Make a Movie: Learn about production and discover Artemis Eternal, then join us as an official Wingman!
➸More Dailies: On days that I don't update here, you can catch me on Twitter @JSto. Free Fantasy Books August 29, 2010
M.Sto has loads of pristine books around Stover Mancha and, in an attempt to create less of a deficit in shelf space, is going to donate a stack of nice fantasy-myth books to the library tomorrow. Most of these I haven't read, but I thought you might like a few of them.
If you are a Wingman and you would like any of the following books, then let me know by midnight Sunday ET (today). All you have to do is pay for shipping. (I can choose the cheapest shipping method for you, no problem.) Claim as many as you like, just e-mail me to let me know! Since they've only been read once, most of the books are either in excellent or great condition. Especially the hardbacks.
Hardback - Fragile Things by Neil Gaiman
- The Graveyard Book by Neil Gaiman
- Shadowmancer by G.P. Taylor
- Shiver by Maggie Stiefvater
Paperback - His Dark Materials box set by Philip Pullman
- The Chicagoland Vampires series: Twice Bitten by Chloe Neill
- Ballad by Maggie Stiefvater
- Lament by Maggie Stiefvater
O beautiful for Wendy's fries,
For concrete Walmart chains,
For coal-blown mountain mining schemes,
Above Monsanto's plains!
America! America!
Haliburton, Exxon, BP,
Contractor stealth, protect our wealth,
From sea to oil-soaked sea!
(add a verse, if you like)
Comments (2)(Last Comment: 8/30/10 8:59 PM) | Permanent Link | RSSMocking Mockingjay Book is Mocking August 26, 2010
WARNING The Hunger Games SPOILERS ahead.
And now, a short review of Mockingjay.
This book, the third in the series of Hunger Games is depressing and brutal, as it should be. But not in the good, cathartic, profound way that the first book touched upon. Character development is sadly lacking. Things happen to the protagonist, but she doesn't actually do much.
In one scene, the author has to have supporting characters remind me of why I liked the protagonist in the first book. Seriously, they sit around a table brainstorming on the matter in attempts to remember why they, and I, should care. For a recent popular comparison, JK Rowling manages Harry so beautifully through six books that it's hard to watch this author grope to make something of Katniss as she drowns in the blockbuster plot.
To examine the story in a larger sense, the author has optioned the books to Hollywood. Thus, in years to come, we can look forward to a manicured, underage actress propped prettily in a director's chair as phony reporters from meaningless tabloid outlets lob her questions and she promotes exactly what the first book so excellently and intensely detests.
This is incredible given that the final book takes the time to spell out the idea of "bread and circuses" for the reader. (sigh)
Here come the "Team Gale!" t-shirts and fast food ads. Delivered straight from Districts 8 & 11. Viva la Capitol.
DC, for some months now I have attempted to ferret out your production soul. Those who know me will recall that my R&D is extensive. I've met with just about everyone key who is representative of the film spectrum. The mid-Atlantic region is dryer than it was a couple of years ago when I first started investigating locations and building the framework for Artemis.
When I left the DC area for LA, I was young enough and busy enough working professionally on and behind camera that I never really had a chance or need to get a feel for the city, what production happened here or the theater and performance scene. The masters, technique and set experience I experienced in LA trumped much of what is available here, where the main industry is politics. Yes, for months I have been looking for something masterful and unique to this region.
It was finally and very recently that in the theater and performance scene (which has a few gems) that I discovered something genuine and cinematic that additionally suited and challenged my imagination.
Synetic Theater invited me to train with them over the course of 14 days, so for the past two weeks I joined in their intensive training at their rehearsal space, which is more a gym than a stage.
Theirs is a physical theater company. Regionally they are well known for their incredible wordless Shakespeare performances and for dark, dramatic, athletic adaptations of such classics as Dracula and Dante's Inferno.
My minimum goal and expectation in working out with Synetic was simply to learn something different. ...I also understood that the way they train was likely to kick my ass. I've been needing a challenge lately. Wish granted, and how!
