Tuesday, March 27, 2007

Pola Negri

Many years ago, twenty to be exact, my mother and I travelled by car to Northern California with my Uncle Zippy. Zippy was 87 at the time. Always easy to remember his age as he was born in 1900. My son Henry was born in 2000 and is likewise easy to compute. We drove south on I-5 to Grants Pass where we headed west to the Redwood Highway. As we passed through the Redwoods, my mom bought one of those bears carved from a log. Zippy really liked it. It sat outside of the window next to his chair for the next several years.
A quick and dirty family history lesson: Zippy was my grandfather's older brother. They came to America from Greece when they were teenagers and later sent for their parents and sister. Even though they went through Ellis Island on the same day, my grandfather Kostas Kampras was given the name Charles Kampras while his older brother, Uncle Zippy born Panayotis Kampras, was given the name Peter Cambras. I grew up listening to stories about Uncle Pete that lived Back East. There was a photo of them together taken on one of the trips my grandparents made on the Greyhound after they retired. My grandfather was a very snappy dresser, he bought only the best. He was the raconteur of the family. I have a set of his headshots from the Twenties when he was trying to break into the movies. They're pretty awesome, he's got a few looks going: The Leading Man, The Gangster, The Gatsby and The Immigrant. In his old age he had a thick silvery pompadour and a silver moustache. He was slim and although only 5'7'' he always seemed very tall. Uncle Pete was a different story. He had a round head with a few strings of hair. I always thought he looked like a cat. Come to think of it, in my childhood dreams my grandfather was often a big cat. I always thought he looked like a lion. By the way, it's extremely difficult to edit all of the memories that are flooding me as I write. So in the photo there's my grampa, the suave gentleman I loved beyond anything, and his legendary brother. Except Pete doesn't look so impressive. He was kind of roly-poly and wore very loud mismatched plaids. I later learned his lack of sartorial savvy was not only part of his charm, but the result of his very practical frugality that was to benefit me for the remainder of my life.
After my grandfather died in 1979, my mom really wanted to go see Pete and his wife, Aunt Julia. She hadn't seen them since she was a little girl. My mother moved from Hartford to Portland in the early 1950s. So we went back there to visit these very old people that we didn't really know. They lived in a three family house in the Blackrock section of Bridgeport, what was once a lively comunity of immigrant factory workers. By the 70s it was very blighted. It was my first trip Back East, as I learned to think of the East Coast from my grandparents. My first impression as we drove from JFK up through the Bronx to I-95 was basically piles of garbage, fallen buildings and stripped cars, some of them on fire. When we went to Manhattan later in the week, there were crazy people everywhere that would just come up to you and start talking or yelling. I was terrified, but felt strangely at home. My aunt and uncle were very set in their ways and didn't know what to do with us. Pete loved baseball, especially the Mets, and that quickly won me over at age eleven. We talked a lot about baseball while we played gin for hours on end. We went back for visits when I was fifteen and eighteen. Aunt Julia died just after my last visit to Bridgeport. They never had any children, so my mother went to Connecticut to help her uncle. He was going to go into a nursing home, but my mother wouldn't let that happen. She brought him home to Portland. For that he called her Mrs. Calabash. Pete had a gift for bestowing nicknames. Back in the early days of television, Jimmy Durante closed his show by saying, "Goodnight Mrs. Calabash, wherever you are." Legend has it that the real "Mrs. Calabash" was a lady that Jimmy took a liking to because she made him feel at home on his travels.

Back to the Redwoods and the bear. Uncle Pete named her Pola after Pola Negri, the silent film star, who coincidentally, and unbeknownst to us at the time, died earlier that very month. I would say, "It's not a polar bear, Uncle. And he would say, "Not Pola Bear, Pola Negri." He had a charming way of speaking that made me want him to repeat things. He was old and his false teeth were loose in his mouth. Even htough he had been in America for seventy-some years his English was very accented and stilted. Whenever I brought a girl to the house, he always muted the television, leaned forward in his chair and took her hand in his. Oh how I loved the feel of his hands! You could hear him getting his teeth right in his mouth. Then he would clear his throat before he said, "Doll, you are the most beautiful girl my sonny boy has ever brought to meet me. Take good care of him, he's a good boy." Then when they would leave the room, he would whisper, "Bring em back alive, sonny!" He said the same thing every time. Once he gave me some advice. He said I was too much like my grandfather. Whenever he spoke about my grandfater he would say, "Charlie, my brother, your grandfather ..." as if I needed the clarification. He told me, "I see the girls you bring to meet me, sonny. They seem like nice girls, but they're trouble. Too much time in the looking glass and not enough in the kitchen. Your Aunt Julia was an ugly woman, but she was a good woman. In those days you wanted a woman that had the cherry. The girls Charlie, my brother, your grandfather was with, they didn't have it. They said they did, but they were lying. When Julia told me she had the cherry I believed her and she took good care of me until the day she died. Remember that."
I drove to San Francisco this past Sunday. I thought a lot about the many trips I took back in the late 80s, early 90s on that same road. I didn't enjoy the scenery in the same way back then. I was too distracted by the all those girls that liked the looking glass. Nor did I wear polarized sunglasses which make it all look so much better.

nc

Sunday, March 25, 2007

Flying High


I am officially free from any obligation to my former employer. I gave notice over a month ago, but stayed around at their request to help them make the transistion. In the meantime I have been accepting freelance work. So I've been working six or seven days a week for the past four or five weeks. This week is no exception.
The thing is, I'm having a great time. I've worked the last few days on the rigging electric crew for Untraceable. I am so happy to transistion from managing the grip shop to working on set. I love being part of a crew and having a mission. It's very strenuous labor at times. Every piece of gear on a movie is heavy. Cable weighs a lot. We pulled up tens of fifty foot runs and wrapped it into coils yesterday. Everything around the west end of the Broadway Bridge. There were lights on the ground under the bridge, lights on the roof of Albers Mill, lights up in the top of the bridge. Of course where there's a light, there's cable and all the cable runs back to the generators. So before the rain had a chance to soak us from the outside I was drenched with sweat from the inside. I loved every minute of it. Especially working high up in the bridge in a condor lift for several hours last night. Definitely felt alive. I was up in the air with another guy, but we had to stay focused on the work we were doing and accomplishing it safely. So there was no chatter. Just work. Flying that high with the rain coming from every direction and being so focused mentally while being challenged physically made me so happy.

