Belief is a funny thing. It can be a powerful tool for change, or a personal driver to success. Yet, it can often times be mis-guided, even destructive, leading to both intentional, and unintentional wrongs. Like all things in this human aresenal of survival, it can be a double edge sword.

In the creation of art, belief can easily succumb to doubt, or cloud our objectivity. In contrast, it can also lead us in bold, new, and transformative directions. Suffice to say, belief is a required ingredient for follow through on any endeavor, creative or otherwise.

The rubber truly meets the road for us creatives though when it comes time to share our work.

As we move outside the comfort zone of our collaborators, peers, and supporters it is inevitable we will run up against criticism of our work. Some harsh, some ridiculous, some warranted, and some not. The best elixir for these criticisms is our belief, true (and objective) belief in the work we are putting out.

My film, PERSON OF INTEREST, marks the first time I have put my own work out into the world in a significant way. And, I have done so with a vervent belief in both the story I am telling, and the way it has been told. That said, I must admit this belief has been hard won. I, like I imagine many filmmakers, and artists, went through several bouts of self doubt, fear, and yes loathing over this project.

While these things are normal in any creative endeavor, I can see clearly now how in retrospect a lot of my anxiety was driven by the fact I had allowed myself to fall into the trap that cripples so many of us before we even make it to the starting line.

I’ve been involved in independent film production since the mid-1990′s and have watched (and experienced personally) as the initial instinct to tell stories and create art was corrupted, even damaged, by the overwhelming and obsessive notion of ‘making it’. The independent film became ’brand’ and suddenly ‘commercial viability’ entered the picture and with it a swift, decisive and hostile corporate takeover of the hearts and minds of artists and filmmakers.

In the early days of PERSON OF INTEREST, I succumbed to this obsession, and it was damaging. Both to my mental state, and more importantly the work.

Admittedly, we’re all dreamers. And, as with any art form, filmmaking is driven in part (well, probably in large part) by the need to be seen. But, now as I emerge on the other side of this endeavor I can see, perhaps for the first time, all that was lost as I have toiled in a system that compels one to compromise, relentlessly, in order to gain the approval of arbitrary gatekeepers, as opposed to simply having a spine, and believing in what it is you do. I am truly saddened by my own, and our shared willingness to forego our sanity, our ownership of the process, innovation in method and creativity, control over our own individual destiny…our own deeper dream(s) to run with inspiration, explore, imagine and frankly -make cool shit. These things, in essence, our creative values, subverted in order to attract a failed status quo that trades on hollow promises, and fear.

In making this film, I stumbled onto the most simple, and profound recognition thus far in my creative journey (as it were). It’s frankly idiotic it took me so long to conjure this one up, but I finally figured out that the best road forward (for me, for any of us) was to simply recognize, and accept my voice, and just go forth and do what I do…as well as I possibly could.

So, ultimately with PERSON OF INTEREST, I threw out the ‘rule book’, cast off the anxiety, and got to work. The end result is a film that steps outside (perhaps way outside) ’the way things are always done’, in narrative structure, style, and execution…and in that appears to be resonating with many, while of course being elusive to some.

Ultimately, I understand that it is not a film for everyone. But, I am confident it is a film for many.

It is a small film, with big ideas, that eludes to a lot, and (much like life) resolves little, offering a glimpse into one man’s journey without dictating how the viewer should feel at every moment within it. When I watch it I am reminded of this quote from Stanley Kubrick, “A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.”

Yes, this I believe.

Learn more about PERSON OF INTEREST, and the campaign to take the film on the road at Kickstarter.com.

Immediately after finishing work on our feature film, PERSON OF INTEREST, we released it for free online for a limited time. 2 weeks later we were riding an unexpected high of glowing reviews (read some below), and invites to screen the film around the country.

To be able to take advantage of these invites we have launched a Kickstarter.com campaign to raise $5,000 to launch what we are calling the OFF THE GRID Film Tour.

The basic idea is to build a small summer/fall tour schedule, playing one night screening events in venues large and small, building a community around the film. And we need your help to do it.

