News

Conan O’Brien has a big head. Literally AND figuratively, as apparent in the new documentary Conan O’Brien Can’t Stop, that premiered this spring at SXSW 2011. We all heard the stories about Conan being booted off TV and Leno coming back. This film lets us into that large head as we watch Conan getting too big for his britches as his world gets turned upside-down. What would YOU do if, when climbing the late-night TV show ladder, you lose your time-slot in a convoluted shuffle, yet receive $45 million to disappear from national TV for nine months? Well, I’d probably take a nice vacation. But, not Conan. Nope. His solution was to funnel his manic, clever energy into a 40 city road show (which turned out to be far more successful than Charlie Sheen’s recent attempt…but I digress).

Rodman Flender, the documentary director, began filming just three days into Conan’s sabbatical. He convinced Conan to consent to a raw, in-the-flesh, warts-and-all-look at his struggle to come to terms with his interim status of anonymity. And what a ride it was.

Morgan Spurlock, the director and star of The Greatest Movie Ever Sold, also screened at SXSW (premiered at Sundance this year), could be a stand-up comedian or talk show host himself. His quick wit and wry perspective mirrors Conan’s jive talking. Both ‘comics’ come across as tall everymen who translate the world into askew jokes. In Conan’s movie, his humor emanates from narcissism and his need to grab attention at all costs. Morgan’s humor, however, is more subtle, more outward. The premise of The Greatest Movie Ever Sold is an attempt capture the process of financing an independent film through product placement: attracting sponsors to fund a film about attracting sponsors to fund a film. Very circular. He pitched to whomever he could, finally securing meetings with a few brave corporations (companies not too leery of the director of Super Size Me stop customers from eating McDonald’s fame). Morgan presented these companies with cleverly prepared like skits and commercial pitches as if from a late-night talk show. He created crafty and comical marketing promises that he actually executes during the filming of the documentary, and surprisingly well.

Early on in his search for funding, Morgan secures what becomes the film’s largest sponsor, Pom pomegranate juice. In order to get the company’s enlightened and humored board to agree to pay for the highest tier of financing for the film (ultimately a million dollars plus incentives), he promises that every person in the movie will be drinking Pom and only Pom drinks. So, picture this: in every subsequent scene where Morgan pitches a new sponsor or films a product placement scene for a different product, he and the people at his meetings are drinking Pom, prominently displayed at the forefront of the shot. Very funny. To reveal other skits would ruin the impact of the jokes in the film, but suffice it to say that his favorite partner is the one and only crossover horse-to-human shampoo product line: Mane ‘n Tail. You can only imagine where Morgan goes with this, and THEY didn’t even pay him!

All of Morgan’s jokes are presented in an irreverent, reveal-the-inner-workings-of-the-film-industry manner, without any sense of his own emotional involvement. In contract, Conan’s movie is not scripted or planned, yet simply unveils the development and execution of his impromptu off-season tour. As a consequence, it captures a tortured sole. Conan seems to crave large-scale attention, as he has all hands on deck working to bring an audience to him. His team eventually books and sells out 42 cross-country shows, and then sets about helping Conan create his first-ever stage act.

What works in Conan’s movie is his quick humor, his frenetic energy, and his prodigious talent as a singer, musician, comedian, dancer (dancer? well, kind of). He comes across as an accessible Steve Martin, a funny man for the masses. The movie was extracted from 149 hours of tape, crafted down to an entertaining 89 minutes by Flender, who edited it himself. The audience goes on the wild ride with Conan, an adventuresome experience.

Conan surrounds himself with likable, average support professionals whose normality accentuate his larger-than-life talents. But, his trip through this period is not only funny, but also a disturbing one. It is disconcerting to watch a grown, married, father of two without financial woes so desperately crave applause. During these nine months, Conan lost 30 pounds and hardly ever stopped moving. He constantly punches his staff, who absorb the hits apparently to allow Conan’s juices to flow. His desperation is palpable and somewhat pathetic. Meanwhile, he keeps his team, the live audience, and the film audience continually laughing out loud.

At the Conan O’Brien Can’t Stop premiere, a robustly glowing and even-keeled Conan walked the red carpet and took the stage for the post-showing Q&A. He seemed to have a visceral reaction to watching his frenzied, rude, self-obsessed journey. During the making of the movie, he was pitched the idea of going on TBS (“What’s next, Animal Plant??” he cries at the time). Now, having a current presence of television, even if it is basic cable, has seemed to bring order to his life. It is apparent that this documentary brought immense self reflection into his own life.

