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1. a couple tricks & a story line

  • Published: 2012-04-23T19:38:52+00:00
  • Duration: 166
  • By Casey Bagozzi
a couple tricks & a story line

A couple street spots and a story line of times past and good friends.

2. Hackney Film Festival 2012

Hackney Film Festival 2012

7 - 9 September 2012 directed by Steven McInerney & Stuart Heaney sound by Tom White - Exposure 42 'Interior Building' from Exposures, My Dance The Skull (Art Editions) 2012 Full Programme Friday 7 September. 8pm Hackney Film Festival & Live Cinema Foundation Opening Night The New Empowering Church £8 before 10pm. £10 thereafter The Festival opens on Friday 7 September with a collaborative event between the HFF and the Live Cinema Foundation. The Live Cinema Foundation is a new Hackney based organisation that supports the presentation, development and publication of emerging digital culture that exist at the intersection between film, music and the performing arts. For this special one off event it has joined forces with HFF to co-curate a night of audio-visual delights that celebrates local artists operating in this field. Scanner performing Unto The Edges 'Unto The Edges' is a performance of sound and image. It is like the delicate movement of a watch spinning through space. Microscopic clicks, wood blocks and everyday sounds are painted over rumbling, dark canvases. Ultimately, by puling himself on the line Scanner manages to inject a form of music that is often distant and impersonal with warmth, human frailty and humour." The Guardian Newspaper'' The Light Surgeons performing LDN-REDUX 'LDN-REDUX' is a multichannel audio visual performance explores the landscape and architecture of London through a combination of live video remix and live electronic musical score. The piece paints an anthropomorphic portrait of London which encourages its audience to contemplate the city as a living organism. In parallel with this kaleidoscopic view of the every day life, the performance seeks to explore the city as a complex structure through its relationship with a more hidden landscape of digital information. The resulting audio visual journey transports its audience through this sprawling metropolis to reveal its human activities as an abstract dance over a 24-hour cycle. Scanone live A/V set Director, Editor, Sound Designer and Label boss of Yellow Machines, Jude Greenaway aka Scanone is a London-based Audio Visual artist who has been producing, performing and releasing music for well over a decade. In that time he has managed to develop a sound that skirts around the lunatic fringes of a myriad of underground genres, from bass-heavy electronics to glitched-up cinematic IDM. For this performance he will be showcasing some fresh new material from his forthcoming DVD compilation and new unheard / seen cinematic audio visual works with music from himself and the Yellow Machines label. Blanca Regina and Matthias Kispert performing Banquet. Banquet - Live Cinema Performance mixes sound and visual material collected by the artists together with appropriated footage from advertising, to create a poetic investigation of food and its manifold cultural relevances. If the circumstances permit, the artists will even prepare some of the stuff live on stage for the audience to enjoy during and after the show! Spatial (dj set) Echoes of haunted dancehalls and distant raves in London town.. In late 2008 spatial subverted the UK bass scene by releasing a limited 10" on his newly christened infrasonics imprint. The expansion of dubstep's horizon with a technoid garage hybrid combined with the minimal aesthetic of the design and information reticence proved compelling in an age of categorisation and communication overload. The release scored an instant Boomkat single of the week and all but sold out inside two weeks. The Butchers (vj set) The Butchers is a collective of freelancers, film maker, video artist, art director working with film and performing arts. Their live performance ranges from vj sets to a conceptual collaboration with specially produced audio visuals, focusing on the live interchange between music and a cinematic interpretation of light, movement, and a surrounded urban  environment. Champetamine (dj set) HFF resident Champetamine is a vinyl purist specializing in dub infused techno  mixed with slices of electronica and glitchy tribal rhythms- you never quite know what's in Champetamine's bag of tricks. Joe Catchpole Joe Catchpole is a Hackney based visual artist who creates bespoke video, motion graphics and display installations. His work has been seen at Music Festivals, in Art Galleries, Nightclubs, Corporate Events, Theatres and even on TV once or twice. Nano Projections – Paulskiart Paul Skawinski is an analogue visual designer and founder of Nano Projections. In 2009 Paul invented custom liquid projector "Illuminati 1.2" (patent pending), which creates “organic projections" up to 20 meters in diameter. The content inside petri dish is subject to chemical & physical reactions that occur during mixing process. Nano Visuals take you into the journey of your own fantasies and dreams; they will trigger your imagination & soul. ---- Saturday 8 September. 