An animation. A public service announcement from a common nog. An important message for this holiday season. For more information about eggnog, click here.
LOVE,
BRENT
19 days.
$350, or more.
Is this all going to come together?
That’s like, $20 a day.
Doubt. Fear. Anxiety…Excitement.
This can happen.
This film can happen.
19 days.
Today, I received an email letting me know that Kickstarter.com had approved our project, “January.”
The fundraiser is officially up and running. You can visit this link to make a donation.
You can read about the project more, how the money is going to be used, etc. by clicking on the above link, so I’m not going to reiterate most of the stuff that’s in that. Instead I’m going to say two things, one of them in relation to the fundraiser and the other in relation to the film itself.
Kickstarter operates in a pass/fail sort of way. Meaning, if we reach our goal of $350, we get the money, except for the fees that Amazon Payments takes for processing all of the donations (see, it uses trusty old Amazon.com as the payment site! Told you Kickstarter was reputable!); however, if we don’t reach our goal, even if we’re only $1 short, we don’t get any of it. That would be bad. Because of this, I made our goal relatively low. I don’t know if we’d actually be able to pay for the equipment, props, costumes, and particularly the food/water to feed a cast/crew of 10-15 college students on a budget of $350, but if we make more money than our goal, all that means is that we just get more money. So, please, even if you are reading this and we are above $350 in donations, don’t feel shy. ;-) $350 is probably the bare minimum this film needs to be made, and believe me, I’ll be happy for every penny, but I also know that the more money we get, the less we will be limited creatively, and the more flexibility we will have. 19 days to reach, or exceed, our goal
The second thing I have to share with you, which I thought would be interesting, is why I chose to name the film, “January.” This, too, was in an email to some of the crew, and I find it encompasses my goals for this film quite well.
“January” is broad, just as this film’s portrayal of real life, of honesty, is broad. There’s a lot going on in this short, it’s very slice-of-life in its focus. The month that the film will be filmed, the setting of the film.
Something that can be poignant. Personal. Playful. Powerful.
Evocative of a season, a month, when all of these feelings occur. Winter is the deeply reflective months when we all search for something to warm us up, amidst the chilling air.
So, please, donate to make this film a reality! Tell your friends, tell your family, tell anyone you know who loves film and wants to make a difference in a group of students’ lives. Just $5 will get your name in the Special Thanks of the credits, and who doesn’t want to see their name in the credits of a film?
LOVE,
BRENT
My meeting with Jack (AKA Kaptain Kewl, now known as “Drivel Kid”) went phenomenally. When I arrived, he greeted me, asked how I’d been, and then lead me to the back of his house. We climbed into a closet—his recording studio—and he opened up his MacBook. The small “room” was fitted with headphones, his laptop, an expensive-looking microphone, and some speakers. His guitar sat in its stand in a corner on the left, and the white walls were scrawled with various notes—bits of lyrics, phrases, ideas. It was certainly a Do-It-Yourself sort of studio, but it had the character one would expect, knowing Jack. He began by telling me that he loved the script—which, considering my nightmare last night where he told me he hated 2/3s of the script, was quite nice to hear—and told me he thought the ending was perfect, and that he loved the final line. Jack’s certainly the kind of guy who means what he says, so it meant a lot to hear that from him. He told me that the hardest part about composing the soundtrack was coming up with a tone that would translate from piece to piece to create a cohesive soundtrack. There were six songs displayed in his iTunes window, but he quickly explained that the final “album” will have around twelve songs. He’s hoping to have it entirely finished by this Friday. He prefaced each song by telling me that none of them were set in stone, and that if there was anything that I needed changed, to just let him know. The six songs that I heard were great. Each one was grounded in a similar melancholy, while still having nuances of the warmth of friendship. Jack said that while he definitely wanted the soundtrack to have a solemness, but tried to keep in mind that “even though it’s melancholy, there are friendships here. David really appreciates everything Jack [the character] is doing, and Sam really does love David and want what’s best for him.” The fact that Jack was implementing such themes from the screenplay into the creation of the music for the film speaks volumes of his talent, especially considering that this is the first time he’s done something like this. After listening to every song, Jack stressed that if I hated all of it, or only liked one song, to let him know so that he knew what exactly I was looking for. He said that if in two weeks we decide we need something longer, or want more of a specific sound, or need something recorded at better quality, that he’ll record something new. In his words: “The soundtrack won’t be completely finished until the film is, too.” What an excellent guy to work with, specifically considering how great all of the music already is. The moods are cohesive, but there’s a definite versatility in each of the tracks, so that I can imagine it getting put to use in multiple areas of the film. Overall, I’m totally impressed with the music, and can’t wait to hear the next six tracks.