Let me see if I can step outside of my performer's context to describe the skills included, layman-style. Beyond being able to handle classical stage acting, you have to have some of this flavor: Move, trick and pantomine like a Jabbawockee, twist your face into cartoon characters like Jim Carrey, dance technical (which had me wonderfully frustrated enough to lament not having taken ballet classes in the past) and improv movement and character. Synetic's pictures break forth from blank space, and in sequence melt in and out to form stories, much as pictures and story break forth and transition from simple sand here:
It's like a theatrical performance style of Kseniya Simonova famous sand drawing. Using actors. ...Or a high art manifestation of some of the best visual performance techniques you've seen trickle down to ABDC or Gaga vids. Try moving fluid from a handstand into a controlled worm and making it look effortless. Yep it's cool. ABDC crews perform levels of spectacle like that, and beyond. But you know when it's cooler? In context of a narrative and character. Like, say, The Metamorphosis. This shit is upper level. And the potential is stunning. I find it far more meaningful and impressive, because it's sans product placement gimmick and lazy scripts or reality game show spectacle. DC this is happening in your city and its timeless narratives, tricked-out classic stagecraft and international influences gone American and mod belong to you: The local supporters of this company, which is currently celebrating it's 10-year-anniversary season starting with a peformance of King Arthur.
From the perspective of a performer who has now had the rad opportunity to have trained with some of the company and choreographer/founder Irina Tsikurishvili, I have to say that back in the times of famous theater actors, Irina would have been a household stage name. She's a force of nature. In time, at least regionally, I would expect (and hope) that Irina and Paata Tsikurishvili will become widely known in performance circles for a specific mastery in the Synetic technique they've developed, and performance students will seek them much as I immediately sought out The Atlantic and The Groundlings.
The trailer from their latest show, performed at The Kennedy Center:
Theater has had a tough time marketing against a landscape of audiences trained by billions of studio marketing dollars to recognize and worship the cookie-cutter strategy of big budget movie trailers and posters. Something is lost in translation, as too much of the population does not have the context of having attended stage plays. For those who have, the same ol' musicals saturate the space with familiar performances. On the online side, if Synetic had a cross-platform new media strategy, they would be famous on The Internets and would likely redefine the way theater companies engage their audiences and raise the bar for what counts as an "OMG WOW!" performance clip gone viral. I think they're in a unique position to do so, but really what theater has the bandwidth for that? It's a shame.
You know that the business ethic of a production also concerns me and is something I investigate. Beyond the creative side, I like what I see so far in terms of the way they do business. They're invested in their creative members and the community, and they have smart partnerships with certain stages and local business districts (The Kennedy Center, The Shakespeare Theater, Crystal City etc.) vs maintaining one venue. In addition to their dramatic main stage shows, they craft comedic, imaginative children's shows at their Synetic Family Theater in Arlington and other family venues.
For actors, I looked it up and periodically they do offer classes, although I don't know if Irina teaches any of them at this point. Regardless, senior company members are terrific and you need some time with them before she steps in simply in order to be able to keep up with, and make the most of, her instruction. They have loads of Synetic technique expertise to offer, so if you are an actor with a dance/atheletic background (you need to be fit and have some muscle memory going already), then seek them out: Mixing the two will likely satisfy something for you as it did for me in terms of drawing all of your skills together in service of narrative.
My face was often skewed in concentration, I sweated more than I have all year and at times the intense conditioning left me feeling murderous ("one more eight count?! FU!"): my quads screamed. I learned neat tricks like how to moonwalk on any surface (and how to go from said handstand into the worm), and practiced skills as diverse as stage combat and (more frustrating for me) leaps. I was an evil spirit, I was seaweed, I was... a street lamp. Most importantly and excitingly, there were some new approaches to physical acting and stage picture that I hadn't been exposed to before. This is useful to me in considering AAE and beyond: Anything that grabs me I ingest and consider adapting to our filmic endeavors, and it's probably obvious to you by now, lovely reader, that I was impressed by the people I worked with. The timing and discovery for this was perfect and overall I had a such a fantastic time for hours and hours day after day that I hardly know what to do with myself now that training concluded Sunday evening.
