Juniper and other things that annoy me

As for the goings on in C-bus, we’re in pre-production on the Feb. shoot. I am just producing for an up and coming young female director. The first three months of 2009 are dedicated to the ladies as it were. I’m trying to help provide equipment, gear, post production facilities and networking to the oft overlooked female filmmaker of Central Ohio. We have a void where interesting women’s roles and stories should be. In March, I will direct a short for myself. It’s a legal drama thingy I’ve had in mind for a while. My dream cast is coming together, but I need a solid script first and that takes time. I am now a constant re-writer of this piece until I get it “right” if there is such a thing. Deadlines are helping to make things happen.





April-June will be preparation for the next feature(s). I have a new business model I’m going to try out. I have a 2 year plan for my filmmaking. From my initial feelers to investors and money types, the proposal looks favorable. It doesn’t hurt to have a movie on shelves at Blockbuster ™.



Also in our local film scene, for those keeping score, it looks like the Columbus IndieClub is fading away. For the January meetings, the MOFA (Mid Ohio Filmmakers Association) meeting had 27-29 people on a night when there was a weather advisory for snow and temperatures below Zero. A week later, at the all important “town hall” meeting for the future of IndieClub when the weather was fine, about 15 people show up. It’s all very sad. Actions speak much louder than words, and I think it’s abundantly clear what people prefer. They don’t like IndieClub and they do like MOFA.



The two groups can co-exist, but it’s all in the leadership. I agree with some people which is that when the current “leader” steps down from IndieClub, they should let the group stay away for a few months, and let the aura of the current leader wear away before starting over again fresh and new.



I recall sending an email on Sept 25th 2006 to the leadership of IndieClub outlining ways in which they can market the group for free, including the calendar listings of the free papers, the community message board on public access, etc. I even suggested the movie theater they currently meet at as the location in the same email. Ironically, the “leader” brags about all these things being HIS accomplishments, but all I can think is how poor a leader is that can’t honestly give credit where credit is due.



Back to more positive news, I just received even more good news for UNCLE PETE’S PLAY TIME from George on the West Coast. First, I have a big thing about text messages. I don’t really like them. I’ve told George this. He stopped, but then one Sunday night he texted me. I was mad, until I read what he wrote. He said that the applause and laughter Uncle Pete’s PLAUSIBLE DENIABILITY just got will be worth the cost of this text message. George has been teaching at the Second City (again) and he was doing the Alumni shows. They wanted material to play between things and he generously (and fortuitously) offered Uncle Pete. Between the Improv Olympic (iO West) and now Second City, Uncle Pete has some good live exposure. Now George has brought additional news, but until I take the call on Monday or Tuesday, we’ll let the potential future of Uncle Pete on television remain somewhat vague. Suck on that haters.



Time to celebrate someone else’s birthday tonight.



Peace,

Ross

of

Rossdonia,

Land of the Spooning Weasels

48 Hours of Frivolous and Fornicating Frogs

Well, I did something I didn’t want to do. I participated in the 48 Hour Film Project here in Columbus. No offense to TJ, the director/producer, as he did a good job and his team was cool, but I was not in the mindset. I did what I could as an editor, but overall, I wanted more time and that just isn’t what this is about.

Mostly I detest any level of competition in filmmaking. I have always fought hard against giving awards at screenings and festivals that I am involved with. It’s art. It’s subjective. There truly isn’t a “better”, although you might like one movie better, we get into the entire “preferential/subjective” versus “overall/objective” arguments. What I love about my theory is that I have to be presented with an argument that has not been placed in the eternal loop of being subjective. I used the Socratic Method on this hypothesis and proved it as a theory for over 25 years since I was in grade school and first learned sciences.



The screening of the 48 Hour Film Project went well. I thought virtually all the films had merit. Some had great ideas, others great technicals, and others had both. The movie that I predict will win hands down is AIDAN 5, a sci fi movie with Bryan Michael Block as the actor playing 5 clones. It deserves to win, it was freakin’ AWESOME. Style, music, camera work, and most especially the performances were great. Again, they used hand drawn sketches instead of Photoshop illustrations, or even higher end material – but the idea was so visual and so well executed, it only ADDED to the experience.



Again, I hate “competition” in the arts because can you really compare a high end, produced at a studio piece to literally some community college kids with a camcorder shoot? There will always be perspective and preference. I respect and like both types of movies, but I understand people want to apply this Jock mentality to filmmaking. It’s like people need an adversary or external motivation in order to push themselves to achieve more. That works for some people, but not others. I am self motivating, so I don’t need that crap. I’m never truly satisfied with what I’ve made so I’ll be trying to improve my moviemaking perpetually.



