Nadim Karam Visiting artist lecture Nadim Karam is by far my favorite of the visiting artists. Nadim is from Beirut and was there during political unrest with Lebanon. During that time, he received a scholarship in which he utilized by going to Tokyo and studying architecture. He remained in Tokyo for 10 years and received a PhD. He then moved to London where he began working in making public art installations. Nadim is interesting in that these monstrous forms and installations combine both the figures/figurines that he doodles in his sketch-book with his knowledge for architecture. The installations are very large. When he discusses them he talks in measurements of meters. He happened to be in the United States to propose a project for the city of Chicago. The project he is proposing is a large wheel (24 meters) that will sit out on Lake Michigan. Nadim discussed the process by which he comes to a proposal for a city. He said that first he researches the city via topographies and maps and finds locations that seem to be receptive to his ideas of installation. For Chicago he chose the wheel, there were several reasons in choosing the wheel, and one of those being the introduction of the Ferris Wheel at the Worlds Fair over a century ago. Nadim said that he also considered the values of the people. He spoke about the idea of raising the spirits of the people in a certain area. He enjoyed the idea of art as a mechanism for inspiration and to help people to recognize the beauty of their surroundings. Nadim also discussed the ideas of failed projects, or projects that were not approved. He gave the example of a project that he proposed in Australia. He had pitched an idea for a giant kinetic sculpture with metal figures placed on a track would move out over the water and return based on time. It worked as a sort of non-traditional clock and was placed right beside train tracks. The project had gone stale and over the course of four years the design firm that Nadim owns had forgot about the project. The city of Sydney contacted them out of the blue. And suddenly the project was on again. He encouraged students not to give up on ideas, that over time they could develop into something else, or could come to fruition in an offer. My favorite installation of all the installations came as a proposal to a monastery. I have taken this information from a website in order to provide details of the project. http://www.onefineart.com/en/artists/nadim_karam/nara_project.shtml “‘The Three Magic Flowers of Jitchu’ on Kagami Lake in the Todaiji Temple complex of Nara, Japan, an art installation, 2004. The project consisted of seven hundred different steel sculptures (45cm) ‘scattered’ over the surface of the lake, and three large (8m height) flowers, made of steel and fabric. The installation took place from August 5th -20th , during which time the temple received nation-wide attention from Japanese media. It was the first contemporary art installation ever to take place on temple grounds. Kagami Lake, the location of the art installation, is in front of Daibutsuden, the main temple of Todaiji which is not only the oldest wooden structure in the world but also home to the largest seated Buddha in the world.” Nadim had proposed this installation on the lakes for years. It was a place that he had lived during the time he spent in Tokyo. It took close to ten years (and lots of coercing) before the monastery finally allowed to project to move forth. Images from the project follow this essay. The big highlight from Nadim Karam’s visit was definitely his visit to my studio. We discussed my branching out and diversifying of concepts into that of the organic and disease. He was very helpful in suggesting different ideas that he felt would be efficacious in expressing the ideas behind my concept. My work was quite unsuccessful at the time and we looked at some of my other work. He helped me to understand or gain confidence in the ideas behind my concept and suggested I move forward with processes and experimentation to create something unique and contemporary. I also was able to have my picture made with Nadim, and he gave me a business card for him and his design firm in Beirut. I was enamored in being able to meet him and engage with him on a personal level.

