Filed under: Uncategorized
Alright, so this is inspiring. A man makes a video — a music video. And that video gives you a glimpse into how he makes music by tuning and playing a tree!
What interests me, in particular, is his behind the scenes approach to his own sound-making. In doing something youtube style, he’s created a different kind of art object. It’s directly linked with his audience. A veil lifter. And it gives you this feeling of possibility out of seeming impossibility. You make mental connections that you might not otherwise make. (ie – a bow plays on violin strings. i know this to be true. But a bow on a tree trunk. what? really?) I just really like that little story concept. It goes a long way.
Now, how can I steal from Mr. Stocco?
That’s 24 days. I’ll admit, I’ve been consuming. Roughly, 4 episodes of Mad Men (and about a dozen references to JFK), 8 performance, 5 movies, 1.5 books, 16 podcasts, 2 new albums, and so many conversations with folks whose company is most enjoyable. Life is good.
In honor of all the consuming, here’s a list,in no particular order.
- Cocktails with Callie , plus meeting her cat IJ (Izzie Jane)
- The opening moment in Neal Medlyn’s show. (“Have you thought of a number? Is it 3?” No, actually, it was 5.)
- The ending moment of Laurie Berg’s piece at DraftWorks – ala The Will Rogers Follies
- Inglorious Basterds – Hans Landa is supreme and the bar scene and the french countryside and the conversation btwn Landa and the frenchman when they decide to switch from French to English in their conversation.
- Making shortbread with Tami … various brainy rants!
- Chatting with Jeffrey over coffee and bagels at home – makin’ our top 10 movie list of 2009. Yep, we like lists. Don’t judge.
- Eevin Hartsough singing “I want a dog” in Laika Space Dog. Carl Riehl & The Cake Monkeys!! Made a mental note to ask Carl to talk more about song lyric writing. So I’m writing it down here.
- Matty Robinson’s interview (25:59-43:34) with Michael Stuhlbarg on Filmspotting + their nostalgia movie countdown. Ah, childhood movies. I gotta go with The Dark Crystal, The Secret of Nimh, and yes, Anne of Green Gables.
- Rachel Tiemann at Sorry for Laughing – you are a very funny lady. Especially when you violently eat cucumber slices while someone tries to read a love sonnet.
- Book 3 of Millenium Series – this is from Stieg Larsson, the Swede I’ve mentioned many a time. I’m almost finished with the trilogy, and it will be bittersweet to finish it. If you ever read these, my rule of thumb: give it 120 pages before you leave it. They start slowly and then the roller coaster ride kicks begins. Really. Trust me.
Filed under: Dance, Literature, Marketing, Scripts, Video | Tags: Dance, edits, feedback
This post’s title is stolen from my mom’s editor, who I got to meet earlier this week. She had just passed on her notes to mom’s first draft of the newest book. I found it interesting that she had a numbered list of edits in the form of character and research angles to re-evaluate, re-write, and clarify. Most of them had to do with re-adjusting how my mom views the back story of her main character. In other words, all the stuff NOT explicitly in the book, but what makes up its tone and voice and speaks (between the lines) to the readership.
And much of that work has to do with the market for which my mom writes (cozy mystery). Mostly women, specifically southern, and hobbyist readers. If she wanted to write dark thrillers, she’d publish with a different Penguin insignia, perhaps.
I guess we all make work directed at the audience from which we come. I squirm a bit in writing that because it all seems insular. ( I’ll get over it. i’m not afraid to call myself a bit green at times. i also know so many out there must wonder at why they do what they do. for what and for whom. the universe is never specific in answering back. ) The more and more I get to make work, the more I believe it to be a running conversation with the audience. Here’s a very short summary of concerns and comments we got from the audience. Some to which we’ll take heed, some… not so much. I know I’ll be hearing more…
1. The voiceover with the “say it.” I wanted it to stop.
2. That conversation in the middle is long.
3. We were just talking about how fly you look.
4. That part with the “do you trust me as a performer?” Putting yourself out there, huh.
5. The first fifteen minutes were especially strong.
6. I liked seeing how much more comfortable you’ve grown as a performer.
7. The rope section stuck out for me. I wasn’t sure why it was there.
8. Two cried. One a good friend. Another, a stranger.
9. That strobe light thing you do makes your hands look huge. It was fascinating. Others referred to it as that stop motion thing. That stutter. That silent film moment.
10. It’s creepy when that man comes into the film. I’ve got a new ending for you. You ready? (It has to do with a saw)
11. There was an unusual guffaw from an audience member during the Saturday night performance .
re: 11. It still sticks with me. Cranor and I talked about wishes to have built in moments that could lead to interaction between me and the audience during the performance. I thinks that’s a future challenge.