Comic-Con 2011: A Rope of Sand

{Originally appeared in The C.W. Post Pioneer's Loomings}

Excelsior true believers! And whatever it is that's DC's catchphrase. Mike Natale here checking in from New York Comic-Con 2011. I know what you're thinking: Didn't you tweet about doing press for Robot Chicken? And seeing the Avengers panel? And the Walking Dead cast? Which article is this? Well, folks, your ol' Uncle Mickey decided to condense it all into one article, since the school has only provided us with a limited amount of print space for the coverage. (Cause Assistant Editor Tom Lorezo gets two pages to cover Max Payne 3, and I get only one extra page to cover the whole con. Stupid campus events taking up print space. I'm talking to you, bake sale!) The deal is if there is enough feedback for this year's coverage, we get more space next year (and will probably qualify for a real, genuine press badge, but more on that later).

So, for those of y'all not in the know, I bet you're wondering what is this New York Comic-Con (herein abbreviated as NYCC) we're talking about? Well, to put it simply, its Disneyland for the pop culture lover. Though the name connotes comics, NYCC is about much more than that: movies, TV, video games, literature. You name it, they've got it, and some of the biggest names in the industry, to boot. How big? Well, how about some of the biggest names from what is guaranteed to be one of the biggest movies of the summer, The Avengers? Yep, Chris Evans (Captain America), Chris Hemsworth (Thor), Cobie Smolders (Maria Hill, but let's be real here, Robin from HIMYM) and in a surprise typical of the biggest East Coast entertainment convention, Mark Ruffalo (the newest actor to play The Hulk) all came out to promote the film. To list the celebrities who appear at this convention would take more print space than we can afford, that's just how jam-packed the roster is. Essentially, what I'm driving at is that Comic-Con is not something to miss.

Nor is it something to merely observe. It is indeed something to experience. I've attended the Con for the past three years, ever since I started my education here at Post, and I honestly have seen it grow even in that time, getting better every year, rivaling even the best cons the world has to offer (Yes, I'm talking to you, San Diego Comic-Con. No, I'm not trying to start an East Coast-West Coast Comic-Con rivalry like the rap wars of yore. But...you know...it'd be cool). You don't just get to meet celebrities, you get to sit in on panels chock full of spoilers, sneak previews, behind-the-scenes info and occasionally awkward Q & A where fans get to talk to the folks they love. You can play demos of upcoming games, purchase NYCC exclusive toys and apparel, take in a live show or two from the newly added New York Anime Festival, and even (to my childish delight) stand inside a life-sized Star Wars Action Figure Package. It makes life worth living.

Now, as for the specifics of the weekend, I did the best I could, dear reader. Since our magazine had never covered a convention before, we weren't granted press passes initially. Though through the sheer kindness of the hearts of NYCC, we were granted access to press events for certain panels, including one for my favorite stop-motion show since Moral Orel, Adult Swim's Robot Chicken. In the room full of press and RC  co-creator Matt Senreich, I was granted one question, and I had to make it a good one (not wanting to be that jerk who asks "So, what is Robot Chicken about?" Come on, bro, do your research. Really.) I felt compelled to ask a question that may not enthrall all my readers, but that had always fascinated me. Robot Chicken has countless guest stars providing voices, most of whom can be traced back to co-creator Seth Green's vast acting career, from Sarah Michelle Gellar (from when Green played Oz, a young werewolf on Buffy the Vampire Slayer) to Scrubs' Donald Faison (who appeared alongside Green as a member of a fictional boy band in 2001's Josie and the Pussycats, which I referenced to Senreich in passing prompting him to immediately recall the name of the band, Du Jour. Senreich would later bring up the idea of "A Du Jour reunion" during the full panel, and I took silent, likely unwarranted, pride in inspiring that); yet one guest appearance on RC always stuck out to me. For one episode, Green and Senreich had called upon the voice talents of Tony- and Emmy-winning actress Kristen Chenowith, who to my knowledge had never worked with anyone involved with the show before. When questioned about this, Senreich stated that Chenowith was hired based on Seth Green's (and to an extent Senreich's) love of the Broadway musical Wicked, in which Chenowtih originated the role of Glinda the Good Witch. In fact, Senreich stated, that musical inspired one of RC's most beloved sketches, The Emperor's Phone Call, which attempted to humanize Emperor Palpatine of Star Wars  fame. My question meeting the approval of the room afforded me the opportunity to ask another, piggybacking off of the Star Wars reference. Since the previously mentioned Emperor Palpatine sketch had resulted in 3 full Star Wars themed episodes, I inquired as to whether any other sketches had inspired full episodes around a particular theme. Senreich simply teased "Wait till the panel", and after fielding another question (a hard-hitting, no-nonsense journalist who endeavored to uncover the truth about whether he could get a job working for Robot Chicken), left to attend said panel.

After waiting in line for the panel (standing next to an extremely attractive blogger because, well, the press pass has its privileges), I finally scored a seat just in time to hear Senreich reveal to the assembled mass in the IGN theater that Robot Chicken would soon be doing an episode devoted solely to lampooning the heroes of the DC universe. The revelation  excited the fanboy in me, while a nearby fellow journalist lamented that Senreich hadn't given them the scoop in private at the press session. Yet to me, that summed up NYCC. It wasn't about the press. It was about the fans. Sure, they want to get the word out about the convention, and to provide us journalists an opportunity to ask serious questions without having to wait through the hour long praise-questions of fanboys at Q & A's, but once those doors open on the Jacob K. Javits Center that magical Friday morning (or, for the first time this year, Thursday), its all about the fans. Hell, for the rest of the Con, all the "inside info" I got came from attending the public panels, and I wouldn't have had it any other way. Don't get me wrong, I love my role as a journalist, tape recorder in hand, rushing to meet a deadline. But when I heard the news that Michonne was going to make an appearance in Season 3 of AMC's The Walking Dead, I'm glad it wasn't with a few select, bitter newsmen getting ready to Wikipedia the name, but rather with a roaring crowd who, like myself, fell in love with the daring, original comic book series by creator Robert Kirkman (who attended the panel along with members of the cast). The panel was moderated by none other than Nerdist founder, Talking Dead host, and personal hero Chris Hardwick, who took some time out of his busy day to offer me pointers on my own journalistic skills, and even offered me an exclusive bit of personal info never before revealed in any interview: His favorite type of toast is rye. 