Molto Contento,
Signore Direttore

Saturday, March 24, 2007

The Master Says 154

A woman is closest to being naked when she is well-dressed.

Coco Chanel

Wednesday, March 21, 2007

The Master Says 153

Art is only a means to life, to the life more abundant. It is not in itself the life more abundant. It merely points the way, something which is overlooked not only by the public, but very often by the artist himself. In becoming an end it defeats itself.

Henry Miller

Tuesday, March 20, 2007

The Master Says 152

I see in nature only forms that advance, forms that recede, masses in light and shadow.

Francisco Goya

Monday, March 19, 2007

The Master Says 151

I have a fine sense of the ridiculous, but no sense of humor.

Edward Albee

Sunday, March 18, 2007

The Master Says 150

Films are light.

Federico Fellini

Saturday, March 17, 2007

I Spy ...

with my little eye something with little pink flowers.

The cherry blossoms are upon us. They take my breath away.

I've been working up in Seattle the past couple of days. Coming home last night I drove out of Seattle at dusk. I was feeling ho-hum about the long drive when suddenly Mount Rainier popped into view. It was blue, orange and pink and made me grateful to be alive. I started singing at the top of my lungs. I could feel the blood coursing through my lips and tongue. I ran out of songs that I know all the way through after twenty minutes or so. There was no radio in the big diesel grip truck. The truck was too noisy to talk on the phone and traffic was just heavy enough that my full attention needed to be on driving. Night had fallen and I drove into it.

Friday, March 16, 2007

The Master Says 149

Don't worry about people stealing your ideas. If your ideas are any good, you'll have to ram them down people's throats.

Howard Aiken

Wednesday, March 14, 2007

The Master Says 148

I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it.

Ernest Hemingway

Tuesday, March 13, 2007

The Master Says 147

The big question is whether you are going to be able to say a hearty yes to your adventure.

Joseph Campbell

Sunday, March 11, 2007

The Master Says 146

Trust your own instinct. Your mistakes might as well be your own, instead of someone else's.

Billy Wilder

Saturday, March 10, 2007

Another One Down

We shot March's short film, Blowing Up, today. It went well. I got tired going into hour ten, but felt no stress of note. Nice way to work. And work it certainly was, so I'm going to sign off and fill you in on the details later.

Thanks go out to Stephen Lisk as Floyd, Eric Stevens as Matt, Greg Schmitt as DP, Dennis Brenahugh as AD/Producer, Jordan Karr-Morse as AC/Camera Op, Brian Grubb on Sound, Brian Seidel as Grip, Tom as 2nd AC, Travis as PA, Ed as PA, SImon Hill as Stills/PA.

I did the writing, directing, producing, casting, set decoration, wardrobe and hair and makeup. I'll give myself credit for the writing and directing. And maybe for editing and producing, we'll see. The rest is just part of being a no-budget filmmaker.

We did a number of setups involving complex dolly moves that were half a page long. Things often went so well that we would go for a page to almost two on the takes. I liked what I was seeing and just let it continue. It was fun.

Buona Sera
Signore Dirretore

Thursday, March 08, 2007

The Master Says 145

I am always doing that which I cannot do, in order that I may learn how to do it.

Pablo Picasso

Tuesday, March 06, 2007

The Master Says 144

I've been in beautiful landscapes where one is tempted to whip out a camera and take a picture. I've learned to resist that.

David Byrne

Monday, March 05, 2007

Deeply Weird Coincidence

Okay. This is strange. I'm making this short this weekend that draws on an experience of mine from about twenty-five years ago. I stole the cable remote from my friend's family. I stole it becuase ours went missing and I spent the money that my mom gave me to replace it. I've been thinking about it a lot recently.
Just now we got a phone call on our home phone. Not many people call on that line other than solicitors and parents from our children's schools. It was my friend from middle school and early high school. We haven't seen each other since high school aside from a random run in on Hawthorne fifteen years ago. She said she hasn't thought of me in years, but she had a dream about me last night and decided to look me up to see what became of me.
I'm here Wendy, mining my inner life's petty crime memories for film inspiration.

I'm sure it's just a coincidence.

nc

Concrete Knees

I was on my feet in a warehouse for ten plus hours today. My knees are vibrating from the unforgiving floor. My mind is equally dull.
We're making another short film this Saturday. Greg Schmitt is shooting it. Greg shot But A Dream. Dennis Brenahugh is producing. Dennis AD'd London Calling. Always reassuring when good people want to work with you again. Especially when they're not getting paid.
I was in the edit suite last night working. I'm doing that with more regularity. It's a bountiful time. And pretty darn exhausting, too.

¡viva!
signore direttore

Sunday, March 04, 2007

The Master Says 143

I am stalking, as in the hunt. What a bagful to be taken home.

Walker Evans

Saturday, March 03, 2007

Blowing Up

A salesman exposes himself as a petty thief on a friendly sales call.

This short is based on very similiar actions to Klepto. We're going to add dialogue, but keep it inside in a single location. We're also adding more sophiticated camera moves with a Fisher 11 dolly. I'm allowing more time and for a bigger crew. My goal is to focus on directing with emphasis on really looking for the moments and establishing and maintaining tone.

Bandwidth Exceeded

One of my producing partners provided me with a username to an incredible website that makes imbdpro look like kid's stuff. He warned me that it's going to be like crack for me. Problem is, I'm too exhausted to smoke crack. It's been a busy week. My goodness. I've been all over the place physically and mentally (somehow I'm staying grounded otherwise). I shot a short, worked crew on two films, worked my day job, took meetings on an upcoming project and put in a lot of time planning and networking for the imminent day job to freelance transistion. I even made it to a friend's opening on First Thursday.
Last night I put the baby to bed at eight and fell asleep with her. Guess I needed the rest.
I woke up this morning and knocked out a script for this month's short, Petty. I'm meeting with the producer later today. I'm going to try to be really hands off on this one. I'm going to let the producer produce it. And the AD do his thing and so on. Just direct. Weird, but very good practice letting go.
I've refrained from getting involved in anything at all tomorrow. A day of rest.
For the rest of this morning I'm going to try to summon the bandwidth to dig into studiosystem.com. We'll see if I get addicted.

¡viva!
signore direttore

Wednesday, February 28, 2007

The Master Says 142

I discovered that what's really important for a creator isn't what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.

Federico Fellini

Monday, February 26, 2007

The Master Says 141

There's no such thing as simple. Simple is hard.