4pm Hackney Film Festival short film programme (15) 80m Rio Cinema. £6 at box office. Selected from over 100 entries the Hackney Film Festival brings you their most exciting programme to date of independent to BAFTA award winning cinema. Running time: 80m. PITCH BLACK HEIST (Victoria 2011) dir. John Maclean 14m John Maclean Liam (Liam Cunningham) and Michael (Michael Fassbender) are professional safe crackers who meet on a simple job to relieve an office safe from its contents. The catch is a light activated alarm system impelling the men to embark on a pitch black heist. THE PUB (Haggerston 2012) dir Joseph Pierce 8m Kemi lives and works in the murky slipstream of a North London pub. As the booze flows the line between who belongs behind and in front of the bar becomes increasingly blurred. SHIFT (Hoxton 2012) dir. Max Hattler 3 min Using the New Age idea of a 'dimensional shift' as inspiration, Shift combines science fiction themes through abstract, stop motion animation of objects and colour. SNOW (Dalston 2012) dir. Peter Middleton 5m Shot on high grain 8mm film, Snow is a short-form documentary narrated by John Hull. Having lost his sight 30 years ago, John takes us into the strange, ethereal world of the blind: a world dependent on sight and touch alone. The result is a thought-provoking and poetic account of the impact of snowfall on the lives of people living without sight. 82 (Dalston 2012) dir. Calum MacDiarmid 6m A postman lets us into his dark world in quiet suburbia. INVADE ALL OF THE HUMANS (Haggerston 2012) dir. Tom and Mark 2m Invade all of the Humans is a micro-musical-comedy pilot about two obsolete and unhinged retro robot toys with delusions of world domination. Calculord 3 and PX Micron are a pair of discarded educational toys from the 80’s who now live in park and spend their days laughing at humans and planning their invasion of Earth. They also enjoy performing electronic music and dance routines. Calculord 3 and PX Micron run on four AA batteries. TRIBE (Victoria 2011) dir Cyril Gfeller 4min Inspiration taken from the album cover titled my “wilderness” by Piers Faccini. Made entirely of maps this stop motion masterpiece tells the story of a man in his many forms. You will be taken on a musical journey echoed perfectly with visions of tribes, colours and visual entertainment THE ODYSSEY (Stoke Newington 2012) dir Asif Kapadia 30 min The Odyssey, is a mixture of aerial photography, audio interviews and archive. It canvases the opinions of Londoners from the point where the Olympics were first won by London up to the point when it happens … with all the ups and downs on the way. ---- Saturday 8 September. 8pm An evening of expanded cinema Cafe OTO. £10 on the door The Hackney Film Festival steps outside the confines of the cinema setting and explores the film and video art practice of Expanded Cinema for an evening with Hackney's most imaginative and innovative performance artists.  SCULPTURE  Sculpture is electronic music producer, Dan Hayhurst and animator, Reuben Sutherland – manipulating digital and analogue media into energetic sonic and visual amalgams, inspired by a continuum of exploratory practice in music and abstract film and video while following their own idiosyncratic vision – a DIY aesthetic encompassing pop, appropriative collage, cut & spliced techno, noise, early electronics, the avant garde and comic strips, mechanical and digital animation techniques, tape edits and computer programming, heart and head, past and future.  Dan Hayhurst plays digital media devices, reel to reel tape recorder, sampler, effectron and walkman. Reuben Sutherland plays video zoetrope record deck, ‘DJing’ with psychophonotropic picture discs which animate when filmed, beaming looping fragments of surreal, luridly coloured imagery into eyeballs and brains at 25 frames per second – Victorian mechanical imaging technology combined with digital video.  GUY SHERWIN Cycles #3 2003 (1972) c.9 mins b/w & colour Optical sound 16 mm Projector performance for 2x16mm projectors with optical soundtracks. Cycles #3 is a live projection event for two 16mm projectors and two loudspeakers. The material used in Cycles (1972/77) is recycled for two screens and two soundtracks, with one tinted screen set inside a second b/w screen. This combination gives rise to a surprising range of induced colours and afterimages, as well as complex cross-rhythms in the soundtrack. The projector performance includes subtle shifts of focus with changes in volume and tone.  Sherwin studied painting at Chelsea School of Art in the late 1960s. His subsequent film works often use serial forms and live elements, and engage with light and time as fundamental to cinema. Recent works include performances that use multiple projectors and optical sound, and installations made for an exhibition space.  Sherwin taught printing and processing at the London Film-Makers' Co-op (now LUX) during the mid-70s. His films were included in 'Film as Film' Hayward Gallery 1979, 'Live in Your Head' Whitechapel Gallery 2000, 'Shoot Shoot Shoot' Tate Modern 2002, 'A Century of Artists' Film & Video' Tate Britain 2003/4. He lives in London and teaches at Middlesex University and University of Wolverhampton.  SALLY GOLDING  In her performance this evening, Golding will use torchlight printed sound film, hacked sonic devices, motorised colour filters, stroboscopic light, refracting lenses and physical interference, Golding warps the output of the projector’s light and sound into a hypnotic and frantic field of colour, form and noise fuzz.  