Artistically, I haven't seen anything like Synetic in the show biz/arts cities in which I've studied (LA and London). While many separate skills including and beyond acting I've accomplished with masters in those places (the gymnastics coach I work out with in LA is world class, for example) there is no other place I could have experienced this particular signature technique.
If you live in the Washington DC metro area or are coming to visit, then go to a Synetic show! The fantastic, dramatic, immagintive style should appeal to you Wingmen and I do believe the unexpected storytelling will delight and blow your mind, and have you thinking differently about storytelling and theater. Procure individual show tickets or subscribe to the full season.
Synetic is a non-profit company, so if you've been looking to make a tax-deductible donation, then I recommend becoming involved with their work in that way. For those of you who are microdonators, why not try a small amount? They are like-minded to our endeavors here and I'll vouch that they work harder than any theater company around, and will make you proud. Go here.
There are a few Artemis Eternal things that you have been asking for. The #1 thing is concept art.
Concept art was not in my original budget because we understood that the production's design could be completed without full paintings (and indeed most of it has been). I am thus tackling this as a side project, but an awesome, beautiful and important side project.
Concept art will help the actual film and it will also help the aesthetic of the newly redesigned website, as well as aid in engaging new individuals and communities. I think you understand this and that is why you have asked for full art. So, you asked, I think you're right, and I have since been packaging this part of the project and experimenting with how best to accomplish the art with you.
I am elated to announce that the artist we will be working with is celebrated film and graphic novel artist Christopher Shy (SOUL STEALER, PATHFINDER, CONAN). Chris has been working independently for over a decade and shares our mindset. He is fabulous and patient. I cannot wait to collaborate with him and share the work with you!
Review and experience more of Chris' work here. (Soul Stealer and Pathfinder are some of the more relevant works.) Furthermore, all of the lo-res embeded art in this entry is Chris' work. Now, let's get down to creating...
Let's start with one piece. If you would like to be either the Wingman, or a part of a group of a few Wingmen, to back our first piece of art, then please shoot me an e-mail at jessica [at] jessicastover.com. You few and you alone will receive a limited giclée print signed by Chris and myself as well as special recognition in this portion of the new site. If you're new, this will bring you on as an Aurum-level Wingman. We'd be glad to have you.
Update: I already have TWO Wingmen who would be interested in splitting this with another. Who's next? I'm thinking a handful of you so that the amount is low and thus a great value for the contribution and your limited print!
Update: Just need one more Wingman to push this into production. E-mail me!
*Art is Copyright Christopher Shy // All Rights Reserved // Temporarily posted here to show artists' work
Cancer, the environment, DDT, Kathy Lee Gifford's bullshit media and propaganda hypocrisy... The Corporation is now on Hulu and touches on the complex history and controversial impacts of corporate design.
In line with Artemis Eternal, I authored a guest article for Nonpretentious.com about modern trends in movie scoring. In the version they published this morning, they included an introduction to the article which takes a look at Artemis, too. Read, watch and listen...
. . .
The subject I receive the most mail about—not solely from the population involved with the project, but from civilians, too—is my plans for the scoring of Artemis Eternal. A selection from the latest letter, for example:
“So many scores are awful or by one of the same three composers and they all sound the same. I don’t know what your plans are, but music is an integral part of film so I hope you’ll take it seriously.”
Seriously, serious fans are serious. And, greatly concerned! While it’s amusing that they’d tell me something that every professional filmmaker ought to know (and act upon), they’re absolutely right about the importance of music in a motion picture and the fact that studio scoring is often predictable while independent film scoring is sometimes sub par.
Thus, in harmony with those interests and concerns, I thought it wise to create a mix tape themed around the techniques found in modern film scoring and soundtrack.
The majority of these songs were on the playlist that I listened to while writing the screenplay for The Silver Legacy (the exceptions being those that were not yet released at the time of writing), as well as Artemis Eternal. Other compositions are points of study and frustration, or curiosities in cinematic trending that attracted my attention. Headphones on, if you please, and off we go!
