Advertising

February 20th, 2010

I’m really moved–in a bad way–by the way we use creatures for our own entertainment.  Use them in advertising.  Don’t see them as individuals.  Don’t respect them to allow them to have free lives the way they want to live.  We remove their environment.  We fetishize them.  The gorilla playing the drums: he should be living with gorillas in a forest; should not be a representative of something for us to laugh at.  Gorillas need habitat, not fucking candy bars.


Reality TV:Now I Know

February 16th, 2010

Well, THAT conversation scared the shit out of me.

I would not be able to be a reality TV editor.

All that work, wading through footage of idiots on camera.

Business versus Art. Aw, shit, not THAT again.

February 12th, 2010

Another reprint, this one from July 22, 2008.

Can you operate in the world using both incisive thinking and creativity?  Can you do it simultaneously?  Or must you do it serially?  Are emotion and intellect trying to crowd each other out of our poor, overburdened brains?  Is bi-hemispheric thinking possible?


Yeah, yeah, I know.  Over-simplification of the issue.


For many years I had long creative droughts during periods which were dominated by 60-100 hour weeks in business settings.  For years it seemed like my most creative periods happened when I was not earning any money at all in any “straight” job whatsoever.


Before my second performance night for “Pinocchio and Carlo Collodi” (written by the brilliant Stephanie Golino), I got fired from a gig at a trade show.  Matter of fact, they even told me they wouldn’t pay me for the work I’d already done.  Matter of double-fact, they told me they wouldn’t pay me back for supplies I had already bought and set up for them nor would they pay me back for my sub-contractors whom I had also already paid.  What a wretched day in Silicon Valley.  Scum.


I left the convention center and arrived at the theater worried out of my mind: that crappy, slimy, dung-heap of a trade show gig was our family’s only income for the month.  Emotions pushed to the surface, everything raw, I tore up the stage.  Stephanie loved my work that night.


Is it the ability to be overwhelmed with emotion that allows us to be creative?


Or is it the breaking of behavior patterns that allows us to be creative?


When I had a day job at IBM that consumed a glob of intellectual energy, required long hours and demanded a structured, professional demeanor, it was extremely difficult for me to be at my creative peak in the so-called “off hours” or “free time” after work. I felt that forcing myself into the professional demeanor dulled my artistic instrument.  After all, a businesswoman is supposed to be calm, cool, able to maneuver.  She definitely should not be crying in meetings when someone rejects her proposals.   I was reining in  my natural emotions and urges all day-I would have to stop myself from crying during meetings; I would stop myself from screaming at idiots.  I controlled my behavior with an iron will.


Yet, to be a good performer, one must NOT control one’s behavior.  To perform, to interpret the emotions of our human existence, I must have my skin flayed off.  I must be excruciatingly sensitive to every input.  As the character, I must be able to scream at idiots; to cry at the slightest…well…slight.  Discovering a tiny spider must send me over the edge into blithering insanity.  As Medea, I must be able to murder my own children in cold blood just because I’m mad at my ex-husband.


So, is the breakdown between business and creativity a question of emotional availability?  Is it a behavioral issue?


Or is it chemical?


Recently I have a hell of a time remembering anything.  It affects my performance in job interviews.


“What was the name of the tool you used to edit these photos?”


“Um.  Something.  Can’t remember.”


Those in the over-40 crowd like to joke about having contracted the middle-age disease called CRS (Can’t Remember Shit.)  Ha, ha, not funny.  So, I tried a nootropic drug called sulbutiamine that is supposed to be good for memory & object recognition.  Soon, I could remember faces and facts a little better.  But, I stopped writing.  No screenplays; not this blog.  I stopped designing jewelry.  I stank up the room at auditions.


In further reading, I found that sulbutiamine, which inhibits the destruction of acetylcholine (a stimulating neurotransmitter) in the brain in order to increase concentration, memory, and alertness also has been observed to negatively affect creativity and free-associative thoughts.  Damn!


No, seriously.  What a devil’s dilemma.   Shall I allow myself to become so stupid that I can’t get hired in a straight job?  Or shall I fix that problem and be useless as an interpretive or generative artist?


Long time ago, I had a T-shirt that said, “I can’t decide if I should commit suicide or go bowling.”

Don’t know what that has to do with this current discussion.

Um.

Forgot what I was going to say.

Who are you, now?

Can’t remember how to format HTML, but DAMN, I love you…you are soooo gorgeous.  Let’s make love against the side of this car.

What was your name again?

Editing Robert’s Book

February 8th, 2010

Julia Cameron says in “The Artist’s Way” that if you’re doing peripheral support of the arts–gallery manager, casting director–then you probably are a blocked artist. Well, maybe that’s true; but nonetheless I enjoy supporting artists as well as being a generative and interpretive artist.