Martin Scorsese

Sunday, February 25, 2007

24 Hour Film People

Yesterday at 5 was our call time for Reflux. We got off to a rocky start but settled into some good work. We wrapped at 4am. I woke up yesterday at around six. Went to sleep at five the next morning, this morning. I slept in until nine am and then went to work as a grip on the Pander Brothers film, ID. We were released at eight thirty, totaling twenty seven and half hours of filmmaking with a brief four hours of sleep.

Buzzing,

Signore Operaio

Friday, February 23, 2007

The Master Says 140

When you're sent something and read it, either you can see it while you read it, or you can't.

Steven Soderbergh

Thursday, February 22, 2007

Film Festival

Several things conspired this evening to air out a lot of old film footage. I have a few unfinished films to my (pending) credit. I've written them off and I've sworn them off. I've been nagged by them and shamed by them. But you know, they're all pretty good. Perhaps not as brilliant as I once hoped they would be. Once upon a time, I hoped only for superlative success. How else could I be good enough? I mean nobody would want anything to do with me unless I made brilliant films and took Hollywood by storm. Right?
You don't have to answer that.
We're filming February's short Saturday. It's called Reflux -- a man finds a few moments of self-acceptance in exposing a shameful personal experience. Or something like that.
Anytime soon I should be able to hold my own film festival. I feel the forces gathering to revisit and complete many past projects. And the new ones are coming along as well.

Stride On,
Signore Direttore

The Master Says 139

You can love someone for their defects and their differences from you.

Guillermo del Toro

Wednesday, February 21, 2007

The Master Says 138

Change in all things is sweet.

Aristotle

Tuesday, February 20, 2007

Two Weeks Notice

I gave notice at my day job yesterday. I have mixed feelings about it - I'm swimming in the sea between excitement and fear, lighting here and there on sadness. I want to say overall that I have very good feelings about it, but I think it's more accurate to say it is clearly the right time to do it and leave it at that for now.

nc

Dirty Old Man

I say that with extreme irony in reference to Peter O'Toole in Venus. Perhaps it speaks to my own weak character, but I found nothing dirty about the old fella's lust for the young woman. It was uncomfortable to watch at times. And I wouldn't have it any other way. Life is coming to an end for the old Lothario as he pays the price to touch youth once again. Much as in life, it is hardly as simple as that.
Venus is a beautiful little film that masterfully paints the nuances of being human. One of those movies that makes you hold your water for fear of missing even a moment. O'Toole was brilliant. Every word, breath, movement saturated with truth. Even sitting still in the distance, he brings life to the frame. And what beautiful frames, many like a painting. And the light, absolutely unsentimental. The girl was pretty splendid herself, rising like a contemporary Venus from the ugly coarseness and shallow self-absorption of watching daytime telly to become a beauty sensitive to the world around her quite worthy of the great man's love.
I have yet to see Last King of Scotland, but my heart if not my money is on Lawrence of Arabia for the Oscar. His eyes are as stunning as ever.

Go see this film.

Signore Direttore

Monday, February 19, 2007

The Master Says 137

The future you shall know when it has come; before then, forget it.

Aeschylus

Sunday, February 18, 2007

The Master Says 136

You've got to find some way of saying it without saying it.

Duke Ellington

Friday, February 16, 2007

The Master Says 135

Being a screenwriter is not enough for a full creative life.

William Goldman

Thursday, February 15, 2007

The Master Says 134

Excellence is not an act but a habit.

Aristotle

Wednesday, February 14, 2007

The Master Says 133

All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.

Michelangelo Antonioni

Tuesday, February 13, 2007

Checking In 2.13.07

I exchanged emails with a producer friend of mine about an upcoming project. He has extensive experience making films budgeted under $500,000. Something you and I might envy, but that has worn him ragged. His advice to me was to make sure our post- budget was solid going in, that "chasing finishing funds is a fool's errand". We weren't counting on finishing funds, but we haven't firmly researched and commited our post-production budget.

What else? I'm glad to have the last two weeks of chasing my tail with software stuff behind me. I dug into getting the edit suite a bit more organized and tidy last night. I think part of me likes the chaos that it's been. It's given me an excuse not to go down there. I'm beginning to practice letting go of the results more regularly, which makes editing more enjoyable and possible. I'm ready to remove the obstacles of chaos.
With some reluctance I've begun the search for a new assitant. I have a new perspective on the relationship. JKM spoiled me in some ways. He was very capable and I was too dependent on him, thus letting him run a bit autonomously. Which ultimately wasn't good for me as I tended to ... well, let's just leave it as I was too far from the details of how things were running. I've been forced by his departure to take good stock of the gear and the projects. In the past I've often relied on assistants to get me organized without starting them off with some structure. I'm focusing on setting up better organization.
Which is difficult because I'm flooded with inspiration right now. And my office is a mess from closing the acting studio and dumping it all in the big room.
As you might know, I've made the commitment to shoot a monthly short. Last month's project isn't finished, so I don't want to start something new and ambitious until I've brought that one closer to completion. Not finishing projects has been a terrible habit for me. I've been a bit stressed becuase I want to keep my commitment to creating a new short each month, but also mind my commitment to finishing things.
The other morning I did some journal writing. I stumbled onto something that was awesome to get out. It wasn't my intention when I sat down to write, but I think it's going to be the text for a very simple piece that can be shot in an evening.
I've also been thinking of filmmaking as folk art. Matt McCormick often refers to it as such. As does someone else close to me. It's a very liberating perspective.

Tonight I'm meeting with one of the actors from the Made Crooked experiment. He'll be the first person to see it aside from JKM and I. I've made another screening date with another cast memeber later in the week. I look forward to seeing it a few times with different people. I think it will be good way to absorb its lessons. I've been striving to treasure it as a very valuable resource rather than as a failed filmmaking endeavor.

A River Dertchee
Signore Direttore

The Master Says 132

The individual life is a dream.

John Patrick Shanley

Sunday, February 11, 2007

Klepto Update

Even though I haven't posted about Klepto for the past two weeks doesn't mean I haven't been working on it. A software bug prevented getting a crucial clip into the project. I spent hours toubleshooting and surfing message boards until I discovered a solution. The workaround required software that I own but is missing. I arranged to borrow a friend's copy, but had to work around his schedule to get it. Aren't you glad I didn't keep you posted? I'm glad it's over.
The edit is now ready for audio.

