|
|
I am an undergraduate student conducting research and I am...
BLACK FRIDAY DEALS AT BESTBUY..LIMITE D TIME You will find...
Chance to win $100 gift card. Complete a short online survey for a college student.posted: November 24, 2009, 06:04 AM
Reply: click here |
|
|
I am an undergraduate student conducting research and I am in need of participants! Please complete a short online survey-anyone over 18 can complete the survey. The survey should take about 10 minutes of your time. Once you have completed the survey, you will be entered into a lottery for a chance to win a $100 gift card to an online store. The winner will decide which online store the gift card will be for. Please follow the link below to be taken to the survey and thank you for your time:
https://mcdaniel.qualtrics.com/SE?SID=SV_8kuG5jxn2WkAWsk&SVID=Prod • Location: Seattle
|
|
SCREENWRITING classes Seattle - NEW CLASS meets in Januaryposted: November 24, 2009, 05:16 AM
Reply: Nilsosmar@gmail.com |
|
Free $20 and $25 Gift Card with Wii Games Purchase,posted: November 22, 2009, 12:01 PM
Reply: click here |
|
|
BLACK FRIDAY DEALS AT BESTBUY..LIMITED TIME
You will find lots of other holiday deals. * Just pick two items from the large selection of games and accessories below, and you can grab a free $20 gift card. Plus, you’ll get free shipping! http://neosoundfx.com/free-20-gift-card-with-2-select-wii-games-or-accessoriesbestbuy-black-friday-deals/ • Location: Seattle, Tacoma
|
   Enlarge Picture |
How to draw clothingposted: November 20, 2009, 10:22 PM
Reply: click here |
|
|
Fun, affordable classes in the arts! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Sponsored by: ASUW
Experimental College
In this class you'll learn how to draw realistic clothing and drapery, working step by step, using an easy method. You'll learn about tension point, tension lines, and support points, folds and wrinkles, and the seven types of folds. A great class for those who are learning to draw the human figure, but would like to learn how to put some clothing on it. All drawing materials are provided. To sign up now, call 206-420-1309 or click the Add to Cart button below. If you don't see a button, go to the How to draw clothing class page.
See also: Drawing
for absolute beginners Registration basics: All classes are held in Seattle; most are on the U.W. campus. To sign up now, click on the Add to Cart link or call 206-420-1309. (Note: The Add to Cart button is a Paypal link, but you do NOT need to have a paypal account. You can use any Visa or MasterCard, or cash or check. Just click through and you'll see a place to enter your credit card information. Questions & answers: Are the classes sponsored by
a school? Do you have to be a UW student
to sign up? Where are the classes held?
How do I sign up? When can I sign up? Drawing & painting classes Writing classes Stage & screen (Acting & filmmaking) Computer classes Fun, affordable classes in the arts! Looking for professional, step-by-step instruction at an affordable price, from a teacher with years of experience? Check out our classes! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Questions? Email Nilsosmar@gmail.com or call 206-420-1309 • Location: Seattle University District
|
|
Drawing in pen, brush and inkposted: November 20, 2009, 10:21 PM
Reply: click here |
|
|
Fun, affordable classes in the arts! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Sponsored by: ASUW
Experimental College
Come spend a fun evening drawing, inking, and exploring a fascinating art form. In this class you'll learn to use brush pens, inking brushes, felt tip pens and nib pens to create striking high-contrast images. Plus: hatching, cross-hatching, and more. Note: the focus of this class is on learning to use brushes and pens, NOT on developing foundation drawing skills. If you're looking for a training in basic drawing skills (how to draw what you see, or see in your mind's eye), please take Drawing for absolute beginners first. To sign up for Drawing in Pen, Brush and Ink now, call 206-420-1309 or click the Add to Cart button below. If you don't see a button, go to the Drawing in pen, brush & ink class page
See also: Drawing
for absolute beginners Registration basics: All classes are held in Seattle; most are on the U.W. campus. To sign up now, click on the Add to Cart link or call 206-420-1309. (Note: The Add to Cart button is a Paypal link, but you do NOT need to have a paypal account. You can use any Visa or MasterCard, or cash or check. Just click through and you'll see a place to enter your credit card information. Questions & answers: Are the classes sponsored by
a school? Do you have to be a UW student
to sign up? Where are the classes held?
How do I sign up? When can I sign up? Drawing & painting classes Writing classes Stage & screen (Acting & filmmaking) Computer classes Fun, affordable classes in the arts! Looking for professional, step-by-step instruction at an affordable price, from a teacher with years of experience? Check out our classes! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Questions? Email Nilsosmar@gmail.com or call 206-420-1309 • Location: Seattle
|
|
Boot camp for filmmakersposted: November 20, 2009, 10:19 PM
Reply: Nilsosmar@gmail.com |
|
|
Fun, affordable classes in the arts!
