MATURE CONTENT AND LANGUAGE

Want to follow a secret identity artist through a dangerous Los Angeles as he escapes and hits like a criminal? Hang on and watch carefully. You may need to watch it 14 times to catch the drift. But you’ve probably got that kind of time anyway.

This is a Los Angeles crime film. But it’s as if several films on celluloid fused together and what you end up with is an art film that gets overwhelmed by urban documentary and then collapses into a narrative thriller. It’s filled with hints, clues, evidence and misdirection. Images, ideas and sounds bounce off each other, mirror each other. There are secrets in this film. You have to watch carefully, through layers to catch things. I’ve tried to make a film that moves like disjointed thoughts toward the preordained ending.

During part of the shooting we found ourselves quite amusingly right smack in the middle of what was obviously a criminal lair. We had to leave quickly. But we returned with a very rapid coordinated sneak attack to film at the place several hours later. You’ll never guess which scene in the film I’m talking about.

Underneath everything is the city of Los Angeles and its power over the imagination. The grimy and false facade of the city distracts observers and its inhabitants from the deep power of its mythology. If there is any American city where the ancient gods play, it is Los Angeles.

In my film, the increasing association of the artist with criminality is central. The artist as a secret identity is a perfect and unexplored area for film noir. This is probably the overriding concern of the film. The artist constantly under threat but using that threat to drive the creative impulse, even in the face of death.

The dark, gritty elements of film noir, especially that of the Los Angeles brand, inform everything in this piece. Various personas or aspects of the personality fight for identification even while running for cover. One part of the mind kills off or suppresses another, wants to be dominant and unknown at the same time. Unconscious forces create images that reflect one another, contradict, and foreshadow.

Secrecy, identity, escape, art as crime, artist as troublemaker, the anonymous creator who controls events, the protection of the delicate and easily destroyed creative impulse, the conflict between experimental and narrative film, the inescapable instinct toward narrative, the mask worn as both expression and protection. These are some of the themes I am at least touching upon.

It’s a sort of psychotic noir film. The noir of dreams.

With a couple of brief exceptions, everything in color was shot in Los Angeles over the past 11 months. The music is by Kevin MacLeod who offers his incredible compositions through http://incompetech.com. The actors in the narrative portion are Joshua Fardon, Renato Biribin, and Laral Cima.

This is a Screen Actors Guild (SAG) production.

Filmed in Los Angeles December 2010 – September 2011
Canon DSLR and HDV cameras
Produced by Candlelight Stories, Inc.

Music by Kevin MacLeod at incompetech.com
Music is licensed as Creative Commons non-commercial – no derivs – attribution

Digital B&W archival footage from the Prelinger Archives at the Internet Archive – archive.org/?details/?prelinger and from the public domain feature collection at archive.org. However, some B&W footage was projected from 16mm directly into certain scenes as they were filmed.

Adult Content – Not For Children Under 13

Enjoy and have a Happy Halloween!

 

MATURE CONTENT AND LANGUAGE
 
 
This is the YouTube version of the film for those who don’t necessarily want to load the full HD video.

Want to follow a secret identity artist through a dangerous Los Angeles as he escapes and hits like a criminal? Hang on and watch carefully. You may need to watch it 14 times to catch the drift. But you’ve probably got that kind of time anyway.

This is a Los Angeles crime film. But it’s as if several films on celluloid fused together and what you end up with is an art film that gets overwhelmed by urban documentary and then collapses into a narrative thriller. It’s filled with hints, clues, evidence and misdirection. Images, ideas and sounds bounce off each other, mirror each other. There are secrets in this film. You have to watch carefully, through layers to catch things. I’ve tried to make a film that moves like disjointed thoughts toward the preordained ending.

During part of the shooting we found ourselves quite amusingly right smack in the middle of what was obviously a criminal lair. We had to leave quickly. But we returned with a very rapid coordinated sneak attack to film at the place several hours later. You’ll never guess which scene in the film I’m talking about.

Underneath everything is the city of Los Angeles and its power over the imagination. The grimy and false facade of the city distracts observers and its inhabitants from the deep power of its mythology. If there is any American city where the ancient gods play, it is Los Angeles.

In my film, the increasing association of the artist with criminality is central. The artist as a secret identity is a perfect and unexplored area for film noir. This is probably the overriding concern of the film. The artist constantly under threat but using that threat to drive the creative impulse, even in the face of death.

The dark, gritty elements of film noir, especially that of the Los Angeles brand, inform everything in this piece. Various personas or aspects of the personality fight for identification even while running for cover. One part of the mind kills off or suppresses another, wants to be dominant and unknown at the same time. Unconscious forces create images that reflect one another, contradict, and foreshadow.