Sure, Tom got to check out Max Payne 3 and the upcoming Black Dynamite cartoon (his articles to come), but I got to sit in on a Q&A for The Avengers where every giddy girl in the crowd got up to the mic just to praise Tom Hiddleston (Loki from Thor, and a damned fine F. Scott Fitzgerald in Midnight In Paris), but enduring all the missed opportunities for quality questions was worth it when I was one of the select few (i.e. of the full Comic-Con attendees. There were still quite a lot of people in the IGN theatre for this panel) who got to see footage from Joss Whedon's superhero epic, and much like when Dante arrived at Paradiso, to try and describe it would not do it justice. It was too beautiful for words. But let me promise you, dear reader, the Hulk was done right.

Tragically, this is all I have room for. I pray to the university and the gods of NYCC that I return again to bring you updates from the Con next year. Live tweeted, hourly blogging, whatever hot new internet tech is big next year. And of course you'll find it all in the pages of Loomings magazine, Post's only source for Comic-Con info, when all is said and done. Though the best way to get all the info at Comic-Con is to go. I have for the past three years, and will continue to until the day I die Which would be kind of awesome if it happened there. Be 80 years old and croak inside that giant Star Wars action figure box. Yeah, that'd be sweet.}

Face The King Barely Falters, Let Alone Falls: The Burning & The Falling Down EP by Face The King

{Originally published in Loomings}

Call any band “one of the best on Long Island” and every club-crawler and Facebook-er will debate it. But its hard to think anybody would argue that Face The King, an alt-rock quartet containing members of SEER, The Mercurial and Stereo Serenade, earn their place as one of the Island’s most ambitious acts. Their newest EP The Burning & The Falling Down performs an impressive feat for an unsigned band, paying homage to its influences while adapting the style to create their own sound. While most local bands aim to create a radio-friendly single (which Face The King had a few years back with tracks like “Found Wanted” and the Coldplay-esque “View of Things”) and sell out venues to the ADD-afflicted high-school crowd, this new EP shows a band willing to branch out and experiment. Each track showcases a different side of the band’s eclectic taste, with song lengths ranging from under a minute to nearly seven, and each creates a new soundscape to showcase the emotion within the lyrics. The titular track kicks off the EP with a triumphant bang, as the sentiment “There’s a flaw in my design, a crack, a break, a guiding light” changes from a lamentation to an exultation. Those familiar with early Radiohead tracks, particularly Pablo Honey’s “How Do You?” and “Blow Out”, remember a band that had the potential to become a band of somber introspection (which they later became) or of fervent intensity. “The Burning And The Falling Down” is what they’d have sounded like had they chose the latter. Recurring readers will recognize the track “Parachutes” from the film Shadowplay, for which it won “Best Original Song”. The song trades some of the intensity of the opener for the sense of grandeur and sonic theatricality that sets the band apart from the rest of the LI music scene. There’s a graceful nature to Face The King’s strength, an eloquence best highlighted in “Descender”, the small track that bridges “Parachutes” and “Due North”, the EP’s heaviest track which sounds much-akin to frontman Eric’s earlier SEER material. But the throwback hard rock intensity of “Due North” is met and matched by the phenomenal ending track, “Colours”. There is an art to ending an album right. Ending it in a way that makes everything connect, and provides a kind of catharsis to the sonic journey the listener was just taken on. Dark Side of the Moon wouldn’t be nearly as fulfilling without “Eclipse” providing a uniting finale, nor would Ziggy Stardust have the grandiose impact were it not for “Rock and Roll Suicide”. So too does “Colours”, which plays like a more epic Muse, achieve this sensation. The final track allows the entire EP to wash over the listener, and by the end, makes the listener want to head over to a Face The King show, knowing they won’t be part of an audience, but part of an experience. Must hear tracks: “Parachutes”, “Colours”

(Kinda) The Gershwin's Porgy and Bess

{Originally appeared in Loomings}

    So, it seems like the talk of the town these days isn't the lack of Book of Mormon tickets available, nor is it the odd mystery of how Memphis is still running. No, my friends, it appears all of the lights on Broadway burn with rage over Diane Paulus' (director of the revival of Hair) attempt to "flesh out" Porgy and Bess in her newest revival. Retitled The Gershwin's Porgy and Bess (because apparently f*** co-author Dubose Heyward, am I right?), the revival features changes so dramatic it led none other than Stephen Sondheim (The Stanley Kubrick of musical theatre) to write an angry letter to the New York Times (which was the best thing he's written since Passions.* Oh!).

    For those not well versed in musical theatre history, George Gershwin is undoubtedly the greatest American composer, and his masterpiece (co-written with his brother Ira and the above mentioned Dubose Heyward) is Porgy And Bess, a "folk-opera" (and considered by many to be the greatest American opera) written in 1935 about the struggles of two African-Americans in Charleston, South Carolina. Not only is this the quintessential piece of American musical theatre, revered by any American to ever put notes on a page and folks on a stage, it's so good it made rich white people care about the plight of African Americans in 1935! Sure, is it a little out of date? Yeah. Is it not totally in-touch with the African American community? Sure, Duke Ellington said the original production fed into racial stereotypes and made black men sound ignorant, but he would later praise the first revival with "Your Porgy and Bess the superbest, singing the gonest, acting the craziest, Gershwin the greatest." And the truth is, for two middle-class Jewish guys deciding to write a show about the plight of the African American in 1935, making a show that ended up becoming the first with an unsegregated audience in national theatre history, I think we can all live with a few speed-bumps.

    The fact of the matter is some of the more radical changes in the show (a lesbian love affair and an altered, "happier" ending) were removed from the finished product which opened recently, probably in part due to the uproar, but back-stories are still added and lyrics revised, and people still dissatisfied.