Permanent Link | RSSA Young Person's Guide to Americana The Apocalypse May 26, 2010 East
The nearly unbearable, highly intriguing life of an artist. An extreme, volatile state in these ages modern wherein mass effect is decided by media control. A state of loathing sprinkled with moments of immense joy when the gift given and developed is put to wise use, and neither silenced nor abused nor perverted--
But, would you? Would you worship my image, if they told you to? Beg me to sell you Vodka and Wonder Bread? Miracle Whip? Famine the horseman rides and pays my production costs! Eat it up--as the talking box compares me to Andy Warhol! Insert product placement without comment. Broadcast!
The altars of art went untended, then lost, then forgotten. Richer fires now burn, roar louder in worship to billboards and uncanny valley'd magazine covers and Fox-y charlatans: Facades of halls long gone cold, or bulldozed. Asbestos shrines painted in lead. Toxic cities of the Gap-dressed walking dead.
And while all the big kiddies were tucked in to headsets and screens and bleep-bleeping mobile entertainment machines, some Few laid an exclusive weave over the Western world and the mass of airwaves saw something they had not since the rise of Nazi Germany.
"I wouldn't have done it!" cries Bernays "if I only knew, I wouldn't have!"
Ha--Come now, brother. You knew then, just as you now know.
And the fat man sneers astride his sickly horse and canters in the sunshine,
"You have cancers? I'm lovin' it. Starve!"
"JUST OUR LITTLE JOKE! LOL!"
Citizens stop to admire his golden scales,
Publishers hurry to pen his commercialized confessions,
Journalists proclaim him, An American God!
A cinematographer once by chance captured a photo of him trampling an orphan.
You didn't see it: A famous person had an affair that day.
All of this has happened before, and it will all happen again (In Banana Land) This is what Really Cool People Do (In Banana Land!) How can something have so many calories, and yet so little... food? (It's bananas, man!)
'They seem a bit above my likes and dislikes, so to speak,' answered Sam slowly. 'It don't seem to matter what I think about them. They are quite different from what I expected — so old and young, and so gay and sad, as it were.'
Not my first re-read, or even my second, but it has been a few years. I'm a huge fan of the P.Jackson & co. film adaptation, and yet it is swell to get back to basics and fall in love with Fellowship all over again.
After all, how many books pause for songs and poems with such wondrous thoughts as 'Not all who wander are lost'?
And, as early as the beginning of the journey from The Shire, the mere presence of the word "Hobbits" evokes much delight and affection, especially when spoken in dialogue, even in the most ordinary of situations!
Comments (5)(Last Comment: 5/9/10 7:23 PM) | Permanent Link | RSSThe Wikileaks 'Collateral Murder' Video is Not Important to War April 6, 2010 East
"...I really think this is not a big deal. Only because the war has been proven to be started on lies, and the men and woman who brought evidence to the table showing it to be an illegial war, have been discredited in our society (see Valerie Plame). This one video just shoes how ugly war is, not that America is bad. That has already been proven with no results."
The above thought is representative of a theme in public discussion on every comments string I have researched, including one that I later started myself. And why not? That this video is neither important to war policy, nor will it have influence on such, is a point that has merit and speaks to a truth in public consciousness and the lifestyle and attitude we've adopted while we've been at war, as well as certain behaviors we have allowed. The Wikileaks video is important, however. I will sign my name to that statement, right now, without the benefit of hindsight.
But the video and the influence it may or may not have is important for what is perhaps a non-obvious reason. By no means do I mean to posit that being desensitized to war and war politic is acceptable, or how I personally prefer reality. More simply, this reality is the status quo in the human realm in the west and the context for why Wikileaks exists in the first place, as well as sets the stage for a larger root issue in play. Something that is more important than the life-or-death industry verticals of war, agriculture, energy and healthcare.
That something is the media.
After all, if one does not have viable information and analysis, then how will one make decisions, vote and influence on any of the above? Worse, purposeful misinformation runs rampant on a massive scale. Of course education comes hand-in-hand with the importance of viable news reporting. Even if citizens were receiving viable information and media, and even if the voices and ownership were diverse and the debate robust and well researched; if the mass of people lack the critical thinking skills and basic problem solving ability, and contextual awareness, needed to evaluate and act on information, then our circumstances remain equally dire.