Russian Ark Review Thomas Green DM-270 Russian Ark is a 2002 film by Russian director Alexander Sokurov. Sokurov’s film is an hour and half time based piece that jumps to different eras of Russian history. The film is shot inside the Hermitage Museum which provides fabulous imagery complete with lavish gold finials and light fixtures, marble staircases, floors and archways. The museum is equipped with a multitude of abysmal hallways that provide a great the opportunity for the film to run without encountering the same room twice. The film starts in what seems to be ancient times. We see gold chariots and characters that appear like they were stolen from a Grecian urn. The camera passes over a short railing and dips downward to reveal a symphony. Then we are introduced to an audience area where Catherine the great observes the characters. It appears that the characters of ancient Greece were acting a scene from a play. She approves of the play and scumbles off to pee. The camera seamlessly follows her up the stairs and into a room where she gleams out onto the streets in the middle of winter. The camera continues down the hall and enters into a gallery. The main character, the Marquis, seems to be carrying on a conversation with the character whose point of view the whole movie is shot. As they enter the hallway, a discussion starts about the artwork. This discussion pops up several times during the film. Comments are made that it (the Hermitage) looks like the Vatican. The Marquis comments “This is Petersburg, better than the Vatican.” The Marquis recalls a time 111 years ago when different paintings hung in this grand gallery. It suggests to the viewer that we are traveling in time. The whole film is just one absolutely mesmerizing camera shot that can’t really be described. With there being so many takes on a general film set even for one short scene, it’s astonishing to try and fathom how this picture was made and in just one continuous shot. I think the odds of lightening striking the same place are better than this film going off right. The only thing similar I can recall seeing is a television episode of ER that was done LIVE. Even then, with all the orchestration of characters, there were several cameras that shot the hour of TV drama. Mr. Sokurov is a very gutsy man to even think of attempting it. At one point, the camera leaves the building out into the snow. It somehow flows seamlessly (and quickly) through the terrain to meet the Marquis at a perpendicular doorway from a courtyard area. Towards the finally, there are hundreds of characters dancing in the midst of a grand ballroom. The camera seems to flow with the dancers as they waltz. It moves in and out and it swirls around and seems to mingle with people in its own narrative as it glides throughout this film. I think I can honestly say, if it isn’t Downton Abbey, I’m usually not interested in historical accounts of fancy people in fancy places doing fancy things. If it were just an ordinary film about that, I really wouldn’t have been so captivated to watch. But, the film was able to carry me based solely on the idea of how the filmmakers were getting the shot, the complexity of keeping the actors organized. What an orchestration! It’s hard to get 5 people out of an elevator together without the door starting to close, and so, I can’t imagine how you could get 300 people clad in tightly sewn Victorian bodices and tuxedos with long tail-coats to dance and move together and move in unison out of that grand ballroom down a flight of stairs and into a large clerestory lined hall. Wow, nice finally. My first initial thought is that the camera is places on a fixed tripod with caster (wheels) positioned to the base of each leg. This would explain the fluid motion as the camera pivots, heads through doorways, and glides freely down hallways. But this would be far too easy. The camera seems smooth regardless of what it is doing. And it tends to be doing a lot of different things that would not be allowed if it were fixed to just a tripod. During a segment at the dance, when the orchestra is being featured, the camera seemed to magically rise up (smoothly) about 5 feet while it was also moving in a lateral direction simultaneously. Part of me thinks also that it could have been attached to some sort of cable and that is how it went up into the air like that. Or maybe, there were some hydraulic lifts in the tripod that assisted in elevating the camera. After the camera hovers a while over the orchestra while the it descends again into it’s original position at about 5 feet off the ground. This motion is also unexplainable. During several segments, one in the hallway with children running and the other as the great multitude descends the stairs, the camera moves really quickly, much faster than a standard human walk. The biggest mystery of all seems to be in the stairwell. If the camera is on wheels, how does it navigate the stairs so smoothly? I’m thinking that as it reaches the edge of the stairs, I liked the film. I’m not sure the subject matter has great interest, and I’m sure that I caught the reference to all the various characters historically. But, it was a stunning “you gotta see this” kind of experience. I can only imagine months and months of planning and rehearsals in order to pull this all off in one fell swoop. Amazing.

