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Jan 13 2009

Writing and animation.

The Post department at Lone Wolf has been in rather a slow spell lately, although we’re due to pick up again, now that we’ve entered another shoot season. The good news there is that with fewer stresses at work, I’ve felt freer to explore my own art and design.

This time around, however, that creative drive hasn’t manifested itself in the visual or film arts— yet. In days long past, I fancied myself a writer; to this day I diligently keep a personal journal, and enjoy writing long letters. In high school I was a poet dabbling in short fiction, however, and I’ve always been sad to have strayed from that kind of work, leaving behind so embarrassing a legacy.

Writing creatively— for me, anyhow— is a tough and involved process. The idea is the first roadblock I always face, and in the last six or seven years that’s been where the process stalls. I’d get too prissy about my environment; get too distracted by my music or other sounds in the house (and subsequently by the silence after I turn everything off). It’s always so easy to find a reason not to write. But recently I read an article by one of my favorite people, Cory Doctorow, co-editor of BoingBoing.net that really helped me reevaluate my writing process, and away I go.

Right now I’m thinking novella, something around ninety and a hundred twenty pages. My hope is that from the fiction I’ll be able to one day adapt a screenplay without sacrificing too many details. Tentatively, the story is called Sean & Sean.

Sean awakens one morning to discover that he’s no longer alone in his apartment. Another Sean, identical in every way, has inexplicably split from the other amidst some painful and confusing nightmare. With no clear “original” between the two there is no clear priority; Sean and Sean share an apartment, a job, a girlfriend, an entire life. At first, keeping this disaster a secret will be easy enough, but the longer the two Seans coexist, the more their personalities will inevitably diverge.

“This is my apartment.”
    ”It’s not.”
    ”I’m pretty goddamned sure it is,” Sean pressed. “Just… just cut the shit and tell me who you are and why you were on my floor.”
    The other sat up against the leg of the bedside table, just a little, cautiously. The table grunted back an inch under his weight, startling the both of them. “After you tell me why you look exactly like me.”
    The two considered each other stonily. In times of great stress, the mind shifts gears, reevaluating priorities on the most basic level; inspiring the heart to beat is more important than trigonometry. As Sean’s ass became numb, pressed awkwardly as it was between the floor and the doorjamb, his brain threw that switch, and he blinked.
    Sean sighed, a tingling lump growing in his throat. “My name is Sean Carson. I still don’t get this bullshit here, but I am about to piss myself.”
I’m going to try a method based on Doctorow’s tips to actually finish this story. I’ve got several beats laid out already, so hopefully I won’t be at a loss for plot elements. All that’s missing is the ending…

In other news, I’m going to be working on an animation job for my supervisor, Corey Norman. He’s working on a short-form series called “The Outsider,” and as it happens he needs a title sequence. After Effects to the rescue. It’ll be awfully nice to flex those muscles again.
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Dec 27 2008
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The crescendo of a new production bump; applicable film to be determined/written/produced.

I find it pretty cathartic to dream up and put together these small ten- to fifteen-second animations. They make good on-spec portfolio work, and serve as a reminder that I probably ought to be more active in the filmmaking community. Ironically enough, what’s making that difficult lately is my career in filmmaking.

Post is different from the other departments, though. Yes, we see all the footage that comes through, but most times we feel like little more than couriers. Our input is never requested before the shoot (unless it’s a tech question), and we rarely get the opportunity to have any fun with the material after we’ve dubbed and captured it. Post is an intermediary between crew and editor.

It’s not helpful that, at heart, I’m a narrative filmmaker at a documentary film company. To them, storytelling is assembling a jigsaw puzzle. They are successful if the audience can see the completed image and gain something from it. To treat it any other way would risk compromising the integrity of the film. My kind of storytelling is in designing the image of the jigsaw puzzle, and cutting it out myself. Then it’s the audience’s responsibility to assemble it in the theatre. I’m successful if the audience can assemble an image that pleases them. Neither is really better than the other; at the end of the day, a worthy passion is the challenge which is most rewarding to face and overcome. There is an art to making one image from countless disparate jigsaw sets, just as there is an art to making one jigsaw set out of an image. But I digress.

I also find myself less interested in television now than I was while at school. I’m sure it’s my exposure to the business model; certainly television itself can’t have gotten any worse (and it wouldn’t matter if it did, since I still don’t actually watch television). But it’s not like the business model in feature filmmaking would be that much more virtuous. Couldn’t it be even worse? Who knows. I suppose it’s just all those little nit-picky bits where film is an industry instead of an art that is so discouraging from time to time.

And yet, there’s nothing else I’ve ever tried that I’d rather do to get my bills paid.