If anything the screenings just verify my theory that Filmmaking is the new “Garage Band”. In the late 80‘s, cheaper guitars and amps made it possible for the everyday Joe to be a musician and start a band. Today, cheap HD cameras and home PC’s are making it possible for that same Joe (or Josephina) to make movies. And they do.



Last week I shed off my biggest freelance client, voluntarily. Given the economies instability and the prospects of the future look quite dim, maybe I shouldn’t have, but I did and I don’t really regret it. I’m looking forward to getting some of my free time back. I had this imbecile of a “producer” who in 8 months was on time a total of 4 times. Last week, I was so pissed off that when she was 90 minutes late, I left. Over an hour later, she called my cell phone pissed off I didn’t call her. She said she wanted to pick up her hard drive of materials and I told her it would be packed up and ready for her. I can’t abide people who don’t respect my time and efforts. I happily handed her back the drive. I made sure to email her the information that half the video files are in the Matrox hardware codec. She didn’t know what a codec was. Most people outside the film industry don’t, but an alleged producer with 10 years experience should have at least heard of it. She’s incompetent.







Now that I have time again, I can focus even more on the upcoming screenings. We’ve got Uweekly doing a story already. A good start and I want the WEEKENDER to do something for us too. Promotions are just as much work as making a movie. Most indie filmmakers don’t seem to grasp that, and even some of the ones that do think that by simply following in your footsteps will be enough. It’s not. Cheap knock offs of my promotional efforts don’t always equate to the same level of payout.



I’ve been working for 2 weeks on the animations and promotional items for the screenings. I was already doing “pre-show entertainment” when Paul Landis handed me several slide cards to play before the show. I was already doing some, but these were cool for the most part. I just had to omit a few. I don’t want people thinking I’m associating with some of these people/companies. Mostly because I don’t want anyone to get scammed or screwed and complain to me that I promoted those ones. Combine that with PAID sponsors, and I’d rather just not use those. It’s probably best to avoid promoting people who lie or just plain don’t deliver.



I’m going to use the solid state COMPACT FLASH card video player that plays MPEG1 and MPEG2 video files. I used this in Cleveland at my booth on an LCDS player, but for the shows, I’m going to play out of this thing into the Line In of the DVCAM/HD decks. It auto-loops, and I already have five 15 minute programs of pre-show that I’ve tested with this setup. I’m using trailers of upcoming films in the series, plus other local films, with drive in style promos, and animations I’ve made for the Cowtown Film Series.



I can’t stand projecting of DVD. First off, DVD’s are unreliable and never 100% guaranteed to work. They sometimes skip. DVD’s sometimes lock up. DVD’s also having such a high level of compression that the details are lost, especially when showing them on a 50 foot movie screen. Colors get muddled or lost on DVD when projected like this. I feel a responsibility to people paying to see this, nonetheless the filmmakers whose movies I’m presenting, to give them 110% and make certain we present things as best we can. DVCAM, being a mechanical tape, but at a much higher color and resolution gives a very good presentation format. When we screening HORRORS OF WAR off DVCAM, depending on the size of the screen and resolution of the projector, it looked almost as good as a 35mm film print (and better when using the Texas Instruments DLP projectors) with full colors and great amounts of detail on the big screen.



What I made yesterday, that I’ve been mulling over for 3 weeks how to do, is something for the actual main presentation. I wanted a special “please turn off your cell phones” promo, so I made this:




COWTOWN - Turn Off Your Cell Phones from Peter John Ross on Vimeo.


I used After Effects, Photoshop, and some funky fonts with some images I already had in the cue. Then I used, yet again, a tutorial and plug-ins purchased from VIDEOCOPILOT.NET and I processed this to look like old film. It was NOT a film look plug in, but rather an actual blank film clip, keyed in over top of the footage. I used the tutorials to see how to add the jumps side to side and top to bottom, along with a glow and the film sprocket holes on the sides. Strangely most of the images are from a FONT that came with our DVD duplicator.



In a very rare move, I recorded my own voice for this. Working on My Sexy Fiancé Veronica’s Holocaust documentary, we’ve been pouring over March of Times films from the 1930’s and I just had that generic old school narrator’s voice and accent in my head, so it was easy to exorcize that demon into this piece. I then processed the voice and the music with a high pass filter and added a loop of the static/film projector sounds and Oila! We have a semi-authentic sounding bit.