For a full list of Boot camp for filmmakers: basic training In this class you'll learn how to make high quality independent movies that look and sound professional, and have a good chance of playing in major film festivals. Whether you're interested in making home movies for the fun of it, or have professional aspirations, this course will help. Topics covered include: - how movies are made, step by step - who's who on the set of a movie (what's the difference between a producer and director? What's a grip? What's a gaffer? What's a best boy?) (The basics you need to know, whether making a movie yourself or working with a crew) - camera angles, shot lists and storyboards: How and when to use closeups, medium shots, reverse shots, over-the-shoulders, and other angles to tell your story - how to use a shotgun mic and boom pole to record high quality audio (you'll get hands-on experience recording audio, and learn how to avoid common audio problems) - cameras and camcorders (you'll learn the differences between standard def and high def camcorders, consumer, prosumer and pro models, and how to find a camera that has the features you need but fits your budget) Plus, you'll learn how to hold auditions; where to find actors and crew; tips for getting your movie seen and distributed; and some basic info about contracts, release forms and other essential information. See also: Let's
Make a Movie To sign up now, call 206-420-1309 or click the Add to Cart button below. If you don't see a button, go to the Boot camp for filmmakers: basic training home page
Student commentsThe instructor is professional and well organized and had patience for questions from beginners. I will recommend the class to my friends. - R.W., Seattle took your class and I finnnnnnnally know what a best boy is!! Plus a million other things I was wondering about. Thanks for all the fun and helpful info. - Megan R., Seattle I took your advice about how to camcorder for "free" - it was a win-win situation - worked great! - Neil G. I learned exactly what I have been wanting (and needing) to. - Chris L., Seattle Thanks for showing us how to make a low budget movie look great. - H.T., Seattle You took me from doing amateurish films to making the kind of movies I had been trying to. Thank you for all of your help. - Jerry W. Kent ... just to say thank you for the class Nils. I feel like I'm on track now to make more professional movies and actually start getting them into film festivals. - Alan D., Bellevue Questions and answers Can you tell me more
about the instructor? What's the difference
between this class and your other film classes? Are these hands-on
classes? Which one should I
take first? Will these classes
provide me with crew training? Registration basics: All classes are held in Seattle; most are on the U.W. campus. To sign up click on the Add to Cart link, or call 206-420-1309. The Add to Cart button is a Paypal link, but you do NOT need to have a paypal account. You can use any Visa or MasterCard, or cash or check. Just click through and you'll see a place to enter your credit card information. Registration questions? Call 206-420-1309 or click here. Frequently
asked questions: Do you have
to be a UW student to sign up? Where are
the classes held? How do I
sign up? When can
I sign up? Drawing & painting classes Writing classes Stage & screen (Acting & filmmaking) Computer classes Fun, affordable classes in the arts! Looking for professional, step-by-step instruction at an affordable price, from a teacher with years of experience? Check out our classes! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Questions? Email Nilsosmar@gmail.com or call 206-420-1309 • Location: seattle University District
|
|
Lighting for film and videoposted: November 20, 2009, 10:19 PM
Reply: click here |
|
|
• Location: Seattle
|
|
Acting for the Cameraposted: November 20, 2009, 10:08 PM
Reply: click here |
|
|
Fun, affordable classes in the arts! For a full list of Acting for the camera Sponsored by: ASUW
Experimental College In this class, we'll work through a number of exercises designed to get students more comfortable and familiar acting while a camera is rolling. We'll film an interview, a monologue, and some short scenes. You'll learn how to adjust your performance to changes in the camera situation, how to walk to a mark, where to look, where not to look, how to speak in a natural and relaxed way when the camera is rolling, and more. Whether you're a beginning actor thinking about a career in film or video, and wanting to see what it's like acting in this medium, an experienced stage actor wanting to make the transition to film, or a non-actor wanting to get more comfortable on camera, the class will help. This class is open to all age groups. (Note: if you have never acted before, you should take Beginning Acting before, or the same quarter as, this class) See also: Let's
Make a Movie To sign up now for ACTING FOR THE CAMERA, call 206-420-1309 or click the Add to Cart button below. If you don't see a registration link, go to the Acting for the camera home page.
Student
comments on Nils's acting classes: I'd actually like to thank you. After taking your (Beginning Acting and Let's Make a Movie) classes last year, I now have had two acting gigs. One in a movie called Sideways Japan... it was a Fox production... and I was in a commercial in Hollywood, that was a Time Warner production. The reel we made was very useful helping me perform in front of camera and the fact the directors thought I was funny and comfortable in front of camera got me the gigs. So your class I did pick up some pointers and payed attention. Tell everyone to not give up and give it your all if you want to make it. It was a slow start, but now im living in la and loving it. Thanks again, your classes are good. -K. S., Hollywood Nils Osmar created a safe atmosphere which enabled me to do things I'd never done before. He has a calm positive demeanor that is very supportive. The course was well structured with exercises that required participation and that were actually fun to do. - L.P.A, Seattle Hey Nils, thanks for the class - had a really good time this quarter. I really came at the class from the direction of directing. I had successfully directed two plays back in Britain, but I always felt that I was on shaky ground when I tried to give advice to actors that went beyond "okay, say it louder this time". There's nothing that makes you feel a fraud quicker than standing up in front of lots of people who look to you for advice and not having any to give. This class definately helped - as well as helping me to develop my own acting it helped me to appreciate how to develop that craft in others. I was suprised how much of a difference the warm up exercises (sound ball, name ball, even something as simple as yawning) made in my performance. I warn you that I plan to steal these techniques wholesale and use them in my own rehearsals. I really enjoyed the improv element of the class - it always felt like just one step away from playing a childish game, which I always enjoy. It was also great to have a chance to work on a monologue with you, especially in front of a small, friendly audience. Your advice on the 'business' side of acting - headshots, auditioning, etc. - was also very useful. Great class, Nils. The perfect way to break into acting, as well as being a really fun time. Cheers, Hi Nils, I just wanted
to thank you for a great class last night! Clearly, people were
a little nervous about getting up to perform their monologues,
but you have fostered a very supportive environment which makes
it much easier to get up there. I think you did an excellent job
at figuring out how to help each individual to take the next step
with their piece, despite a wide range of skill levels. I'm looking
forward to next week! I really think you are a great instructor, and you seem to have a genuine interest in and enjoy helping people develop their skills (I hope it's not just your excellent acting ability . . . no, I know it isn't!) =) And it was fun - Pritam (Seattle) A week after your class
(I) went to my very first audition! Talk about absolute terror.