Golding is currently based in London and hails from Brisbane, Australia. Golding combines film projection with performance and installation creating live cine-sculptures and interactions. Golding deploys folly and foray into physiological cinematics, creating embodied beams and alchemical projection performance. Photographic compositions printed as optical soundtracks and decomposed uprooted vinyl library music neatly situate Golding’s work at the crossroads of science and superstition, philosophy and pulp. Deconstruction of cinematic materials and apparatus reveal slippage between materialist investigation, sculptural forms, and bodily intervention - redesigning the cinematic viewing experience, exposing the typically locked process of beam-audience-screen. Cracked cinema for darkroom compositions, light bleed, contorted projection sports, dismembered narrative, strained sonorousness, whimsical instructional and wanton optics. LYNN LOO A Study Deriving from previous multiple 16mm film projection works. A study is a work in progress incorporating video and 16mm film projection.  Loo made a transition from a music background to filmmaking in 1997. She studied at The School of the Art Institute of Chicago where she acquired her Bachelor of Fine Art. A way to describe her films is that they are compositions of images and sound that suggest narratives or convey an event without text or words. Unfinished Symphony (2001, 16mm) and Floating (2004, super-8) are examples of that.  In 2004, Loo was introduced to films made from makers involved in the London Filmmakers’ Co-op. Works specifically from the ‘70s. This has influenced her present work where the exploration of filmmaking has moved to an investigation of the celluloid and presenting works in a performance element with multiple projectors. Her first film from this is '0' (2004, 16mm), followed by Vowels (2005, 2x 16mm). Letterforms printed onto strips of film that would also produce the soundtrack. Vowels is expanded to Vowels and Consonants in collaboration with Guy Sherwin. Her most recent work is a 4x 16mm projection performance piece, End Rolls (2009, 4x 16mm). Since 2005, she has been assisting and collaborating with Sherwin in numerous film performances and projects. ---- Sunday 9 September. 3pm The Hackney Film Festival and IdeasTap present An Emerging Filmmakers Screening (15) 60m Hackney Picturehouse (Free Entry) Hackney Film Festival and IdeasTap present the Emerging Filmmakers Screening at the Hackney Picturehouse. This free mid afternoon short film showcase will focus largely on young up and coming film makers to inspire and connect the next generation of filmmaking talent from the borough. Filmmaking masterclasses will be awarded by SAE institute to the crew of the top three films. Skip Town (Hackney Central 2012) dir. Rosanna Wan 3m A day in the life of an adolescent boy trying to leave the suburban town of Skip. It explores themes of turning points in life, from puberty to death, and control and acceptance over these transitional moments. As I got Older (Hoxton 2012) Andrew Hill & Richard Chua 9m A short documentary, Directed with Andrew Hill & Richard Chua. A mini biography of ex-gang member Jaye O'Leary with a inspirational story and a powerful message.  Night Cycle (Clapton 2012) dir. Paul Frankl 5m In the secluded bubble of a dated laundrette, away from busy London hustle, the young and mournful Lois finds refuge alone. Reflecting on the painful past she has lost, she gets lost in her thoughts until the mysterious and elusive Anna surprises her, appearing from nowhere to ply Lois from her thoughts and give her new hope. Gentrification (Haggerston 2012) dir. Alastair aloo 2m In light of the recent Olympics being held in east London and the regeneration of the surrounding boroughs. Gentrification takes a personal and abstract look at those involved. A visual journey through social housing, capitalism, the environment and social unrest and asks local residents of their personal feelings about the Olympic games. Alexis: Blurred Lines (Haggerston 2012) dir. Amelia Abraham 12m A documentary short about 24 year old Alexis' personal journey to undergo facial feminization surgery. We follow Alexis in her every day routine, take a trip with her to Belgium where she undergoes her surgery, and most importantly, ask her to discuss experiences as a transgender person. Stalemate (Hackney Downs 2012) dir Kasper Zak 13m Older couple lives in a messy-labirynth of a house where just like their relationship, none of the objects works properly. The gramophone with a tango record especially, turning itself on and off whenever it wants to. Being completely different and ill-matched charecters they are busy getting on with their own contradicting activities, and do their best to not notice each other, Husband and Wife in turns engage themselves and all their possesions in the fight for territory, like in a game of chess. Until their paths collide. Forget Me Not (Cazenove 2010) dir. Lottie Kingslake 5m A theatrical flower seller tells the story of a memory-less mountain man as part of an elaborate sales pitch. ---- Sunday 9 September. 