LOVE,
BRENT
P.S. In a couple days, I might post my favorite song from the soundtrack. Right now it’s just hard to decide which one is my favorite; they’re all so good for so many different reasons!
This is real. I—we—are making a film.
I’m not sure when it hit me the most, but today has been a triple-whammy as far as reminders go.
Before I become too far entrenched in my story-of-the-triple-whammy, let me first offer you with a short summary of “January,” because I realize I haven’t yet provided one. “January” is a short film about David, a college student, who finds himself on a quest to find purpose in his life after he interprets the writing in a bathroom stall as a sign from some higher being.
Now, on to the whammies!
Earlier today, I submitted an application to Kickstarter to hopefully gain a way to accept donations/get funding for the short. There are other websites which provide a way to get notoriety/money, but the fact that Kickstarter has an application process (which is reviewed by staff members, to make sure users don’t abuse their Terms of Service) makes me feel as if it’s a little more reputable. I have yet to hear back from them as to whether or not my proposal has been accepted, but I’m hoping that it is, as it’ll certainly be a confidence boost for the rest of the team and me.
Speaking of the rest of the team, I got a text message from Jack Atterholt (AKA “Kaptain Kewl”), a friend of mine who’s composing the score for the film. We have a meeting tomorrow at noon, and he asked me to bring blank CDs and a USB drive to the meeting tomorrow. This thoroughly excited me—I may or may not have jumped up and down—and I’m hopeful that I’ll be able to take some samples (or all!!!) of the soundtrack to share with the cast and crew. Having worked with Jack before on several films (he was the lead in my award-winning short film “Amalgam” 3 years ago) I know his commitment to excellence in everything he does, and he and I seem to be kindred spirits when it comes to artistic matters in film. I have seen him perform live multiple times, and can say that he is an incredibly talented, incredibly passionate musician, and it is for these reasons that I cannot wait to hear what he’s come up with tomorrow. I know that the rest of the crew—Dan, Chris, and Natalie—are also on the edge of their collective seat for this music, too, because we all want to storyboard with some of the music in mind. I think that’s one of the (many) cool things about the four of us: we all get some of our inspiration from music, in that we all (although I’m only speaking for myself, technically, I guess) project images in our imagination to match the moods and emotions that we’re hearing.
The third “whammy” came when I was sitting with a friend watching an episode of Celebrity Wife Swap. I looked to her, after sharing my Jack-story, and said, “I’m going to be a filmmaker.” It was almost a whisper, and I’m not sure why I was so surprised when I said it, but this—this whole production—is a dream come true. Yes, I suppose I’ve been a filmmaker since I picked up my mother’s JVC camcorder back in second grade and began making a movie with friends about wizards, but “January” is such an undertaking, and with such high goals, high sights, high aspirations, that I feel like I’m for real. I know that the cast and crew have already heard this, because I told it to them in an email a while back with the second draft, but for the rest of you (whoever “you” are) this will be new:
When I got to high school I became more involved in theatre, which I still do love, but it always felt like I had to choose between theatre or film in high school, because of time commitments. Now that I’m in college, I feel like I can finally get back to film, and it feels fucking* fantastic.
I feel like one of the characters in A Tale of Two Cities right now, with that phrase: “recalled to life.” This experience is about to be totally crazy, and entirely unforgettable. I can’t wait to get started.