I did the same monologue I did in class, for ________. and guess
what? I got offered not only one role, but two roles from two
different directors, from that one petrified , shaking monologue.
on my very first audition! I was shocked... anyway i took up one
of the projects (two just seemed overwhelming), and the final
shoot will likely be this monday. ...i couldn't have done it without
your great class. thanks! I loved the improv
and the character work, and the short scenes, and the longer scenes
we did at the end. It was all very well structured. I have to
admit that I was concerned about memorizing, and worried that
I would have trouble with the monologue. But the memorization
techniques really helped... Your class was the highlight
of my week for the whole quarter. It was really relaxing and fun. Registration basics: All classes are held in Seattle. To sign up click on the Add to Cart link, or call 206-420-1309. The Add to Cart button is a Paypal link, but you do NOT need to have a paypal account. You can use any Visa or MasterCard, or cash or check. Just click through and you'll see a place to enter your credit card information. Registration questions? Call 206-420-1309 or click here. Frequently
asked questions: Do you have
to be a UW student to sign up? Where are
the classes held? How do I
sign up? When can
I sign up? Drawing & painting classes Writing classes Stage & screen (Acting & filmmaking) Computer classes Fun, affordable classes in the arts! Looking for professional, step-by-step instruction at an affordable price, from a teacher with years of experience? Check out our classes! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Questions? Email Nilsosmar@gmail.com or call 206-420-1309 • Location: University of Washington
|
|
Final Cut Pro classes Seattleposted: November 20, 2009, 10:06 PM
Reply: Nilsosmar@gmail.com |
|
|
Fun, affordable classes in the arts!
For a full list of Beginning Editing in Final Cut Pro In this basic introductry class, aimed at beginners, you'll learn how to use the popular software program Final Cut Pro to scan in video footage from a camcorder and assemble it into professional-looking movies. Course covers basic principles, filters and effects, titles, audio, split-screen and other simple special effects, and exporting the finished video as a Quicktime movie. Important notes: 1) Final Cut Pro runs only on Macintosh computers. If you own a P.C., I'd suggest looking for a class in Adobe Premiere instead. 2) This class is demonstration, not hands-on. That is, it's held in a regular classroom, not a computer lab. (Students with Macintosh laptops are welcome to bring them and work along with the exercises if they like) To sign up now, call 206-420-1309 or click the Add to Cart button below. If you don't see a button, go to the Boot camp for filmmakers: basic training home page
See also: Let's
Make a Movie Student comments about Nils's film classesThe instructor is professional and well organized and had patience for questions from beginners. I will recommend the class to my friends. - R.W., Seattle took your class and I finnnnnnnally know what a best boy is!! Plus a million other things I was wondering about. Thanks for all the fun and helpful info. - Megan R., Seattle I took your advice about how to camcorder for "free" - it was a win-win situation - worked great! - Neil G. I learned exactly what I have been wanting (and needing) to. - Chris L., Seattle Thanks for showing us how to make a low budget movie look great. - H.T., Seattle You took me from doing amateurish films to making the kind of movies I had been trying to. Thank you for all of your help. - Jerry W. Kent ... just to say thank you for the class Nils. I feel like I'm on track now to make more professional movies and actually start getting them into film festivals. - Alan D., Bellevue Questions and answers Can you tell me more
about the instructor? Registration basics: All classes are held in Seattle; most are on the U.W. campus. To sign up click on the Add to Cart link, or call 206-420-1309. The Add to Cart button is a Paypal link, but you do NOT need to have a paypal account. You can use any Visa or MasterCard, or cash or check. Just click through and you'll see a place to enter your credit card information. Registration questions? Call 206-420-1309 or click here. Frequently
asked questions: Do you have
to be a UW student to sign up? Where are
the classes held? How do I
sign up? When can
I sign up? Drawing & painting classes Writing classes Stage & screen (Acting & filmmaking) Computer classes Fun, affordable classes in the arts! Looking for professional, step-by-step instruction at an affordable price, from a teacher with years of experience? Check out our classes! For a full list of Seattle art classes, writing classes, acting classes, film classes and more visit classesandworkshops.com Questions? Email Nilsosmar@gmail.com or call 206-420-1309 • Location: University of Washington
|
|
WRITING Fiction and SHORT STORIES - Writing classes in Seattleposted: November 20, 2009, 07:02 AM
Reply: click here |
|
|
• Location: Seattle
|
|
Get $500 Visa Gift CARD FREE - Secret Shoppers Neededposted: November 19, 2009, 11:15 AM
Reply: click here |
|
|
Get $500 Visa Gift CARD FREE - Secret Shoppers Needed
GET $500 GIFT CARD TO SHOP IN ANY STORE YOU LIKE & RATE THE STORE & SHOPPING EXPERIENCE http://ean.weebly.com/ • Location: Seattle
|
|
11/21, Holiday Home Accessories Swapposted: November 14, 2009, 07:41 AM
Reply: click here |
|
|
Sit+Sip presents:
Holiday Home Accessories Swap Saturday, November 21, 10:00am-12:00pm, Seattle MORE INFO: http://www.sitsip.com/events In a Down Economy this Holiday Season Think Free and Green: HOLIDAY HOME ACCESSORIES SWAP When your wallet's tight and the environment is gasping "help me breathe," how can you find great gifts and dress up your home for the holidays while keeping your conscience green? Attend the Sit+Sip Holiday Home Accessories Swap - the only one of it's kind. sitsip.com Are you watching your wallet this holiday season? Instead of racking up the credit card bills and depleting your bank account, attend the Holiday Home Accessories Swap! Come with three items or more and a $10 entrance fee -- everything at the swap is FREE!! Replace all your unused decor with beautiful and "new"! Clean out all your closets and trade in those wedding and birthday gifts plus home and holiday decor items that just aren't your style. Swap them for some new cool gifts or decor items you'll love. Think serving trays, dishware, napkin holders, candles and candle holders, artwork, ornaments, rugs, pillows and throws. Want to make a contribution this holiday season? 20% of all proceeds will benefit Seattle Children's and all non-swapped items will be donated to SC Thrift Stores. If you are in the giving mood, you can also bring a $10 gift card for a teen being treated at Children's. How it works: Folks will swap in groups of 20, taking 2 items per 10-minute swap round. There will be 2 regular rounds and a free for all on the 3rd and last round. Swap groups are determined by arrival time, so it's first come, first serve. All non-swapped items will be donated to Children's Hospital Thrift Stores. Some of our favorite Seattle home accessory vendors will also be there to show off and sell their beautiful small goods: pillows, pottery, collage art, etc. See list below. For more information: Check out sitsip.com, upcoming events. For general swap questions, see our FAQ page. DATE/TIME: Saturday, November 21 10:00am-12:00pm LOCATION: Phinney Neighborhood Center 6532 Phinney Ave. N Seattle, WA, 98103 http://www.phinneycenter.org/ COST/REGISTRATION: $10 and a 3-item minimum. http://www.sitsip.com/events_upcoming_details.html MORE INFO: Website: http://www.sitsip.com/events Email: info@sitsip.com Phone: 206-660-0995 Contact: piper lauri salogga About Sit+Sip: Piper Salogga of Nautral Balance Home & Office and Sara Eizen of Nest are two interior designers collaborating to introduce you to our favorite green furnishings and practices in town. Our mission is to promote the many sustainable possibilities for your home, without prejudice to your level of green. Every choice you make toward the world of sustainability counts! Send to Outlook: http://www.fullcalendar.com/vc.cfm?i=411873 • Location: Seattle
|
|
The Girl Power Hour – Cocktails & Santa Clausposted: November 12, 2009, 11:54 AM
Reply: click here |
|
|
WHEN: December 10, 2009 Thursday
Time: 6pm-9pm WHERE: Copper Cart Café Join Girl Power Hour for the 1st Annual Christmas Cocktail Party with photographer Laura Totten and our resident Santa Clause! Donate a gift card to Jubilee Women’s Center, take your photo with Santa, get swag, win door prizes, sip cocktails, and partake in lots of Christmas Cheer! Wear your favorite cocktail attire and get ready to network this winter! Complimentary appetizers will be provided along with happy hour drink specials. *Drink tickets will not be provided for this event Tickets are $10ADV / $15 Door www.girlpowerhour.com • Location: Copper Cart Café
|
|
Form/Space Atelier Program For November 2009posted: November 10, 2009, 02:49 PM
Reply: click here |
|
|
Current Exhibition
Show Title: Actaeon At Home Show Duration: November 13- December 6, 2009 Opening Reception: November 13, 6PM, as part of the Belltown ArtWalkwww.belltownartwalk.com Experimental Filmmaker Vladimir exhibits her 5th interactive film experience Actaeon At Home. Vladmasters are handmade View-Master™ reels designed, photographed, and hand-assembled by Vladimir. They make use of toys, neglected household objects, and odd ephemera to tell 28-picture tales of train chases, missing steam shovels, disastrous dinner parties, and overly adventurous cockroaches. Actaeon, to the ancient Greeks, was a hunter unlucky enough to get a good look at Artemis bathing naked amongst her nymphs. For his trespasses, Actaeon was transformed into a stag and then devoured by his own hounds. Our Actaeon, may or may not have anything to do with the historical Actaeon. He is a small man in a room with striped wallpaper and antlers and a typewriter and a collection of Currier & Ives prints. Oh, also there is a train chase. This new Vladmaster is narrationless. Instead of talk there is the Apt Ensemble, a trio of musicians who lead you through the Vladmaster story playing a variety of instruments and providing the odd sound effect. Listen carefully and you will hear everything from a pump organ to a tuba to a musical saw to a train whistle. This is also the first Vladmaster set photographed entirely in glorious black and white. This Vladmaster was made to debut in a live performance with the band and emcee Tim Nickodemus for the 2005 PDX Fest Invitationals where Vladimir was, with some tongue in cheek, crowned the World Champion of Experimental Film. This set consists of four handmade Vladmaster reels, the box to keep them in, and the mini-cd soundtrack. The music was written by Peter Broderick and Nathan Crockett; performed by the Apt Ensemble (Peter Broderick, Nathan Crockett, and Branic Howard) and recorded by Peter Broderick. Tim Nickodemus introduces the CD. Douglas Jenkins is the human star of the photographs. The story was written and photographed by Vladimir who also designed the reels and box. Interview by Ross Simioni Illustration by Tony Millionaire http://www.vladmaster.com/press/articles.php?article=9 "MOST OF THE TIME DURING MY SHOWS, I'M LOOKING AWKWARDLY DOWN AT THE FLOOR AND WAITING FOR THE SOUND TRACK TO END." Inspirations