7pm Andrew Kötting & Iain Sinclair present A Hackney Wick canal screening: Swandown & Short films (12A) Carlton London (Fee Entry) Sunday evening closes the festival with a free screening of Andrew Kötting and Iain Sinclair's olympic sized travelogue 'Swandown', plus a screening of Kötting's early short films and others. The event fittingly takes place at the Carlton London, situated on the canal in Hackney Wick, overlooking the closing ceremony of the Paralympics. Andrew Kötting and Iain Sinclair will also be in attendance for a Q&A hosted by Gareth Evans. This event is part of Showtime presented by the Mayor of London. Hackney Armada (dir Larraine Worpole) 6 mins Jaunt (dir. Andrew Kötting) 6 mins Glitter and Storm (dir. Rebecca E Marshall) 15 mins Gallivant Pilot (dir. Andrew Kötting) 8 mins Edgeland Mutter (dir. Andrew Kötting) 4 mins Offshore (dir. Andrew Kötting) 20 mins Swandown 94 mins (plus Q&A with Andrew Kötting & Iain Sinclair) more info.. The Hackney Armada / Larraine Worpole / 2012 / 6 mins  In early 1995 Larraine Worpole took a series of photographic details of boats under repair at the Springfield Marina on the River Lea in Hackney, where she had a mooring.  These enigmatic images appeared to form imaginary worlds, a sequence of which has been edited to create a journey to the heart of the river. The soundtrack has been composed by musician Dave Draper, from live sounds recorded in the Lea Valley, digitally re-sampled, sequenced & mixed in the studio. Photographer Larraine Worpole has lived in Hackney for more than forty years. Her work has been published in many books and journals on architecture and landscape, and is represented by the Edifice Photo Agency. Guitarist Dave Draper's back catalogue includes leading The Ivory Coasters in the 1980s and recording as The Invisible String Quartet in the 1990s. He plays guitar, electronics & keyboards, and his musical interests range from rock & jazz to African pop music and free improvisation, using guitar & live multitrack looping, as well as sampled everyday sounds. Jaunt / 1995 / 6mins A trip up the Thames from Southend-On-Sea to the Houses of Parliament provides Kötting with many fine opportunities to indulge in his own idiosyncratic brand of taradiddles and horseplay, vivacious Super 8 camerawork and cast of cheeky characters. Glitter and Storm / Rebecca E Marshall / 2012 / 15mins Water, sunlight, breathing and skin – this is a submersion into the joy of sea swimming by night and by day. A series of moving portraits and interviews held exclusively in the sea off the coast of Hastings. Rebecca E Marshall is a filmmaker and artist. Her work has been shown at the NFT, The Royal Opera House and film festivals worldwide. ( Gallivant Pilot / 1994 / 8 mins A kind of pitch document for Kötting’s most celebrated feature – a coastal circumnavigation of the British Isles accompanied by his grandmother Gladys and daughter Eden. Edgeland Mutter / 2009 / 4 mins Edgeland Mutter attempts to invoke a sense of the past via the here-and-now. Drawing on my own extensive Super 8 archive and a growing body of Mini DV footage the film attempts to portray a fragmented and nostalgic view of a part of the world that has proved vital to the very fabric of my existence. Amongst the sonic flotsam and jetsam lie littoral truths, half-truths and coastal myths. Both melancholic and absurd the ‘coastcard’ is a confusing missive from a place of hope. It is a reminisce and flawed celebration. Hastings as a place where both memories and people are pulled towards the sea in a strange state of ‘reverse evolution’. Sinclair. Offshore / 2007 / 20 mins 10 years ago Kötting made a film called Gallivant that took as its inspiration the coastline of Great Britain. This film takes as its inspiration a Channel light vessel called Gallivant. It travelled alongside him as he attempted to swim the English Channel as part of a family relay team. Sounds and images from the original film invade as both mnemonic and catalyst, littering it like the flotsam and jetsam that they swim through to get to the other side. He was assisted in this endeavour by the words of Iain Sinclair and the presence of his daughter Eden. Swandown / 2012 / 94 mins Swandown is a travelogue and odyssey of Olympian ambition; a poetic film-diary about encounter, myth and culture. It is also an endurance test and pedal-marathon in which Andrew Kötting (the filmmaker) and Iain Sinclair (the writer) pedal a swan-shaped pedalo from the seaside in Hastings to Hackney in London, via the English inland waterways. With a nod to Herzog’s Fitzcarraldo and a pinch of Dada, Swandowndocuments their epic journey, on which they are joined by invited guests including comedian Stewart Lee, writer Alan Moore and actor Dudley Sutton. Reviews: It’s a calm, resigned, mystical work that sits back and lets the world work its strange magic on us. Sinclair talks of him and Kötting becoming ‘flesh radios’ as they navigate the waterways and tune into the frequency of people and places. In spirit, however, this is resolutely more Resonance FM than Radio 1. **** Time Out There’s something enjoyably Herzogian about the pair’s trip: the way Kötting and Sinclair wrestle their craft, nicknamed Edith, over muddy embankments and bicker as they splosh along loamy waterways makes Swandown feel like Fitzcarraldo on aYou’ve Been Framed budget […] Swandown’s charm is rooted in something much deeper, and more profoundly English, than confected Team GB spirit. **** The Daily Telegraph Swandown is utterly funny, deeply lyrical, wholly winning, unchallengeably unique. It converts Kötting at a stroke from an acquired taste to a required one. ***** The Financial Times Notes on Andrew Kötting By Gareth Evans Andrew Kötting is one of Britain's most intriguing artists, and perhaps the only film-maker currently practising who could be said to have taken to heart the spirit of visionary curiosity and