramas in NYC. Okay, that's all I'm willing to share now. I guess you'll have to click on the link after all. Good luck. Oh yeah, please don't be shy...write me...introduce yourselves and let's start a long lasting relationship...or not. Write in, people.

EMONOME

New Blog Home

Jazz It Up

MySpacing Like Hell

A Year Later

My Q&A with Syd Field

My Q&A with Michael Hague

My Q&A with Linda Seger

My Q&A with John Truby

Q&A with Johnny Sanchez

Video on YouTube.com

Q&As with Hollywood Folk

Editorial Board at PRX

WENDY SAX

Newer Flashforward and The Best Confession

Untitled Blog Entry

Trailer for PRETTY

Born On The 28th of February? And A List of Famous People Who Are

The TipspiT (Writing Tips)

What's 'Shooting' Lately??

CUNY BA Posts My Profile On Their Site

Rebroadcast of Big Apple Short Radio Drama Festival

Judging NY FESTIVALS

Editing Shooting People's US Screenwriters Bulletin

'THE RAVEN' now on PRX

More Blogs and Links

Bloggers You Should Know About...And Read Regularly

What does anybody know?

Top 10 horror films of all time? You decide.

My Question Selected for Filmmaker on PBS

Woody Allen 101

Best Music Video of The Year

Homegrown, Yet Not Known (Maybe)

Foreign Exchange Cinema

The School of 'Panic Room'

What is WHAT?

Weir No Angel...But He Is One of the Best Directors

Untitled Diary Part 4: To Crew or Not To Crew

Untitled Dairy-Part 3: Pullin' Focus and Camera Holding

Writers Guild of America streams radio plays

'Untitled' Diary: Part Two

'Untitled' Diary--Part One

On The 11th Day of Production---It's a wrap!

7th Day of Production (click here for project details)

Fifth Day of Production

Fourth Day of Production

Third Day of Production

Third Day of Production

Second Day-Part 1

First Day's Review

Production Day One

Pre-Production Over

'The Best Confession' on PRX (click here) and some thoughts.

'Flashforward' on PRX (click here)

'Fragile' on PRX (click here)

'Who Wants To Marry A Sound Effects Guy?' by Dan Fiorella now on PRX (click here)

'The Interview' by Heidi Regan on PRX (click here)

'Take Your Best Shot' by Elaine Powers on PRX (click here)

On The 5th Day of Pre-Production

On the 4th Day of Pre-Production

'Pick Up' uploaded on PRX

On The 3rd Day of Pre-Production

On The Second Day of Pre-Production-3

On The Second Day of Pre-Production-2

On The Second Day of Pre-Production-1

Who Wants to Become a Documentarian?

12 Days of Pre-Production

Jeff Harris Band episode on PRX

Pictures from PRETTY

Guenia goes to Washington ...

Fan makes a Star Wars film

AAIFF 2005 Sunday, July 17

The Big Apple Short Radio Drama Festival on WNYE FM 91.5--Part II

Just Finished Reading

Girl With A Gun Productions

My 'Watch out and Listen Out' series

Guitar Lessons for beginners over 40

Live Music To Die For, Right Here In The City

Asian AIF Festival 2005 Info and Invitation

Press Conference/Don't miss the launch party