Signore Direttore

ROAD - At long last

I finally got to see the fruit of our labor last night. It's been three and half years since we finished shooting. The film has been done for almost two years, but the producers have been reluctant to hand out DVDs until a deal was in place.
Anyway, I watched it. I liked most of it. It looked really good. The cinematographer, Antoine, was clearly talented and a great person to collaborate with. I thought the art direction was pretty good, if I say so myself. As with good hair and makeup, you don't notice it when it's good. As I watched certain scenes, I remember working so hard and then seeing it look so simple on screen. Which is good and a testament to my willingness to let go of some measure of ego at the time.
The perfomances were really good. Ebon was great as I knew he would be. He's a good actor and it was very good casting. Catherine was good, too. They won the Best Acting Award at the 2004 LA Film Festival for ROAD. The bit players - James Urbaniak, Jane Houdyshell, Peter Appel, Marty Zentz - were great. I saw myself in tow quick scenes. They happened so fast it could have been anybody.
Leslie, the director, clearly had a vision for the film. There is a nice tone through much of it. In the end, I don't think it delivers on its promise. Most films made for less than a hundred thousand rarely do.
For all of its ups and downs, I'm proud to have been a part of it.

It's playing on Showtime this month. DVD release comes later in the year.

nc

Saturday, February 10, 2007

The Master Says 131

I went through a phase where I thought nostalgia was a bad thing.

Dario Argento

Friday, February 09, 2007

The Master Says 130

I mean simply to say that I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.

Michelangelo Antonioni

Thursday, February 08, 2007

Folk Wisdom 025

Don't overlook the wonder of the ordinary.

Tuesday, February 06, 2007

The Master Says 129

The directing of a picture involves coming out of your individual loneliness and taking a controlling part in putting together a small world. A picture is made. You put a frame around it and move on. And one day you die. That is all there is to it.

John Huston

Monday, February 05, 2007

The Master Says 128

We should be careful to get out of an experience only the wisdom that is in it - and stay there, lest we be like the cat that sits down on a hot stove lid. She will never sit down on a hot stove lid again... but also, she will never sit down on a cold one any more.

Mark Twain

Sunday, February 04, 2007

The Master Says 127

I tend to be attracted to characters who are up against a wall with very few alternatives. And the film then becomes an examination of how they cope with very few options. And that's, I guess, what interests me in terms of human behavior.

William Friedkin

Saturday, February 03, 2007

That Never Happens

Checked my email just before lunch yesterday to find a message asking where to send a deferment check for a movie I worked on four years ago. Not only am I going to get paid some money I wrote off long ago, but the film is going to play on Showtime this month.
I've heard the film isn't great, but some good people worked hard on it and I'm sure there's at least some good stuff.
I was the production designer and had a very tiny part.

So check it out if you have Showtime.

It's called Road by Leslie Mcleave. It plays on Showtime Women on the following dates:

Tuesday 4:25 AM
Feb 10 6:30 PM
Feb 18 4:30 PM
Feb 21 10:30 PM
Feb 27 5:35 PM

The Master Says 126

This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.

Walter Murch

Thursday, February 01, 2007

The Master Says 125

I'm very comfortable with failure. I'm very comfortable being the guy who disappoints people.

Steven Soderbergh

Wednesday, January 31, 2007

The Master Says 124

I really dig tall women.

Sam Peckinpah

Tuesday, January 30, 2007

Folk Wisdom 024

A young filmmaker can commit a lot of energy to a superior posture about the state of things - but my own experience has taught me that fashionable cynicism can cover the fear of what the real challenge is: doing good work.

Andrew Wagner

Sunday, January 28, 2007

The Master Works 003

Heaven
2002
Tom Tykwer, Director
Krzysztof Kieslowski & Krzysztof Piesiewicz, Screenplay

The interrogation scene. Philippa (Cate Blanchett) has just learned she victimized others than she intended. The cold and determined woman introduced in the film's opening scenes crumbles. In the limbo of her uncertainty, she turns to Filippo (Giovanni Ribisi), the young carabinieri that has just moments before offered to interpret her testimony.
The scenes leading up to this moment use screen direction and motion to direct our eyes and carry characters upward to heaven, downward to hell, to the political left and right and, in the case of Filippo, smack dab in the middle. Philippa's turn to Filippo begins to restore her humanity. She was resolute in her descent until learning she had failed to eliminate her intended target. She links herself to the man in the middle and rises from hell to limbo.
Blanchett handles this moment expertly. It's in her body - every given circumstance explicated in the scene resides within her.
Ribisi is equally brilliant. He does his work with his eyes - they watch closely, the subtext and his inner life happening behind them.
In the final moments of the scene, Phillipa collapses. As she fades into her faint, Filippo watches and calmly alerts the prosecutor. When Philippa falls, Filippo immediately moves to help her but restrains himself and remains in his chair. It is quite apparent it is the last time he will sit dutifully still.

The Master Says 123

Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves; vanity, to what we would have others think of us.

Jane Austen

Saturday, January 27, 2007

Requiescat In Pace

I spent the morning at a memorial for my friend Helen today. The first hour and half in a Catholic church and the latter part of the day at a potluck. I've shed a few tears remembering her today and over the past week since she passed away. She is truly one of those people that will live on in the hearts of many. Which makes her death less sad somehow. I'm not a believer in the after-life and all that heavenly stuff, but there's something eternal about Helen. She was one of those rare people that gave her love without expectation. Whenever I saw her she would stop whatever she was doing and give me a hug. She always asked me about my children with genuine interest. In fact, if I ever tried to gripe or gossip about anything, she would gently steer the conversation toward happier and gentler things. She never raised her voice, even if someone wasn't listening to her. If she was committed to what she had to say, she just kept on quietly until people started to listen.
There was a slideshow of her at the potluck. I stood with different friends looking at Helen in all the different phases of her life: her wedding day, school, Africa with the Peace Corps, at work, with family and friends at her home and in nature. She had the same easy smile in every photograph. She was a beautiful woman.
I'm a better person for knowing her, though I won't miss her because she gave a small part of herself to me to keep forever.

nc

Friday, January 26, 2007

The Master Says 122

I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.

Frank Capra

Thursday, January 25, 2007

Feature Length Rough Cut

I just left an intense couple of hours in our editing suite watching a cut of our "shoot a feature film in three days without letting the actors see a script or even fully disclose our intentions to them" experiment. If you ask me if I like it, I really can't say. I have way too much baggage to come to any easy conclusion. I will say that the more I resist the pull of my various expectations and look at it as a record of the work that we did and the decisions that were made, it is a tremendously valuable on-going experience. On-going is key. Part of my unrealized expectations is my desire to be done with it. I wonder if that is realsitic. Perhaps it isn't a fair comparison, but am I ever to be done with my children? Surely not. My mother has been dead for nearly a decade and our relationship lives on. Why should I want to end it in the first place? Because it didn't manifest into an award winner? Because it didn't launch my career?