Car scene A gold Ford Fiesta parks outside the Jack Pirtle's Fried Chicken Restaurant. Johnna Sparks and John-John Rubenfeld are negotiating whether or not to eat in the restaurant this particular Sunday afternoon. Johnna SparkS is a big busty woman in her mid 30's. She has just finally finished her transitional operations and processes into fully becoming a woman. She is a performance artist at a local gay bar. she has big red hair (most of the time) and often adjusts her boobs and make up and checks herself in the mirror. John John is a normal looking precocious 10 year old boy who also happens to be a bit of a germ-a-phobe. He is very shy and timid and has blond hair. Int: Car It is 3'oclock on a Sunday afternoon. Johnna is trying desperately to get John John fed and off to his mother's house by 4. John John Dad!!! I'm hungry, and I have got to pee. Johnna checking her lipstick in the visor's mirror. Reaching into the glovebox, she pulls out a small airplane sized bottle of vodka and slyly puts it into her purse as she speaks I know sweetie! THAT is the reason that I brought you here. And, you have got to stop calling me Dad. John John but dad, Mom says... Johnna John john, I'm sure I know what your mother is meant for the best, but we have got to ALL start looking past the past. That is all it is. we have got to learn to accept the changes that have happened in our lives. I have learned to accept it, and soon you will too. if you can just at least try. Please? pirtles restaurant Int: Jack Pirtles The restaurant is glum, slow, old school country music plays in the background. The walls are lined with wood paneling from the mid 70's and softly the buzz from the florescent lights can be heard. Linda the counter girl is in her early twenties, she has thin stringy blonde hair and wears a topless maroonish brown tennis cap and polyester maroonish brown button up short sleeve shirt with the Jack Pirtles logo embroidered on the shirt pocket. She is friendly, but soft-spoken. She speaks with an Arkansas accent. Linda: Hi there, welcome to Pirtles Johnna: Well hello there! um.. (looking for a name tag) Linda! Oh HI LINDA! My son and I are here to get something to eat and I would like to get an orange juice. Linda: um.... Orange juice? Johnna: Oh yes, yes hon. fighting a nasty cold...um, could you just fill it to about an inch below the rim... I hate spills. Here's my cup. Johnna hands Linda her large styrofoam lidded cup with lipstick covered straw. Linda looks a little shocked, slightly smirks and proceeds to dump a plastic foil topped tub of orange juice into the cup Linda: And, what can I get for you to eat? Johnna: well, I'm not going to be eating, starve a cold you know! John John would like a basket of Chicken TENDERS and fries. Linda: one chicken finger basket John John: (interrupts) Dad... I mean...NOOOO... Johnna: Oh Linda, john would like to have the chicken TENDERS, not the chicken FINGERS basket. Linda: You mean...Oh... yes, one chicken tender basket. Did you want cole slaw John No ma'am. Just the fries. Linda: Okay, that's gonna be a sec, if you could just wait at the table I'll bring it out for you, did you want that for here or to go? Johnna: We are in a bit of a hurry, if you could just make it to go, thanks. Johnna and john sit down at the table while Linda prepares the food. Johnna is looking around for people as she slyly pulls the vodka from her purse, just as she is pouring it into the cup she is interrupted Pirtle's dining room John:(speaking loudly and from nowhere) DAADDDDDD!!! Johnna is startled as she is pouring the vodka into the cup, she jumps and misses the cup pouring about half of it onto the table. She reaches for the table tent and rakes the rest off the side of the table and into her cup John: I have got to go pee!!! at this point he is grabbing his crotch area trying to hold in any liquid that might escape freely into his pants. Johnna: Seriously, John john, you have got to quit calling me that. The restroom is right by the door. you are a big boy now! You can't expect me to hold it for you. John: But, you could at least go with me Johnna Oh please John... seriously? What do you think it would look like if a woman like myself came out of the restroom with you? You are totally gonna be fine, you are a big boy now. Remember? I'm always with you in spirit. Nobody is in there and there is absolutely nothing that is gonna happen to you. Your mother is going to make sure of that. John: You promise? Johnna: Of course baby, I promise! just as Johnna is saying this a short haired lesbian in her mid 20's with a sid vicious blue jean jacket and a leather spiked collar enters into the restaurant. she charges up to the counter. John is now on his way to the bathroom, still holding his crotch and repeating to himself "not gonna be anyone in there" "not gonna see any bugs" "not gonna pee myself" Pirtle's counter Lesbian Girl, you have some nerve! Linda: Me? What did I do? Who are you? Lesbian You been getting with my sissy!!! I knew there was something going on and then she admitted it. Linda She said she didn't want to be with you anymore! you aren't the kind... of girl... from around the counter Linda comes, just as John is making his way to the alley way where the fight ensues. Linda and the Lesbian are now on the floor kicking, pulling hair, screaming and calling each other obscenities hearing the ruckus and John starting to cry, Johnna jumps into action. Cut to slow motion sequence. Johnna is coming to the rescue of John. Her boobs are bouncing and she is straightening her wig as she barrels through the dining room and towards the counter. instrumental version of Fat Bottom girls is playing. Cut to fight scene pirtle's counter Johnna pushes the girls aside who are still fighting and pulling hair. she holds them up against the counter rail. Johnna: now go sweetie! Mommas not going to let anything happen to you. John passes by Johnna who is holding the girls (still kicking and fighting) so that he can pass. During the visit we see Johnna push the girls who are still shouting at one another, but not physically fighting. We see Johnna grab her drink. As John comes out of the bathroom. His mother is standing there waiting for him. We hear the beep of the timer signaling that his chicken is done. The lesbian is still trying to engage in physical fighting and Johnna steps in breaking the fight apart once again. Johnna: (speaking to the lesbian) Look girl, you gotta go before momma puts those teeth in the back of your head. (speaking to Linda) And, I told YOU we were in a hurry! now get back there and wrap those chicken tenders for us to go. beat And I'll take another orange juice, too. I distinctly feel a cough coming on as we speak! Car scene Int: Car, John and Johnna are in the car. John is reaching into the bag for his french fries and food. He places a napkin absurdly around his neck and begins to eat. Johnna has the styrofoam cup between her legs and is looking both ways before pouring another small vodka. Just as she seals the lid John turns to her John MOM A beat passes, during which we see Johnna realize that John has just referred to her as "mom." She smiles exaggeratedly and looks to john. Her eyes are gleaming Johnna Yes, honey? John That was awesome in there. Johnna Oh sweetie. Thank you. sometimes it just takes a real woman to handle girls like that. John Mom Johnna Yes sweetie. John Can we go to Chick Fil A next time? Johnna Sure sweetie. But, it's not open on Sundays. And, you know they hate the gays. John But, Mom, you aren't gay. You are a real woman. Johnna Awww sweetie. Momma loves you. End