For these reasons, and more, I posit that the Apache helicopter 'Collateral Murder' video is more important to the media dialogue than to the war dialogue. Furthermore, the video is highly important to the media dialogue.
Let us look at this event in its entirety. What is important about the Wikileaks video, an overview:
1. The effect on military credibility due to the lack of accountability and transparency demonstrated by the US military, and the Pentagon as a symbol of the US military, in the sense that they willfully withheld details:
"The military did not reveal how the Reuters staff were killed, and stated that they did not know how the children were injured."
"It was unclear whether the journalists had been killed by U.S. fire or by shooting from the Iraqis targeted by the Apache."
"The Apache crew fired because militants 'were endangering the stability of Iraq' and because they had positive identification that the militants 'had weapons and were using them against coalition and Iraqi security forces,' said Maj. Brent Cummings, the battalion's executive officer. 'No innocent civilians were killed on our part deliberately. We took great pains to prevent that. I know that two children were hurt, and we did everything we could to help them. I don't know how the children were hurt.'"
2. Whether or not the Rules of Engagement and other operational rules and laws were appropriately followed is being debated online, as are the spirit of the rules against the actual letter of the law. Further discussion extends into questioning the legality of the war in Iraq, with many suggesting that the tragedy captured in the Apache video leak is a byproduct of larger injustices.
Some of what's missing, and is being discussed, is the context of the video.
3. The effect on media credibility subtly became a prime discussion point in the over all dialogue about the leak. Internet community has a sense of ownership of this style of leak or reporting, which in itself may be argued to be a sign of the times and a response to the media status quo. The lack of mainstream (read: corporate) media coverage and attention (especially in lieu of gossip-driven non-stories such as Tiger Woods, et cetera) is demonstrative of "news" media priorities that have little if anything to do with public interest.
This is somewhat of an unprecedented occurrence and what makes this moment remarkable.
Over the course of the day that the video was leaked (yesterday), and in response to a lack of coverage and attention, this video as a piece of news information had an unintended effect: It became a test. Audience members tipped news outlets to the video and story in every way possible, and watched in dismay as the premise that corporate media has little interest in public interest, or pursuing truth, was confirmed by a lack of coverage and response. These types of media issues are generally discussed online, and are often associated with problems attributed to media consolidation.
Once independent, now Condé Nast-owned, community news site Reddit.com fostered the most robust gathering of news links and discussion. Notably, the community there became a central owner in the attempts to collaborate with and influence corporate media outlets.
Various screenshots comparing Al Jazeera English to CNN.com, anecdotes about iReports on CNN.com being vetted and then deleted... all of these were offered by the public as evidence of news media degradation. Some asked if MSNBC.com was censoring the Wikileak due to the video not coming up in their search (the result of which was reportedly due to a bug in the coding and not intentional).
Others were critical of the "Army Accused of 'Video Game' Killings" angle FoxNews.com took after they were one of the first corporate news outlets to carry a story about the leak. At the same time, when the BBC finally picked up the story, Reddit users urged other community members to visit the story on the BBC's website and thus send traffic in order to demonstrate positive support for viable news coverage and exploration in hopes of elevating the story to the front page.
These practices and discussions are common on the Internet when it comes to media politic, but in this specific case the public had an important piece of news information in their hands, a piece of media that belonged to them vs. a news outlet or company. The audience thus became engaged in an effort to convince mainstream news to report the news. What is typically a loose knotting of complaints, jokes and "circlejerk" "You have my sword!" discussion and proclamations about the media bias and monopolies of knowledge of the day suddenly became a focused movement to elevate a specific story independent of marketing budgets or corporate branding and strategy. The community was experiencing first hand, via technique instead of theorizing or armchair political punditry, the landscape of corporate media and journalism.
Despite the work of citizens in the online space and Wikileaks, by midnight EST on the day of the leak this story had not been elevated by press enough to reach mainstream awareness.