for Vladmasters: Galaga Frogger Gertie the Dinosaur EarlyFritz the Cat The artist who goes by the name Vladimir is one of the only known filmmakers working with View-masters, which, if you remember, are those cheap-looking toy binoculars usually filled with images of zoo animals or dinosaurs. Instead of watching her so-called films on movie screens, audience members hold "stereoscopic viewing devices" up to their eyes and click through picture reels of dioramas, action figures, and abstract photographs of trains. She calls them Vladmasters. Through her website, Vladimir mails her handmade films around the world, each one accompanied by a spoken-narration CD and sound track. Her "picture stories" have included adaptations of Calvino and Kafka, along with some of her own writing, like the one about the pseudo-mystical congregation of farming machinery. She claims to "seek out the forgotten, the discarded, and the overlooked objects of this world...and [takes] tiny, tiny photographs in order to tell their stories." Since 2003, she's become and anomalous staple in the independent film festival circuit, winning the World Champion of Experimental Film title on multiple occasions. She remains active in her hometown of Portland, Oregon (also the home of the View-Master), where she works as a projectionist, creates her own scretch-it Vladlast lottery tickets, builds Super 8 film experiments, and works as a quality assurance engineer at a software company. This interview took place over email, with Vladimir responding from both Portland and Brisbane, Australia, where she was participating in the Other Film Festival. —Ross Simioni I. MOVIE PROJECTION AS SELF-ABNEGATION THE BELIEVER: When you set up a performance — or is it better to call it a screening? — what happens, exactly? VLADIMIR: Sometimes I compare my performances to synchronized swimming. At a performance, everyone in attendance is given a viewer and a set of my handmade disks. There is a brief instructional introduction, and then we begin the sound track, which leads everyone through a tiny private screening experience just past the end of their nose. There are ding noises on the sound track to cue the turning from one image to the next. Sometimes there is a narrator and sometimes there's just music. Perhaps the most exciting moment is participating in the ker-think of tens or hundreds of View-Masters turning simultaneously after that very first ding. BLVR: Would you say that’s the ideal scenario for someone to experience the vladmaster? In a theater, like most films? I just received the vladmasters you sent me in the mail, watched them all in my living room all day, and really enjoyed the private storytelling feeling. It felt almost like reading. V: I like both the theater and the personal experience. The great thing about the theater is that there is a sort of euphoria and excitement that comes from the experience of just being in a crowd of people who are all holding View-Masters and all experiencing this sort of simultaneous media for the first time. The crowd experience is really wonderful, but I think that the more personal private experience that you had in your living room is probably more conducive to reflection and paying attention to the story. Perhaps you could call one a roller coaster and one a scenic drive? BLVR: A little while ago, I heard David Lynch talking about his appreciation of the laptop computer, how it has completely transformed cinema by encouraging people to watch films alone, more like the intimacy of books. It also encourages people to use headphones, which brings a renewed appreciation to the way sound and music function in a film. V: I really like this idea. The intimacy of the viewmaster viewing experience is very important to me. I’m a projectionist and one of the wonderful things about projecting movies is that you get to hold every part of them in your hand. You get to see the film as an object and to see the individual frames. I think the View-Masters present a similar experience: you can view them narratively, as time-based, alongside the soundtrack, but you can also hold them in your hand, see their individual parts, and appreciate them as craft objects. BLVR: That reminds me of how Stan Brakhage painted directly on his film. When I first realized what he was doing, my idea of film was suddenly transformed from an abstract thing, with images floating in the air, to the idea of actual physical film stock. He broke that “fourth-wall” of physicality. V: I’m sad to say I haven’t seen very much Stan Brakhage, but I was fortunate to see two nights of films by his close friend and collaborator Phil Solomon when he visited Portland. He treats the surfaces of his films chemically so that you see the surface layers buckling and peeling. The original images decay and fray and become submerged beneath the layered surface so that his films are filled with a sense of beauty and loss. There is also a Bay Area collective called SILT who often work with the decay of the film image by leaving their films in holes in the ground to get moldy and be eaten by creatures. I saw a wonderful 8mm film they hand-fed through a broken projector, sometimes holding it too long in front of the lamp so that you could see the image start to melt. Perhaps at the other end of the film-as-object spectrum, there are Bruce McClure’s films. He strips film down to its most basic elements: light and dark. He does multi-projector performances in which each projector is running an identical film loop that consists of several black frames followed by a single clear frame. He uses dimmers, the focus on the projectors, and occasionally gels or different shaped gates to manipulate the stroboscopic shapes created by the film. The sound