There is one scene that I really like. I didn't write it prior to the shoot. I came up with the idea in the middle of working and ad-libbed it. You can hear me feeding lines and questions to the actors in the rough cut. There's a lot of space in the performances and I think it's the most successful scene in terms of tone. I think had more of the scenes been shot in the way that I asked, there might be more scenes like this. Perhaps not.
Though JKM confessed that he was terrified throughout the shoot and gave up on my approach, deciding to shoot it as a documentary. He just told me this tonight, which was news to me that helped make some sense of things.
Over and over again, I learn that as a director you have to stay on top of your vision. Nobody else is going to do it for you.
Another thing that comes to mind as I watch this film is that I've got to work harder to give up trying to make things work and dig deeper into what I want to see and what I want and need to explore thematically.
There's a lot to learn if I am teachable.

Burning Eyes,
Signore Direttore

Nobody Knows Anything

I finished the rough cut of Klepto. I enjoyed doing it. I haven't enjoyed editing for a very long time. At first I thought it was because I'd done a better job shooting Klepto than I had earlier films. There's some truth in that, but it's not entirely the reason for my new found joy in the process. I'm learning to pay attention to my eyes -- what they really see rather than what I direct them to see. Usually what I direct my eyes to see has a lot to do with the logic of making things work in terms of continuity. Yet Walter Murch puts continuity on the bottom of the heirachy of an editor's concerns. I've known this for a few years but I couldn't let go of it when editing until recently. It requires a certain degree of faith. Editing is less mathematical than sensual, it turns out.
Or maybe not, because as William Goldman says, Nobody knows anything.
Yesterday I learned a few more things about the movie business that confirms my advice to the aspiring actors at my studio: Do this because you love it and for no other reason! For years many told me I was crazy to try to direct a script I'd written. Now it's hard to get people to get behind it becuase I've said I don't want to direct it. For a long time I thought it had to do with the nature of the material. It doesn't. It's just a bloody tough business to break into.
I'm not discouraged. I still want to see that film get made. Maybe I will. There's other stuff in front of me right now. Really awesome stuff that needs my atention. I'm going to pay attention to that and have faith that when the time is right, the time will be right.
Billy Wilder says he tried to make pictures that he liked and hoped others would like them, too. I was a very successful club promoter for a number of years in San Francisco and New York. Basically my formula came down to this: I threw parties that I would want to go to. So I'm going to stick to writing and making films that I want to see, and we'll see what happens.
One last thing. An acquaintance of mine has a film in competition at Sundance this year. When I heard the news I was both a little proud and a little envious. His film was reviewed a couple of days ago. Something to the effect that in Cannes people would have thrown stuff, but in America they just laughed at all the wrong places. Voila! Good-bye envy, hello shadenfreude! By the way, I'm not particularly proud of being envious or taking pleasure in his misfortune, it's just the way it is. For now.
Besides -- NOBODY KNOWS ANYTHING -- and that includes me.

Umanemente,
Signore Direttore

The Master Says 121

I just loved playing a man who was unafraid of making an idiot of himself in the process of falling in love. I found that admirable.

Ben Kingsley

Wednesday, January 24, 2007

The Master Says 120

A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.

Stanley Kubrick

Monday, January 22, 2007

The Master Says 119

Style is a fraud. I always felt the Greeks were hiding behind their columns.

Willem de Kooning

Sunday, January 21, 2007

Klepto Assembly

In spite of a severe cold, NFL conference playoffs, our wedding anniversary and my only day off this week, I just finished the assembly of Klepto.
There's something there. Some nice shots and performances. It's all going to cut together. There was one shot that is unusable because the main picture car and some crew are in the background. It was at the end of the day. I was helping the actor hit a mark and Jordan was watching focus. The performance isn't quite right to boot - actor trying to concentrate on hitting the mark more than what's appening in the moment. So I just went to the next shot and kind of like it better anyway.
Overall, it's a very quiet film beyond the lack of dialogue. I am not sure if everything works, maybe it does, but at this point I opted not to get trigger happy. I'm not going to try to figure it out yet. I think this is the first time I've ever cut something where I just laid clips down without looking at transistions or what I had so far until I was at the final shot. Anyway, the response I had to the doubt I experienced at one point was that I'll do my best and listen to what others have to say about what works and what doesn't when the time comes.
Process. Process. Process. Assembly today. Rough cut tomorrow. Per gradi.

Pazientemente,
Signore Direttore

il universo apri

I'm feeling really good about the way 2007 is starting off. Moving on from the acting studio has freed up a lot more energy than I imagined. I'm collaborating with a couple of awesome, very accomplished people on a big project. I'll talk more about that when I feel it's appropriate. I'm excited about it, but I'm doing a lot of other things in the meantime instead of waiting for that to happen as I've done in the past.
Last year, I made friends with a very talented actor that moved here from LA. Recently we started hanging out again. He's such a great guy. And very funny. He's a good writer and has some very compelling stuff for which he's been looking for someone to collaborate. We've been having breakfast together a lot this week, just having laughs and getting to know each other. He addressed it more directly at breakfast yesterday. My first fear in these situations is that someone wants me to produce something for them. I'm a producer certainly, but more by default than ambition. I produce films in order to get my films made. Whenever I've worked as a producer on someone else's film, I've been frustrated to at least some degree.
Same with editing and art directing. And acting, though not as much if I'm having fun with the role. Anyway, at the end of last year I was trying to focus my attention solely on writing. I was thinking of giving directing up for awhile. I told a few people including the agency packaging OG. (Which, by the way, isn't helping it move forward any faster) Then I produced a short for someone. I was on set helping an inexperienced young aspirant and I was frustrated once again. I thought, why am I going to give up on directing? I've got the skills and the gear and the contacts and the ideas to produce a quality short in a weekend for next to nothing; why not do it for myself a few more times? Most of all, I have the passion for it. I love it and I can't deny it. Writing is cool. I'm pretty good at it. Maybe even better than I am at directing. But it's a means to an ends for me. I only write the stories so I can make them. Which brings me back to yesterday.
So he brings up the possibility of working together and I prepare for him to tell me he wants to direct. I did a pretty good job of putting that out of my mind as I listened to his pitch. It's always nice to listen to a good idea. There were elements of Beautiful Sunshine of a Spotless Mind. So we chat about that for a minute. Then he throws out another pitch for a different script. Also very good, sort of High Fidelity meets Permanent Midnight. The ideas start flying in my head. I hear a lot of directors say that they can't imagine directing something they didn't write. I don't feel that way at all. I like the tradition of the theater where writers rarely direct.
All this was very welcome and inspiring. I had yet to ask the question though. The moment finally came, What role do you want to play in realizing these projects? I just want to act, dude!, he said. That's all I want to do, he continued, I just come up with these ideas and write to keep from going insane waiting for my next gig.
I didn't walk away giddy, no not at all. I was perfectly calm because it just felt right. I don't have expectations and I'm comfortable with what we're both bringing to the table. Like the King said, Ambition is a dream with a V8. So many of my past collaborations have been a lot of talk about horsepower, but we've been running on six cylinders and a weak chassis. To make it worse, I've often been firing five of those cylinders. On projects where I am better matched such as OG, the hot rod is still idling in the garage. When she finally gets out, she's going to lay some rubber, but that day hasn't come.
Funny that I was hoping to run into S to ask him to act in one of my monthly shorts. I guess it's true that if we only got what we asked for, we'd be selling ourselves short.
I've also made another acquaintance with a potential collaborator. I went out on a limb and introduced myself to her and she responded very positively. She's a beautiful woman with a lot of charisma. I have an idea for a little texture piece we could make together the next time I go to LA.
In the past when the universe has opened up to me, I've often closed it down trying to keep it to myself. Or by asking even more of it than has been offered.

