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What I love about cinema.

 

 

 

I recently moved to a new pad right in the heart of Hollywood, and yesterday I finally used my new location to its full advantage. I live within walking distance to several movie theaters – and yesterday I set out to go to one, and ending up going to three. 

 

 

 

 

It was my first time at the Arena Cinelounge on Sunset and although I was a little nervous at first about a cinema in a office building, it turned out to be a wonderful place. The staff was friendly and knowledgeable and the theater itself is spacious, with comfortable seats and plenty of leg room. I went to see an incredible documentary Dawson City: Frozen Time.

 

 

 

 

 

 

Being the cinephile and lover of film history that I am, this film was absolute magic to me. Bill Morrison has crafted a love letter to cinema and film itself, done with next to no dialogue and constructed in an experimental fashion.

 

Canada’s Dawson City was a mining town that experienced brief fame from a gold rush in the 1890’s, and became a place that launched not only several movie chain moguls, but also preserved much of film’s history itself. Being the end of the line for film prints making their way north, Dawson City ended up inadvertently collecting thousands of film prints, since the distributors & studios didn’t want to pay to ship all of the prints back. Although many of the prints were destroyed, some were preserved underneath an ice rink for decades, and discovered in the 1970’s. Many of these were the only living print in existence for hundreds of lost silent films.

 

 

 

You get to see hundreds of these films in Dawson City: Frozen Time, and they are the definition of cinematic magic. The distortion and damage done to many of these films from the years of neglect become part of the film and adds to the beauty of it. The music is stellar as well, incorporating the sound of the damaged film running through a projector as part of the score in places.

 

 

 

 

 

 

And amongst these findings were several newsreels – documentary footage taken in the 1890’s of prospectors rushing to Dawson City to stake their claim. Watching these men walk through the streets of Dawson City in 1897, smiling and looking curiously at the camera, is the only kind of time travel I will ever know.

 

 

 

I get to see how the world looked through their eyes at that captured moment, and that feeling, more than anything, is what I love about watching old films. I am traveling back to see people who lived and breathed and hoped just like I do. They worked hard to get to a remote city in Canada to possibly find some gold. Many did. But not one of them knew that a few seconds of  their lives would be forever immortalized and would, over a hundred years later, be watched by a girl in Hollywood, California, wearing a Fight Club T Shirt. And yet, that happened. And for a few moments those men were alive again.

 

 

 

 

 

 

 

 

 

This film gave me everything I want a film to give me – an opportunity to see the beauty of the world, the wonder of it, and hope for mankind. That through art, we can show our true selves to each other – even if only for a few hours. It’s the feeling I chase when I go to films, like a junkie craving my next fix. Often the film disappoints, and I’m then ravenous to find it again. Someone asked me recently to describe my perfect moment of joy, and I said the moment in a cinema right before the film begins. The moment when there is absolute quiet, when no one is talking or breathing, and the possibility of the film is infinite. It could be as great as you imagine it in your own version in your head, or lacking sadly. But the times when the film is better than you could begin to imagine it, when the audience is taken along and the feeling of enjoyment in the theater is palpable – this is what it all boils down to as why I adore film so much. 

 

And that’s why I saw IT twice this weekend.

 

 

 

 

 

 

I read It when I was in junior high – I was the girl on the bus listening to mix tapes on her walkman and reading Stephen King novels. As such, I have read a lot of his books, and I honestly think It is his best novel. His writing is at its absolute peak, the characters are vivid and full, and the depiction of horror is raw, evil and at its most terrifying. I forced the book onto several friends in junior high and high school, and one friend and I called each other Eddie (me) and Bevvie (her) after our favorite characters in the book, for the entirety of high school. I’ve read It dozens of times.

 

 

 

 

I was very dubious of this film, as I am of all remakes  – especially horror ones. The stupendous performances Tim Curry and Dennis Christopher in the 1990 version make it wonderful,  but I did find that version a bit…lacking. So I was willing to give this one a go. And I loved it.