I feel pretty damn good lately. I can’t really say why (I mean it, I am forbidden from saying), but the sun is brighter, the air a little fresher, and my outlook has improved. As with all things, it seems karma pays out. You do some good things, and then good things return to you. I love life and fate because I seem to always get what I deserve, and those things tend to be happy.



As I have written in the blog before, the creative ice melts, and I’m coming back to life. My ambitions return with the creativity. With my new free time, I have a new book to write, this time something a bit more centralized and focused. I’m going to write out of the psychological effects of filmmaking and analyze the reactions of audiences. I’ve been mulling this over for a while and the threads that connect basic filmmaking techniques on emotional reactions fascinate me. I just want to write out my observations and put them out there. Plus I get off on having books that I write tangible in my hands. It makes me chuckle.



I got some royalty checks in from the other books. TALES FROM THE FRONT LINES sells a lot better than the HORRORS OF WAR ILLUSTRATED SCREENPLAY. The screenplays just aren’t moving as well.



Well, I need to get to finishing the last bits of sound design and music for GOODNIGHT CLEVELAND. What do I do with my time off editing full time? Edit. I am sooooo obsessive-compulsive when it comes to film.



Peace and love and good happiness stuff to the Acolytes of Boo…

All 4 of you.



Your faithful narrator,

Peter John Ross

PJR, the man, the myth, the legend always in boxers

March of the Swivelheaded Ant Man

Let’s start with the mystery of my opinion of THE DARK KNIGHT, since I last left off before seeing it. I dug it. It rocked. Yes, they clearly used HEAT (1995) as a basis of the overall plot structure, which was a good thing. If the idea was to make Batman ™ seem “realistic” they took that ever further in this one than BATMAN BEGINS (2005). I’m seeing it again soon in IMAX™ and I have since read the script. There are some subtle details in the words, but mostly I’m enthralled with the very well written dialogue. Very natural and something filmmakers should bear in mind.

Well, we just did another INDIE GATHERING in Cleveland this past weekend. They are always fun. I set up a booth, sell some DVD’s, give away CD’s and hand out for upcoming events. Of course, I sell more DVD’s and books when My Sexy Fiancé Veronica ™ sits at the booth by herself. How odd that the pretty girl sitting alone gets more and more convention boys to buy more product!

I did 5 panels on various aspects of film. I haven’t done much of this stuff lately, as my public appearances have voluntarily dwindled. The social and public coma I have been in for the past year has started to fade. As I prepare for the next few months, I’m already turning up the volume on what I’m doing.



On the way home, the magical MARIE’S PIZZA was had with a brief stop in Wadsworth Ohio where my arteries choked on the most blissful combination of tomato sauce and cheese on bread. Every time I’m within 50 miles, I stop off in my old home town to partake of the pizza I grew up on.

Cleveland fascinates me. They have so much more in the way of older buildings, gothic architecture, and MOM & POP stores. There’s a lot more identity to Cleveland than Columbus. I feel like if Columbus were to be defined, it would be a strip mall with an Applebee’s next to it. There are these tiny pockets of originality here and there, and I wish they could succeed and explode to drive away the corporate, test-market-y stains of retail that permeate everything else.

I cannot blame the giant anonymous “they” of the corporations. They are only 50% to blame. The other half is the people and consumers themselves that prefer this generic, uninteresting blah.



GOODNIGHT, CLEVELAND! has almost finished its sound mix. We’re on time for the Sept 11th premiere, but it has not been an easy road. Miguel Baldoni Olivencia has decided not to Alan Smithee the movie, and take credit. This pleases me immensely. It’s his movie, not ours, no matter how different the “intent” was during the shoot and the “result” from the edit. Micah Jenkins works his head off with these edits and smoothing of audio from 1996-1997 in the new digital realm. I often have to say, “We can’t make it good, only better”. That’s the mantra for a film this old.



THE COWTOWN FILM SERIES just got our big wish. For the Halloween screening on October 30th, I wanted a HORROR film, and specifically I wanted to screen Bob Kurtzman ’s THE RAGE. THE RAGE was shot here in Ohio after Bob Kurtzman
moved back here from LA. For those not in the Know, Bob Kurtzman is the “K” in KNB Effects. He worked on movies like EVIL DEAD, NIGHTMARE ON ELM STREET, TEXAS CHAINSAW MASSACRE, AUSTIN POWERS, & SCREAM. Rob is also the originator of FROM DUSK TILL DAWN, writing the story that Quentin Tarantino adapted into a screenplay and Robert Rodriguez directed, and he made his mark as the director of WISHMASTER, and more recently THE RAGE. What most people don’t know is that Bob Kurtzman came from Crestline Ohio, interestingly, the same place my entire mother’s side of the family came from. Bob has come back to the Midwest and planted a firm foot in the community and away from either coast. He’s started the studio PRECINCT 13 and setup shop doing visual FX for movies like Rob Zombie’s DEVIL’S REJECTS and more.