LOVE,
BRENT
*I swear [pun intended] that the profanity was purely for alliterative and superlative effect. :-P
In just a few days, I embark on my biggest project to date as a filmmaker. I am simultaneously ecstatic and terrified at the prospect of taking this film to multiple area film festivals, but know that this piece will be one of the biggest learning experiences for me yet. I know that my cast and crew will pour their own passion into this film, and I cannot wait to get started. Hopefully the next time I post one of these, it will have a little more substance. I’m hoping to keep you all informed of how production is going through this website, so continue checking back. We have two months to complete this badboy. This will be one wild ride.
LOVE,
BRENT
“an·am·ne·sis [an-am-nee-sis]
noun, plural -ses [-seez]
1. the recollection or remembrance of the past; reminiscence.”
— The title of my newest screenplay. Will be working on it in the free time between production of “January.”
I think that, in regards to filmmaking, manifestos can be quite useful. I feel like with each year, films become more and more style, and less and less substance. And when I say “style,” I don’t really mean stylistic editing or narrative techniques, I mean visual effects, 3D animation, computer generation. I own a book—which, I confess, I haven’t yet finished—entitled “Film as Art.” This book, written in 1933, operates on the simple premise that mechanical advancements are killing the artistry of film, and it’s the limitations of the medium that contribute to making it art. Keep in mind that this was written back in 1933. I think that this thesis is even more true today. People left Avatar lauding the vast, immersive world Cameron created, proudly stating that it was one of the best films they’d ever seen.
Best films?
Did they see the same movie I did?
While the world of Pandora was rendered in grandiose 3D, the characters that inhabited it were quite flat. I have no problem with the people that say it’s bad because the storyline is basically Fern Gully, Pocahontas, or Dances with Wolves; however, I think that these people are, to a certain degree, missing the point. Yes, it’s a re-hash of other stories that have been done better, but Avatar’s biggest crime is continuing to push the idea that visual effects are important in determining whether or not a film is good, and, in some cases, visual effects can make up for poor character development, writing, or acting.
With these ideas in mind, it’s not hard to see why I was initially drawn to Dogme 95. The “Vow of Chastity” set out to purify film, by excising many features of features (oho! wordplay) that tend to detract from the story and actors. Although I do enjoy the thought behind Dogme 95, I feel that some “requirements” are ridiculous, such as not crediting the director, the format of the film, and the allowed movement of the camera.
From Dogme 95, I stumbled onto another film manifesto which is a sort-of reaction to Dogme 95. Jesse Richard’s Remodernist Film Manifesto set out to create a “new spirituality in cinema,” through a focus on humanity. I highly recommend reading Richard’s manifesto, as it was quite an inspiring experience for me. It’s focus on honesty throughout the entire filmmaking process is something which I really admire.
As it is the beginning of a New Year, I think that I will start out by posting my own filmmaking manifesto, of sorts. This manifesto draws upon my personal ideas about film and art, Aristotle’s Poetics, my experiences in theatre, and the intentions of Dogme 95 and the Remodernist film movement.
I have thought of naming this something clever, such as the Creed of Candor, or something like that, ya know, alliterative and stuff, but I have decided that names are not important. It is the ideas which are important, and so that is what I’ll focus on.
LOVE,
BRENT
Happy New Year!
LOVE,
BRENT
I love Scrabble. Love it. Love words, love being competitive, am working on memorizing all 101 two letter words. I have an iPhone, and have a game called Words With Friends on it, which I’m sure many of you have, if not played, at least heard of.
I’ve had Words With Friends since I first got my iPhone, about a year and a half, and, at first, things were great. Awesome, even. I could play a game very similar to Scrabble with anyone (with a Smartphone) at any time? Beyond cool. Until I realized something. Something that would slowly grow into a near-hatred of the game. The sad truth is: Words With Friends is not Scrabble.