Secrecy, identity, escape, art as crime, artist as troublemaker, the anonymous creator who controls events, the protection of the delicate and easily destroyed creative impulse, the conflict between experimental and narrative film, the inescapable instinct toward narrative, the mask worn as both expression and protection. These are some of the themes I am at least touching upon.

It’s a sort of psychotic noir film. The noir of dreams.

With a couple of brief exceptions, everything in color was shot in Los Angeles over the past 11 months. The music is by Kevin MacLeod who offers his incredible compositions through http://incompetech.com. The actors in the narrative portion are Joshua Fardon, Renato Biribin, and Laral Cima.

This is a Screen Actors Guild (SAG) production.

Filmed in Los Angeles December 2010 – September 2011
Canon DSLR and HDV cameras
Produced by Candlelight Stories, Inc.

Music by Kevin MacLeod at incompetech.com
Music is licensed as Creative Commons non-commercial – no derivs – attribution

Digital B&W archival footage from the Prelinger Archives at the Internet Archive – archive.org/?details/?prelinger and from the public domain feature collection at archive.org. However, some B&W footage was projected from 16mm directly into certain scenes as they were filmed.
 

 

MATURE CONTENT AND LANGUAGE
 
 
Want to follow a secret identity artist through a dangerous Los Angeles as he escapes and hits like a criminal? Hang on and watch carefully. You may need to watch it 14 times to catch the drift. But you’ve probably got that kind of time anyway.

This is a Los Angeles crime film. But it’s as if several films on celluloid fused together and what you end up with is an art film that gets overwhelmed by urban documentary and then collapses into a narrative thriller. It’s filled with hints, clues, evidence and misdirection. Images, ideas and sounds bounce off each other, mirror each other. There are secrets in this film. You have to watch carefully, through layers to catch things. I’ve tried to make a film that moves like disjointed thoughts toward the preordained ending.

During part of the shooting we found ourselves quite amusingly right smack in the middle of what was obviously a criminal lair. We had to leave quickly. But we returned with a very rapid coordinated sneak attack to film at the place several hours later. You’ll never guess which scene in the film I’m talking about.

Underneath everything is the city of Los Angeles and its power over the imagination. The grimy and false facade of the city distracts observers and its inhabitants from the deep power of its mythology. If there is any American city where the ancient gods play, it is Los Angeles.

In my film, the increasing association of the artist with criminality is central. The artist as a secret identity is a perfect and unexplored area for film noir. This is probably the overriding concern of the film. The artist constantly under threat but using that threat to drive the creative impulse, even in the face of death.

The dark, gritty elements of film noir, especially that of the Los Angeles brand, inform everything in this piece. Various personas or aspects of the personality fight for identification even while running for cover. One part of the mind kills off or suppresses another, wants to be dominant and unknown at the same time. Unconscious forces create images that reflect one another, contradict, and foreshadow.

Secrecy, identity, escape, art as crime, artist as troublemaker, the anonymous creator who controls events, the protection of the delicate and easily destroyed creative impulse, the conflict between experimental and narrative film, the inescapable instinct toward narrative, the mask worn as both expression and protection. These are some of the themes I am at least touching upon.

It’s a sort of psychotic noir film. The noir of dreams.

With a couple of brief exceptions, everything in color was shot in Los Angeles over the past 11 months. The music is by Kevin MacLeod who offers his incredible compositions through http://incompetech.com. The actors in the narrative portion are Joshua Fardon, Renato Biribin, and Laral Cima.

This is a Screen Actors Guild (SAG) production.

Filmed in Los Angeles December 2010 – September 2011
Canon DSLR and HDV cameras
Produced by Candlelight Stories, Inc.

Music by Kevin MacLeod at incompetech.com
Music is licensed as Creative Commons non-commercial – no derivs – attribution

Digital B&W archival footage from the Prelinger Archives at the Internet Archive – archive.org/?details/?prelinger and from the public domain feature collection at archive.org. However, some B&W footage was projected from 16mm directly into certain scenes as they were filmed.
 

Brazilian artist Claudio Ethos works on his first Los Angeles art piece. I happened upon him down on Main Street and thought he was a worker about to paint over a painting of a face. I started shooting and after several minutes realized that he was the artist.

This is part 1 of my next film. It stands alone as of now however.

With one brief exception, everything in color was shot in Los Angeles over the past several months. The music is by Kevin MacLeod who offers his incredible compositions through http://www.incompetech.com.

The dark, gritty elements of film noir, especially that of the Los Angeles brand, inform everything in this piece. Various personas or aspects of the personality fight for identification even while running for cover. One part of the mind kills off or suppresses another, wants to be dominant and unknown at the same time. Unconscious forces create images that reflect one another, contradict, and foreshadow.