 

 

 

 

 

The film is warm and fun, scary and horrifying, with terrific performances from all of the kids. Its hard to construct a large central cast in which all of the acting is on an equal level, but they’ve done it here. I felt each one really captured the character from the pages of the book, and although a great amount of trimming and a fair amount of changes were done to the novel, I didn’t mind the choices they made. The film is obviously made with a lot of love.

 

 

No one can EVER top a Tim Curry performance, natch, but I really really enjoyed Bill Skarsgard’s  performance as Pennywise. Although gruesome and intense, I found the character so captivating that there was something almost slightly appealing about him at times, which made him even more creepy. I only wish there was more of him in the film! The special effects were spooky and fun, and a good time was had by all.

 

 

 

 

 

 

There are so few modern horror movies that I want to see that I am now rarely in an excited opening night audience, but circumstances made it so that I was a the 9:30pm opening night show, Friday night. I’m such a horror hound that I don’t scare easily anymore, but I love seeing horror movies with an audience so much because it heightens your experience a hundred times.

 

 

 

The audience fucking loved It. They were squirming, gasping, giggling nervously from fear after every big scare. The girl next to me hid her face every time Pennywise came on screen for the entire film. She was fucking petrified.

 

And being part of the to audience go through all of that – that indescribable feeling of a room full of strangers as one is the most joyful thing I know. But it is indescribable. How do I, a human with only five supposed senses, feel a room full of people? How can the air seem thicker in the moments when the monster is on screen? How can it feel suddenly lighter when the danger has passed and everyone breathes normally and giggles at how frightened they were just moments ago? I don’t believe in god. I don’t believe in magic – but these moments are ones that make me think there may be something that really does connect people on some level. It gives me hope.

 

 

 

So I went to go see It again on Saturday at the Dome in Hollywood – because I wanted to experience it again – with even more people this time. The Dome seats over 800, and while not to capacity, the theater was quite full. And it was the same as the night before – the screams and gasps, the nervous laughter, with people hiding behind their eyes and squeezing onto their neighbor. Amazing.

 

 

When people tell me they don’t like being scared, when they can’t watch a horror movie in the theater because it freaks them out so much, I understand.  But I secretly think they are missing out on a wonderful human experience. To be with hundreds of strangers and feel the fear in the room, then the explosive release when the villain has been bested, when everyone feels safe because they are all together, watching these things as one, and don’t we know in the end everyone will be all right? That the credits will roll, and the rush you have felt for the last 2 hours will be buzzing in your system while your heart beat slows, and the terror is over. You can walk back out into the bright sunlight, and think – wasn’t that a fun ride? It’s the experience that It gave me twice this weekend, and I think Stephen King would be very proud because somehow I think he knows all about that feeling too.

 

 

 

 

 

 

 

Then, walking home, I stumbled upon a screening just beginning at the Egyptian Theater on Hollywood Boulevard – The Witch Who Came From the Sea. It is an exploitation movie from 1976 by director Matt Cimber, starring Millie Perkins – both of whom were there for a Q & A session afterward. The film (on glorious, crackling 35mm) was quirky and odd, with a dreamlike quality unlike most of its grindhouse ilk. Here I got to experience the audience in a difference way. There was a back story of the heroine where she was sexually abused by her father – with some uncomfortable flashback scenes. And such a different feeling when the entire audience is ill at ease, shifting in their seats and averting their eyes to avoid the images on the screen – not out of fear, but out of shame and embarrassment. That feeling, amplified by dozens of people is such an infrequent, uncomfortable feeling that I can see a certain beauty in it.

 

I know of several directors whose trademark seems to be exploiting this feeling – making the audience feel shame or humiliation or embarrassment. I don’t dig it. It doesn’t float my boat (down into the drain with Pennywise). The Witch Who Came From the Sea (great title) was a bizarre film that I had never heard of, but that I am glad that I saw.

 

I often wonder what it is like for other people to go to the movies. I know everyone doesn’t have the nearly holy experience it can be for me. I think back to going with friends to see movies completely indiscriminately in junior high, often seeing terrible films just because that’s what the local multiplex is playing, and I can’t really remember any of the experiences at all.