At first, it was just the different point values of the letters, or the configuration of premium squares, but slowly, surely, I began to discover differences between the dictionary of Words With Friends, and the Official Scrabble Players’ Dictionary 4th Edition. “Fag” was no longer an acceptable word to play, despite the fact that it has other, non-offensive connotations, among many other words which would be legal in a game of Scrabble. Because Words With Friends allowed you to try as many words as possible, without the penalization of a false word being challenged by an opponent, my opponents were able to try all sorts of strange looking conglomerations of their letters until something worked, something that would get them twenty or thirty points, and that they had no idea what it meant. In addition to this, the wide array of websites enabling users to bypass creating their own words made it so that when my opponents played words that seemed amiss, I had more reason to believe that something was, in fact, amiss.
And then the worst thing yet came. Zynga, the makers of Words With Friends, released “Token Packages,” where players could pay real money for virtual currency to spend on “enhancements” to Words With Friends. These enhancements, if purchased, makes it so that players can gain an unfair advantage over their opponents, in essence cheating. Yes, you can pay money to make up for your lack in skill.
One of these features is the Tile Pile, which enables you to know the composition of tiles left in the bag, and, judging by what tiles are on the board, the tiles in your opponent’s hand. Far more offensive to this is the Word-O-Meter, which promises to “improve your vocabulary,” by telling you how strong your word is, compared to the rest of your tiles and the words they could make. So now, not only can you figure out what’s in your opponents tile rack, but also if there’s a better word you can be making. You can now pay money to be better than your opponent. All it takes is a few bucks—23 tokens is USD 2.99, and 40 tokens will cost you USD 4.99—and you can be on the road to winning. Tonight, I played a game of Scrabble, and it was so much fun. Something that Words With Friends’ long-form way of playing and myriad problems is starting to no longer accomplish. If cheaters never prosper, then it must be because they’re losing money paying for features to “improve” their game; clearly, Zynga is fine with cheaters succeeding.
LOVE,
BRENT
He sat in the barn. He didn’t particularly like it there, or anywhere for that matter, but it was something to do, somewhere to be.
He contemplated things. Nothing important, he was just fifty-three years old, nothing important to think about at that age, still hadn’t reached his ‘ripeness’ as his mother called it.
His mother. She always said things to him. Not that he listened. “If it’s important, I’ll listen,” he thought to himself today in the barn.
The cows were mooing. Moo moo moo. Moo moo moo. Moo. Moo moo. He wondered what they talked about so incessantly. What did cows talk about?
His mother. She always told him that cows were as smart as the rocks she painted and tried to sell at arts and crafts fairs in town; they didn’t have brains, didn’t amount to much. But he didn’t listen. He never listened to his mother.
So here he was in the barn, thinking about nothing particularly important, being nobody particularly important, just existing.
And he liked that. Just being.
Unfortunately this changed when his father showed up an hour early from work, his forehead spewing sweat like the patients in an infirmary. Not that he’d ever been to an infirmary. He just sat in his barn all day.
One day his mother tried to send him to school. She rolled him in bubble wrap, stuffed his mouth with packing peanuts, and placed him in a large box with some stamps on it. He was bumped and tumbled all around the town until eventually he returned to his house with “return to sender” scribbled on the box in magic marker.
His mother wasn’t very pleased. Not that he cared. He didn’t care about anything, really. Well, he cared about one thing. But there was no way he was going to get that one thing now.
She, his mother, complained about the status the postal system was in and then ran over their mailbox with a tractor.
The mailman wasn’t very pleased with that. He came up and left notices on the door stating that without a mailbox, there was no way he could deliver mail to them. These notices were left each day, replacing what would have been the mail he would deliver. “Why can’t he leave the mail instead of these notices? He has the energy to walk up and leave this notice but not the mail?”
That was his mother. Screaming, every day getting angrier and angrier, until eventually they moved to an apartment complex to escape the neon green notices.
The first thing his mother did was fill their mailbox with concrete. Then she cemented the mail slot closed.
She sighed with relief. They’d escaped the postal system.
Too bad the one thing he did care about in life was becoming a mailman.