    One might want to wonder why it is we feel we must "revise" everything, to make it more accessible. Is it a cultural dumbing-down? I don't think so. I think it's a cultural cowardice. For the same reason we take the infamous “n-word” out of Huckleberry Finn, we feel the need to hide all the hate and all the political incorrectness in art of the past, but we fail to realize that in doing so we’re destroying part of what makes that work great: it’s place in history. Porgy And Bess is a period piece, though maybe not in its day. It’s concepts and views on race are important, if not accurate. The Gershwins and Dubose were trying to create something wholly American, something beautiful and artistic, and while they may not have been as racially sensitive as they could have been, Porgy And Bess is far from a minstrel show. It depicts, perhaps not the African American community in the 30’s, but at least a progressive white America’s view of the African American culture. The brilliant works of Langston Hughes have their place in society, as does Native Son and Invisible Man. They stand as reflections on the African American experience as an aspect of the American cultural landscape. But then so too does Porgy And Bess have a place. So too is it essential part of understanding the trials and triumphs of civil rights in America? Is anyone (besides the crew behind the new production) that troubled by Porgy And Bess’ racial errors? I’m pretty sure everyone’s competent enough to go “It was the 30’s. That’s just how people thought back then” rather than try and hide how people thought. 

    Indeed, for some, Porgy And Bess could stand as a testament of how far we’ve come since then in terms of race relations and understanding. For others, the show can still be viewed as remarkably racially progressive, despite its few non-PC moments. Hell, is Guess Who’s Coming To Dinner? any less progressive or poignant because it uses the term “Negro”? It upsets me to see that certain people in the theatrical world (and the entertainment field in general) seem to think less of the black community by trying to “be sensitive”, as if to say that at the slightest hint of a non-PC attitude towards race in a historical piece of art, the average African American will shut down and be unable to enjoy the piece as a whole. I’m not saying that writers today should go back to putting characters in black-face (though Tropic Thunder did without much complaint), I’m saying we shouldn’t try and hide the fact that once-upon-a-time, we did.

   I cannot claim, and nor would I try to, that I understand how it feels for an African American to see dated stereotypes on stage, but if I had to, I’d imagine it’s similar to someone like myself sitting through La Cage Aux Folles, a show littered with glittery gay stereotypes (a musical version of the French film of the same name, known to most American audiences by its state-side remake The Birdcage) that made the gay man “fun and friendly” to mainstream straight America. Does it portray all gays as flamboyant girly-men? Yes, as art throughout Hollywood and Broadway continue to do today, and I will go out on a limb and say that the “flaming gay man” is this generations “ignorant black man” as the vile but socially accepted stereotype we have to combat.

    So yes, La Cage can be offensive if one balks at every stereotype and non-PC behavior displayed on stage (granted, no one has tried to PC-ify La Cage a la Porgy since there seems to be less interest in protecting the imagined delicate sensibilities of the gay community). But it’s also a touching musical with a good score and a gorgeous love story at its heart, and all that and more can be said for the classic Porgy And Bess. Ernest Hemingway’s classic novel The Sun Also Rises captures the spirit, the culture and the language of the expatriate lifestyle of the late 20’s, and at one point the infamous n-word is used. Again, I cannot speak for how it feels for an African American to come across that word, and whether or not the average African American reader’s sensibilities are so damaged they cannot continue reading the novel, and would rather the word removed than read the original text. What I can say is that less than 40 pages later, the word “faggot” is used, which is another word loaded with hate, one that has plagued the gay community for many years. I continued reading, unaffected. I saw past the bygone bigotry and realized the beauty at the heart of the work, without anyone having to “revise” it for me. I’ve been able to do the same with La Cage Aux Folles, and I encourage anyone of any race to do the same with Porgy And Bess. The original, unsanitized, un-PC, brave and bold Porgy And Bess. Because if you do, instead of getting the “new and improved” version, you get a simple time capsule of history and beauty, like the gorgeous gem below. And that kind of beauty should not ever be tampered with.

*Actually, his book Finishing The Hat is exceptionally good.

Is The Film Festival Dead? An Examination of The Internet Age

{Originally published in Loomings}

        Is the film festival dead? The casual reader may very well wonder “Who cares?” Indeed, most outside the cinephile set rarely if ever attend a film festival in their lifetime, and most, if pressed, would hardly be able to name more than a handful. Film professors nation-wide scoff at such a notion, and are likely to respond with something akin to “Well, you should care! That’s how new films are discovered! That’s where new talent gets showcased!” and indeed, such is true of indie and hipster darlings like Napoleon Dynamite and Juno, films that would have fizzled and died were it not for festival buzz. Indeed, this year the Academy Award for Best Live Action Short (also known as “Time to go to the bathroom” in most homes) went to Luke Matheny’s God of Love, a film he made while still a student at NYU which gained massive exposure through festivals.

            But is that necessarily true anymore, the idea that that’s how films are discovered? Isn’t one more likely to stumble across a hidden gem on Netflix Instant or a video streaming site than in some small column in the Village Voice packaged between phone sex ads? Indeed, is it perhaps better for the burgeoning young filmmaker to let his creation loose on the internet than ship it off to 1,001 festivals in hopes that one excepts? Undoubtedly its more cost-effective monetarily (posting on the internet is free whereas most film festivals charge $30 to $50 just to submit without a guarantee of acceptance), but is there a different cost one pays for taking the digital route?

       I chose to speak with two filmmakers on campus who are on opposite sides of the argument. Joshua Paige, a recent graduate of CW Post, told me the choice to send their film Super/Heroes (the review of which is featured on page 8) through the festival circuit was a unanimous one. “{It} was a group decision. We decided to go the 'festivals route' in hopes that we could spread the film to critics and audiences throughout the country and get our name out there the old fashioned way.” Super/Heroes, the story of a retired superhero mourning in the wake of the September 11th attacks, was a highlight of this past year’s crop of student films at Post, being nominated for 15 Loomings film awards and winning four, including on for director Paige. “It's more professional” Paige said of usin film festivals to promote the film “…and will most likely reach out to more people who have enough passion for film to want to submit or pay admission to go see a film on the big screen.”