 

I certainly didn’t watch the film that way I do now – after years of studying film at university, which completely changed the way I saw movies, and after the thousands of films I have seen since then. I maybe knew who the actors were (and the boys name, definitely, if he was cute) but that was about it. Didn’t know many directors, didn’t think about all of the craft and artistry and sweat and blood it takes to get every single film on that screen. How many people work behind the scenes on all of these films, in pre and post production, on the set, distributing it, booking it, projecting it, all the way to your screen.

 

I do wish sometimes I could time travel back to that junior high me time frame and see films the way she would have. And sometimes I think to myself  I haven’t learned much from my time living in Hollywood. Then I look at the way I see movies now and that the cinema going experience delights me in a way no other media can.  That it is in my bone marrow.  I fucking love cinema.

 

Three different cinemas, three completely different film experiences, all within doorsteps to my house. It may be cramped, and without air conditioning, but I suppose this new place might have some perks after all.

 

 

 

Horror Movie Survival Guide

 

 

 

When I met my best friend, Marion, in college, she had never seen a single horror flick in her entire life.

 

 

 

 

I was the girl showing friends Pet Sematary in junior high, and was appalled she had shunned a genre so beloved to me.

 

 

So I made her a deal – watch Nightmare on Elm Street with me – my favorite horror film, and the best horror film ever, in my opinion – and if she wasn’t blown away by it, I would never force her to watch another horror movie again.

 

 

 

 

She consented after some debate, and we sat to watch it, me with overwhelming excitement at getting to share one of my favorite films with one of my favorite people, her with extreme trepidation for the upcoming first time experience.

 

 

 

 

Needless to say, Marion absolutely loved Nightmare on Elm Street – especially Heather Langenkamp’s number one badass Final Girl, Nancy, and her determination to live and beat big bad Freddy Krueger. A character who, when questioned why she is perusing a book on booby traps, obliquely quips “I’m into survival”. 

 

 

 

And with that one line, Marion was sold.

 

 

She asked me if kick ass women besting the villain was a theme in horror, and I said yes. So, we could watch these films as a kind of training course in how to survive, she posited. And I said absolutely. The more movies we watched, the better chance we had at becoming the Final Girl.

 

 

 

And that’s how the two of us decided to spend our senior year of college watching every horror movie in the horror section of our local video store, Gold Star Video. We ended up watching over 200 films that year.

 

 

Not just watching, mind you, but keeping them all tracked and logged in our Horror Movie Notebook. We covered the notebook with our favorite horror movie images and filled it up with page after page of obsessive horror nerd rantings, creating our own rating system and noting down our favorite lines and moments in each movie.

 

 

 

 

And now, thanks to the Indie Popcorn Network, Marion and I will be co-hosting a weekly podcast called Horror Movie Survival Guide – where we revisit our Horror Movie Notebook and re-watch the films from our senior year of college, covering a different film each episode.

 

 

 

I am so excited to dip back into the notebook, and talk about the films I love so dearly, and specifically what lessons each film teaches on survival.

 

 

 

 

You can listen to the first episode, “I’m Into Survival”, discussing Wes Craven’s 1984 masterpiece, Nightmare on Elm Street, at the link below. 

 

 

 

You can also follow Horror Movie Survival Guide on Facebook, Twitter and Instagram, where we will be posting new episodes each week.

 

 

Give it a listen and send in your opinions – always happy to hear from fellow horror hounds! 

 

Listen here: 

 

 

http://horrormoviesurvivalguide.buzzsprout.com/104713/532361-nightmare-on-elm-street-i-m-into-survival

 

 

Summer of Love

 

 

So very excited to announce that I have been asked to program a summer series at the amazing Somerville Theater in Massachusetts – entirely on 35mm! 

 

You can read about what I chose to program and why below:

 

“2017 heralds the 50th anniversary of 1967’s famed “Summer of Love”, where every hippie in America hightailed it to dear old San Fran to turn on, tune in and drop out. To stand up to the generation before them and say: “No. We don’t like your way. We are going to try something different.” 

 

This counterculture lived in incredible, bold new ways in 1967 – communally, out front and with love for free, and with sincere hope for true equality.