for his performances is generated by passing the sound of the frames running through the projector through various pedals to create a rhythmic pulse that matches the pulse of the visuals. They are without doubt the most physiologically affecting films I’ve ever experienced. BLVR: The concept of viewing a film has always been so removed from the idea of performance, but with your work and, say, McClure's, there's that element of it's-happening-right-now — something you don't get with pre-recorded films. Do you think this connection with film comes from your work as a projectionist, where you're sort of "performing" the film? V: When you’re a movie projectionist, the goal is actually one of self-abnegation. A good projectionist is an unnoticed projectionist. This is perfect for me because I’m always trying to make myself disappear. I’ve always just used the word “performance” for lack of a better alternative with my own shows. Most of the time during my shows, I’m looking awkwardly down at the floor and waiting for the soundtrack to end. If anyone can be said to be doing the performing, or the projecting, during my shows, it would be the individual audience members. The thing I’ve taken from projecting is just the intimacy with the medium. Because we tend to show older prints, before we show a film, I pass every reel through my gloved hand to check for damage. When you do this, you become hyper-aware of the individual frames and of the process of these discrete pieces becoming a fluid whole. It is exactly like calculus. I think that there are many people who turn their films into performances and also make the audience hyper-aware of film’s construction and mechanism. Bruce McClure is certainly one of them. I’ve just been lucky to see three of his performances in the space of a week and a half at the utterly amazing OtherFilm Festival in Brisbane Australia. Almost every film there had a performative element. The projectors were always in the same room as the audience and mostly projected by the filmmakers. I saw two wonderful multi-projector performances by the great Australian filmmaker Dirk De Bruyn. He began each of his shows by shining a flashlight around the raised arms and reels of the 16mm projectors. The shadows of the reels would play around the audience as a sort of initiation into film via a ritualistic invocation. There was also a performance by Sally Golding and Joel Stern, two of the organizers of the festival who also do performances under the name Abject Leader. Joel does live soundtracks and Sally makes films. She’s a fellow projectionist and also a film preservationist and her work is steeped in experimentations with film substance and film history. The performance that they did at the festival dealt with early cinema color techniques in which consecutive frames of film would be shot behind red, green, and blue filters onto black and white film and then projected back through those same filters to create a full spectrum effect. Sally set up three projectors pointed straight into the audience, one each with a red, green, and blue filter, and then stood in the center of the room holding up a large picture frame filled with tracing paper. She makes the audience stare into the glare of the projector and then rescues us by physically interrupting the glare and locking the three projections into a single image. BLVR: One thing I've never been entirely clear about is the job of a projectionist. What's the whole process there? V: The average feature film comes in two very heavy metal cases each containing three 20-minute reels about 18 inches in diameter. Probably 95 percent of theaters run these reels on what is called a platter system. This means that they build all of the reels onto one big platter so the projector pulls the film off of one level of the platter and spits it back out onto another. The whole film runs through a single projector in a single pass with no need for a projectionist other than to build the film and push the START button. I’m lucky to work at a theater that doesn’t use platters. Instead we use two projectors and do reel changeovers. Over the course of a film, the projectionist switches back and forth between the projectors four or five times. At the end of each reel of film there are two sets of cue marks, approximately 8 seconds apart. When one reel is winding down, I stand at attention next to the projector that is not running and keep a very careful eye on the top right corner of the screen. When I see the first cue mark, I start the second projector, which then has 8 seconds to get fully up to speed. At eight seconds, I see the second cue mark and hit the CHANGEOVER button which simultaneously closes the dowser on the first projector and opens the dowser on the second. If my timing is off, or if I miss the cue marks, the audience is treated to anything from a half second of black to a very embarrassing six seconds of countdown leader. II. "YOU ARE A GOOD ROBOT SENT TO SAVE THE LAST HUMAN FAMILY FROM THE EVIL ROBOTS" BLVR: The Vladmasters have been in a ton of film festivals, and you actually won the title of World Champion of Experimental Film a few times, which means, by all standards, you are clearly a filmmaker. But at the same time, you're not a filmmaker in the same way that pretty much everyone else is a filmmaker. V: IN terms of the audience experience, which is of a visual and audio narrative that takes place oer a pre-determined time line, I'm closer to making films than anything else. I certainly feel comfortable beinga part of film festivals. However, when I'm making things I don't think of them as films, I think of them as stories. If I had my choice I think I'd go with the very simple description "picture story." BLVR: So then, if