Secrecy, identity, escape, art as crime, art as trouble, the anonymous creator who controls events, the protection of the delicate and easily destroyed creative impulse, the conflict between experimental and narrative film, the inescapable instinct toward narrative. These are some of the themes I am at least touching upon.

It’s a sort of psychotic noir film. The noir of dreams.

I like to work with a basic overwhelming drive toward an atmosphere or elusive set of central images and an undefined goal. I then submerge and produce images driven by immediate instinct. I also search for existing images by using a very fast, reflexive search method that only allows certain specific things to flare into view, selected purely by instinctive means. I trust that these impulsive decisions will be guided and informed by an unconscious will which is totally submerged in the film’s atmosphere or world. I treat the images that I have filmed and the images that I find elsewhere in exactly the same way. They are all part of the archival pile that must be sifted. It’s simply an act of recognition at this point. A filmmaker can scan a 90 minute film in super fast forward for 2 minutes and land on specific images that will have direct application to a project. I think it is this super-fast scanning of lengthy archival material that is a new development in filmmaking. It can only be achieved through digital means. No one was ever able to work this way in an analog medium.

There is an element of the William S. Burroughs cutup method at work here. But it actually goes further because it forces the artist to do the cutup with his or her mind, not any mechanical or arbitrary means. The cutup method becomes an act of will that is very close to unconscious. I find that incredible and unforeseen connections can only be made unconsciously. They do not happen with advance planning or scripting. In some respects, one must be an actor in one’s own creation. One must be both creator and subject.

Filmed in Los Angeles December 2010 – February 2011
Canon 60D DSLR camera

Music by Kevin MacLeod at http://www.incompetech.com

Digital B&W archival footage from the Prelinger Archives at the Internet Archive – http://www.archive.org/details/prelinger and from the public domain feature collection at http://www.archive.org. However, some B&W footage is projected from 16mm directly into certain scenes.

Filmed in the dullest imaginable environment of shops along a major Los Angeles street at night when the shops were closed.

My Christmas film.

The music is a public domain recording of Artie Shaw and his orchestra playing ‘There’s Something in the Air’ in 1936. The singer is Peg LaCentra. I found it at the Internet Archive.

Adult Content – Not For Children Under 13

This is a graphic horror film.  It’s not intended for young children.  If you are under 13, do not watch this before discussing it with your parents!  Seriously.  Also, you should probably not watch it if you are at risk from sudden fear, anxiety or shock.

A woman answers the phone late at night and does not recognize the voice on the other end.

This is my own contribution to the specific horror genre exemplified by the series of Saw movies.  It also has some of the qualities of the moral warning fairy tales in which awful things happen to innocents because of relatively minor errors in judgment.

It’s really fun to make a hardcore scary little movie for Halloween!  I’ve wanted to make a horror film for quite a while and just never had the perfect opportunity.  It’s a very simple film but it can really give some people a bad scare.

I set out to make a horror short the way I might have done it as a twelve year old.  In fact, the film pretty well sums up my thoughts on what horror films really are, how they build suspense and anticipation through a series of ordinary events and actions viewed as slightly askew.

Of course, horror should always have some kind of payoff.

This was filmed entirely without digital effects.  It’s all analog like the old days!  Lots of fun.  I love horror shorts and will try to make another one soon.

Enjoy and have a Happy Halloween!

Well I’m just very pleased about this. The Downtown Film Festival Los Angeles has given my film, Yellow Plastic Raygun, the award for Best Experimental Film. I was having quite a nice week attending various parties and screenings at the festival. Its use of multiple locations in the heart of downtown Los Angeles gives one a real sense of taking part in the life of the city and being involved with something that’s helping to foster the exploding art and film scene in downtown. Most of the short films were screened in the new Civic Center Theater at the intersection of First and Main Streets, in the shadow of the famous City Hall tower that has appeared in so many crime shows and film noir classics. I attended the screening of my own film this past Saturday evening and was amazed at seeing it large since I had put so much work into it on small monitors. What’s great about the Downtown Film Festival is that it shows a wide range of filmmaking styles, crew sizes and budgets. They show films made with lots of production resources right alongside films made by individual artists working with inexpensive HD cameras and even cell phone cameras. I am very proud to have won this and I look forward to more great festivals in downtown Los Angeles from the people who put this together.

Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0 License.

You can watch in resolutions of 360p, 480p, 720p HD, and 1080p HD. I think the best compromise for quality and loading speed is the 480p resolution. You can also watch it in HD on Vimeo.  Visit my YouTube channel for more films.