            Conversely, some filmmakers like Jae Kim, director of last year’s Shadow play (review on page 9), feel there is another route to be taken with regards to gaining an audience. “Unfortunately Shadowplay wasn't met with the desired festival responses I had hoped for, so in turn we looked to internet exposure. Though unintended at first, it seemed like the next right thing to do. It seems today filmmakers are able to popularize their work solely through sites such as Youtube and Vimeo, in some cases more then those on the festival circuit. In the end I was happy with the route we chose.” Kim seems optimistic about the potential for great exposure through the internet, stating “There will never be an audience as big as the online community. Millions are constantly online 24/7 across the globe. If one person enjoys it, he or she can pass it on to the next person with ease. Before you know it, people can catch on like wildfire. Also it is easily accessible and free of charge to view; I'm sure people wouldn't mind that.” When asked if Super/Heroes would ever make the leap to the digital world, Paige replied “I don't see why we would post it online. We've promoted trailers, websites and other information dedicated to the film online that should be enough to make people want to get up and see the film for themselves.” 

       While Paige was right about the trailers and websites available on the internet (as I discuss in my review of the film) I wondered where exactly Paige had hoped these people would go when the ‘got up and saw’ the film. When asked how the reception’s been for the film, Paige replied “Super/Heroes is going extremely well. It's been sent to quite a few festivals. It was recently screened at the Long Island Fringe Festival and NewFilmmakers NY Film Festival for a 9/11 special program. So that was really exciting.” However, despite Paiges sentiments, the film’s website (www.superheroesfilm.com) reveals that these are the only two festivals the film has screened in, making it difficult for one to see the film should one want to. Indeed, Paige’s statement of the film being sent to “quite a few” festivals indicates that perhaps the film has heard more “no” than “yes” in its struggle to find a fanbase. Yet, Paige seems optimistic even in the face of rejection, stating “I mean, it's obviously a disappointment when your film gets rejected from festivals but that's why we keep trying and do the best we can to spread the film.”

            So Super/Heroes may not be the next God of Love in the festival world, it would seem. One might think Shadowplay took the better route. Indeed, it’s a lot easier for people to see a film from their laptops than on a screen in the ever elusive film festival. However, don’t think Kim is celebrating his decision. Every answer he gave was tinged with regret. When asked simply how the film had been received, he replied “Although we haven't had much opportunity to show the film to as many people as we liked, from the small crowds we usually gathered the reception was fairly good.” Kim added “I wanted the film to have a successful festival run, but not everything always turns out the way you want it to.” When Shadowplay was screened last year it was nominated for 16 Loomings film awards, taking home 10 (the most of the night) including Best Picture. However, despite the enthusiasm of Post voters, the film has failed as of yet to pick up a huge following online. “I can say for certain Shadowplay is currently not an internet sensation” Kim said “…but we are slowly getting more views as time goes by. I think it has about 173 views now, but that could be 173 individuals or just one person like myself clicking on it 173 times. Who knows?”

        Kim’s humor masks an obvious sense of regret (though he doesn’t always hide it, in statements like “Of course there are downsides. It seems as though once the film goes online, it loses it's ‘prestige’. It won't be able to compete in the festival circuit anymore. And with the online video community growing everyday, it gets harder and harder to fight for those views.”), while Paige never lets his optimism drop when discussing his film (”People seem to be emotionally moved by the concept. A lot of people can see all the hard work and dedication that went into making the film so that's obviously a good thing.”) Even when we talked about his other film, Raw Umber, which he described as “Two people fall in love in a mental institution and attempt to break out”, he told us he intended to send it out to festivals as well.

             It seems like a bold, brave new world, this thing we call the internet. Careers can be launched, messages heard, lives changed. Indeed, one thing in Kim’s favor is that a lot more people who read this article can see Shadowplay should they like than have a chance of seeing Super/Heroes (as of printing there are no upcoming screenings). However, after being online 3 months, the film has failed to crack 200 views, despite a newly released music video for “Parachutes” by Face The King (read the review of their new EP here) featuring footage from the film. But what carries more prestige, to label your film with “Official Selection” wreaths from festivals, or to have been mentioned by an actor in Soap Opera Weekly (which recently happened when the publication interviewed Shadowplay actor Michael Derek)? Which brings more attention to the film? Sure, the difference between Super/Heroes’ 38 fans on Facebook v. Shadowplay’s 23 may not seem like much, but for one film that has been screened twice in festivals and one that is available for viewing every day online, one would think the fan base discrepancy would be no only greater, but in the other film’s favor. However, it appears that while there’s a larger potential audience out there for films on the internet as opposed to the festival screen, without those magical little olive leaves on your poster, the average ‘net user will skip your film for some Farmville, at least for now. If the internet truly is a new frontier for films, then it is a frontier without many pioneers.

Interview with Jae Kim and Josh Paige

{Originally published in Loomings as a supplemental piece to the article "Is the Film Festival Dead?"}

- First off, let’s start with congratulations. Super/Heroes and Shadowplay took home most of the awards at the most recent Loomings film awards, including a Best Director win for you, Josh. How’s it feel?

Josh Paige (Director of Super/Heroes): Feels pretty damn good, seeing as directing is my passion.

Jae Kim (Director of Shadowplay): I was quite pleased with the results. It's nice to see that the effort that the wonderful cast, crew, and I put in was met with positive reception from the folks who attended the festival. Again, thanks to those who voted.

- Other than the awards, what’s the reception been like for your films (not including festival acceptances)?
JP: People seem to be emotionally moved by the concept. A lot of people can see all the hard work and dedication that went into making the film so that's obviously a good thing.

JK: Although we haven't had much opportunity to show the film to as many people as we liked, from the small crowds we usually gathered the reception was fairly good. 


- It's interesting that you two films would choose such different mediums, what with Super/Heroes choosing to try their luck on the festival circuit, and Shadowplay choosing to forgo festivals and go online. Was it a group decision with regards to the respective mediums?

JP: Yes, it was a group decision. We decided to go the 'festivals route' in hopes that we could spread the film to critics and audiences throughout the country and get our name out there the old fashioned way.

JK: Yes it was a group decision. Unfortunately Shadowplay wasn't met with the desired festival responses I had hoped for, so in turn we looked to internet exposure. Though unintended at first, it seemed like the next right thing to do. It seems today filmmakers are able to popularize their work solely through sites such as Youtube and Vimeo, in some cases more then those on the festival circuit. In the end I was happy with the route we chose. 