Through the successful completion of our campaign we will be able to sure up the invites we have now, add additional dates and venues to our tour schedule, cover our travel, and produce our DVDs for the film.

Here is the link to our campaign. Please check it out, and pass it on -> http://kck.st/aymyW7

Many thanks,

Gregory

“Person of Interest is rich, intricate, relevant, and nuanced. We love the way you play with shadow and light; reality and fantasy; detail and movement. This film is compact and powerful, just like Terrance Dyer. We are blown away.” – Julie Keck & Jessica King

“Incendiary! Bold & compelling story. Relevant. Haunting. Love the definitive visual style: organic, intimate, raw — an elegant grunge.

Enjoyed the film.” – Jake Stetler

“Thanks for putting out a shining example of GREAT independent film! This is the type of smart, engaging movie that people yearn for. An absolutely fantastic story, masterfully told. Stunning. Simply stunning.” – Phil Holbrook

“Brilliant. Intellectually seductive and intriguing…” – Matthew Janes

“Congratulations on your film. I just watched it and thought it totally compelling and intense. You leave enough space for us to tell ourselves the story and I’m very grateful for that! Hope as many people see it as possible.” – James Devereaux

“…unsettling & absorbing. I was reminded of Gus Van Sant at his best and early Scorsese but it definitely had its own vision. Engrossing story & stark, impressive visuals.” – Thomas Cunningham

“a great goddam film…” – David Paul Baker

“This is a visionary work; it is the TAXI DRIVER of this generation. It is a fulminating, subversive piece of cinema that throws a sharp elbow into the solar plexus of domestic propaganda and challenges the dogma of fear.” – Pericles Lewnes

Want it? Get it. Right here.

When I originally wrote this I was simply a fan of Cory’s work. I had purchased THE AMERICAN ASTRONAUT as soon as I could get my hands on it, and after a single viewing was what you could describe as a true fan. I absolutely loved it, everything about it. From the film itself, to the accompanying music, all the way down to the DVD, and packaging design. I knew immediately that this was an artist, a filmmaker, a musician, that I wanted, and needed to support.

So, for the ensuing 8 or so years, I’d click back to Cory’s site to see what was what, until finally last fall I was very pleasantly surprised to click through and see that Cory had a new film, and that the new film was available right then. I quickly bought the deluxe package. For $49 I received a digital download of the film, and music, and also received a DVD, CD, snazzy photo booklet, and a Stingray Sam T-Shirt. Beyond that, I knew the revenue was going direct to the artist, which made my purchase even more valuable.

In March, through pleasant happenstance, it ended up that Cory and I were both speaking at The Conversation. We met, ended up hanging out for the day, and in true ‘summer camp’ style exchanged numbers at the end of the event and vowed to stay in touch. Luckily we have, and I find myself in the enviable position of  having gained a friend, a mentor, and a future collaborator.

All this is to say that for all the back and forth of late, some of which I have jumped into myself, this story, and Cory’s work represents, I believe, exactly what it is we’re all seemingly trying to achieve. A progressive film culture that is artist centric, takes advantage of both new means of production, and digital distribution, and available social media (Cory and I’s first interaction was via Twitter). So, as I plan the road ahead for my current work(s), I’m decidedly looking to the guy who is, as far as I can tell, a couple steps ahead of everyone else, and firmly locked into the doing, as opposed to getting lost in these conversations about what we should do.

And now, why Cory McAbee is still my hero…

When the so called ‘digital revolution’ took hold in the hearts, minds and working practice of independent filmmakers everywhere (including right here), it brought with it the promise of a new found creative liberation, wrapped in the package of low cost, high quality digital video cameras. Now some 10-12 years later, what began as a fresh and experimental cinematic movement, struggling initially to just have its quality of image taken seriously, (so much so that many early ‘digital’ films used a gimmick ala Blair Witch in order to explain away the video footage), has now, in large part, been beaten into the conformity of an accepted mode of production.