 

They listened to incredible music – Sgt, Pepper’s Lonely Hearts Club Band and Their Satanic Majesty’s Request were two of the dozens of mind blowing releases of that year.

 

They ingested incredible drugs – like Acapulco Gold and Owlsey’s outta site LSD.

 

But most importantly, the hippies were genuinely trying to do a truly incredible thing – to get the world to simply stop fighting and love one another.

 

Let’s say that again. Simply stop fighting and love one another.

 

In 1967 it was a radical idea to strive for, and sadly, now, in 2017 – 50 years later – it still is.

 

When Ian Judge very kindly asked me to curate some films this summer, he generously gave me absolute carte blanche on what I could program.

 

And I chose to program four films that will let you time travel back to 1967, and take a snapshot of the world of film that year.

 

We start with Roman Polanski in a carefree mood, having fun and slaying undead in THE FEARLESS VAMPIRE KILLERS.

 

Next is one of my very favorite films, with all of the sex and drugs and heartlessness of show business on glorious, lurid display – VALLEY OF THE DOLLS.

 

Los Angeles counterculture gets exploited, and the grown ups get put in their place in RIOT ON SUNSET STRIP

 

And lastly, Godard puts his crazy, out of control stamp on the era in the under seen WEEKEND

 

I hope when you come to these films, you’ll put away your cell phone and mentally transport yourself back 50 years.

 

The 35mm projector will spin to life just as it did then, and when the images start dancing on the screen, pretend it really is 1967.

 

Let the films show you the people, the colors, the sound and the psychedelic sights of 1967. Let yourself be carried away by the counter culture, and let them whisper their battle cry in your ear:

 

Simply stop fighting and love one another.

 

Peace and love, Julia Marchese”

 

 

If you live in the Somerville area and would like to attend, you can buy tickets at the links below:

 

Fearless Vampire Killers

 

Valley of the Dolls

 

Riot on Sunset Strip

 

Weekend 

 

Thanks again to Ian Judge and all of the other cool cats at the Somerville for giving me this bitchin’ opportunity! Long live 35mm! 

A One Hit Wonder

 

Since I was a little girl, I’ve only ever been interested in music from the 50’s, 60’s and 70’s. My favorite cassettes growing up were Ricky Nelson, Jan & Dean and The Monkees.

 

The first “modern” band I ever liked was Stray Cats – because they looked and sounded like they were from the 50’s.

 

In high school I only listened to the oldies station & I started my lifelong obsession with The Beatles . So, needless to say, I think of myself of having a pretty deep and wide knowledge of music from those decades.

 

Lately I’ve been listening to an internet radio station called Retro Attic Rare Oldies Radio, which plays little known and obscure songs from the 50’s-late 70’s. I’ve heard a lot of the songs before, but there are quite a few that are new to me. A lot of these are terrible, and I don’t really feel badly that I don’t know them. 

 

But recently on the station I heard a song that I had never heard before that has been stuck in my head for weeks, and to me finding a new song that I like such a terrific delight.

 

Ariel is a one hit wonder (reaching #26 in the Billboard charts in 1977) from a singer named Dean Friedman. The song caught my attention because of the offbeat & quirky lyrics and I thought listening to his voice that it was Weird Al at first. 

 

The song is a classic love song, but the lyrics are peculiar, honest and realistic, the tune catchy as fuck, and I find his voice & phrasing charming. Such great harmonies, fun bass line – sax solo! What’s not to like? 

 

Is this song mind blowing? No.

 

But there is something about the song that just makes me feel happy. The cover of the album makes me happy too.  Look how shaggy and forlorn he is! Love it. 

 

 

So I thought I would share it with you. 

 

Have you heard this song before? 

 

 

If you haven’t, give it a listen and let me know what you think.  

 

Are there any songs that you have found recently that make you happy? 

 

Send them over!

 

I’m always open to finding new music – whether it be truly new, or just new to me. 

 

 

And a thank you to Dean Friedman for writing a song 40 years ago that makes a girl here in 2017 happy. 