PS I’m going to try and update this more often, even if it’s just a spot of ranting. It’s silly to say I’ve got a blog when I only update as often as I finish new work. Pssh. What was I thinking?

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Oct 23 2008

My first Current TV VCAM (Viewer-Created Ad Message). Every so often, the site’s sponsors (Toyota, Motorola, L’oreal, etc) approach the users with an assignment to produce thirty-second ads for their products on spec. The best of the bunch are purchased for broadcast.

Had a blast with this one, with the amazing assistance of Peter Selmayr and Kori Handwerker.

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Oct 12 2008

Current gigs.

So, it is with a fair measure of stoked-ness that I announce the following three gigs that have kept me from posting here more often:

  • Delicious TV: producing three custom motion transitions for their upcoming season. This one’s almost done, and I’ll post examples and links when they’re available.
  • Current TV: a VCAM (Viewer Created Ad Message) for HP’s wireless printers. This gig’s half-contest, half-commission. There are several ways this piece could end up being broadcast, and if I understand correctly, all of them are paid opportunities. Had a lot of fun with this one. Go! See! And vote it up!
  • Lone Wolf: a huge deal here. I’m producing a two- to five-minute “sizzle reel” for a revived pitch about the sinking of the Eagle 56. Not at liberty to discuss the details just yet, but this could well be my foot in the door getting more editing work at LW. Wish me luck like crazy. I deliver in two weeks.
Whew! Oh yeah, and sometimes I sleep a little, sometimes.
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Sep 23 2008

CS4.

Adobe CS4 is on the horizon, and holy damn but it’s been beefed up.

Premiere now has native support for RED-acquired footage, After Effects finally added an asset search, and Photoshop sports that badass intelligent scaling thinger.

Hells yes.
I’ll give it a couple months past release, and then I am SO throwing six hundo at that.

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Sep 22 2008

Brewing.

So a new personal project is on the horizon. I’m still writing the treatment, which will then become a script. As much as I think it would ideally be a summer shoot, I don’t know if I can wait to get back in the game.

I have the use of Lone Wolf’s V1Us and audio kit for this project, which only provides more drive. Boy howdy but I want to cut more films.

Meanwhile, the 48 Hour Film Project award ceremony at Empire was last Friday, and our Audience Choice Award is now in the greasy mitts of our group. Our producer, Andy Barbo, will be spearheading getting the certificate duplicated… I’ve already got a spot on the wall picked out. :D

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Sep 14 2008

A much-needed update to my demo reel, this piece includes clips from my senior thesis (This, We Have Now), as well as animation work for Lone Wolf Documentary Group and Mint Films.

Following the premiere of our last 48-Hour Film, DOUBLE OH, I was itching like crazy to cut a new reel. Editing to music is one of the greatest forms of catharsis for me. I hope you enjoy it!

For this reel, I used the song “Carnivores Unite” by Blockhead. A very neat sound, great for keeping the energy up and tying a bunch of otherwise disparate video clips together.

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Sep 11 2008

Produced as part of my senior portfolio, this reel covers the lion’s share of my student work in the University of Southern Maine’s Media Production & Design program.

A 2008 reel is currently in production too, and it’s looking awesome so far. Stay tuned.

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Sep 10 2008

One of four vignettes about the fragility of love, from the series This, We Have Now. Produced as a senior thesis project through the University of Southern Maine in the fall of 2007, This, We Have Now combines the skills and experiences of Jared Flynn, Jeff Griecci, Kelley Swan and Steve Turcotte. The film is as much a culmination of our education as it is an opportunity to experiment; each of us wrote and directed one vignette, and together we struggled with the challenges of every aspect of short film production.

JESS & ANDY, written and directed by Jeff Griecci, starring Meghan Benton and Andrew Sawyer. Edited by Jared Flynn and Jeff Griecci. Title design by Jared Flynn. Assisted by Kelley Swan and Steve Turcotte.

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Sep 09 2008

Winner of the 2008 Audience Choice Award in the 48 Hour Film Project (Portland, ME), DOUBLE OH starring Ian Carlsen, Andrew Sawyer, Mary Casas, Corey Anderson and Parker Newton is a dark comedy focusing on two hapless goons under the command of a secretive evil genius. As one rookie goon learns the ropes from the seasoned veteran, can he grasp the full scope of his new job before the inevitable attack of the Double Oh?

This is the original, contest-approved cut. Although it was disqualified for late submission, we were still screened and we still wowed a great audience at Cinemagic in Westbrook. For an extended version, edited by Jeff Griecci, check out his YouTube channel.

Please comment! Unlike YouTube I don’t currently have a way to count my views, and I’d love to hear from all of you. Enjoy!

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