In the ‘early’ days, as it were, Lars Von Trier was using 100 video cameras to capture musical/dance sequences in Dancer in the Dark, Harmony Corrine was using everything under the sun, including small surveillance cameras to capture schizophrenia in Julien Donkey-Boy, Richard Linklater was creating a new animation platform in Waking Life, Bennett Miller was showing what one man with a camera could do in The Cruise, Anthony Dod Mantle was redefining cinematography in 28 Days Later. In short, the new medium was informing the work and encouraging experimentation, driving the art of cinema forward.

Sadly, the ensuing years, while inspiring a new wave of filmmakers, seemed to quell (in large part) that initial experimental spark. As ‘digital film’ production became an accepted norm, so did the penchant for ‘digital filmmakers’ to adhere to the Hollywood ’way it’s always been done’mythos. Slowly but surely, digital films began to look more like their dull predecessors.

Enter Cory McAbee.

In 2001 Mr. McAbee debuted The American Astronaut, a film that, at the time, went completely against the trend. Trading new American realism for a fanciful, musical journey through a land of space cowboys, drawing inspiration from western serials of yore, and mixing cinema, music and art into an incredibly engaging and totally original lo-fi, musical masterpiece that was not shot digitally, but rather in lush black and white 35mm film.

Beyond my immediate love of The American Astronaut aesthetic, (I have a deep fondness for B&W cinematography, westerns and yes, musicals), I was struck by the boldness of the film, the unflinching vision and the maker’s complete commitment to it. From the set pieces, to shot design, characters, costuming, dialogue, song lyrics, casting, story structure, all of it…a truly free and uncompromising artistic expression that looked fun as hell to make.

I felt I was watching watching a filmmaker that knew exactly who they were. I was at once completely mesmerized and a bit jealous. Knowing who you are, and exactly what it is you do as an artist is such a difficult task. It requires countless hours of practicing your craft, honest self examination and the ability to be objective about your work. I think this is especially tough for those of us working in film, which is classified more as ‘industry’ than as ‘art’, leading one to (at times) respond less to what is going on within themselves and more to what is going on around them in the ‘marketplace’, and the anxiety that it induces (if you allow it).

Needless to say, after one viewing I had become a true fan. The DVD is in regular rotation around these parts, as is the soundtrack.

This year Mr. McAbee and crew have released Stingray Sam, an incredibly entertaining 6 part sci-fi, western serial that follows the exploits of Stingray Sam (McAbee) and the Quasar Kid (Crugie) as they earn their freedom in exchange for the rescue of a young girl who is being held captive by the genetically designed figurehead of a very wealthy planet.

Working digitally this time, McAbee still opts to buck the ’way in which things are done’ across the board. Instead of a standard feature length film he has created the picture specifically as a serial (6 approximately 10 minute episodes) which he presents in a 4×3 TV style format, lush with 2D planetary landscapes created via photoshop collages made from paintings and photographs; the cast, other than McAbee and the narration of David Hyde Pierce, is not recognizable, the story is simple, sweet and whimsical, carrying forth the cheeky tone of dialogue and song from The American Astronaut, and then there is the release.

Stingray Sam has been released in a myriad of formats direct to audience via www.corymcabee.com. No middle man, and as far as I can tell, never any intention of having one. Building on the ‘true fan’ base of The American Astronaut, McAbee has created a cottage industry for his very specific flavor of cinema exploits. At the site you can download the series immediately, order a DVD, or do what I did, get the $49 Deluxe Edition that includes multiple download formats of the series and soundtrack as well as the DVD, the CD soundtrack, autographed booklet and a T-Shirt.

So why is Cory McAbee my hero? Very simple. Before the rest of us figured out that all you need to do is: do what you do, do it well, keep control of your work, and never be afraid to experiment…he was already doing it.

Going forth, I hope to be as bold.

“The ring of a bell: a metaphor for recognition.

This is what I kept hearing while watching PERSON OF INTEREST. The attack and decay of a bell kept resonating in my head as the story of the main character Terrance Dyer evolved. I kept recognizing situations, feelings and attitudes that reside in the deep paranoid pockets of the American psyche.

This is a visionary work; it is the TAXI DRIVER of this generation. It is a fulminating, subversive piece of cinema that throws a sharp elbow into the solar plexus of domestic propaganda and challenges the dogma of fear.