you had to place yourself in a lineage of directors, filmmakers, or picture-story makers, where would you be? On your website it says that you enjoy "the very early films of Rene Clair." V: Although I love film, I don't often think in terms of cinematic models when I'm working on a project. I get more caught up in the very strict parameters (twenty-eight photographs over four disks) of the View-Master and I concentrate on working things into that tight little structure. One of the great delights in working with the form is in the moment of anticipation, in the narrative disjunction, that comes in the jump from one frame to the next. To me this jump feels more akin to turning a page in a storybook than to smoother flow of a film narrative. The one time I did look to cinematic models was working on Actaeon at Home. I knew that that would be a show with live music and no narrator, so I was trying to create a purely visual logic for the jumps from frame to frame. I was inspired by early animation. Looking at something like Gertie the Dinosaur or early Fritz the Cat cartoons you get a sense of these early animators' joy in discovering the infinite malleable possibilities of lines in motion. There is a glorious anarchic logic and infinitely transformative quality to those worlds that I tried to capture, in stiffer form, in Actaeon. BLVR: Another thing I want to ask you about is Portland, which, per capita, seems like one of the most artistically exciting cities in the world right now. It also seems, from the outside, like there are these very close-knit artistic communities tying together all types of musicians, artists, and filmmakers in a free-spirited sort of way. V: I'm probably not the best person to talk about the Portland art scene just because I'm very, very shy and mostly opt to retreat from the world. That said, I probably never would have become a sort-of filmmaker if I hadn’t moved to Portland and discovered organizations like the ones I mentioned above. When I moved to Portland, after college, I had spent four years programming a university film series and had a good background in foreign and classic film history but no real concept of experimental or underground film. The only models I had of regular people making films were unnecessary imitations of Quentin Tarantino. Coming to Portland I discovered a whole other idea of making films, films that were small, personal, homemade, and felt completely apart from anything I had seen before. It was not unlike discovering, at the age of 13, that there were people who made music that was not played on Top 40 radio stations. BLVR: So how did your awakening to experimental film unfold? What directors helped to usher you out of the "Top 40" of filmmaking? V: I don’t know if experimental is exactly the right word for the films that attracted me. I think I might more use the term handmade. Some of them were certainly experimental, but just as many were simply small or personal or homemade. One thing that happened a week or two after I moved to Portland was that I went to a screening by the Tiny Picture Club. This is a Portland Super 8 collective. Their logo was like the Superman logo with an 8 replacing the S. It was a very chilly November and the screening was in a tiny, unheated Quonset hut. There were about 50 people crammed in there, sitting on the floor, with musicians along one side of the room. They played along to about 10 different Super8 films about dreams. The films were all very small, simple, and joyous. Much of the footage was hand-processed and scratchy. There was some stop action animation. There were homemade costumes and masks. There was an introductory film set to the T-Rex song “Bang a Gong.” In it all of the members of the club wore white jumpsuits with their logo emblazoned on the back. They were running around a park with their cameras. There was much pixilated action made to make them look like they were flying, levitating, rotating in circles on the ground on their bellies. The feeling I felt sitting in that room and watching those films was exactly like the feeling of falling in love. BLVR: Do you make any handmade films yourself? The only films I've made have been super8 films with the Tiny Picture Club. The thing that I enjoyed most with films was trying out technical experiments. I used to work in the Equipment Room for the film school at the Northwest Film Center, so I had access to all kinds of super8 cameras and projectors. I built a device that could control up to three super8 cameras simultaneously and could run them at either eighteen frames per second or off of a intervalometer. It was pretty cool but, other than filming some friends playing soccer in a park one afternoon, I never really figured out anything good to point the cameras at. BLVR: You once said that Atari is one of your favorite art forms. You said you liked the video games where you could still see the pixels. I'm curious if this ties in with all of these homemade ideas. Without any of the high-fidelity bells and whistles, it seems like there is less of a separation between the artist-creator andthe viewer. V: I think what you said about the lack of separation between creator and viewer is exactly right. I like to be able to get a sense of craft and humanness behind work. When I see the little pixels rolling by in an Atari game, I think back to BASIC programming and how hard that little computer is thinking and how hard the programmer had to work to put all those pixels in just the right place. I’m very bad at actually playing Atari games. I rarely make it past the first level. However, similar to the viewmaster, I love them as absurd little mini-narratives. The narratives are really what give form and understanding to the pixels. If