 

 

 

 

Sundance & Art House Convergence 2017

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2017 has started out quite auspiciously as I was able to attend two super cool cinephile events that I had never been to, back to back – Art House Convergence & Sundance

 

Since I am currently looking for a new position AND looking for help in making my next film as well, these two cinema & film centered events were perfect places to schmooze and meet folks who share the same interests. I went in with a finished DVD copy of my first film –  which was fantastic to have – and an openness to new adventures in cinema wherever they may be. I love film so much, as long as I am working with in it in someway, I’ll be happy, and I knew I would meet lots of folks that felt the same way. 

 

First was the Art House Convergence, held in Midway, Utah Jan 16-19. I had heard about the Convergence when I was with the New Bev, but never got the chance to attend. When my friend Anna Feder (who programs the Bright Lights Series at Emerson, and who brought the 35mm print of Out of Print out to Boston in 2015) told me she had an extra bed in her hotel for the Convergence, I jumped at the chance to tag along. The opening night film was the incredible Nacho Vigalondo’s newest Colossal, which was super cool AND I got to karaoke White Lines by Grandmaster Flash while Anna rocked out Maneater by Hall and Oates. 

 

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I volunteered for the Convergence, which meant I “hosted” one of their conference rooms for two days of cinema related panels. I got to hear all sorts of diverse panels, from building your social media audience and fundraising for galas to – my favorite –  the After Midnite panel hosted by Mark Anastasio from the Coolidge Corner Theatre in Brookline, MA. A man of incredible style and taste and owner of the coolest pin collection ever – see below. 

 

 

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Mark talked about how seeing Holy Mountain at midnight blew his mind and made him want to focus on midnight programming – as a Jodorowsky fan myself, I totally related. 

 

 

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It was super cool to meet dedicated cinema owners and programmers from all over North America, and everyone I met was incredibly kind. I ran into my chum Jessie Maltin, and had the pleasure of having dinner with her and her lovely husband and amazing parents for two nights in a row. Chatting casually about 16mm film with Leonard Maltin was pretty damn rad. 

 

 

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The closing night party of the Art House Convergence was held at a resort that had an ICE CASTLE. I didn’t know these things existed, and it was absolutely magical. They played epic music and the castle changed colors and there were three ice slides. SO COOL. 

 

 

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I took the shuttle from the Art House Convergence on Jan 19 to Sundance in Park City, where I stayed through Jan 25. Again, friends came to the rescue when my BFF Teri Gamble offered to share her bed with me at the amazing condo she was staying at in Sundance, and another friend helped me in getting a super sweet badge for the festival. (I have wonderful friends!)

 

 

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Teri works as PR for Media Circus/Circus Road Films, and over the course of my staying there, I got to know all of the cool folks who work there – including Adam Bowman, Glen Reynolds and Sebastian Twardosz – and their cool friends Michael Philip, Alex Ferrari  & Austin Nordell.  

 

 

 

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I was able to see 11 films at Sundance, my very first film being an 8:30am screening of I Don’t Feel At Home In This World Anymore. I have loved Melanie Lynskey since I saw her in Heavenly Creatures on opening day, and Elijah Wood since I was ten, so I was majorly stoked to see them act in a flick together. And they didn’t disappoint. I loved I Don’t Feel At Home In This World Anymore, loved the characters and the crazy directions it swerved into, and its very unique tone. I am so thrilled that it won the Grand Jury award – it deserved it.

 

 

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I Don’t Feel At Home In This World Anymore ended up being the film I recommended to everyone I spoke to (and I was pleasantly surprised at how friendly absolutely everyone is at Sundance!) and at the end of the day the first film I saw was the best film I saw there – even after 10 others. The others being Person to Person, LA Times, I Dream in Another Language, Before I Fall, The Discovery, Marjorie Prime, Machines, Quest, Its Not Yet Dark, Band Aid). Some of these films were very good, but nothing touched I Don’t Feel At Home In This World Anymore for me. 

 

Being that I was staying in the Media Circus condo, I also got to be involved in two super duper rad events that became the highlight of my trip. The first was to get to sit in on an interview that Indie Film Hustle conducted with Spectrevision/Company X.