PERSON OF INTEREST will anger some as it will be misunderstood. The ignorant will hear rhetoric and see symbols (such as an inverted American flag) that they will take to mean disrespect, and for some “wing-nuts,” treason.

But an inverted American flag is a military symbol of distress. Terrance Dyer, a returning veteran with loads of emotional baggage feels that the country that he has fought for seems to have changed as he views it through the prism of his experiences.

Terrance Dyer sees things differently, and over and over again his character brings us to the edge of a dark abyss and then steps away as we catch our breath. Was Terrance a flawed individual who went to war? Or is he a scarred veteran trying to deal with the residual anger of war? Has he crossed the Rubicon?

This is the type of independent cinema I thoroughly enjoy. It is bold, politically agnostic, in your face and provocative. Excellent choices Greg! BRILLIANT! You hit many buttons that are left untouched in today’s indie film world.

Bravo.” – Pericles

After reading, and yes, reveling in these words for a bit, I couldn’t help but think of the long and difficult path the making of this film has been.

J. Reuben Appelman (the writer, and star of the film), and I began working on the script back in the summer of 2007, and the eventual 2008 production was plagued by the usual trappings of low budget independent cinema: no money, borrowed gear, limited time, and little crew. It was so extreme in those circumstances that there were days in which I would literally be the only crew, hand-holding the camera, boom, and tweaking lights all at the same time. I felt like a street performer wielding a strange cacophony of instruments, tied together, desperately trying to keep the beat in this band of one.

In the end though, all these difficulties proved nothing in comparison to road that lie before us as we entered post production.

After nearly a year of editing, J. and I were finally able to come to terms with the grave fact that our film, having been plauged by the above compromises (which included having to omit the shooting of a few scenes), and the actualities of a story’s evolution through the process of filmmaking, simply did not work. Editing, beyond all else, is a battle for tone. It’s akin to walking a tightrope, seeking that balance of consistent and sensical tone that is true to the story, and character of the piece. PERSON OF INTEREST in those early cuts, was like watching a sad battle in which neither side won. We had begun with a script that was in many ways defineable as a ‘psycholigical thriller’, but what we ended up shooting was not that, or at least not successful as that, and had a few missing pieces.

Prior to PERSON OF INTEREST I had edited a number of feature documentary films, and had become used to the idea, and practice of creating stories, and piecing together moments with available footage. In our shared despair of what looked to be the demise of the film we had spent nearly 2 years on, it was J. that first sparked the idea to throw out the script as written, a bold move for the writer, and to dive into the footage, as if it were a documentary of sorts, and allow it to guide the storytelling.

Many times, in these situations, the usual response is to shoot more footage, create new scenes, and indulge more in an effort to ‘make things work’. We didn’t have this luxury, or inclination, and decided to commit ourselves to the idea that there was indeed a film within all of this footage, and that if we listened to it, we could find it.

Working from this ideal, and a new framework based upon our only addition to the film, Terrance Dyer’s voice over monologue, we began the slow, surgical process of creating what is now a work that in so many ways better personifies the ideas we were trying to express going into the making of the film, than the script on which it was based.

The making of this film has indeed been a lesson in listening. Listening to my collaborator, my gut, and most importantly, the footage that we captured. It reminded me of why I do what I do. Why I am so attracted to cinema, and the art of visual storytelling. That though difficult, it can be a somewhat magical process to let yourself go to all these moving parts, and allow the story you are telling, its nuances, its subtext, to emerge gracefully, with the understanding that sometimes it’s not about what you have in mind, but about what you have in front of you.

****Update****

PERSON OF INTEREST is now available on DVD, and high quality digital download. Visit our store at www.personofinterestmovie.com.

The underlying idea behind the essay is that we, as ‘independent’ filmmakers, have over the past 20 years enslaved ourselves to an imaginary ‘industry’ that has so clouded our thinking about what it is we are actually trying to accomplish. It attempts to get to the bottom of this madness, point out its flaws in logic, and offer some ideas for a way ahead.