A river dertch,
Signore Direttore

Saturday, January 20, 2007

The Master Says 118

I'm just like Fassbinder, ... but without the drugs and the whores.

Steven Soderbergh

Friday, January 19, 2007

Signing Autographs

I signed about fifteen autographs today. Yep. I'm a celebrity in the eyes of a class of fifth graders in Aloha. To be honest, remembering how excited those kids were to get the crew's autographs after shooting a segment of an educational training video in their classroom puts a new perspective on the past couple of days. It's pretty easy to get cynical about doing this type of work. I've been taking the possession of a hard-earned set of skills and a lot of expensive equipment for granted.
Those kids were so unjaded and very good little actors. I told them I should have been asking for their autographs. Which is kind of bullshit to have talked the talk instead of putting a pen and paper back in their hands.
The methods in the teacher training were sound and even insprirational. The content consisted primarily of strategies for more active reading. I certainly know some actors that would benefit from stronger reading skills. I learned a few thinks about pedagogy as well.
Anyway, it's good to account for the ease in which I fall into negative thinking.

¡viva!
nc

Thursday, January 18, 2007

The Master Says 117

Ambition is a dream with a V8 engine.

Elvis Presley

Wednesday, January 17, 2007

The Master Says 116

Any emotion, if it is sincere, is involuntary.

Mark Twain

Tuesday, January 16, 2007

The Master Says 115

A problem is a chance for you to do your best.

Duke Ellington

The Michael Caine Axiom

Michael Caine asserts that if you're working too hard, you're not doing it right. Well, I think part of the problem I've had finishing films has had a lot to do with the what I've completed on set. I've long agonized on things coming together, having seen many projects languish over the years. Earlier on I missed a lot: I never slated shots, I didn't understand transistions and coverage, problems with sound, sound, sound. One of the biggest problems I had was with the writing. I tried to do too much with the story. I wasn't skilled enough to let it be simple. If you asked me what something was about, I gave a convoluted plot and thematic summary, rather than a simply stated premise. I've long heard that successful films are about one thing. My films were much deeper than that; I mean why say it simply when you can make it complicated? In terms of coverage, I either didn't know how to do it very well. Again, why take the time to understand film grammar? I'm way smarter than that. More notoriously, I held the arrogant opinion that I could forego coverage by letting the action play out in the master or, even worse, cut the film in the camera. Just about every filmmaker I know that cuts in the camera makes very wooden and mannered films. Too many of us have been seduced by the Robert Rodriquez mythos. The few filmmakers that let things play out in the master successfully are bona fide masters such as Woody Allen, Billy Wilder, Andrei Tarkovsky and most masterfully of all, Hou Tsien Tsien. I'm not ready to make worthwhile attempts at that just yet.

Not a single film since my first film, Nora Mae, has cut together easily. Until now. With the new technology of P2 cards, logging and digitizing is a much more direct task. Especially when every shot is slated. Now all that has to be done is select the take I like for each shot, set in and out points and drop it in the timeline. Right on down the shot list. There's no anguish, because the story is elegantly simple and was pre-visualized well - storyboards and test shots. Transistions were well considered in pre-visualiztion, too. So I don't have to work too hard to get a rough cut. If I decide to get tricky later on, that will be a choice rather than a compromise. All this bluster isn't to say it's a perfect film. I'm no longer concerned with making a perfect film and what that could do for my vaunted career. Klepto is just a little exercise in making movies that I'm going to finish and let whomever sees it judge it for themselves.

One more thing saved me from a hellish post-production relationship with this project -- no sound. Klepto is a non-verbal film. There's a temp track of location sound for reference, but I plan to record and build a soundtrack after I have a cut. Come to think of it, Nora Mae was the same deal. I'm feeling a bit exposed and vulnerable to admit that after all these years I still can't make a sound-sync film without having to work too hard. Alack, I am who I am and I am where I'm at. Oh, the pain of getting ahead of oneself. Good thing it's never too late to start over. All the better since I have all the experience of failed past attempts at a number of projects beyond my abilities. Oh, the joy of being a human learning to make films.

Anyway, Klepto should be finished within the next week or two if I can continue to embrace its imperfections and enjoy the progress I've made as a filmmaker by being right-sized.

Humbly yours,
Signore Direttore

Monday, January 15, 2007

The Master Says 114

Every once in a while, when the audience is expecting to see one thing, you have to show them something else.

Conrad Hall

Sunday, January 14, 2007

Klepto

A chronic petty thief extends the pain of his affliction to a co-worker who gives him a ride home.

We shot the film today. All thirty-one shots, many of them in a moving vehicle on city streets. Everything takes so much longer when shooting with vehicles. Also it was a sunny day contrary to the weather forecast earlier in the week. So I didn't plan on having to limit our driving with respect to shadows. I was looking forward to an overcast, low-contrast look, but the sunlight gave us some nice flares, interesting shadows and very deep focus.