- With film festivals being the traditional means to showcase one’s work, and the internet being a fresh, new medium to view film and video, there’s obviously merit to both routes. So why did you choose to go the way you did? Any particular advantages?

JP: Like you said, it's traditional. It's more professional and will most likely reach out to more people who have enough passion for film to want to submit or pay admission to go see a film on the big screen.

JK: As I said before, it seemed like the next right thing to do. There will never be an audience as big as the online community. Millions are constantly online 24/7 across the globe. If one person enjoys it, he or she can pass it on to the next person with ease. Before you know it, people can catch on like wildfire. Also it is easily accessible and free of charge to view; I'm sure people wouldn't mind that. 

- Are there any major downsides to the routes you chose?

JP: I mean, it's obviously a disappointment when your film gets rejected from festivals but that's why we keep trying and do the best we can to spread the film.

JK: Of course there are downsides. It seems as though once the film goes online, it loses it's "prestige". It won't be able to compete in the festival circuit anymore. And with the online video community growing everyday, it gets harder and harder to fight for those views. 


- Jae, obviously releasing the film online means it cannot ever be eligible for most festivals. Any regrets in that regard? Josh, any intention of posting Super/Heroes online for mass consumption?

JK: As I stated before, it wasn't my primary intention to release the film online immediately after finishing it, so there are regrets. I wanted the film to have a successful festival run, but not everything always turns out the way you want it to.

JP: I don't see why we would post it online. We've promoted trailers, websites and other information dedicated to the film online that should be enough to make people want to get up and see the film for themselves.


- How is Shadowplay fairing online, Jae? How many views has it received?

JK: I can say for certain Shadowplay is currently not an internet sensation, but we are slowly getting more views as time goes by. I think it has about 173 views now, but that could be 173 individuals or just one person like myself clicking on it 173 times. Who knows?


-And how long has it been up since?

JK: I think it's been up for about 3 months.


- What type of promotion is the Shadowplay team doing to get the word out about the film?

JK: My producer, Mike Natale, has recently created a trailer/music video for the film to help get the word out. It features music from the Long Island based band Face The King ("Parachutes"). We also have a website up for the film (www.shadowplay-film.com). You can also view the film on the website as well. We're working on coming up with more promotion ideas, so hopefully this thing gets rolling faster.


-Josh, how’s things for Super/Heroes? How many festivals has it been sent to? And how many has it gotten into?

JP: Super/Heroes is going extremely well. It's been sent to quite a few festivals. It was recently screened at the Long Island Fringe Festival and NewFilmmakers NY Film Festival for a 9/11 special program. So that was really exciting.


- Josh, you recently finished editing your senior thesis, Raw Umber. Wanna give us a little synopsis?

JP: Two people fall in love in a mental institution and attempt to break out. It's a compelling love story but also an intense escape story. The trailer is up online.


- And will you be sending out into the festival circuit as well, or taking the online route?

JP: It will also be sent out to festivals.


- Thanks for answering these, guys. Any projects you’ve got coming up?

JP: While producing and helping out upcoming films from filmmakers here at Post, I'll be writing scripts and will continue to send my films out to festivals.

JK: Currently I'm working on another short film which is set to be shooting sometime in the beginning of next year. And I am also working on many side video projects as well.

The Good, The Bad and The Gaga: The VMAs 2011

{Originally appeared in Loomings}

    So, another year the VMA’s have come and gone. Last year, it was all about the Meat Dress. Two years ago, St. Kanye bravely took the stage to denounce the foul, foul tyranny of a 17-year-old girl unjustly winning the popular vote primarily contributed by other 17-year-old girls.

    Every year the VMAs has a memorable moment, and this year was no exception. Forgoing a host in order to avoid a) bad jokes and b) public drunkenness, the VMAs would prove almost unmemorable if it weren’t for two girls who run the world (one of whom sings a song with a similar theme).

  Yes, it’s also true Chris Brown could make your head spin with his gravity defying performance (he can also make your head spin if he’s really angry with you, I hear), and seeing Tony Bennett at the VMAs was so awesome (to me) that it made up for having to hear more about how talented Amy Winehouse was.

    While we’re on the subject of singers I just don’t get the appeal of, Adele performed. Look, she’s got a nice voice, but I don’t see why she’s raved about. All the nominations she raked in this year for a video where she sits. Now, while I’ve got the mainstream population fuming at me, I might as well please the hipster crowd by acknowledging the kick-ass performance by Young The Giant. Their performance (as well as a Best Rock Video category that featured five real rock groups) restored a bit of my faith in MTV, though if it weren’t for tonight you’d never know MTV knew what music was.

    Anyway, I’ve digressed enough. It’s my damn MTV-generation ADD and all, you know? So, two ladies owned the night at this year’s show. The ever entertaining (if not always original) Lady Gaga took the stage to perform “You And I”. Now, I don’t want to say anything negative or all I have the thousands of “Gaga can do no wrong” fans down my throat and…you know what? F*** ‘em. After jacking Madonna’s style for years, most directly the song “Express Yourself”, she moved on to being “influenced” by Bruce Springsteen, a fact evident on the track “Edge of Glory” released earlier this year, which plays like a feminized, dance-friendly B-Side from Born In The USA, even featuring E Street Band saxophonist Clarence Clemons. So what, you say. She’s lifting Springsteen’s music style now. Big deal. It’s not a repeat of her Madonna phase until she starts emulating his fashion sen…

   Well, there’s that. So that was one of the big moments last night, simply because it managed to please both sides of the Gaga debate. Her fans who adore the outrageous will embrace the gender-bending nature of the performance, while people like me (who judge her music based on, well, the music) got to see what was (for her) a stripped down performance, mostly free of distraction, to appreciate her talent as a musician. On any other night, that would be the undeniable big moment, but while Gaga had to make a radical clothing change to be a highlight, Beyonce just had to take hers off. 