Robert is an acting coach whom I’ve known online for 15 years, but have never met in person. Never talked to him, even, till yesterday on the phone. He complained, on a list we both frequent, that it’s taken him too long to finish writing his book on acting technique. I wondered, in electrons, why he spent so much time posting erudite discussions on technique to the list instead of spending the time finishing his book. I demanded that he get an editor and get the damn book finished. So, now, guess who’s editing Robert’s book.

I do enjoy being a muse to other artists. I think I’ve helped Chrys see how to paint closer to the heart; I’ve coached actors on film sets and gotten better performances out of them than they had been giving. For Lissa who wanted to write but was stuck in the business world, I started a weekly writers’ group which helped her kick into gear. I hope I’ve challenged Mark, a co-writer on one of my films, to be a better screenwriter; I know I gave a voice to an entirely new character for Toni, a dreamy poet of the performing arts.

Some People

February 4th, 2010


There are some folks who just are NOT interested in the moving image. They must be all about the web or chocolate or sex or their butts or lubeOilFilter, because when I talk to them and say, “I was on this or that TV show,” or “I worked on this or that film,” they don’t even respond. Not even, “How cool,” or “How’d you get that gig?”


It’s like:

Me: A film in which I played a crook got into the Sundance Film Fest.

Friend: My cat got a new collar.

Hummmm, yeah, alrighty, then.

purple cat

Directors

January 31st, 2010


By-the-book directors yell, “Action,” even if there isn’t much action in the scene, even if it’s a contemplative scene, or a love scene, or a quiet conversation, or just an ECU of a reaction.

The more sensitive directors, respectful of the actor’s instrument, say, “When you’re ready.”

Cat Shit Attitude

January 27th, 2010


You know how your dog eats cat “candies” out of the litter box and then gets Cat Shit Breath?

Well, today I have Cat Shit Attitude.

So, I thought I’d re-publish this column from last year which sums up how I have been feeling this month.


Some people say you don’t have to be a depressed, starving artist.  You don’t have to suffer.  You don’t have to cut off your ear or live in a garret or die of syphilis contracted while having obligatory sex with your patron.   You don’t have to drink yourself to death or drug yourself to death.  You don’t have to be tortured by demons that pierce your eyes, entering your brain, causing confusion and compelling you to paint microscopic landscapes on lima beans.

These commentators say the creative spirit can flourish in happy times.  They tell us the creative spirit can exist in a well-balanced human: centered, grounded, cheery, sociable, fulfilled.  First chakra in harmony.  The bottom 5 rungs of Maslow’s hierarchy solidified.  Financially stable.

So they claim.

These cheerleaders for artists write happy self-help books and make lots of money lecturing on how to be a happy artist.  How to overcome your own inner blocks.  How to re-write the movies in your mind.

The people who make these pronouncements are overly medicated.

They take too much Prozac.

They are not in touch with reality.

In high probability, anyone who espouses the happy artist theory is nuts.  They could possibly be right, but…

…but…

…but I must say to you that since I have gotten breast cancer, uterine cancer, a life-threatening breathing disorder, cataracts, a huge (expensive) abscess in my jaw…all this without health insurance; and since I  filed for bankruptcy, my house went into foreclosure, my unemployment benefits ran out after being out of work for 36 months…

…I sure have been doing a heck of a lot of creative writing!

Producing, Oy Vey

January 23rd, 2010

A series of phone conversations with two friends.  Druide is producing her first independent short (a 3-minute teaser with a $3000 budget) in a small city and Anil is producing a celebrity benefit concert extravaganza (probably will cost $800,000 to produce) with Hollywood folks.

Druide is two weeks away from her shoot date.  Being a melancholy type (in her script, all the lead characters die at the end) she started with the depressing news.  She’s worried sick that prep is such a bumpy road. She’s depressed.  She’s up all night with stomach pains.

  • The director has not spoken to her all week.
  • The Production Designer quit.
  • She has no AD.
  • The sound “department,” which consists of one guy, might not be able to make the dates because his wife wants him to get a paying job.
  • There is not one Makeup in town who wants to work for nothing that week.
  • The caterer has no car.
  • The extras coordinator has not been able to find anybody to play dozens of Chinese engineers.
  • The office building is not pretty.
  • The Mayor’s Film Office wants to limit the shoot at City Hall to 1 hour; though the line producer said it would take at least 4 hours.
  • The video game parlor changed ownership yesterday (!!!) and the new owner doesn’t know
    from a hole in the ground and doesn’t want to have a film crew in his place of business.
  • She might not have a gaffer and she damn sure doesn’t have enough lights.
  • The lovely mountain location is too far away. Gas=money=time=more logistics=might not be able to do it.

Lastly she sobs, “I am too fat.”


Anil, by contrast, is an ever-perpetual-bubbling brook of optimism.  He has a year before the concert date.  He starts the conversation with his list of wonderful stuff.