It was a hectic day as I knew it would be. Things went well - of course there were the usual frustrations, but they were minor and didn't hold us up too much. I overbooked myself as is not uncommon. I did a lot of rigging, producing, dolly gripping, camera assisting, art direction and assistant directing. I guess I was transpo captain as well. I also managed to do a bit of directing. I liked what we shot. I think the actors did a fine job as did our tiny crew which consisted of a make-up artist and a very helpful but inexperienced grip. (I missed Efrem's intuitive multi-tasking abilities, but he was on a paying job.)

In some ways I feel like I'm developing some bad habits by doing so much myself. I was sucessful at letting Jordan frame the shots and keeping my hands off the camera in that sense. I'm afraid that the times that I got frustrated or needed to remind everyone that we had to move it didn't support the actors as well as I think they deserve. I'm not going to be too hard on myself. I didn't yell at anyone and I treated everyone with respect. It's something I always want to improve upon. I really want to be able to say, Great, now let's try it this way. I have a terrible habit of pointing out what didn't go right. Even though I've mananged to reduce the frequency that I do it and do it a kinder tone than in the past, I want to stop doing it altogether.

We were shooting a few shots at a bus stop, which prompted TriMet to issue a 9-1-1 alert. Apparently there's some concern that any filming near public transportation is possibly a terrorist cell at work. It struck me as a bit absurd, however the man that confronted us was very kind and allowed us to continue shooting, so I shouldn't complain too much about it.

One of the things that I really enjoyed today was that my ego didn't seem to be too involved. I was in the process of doing a job that I'm getting better at. I wasn't thinking of the results. Nor was I ever conscious of demonstrating how impressive I am as a filmmaker. I don't like to admit that I've tended toward narcissism all too frequently in the past. Poseur!

Another challenge was being forced to think on my feet about a few shots under extreme pressure. We had limited hours of daylight and we were running a half hour behind after the first hour. In the end we wrapped fifteen minutes early, so we must have been doing something right. Anyway, one of the things that frustrated me on But A Dream was feeling turned around as we moved around the location from shot to shot. Today I was better at keeping things straight. And I let go a bit more. Maybe it had to do with the fact that BAD cost seven thousand dollars to get in the can while Klepto set me back about seventy bucks.

I'm definitely getting better at shooting the films. The next challenge is finishing them.

Exhausted,
Signore Direttore

Saturday, January 13, 2007

The Master Says 113

I think people who have faults are a lot more interesting than people who are perfect.

Spike Lee

Friday, January 12, 2007

¡EuroPop Invasion!

Almodovar and Saint Etienne. Together. Oh my. Sugary melancholy fun. I love it.

Thursday, January 11, 2007

The Master Says 113

I am at war with the obvious.

William Eggleston

Wednesday, January 10, 2007

The Master Says 112

In other words, I am interested in a river only if a bridge crosses it.

Nestor Almendros

Tuesday, January 09, 2007

The Master Says 111

Some actors are very intelligent, but is not necessarily with their intelligence that they act.

jean Renoir

Sunday, January 07, 2007

The Master Says 110

The stage is life, music, beautiful girls, legs, breasts, not talk or intellectualism or dried-up academics.

Harold Clurman

Saturday, January 06, 2007

Playing It Fast (and Sappy)

It's time to admit something: I have always loved heightened and melodramatic language in film. I'm not eager to admit it as I've long been seduced by the postures and trappings of realism and naturalism. I like what Mamet says about this topic, something about people going to see film and theater to hear things said that they would love to get away with in life. I think this is why I prefer Fassbinder to Cassavetes. Scorcese has always been a favorite, too. Of course it's his actions that are more operatic, but there are lines delivered by DeNiro - aka The King of the Mumbling Method Men - that may seem ordinary and naturalistic that are truly contrived. I'm thinking of his job interview in Taxi Driver - "Anytime, anywhere." Come to think of it, Taxi Driver is a great big fat lady of a melodrama. "You talking to me?" Come on, that's pure Kabuki. And I love it! As much now as I did when my mom and I used to act it out back in 1977. (How can I not be a melodrama fan if one of my fondest memories of childhood is imitating Travis Bickle with my mom?)
Another of my favorite films is Sweet Smell of Success, which was a box-office failure ironically. It's so heightened, it's borderline camp. Clifford Odet's rewrote Ernest Lehman's original screenplay. I love Odets, but whenever I assigned his plays at my acting studio, actor-students complained. Most of them were too intent on playing everything natural. Playing it natural usually means grinding everything to a slow, methodical (Aha! There's it is: method/methodical!!!) destruction of any dramatic tension. Odets's writing doesn't work that way. He understood it very well, "My dialogue may seem overwritten, too wordy, too contrived. Don't let it worry you. You'll find that it works if you don't worry too much about the lines themselves. Play the situations, not the words. And play them fast."
Now that I think about it, it's not only good advice at getting the seemingly preposterous to play, it's pretty truthful. In life, we often have to speak fast if we want to be heard. Maybe not in a town as laid back as Portland, but in New York for sure. If you want to get your two cents in, you had better be sharp and quick.
This month's short, Klepto, is a film without dialogue. I am trying to design the shots so that the tiny little movements of the compulsive thief's hands play on a grand scale. I'm looking to Sergio Leone for inspiration - all those moments of anticipation such as the beginning of Once Upon a Time in the West.
Next month's short, Friends of Bill, has a highly improbable set up with a lot of heightened language. I'll have to remember Odets's advice.

2007 is off to a good start. Getting my daily meditation and exercise. No fiction reading as yet, but I did put a collection of TC Boyle stories on my nightstand. My new camera is being used as I write on Holly & Grace's newest endeavor. I stopped by set yesterday and saw the camera with the Mini35 adapter on it. Jordan and I get to do a camera test with that tomorrow night after they wrap. I'm very excited to see the results. For those of you who might not know what a Mini35 is -- it's a device that allows 35mm cine lenses to be mounted to a digital camcorder. You get much improved optics and the power of selective focus.
What else? We're shooting Klepto next weekend, so I've been busy location scouting and storyboarding that. The walks I've been taking in the industrial area around Holgate have been inspriring. There's talk of a WalMart going in over there. Hopefully the significant oppostion to that will prevail.
And we booked a lucrative three-day, two-camera shoot for a director out of New York. It's some sort of teacher training CD-ROM. Not too painful. Perhaps even an opportunity to learn something.
I got to speak to Eric Edwards on the phone the other day, he seems to be a very nice man. He's shooting a short that the French invited Gus Van Sant to make to play at Cannes this spring. I was able to drop by the set for a brief visit yesterday.
Lastly, I saw Notes on a Scandal last night. Can't go wrong seeing that one. Pretty easy to get lost in the performances -- Dame Judi is amazing as always, Cate Blanchett continues to mesmerize and Bill Nighy is a gem.