    Well, her jacket specifically, and when she did, I believe the world had two reactions. First: Damn, Beyonce can still look damn fine pregnant. Second: Wait, she’s pregnant?!?!?! Yes dear readers, Babyonce is on the way. Or maybe Babe-Z. Either way, the reigning Queen of Pop rubbed her belly with pride while Poppa Hova received a congratulatory hug from best friend Kanye West in a heartfelt moment so touching that I’m choosing not to insult Kanye for one sentence in tribute.

    So, we’ve covered the highlights for the night. Well, unless you’re a pedophile, in which case the highlight of your night was the myriad of twelve-year-old girls inappropriately dancing in tribute to Britney Spears adorned in even her most scandalous outfits. We’re lucky they didn’t try and re-enact the Madonna moment, ferchrissakes.

    So, how about them winners, huh? A lot of great videos were nominated. And for the most part, hose great videos remain just that: nominees. I don’t know, people can tell me that the VMAs are meaningless, the classic vids like “Smells Like Teen Spirit” and “Closer” fail to rack up the “Video of the Year” honor while forgettable crap shines, but scoff all you want, the VMAs is the most recognizable, most regarded, and seemingly most significant award for music videos, an under appreciated art form that’s spawned legends like Michel Gondry and Spike Jonze. Plus, for the most part, the videos that win typically are classics. “Tonight , Tonight” by the Smashing Pumpkins, “Money For Nothing” by Dire Straights, “Hey Ya!” by Outkast and far too many to list have all achieved the top honors (for those interested in the past winners, all have been compiled here for your convenience), so is it so much to ask that the current generation actually vote for the best video and not just what song they think is “prettiest”? Below we list all of last night’s actual winners, as well as those who probably should have walked away with the Moonman instead.

Best New Artist

Winner:

With an inventive video that plays like a mix of Mark Romanek’s best (“Closer” meets “99 Problems”) directed by the artist himself (in one of his other personas), Tyler, The Creator of Odd Future claimed the title of Best New Artist for his video “Yonkers”.

Should Have Won:

I gotta say, the voting public got this one right.

Best Pop Video

Winner:

Britney Spears does...the same thing she’s been doing for a decade, except now it’s in a post-apocalyptic wasteland in her bland video for “Till The World Ends”.

Should Have Won:

I’m tired of the serious Katy Perry who shows up in videos like “Firework” or “Teenage Dream”, so it was an absolute delight to see the always colorful Katy come back in full comic form in “Last Friday Night (T.G.I.F.)”. Like “Thriller” pumped with glitter, this story-telling video set the internet ablaze, blending ironically-old (Kenny G) with flash-in-the-pan new (Rebecca Black) to make the most giggle-worthy video since Eminem got serious. Utterly screwed this year.

Best Rock Video

Winner:

Full of 90’s flavor, both in your ear and on your screen, the Foo Fighter’s “Walk” is one of their best videos in a while (though I still prefer “White Limo”). Rock may be dead, but with a great sense of humor and a snarling intensity, Grohl and company are banging away at that defibrillator trying to keep it going.

Should Have Won:

While musically the best song in this category is “The Cave”, Mumford and all his sons can’t compete visually with the Foo. The right winner was picked in this category, though I will give credit to “The Cave” for its gorgeous cinematography.

Best Hip-Hop Video

Winner:

Nicki Minaj, the newest music sensation to straddle fence between fad and fantastic unleashed a video for “Super Bass” that’s equal parts colorful fun and Katy Perry knock-off. An acceptable winner, but we’re gonna go out on a limb and say there’s one better.

Should Have Won:

While “Super Bass” was a Katy Perry vid with a bit of Nicki flair, and the same with “6 Foot, 7 Foot” being a Jay-Z video with a dash of Weezy style, it seems as though no nominees were truly original. Truly breathed a new air of excitement into the category. Let’s face it, the real winner should have been “Runaway” by Kanye and Pusha-T, but apparently MTV decided not to nominate it, and instead the lesser-but-still-brilliant Hype Williams video for “All of the Lights” by Kanye, Rihanna and Kid Cudi. The video succeeds for many reasons, ranging from its use of color and text to Rihanna’s outfit. Loomings readers will know I have rarely a good thing to say about the highly over-rated St. Kanye (his rhymes still suck on this track), but I gotta admit when he owns a category, and in this case he undeniably did. (But where were Video of the Year nominees “Make Some Noise” and "Yonkers"?)

Best Female Video

Winner:

Somehow, the winner for Video of the Year didn’t take this category, which instead went to Lady Gaga for “Express Yourself 2.0”. While the video is very exciting, and visually it is a spectacle, it’s weak by Gaga’s standards, and feels like a rehashing of what we’d seen done much better in “Bad Romance”.

Should Have Won:

Gaga’s “Telephone” partner Beyonce may not have had all the film-school imagery or odd imagery, but she did have the strongest video by far (Nobody even try and say Adele sitting in an f***ing chair was the best video. Just…no). Listen, Gaga, sometimes you don’t need insane visuals to make a good video. A good song and some great choreography is all you need; see “Run The World (Girls)”.

Best Male Video

Winner:

“U Smile” by Justin Beiber. This is just…well this is just…no. Just f***ing no.

Should Have Won:

Considering the lack-of-spectacular in “U Smile”, literally any of the other nominees should have conquered this category. But where the hell was "Yonkers" in this category? It’s Video of the Year material, but not in the lesser category of Best Male Video? “Yonkers” should have totally won this category, but since I have to pick out of the nominees, let’s go with “All of the Lights” again. 

Best Collaboration

Winner:

With an ok video for an even more “eh” song, Katy Perry and St. Kanye took home the Moonman for “E.T.”

Should Have Won:

In truth, the winner undeniably should have been “I Need A Doctor”, the tantalizing release from the upcoming Detox by Dr. Dre, but somehow that wasn’t even nominated. So “All of the Lights” it is again.

Best Video With A Message

Winner:

So apparently the best video of the year is not the best video of the year? I’m confused as to how, if “Firework” is the best video of the year, and it qualifies as a video with a message (since it was nominated), how is it not the Best Video With A Message? Instead, it’s apparently “Born This Way”. And while it is a great message in the song, the video doesn’t really convey that…or anything at all really.