you take a game like Space Invaders or Galaga or even Frogger, and watch it, forgetting the narrative, you’re left with the motion of abstract colored forms. It’s only those couple of text windows at the beginning (which nobody pays much attention to) that provide form for the whole structure and objective of the game. One of my favorite mini-narratives goes along with a game whose title escapes me at the moment — it’s the one where you are a good robot sent to save the last human family from the evil robots. I’ve recently encountered some interesting Flash games online that return to a completely abstract and non-narrative form of the video game. One in particular is called Boomshine. It’s a field of slowly moving colored balls. The objective is to click your mouse somewhere on the screen to create an expanding ripple. Every ball this ripple touches turns into a new ripple. You try to turn as many balls into ripples as possible with your single click. It’s so simple that it doesn’t require directions, yet it’s also beautiful and incredibly addictive. BLVR: OK, I just played Boomshine for twenty minutes and I was in some sort of weird trance with that game. Plus, you're right about the directions. To figure the game out, you just get to resort to simple visual assumptions (e.g., if I do A then B happens). In the context of this conversation, it reminds me a little of the abstract filmmaking you've been mentioning, where you're forced to start thinking things like "That thing over there is moving fast, and the other thing is moving slow." It engages the mind in such a different way than narrative film. V: I’m very untrained when it comes to watching experimental film. I don’t think I could make an abstract film if I tried because everything inside of my head only knows how to operate on cause and effect. But I do like to sit back and enjoy other people’s abstractions even if I’m always very self conscious about not appreciating them in the right way. This might be why I like Boomshine so much. You get cause and effect alongside your abstractions. I can’t help but trying to make sense of everything I see whether I’m supposed to or not. BLVR: And finally, just to clarify, Vladimir is not your birth name, right? V: I was never enamored of my birth name and I’d always planned on changing it when I went off to college. But one day, when I was sixteen, one of my English classes had a class assignment in which we were supposed to pair up and write little essays about our partners based solely on looking up their name in a few baby books. Maybe it was just my natural impulse toward sabotage, but it seemed like the perfect opportunity to make the change. I had a sharpie and an index card and I made myself a name tag introducing myself by my new name. Ever since then, I’ve been Vladimir. I have now been Vladimir for almost half of my life. • Location: Form/Space Atelier
|
|
Movie Extra Work $300 Daily Become a Movie Extra Casting Calls SAG Extra Work Extra Actors Neededposted: November 8, 2009, 07:59 PM
|
|
|
showbizltd.com/_sbl_pages/acting_agents-extras.php
A+ by Better Business Bureau
Become A Movie Extra - Nationwide Listings Updated Daily Film Extra Work . TV Extra Work . Commercial Extra Work . Background Actor Movie Extra Work $300 Per Day Become a Movie Extra Casting Calls SAG Extra Work Extra Actors Needed Acting Extra Work can Pay $300 Daily showbizltd.com/_sbl_pages/acting_agents-extras.php Movie extra work is a great way to learn acting, earn money and get noticed for larger roles. Casting directors, producers and production companies are hiring film extras all over the country. Get your foot in the door early. All ages, all types male and female movie extra's wanted now. We guarantee you will never be charged fees by anyone on our lists. The casting directors on our lists get paid by the studios and production companies to hire the right extra actors for each role and each scene. Movie extras (also known as atmosphere players) are never charged fees. We update all information daily, so you don't waste time and money sending your information to old, out dated, bad addresses. We research who is licensed and who is legitimate, so you are never "ripped off". We supply the connections for your success as a film extra, movie extra, commercial extra, tv extra, background actor and atmosphere player. Parents: Get your child into TV Commercials & Modeling. Great way to start a college fund. CommercialKids.com showbizltd.com/_sbl_pages/acting_agents-extras.php Movie Extra Work $300 Per Day Become a Movie Extra Casting Calls SAG Extra Work Extra Actors Needed Film Extra Work Extra Audition TV Extra Work Earn $300 Daily Become a Movie Extra Casting Calls SAG Extra Work Extra Actors Needed SAG Card Screen Actors Extra Work Extra Jobs Extra Casting Extra Calls Background Actor Atmosphere Actor Kids Extra Work showbizltd.com/_sbl_pages/acting_agents-extras.php • Location: Bellingham, Everett, Olympia, Seattle, Spokane, Tacoma, Tri-Cities, WA
|
    Enlarge Picture |
LEARN TO DRAW FACES in this classposted: November 8, 2009, 06:58 AM
Reply: Nilsosmar@gmail.com |
|
Learn PHOTOSHOP in three weeks! - new class starts in Januaryposted: November 8, 2009, 06:58 AM
Reply: Nilsosmar@gmail.com |
|
|
• Location: Seattle
|
|
SEATTLE film acting CLASSES Let's Make a Movie starts in Januaryposted: November 8, 2009, 06:56 AM
Reply: Nilsosmar@gmail.com |
|
|
• Location: Seattle University District
|
|
Seattle Writing Classes: How to write a Novelposted: November 2, 2009, 11:58 AM
Reply: click here |
|
|
• Location: Seattle
|
|
Seattle Acting classes - BEGINNING ACTING starts in Januaryposted: November 1, 2009, 06:40 AM
Reply: Nilsosmar@gmail.com |
|
|
• Location: Seattle University District
|
|
|
[1] 2 Next |