So, I've decided to revise my concept and do something besides the scene from the longer film. It was shot down in the critique, but somehow during the critique, I remembered an episode in my life in the middle of a bus station in Knoxville Tennessee when I was young. I hope I never have to take a Trailways/Greyhound bus ever again in my life. During our "layover" in the bus station, we decided to go and eat in the cafeteria as my mother was hungry for fried chicken. I have no idea why we didn't just drive to Charleston S.C. I could understand that flights were too expensive, but honestly, a trailways bus. Anyways, we placed our order for fried chicken and were instructed to wait. As we waited for our chicken, a ferocious "cat fight" broke out between a woman behind the counter and another woman who seemed to be ordering food. I have never been so terrified in my life. The howling (like an alley cat in heat in the evening), the pulling of hair from one anothers head, the scratching of long freshly polished fingernails and the blood that oozed from the girl's cheek. I remember those fingernails so vividly. I remember my mother jumping up from her seat and running to get help. I was left there to endure the violence continued. It took several minutes. Amused? Not at the time, but in reflection, it was such a momentous event, it is unforgettable, and amusing today. My new concept is entitled Fried Chicken Fried Chicken is the story of a needy young 10 year old germaphobic gay boy and his eccentric and alcoholic mother's venture into a seedy Jack Pirtle's Fried Chicken joint to get something to eat, and, moreover, the boy's desperate attempt to navigate through a "dining room" cat fight so he can go "pee." The theme pivots on the family dysfunction and the struggles of individuals living in certain capacities (alcoholic/white trash) to overcome challenges brought on by the very mundane. This short is a black comedy, dark and satirical, but has a serious tone. Viewers will laugh at the characters, and their lack of capacity to complete menial tasks, but also feel a small degree of sympathy. The goal of the film is to amuse and entertain it's viewers. Viewers can relate to the tasks on many levels. The alcoholic that needs a drink. The mother whose kid won't shut up (i.e. I'm hungry, I've gotta go, etc). The film poses no real dramatic or educational underlying motifs with the exception of the possible negative outlook on alcohol and fast food. All audiences will be able to relate to hunger and the need to urinate. My audience is adults between the ages of 20 and 50, especially fans of dark humor, and campy films.