The Greatest Movie Ever Sold extravaganza (city to city festival screenings), however, has been created as ever-evolving as a road show. Much of the co-branding was negotiated during the filming but doesn’t actually kick in until the release of the film, such as collector cups at Sheetz gas stations. Morgan embraced the SXSW Q&A wearing a customized flight jacket covered with the emblems from all of the sponsors. The message from the movie? If you package yourself cleverly, you can attract product placement funding. Morgan seems more amused by the success of the film, and reaction of audiences, than by critiquing the profit-making process. But who am I to judge? It was a very interesting and entertaining film that I hope reaches audiences around the world.

Both films have been picked up for multi-platform distribution deals after their respective premieres, so let the road shows begin! And now I think I’ll have a Pom.

“Want to go to a Grammy party tonight?” my friend Sarah asked.

I said no. I was fasting and on the the fifth day of the Master Cleanse: a maple syrup, lemon and cayenne pepper concoction, and the only food I was allowed for the duration. Supposedly music stimulates the limbic system and the release of endorphins in the brain to provide feelings of well-being, just like a cheeseburger. It wasn’t working. I was still hungry.

“Come on. It will be fun. You can drink water.”

My friend Sarah works for Journey in the production department and she was only home for a couple of days before going out for months on tour again. A 2005 USA Today opinion poll named Journey the fifth best American rock band in history. I’m thinking that’s the Steve Perry version, and not the guy from youtube one. Where am I going with this? Well, the cast of “Glee” was nominated for a Grammy this year for best pop performance by a duo or group for a Journey song, “Don’t Stop Believin’.” They didn’t win, and I didn’t go to the Grammy party. I tivo’d the show and went to bed.

When another friend, Meghan, saw me the next day, she asked my thoughts on how Arcarde Fire stole the album of the year award from Eminem, Katy Perry and Lady Gaga. Meghan is part of the management team that works with Rush. Rush has been nominated for seven Grammys.




“Whose Arcade Fire?” you wonder? So did I. Apparently I am old. Arcade Fire is an indie band from Canada and not the only upset at the Grammys this year. Jazz bassist and singer Esperanza Spalding scooped the best new artist award out of the Bieb’s waiting arms. You know who else is from Canada? Justin Bieber and Drake.

And me, Smokie Lanark.

So I finally watched settled in on my couch and watched the Grammys, happily munching on sugar free granola and mixed nuts. I felt like I waited too long, like the bloom was off the rose. Awards shows need to be consumed fresh, like ultimate fighting, or… sushi.

Old meets new was fresh though.

I dig on almost every way they combined the old and the new this year: Dylan with Mumford and Sons, the Avett Brothers doing “Maggies Farm” was amazing, and yet I feel like I have to say that because it’s Dylan and if I didn’t say it, you would all know how uncool I really am. This is why I don’t watch the Grammys with music people. Last year I pretended not to like Taylor Swift and Stevie Nicks. But I did. I do. Know who else I love? Dolly Parton. Yep. Because of her giant boobs and her wigs? Probably. But John Mayer, Norah Jones and Keith Urban killed “Jolenne.”




Speaking of over the top (like Dolly) I have to mention Ceelo with Gwyneth and the backup muppets or puppets, or whatever they were. Coincidence that there were Muppets on Top Chef a few days later? Or is it just because everyone in Hollywood has toddlers right now? But I digress…




Now if only they could have put Eminem rapping with Babs or the David Guetta mix of “Evergreen”.




That song makes me uncomfortable. It reminds me of the “chin up” moments in the movies of my childhood, like when Charlotte dies. Or when the Rescuers couldn’t find Penny.



The acoustic version of “Need You Now” mashed up with the tribute to Harold Melvin though, had me verklempt. Who hasn’t been a little drunk and called? Definitely not me. Ahem…




This years Grammys had its largest TV audience in a decade.