hybrid creativity exemplified by the late Derek Jarman. Formally exploratory and aesthetically innovative, like Jarman he is also a great collaborator, building around his various projects a community of shared interest, anchoring his prolific production in an ongoing report on the lives of those closest to him. His thirty year oeuvre to date has moved from early live-art inflected, often absurdist pieces, ripe with their own internal logics and skewed mythologies, through darkly comic shorts, teasing out the melancholy surrealism at the heart of contemporary Englishness. His two resolutely independent features take landscape (rare among contemporary artists, he is most engaged beyond the urban) and journeys as the springboards for visually striking and structurally inventive enquiries into identity, belonging, history and notions of community. But the film and video work offers just one incarnation of the themes and motifs to which Kötting is attentive. Throughout his work he has also written and performed, created for digital platforms and for the gallery (two- or three-dimensional pieces and installations) and is increasingly working directly with sound and music, in concert and on cd. Such activity reflects both his wide-ranging formal interests but also his refusal to adopt conventional ideas of closure around artworks in any medium. Ideas and images frequently migrate between media, being echoed and amplified in these translations. It is this openness, underpinned by an outlaw intelligence and pranksterish wit, which marks out his work as both energising and important. -end-

3. G Tom Mac & DJ L33 - Cry Little Sister (EFR Tribe Version)

  • Published: 2015-09-18T07:12:12+00:00
  • Duration: 392
  • By DJ L33
G Tom Mac & DJ L33 - Cry Little Sister (EFR Tribe Version)

This is one of the best moments of my entire life thus far, recreating this legendary cult classic song from The Lost Boys movie with Gerard McMann for what was the much anticipated Lost Boys: The Tribe (Part 2) that was made in 2008. I was honored when I got the call from the man himself, and was asked to make a new version of the song with him. I might be a little verbose in the description of this particular song, but I promise (those of you who don't mind reading more than a Twitter's length of characters) it will be worth the read! To preface, what you are listening to here is a new version of a song that was originally released in the late 1980's as the theme track to the motion picture The Lost Boys (vampire movie starring Corey Haim, Corey Feldman and Keifer Sutherland). We recorded this version of the song in 2008 for the Lost Boys: The Tribe blu-ray and DVD. It was created with vocals by Gerard McMann (who also sang the original version) and the instrumentation, production and mastering by me; DJ L33. The blu-ray lists me as DJ Lee since that's how I was known at the time, but I now spell it DJ L33. It's pronounced the same but the 3's represent backward E's like the second N in Nine Inch Nails -NIN-. Too many people were using the name DJ Lee). It took me quite a long time to start out with just raw vocals, and create a new industrial take on the old song. I wanted to stay true to the original, since it's such an iconic track, but yet edgy, harder and modern. I tried to tap into a bit of the Trent Reznor that also lives inside my head. The final product speaks for itself. What you are watching is my video remix that I just completed today. It took me a week to create. In 2008 a video was shot by G Tom Mac (A band of which Gerard McMann is the lead vocalist of). I was invited to be in the video, but after working on this track for such a long period of time, and the videotaping falling on March Break (which I already had paid reservations for in Key West), I didn't make it out to the shoot. In hindsight I regret that immensely. It would have been one of those 'once-in-a-lifetime-experiences.' I was so tired though. I was really pushing myself at that time, doing too many things at once. Shortly thereafter I became busy in other things in my life, but as of this month am launching back into the scene. So what you are watching a new version of the music video that appears on the Lost Boys: The Tribe blu-ray and DVD. I have mixed the video around the full length version of the audio track we created (different from the one that appears on the movie disc). Also this new video mix includes footage from the movie disc the original music video appears on. The amount of work was quite overwhelming, but I was determined. I enjoyed the music video when it came on the blu-ray, but the movie's distribution itself and the resulting exposure to the track did not go where we had hoped it would. We were so excited at the thought of a new Lost Boys movie, and that Corey Feldman would return, with a cameo at the end by Corey Haim, foreshadowing what may have been a return to an epic Part 3 with the two Coreys on board. Unfortunately Corey Haim died not long after this movie was released, quashing those dreams. ABOUT THE VIDEO: Some of the transitions, and effects took me hours to make mere seconds. A lot was done manually, everything in sync with the beat, video segments trying to pertain to the lyrics being sung at that moment, characters used in the music video tied into a storyline with the characters from the movie footage and on and on. The actual storyline in this version of the music video is different from that in the Lost