Art As Deep As It Can

As artists we are often inspired by our environment, influenced by our immediate circumstances and forced to resort to utilizing whatever resources are available. My immediate circumstance today was the overpowering need to create something, even though I have had the flu for days. Because I have the flu, the least physically challenging performance on camera that I can do are actions and sound that are not strenuous. My available resources include a vocal range limited by my illness – i.e., the only notes I can sustain for (almost) a whole inhalation are high E’s. And my environment includes 12 yards of beautiful black toile that I have only used once since I bought it a year ago. Sometimes, in spite of a subtext-laden title, that’s as deep as the work goes.Video & stills from THE WITCH OF ENDOR (2017).

Source: Art As Deep As It Can

The King of the Gods Gives Birth

After Sum’a the Enforcer, youngest sister of King Sum’o, kills a Human during an argument, she delivers the corpse of the Human to her brother. Sum’o the King of the Gods places the dead Human next to his heart and becomes pregnant. His sisters discover the pregnancy. This festival cutting is part of a longer short, Passages, A Myth, 2015, which is available on Saatchi Art as a limited edition DVD.

Source: The King of the Gods Gives Birth

Staying (the course) Power

After a two-month string of rejections from film festivals, last week I learned that a short I made entirely, including editing, on my iPhone earned nominations for best director, best cinematography and best short experimental film. Just like that – which is exactly what I said to myself the week before last after getting my fifth or sixth rejection in three days. It is difficult not to have strong emotions around rejection. The most important thing for an artist to do is keep making art. The second most important thing is for her to keep putting the art out there. If the art is not out there, it will not even be seen let alone be selected.

Source: Staying (the course) Power

Why I Will Never Pay a Film Festival Submission Fee Again (unless I do)

Very helpful and surprisingly objective. It is difficult not to have strong emotions around rejection. The most important thing for an artist to do is keep making art. The second most important thing is for her to keeping the art out there.

The KR7productions Blog

Before I even dip a toe into this subject, a little background: If you had asked me two years ago what the hardest part of making our film ”THE WATERHOLE” was I would have answered something like “working with limited resources” or “time constraints.”  If you were to ask me today I would answer simply and without hesitation: “getting into film festivals.”  The film business is a freight train’s length of consecutive rejection.  You get used to it.  You have to. I really wanted to take the film to as many places we could, show it to audiences and get their reactions all while partying with other filmmakers and film fans.  That didn’t happen. Getting rejected to as many film festivals as we did hurt but it’s a reflection of reality.  There is a lot of competition and you take your chances just like anyone else.

For the most part…

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When you meet your sense of responsibility coming down the street

I had the privilege as a pre-teen of being taken by my father to a class on non-violent activism that was taught by an original student of Saul Alinsky at a church in Kansas City, Kansas. The class focused specifically on what one should do and how one should behave during the course of a street protest if s/he was directly confronted by a police officer. We were taught how to fall, how to protect our heads and faces without fighting back and, generally, how to safely passively resist. The class emphasized safety. By that time – I was twelve – I had already carried many a picket sign in many a civil rights demonstration against racial discrimination. I had passed out leaflets on the sidewalk during protests and boycotting campaigns against businesses that openly discriminated against African American job applicants. I was an expert on how far to stay away from the store entrance in order to be within the legal limits of a protest demonstration permit – though permits did not necessarily prevent the store owners or anyone else from pushing a twelve year-old girl off the curb into downtown traffic. But as you see, I’m still here. And yesterday, remembering all I had been taught, I felt called to witness a police stop and search of a very young, very polite and compliant, but nevertheless foreign-appearing young man in the Mission District of San Francisco CA. I stood twenty feet away, not even within earshot, and I was even ten feet behind the two community activists who held a vigilant but peaceful observance of the stop and search. I made this video immediately after arriving back home.

Source: When you meet your sense of responsibility coming down the street

The Survival of Darlings

Video, CREDO: A Pilgrim by Sylvia Toy, Character study – Father, Brother and Sister Bobble These creatures, disembodied heads who are the spiritual advisors and companions of A Pilgrim, my newest protagonist, live inside an invisible box that A Pilgrim carries around with him. Often at the beginning of a performance art project, I (like many storytellers) overpopulate the story-in-progress with interesting, colorful, fun-to-greenscreen characters. In the case of the Bobbles, however, I believe the darlings will live until the end of A Pilgrim’s story.

Source: The Survival of Darlings

This Is Your Brain on Letting Your Characters Have a Life of Their Own

KILLER JANE the Storyboard is an ever-changing performance art movie in-progress about a woman has recurring nightmares about killing a man who is noone she knows in real life. I have been improvising characters and scenes for approximately one and a half years.In version one of the story, Jane was a forensic scientist with Aspergers who started a murder book https://en.m.wikipedia.org/wiki/Murder_book about her dreams in order to investigate why she was having them. In version two of the story, half the story was in dreams where Jane had just killed the man, who was never shown, and was escaping with a phantom chasing her; and the other half of the story was in Jane’s waking life where she kept turning other people. In version three of the story, Jane was a homicidal maniac in her dreams and a sedate divorce lawyer in her waking life, who had hired one childhood friend as her secretary and had another childhood friend as a client. Jane’s BFFs clashed with each other and gave her conflicting advice about her dreams.

Source: This Is Your Brain on Letting Your Characters Have a Life of Their Own