Now the Oscars, I watched live. Drinking. With chips. And still it was, meh. No surprises, other than the best supporting actress busting out the “F” word:



We all knew who was going to win and they did. Props to the inclusion of Kirk Douglas though, because you know what the young people like? Old stuff. Things re-imagined. They are drinking gimlets, wearing fedoras, buying vintage and mixing Chanel with Royal Elastics. They are listening to Arcade Fire and Bob Dylan and wearing Rodarte, the label responsible for many of the costumes in Black Swan.

httpv://laist.com/2010/11/29/la-based_rodarte_designs_killer_cos.php

They like to be surprised too. But who was surprised about Natalie Portman’s win, or the King’s Speech, or that The Social Network missing out because it was impossible for anyone to make Mark Zuckerberg likable, even when played by the adorable Jesse Eisenberg?



I saw The Social Network, and The Fighter. Christian Bale personified the idea (from Niki Stevens on The L Word) that you have to play ugly, retarded or a lesbian to win an Oscar. I was grinding my teeth like a crackhead through the whole movie. Hey, they bought you some teeth. And then I was totally thrown by the accent when he accepted, forgetting he was from Wales, and not a crackhead.



Only two of the nominated films? Why? Because now I have the plan B job that all of us have in order to afford the plan A commitment, and it means that I can’t go to the movies, much. You know what my acting coach said? Don’t have a plan B. Be desperate. Live out of your car, like Jewel, and Hilary Swank. I can’t. I have dogs. Sorry Bob.

But I won’t give up, because however long it takes, is how long it takes. David Seidler and Diablo Cody give me hope.



But the ratings, the hosts, the blatant pandering to the “younger, hipper audience” smacked of desperation. Anne Hathaway? Bless her heart for trying so hard. Loved her in every single one of those dresses, but where was the mashup? Hosting the Oscars maybe they should try James Franco and Jack Nicolson… No, James Franco and William Shatner…
NO…
Barbara Striesand…

YES!

Now THAT would entertain…

There’s something critically wrong with the consciousness of America as a whole and in this (unique) case I cannot blame the fact that six companies control 96% of the world’s media. They’re in it for commerce and their commerce has always been dependent upon people’s ravenous desire for the distraction of mindless stupidity; specifically epic fails of the rich and famous. It appeals to our base level subconscious desires that give us respite from our all too menial and pedestrian lives.

Indeed it does.

I’m speaking of course about Charlie Sheen. And I say “we” because my so-called higher consciousness self also fell prey to the ways of sheep when I posted a rant of his on my Facebook page. Granted it was right at the start of his madness when I thought it was a one-time bit; just another day of Celebrities Gone Wild in La-La land . Now, nearly ten days later, Sheengate has gotten so out of control that I’m hoping to become a terminal victim of a stray bullet rather than continuing to face this abhorrent daily onslaught. All my geeky-cool websites that I’ve culled so meticulously to give me my knowledge fix are posting non-stop Sheenisms. I sit in fear waiting for my beloved Scientific American to betray me by finding some ridiculously obscure way to cash in as well. That would be the last straw. Clearly I’d have to man-up, find a gun, and do it myself. Save tech-free isolation indefinitely, what else is a girl to do? Sit around with the rest of the world secretly waiting for him to overdose and die?

Because that’s exactly what we’re doing.

Why else are millions of people still feeding like bloodsuckers on this story? Because anything less and we’ll really have post gossip coital regret for investing so much of our intellectual time in Sheens drug-addled megalomaniac lunacy. C’mon… it’s the big finish! If he dies, we can all be right! Right about the perils of too much fame and money and never having to be accountable to any social or moral norm because of such. To hell with the life of a famous person whose Peter Pan existence affords none of us everyday hardworking people the same glorious escapist havens.

People love being right.

Even at the expense of the death of another human being, which despite all evidence to the contrary, Charlie Sheen still is. And just like when a director yells action, if he does indeed die, on cue America will be SO sad. “Such a shame…” “His poor kids…” “He was far too young…” B and C-list fame-mongers will inhabit the next wave of media onslaught with soulful quotes (with their best side shots for photographic purposes along with plugs about their upcoming new DVDs/reality shows/cookbooks for anorexics). His death will be cashed in upon as much as his sickness currently is. Then, like all things in media that fade (stop generating income), he will disappear altogether from public consciousness. Well, not altogether. You can count on the Academy Awards that follow his death to snub him during their “In Memoriam” segment. Mustn’t glorify or condone drug addiction after all, only capitalize on it.