Boys: The Tribe film. I figured with the song being such a cult classic, I would let the vampire live. In this video, the vampire does not get killed at the end, but rather the fight that ensues in the movie before his near demise, is only halfway through this video mix. The vampire wins that fight and the hero runs off, licking his wounds. The vampire then continues his romance with his new found love. That is NOT what happens in the movie! I then ended the video with a little tribute to Corey Haim R.I.P. -IN DEPTH VIDEO RUNDOWN- You will notice the video starts with a pretty orange Pacific Ocean sunset. The characters on the beach running under the pier are from the original music video we released in 2008, but the guy sitting on top of the pier is the main character of the movie! Separate footage that looks like it’s meant to be together. That’s the approach I tried to take throughout. Also I made the sun go down quickly, and the scenes from the 11 second to 30 second mark all look like they're at night. They were NOT night time shots however. That is all post editing. Also notice through the video, whether it be the girl's shoulders shrugging in the shower, or someone kicking their instrument on stage or quick rhythmic vibrations to the camera as the chorus gets loud or someone riding a motorcycle with stuttering effects, everything is in sync with the beat. At the 35 second mark you will notice that there is a "Missing" poster on a wall with someone in it, followed by a quick stuttered shot of a longer haired guy immediately after. The Missing poster is from the movie. The character with long hair is from the original music video. At quick glance they appear to be the same person. They aren't however, but my intent is to make it appear so. Therefore the group this character hangs out with from the original music video, gets tied in with the actual footage from the movie. There was a LOT of thought put into this video remix, let alone work. However I am very proud of the audio track itself, and I wanted the video to be larger than life like the videos of the era the original Lost Boys movie came from, plus Gerard McMann sang his heart out trying to put an industrial modern edge on what was once a much slower menacing 80's gothic cult-classic track, and I worked my ass off imagining arrangements, playing instruments, producing and mastering this thing. I wanted the video to live up to what I feel is a stunning industrial recreation. Also the first Lost Boys movie is legendary, so I tried only to include parts from Part 2 that not only told a story, but visually looked like they might be from Part 1! It feels very familiar watching this music video, if you're a diehard of the original movie like I am. From the 51-55 second mark, the screen takes a "fish-eye" look and then morphs around behind Gerard singing. It gives you the feeling of BEING THE BAT, looking at the band playing and then flying in from behind. At 1: 03 the girl that was turning into a vampire puts her hand up to a mirror and sees nothing. However in the movie, the mirror footage is actually of the main character's sister, not his new love interest with bat wings. I cropped and panned the sister out, and diluted the colors down to blue. The chorus starts at 1:08 and you can see the camera shake with every bass drum kick. That was all edited by me for this new video mix version, to make it feel more intense than the verse. You will also notice the girl dancing to the song, and the band fading in and out between the movements of her hips. 1:38 incorporates a few little beeps from the movie, some stuttering effects in the movie re-synced to the song, and some of my original special effects. The girl sees red as she drinks a flask of vampire blood. Later in the 2nd verse you see the main character getting sleepy. The song talks about temptation and he dreams of two women holding each others in a loving / but evil looking embrace. With the effect I put on them, you might think it was a dream portion from the movie, but they are characters from the original music video. Around the 2:08 mark you will notice there are skateboard ramps where the main character is walking. Suddenly there are skateboarders jumping off the stage in the music video. This is all in sync. Also notice shortly into that scene, some BMX tricks are being shown, and then a shot from the movie with the main vampire doing stunt moves on his motorcycle. Then watch 2:23 as you are led down the cave. I dissolve that scene with only the flames visible and blackness into the hallway leading up to the main villain's bedroom. The movie speeds it along as if you are a bat flying. That's why I used the round fisheye effect when you see G Tom Mac playing in the middle of the scene for a couple seconds. It's how that fast flying bat would see it. At 2:32 I turned the vampire’s face into art, almost made of lights. Then the next thing you see is the battle. The villain flies down from his lair, and the camera lurches the speed to the beat. A fight ensues and every crash, punch and thud falls in sync with the music. In the actual movie, the main character and his sister defeat the villain and he dies a fiery impaled death. However in my video mix, the main character gives up and runs off. Around the 3 minute mark took hours and hours. Gerard McMann will appear to fall down from the sky onto the stage and sing. The scene will go from green to red (intense, vampire) back to green