Now, the day after, those who sense that some injustice has occurred have issued calls to action: "What do we do about this?", they ask. I have seen online communities suggest jump starting the anti-war movement, military veterans who served in Iraq taking it upon themselves to answer questions in forums while providing context for the military engagement in the video and frustrated citizens posting letters they've written to their congressional representatives. I propose that what we need most is not an anti-war movement, but a media awareness movement. Media literacy and knowledge of media ownership and the strategy bred by corporate media consolidation is a crucial key to opening all national dialogues in a meaningful and legitimate way.
For now, viewers and readers of news who are not media professionals have gained the muscle memory of taking a legit news story to corporate media and being denied, ignored and shunted aside. That's valuable experience, and something I expect to be useful in our collective understanding and engagement with both conglomerate and independent media outlets.
If you haven't watched the video yet, then I suggest watching the long version without annotations first, followed by the short version with annotations. You can review additional references at the Wikileaks site.
The rain has been steady and driving, unrelenting for days now. I was scheduled to attend a few very rad annual events this weekend (it's the fall harvest weekend here out east, amongst other things) but of course those activities have all been ruined by the excessive rain and unseasonably low temperature.
Despite the cold and the wet, I decided to brave the dreary weather to go on the hunt through the day-dark.
Yes I was forced to purchase an umbrella.
Then again, that did lead me to this place while the fog was creeping down the mountain:
*'Still Falls the Rain' is a poem by Dame Edith Sitwell
45 minutes away from where I currently lay my head each night I found a scene between two brothers that invoked something out of a magical reality/fantasy movie the likes of THE GOONIES or ET.
In my head the younger is Walter, shrugging his shoulders under the weight of his over-sized backpack as Kevin, the older, tells him exactly what he thinks about... Pirate maps? Having an extraterrestrial in his room? What do you think they're saying? What's the plot, and what does this scene mean dramatically?
I'm sure if this were my screenplay that red tree would mean something. In general the color red probably would be a theme. Take a closer look at the set for this shot, which is in front of their house. I don't need to tell you the costly lengths normally gone to in order to contrive such a composition as you understand already via following ARTEMIS and probably through production notes on other films. See the fall color palette, the prominent red tree, the red wardrobe of the kids and how they are given equal weight in leading colors, the way the mountain fills the frame and how it works with the incline of the walk, what the picket fence adds as information to the scene, how the brother making his point is positioned higher (dominant) on the threshold of the walk and what the space between our two "actors" says... . The only way it could have been better as created naturally is if Kevin were lit a little stronger in order to bring him out from tree more and at the same time to bring the green tree out from the b.g. of the mountain and add more depth. And if I had caught Kevin with his arms fully extended in the height of his shout(!)ing down at Walter.
If I had had an SLR on me, I might have been quick enough to get basic coverage on the scene (close ups, et al). And of course if I had been shooting film the shadows would have looked nicer. I'm wary of photographing other people, especially kids, however. I'm sure parents don't find it normal for people to enthusiastically photograph their kids on the side of the road. Couldn't let this one go, though.
Take a look again and realize why I've planned to shoot ARTEMIS ETERNAL not in Los Angeles, but in much more vibrant place. A place where even the front yards are more lively and epic.
Nomadicus Jessicus: This is dog Latin for “I just put all my LA possessions in storage.”
Let’s do that obnoxious thing that audiences tolerate wherein I show you the present, and now we go back in time to show you how we got here. Subtitle: “Thirty days earlier.”
I know, I know usually it is “one day ago” or whatever but come on I am not practiced in this type of playschool script trick.
Seeking five individuals to represent role of Artemis Eternal WINGMAN. Epic imagination, loves sci-fi, fantasy and genre art/film. Is prepared to be so famous on a billboard and the Internets. Savvy. Fun on set. Team player. Non-wimp.
Crimson Level Extremely limited: Only 5 Wingman slots available. First come, first serve. (If you are new to the project, then you can become a Wingman via this tier.)
Contribution price: $6,000.00 USD
Example: Multi-character, genre billboard Hogwarts-style, foreign
You will receive:
- Crimson Aurum Wingman status on the Artemis Eternal site (Aurum on the site with link, name in online credits, insider e-mails and credit in the Artemis Eternal film).