PROPOSED FILM PROJECT: PITCH 11/7/2012


My film is about the obstacles an "over the top" outrageous transsexual must face in order to overcome drug/alcohol addiction, social anxiety, and societal rejection to find faith (in an all accepting Christian Church).



The theme is two-fold in presenting the "letting go" and overcoming of self (addiction, identity issues, and hate) and also pushing the limits of an all accepting church.



This movie is a black comedy, dark and satirical, but has a serious tone.  Viewers will laugh at the character, but also feel a great deal of sympathy through trials in completing the tasks to find faith.




< The goal of the film is to to have fun, to make fun, and to illustrate to outsiders and individuals (especially within the LGBT community) of the contemporary stances taken by all accepting faith based organizations in our world today.


My audience is the LGBT community, their friends, and members of all accepting faith based organizations.

PLOT STRUCTURE SHEET This is a post based on a longer film. Perhaps a feature. I followed the structure sheet that was posted by our teacher, Jill Wissmiller. Cleaning Windows The story is about an over the top outrageous transsexual/drag queen living in the deep south (Memphis area) The character has been subjected to a mass amount of hate from religious fundamentalists and societal rejection within schools and the workplace. He/she has become a loner and rejection has pushed the character to drug/alcohol abuse and social anxiety. The character is looking for a place where he/she feels welcome and is not at odds with others around him/her. Gay Bars and parties of the sort have further provoked addiction and never provided a true or honest connection with other members of society. Religious tenets and fundamentalists would have never allowed this person to become a member of a church or a faith based organization. But, with relaxing viewpoints, he/she is able to break free of the insanity. The character is strung out on alcohol, can’t keep a job, behind on rent, sleeping with married men for money via Craigslist. Our character finds and meets someone that he/she thinks is a true connection, and to some degree it is. There is an actual emotional attachment to a young preppy Jewish boy. They quickly fall in love. The love interest finds our character at the bar and happens to oversee our character using cocaine in one of the bathrooms. Our love interest flees the scene of the bar, but later comes to realize that it is worth his time and later goes to the house of our main character to apologize and try and help. He knocks and rings the doorbell and is greeted by our main character through a window of the home. Our main character is holding up a blanket to cover his nudity. The love interest expresses his affection for our character, and professes that he will help him and stick it out, but then realizes that our character has another man in the home. He flees the home. Our main character is devastated about the loss and goes on a complete spiral of drugs and drinking and finally comes to reach rock bottom. At this point, the film goes into montage sequence and stream of conscious reflection and breaks in and out of reality. Then it breaks the loop to the final minutes of the film. This is the scene of the resolve (Alarm sounding) The camera slowly comes into focus on a window in which the sun is coming through. The sounds of the city are introduced to the viewer as the sound of the alarm turns off. The camera slowly pans from the alarm clock around the bed side table and the viewer sees a condom wrapper, overflowing ashtray, a liquor bottle, parts of a feather boa and some drug paraphernalia (perhaps a water bong or a syringe, spoon, and a lighter.) You hear the slight moaning of a hung over person waking! Then there is a silence, then there is the sound of crying. Scene 2 A shower curtain is abruptly raked open creating a slightly loud, abrasive noise, and the viewer sees and hears water to a shower start running and after a couple seconds the curtain closes as the camera slowly becomes more and more out of focus. The noise of water continues, but as the camera comes back into focus, we see the foggy mirror of the bathroom. Our character is cleaning the fog off of the mirror and starts to put make up on and brush hair, etc. Cut to bedroom table, we see our character cleaning up the residue of the binge, holding a trash can in one hand, she picks up the bottles, starts to dump the ashtray (then throws the ashtray in the can as well), she throws out everything and pulls the bag. Cut to: our character exiting the apartment building, she has the trash bag, which she throws into the dumpster. There are several POV short snippets of the city (trolleys, images of tall buildings) We see people with signs professing "the end is near, repent, God hates Fags, etc." the camera walking up some steps toward a set of large wooden double doors. In the background, there is the chanting of "loser".... "what a freak"... "faggot"... is heard. Our character hesitates and the camera comes in for an extreme close up of lipstick (poorly put on the lips). Our character makes what appears to be the signature Billy Idol snarl... pause for a beat, and then takes a deep breath. As the door is opened, everything fades to black. The camera comes into focus slowly once again and the viewer is introduced to a dark setting where there are candles burning. As the camera zooms outward we are introduced to an altar until it is apparent that our character is in a church praying. She gets up and turns and behind her, we see a pastor come into full view. There is an awkward moment of silence as the camera (POV) slowly moves up from his robe to his face where we see him smile. He extends his hand and says "Welcome, we're glad you're here."