A Big Pizza Pie,
Signore Direttore

The Master Says 109

Without discipline, there's no life at all.

Katharine Hepburn

Friday, January 05, 2007

The Master Says 108

The thing about not reading scripts and my wanting a director to tell me a story is a risk I need to take. I need that real fear.

Judi Dench

Monday, January 01, 2007

2007 Resolutions

+ Make lots of mistakes

+ Write, Shoot and Edit 1 short film each month

+ Acknowledge, accept and embrace fear and resistance directly

+ Read more fiction

+ Daily Exercise - Not if, but what

+ Daily Meditation

+ Look at more paintings

+ Listen

Sunday, December 31, 2006

Happy New Year

A very eventful year has come to a close. I learned a lot this year and end the year a better man than I started it.
This past week has been a real joy. Christmas morning with the family, of course. Had the week off. Went to see some films (Volver +++++ Little Children ++++ Eragon phtwww) and out for meals with friends and family. Sold some more equipment and bought a new HD camera. Wrote the final twenty-five pages on a new script in the past three days. Had two very illuminating and encouraging meetings about an upcoming project. Even made it to the gym.
It's been a great week to close out a tough, but wonderful year.

I'm feeling rested and ready for all that 2007 has in store for us.

¡viva!
signore direttore

Friday, December 29, 2006

The Master Says 107

I run on the road, long before I dance under the lights.

Muhammad Ali

Thursday, December 28, 2006

The Master Says 106

The revolution is not an apple that falls when it is ripe. You have to make it fall.

Che Guevara

Wednesday, December 27, 2006

A New Year's Resolution

This is who I want to be:

Me: I'm trying something new.
World: Aren't you scared?
Me: Yeah, ain't it great!

I want to fall on my ass and my face and learn to laugh about it.

I'm starting now by admitting that I'm scared.

Okay. The cat's out of the bag: I'm afraid.

Besitos,
Signore Direttore

The Master Says 105

I've been terrified every day of my life but that's never stopped me from doing everything I wanted to do.

Georgia O'Keefe

The Master Says 104

I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.

Pedro Almodovar

Tuesday, December 26, 2006

The Master Says103

Where have I come from? What am I doing here? What is it that I mean to achieve?

Konstantin Stanislavsky

Sunday, December 24, 2006

Not Letting It Pass Me By

I have been a little anxious today as I always am around the holidays. I know I am not uniquely affected by the chaos, excitement, expectations and memories that come with Christmas. Each year I try to keep it more and more simple.

We had no last minute shopping to do. No party obligations. No extended family commitments.

I did some organizing - cleaned off my dresser, emptied some boxes of papers, put a piece of gear up for auction on eBay, cleaned up the spaghetti of cables and wires under the edit suite, wrapped a few gifts, watched football and took a nap.

I also put together the cutest little red tricycle. I did it this morning so as not to put it off until after the kids were in bed. I try to avoid that dad putting toys together until late on Christmas Eve cliche as much as possible. I realized that this little trike might be around for a while and that I'd only get to put it together once. I told myself not to let the moment pass me by. Everything shifted quite a bit after that. I was really doing what I was doing. It brought a moment of joy and peace to my day.

Merry Christmas,

nc

Saturday, December 23, 2006

The Master Says 102

Here I am trying to live, or rather, I am trying to teach the death within me how to live.

Jean Cocteau

Friday, December 22, 2006

The Master Says 101

It must be the colors
And the kids
That keep me alive
'Cause the music is boring me to death

Cat Power

Wednesday, December 20, 2006

The Master Says 100

Filmmakers should think less and use their imaginations more.

Alexander Mackendrick

Tuesday, December 19, 2006

The Master Says 099

Watch and listen.

Robert Altman

Monday, December 18, 2006

The Master Says 098

To grasp the full significance of life is the actor's duty, to interpret it is his problem, and to express it his dedication.

Marlon Brando

Sunday, December 17, 2006

The Master Says 097

When I grow up, I still want to be a director.

Steven Spielberg

Saturday, December 16, 2006

The Master Says 096

I like to write when I feel spiteful; it's like having a good sneeze.

D.H. Lawrence

Friday, December 15, 2006

The Master Says 095

The job is to ask questions - it always was - and to ask them as inexorably as I can. And to face the absence of precise answers with a certain humility.

Arthur Miller

Thursday, December 14, 2006

The Master Says 094

Every man is born as many men and dies as a single one.

Martin Hiedegger

Wednesday, December 13, 2006

Five and Out

The time has come for me to end my five year career as an acting coach. Last night was the final class at the studio. I've decided to quit teaching in order to have more time and energy for other areas of my life. We went out with a month of very solid on-camera scene study. The past weeks have been very satisfying, allowing me to leave something which I've labored over and loved on a high note. The disappointment and surprise of the actor-students was humbling.
I thought of all the faces and personalities that have drifted through my studios over the past years as I cleaned out the storage closet and scrubbed the floor last night. I remembered the challenges and the laughs as well as the struggles and triumphs I witnessed and experienced over the years. I've grown as a person and as an artist as a result. I've gained some small measure of humility if only in the realization that I don't have to be all things to all people. Letting go of another hyphen in my occupation bio is a big step toward getting right-sized.
They say to teach is to learn a thing twice. My goal was never to be a better actor, but I do believe that all the things that make an actor better at his craft make him a better human being. I can say with confidence that I've done my best to show many the way toward making that a possiblilty in their lives. For everything that came to pass, both good and bad, it was my sincere effort at being present and truthful and that's always good enough. For that I am grateful.

Sincerely,
nc

Tuesday, December 12, 2006

Folk Wisdom 023

Don´t cry because it´s over, smile because it happened.

Saturday, December 09, 2006

The Master Says 093

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

Ingmar Bergman

The Master Says 092

There is no art in confusion.

Isaac Bashevis Singer

Wednesday, December 06, 2006

The Master Says 091

The hardest thing to learn is how to correct what's wrong without harming what's good.

Dede Allen