 

 

 

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I’ve loved all of Spectrevision’s releases so far, and after attending the Spectrevision/Cinefamily  produced staged reading of Joe Dante’s incredible script for the Roger Corman Biopic The Man With Kaleidoscope Eyes – which was AMAZING – I was so delighted to hear that they were going to produce the full film version.  Joe Dante is obviously a genius as a director, but he is also one of the nicest people I have ever met, and I am so excited for him to finally get to tell one of his amazing Corman tales on screen! 

 

 

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The Indie Film Hustle interview was such fun, with Daniel Noah, Elijah Wood, Josh Waller & Lisa Whalen giggling and riffing each other, and Alex and Sebastian asking the right questions to get an honest and heartfelt answer. And I unexpectedly got a shout out in the middle of the interview, which was pretty rad. (Elijah is pointing to me off screen at 35:13 when he mentions the New Beverly – which I yelled back “They fired me!” which is why Josh is doing the finger across the throat and Elijah is saying “I Know, I know…Julia’s gonna kill me!” ) 

 

 

 

 

If I was merely interested in working with Company X before this interview, after it, I am completely determined. Their whole lookout on their jobs, on how they support their filmmakers and aren’t afraid to take chances, sounded like heaven to me. They are the producers every filmmaker dreams of meeting. So excited to see what they produce in the future. 

 

 

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As if that wasn’t enough awesomeness for one day, that night those crazy Media Circus folks threw a RAGING party at the condo, for the upcoming doc On the Sly: In Search of the Family Stone. I jumped right in and ended up being a bartender for the night, and it was the most fun bartending I have ever done. (And yes, I was suckered into paying for a bartending license when I first moved to LA). 

 

 

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Apparently, props must be given to Tim League for inventing this game (and for just general radness), but it’s called Shot Roulette. A D20 is thrown three times, and each number corresponds to a bottle of some beverage. Three beverages are added to your shot, which you then shoot, and name. 

 

 

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I say beverage because it wasn’t all booze – although there was moonshine, whiskey and all sorts of flavored liquors – there was also fish sauce, clam juice and cream of mushroom soup. I must have poured hundreds of shots during that party, and about 75% of them were absolutely repulsive, but no one refused to drink theirs. It would be against the spirit of the game! So to your health to everyone I served that night, and well done on your sense of adventure! The game is complete genius, and turned the party into an absolute blast – it was so much fun to be in the middle of it all. 

 

 

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Many thanks to all of the fellows and ladies that I met during the Art House Convergence & Sundance – you were all so kind, and it was thanks to you that I had such an amazing time. It was so great to be back with cinema focused folks again, and talking about the future and its possibilities. I am so excited to go through the stack of business cards I got & get back in touch with you all – and am hopeful that one of these cards represents someone to help guide me to my next adventure – wherever that adventure may be. 

 

 

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WE DID IT!!

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 THANK YOU from the bottom of my heart to every single one of you that donated, shared and tweeted about my Independent Cinema in the UK campaign. 

 

I am so very chuffed to be able to not only tour along with Out of Print, but also interview some incredible British cinemas – and I got some beauties lined up! I can’t wait to share it all with you! 

 

I can’t tell you how much it means to me to have so many wonderful people out there who believe in me. I have a hard time believing in myself sometimes, and your support truly gives me hope.

 

I am going to make the best damn project I can, and work hard to make it worthy of all of your support.

 

Plane tickets are bought, Thundercats Are Go! 

 

And I want to thank all 93 of you that donated to make this project happen.

 

Thank you to:

Marion Kerr

Brian Crewe

Anthony Swilley

Jehangeer Sunderji

Thomas Dyer

Aoife O’Sullivan

Joe Vanourney

John Rackham

Paul Hrissikopoulos

Gill Regan

Gail Marsh

Richard Beer

Bobby Bennett

Pat & Lamar Marchese

Becky D’Anna

John Marsh

Bing Bailey

David Wirth

Lotti Knowles

Megan Riordan

Toby Miller

Danielle Hood

Eric Soto

Peter Knight

Christopher Roberts

Tyler Gray

John Duncan

Terry McCarty

Ceri Ashcroft

Dom Zook

Jeff Beeching

Ruth Ann Harnisch

Luke Doran

Lance & Lorelle Davis

Jane Pike

Chris Eibes

Kathleen Dolan

Nigel Smith

Jennifer Upton

Patton Oswalt

John Ringhoff

Darren Van Dusen

Karen Irvin

Jonathan Hatfull

Crystal Clements

Carey Kaplan

EF Contentment

Tim Davis

Courtney Joyner

Toni Posey

Rick Dominicus

Richard Martinez

Daryl Zero

Stevie Cattigan

Dallas King

Mercury Troy

Polly Rose

Anne Seabright

Anita Getzler

Maxwell Marchese

Judith Page-Leiberman

Jill Halverson

Jon Schell

Tara Judah

Taylor Posey

Duncan Carson

Annika Klein

Fergal Rock

Quentin Desert 

Andrew Gaughen

Joanne Lentino

PC Rae 

Paul Maskell 

 

AND a secret thank you to all of you marvelous, mysterious private & anonymous donors! 

 

And last but certainly not least, thank you to the folks at Go Fund Me, whose PR team helped me with press and who gave the final $250 to make sure this project succeeded. 

 

THANK YOU.

 

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Thank you.

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I need to thank all of you. 

 

Because of you, I was able to not only make my first film, but also have it distributed. 

 

If you feel like you’ve been hearing about Out of Print forever – you kind of have. Can you believe that I launched my Kickstarter in 2012?

 

And it took four years to get to this point, the film being released on Amazon & Itunes as well as playing in independent cinemas on 35mm. 

 

That’s how long it takes to make a movie – from soup to nuts, and the thing I have enjoyed most about this entire process is I have learned how to make and sell a film.

 

I raised the money, hired the crew, scheduled the interviews, rented the equipment, drew up the contracts, interviewed the cast, bought the lunches, paid the crew, sent out the Kickstarter incentives*, filmed in London, edited the film and got the color & sound done**, had selected folks watch a rough cut and give notes, got screeners made and sent out to film festivals, got the film digitized and made into a 35mm print (!!), premiered at the Sidewalk Film Festival and won the Programmer’s Award, personally toured with the film to several colleges and had wonderful Q&A’s with students, personally booked the film tour around the world, was featured on dozens of cool podcasts, was interviewed by dozens of awesome websites, was fired from the very establishment I had centered my film on, learned a hard fucking lesson about Hollywood, found a sales agent who took the film to the American Film Market, found a distributor who sold the film, and had the film premiere on VOD and be playing in independent cinemas on 35mm at the same time. 

 

A hearty thanks to all of you who rode along with me. 

 

Thank you all for all of your support and patience during these last four years. I am over the moon about the positive reviews Out of Print has gotten recently, and am so very thankful to all of you for making it happen. 

 

That being said, it hasn’t all been rainbows and unicorns. Losing the New Bev broke my spirit hard core, and I’m still licking my wounds. I have a film that I now look at and wish it was different – I wish I hadn’t just focused on one theater, I see the repetition in the film, the lag in the middle and a thousand other little problems with it.

 

But I am proud of the film I made, and love the response that it has gotten. I’m glad that my honest passion for cinema & 35mm film shines through, and that it has gotten people to be curious about that small cinema near them, and what they are watching the movie on. That was always my goal with the film, and in that I think I have succeeded. 

 

So what comes next? 

 

Los Angeles has lost some of its sparkle. 

 

I’m still looking for a job.

 

Am I going to make another film?  I hope so. 

 

I have a project I think would blow people’s minds.

 

And I have been hoping Out of Print will lead to the next film..but I don’t know. I haven’t been able to predict a thing correctly about this film yet, so let the chips fall where they may. 

 

But I am still so passionate about cinema, and always will be. I don’t quite know what direction to turn in these days, but whichever way I go, I am sure there is film waiting for me at the end of the road.  

 

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*with the help of John Quinn, Daniel  Owens and Jon Schell, respectively. 

 

** If you donated to Out of Print’s Kickstarter and are owed a DVD, fear not! They will be  arriving by Christmas…