I have not posted as often to my blog as I would have liked to. I'm so busy with grad school, sometimes I just feel that my eyes will pop out. However, every once in a great while I do get to go and see a film in a theater and hopefully it is a good one. This past month, I've had the great experience of seeing two films that I really enjoyed. ARGO is a great film directed by Ben Affleck. The movie is based loosely on former Central Intelligence Agency operative Tony Mendez's historical account of the rescue of six U.S. diplomats from Tehran, Iran during the 1979 Iran hostage crisis. The film stars Affleck as Mendez with Bryan Cranston, Alan Arkin, and John Goodman The story of the same rescue was also told in the 1981 television movie Escape from Iran: The Canadian Caper. Besides just being an "on the edge of your seat" thrilling movie, what was awesome about the film, and what really appealed to me when I consider my limited experience in making film, is the way the transition from the grainy vintage film clips used in the movie and the actual film were so smooth. Either they had technically figured out the exact ISO to shoot the digital footage to mimic the vintage footage, or they had done some serious technical work to the digital footage. I highly recommend the film. The other film that I had the benefit of seeing in the theater was the new movie "Cloud Atlas" The film is based the 2004 novel Cloud Atlas, by British author David Mitchell. It consists of six nested stories that take the reader from the remote South Pacific in the nineteenth century to a distant, post-apocalyptic future. It's truly epic! The Cloud Atlas cast includes Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Whishaw, James D’Arcy, Zhou Xun, Keith David, David Gyasi, Susan Sarandon, and Hugh Grant. This film is long, almost 3 hours, it jumps from time era to time era as well as film genre to film genre. It's visually incredible and the cinematography blew me away. I loved most of the actors that each played various roles in the movie. I wasn't such a big fan of the make-up. At times it seemed fake, and I really think they should have cast someone besides Tom Hanks in the leading Role. I know, I know... he is a two time Oscar winner. Who cares? He wasn't all that great in some of the roles. He is a great actor. But, he really isn't all that versatile.

Well... let's see. It's been over a week since I've posted on my blog. Midterms somehow ended up being better than i had expected. Although none of the work I've created seems finished, sell-able, or resolved, my advisers are happy with the level of experimentation that I've brought to the table. After my mini mid term nervous breakdown, and the 1100 dollar car repairs, I was somehow able to escape Memphis and make the trek back to Music City, U.S.A! (Nashville, not Branson, Austin, or any other Music cities, U.S.A.) During the visit I was able to head to my favorite little place and grab some Nashville HOT CHICKEN. This stuff is way to hot for human consumption, but it is so incredibly moist and succulent, you cannot stop eating it! Later that same day, I was invited to a private concert at the Nashville Jazz Workshop which is located on the property of an old factory. Once of the buildings houses a music studio for a famous Country musician and the third building on this particular night was being used for footage of the new TV show Nashville! WOW... what a set. Besides the wardrobe trucks present, there were a number of large trucks, food galore. They were shooting a night time scene on top of the building with the city skyline in the background. Besides the numerous cameras that were hoisted and slid on wires that had been suspended across the building. They had water machines that produced rain in front of the band.