- A role in the Wingman cast of 5, meaning we will design character, wardrobe, makeup et al around you as you become part of the final composited Wingman art and story.
- A fully produced still-photography shoot (the cast will be shooting together all in one day in a Los Angeles studio) staffed by professional artists and crew.
- A high-res version of your fully produced Wingman character art/final image (solo - just you) for personal use
- You will appear in the final composited artwork, which will be featured on an ARTEIMS ETERNAL billboard in Los Angeles, CA for at least one month. You will also receive a high-res version of this image for personal use.
Please make a reservation by inquiring via direct e-mail. Serious inquiries only. Once I have five people, we will book out with you with at least one month's lead-time. I will work to accommodate as best I can. More details:
Outdoor advert: Death Eaters on the London tube
Casting Requirements You do not need to be a model, weigh 105 pounds or look like anything cliché to Hollywood. REALLY. You will essentially be a character doing the job of a character actor and we will design around what is unique to your personality and look. It is fine if you have zero camera experience and it is just fine if you are shy. This is still photography so obviously you don't have to worry about speaking. The shoot will be a "safe space" and we will have a blast. All I require is that you are flexible and trust me. I'll have an amazing team around us, so that's all I need from you in order to create something epic and amazing around YOU.
The concept will be based on looking urgent, badass and wielding an Aurum in some way.
You may be required to interact with a horse or sit on top of horse under the supervision of a professional wrangler in a controlled setting. You do not need to have any experience in this regard. There will be a wind machine and the environment, while cheerful, will be fast-paced. Any unique requirements such as these will be on the waiver prior to payment. Lunch will be provided. If for any reason you are unable to perform something required for the artwork, then this opportunity will not be an option for you. If you're unsure, then please inquire as I don't want anyone to miss an opportunity and of course we'll do what makes sense to incorporate who you are into the character and composite of the piece if at all possible. We reserve the right to refuse this opportunity to anyone.
Emo
Slightly less emo (but still ridiculous)
Single character
Get Ye to LA! You will be responsible for getting to the shoot in Los Angeles. The price does not include your airfare, room, board or personal expenses. The shoot will be on a weekend, we will confirm the date with you prior to your sending a check. Please keep in mind that you will need to arrive a full day before the shoot and will not be able to leave until the day after as it will be a full day with possible extension.
Billboards, Art & You Celebrated Artemis artist Greg Martin will be handling the post production on the images as well as collaborating with me to design your character and the artwork prior to the shoot. Artemis lead Todd Soley and I will appear on the billboard with you and four other Wingmen. The full art will be composited, meaning we will shoot you one at a time against a green screen, then do post production on your image, composite you into the final shot against a matte painting-style background. You may bask in the glory of Greg’s work here, here, here and here.
Completely CGI, but FF does a better job than most
LOTR-style
I will use the images to promote the ARTEMIS ETERNAL project, production company and The WINGMEN community. Obviously your image will be used for the billboard and online art, and otherwise as the project enables. I will have a waiver for you to sign prior to payment.
Billboards are a major part of the culture in Los Angeles, and are mostly centered on movies and entertainment.
For example, when HP6 came out, the city was plastered. The advert on the left is probably the best of what I've embedded.
Examples of multi-character genre billboards are embedded in this entry above. I welcome comments to some of your favorites.
The idea is more epic in scale vs. something simpler we've done in the past such as this photo of me (seen here and here.)
Greg and I have a certain philosophy and aesthetic that is echoed by the entire crew. Many of the billboard examples I included above contain poor technique such as badly photoshopped hair for windy effect, uneven lighting or scaling: essentially these images have continuity errors. We will be working to avoid production errors and the cutting of corners that studios commit when they mass advertise. Most genre billboards are too emo and fakey for my taste: Not to mention over-produced and we won't be participating in any of that head tilted-down-hero-look-to-camera cliche. What I like about the Ginny/Ron HP6 advert (the one where they're on brooms) as opposed to the others is that it reads closer to an organic moment from a scene.