I might be losing friends as I turn down some shorts that have been offered to me for the whole series. I asked for a public call for entries, but not all of the pieces are up to snuff. I’d rather play fewer shorts of surpassing quality than let something go because I’m friends with someone. It’s a business and I’m sorry. Here’s an idea of what I’m doing with graphics/animation thanks to VideoCopilot.net’s tutorials.

Work shows no sign of letting up. My head hurts. Very little sleep for me as the August heat destroys the equanimity of cool air distribution on the 2nd floor of Rossdonia. I have picked up a cheap futon for the basement so that I might get some proper sleep at night on various nights. The problem is removing the old family blue couch from the basement, along with it dolly, and dolly tracks, and even a ¾” deck for relocation to the Production Partners studio. This is more than a 2 person job. At least I can afford an El Cheapo futon with a decent pad.



I once reposted a story about the great Stanley Kubrick
and how a London reporter got to go to his estate 2 years after his death and discovered all his boxes of research and information. It’s now a documentary and I found it hilarious and fascinating.

CLICK HERE to watch video



We upgraded our 2nd edit system (Edit “B”) here at work to the Matrox RTx2 system for real time HD editing. I am pleased that it works well with the other motherboard, as Matrox products are sticklers for compatibility. We’ve also increased our storage by 3.5 Terabytes at work, and I added 2.25 Terabytes of storage at home for My Sexy Fiancé Veronica ™ and her documentary. We have some progress. A rough cut is done, some graphics work is complete and now we have some archive footage from MARCH OF TIMES from the HBO Archives to go over what selects we’ll use & buy for the project.

We re-watched NO COUNTRY FOR OLD MEN in Blu-Ray™ last night. What strikes me best about this movie is the maturity of the filmmaking. Most people don’t grasp the concept of subtlety. Very little is spoken out loud in this film, so is not to beat the audience over the head with obvious or pointless dialogue. In a 3 minute film by John Whitney locally, “A FAMILY MATTER”, reminds me of that kind of mature filmmaking where the story is told visually with the words being spoken often telling you something other than the blatant plot points.


This was a big one, but I’m busy, so I gots ta G.O.

Peace out homies, and I hope the crazy people find peace in reading my blogs.

- Ross

Hot Love on the Hot Love Highway

I survived the Indie Gathering yet again this year. I was on 5 panels for indie filmmaking with some of the usual suspects and some new filmmakers. It seems this year had the widest reach in terms of the number of people from all over the country. I met some filmmakers from Houston Texas with dirt on Robert Rodriguez and a guy from Florida whose movie looked fantastic via the trailer, so I'm hoping to get a copy in the mail.

I was actually asked to watch a movie so that they can use my quote. He said, "Everybody knows Sonnyboo" and that was a staggering moment for me. I wore my "Sonnyboo" hat more out of a need to use hair gel and less about promotion, so this brought me recognition unexpected. Even as My Sexy Fiancé Veronica -- and I were leaving, someone asked me if I was that guy from the Sonnyboo website and said thank you for all the forms on the site. That felt great. I enjoy giving out the free stuff. Sure, it's a promotion to get people on the site, recognize the name, but then again I don't really ask for anything in return, so I feel just fine. I just remember needing things like location agreements, actor contracts, storyboard templates, and stuff like that when I first started and there wasn't anything like that, so I am providing for other filmmakers what I always wished for myself.



In terms of sales, I sold a few books, including a couple of the Horrors of War Illustrated Screenplay. I think it's really groovy. It's not only a promotional item, it has some educational elements to it, dealing with screenplay development and pre-production, as well as post production and editing effects on the screenplay. It will sell better once the movie comes out on DVD… whenever that might be. I got a few compliments on innovative marketing techniques for my films.

I don't really enjoy the panels too much. They tend to be about the filmmakers themselves and not filmmaking/general topics. I always try to maintain a difference between facts and my personal opinion. I put out a disclaimer that "this is my personal preference, not a law". The editing panel was interesting because everyone seemed to want to know about editing in general, so I showed clips from my editing class DVD instead of things from my movies. I had more offers to buy my Editing Class DVD than the Sonnyboo short film DVD.