  • Whoopi Goldberg has agreed to host
  • Bruce Springsteen will play and donate his fee to the benefit
  • Bon Jovi ditto
  • The Philadelphia Eagles will donate the use of their stadium
  • Bob Dylan’s son will produce PSAs for the event
  • The White House wants to be involved because they love the idea of doing something good for kids
  • One of the PR firms that worked on the Obama campaign will run the advertising

Wow, Anil, I’m bowled over by your reach and influence!  Way to go, dude!


Later in the week, Druide has bucked up.  She calls to exult that her project now is in great shape.

  • She has a fabulous composer who will work for “credit”
  • She got a critical location, an office building, that will let them not only shoot an indie film, but one with a herd of dwarf goats roaming the office building.
  • She has a caterer who will bring a full steam table on set every day and cook Thai, vegan, Moroccan, seafood and CHOCOLATE gourmet, served on linen napkins and Waterford.  Druide only has to pay for the raw food cost.
  • She has the best extras wrangler in town who has obtained geeky-looking Chinese engineers in large quantities.
  • A police officer volunteered to be the on-set armorer, will bring his own shotgun and will train the actors and the camera crew about safety before the shoot.
  • She found an AD.
  • The most sought-after theater costume designer in town has nothing scheduled for the next 2 weeks and wants to get into film; she will work for the experience.
  • Another great location fell into place, thanks to a theater director slash actor slash juggler slash screenwriter sneaking the production into his kid’s schoolyard.
  • The Mayor’s Film Office relented on City Hall and will let her shoot for 4 hours.
  • The Land Conservancy offered to let the production use their lovely property in the mountains; so she only has to move the crew 20 miles instead of 140.


Druide shot her short and-although it took 5 months-got it edited and released on streaming sites.

Around the time I saw the final cut of Druide’s film, I spoke to Anil.

  • He doesn’t really have a cause, an organization, a recipient of the benefit from the benefit concert. He just has a vague idea that he wants to help kids.
  • There was a huge fight about the first donation that came in. Several people wanted to be paid for their efforts to date. Some of them quit. Some of them don’t even speak to Anil any more.
  • Anil was invited, on the strength of this concert effort, to speak at various conferences; and he accepted every invitation to the detriment of further fundraising. To date, the first donation is the only donation.
  • He has no written plans, no interim targets, no deliverables assigned to individuals, for what needs to be done by when.
  • The only person Anil had on the team who had produced a concert of this magnitude quit, citing “incompetence.”
  • None of the talent will promote the concert on their respective web pages because it’s so disorganized.
  • No additional talent has signed on.
  • Three different PR firms either were fired or quit. With 4 months to go, there has been no buzz about this event.

Is there a lesson in this tale?  Nope.  It’s just interesting.

Restrictions

January 19th, 2010

Phoenix

Sometimes restrictions are just falsely restricting.  Maybe that’s why spoken word artists want to break free of rhyme and meter and go with other forms of tonal beauty-alliteration, onomatopoeia, beat, the visual aspects of the performance.

Something you can get very formal and it can become an exercise in structure rather than meaning.

Like my resistance to being given line readings, PARTICULARLY by Shakespeare’s supposed punctuation.

But I found something interesting when I examined how Twitter be used as  a new artistic format/medium.  Twitter sang to me.  The song was, “HAIKU.”   In addition to the haiku restriction of 17 syllables in 3 phrases of 5-7-5, there is also the additional Twitter restriction of 140 characters.  For some reason, it exploded my creativity.  In one night I wrote over 200 of them haikus, many of them good.

Maybe this is masturbatory.  Maybe everybody blogs about the nature of creativity and nobody is interested and it’s boring.

Sometimes structure IS the meaning.  Lack of structure, that is.  A la Rhinoceros, The Chairs.  Def Poets?

There is something about restriction/repression.


Everyone Wants a Piece of Me

January 15th, 2010

An entertainment lawyer hooked me up with a film sales agent who handles Europe.  The sales agent read my treatment and said he could sell it into distribution overseas.   He could even give me pre-sales numbers to show my investors.  It’s important to show potential investors some indication that your film will actually sell.


I looked him up: he seems moderately legit.  Teaches the business of film at a University.  Has worked for a major studio.  Has his name attached as producer to a half-dozen films, but i couldn’t find revenue numbers on any of them.  It seemed strange to me that he would say he could sell my film into overseas territories  based solely on the treatment.  Asked him what the commission arrangement would be.  He didn’t answer.  Several phone calls and email exchanges later, he writes to say that my biz plan needs a lot of work and he can help me fix it up for a consulting fee.

“Okay, leave aside the biz plan for a moment; i already have a business advisor.  What would the commission arrangement be if you sold this into foreign distribution?”

“I can help you rewrite your business plan, get attachments, guarantee distribution, give you sales estimates, do the distribution, help you rewrite the script to attract my buyers…for a consulting fee.”

Okay, we’ll see.  Can’t think about that now; my head is exploding.