Can you imagine an alternate (morally responsible) Universe? One where the media acts like responsible parents; allowing their kid (Sheen) to scream and cry and rant all he wants till he wears himself out and learns the lesson that doing so does not result in adoration and gains? Or doing the right thing by them when they’re sick (as he so clearly is) by giving them help, not reward, for continuing on an inevitably lethal path? But that wouldn’t make the Top Six any money and they most definitely won’t ever don the responsible parent roll. A celebrity’s life lost is a huge financial boon. There’s big money in crazy; HUGE money in death. They won’t change, but we can. We can stop gobbling up the public self-destruction of another human being. We can “Just Say No!” to the cycle of click, read, and repeat. We can choose instead to invest in man’s salvation rather than his downfall, because I’ll tell you something…if Charlie Sheen dies, make no mistake that the public, however minor their participation, will have been wholly complicit in its facilitation.

*Upon going to press, we learned that Scientific American did indeed do a story on Charlie Sheen.

Carissa Tedesco has thusly moved to Compton.

Robert Redford said that Sundance 2011 is one of the best festivals yet. While the festival was very exciting, it wasn’t until I detected something serious brewing that I began to think he may be right. And now it is my turn to go out on a limb and make a big statement: two revolutions in media launched during January 10-20th, and if they were not totally believed by the press during the festival, they will certainly be proven over time.

One very exciting revolution-in-the-works is Kevin Smith’s rebellious lead in saying no to traditional distribution business strategy and instead self-distributing his film Red State, which he plans on eventually leading to establishing his own distribution company for other indie filmmakers. The potential is great, and I only see him gaining momentum, not losing at all. He has already proven that he knows how to successfully capitalize on his self-proclaimed loser-identity: first with a catalog of indie hits, and now with over a million Twitter followers whom he hopes to see in theaters when he will personally present Red State at screenings.


The second revolution coming was marked by Jennifer Siebel Newsom and her documentary Miss Representation, a film about how women are (mis)represented and hyper-sexualized in the media. As noted by famous economists such as Amartya Sen, journalists such as Nicholas D. Kristof and Sheryl WuDunn, and forward-thinking visionaries such as Bill and Melinda Gates, that the empowerment of women and women’s contributions to society is the next and necessary step in making the world a better place, in battling poverty, and in sustainable practices that include environmental and economic responsibility and accountability.

At least two other films premiered at Sundance that support this as of yet under-the-radar movement for women in film. The documentary !WOMEN, ART, REVOLUTION by Lynn Hershman-Leeson, which tells the story of women artists in the 1960’s and 70’s who battled nearly impenetrable sexism for acknowledgement of their mere existence in addition to their merit as artists.

Proof of tables turning in favor of women gaining respect is the very fact that Hershman-Leeson was able to finish this film—her volumes of art were finally purchased for a considerable value, and foundations such as Stanford University is supporting her catalogs of videos, images, and contributions from women artists of the past and present.

The next film that I saw which I felt had an exceptionally unique and deep vision, which counts as revolutionary in my books for sure, was the campy parody of sci-fi B-movies of the 60’s, the comedy narrative feature Codependent Lesbian Space Alien Seeks Same by Madeleine Olnek.

This film is unlike anything I have ever seen, and the large audience filled the theater with roaring laughter throughout the show. Not only was it completely hilarious, but it was also ridiculously creative, and while the film is a light-hearted lesbian romantic sci-fi comedy, it also addresses very important and deep social issues…but it is the way in which Olnek addresses these issues that I find so remarkable—from the dialogue, to the pacing of the edit, to the story and the out-of-this-world characters, Olnek makes a perfect work of art which is not only entertaining, but it is transformative. I rarely go off on how brilliant a film is…usually only Terrence Malik makes me go on and on about transformative vision. But I have found that he has a low-budget lesbian counterpart stalking the streets of Greenwich Village.

The last premier I saw which solidifies my theory of a revolution brewing is Sundance Channel’s series Brick City,  in its second season, with visionary Mayor of Newark Corey Booker setting the blueprint for how we in America can reclaim our country, and filmmakers Marc Levin and Mark Benjamin capture it with electric charm and exhilarating entertainment.