I may do a part two of this film. For now, this is the film in full.

The film is science fiction because it concerns the use of memory images for time travel. The powerful imagery of the singular event – the horrific event – is etched forever in the mind, yet it becomes fluid and its influences cannot be entirely trusted. What led up to the singular powerful event? What course was set following it? In what way would the entire world be different if the event had been avoided or not seen? Not recorded? If, as scientists say, the fundamental particles of existence change location or cease to exist when observed or not observed, then what about events in memory? Or events simply residing in the past?

If one asks ‘why are we here?’ Well, I think the answer is obvious. We are here to remember things. We are memory.

It’s difficult to see a star clearly if one looks straight at it. Looking just off to the side can clarify the star in one’s perception. Going back in time to recover something lost is very much the same. One is sometimes forbidden to look directly at the object sought. One must keep one’s gazed shifted slightly or risk losing the memory entirely. This principal has been understood for a long time.

So putting one’s eye on something like a yellow plastic raygun, or a car, for example, might in fact sharpen one’s vision and allow an accidental recovery or a transfer to take place.

Odd thoughts? Yes, well maybe so. Very much like the thoughts that run through one’s mind before sleep completely obliterates consciousness.

The film uses a mash-up of archival footage, drawings, digital painting, new video and video I shot many years ago. The imagery is very layered and attempts to duplicate the way images move through my mind as I circle around my ultimate objective which is sometimes nearly unknown. There are a multitude of connections and meanings to be drawn from the sequence of images. Some meanings might be very obvious, others would be almost impossible to predict.

My new film is a silent one about wet, foggy colors. It was raining in December and the roses looked droopy under the weight of the water droplets. Then the camera started going in and out of focus and I thought it made a good color show so I started to learn how to make it happen more and how to make the focus flutter. So I think that what is out of focus in the film is more important than what’s in focus.

Here’s a new film for the film fans who happen to stumble by. It’s a film about memory shifts, searching, losing something, trying to find the old image, trying to regain an old feeling or impression, capturing a season of life or the mind. As if one were thinking, “I can almost remember how it was and what we did that day so long ago. Where were we again? North somewhere? It was dark? No, the sun was out… wait, it was cold… I think.

The Visit is an animation I was working on about a year ago. The Flash player above includes everything I’ve done so far on the film. There’s no sound yet. It’s a rough edit of the animation as I go. The story is my adaptation of an old folk tale about a little girl who is cast out of her home to live in the forest. It’s a pretty serious and tough little story. No laughs really. I’m picking it up again to finish it. So I’ll be posting regular updates here for anyone who’s interested in seeing a short animated film reach completion.

When I previously worked on the film I blogged about the process and posted storyboard sketches and the full text of the story. You can read the blog about the making of The Visit here. Chances are, I’ll do most of the updating right here from now on.

My latest little film. It’s actually a cinegram. The subject is trains. Time. Memory. The present doesn’t exist. You can’t find it with measurement. You can’t even define it. The future is not there yet. You cannot see it. The only thing that really exists is the past. I say that because we can all see the past – some more clearly than others. But we can most certainly see it.

A cinegram is a short motion picture that uses images and text that are packed with meaning and suggestion. It’s my new word for things I once referred to as film poems.

Here’s the poem from inside the movie:

Lunch With Bardot

Trains run on time
With passengers asleep
Temporarily forgotten
Between observation points
Colliding lines
Of fictional transport

A real screamer of a fright movie! Venture, if you dare, into an old, cold mansion. This movie chronicles the growing awareness of something… haunting. May be too scary for children under 12.

CLICK TO WATCH

The Re-Gen Project movie recreates an experiment in raising the dead. May be too scary for children under 13. Watch with care.

CLICK TO WATCH

Go into the forest if you dare. Seek your fortune and beware! A scary Halloween treat for the strong of heart. Make sure you turn your sound on for this one! You must hear your fortune told.

CLICK TO WATCH

A plane goes on a dangerous night flight. A man jumps. He
places an urgent call…

CLICK TO WATCH

Travel into unknown lands with the adventurous tailor who
meets a giant. This animation is a fairy tale classic from
the Brothers Grimm.

CLICK TO WATCH

He’s made of stone. He’s a stone age robot and he’s trapped in prehistoric times. He really, really needs to get to the modern world where he knows he truly belongs. But how can he learn to deal with these cavemen?

We made this one back in 2005.

CLICK TO WATCH

He’s made of stone. He’s a stone age robot and he’s trapped in prehistoric times. He really, really needs to get to the modern world where he knows he truly belongs. But how can he learn to deal with these cavemen?

We made this one back in 2005.

CLICK TO WATCH