Oh... I almost forgot to clue you guys into one of my most favorite films. This one can be read in so many ways. About half the people I have suggested the film to have hated it and the other half might shrug or really get the film and understand it. This film became somewhat of a cult phenomenon in Palm Springs California. Palm Springs is perhaps one of the most gay friendly and tacky places on the west coast. I love to go and visit there as often as I can. One time it was gay pride and El Vira from TV was the queen of the gay parade. This type of weirdness is typical of Palm Springs. I also think about all the old cars and leathery old skinned folks dressed in Coco Chanel and other gowns and such that has definitely become passe in todays day and age. Anyways, enough about Palm Springs. The film "Sordid Lives" is hilarious and so low budget it's unreal. There are parts where you can actually see the boom dip into the camera frame. Hilarious!!! Believe it or not alot of the name actors volunteered their time for this film. It was played to sold out crowds every Friday night in Palm Springs for several years. Here are a couple clips from the film. If you rent the film or you are able to get a copy on DVD, be sure and check out the added features. There is a segment in which Delta Burke actually makes a recipe of Tuna Casserole with lays potato chips. I'm told the dish is quite good. Perhaps it's something we could cook and watch the movie sometime. That would be AWESOME!!! I hope you enjoy these scenes. They are so yummy and fun.

Here is a little bit about the back story of Pink Flamingos, and a clip with John discussing his film. BE SURE AND WATCH THE OUTTAKES AND LISTEN TO HIM DISCUSS THE FILM IF YOU HAVE THE FILM ON DVD. Pink Flamingos is a 1972 comedy film directed by John Waters. When the film was initially released in 1972, it caused a huge degree of controversy and thus became one of the most notorious cult films ever made. It made an underground star of the flamboyant female impersonator, Divine. The independent film also stars David Lochary, Mary Vivian Pearce, Mink Stole, Danny Mills, Cookie Mueller, Edith Massey and Steve Yeager. Produced on a budget of only $12,000, it was mostly shot on weekends in Phoenix, a suburb of Baltimore, Maryland.

And here are some clips from the early John Waters films.  I am going to warn you.  If you watch them on Netflix or Amazon or whatever.  They are really over the top and crazy as "hello!!!"  so watch at your own discretion.  It can certainly be offensive, gross, incestuous, campy, satirical, and freaky.

So thinking about the reality of my shot. I need to focus on bringing something fun to the short film that I'll be producing. The interior of the Grocery store has been fun, shooting sausages, hot dogs, and phallic fruits and vegetables. I am looking at the films and film makers that really are the leaders in the genre of campy gay film making. Here is a look at Keith Anger's work. It's a funny short piece that is inspiring. I also need to include some of the early works of John Waters. He was so incredible and funny. Divine was such a witty and unusual person to fill the roles that only John Waters could create and direct. What I'm including on the blog is not nearly as racy and risque as some of the other pieces that I could certainly post, but I'm trying to entertain and not necessarily offend anyone. I hope you enjoy these.

Here are some images of what my character Jett Feathers possibly looks like. He is a lot like Hedwig (as i mentioned) but he is not dressed as a female and has not had any kind of sex change.