Should Have Won:

While some could argue the message in the song “Born This Way” is the best, the video that really conveys its message best is “Love The Way You Lie” by Eminem and Rihanna. Katy Perry vaguely touches on abuse in “Firework”, but Em and Ri expose it for what it is, exploring the dark theme of abuse and addiction, not to drugs but to love, as the couple fights and comes together again and again, acting out the message of the song, not just that he’ll continue abusing, but that she’ll continue enduring. It’s dark, it’s honest, and it’s undeniably eye-opening. You asked for a message, you never asked for a positive one.

Video of the Year

Winner:

For some bizarre reason, in a year with the Beastie Boys making their hilariously triumphant return, and Tyler, The Creator making a grand entrance into the music world, the MTV voters decided to go with ol’ sparkly boobs for “Firework”. It’s a nice song, and an equally nice video, and admittedly better than “Bruno Mars on a roof” and “Chubby chick sings from a chair and other chicks love it”, there were so many vids that went unnominated that far more deserved this title.

Should Have Won:

Let’s first get it out of the way: Despite my utter loathing for the rap stylings of on Mr. West, “Runaway” should have easily won this category. In reality, it probably wasn’t nominated to avoid him getting a chance to speak. Fair enough. Hell, you want Katy Perry to win? Give it to he far more deserving and yet not even nominated “Last Friday Night (T.G.I.F.)”. This kind of serious message music had best be left to Perry’s dark counterpart Lady Gaga (their kind of like the Superman and Batman of pop music. I don’t wanna see The Man Of Steel take on The Joker. It just doesn’t feel right). Plus, lets be honest, the best performance of “Firework” is a cover, so I really don’t see where this vid has a leg to stand on. To pick a winner from the nominees is tough, in a way, because while only two vids really should have won this award (for the quality of their videos, not because “I love Adele” or “Katy rules!” or whatever idiot reason people voted with), they were both incredible. And while I loved “Make Some Noise” for condensing the Beastie’s film Fight For Your Right Revisited and providing us all with a well needed blast from the past, the best video of this batch of nominees is undeniably the brilliantly inventive “Yonkers”. Tyler already threatens to stab fellow nominee Bruno Mars”…in his god-damned esophagus” on this track. Can’t wait to hear what he has to say about losing to a smurf.

Blue in Green

{Originally published in Loomings. This short story was created for a writing competition at my college, in which it would take second place. Since I had it sitting around, I figured I had ought to get some use out of it, and threw it into the "Summer Preview" issue of Loomings.}

To be read while listening to Miles Davis’ Kind of Blue. Preferably on LP, and preferably just the track “Blue In Green” on repeat.

The 2nd Annual Loomings Awards for the C.W. Post Student Film Festival (2011)

Here are the results of the 2nd Annual Loomings-sponsored C.W. Post film Awards. We would like to remind everyone that the nominations were selected by a committee comprised of crews from various films,  committee members were not permitted to endorse the films they themselves worked on, and that the results were selected by a public vote, made available on this web page from 12:01 am May 5th to 12:00 pm May 8th. The votes were tallied by an anonymous third party unaffiliated with the film department in any way. 

Voting turn out was exceptional, with as many as 34 votes in some categories, which for an awards show in it's second year, and only in its first year with a public vote, is pretty impressive. The awards were presented on May 9th in the Hillwood Cinema, at an awards ceremony hosted by Mike Natale and Carrie Ferrante. Those in attendance who were affiliated with the winning films accepted on their behalf. The event was filmed and is in the process of being edited. It will be available to view soon.

Here are the nominees and winners:

Best Supporting Actress in a Non-Thesis Film:

Ariel Rosen-Brown (Shadowplay)

Chiquita Camille (Hope of a Dream)

The Winner:

Ariel Rosen-Brown (Shadowplay)

Ariel Rosen-Brown in Shadowplay.

Best Supporting Actress for a Thesis Film:

Maria Arenlind (The Pornographer)

Andrea Kfoury (Deleted)

The Winner:

Maria Arenlind (The Pornographer)

Film poster

Best Basic/Intermediate Film:

The Little Trumpet Player

Can't Run

The Office

Hot Dog Warrior

Coincidence

The Winner:

The Little Trumpet Player

Best Original Score:

Super/Heroes

Raw Umber

Fixation

The Winner:

Super/Heroes by Luke Paige

Film poster

Best Supporting Actor in a Non-Thesis film:

David Fellner (Shadowplay)

Steve White (Super/Heroes)

Bill Kozy (Ride Along)

Henry Gray (Hope for a Dream)

Jack Hayflick (Fall)

The Winner:

Steve White (Super/Heroes)

Steve White in Super/Heroes

Best Supporting Actor in a Thesis film:

Mike Tiscia (Raw Umber)

Alan Bendich (Dark Circles)

Vince Phillips (Andy)

Jacob Swan (Deleted)

Nicholas Wilder (Raw Umber)

The Winner:

Alan Bandich (Dark Circles)

Film poster

Best Advanced Film:

Time Never Weights

Justice

The Winner:

Justice

Best Ensemble Cast for a Non-Thesis Film:

Super/Heroes

Shadowplay

Fall

Hope For A Dream

The Winner:

Shadowplay

Film poster

Best Ensemble Cast for a Thesis film:

Raw Umber

Dark Circles

Deleted

Tyler's Story

The Winner:

Dark Circles

Film poster

The John Mainente Award for Best Art Direction for a Non-Thesis film:

Shadowplay

Super/Heroes

Fall

The Winner:

Shadowplay

Michael Derek in Shadowplay

The John Mainente Award for Best Art Direction for a Thesis film:

Raw Umber

The Pornographer

Tyler's Story

The Winner:

The Pornographer

Film poster

The Goggles Award for Best Sound/Sound Mixing:

Alan R. Holloway (Super/Heroes)

Alan R. Holloway with Brian DiLorenzo & James Kleisler (Shadowplay)

Alan R. Holloway, Sean Flahive and Rob LaRosa (Deleted)

Alan R. Holloway & Chris DeMonte (Ride Along)

Sean Flahive (Fixation)

The Winner:

Alan R. Holloway with Brian DiLorenzo & James Kleisler (Shadowplay)