again and the video will lurch to the stuttering Charlie Clouser-like (Nine Inch Nails) stuttering sounds in my audio mix. In between the stutters you will notice the main female of the movie in a red jacket. She will morph from normal, into a vampire. The movie never did that, I did that. The shots of the girl as a vampire and as a human are far apart in the film. In fact I had to mirror the image of her as a vampire, lay it over-top of the footage of her as a human, crop and pan it so she lay in the same position on the screen and do transparency and effects. This also left an open gap on the left side of the screen that I had to then figure out how to deal with so there wasn't a bright white stripe. I won't give away how I did it, but it turned out perfectly. Painstaking effort though. Another one of my morphing moments comes at 3:16. I took the footage of the main villain and his woman kissing, and suddenly they become a couple who was kissing in the original version of the music video. That was a lot of work. The whole middle chorus around 3:50 was a lot of effort fading scenes from the movie in and out with G Tom Mac video footage. Around 4:20 it gets smoky. Is that subliminal? LOL! Anyhow I added that smoke to the G Tom Mac footage, and the next cut to movie footage also is very smoky and continues the feeling it was all made at the same time. The new story line I created in my music video mix, shows the vampires getting stronger near the end and doing what they do best as seen around the 4:30 mark. I also created black segments to the beat and broke up the video footage. It gave it a scarier, darker movie meets Nine Inch Nails video effect to it. I enjoy watching that portion a lot! Around 4:45 you notice the vampire taking his prey, and the main vampire in bed with his love. He has a dream, a nightmare. His nightmare is that he falls to the ground in flames. That is why I made his eyes BLUE, as opposed to the orange-red the movie footage had. He was almost fearing as a mortal in his nightmare, which briefly turned his eyes back to blue. You will hear the custom sound of fire (multiple layers I put together) as the body burns. Also notice when the leg drops you can hear the sound of his foot hitting the ground that I placed in there, as well as the sound of the fire spreading down that leg as it hits the ground You will see the burning body from the nightmare for a little while, until I bring smoke into the shot and fade into footage of the characters under the pier from the beginning of the movie. Only they're alive, and it's not night time. That insinuates that they made it through the night. BUT WAIT, who is lying among the mess of limbs, but the main villain and his love. You see him alive and well with his arm around her and his vampire ring on his finger as the music and the video fade out. That means those innocent people from the beginning are still alive, but instead of being prey, are now vampires and part of the villains den. That is why the MISSING poster from the movie footage at the beginning of my video mix was tied in with the long-haired character from the music video. In my video remix, he went missing because he's now a vampire. In the original movie that character is being held hostage to be sacrificed in a vampire ritual. Around the 5:05 mark, I bring in my own FIRE effect over-top of the burning body. Then the Lost Boys: The Tribe logo comes in, followed by some smoke I put in there as it dissolves into my first short tribute to the life of Corey Haim with a moving shot that goes still for impact by my design. That is part of the cameo at the end of the Lost Boys: The Tribe movie. The credits then roll. You will hear the original Gerard McMann version of Cry Little Sister playing in the background. However I extended the mix from what's on the soundtrack of Part 1. Also shots from the Lost Boys: The Tribe are behind the flames. For those who bothered to stick around for it, after the credits roll at 6:25 I show a short dialogue between the 2 Coreys from the cameo at the end of the movie along with a message. I make this segment look like it was shot in the late 70s. The original movie didn't. The final clip shows the vampire eye adjusting between human and bat. I know this was a long read, but it's only touching on a few of the details that I've put into this week long marathon video remix project. I am hoping you will all check out the Lost Boys: The Tribe. If you buy the blu-ray the original music video is in the special features. Also check out G Tom Mac who sang this brilliant song for the original movie, and this version in 2008. Also be sure to check out 99.9 The Electric Front. ( radio. That is my home (DJ L33...formerly DJ Lee). The station will have a new website, new features and the station itself will relaunch with some genre changes. Expect just the best of industrial, electronic, grunge, metal, rock and more. Powerful, electric, dark,'s going to be on The Electric Front. Find G Tom Mac and enjoy his brilliant music at or I hope you all enjoyed this. I wish to thank Gerard McMann and G Tom Mac for the chance to do this with them. Hopefully our paths can cross again soon. Much love to G and Tony. Last Fire Will Rise! See you all in 2016 -DJ L33 September 17th, 2015 PS: If anything in the audio and video look out of sync, it’s not the video itself but either the download stream or the encoding on the host server. The original is 100% in sync and full HD.