Indeed, I agree with Robert Redford that the 2011 Sundance Film Festival was the best yet. While the expansive festival seems to have outgrown the limited space of the little ski town of Park City, I predict the visions of the filmmakers will begin to permeate society finally as Redford had one day dreamed of. I can’t wait.

Every year, the Sundance Film Festival takes over the quaint ski town of Park City, Utah, and runs a full and invigorating 10 days, from the third Thursday of January through the following Sunday. Everybody who’s Anybody of Hollywood shows up the first weekend to ride the mayhem for 3 straight crazy days. Most of the crowd leaves by Tuesday, and it’s after that when it becomes much less hassle to attend screenings.

The Sundance Film Festival is an ongoing party –  day and night — and this year was no exception. This year’s festival made my record book as I attended 10 parties in one 13-hour stretch on the first Sunday, a definite lesson in endurance! Getting into the parties themselves can be exhausting. At some, we were on the list, others we had to talk our way into, still more we were working press, and the last handful we simply walked into while creating various distractions. But, of all the parties we attended this year, the most phenomenal was held against a beautiful snow covered backdrop – an outdoor reception at the 5 star St. Regis Resort Terrace Patio in Deer Valley, thrown by Seattle Socialite JJ McKay and sponsored by Eddie Bauer. Here’s a link to just a little piece of the gorgeous afternoon, even more so than the video captures:



Another highlight of the current festival is the many many music acts that perform all over many small venues in Park City. Two shows I attended and enjoyed this year were Ozomatli and Lauryn Hill.

Aside from the parties, being at Sundance can spoil a girl – all the freebies, aka ‘swag’: Eddie Bauer backpacks, facials,  rides around town, complimentary housing, massages, snowboard demo boards, abundant food and open bars, fancy meals on company credit cards, and more. Rebekah and I even received our money back on airline tickets and earned $300 credits on Southwest for bumping to later flights – no big deal for us as we arrived a day before the fest started. If you play your cards right, this trip doesn’t have to cost anything!

With all the swag lounges, dinners, and networking receptions, it was almost easy to forget about the films. But, alas, after the first weekend celebs made their way back to Tinseltown, and the massive exodus of amateur Sundancers left the snow, our schedule (and the theaters and sidewalks) were cleared for films. Unfortunately, we saw only 3 movies this year, but they were each worthwhile. And, it’s refreshing to note that they were all written and directed by first-time filmmakers and in the US Dramatic competition section. Perhaps the most moving moments of the festival were the tear-jerking Q&A’s after.

Thumbs up for “Gun Hill Road” about a transsexual teen coming out to his ex-con father Esai Morales, and for “Little Birds” about 2 teen girls who run away from home directed by a young ex-gang member. The third film,”Here,” demonstrated some extraordinary authentic acting by Ben Foster and his Armenian co-star, Lubna Azabal.

And, while we’re on the subject of Sundance films, a bit of trivia: 4 of the 5 documentaries recently nominated for the Academy Awards 2011 premiered at the 2010 Sundance Film Festival. You may remember hearing about “Wasteland” and “Exit Through the Gift Shop,” my prediction to take the Oscar, and both great films. Additional 2010 Sundance films to be nominated that I also enjoyed are “Animal Kingdom” (best actress nomination) and “The Kids Are Alright,” amongst others.

New on our roster this year was assisting a PR company at two large club venues. Rebekah and I were given the task of inviting celebrities to the 50 Cent party on Friday and the KT Tunsall (Suddenly I See) party on Saturday, then locate them in line, escort them into VIP, and make sure they were photographed in the crowd. Along the way we friended Rick Fox and Eliza Dushka as well as Ryan and Trista from “The Bachelorette” – both beautiful couples. Also, in attendance at our events were Bobby Kennedy 3rd, Cheryl Hines, and the producers of “The Cove”.

Aside from the parties, dinners and films, let’s not forget the the Sundance Film Festival was built one one thing – the slopes! I enjoyed 2 full days of snowboarding with a promotional snowboard (thanks to Burton!). This year it snowed plenty and early which made for amazing powder. Thankfully our private condo sported a very fancy hot tub which we used nightly and invented our own game of musical chairs. But, I’ll save the stories of my roommates for another time as the cast of delightful characters filling up our 4 bedroom 12 person plus a van condo can serve as it’s own reality show!