You can find it here: http://workbookproject.com/newbreed/2010/04/11/slaves-of-industry/

I recommend watching all seven clips. It’s at times harrowing, but overall highly informative, and brutally honest about the current state of film consumption (consumption, not distribution), social media, privacy, audience, marketing, and the whole amazing gamut of noise we’ve created for ourselves in this era of ‘new media’.  I think he hits on the key underlying issues facing us not in the road ahead, but right now, and takes it back to my favorite place…the fundamentals.

My favorite is part 6. In it he speaks about the major disconnect between hollywood, filmmakers and their audience. I watch this after having just returned from The Conversation, and reading Brian Newman’s post today Film is a bad business. In Brian’s post, and in the air at The Conversation, I find that there is a lot of blame directed at the advent of digital technology, the internet and the ‘economy of free’ as the key culprits killing the film ‘business’. I take issue with this. The problem (imho) is that we’re drunk on our own genius, and (in large part) rely solely on the supposed power of cinema to magically make an audience appear for the work that we do. It rarely occurs to us that we must work just as hard at cultivating that audience, as creating the work we want them to see.

When is the last time you actually thought about how you personally discover, watch, and process films? What drives you as an audience member, as opposed to a filmmaker? It’s a new era of responsiblilty across the board, and we need to throw out so much of the circular tech speak, avoid the self proclaimed experts, and simply dig in on the fundamentals. As Peter J. Dekom puts it: creativity, deal-making, and marketing.

PRODUCER OF

HIGHLY INNOVATIVE,

AGGRESSIVELY

CONTEMPORARY CINEMA.”

LovelyMachine, my little production shingle, is finally no longer ‘coming soon’. As of today the (very minimalist) site is live: http://www.thislovelymachine.com

Please check it out (if you care to). I will continue to write here, but will be sourcing my project info & updates through the new site.

As some of you know, I recently completed a successful funding campaign using Kickstarter.com to raise the initial capital needed to get my new film, Jens Pulver | Driven, an intimate documentary about legendary UFC Champion Jens Pulver, off the ground.

The end result of the campaign was $27,210 pledged, my goal was $25,000, via 410 contributors, in 20 short days.

Since the close of the campaign I have received a number queries as to how this was accomplished, especially since 72 hours out from my deadline, I was still $10,000 short of my goal.

In my blog featured at The Workbook Project & on NewBreed, I attempt to explain my guiding principles, and overall approach to the campaign. For more detailed information on tools used, etc. I also recommend reading the Kickstarter blog post on the project. In it they outline the ebb and flow of the funding, and I answer some specific questions in regard to the effort.

Enjoy! http://workbookproject.com/2010/03/new-breed-the-crowd/

Last week I returned from Columbus, Ohio where I witnessed what might be Jens Pulver’s last bout in the WEC. There, I spent nearly 5 days embeded with Jens and crew capturing their final preparations for Jens’s March 6th fight against Javier Vazquez. The experience produced some great footage, and gave me some incredible insights into the world of professional fighters that in the end will help shape this film.

Next Saturday I begin a 4 day interview shoot with Jens. The interview, which will provide the framework for the film, will take us through every aspect of Jens’s life, in his own words. We will discuss his childhood, the athletics that saved him, his journey into the world of MMA and rise in the UFC, including in depth narratives on some of his key fights, and finally his life post-fight, and the road ahead.

In preparation for the interview shoot, and our fast approaching post-production, I have been reviewing the footage I’ve captured over the previous 2 months, and have put together the first in a series of candid interview clips with Jens shot in the midst of him preparing for his March 6th bout.

This clip features Jens talking about how his losses have represented missed opportunities on his part to further his career, and how they have affected not only his mental state, but his ability to sustain himself and his family financially. He also talks frankly about mortality, and the coming transition for him, from fighter to mentor, and what he feels is the more important legacy to leave behind. I think this particular clip reveals Jens’s authenticity, his depth, and his deep connection to our universal struggle to simply carve out an existence, and a name for ourselves.

I will continue to share these clips as we move through the rest of our production on JENS PULVER | DRIVEN.