most (apparently) people

Brief update:

  • The Fall Quarter finally ended a week ago, and I did manage to finish both my final film and my paper — the film I am proud of, the paper I didn’t even have time to proofread.  I am semi-anxiously awaiting the arrival of my final grades.
  • I am currently in New York City once again, where I’ve been decompressing, movie-going, and friend-seeing since Thanksgiving.  I like it here, and I have quite a few friends here, and this is good considering I’ll likely be moving here once I finish my MFA.
  • I turn 33 in less than a week, and am beginning to think that I should be getting a yearly physical like most (apparently) people my age.  I hate doctors, but I fear death — one of these must out.
  • I Amtrak back to Savannah on Thursday, where it is warm and I have a filthy apartment to finally organize and clean up.

…as you were.

"One Art"

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

–Even losing you (the joking voice, a gesture
I love) I shan’t have lied.  It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

~Elizabeth Bishop



a still


…a still from Suite — my directing final.

capture and pack

The end of the quarter is nigh — only six days of class left, and only one fifteen page paper on John Cassavetes to write and a directing final to finish shooting and editing. In spite of, or perhaps because of, the amount of work that I have to complete in the next two weeks, I’ve settled into a relative state of calm contentment these last few days. Perhaps I’ve come to terms with the fact that the work will get done, must get done, or perhaps I’m just looking forward to spending Thanksgiving in NYC with friends.

I’m going to Columbia, South Carolina for the weekend to shoot some scenes for the thesis film I cast and am now script supervising. It will be nice to get away from Savannah, but my laptop and books will be accompanying me, so the work will be there when the picture is down. I’ve never been to Columbia, South Carolina, and I know absolutely nothing about it aside from the fact that there is a roller rink there that we are shooting at. People don’t take to roller-skating much these days — not so in Columbia, South Carolina.

Shot another piece of my directing final last night, and it went as well as I could have hoped — it was fun, and the footage is perfect. Let’s hope I can fit these pieces together into some sort of pseudo-comprehendible whole.

Other things, but I must capture and pack.

my social obtuseness

Last night/this morning I shot some of my directing final (v. 2.0).  As with all film shoots I’ve been in relative charge of, it was a learning experience.  When my Lighthouse project sank, I decided I was going to use this opportunity (and limited time) to do my avant-garde project about love.  It sounds like a cliche, but I’m going to do my damnedest to make sure it doesn’t end up as one.  I’m trying to integrate as many forms (and versions) of visual and auditory media as possible — suggestions are welcome.  Think Damien Rice, with an Iron & Wine chaser.

Technical issues:  We shot with the new Panasonic HVX200 camera in both 1080 and 720 (both 24p), and we also shot a few sequences in slow-motion (at 60p).  The HVX records to P2 cards, which we dumped to a special hard drive specifically designed to save P2 card footage.  This afternoon I copied the footage from the hard drive onto my computer, and imported it into Final Cut Pro.  The problem is (or seems to be) that Final Cut Pro is still adapting to the new P2 card technology, and as such isn’t dropping the extra six frames on import.  Long story short(er), the clips are coming up with a 29.97 frame-rate instead of the 23.98 frame-rate we shot at.  I figured out a way to get rid of the six frames with Cinema Tools, but it’s a bit of a pain in the ass, and I’m wondering if it’d be any different if I just made a 29.97 sequence instead of having to re-render every damn clip.  I tried it both ways, and it looks the same on my computer screen, but projection would probably be a different story.  Again, suggestions are welcome.

At a Savannah Film Festival after-party last week, one of my bosses (for my work-study job) called me "socially obtuse."  I was over-analyzing the statement for a while, but today I talked to Becky and she pointed out that calling someone "socially obtuse" at a social gathering is, in itself, a form of social obtuseness.  Bless her, and my social obtuseness.

Writing of the Savannah Film Festival, I did get to meet David Zucker, and I did get him to sign my copy of Airplane!  I missed the Bill Plimpton panel because of a Hunter S. Thompson documentary priority, and because I am not an Animation major.

Finally, in honor of Bob Barker’s declared retirement from daytime television, I offer this piece of "The Price Is Right" magic:

"Is that alright?"

      9 Crimes ~ Damien Rice