Film poster

The Dante Moratto Award for Best Cameo:

Tim Peterson (Fall & The Brigade)

Victor Natale (Shadowplay)

Erik Brecka (Tyler's Story)

Sean Brogan (Andy)

Rob LaRosa (Deleted & Raw Umber)

The Winner:

Sean Brogan (Andy)

Best Original Song:

Tilling by Luke Paige (Super/Heroes)

Untitled song for Raw Umber (Raw Umber)

Parachute by Face The King (Shadowplay)

Ghost by The Cowboy Presidents (Shadowplay)

The Winner:

Parachutes by Face The King (Shadowplay)

Soundtrack Album Cover

The Tim Peterson Award for Best Special Effects:

Fall

Super/Heroes

Tyler's Story

Dark Circles

The Winner:

Fall

Film poster

Best Production Lab Film:

Super/Heroes

Shadowplay

Fall

Ride Along

The Winner:

Shadowplay

Film poster

The Susan Zeig Award for Best Documentary:

The Wash

Faces of Jazz: Henry Cole

The Winner:

Faces of Jazz: Henry Cole

The John Koshel Award for Best Editing in a Non-Thesis film:

Jae Kim & Mike Natale (Shadowplay)

Robert LaRosa (Super/Heroes)

Mike Weinstein (Game Day)

Juan Aybardiaz (Faces of Jazz: Henry Cole)

Courtney Taylor & Justin Toulon (Hope of a Dream)

The Winner:

Mike Weinstien (Game Day)

The John Koshel Award for Best Editing in a Thesis film:

Josh Paige (Raw Umber)

Mike Staffieri (The Pornographer)

Sean Brogan (Tyler's Story)

Eric Brecka (Andy)

Patrick Mackey (Dark Circles)

The Winner:

Patrick Mackey (Dark Circles)

Film poster

The Becky Sammis Humanitarian Award (for taking the most sh*t from people):

Fall (As in, the concept of the movie Fall)

Susan Zeig

Carrie Ferrante

Mike Natale, Jae Kim and Tom Lorenzo

Adam Kampfer

Marc Riou

The Winner:

Susan Zeig

From Google images

The Soopum Sohn Award for Best Cinematography for a Non-Thesis film:

Nick Young, Marc Riou, Jess Frederickson, Jae Kim & Mike Natale (Shadowplay)

Marc Riou (Super/Heroes)

Natsuki Igarashi (The Office)

Jess Frederickson (Fall)

Someone (Perseverance)

The Winner:

Marc Riou (Super/Heroes)

Film poster

The Soopum Sohn Award for Best Cinematography for a Thesis film:

Marc Riou (Raw Umber)

Sean Costello (The Pornographer)

Marc Riou (Deleted)

Sean Costello (Dark Circles)

Patrick Mackey (Andy)

The Winner:

Marc Riou (Deleted) & Sean Costello (Dark Circles)

Film poster

Jeff Moffitt in Deleted, photo courtesy of Marc Riou

The Lisa Robinson Award for Best Screenplay for a Non-Thesis Film:

Mike Natale & Nick Young (Shadowplay)

Carrie Ferrante (Super/Heroes)

Courtney Taylor (Hope of a Dream)

Adam Kampfer (Ride Along)

Natsuki Igarashi (Detour)

The Winner:

Mike Natale & Nick Young (Shadowplay)

Film poster

The Lisa Robinson Award for Best Screenplay for a Thesis film:

Josh Paige (Raw Umber)

Michael Staffieri (The Pornographer)

Jason Hess (Deleted)

Eric Brecka (Andy)

Sean Brogan (Tyler's Story)

The winner:

Jason Hess (Deleted)

Jeff Moffitt in Deleted, photo courtesy of Marc Riou

Best Actress in a Non-Thesis Film:

Laura McDonald (Shadowplay)

Lindsay Hicks (Super/Heroes)

Rachel Lewis (Fall)

The Winner:

Laura McDonald (Shadowplay)

Laura McDonald in Shadowplay

Best Actress in a Thesis Film:

Caitlin Gold (Raw Umber)

Kristin Cooke (The Pornographer)

KT Broido (Dark Circles)

The Winner:

Caitlin Gold (Raw Umber)

Caitlin Gold in Raw Umber, photo courtesy of Marc Riou

Best Actor in a Non-Thesis film:

Michael Derek (Shadowplay)

Brian Edelman (Super/Heroes)

Daniel Blatman (Fall)

John Anderson (Ride Along)

Keith Fine (Hope of a Dream)

The Winner:

Michael Derek (Shadowplay)

Michael Derek in Shadowplay

Best Actor in a Thesis Film:

Steve White (Raw Umber)

Joseph Urban (The Pornographer)

Jeff Moffitt (Deleted)

Sean Brogan (Tyler's Story)

Adam David Jones (Andy)

The Winner:

Josef Urban (The Pornographer)

Film poster

The Mike Atkinson Award for Best Director for a Non-Thesis film:

Joshua Paige (Super/Heroes)

Jae Kim (Shadowplay)

Robert LaRosa (Fall)

Jerry Wenutu (Ride Along)

Courtney Taylor (Hope of a Dream)

The Winner:

Joshua Paige (Super/Heroes)

Film poster

The Mike Atkinson Award for Best Director of a Thesis film:

Josh Paige (Raw Umber)

Michael Staffieri (The Pornographer)

Patrick Mackey (Dark Circles)

Jason Hess (Deleted)

Sean Brogan (Tyler's Story)

The Winner:

Michael Staffieri (The Pornographer)

Film poster

The Vivek Adarkar Memorial Award for Best Picture (Non-Thesis):

Shadowplay

Super/Heroes

Fall

Ride Along

Hope of a Dream

The Winner:

Shadowplay

Film poster

The Vivek Adarkar Memorial Award for Best Picture (Thesis):

Raw Umber

The Pornographer

Dark Circles

Tyler's Story

Andy

The Winner:

Dark Circles

Film poster

 Thanks to everyone who voted. The video of the awards ceremony should be up soon. It was a great night, and we hope to keep this going next year. The winners will be published in the summer edition of Loomings magazine.