4. Sundance Institute | You Tube New Voices Episodic Pitch Video

Sundance Institute | You Tube New Voices Episodic Pitch Video

MAN-BABIES Created by Tyler Hollinger CONTACT Headline Talent Agency 646 737 2711 TAGLINE: Anything is possible. SERIES LOGLINE: “Man-Babies” is a comedy-mystery about the world’s first pregnant man. It is a dark comedy that looks into the grey areas of ethics and morality as well as gender identity, life, love, and what it means to be an outsider. In a social media obsessed world, this series examines Internet fame, the fantastical mystery of conception, and giving birth to an idea that could revolutionize the world. SERIES OVERVIEW Season One Story Arch “Man-Babies” is a mystery/comedy episodic that spans exactly 9months in the gestation period of the first pregnant man. Each episode in the season is a different “landmark” in the count down to pregnancy i.e. Week 1: Conception, Week 10: Pre-natal visits, Week 20: Ultrasound etc… Using this framing conceit the story is propelled inevitably towards its dramatic finale. Also as we progress in the timeline to childbirth in each episode Eli concocts various “conspiracy theories” unraveling the mystery behind how this happened ie. Divine intervention, biological mis-fires, black magic, self-manifestation, corporate intervention etc… The duo becomes a sort of Hardy-Boys-esque crime solving myth debunking investigative team. In combination with the pregnancy theme other themes like the effect of social media and the internet on our behaviors and responsibilities run parallel to the stories time-line. An example of this is the internet fame Charlie receives because of this miracle. On Day One (The Pilot) he begins a YOUTUBE VLOG style diary to his unborn child to communicate with him(her) in the case the worst might happen and Charlie doesn’t survive. Charlie and Eli engage the help of social media star (The 16yr old) Jerika Page who thinks the whole thing is lame and is “over” male pregnancy. Charlie becomes an Internet expert on parenting tips and tricks for raising a happy healthy baby. Charlie’s newfound social fame brings good things like a financial solution but also bad things like hate mail and attacks from right wing groups who call him an abomination, freak, and messenger of the devil. In a sense this is an outsider story and one of non-acceptance. ]Due to Charlie’s new found fame his estranged girlfriend, Miranda, angles to get back in his good graces and reap these benefits of celebrity. However she is torn between two men, Charlie (her old flame) and Andrew (her new flame) both clash dramatically in episode 6 but neither actually knows how to fight and this whole incident which is caught on camera and ruins Andrews music career as a “pregnant-man-hater.” As for Eli he falls deeply in love with Dr. Patel and his old flame Sharon becomes jealous and conniving of his new found happiness of 1.) being a loving father-figure to Charlie’s un born child and 2.) the fact that he is now dating a successful “Doctor.” Dr. Patel becomes an integral part in the process of raising this child as she expands her practice in the expectation that more men will become pregnant and she will have exclusive rights as the worlds only male pregnancy OBGYN. As Charlie begins to gain notoriety and influence in the second half of the season the child’s true “parents” DIANA FERGUSON and WAYNE JEROME from Ferguson Labs are introduced. The evil Diana Ferguson seeks to level the male/female playing field by having men feel the pain of childbirth. She believes the only way to achieve gender equality is for men to bare this miracle as well. These two secretly impregnated CHARLIE when he worked at Ferguson Labs and they concoct a plan to kidnap Charlie and take the child for their own. In the dramatic season finale he is kidnapped only to have SANJAY appear in real life at the last moment and save the day… or so we think… The show is a millennial amalgam of a couple different genres: sitcom, mystery, procedural drama, and who-dun it. A satirical, farcical, magical, ironic, mysterious, dark, suspenseful look at the grey areas regarding ethics, morality, gender identities, abortion, life, and love.