So, I have revised my vision for a short 30 second to 3 minute film once again. I appreciated all the feedback from the guys that are further along in their pursuits of Digital Cinema. I have decided to cut the entire overdose scene from my film. The film now just becomes this point of view interlude of my character Jett Feathers waking up and going out to do something. Here is an overview of the 'short.' Scene 1 (Alarm sounding) The camera slowly comes into focus on a window in which the sun is coming through. The sounds of the city are introduced to the viewer as the sound of the alarm turns off. The camera slowly pans from the alarm clock around the bed side table and the viewer is introduced to my character via a picture on the table. The viewer is also introduced to items that reflect the identity of my character. We see a slow panning passing over a condom wrapper, overflowing ashtray, a liquor bottle, parts of a feather boa and some drug paraphernalia (perhaps a water bong or a syringe, spoon, and a lighter.) You hear the slight moaning of a hung over person waking and CUT! Scene 2 A shower curtain is abruptly raked open creating a slightly loud, abrasive noise, and the viewer sees and hears water to a shower start running and after a couple seconds the curtain closes as the camera slowly becomes more and more out of focus. The noise of water continues, but as the camera comes back into focus, the viewer becomes aware that we are at a fountain somewhere in the 'said' city. There are several short snippets of the city (trolleys, images of tall building, and there is a shot of the Lorraine Motel.) The camera is all shot in point of view and now we see the camera walking up some steps toward a set of large wooden double doors. In the background, there is the chanting of "loser".... "what a freak"... "faggot"... is heard and as the door is opened, everything fades to black. The camera comes into focus slowly once again and the viewer is introduced to a dark setting where there is a candle burning. As the camera zooms outward we are introduced to a series of candles and an altar until it is apparent that our character is in a church praying.

Ok... so I am still trying to learn this blogger/embed copy paste method... this post is a testament to my computer challenges, and here I go again.  EMBED.... video....sesame!!!! 

I love all kinds of film. High budget, low budget, documentary, mockumentary, drama, comedy, and even the occasional romantic comedy (there I said it.) I love interesting and unique fictional characters. Hedwig has to be one of my favorites. Here is a clip I think you will enjoy.

It's been a decent weekend.  Outflix film festival is happening this week.  I was able to attend a screening of a film entitled "Deep South", which reflects on the current status of HIV spreading throughout the south and the lack of funding and education causing further growth and spread of the disease It was interesting talking to the director and producer after the show about the funding and inspiration for the film. The filmmaker, Lisa Biagiotti, worked for PBS and was living in New York when she took on the project.  The film took roughly 2 1/2 years to complete.

deepsouth TRAILER (official) from Lisa Biagiotti on Vimeo.

Perhaps I should be posting some links to some of the films that I've been watching.

Maya Deren's film is sort of surreal and experimental.  It's reminiscent of some of the Dali pieces.
http://www.zappinternet.com/video/zajDveMkoS/Maya-Deren-Meshes-of-the-afternoon-1943

Some beautifully crafted scenes from Wang Kar Wai
http://www.dailymotion.com/video/xkp4d_in-the-mood-for-love-2000-vo-2_news
http://www.youtube.com/watch?v=JSxBsYGa3SU

Hollywood's Sam Mendes
http://www.youtube.com/watch?v=ED7_y4jETo0

And of course, the ever so obscure and elusive David Lynch
http://www.youtube.com/watch?v=je6L2clZOGM

In addition to this I've been watching some films by Kenneth Anger
http://www.youtube.com/watch?v=kxX1MMN1n-Y

And also stuff from performance artist Paul McCarthy, you can find a library of video from him here.
http://www.ubu.com/film/mccarthy.html

Hi,

Welcome to my blog on digital cinema (film class.)   Today is my second day,  we are doing a presentation about ourselves and the themes that we would like to deal with in this class and in the future.  We've watched scenes from some great foreign and domestic films including blockbusters, independents and some experimental art films that don't really make sense.  But, do any art films actually make any sense?

So far in class, we have given a short presentation about ourselves, our artworks and ideas, and how we want to act on them in creating video productions.   We have touched on aperture, shutter speed, ISO,  and many other camera topics.  we have watched various films from "The Deer Hunter" to independent films by Maya Derrin.  I'm enthusiastic and optimistic.  I feel that I am going to be very productive in this class (driven by inpiration) and I also think I'm going to continue on with making films for a very long time.

Today was the first day of class in Digital Cinema.   I think it's going to be a very challenging class.