Overall, the 2011 Sundance film festival brought many new connections along with familiar faces from last year. This year, Rebekah and I only stayed for one week, but next year we plan to return for the entire festival, so that our skier and film buff friends can come at the end to enjoy the empty slopes and see some flicks. So, if one of those categories describes you, mark yor calendars for the 2nd half of Sundance next year! I enjoyed the parties, music, films, boarding, and even the long 20 degree walks home. I am a very lucky woman! See you next year, Park City!

Yuri Elvin is a talented artist and filmmaker in Los Angeles. View his work at www.yurielvin.com.

4. What are the similarities between painting and making movies? Of all the differences, what stands out the most?

Making movies is a collaborative effort. It is like a military operation: making a plan and following it through. I have found that, with my own films, I never give enough responsibility to anyone to make them a detrimental part of the schedule. When people work for free, they have to take care of themselves, things happen and people have responsibilities. Yes it is a control issue, but if I take care of the casting, scheduling, props, locations, food, and crew I tend to get my tapes at the end of the day. Of course I have to compromise certain aspects of the look. I have to trust the camera (which is why I try to get two of them). I have to trust the sound, and move the day along so that people do not get bored. I try to get the performances as well as the camera angles. The rest I trust in the universe to bring me genius in style through the hands of other people.

When I watch my dailies I remind myself to watch with an open mind. What I see in my head is not always what I get on tape. But, as they say, “the price is right.” Often by accepting the gifts of others time, it opens possibilities which would have never occurred had I dominated every breath of people within twenty feet.

Painting and drawing is a one-man show. When I make art I make it for me, being charged with every aspect of its creation…the texture, lighting, composition, motion, size and color all all mine. Accountability again falls upon the producer of the piece. The responsibility of creation is a big one. Yes, it can be a beautiful piece, but nothing lasts forever except our consciousness. Knowing that you will die and that the piece will eventually crumble to dust is a great relief, so powerful that I bring this aspect of fatalism to my personal life, and I embrace it happily.

When shooting a movie it is easy to compare people and tools. Crew members are brushes, knives, and colors among other things. Understanding that everyone is doing the best they can with what they are given allows for lenience in judgment, people have feelings and if you give them love and allow them expression, they will grow. As well, paint, colors, mediums, and implications have a vibration which needs to be nurtured. When a tool is used to the end of its life, it should be acknowledged and thanked for its help. To discard without love shows lack of appreciation and a hollow understanding of the gifts the universe has delivered. Personally, I have a very tough time using the color blue. I try, from time to time, to get it in there, yet it always feels forced. The frustration makes me respect it as an element that I have not understood and wish to learn to wield.

If I were to compare it to filming I would say that the intricacies of HD cameras, post production parameters and advanced editing and sound programs evade me; again, something to master. In film you can get someone who is better than you in the field you need (recommended), but in painting all you can do it try to grasp it. I suppose you could have someone come over and paint some blue on your piece, but that would be invasive and probably a little upsetting. I try to take the same approach to film as I do to painting…loose and rough. My art is admittedly very sloppy; I like it that way. When I gesso the canvas often times during the drying process I get dirt, feathers, and bugs stuck in the plaster; like the Chinese when they built the great wall, they used their dead as filler. If paint drips or I cut through the canvas, its all a blessing in this perfect state of imperfection.

Filming, I think that I may be all over the place at times. I feel that discontinuity to a level can be accepted as art. Mixing two different cameras with differing pedestals programmed is ok. I had to re-shoot a scene last month and lost an actor, but replaced him with a girl. The action is there, and the story moves forward. Eventually when there is more money available I can relinquish control and keep it straight; just trying to tell a story by following an outline. In art, often I have no idea what I am going to do. I just sit in front of a canvas and go, because if you don’t do anything, nothing will happen. Surrender to the process and let your sub-conscious take over. It becomes easier. I actually became ambidextrous at times, allowing the mind to draw what it wants. I believe that the artist within me is a female. I let her do her thing.

Film: same thing. Make a date and go. What’s going to happen is that at that end of the day you will end up with something. The art is to create. The combined energy of everyone on set, their mental fortitude and contentment will reflect upon the tape/film. Having been in film school forever and having worked in front and behind the camera for 12 years, I have either fought or watched a fight about everything there is to fight about. It’s not worth it…people are important. But, god bless Christian Bale for flipping like he did. I love him. And he is expensive for a reason. Don’t move lights behind him while he is acting, a little respect. Similarly, I flipped as an AD when crew was talking while we were rolling, even during MOS shots! A little respect people, please. We don’t flip anymore. (Thank God, it really puts people off).