The Meaning of 6k After I have five cleared reservations, I will get in touch with waivers and more booking information, and then you will send a check or money order. If a bank transfer is required, fees will be your responsibility. You will be required to have a professional tailor take your measurements (USA measurements) and I will need you to send them to me for the costume designer.
The majority of your money will be put toward the production and distribution of these images and artwork, which is comprehensive, technical, original, highly-professional and, therefore, pricey. The value and return on investment here is higher than I've demonstrated so far: The artisans involved are professionals who work with me on a rolling basis and therefore the deals involved are incredible as we have a business-history together and I bring them ongoing work. Staging something like this for yourself independently would make the cost far higher, if you could book these levels of artists in the first place. This is a once in a lifetime sci-fantasy experience that we're very excited to be offering! Together we will be further crafting The WINGMEN story and character, and challenging the status quo of the Hollywood narrative.
Profit will be put toward Artemis Eternal concept art and pre-visualization materials we have planned alongside the new website redesign, making you a hero in terms of moving our cast, crew and community one step closer to production and helping create more art and put more talented artists and technicians to work in the name of telling great stories.
Please help this information reach the ideal Wingmen by Retweeting, blogging and sharing. I appreciate your assistance in circulating this opportunity throughout our genre communities.
Taking Woodstock premiere. You know I love '60s music and movement. And Ang Lee's work. Thus was delighted to be invited (and to support Ang Lee's head via forced perspective).
At the party I unexpectedly had the opportunity to talk with Catherine Hardwicke about this article, which you may recall I get asked sometimes during interviews. Example. (Often the question doesn't make the final cut, but I am frequently asked about the lack of female directors issue. Usually this article is cited. Sometimes I cite it myself.) CH is smart and youthful. You know I have no interest in Twilight. More so, in the moment (and now that I've met her), I was/am interested in her as she's quite... well there's only one word for it: Cool.
As context I should disclose that I have only met two female directors in all of my time working in the industry (having talked to dozens and dozens of well-established film directors). The other female director was completely rom-com uninteresting. Glad it came to pass that CH & I were both in the same place at the same time. Wish I could sit down and talk with her further, really. There are next to no working female directors around, much less interesting ones. Maybe three or four. Catherine directed Thirteen & Dogtown, and managed to land a major fantasy film with a useful budget. I dug her fashion tonight and how fit she is, too. Just really impressed, actually: And you know how difficult it is to impress me. If it were permissible in life to do honest things like call someone up and say, "Hey let's go on a director's date and talk about how fucked this industry is and how the hell you managed to pull off having a career in the land of boys clubs and Michael Bay," well, I'd call her. Again you know I don't say shit like that lightly and that that particular statement happens to be very unexpected in this case.
Briefly spoke with Ang Lee early on, who made one of my favorite films (Crouching Tiger) not to mention other obviously great and celebrated films: Brokeback comes to mind. He's adorable. Directors' intros can get old when you do the screening thing regularly, but his introduction to the film was genuine. He cheerfully mentioned his approach to Ice Storm as being "a hangover from the '60s" and shared a story about desiring to depart from his habit of directing tragedies. When you see him, you get the urge to hug him, however his formidable talent gives you cause to restrain yourself and simply enjoy the happiness of his sphere.
Also met new Focus guys and girls, who miraculously managed to be rad despite pulling a 14-hour day with the event. Focus is a picky production company, which is commendable. They remind me of Searchlight in that they always at least try to create something great and high-minded. They often succeed. Also met Richard Kidd, an EFX supervisor who, like Catherine, I could have easily talked to for ages if the party weren't wrapping up. His production-teamwork mentality is kindred to ours. Look up his credits, and you'll see how welcome that perspective is given the level at which he operates. So came and went tonight: Another fun experience in hanging with our pal Francis, talking about serious hats, watching ArcLight movies and chilling at Boho. The Paparazzi chased someone down outside (this is disconcerting to witness) but otherwise the evening was spirited and flawless. All of this occurred two miles from my house. Most of the time LA is terrible, but sometimes it is extraordinarily kind. And so it is, my friends, that time now flies.