Johnny Wu is the greatest, there's no 2 ways about it. He is the godfather of cinema in Cleveland, regardless of any film czars or friends of executive producers of the Lord of the Rings. Johnny Wu knows everyone and most people love him. Even though he may or may not be my illegitimate father, I think he's got it going on.

I am incredibly sentimental about my youth in a small town called Wadsworth, Ohio, home of the blue tip matches. It seems every small town has some claim to fame, theirs is being the original home of the blue tip matches, and they continue to have a blue tip parade every summer even though the factory moved to some other city nearly 30 years ago. I lived there from age 5 to 12 and my time there remains the best in my life.

I make a trek to Wadsworth about once a year. Usually en route to or from Cleveland, I make the side step over to Wadsworth off of I-76. After the Indie Gathering, I made it a point to go to Marie's Pizza with My Sexy Fiancé Veronica -- so we scheduled our return home with dinner. When I was a kid we had Marie's Pizza in Wadsworth all the time.

Marie's Pizza is a small mom & pop restaurant in downtown Wadsworth, off the beaten path. It had maybe 12 tables and one of the reasons I adore this place, aside from great pizza, is that it seemed untouched by the hand of time. Their menu had only changed once in 30 years and that was directly due to my friend Maurice. They had chocolate pudding listed as a dessert and every time he ordered it, they would tell them they don't have it anymore and his response was that, "it's on the menu!" so at some point right after that, they removed the pudding from the menu, but everything else remained the same. If you read my blogs, I have mentioned this place at least 5-6 times. I ate there en route to Manhattan to meet with investors; I ate there after numerous trips to Cleveland.

My Sexy Fiancé Veronica -- and I head out from Cleveland and arrive in Wadsworth at about 3:45PM. I drive through the downtown area of Wadsworth, passing the Lutheran church I attended as a boy with it's large spires puncturing the sky. The old downtown remains very similar to how it always has, and we drive up to the little restaurant and there is a giant sign on the door reading "Business For Sale". The place was dark inside and there was no sign of anything in there. My heart was crushed. I had a flurry of emotions from anger, to disappointment, to hunger, and near depression. The anger was at how it seemed that the giant mega-corporations took down a small business, and I was depressed because a part of my youth just died before my eyes. We pulled out of the parking lot and decided to look for alternate food, but in my mind all I could think was no matter what I eat at that moment, it wasn't going to satisfy me.

We drove back north towards I-76 where the newer section of town was in search of alternate dining. There was an Applebee's on the left… God that sounded awful, but what else was there? As I get in the turn lane, My Sexy Fiancé Veronica -- says, "Isn't that a Marie's right there?" and I thought it was just some kind of coincidence. Then my eyes spot the same logo of a woman from the 1970's holding a pizza over her head. It was like a mirage, so I pull out of the turn lane and go to this strange site. It was the same logo. The stand alone building looked brand new and it was huge, I mean bigger than most places.

We go in and it is the exact same layout as the old place, but greatly increased in size. There's still a pickup window in front of the kitchen for carry out, and they even have a pinball machine and 2 arcade games. Then the actual restaurant has a bar now and probably 100 tables now. At 4:00PM on a Sunday, they were packed to the hilt. Our server was a 7 year veteran, unusual since everyone else looked like they were 16 years old, and she said they moved to this location in January, and the menu (which was brand new and 6 pages long now) was very different, but the pizza was the same. We ordered a large pep, and tried it out. It was the same, meaning it was excellent.



I was floored by everything. Normally, I would hate change, but this was a nice place. It was still a small business, but they were contending with the big corporations and kicking their asses. Not only that, but at its core, it's still the same food and that's more important than the geographical location. I had a broad range of strange emotions in a 10 minute period in that I felt my childhood got killed in some small way, only to see that it grew up & moved away.

I ate my leftover pizza this morning right before typing this up. I am already full again, and they say that your sense of taste and smell are the ones most tied to memory because sight and sound are used more often, so when you taste something you remember, it's more powerful to the memories, and never is that more true for me than with Marie's Pizza and my years as a rambunctious youth in Wadsworth Ohio. I think the reason I make a trek there and eat this cholesterol grenade of grease and tomato is because it reminds me of happy times and a more naïve mindset I once had.

Well, I'm off to edit some TV spots of the Family Channel. Yeeeee hhaaaaaawwww!

- Peter John Ross