5. If you had to choose one, which would it be?

For sure, I’d choose painting, for the mere reason that it is pure creation through divination. Even though both are extremely exciting, I find that both have an ego factor, and neither has a ceiling. That is probably why everyone I know is a nut. Film is a collaborative effort to create a vision. But painting is a direct reflection of what is going on inside. I guess when you can communicate your vision through film, you are actually reflecting as well…I guess it’s the same. But for me, I choose making art with my hands.

6. What are you working on at the moment?

I am shooting my movie every other weekend. I wrote about a madman love triangle (live action), mixed with an illustrated hyborian-aged story of mythology and war told in over the shoulder drawings about a karmic cycle concerning the madman narrated in English and Japanese by a blind child. I think its coming along pretty well. The crew is working for breakfast and tuna sandwiches, no budget, HD, dark comedy (maybe)…very fun. Additionally, I am writing a story about role-play gamers whose leader takes the game too far and begins to loose his flock (dark comedy as well). Painting-wise, I am working on a new series. I took a handful of previous work and painted over them with gesso…great texture. This group will be more universally dimensional than dark, and less human than before (maybe). The subconscious is an amazing conductor; I may have an intention, but then the mind will take it in a different direction if you allow her. At the same time, I am finishing up seven other paintings that I begun a few weeks ago which are half done, but are of a more creepy nature. Next, I’m going to begin another series on some larger (3′x4′) canvases that are works in progresses. I think I’ll do some sketches in the tone of Native American eagle-dancers and figures holding spheres on cold fire. We’ll see what happens.

On the job front, I am waiting for this pending SAG strike to end so that I can begin to collect my days in the locations department. I just got my teaching credentials but there is a hiring freeze on subs in California. So, I’m just selling everything in the house to buy more paint and pay the rent.

7. What’s your take on the current status of the industry as a whole and independent filmmaking in particular? What are your thoughts on the future?

The industry, well, it is really a shame that so many people are feeling this crash. As they say, the more you make the more you spend. This is very much a wake-up call to those who have over extended themselves financially. I think that when the economy in Hollywood does recover that people will be more frugal for many years to come, until they forget the lessons learned.

When I rediscovered art I began to sell everything non-art related. Not only has this saved me, but it has also kept me focused on writing, filming and painting. As an independent filmmaker I was answering ads for AD, PA, locations, storyboard, and muralist crew positions, to no avail. It turns out the entire town was as well. There are a lot of very talented people out there competing with each other for very few jobs. This is what got me moving. I realized that everyone was waiting for someone else to create the work, so I begun to create my project. Even though my crew is only eight deep, these people are available and excited to be a part of a project that is more personal. It is a chance for people to step up and preform in a position which is more coveted, as well having the time to do it. I am very fortunate to have good friends. I think that there is a shift happening right now. This is the time to be creative. It might actually be a gift. I know that for me it has been. The future holds the growth which we seed today. I believe that there are great things to come for anyone who has used this time wisely.

8. Where do you see yourself thirty years down the road, in your career and in life? Is there anything else you’d like to tackle?

In the future I see myself doing more of the same. God willing, with more exposure I can have the freedom to create on a larger scale, employ many people, and embark upon a body of work that will inspire as well as raise the consciousness of the planet to a loving place. I believe that my life is an epic tale. I have been through so much, misbehaved so badly, lost so many friends through pure self-abuse and immaturity. My wisdom comes as gifts from reading my own history. If I don’t learn the lessons life provides for me, I get kicked back down the pit of reflection and repair. Having run in circles for so long and being in so many fields has introduced me to many people and many experiences. All is not lost. I would like to write a book, an autobiography if I may be so vain. My life has been a ton of fun, heartache, humor and miracles. If I can help someone through lessons learned and make them laugh, maybe they will see life in a better light. After all, we are just a bunch of monkeys fighting for the same banana…but some monkeys have three eyes.

*****

To contact Nate Barlow, please visit the contact page of his website at: NateBarlow.com. To contact Yuri Evlin, email: yurielvin@yahoo.com, or check out his work at www.yurielvin.com.