Amir Motlagh
Dropping a new project late Nov, or early next month titled, "what do you know of waters worth while standing on the banks of the euphrates".
For the last couple years (actually, since the beginning of this), I've compartmentalized my music projects and my film work into separate spaces. And, I'll continue doing that, but with some important changes.
For one, MIRS is turning into as much a visual project as music, but with music as its fundamental core. The last record we did, CANYON, was a visual album and the imagery was co-tangent with the music. It played as a dual narrative.
In fact, I have been trying that since I started MIRS, with the debut release, SPIN CYCLE. But, I came short of the resources required to pull that off. That was essentially a visual album (before that became a mainstream thing), without it ever becoming a visual album, strictly because I couldn't pull it off (resource wise). Truth is, an idea is just an idea, and they are a dime a dozen.
Every time I start writing music, I preface it as a final act. The last record was supposed to be the final songs I write, and then, this last single, MOONLIGHTING MISSION MAN became the last piece of commercial music I write. Eventually, there will be a last, but I think I'm do for at least one more effort, as a new concept came my way, and I want to attempt bringing it to life. This feeling might change, but, my mouth doesn't want to shut yet.
Though, this one has larger ambitions, which means, I will be up against bigger barriers.
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Ok, the time has come. I'm nearing the finish line. And, at this point, all options are on the table.
The first of which, a crowdfunding campaign to help raise the finishing funds for my two feature films (THREE WORLDS / MAN) that are near complete.
These two finish my THREE MARKS, TOO SIGNALS series of works that includes the 2016 release, CANYON. Please consider helping. Please join the mailing list. Please pick up one of these great perks. Please spread the word.
If all goes to plan, launching next week or the one after.
Was just reflecting on the emergence of "Visual Albums" after this article was brought to my attention highlighting CANYON. Truth be told, I did not want to label CANYON as such since it comes at the heels of amazing visual releases, but i've been personally trying to put together a "visual album" since 2010, and failing to execute until CANYON.
My first attempt came at the release of my first MIRS solo EP, SPIN CYCLE. I couldn't pull resources together to execute. The second time came with the release of MEAT ON YOUR LONELY BONEZ, and again, while a treatment was prepared and some meetings arranged, we never went ahead and executed. Which, in hindsight proves valuable, since I feel those concepts lacking cohesion now. But, thats the truth with any work from the past done, or undone.
The interesting question here is how this one came about and why the other two attempts failed. Simply, we reversed the process of production. We first shot CANYON, the film, then we got to finishing the record. Of course, both these things were happening concurrently, but we got the visuals in the can in November of 2015. In fact, a couple rotting pumpkins show up on frame for the astute observer. The rest of the process took the time it takes for any project to develop, especially exasperated by the fact that career responsibilities lay elsewhere.
I'll leave you here with CANYON if you haven't seen it or are just coming across this. My recommendations include a) headphones b) some quiet downtime c) fullscreen. Also, afterwards, check out this mini doc below with the incredible artist. ALI SABET, describing the process of creating the artwork for the whole project.
We launched the MIRS project CANYON on 09-06-16, All the info about it can be found here. I'm relieved that it's done, but very much enjoyed this particular process with the help of my collaboration with Nima Rezai.
The record is available to stream or buy at iTunes, Bandcamp, or at our very own store which includes a PDF version of the CANYON Artbook here.
We are also selling a very limited number of CANYON Art Prints here, signed and numbered by the incredible artist, Ali Sabet.
This was a SABET + MIRS collaboration with its own very unique process, some of which is detailed in the video below.
MIRS project CANYON goes live one week from today. (hopefully)
What is CANYON:
a deep gorge, typically one with a river flowing through it.
Two steps required:
a) Order the pre-sale
b) Subscribe to MIRS Youtube Channel to experience the correct mode of transmission.
a deep gorge, typically one with a river flowing through it.
I got this great tip from Derek Sivers about adding a WHAT AM I DOING NOW page. This saves time, gets to the point and offers a fast overview for those times when you drop out of the regular social web world and are knee deep in a building phase. That is where I've been for several months now.
Please peruse, and do your own.
This is a piece I directed for the NIMA COLLECTIVE earlier in the year. We have been experimenting with projectors quite a bit.
ANIMALS Media Labs (my startup development/commercial house) delivered ahead of schedule our first major broadcast spot for American Supercar Maker, Rezvani Motors.
We present, THE BEAST supercar.
Credits:
Produced by Nima Rezai, ANIMALS, Merge Productions
Directed by Amir Motlagh
DP: John Honore
First AC: Alex Lim
Key Grip: Marty Anthony
Steadycam Op: Tim Dolan
Art Direction: Ali Sabet
Written by Charles Borg & Amir Motlagh
Voice: Amen-Ra Palacio
Sound Design: Ojan Missaghi, Mike Moeding @ STEMSPOST
Score: Randin Graves
Color: Kelly Reese @ DELUXE
Grooming: Mikal Sky
In this episode, I talk about some of the gear we used in an upcoming music video/movie trailer hybrid(MIRS + THREE WORLDS) , a great blog post I read about the Fermi Paradox, and the most recent book I ingested. Also, coffee.
As I sit here with responsibilities mounting, time slipping, and enthusiasm temporarily dipping, the last thing I should be technically doing is writing in this white space ahead of me. But, I've committed. A few lines is all we ever need.
Love,
Process
“The best way to predict the future is to create it yourself.”
I've run across this quote often, but tonight, I felt the need to really spend time with it. It's such a simple idea, but incredibly profound. That's what makes it such an effective message. Who owns the future, as Jaron Lanier asks critically? I do.
Before I get to the item at hand, I will admit that this beard is in desperate need of attention. Apologies.
Now for the things discussed in this episode or you to peruse:
1) First things first: Add me on snapchat @ amirmotlagh
2) My article on DIY Film in the Digital Age, a part of the Mastering Film Series published by Focal Press can be found here:
http://masteringfilm.com/big-brain-%E2%80%93-small-budget-amir-motlagh-still-lover-khoobi-35-year-old-man/
3) My favorite book purchase this week is Cool Tools by Kevin Kelly. I absolutely love having this thing on the coffee table:
http://www.barnesandnoble.com/w/cool-tools-kevin-kelly/1116999473?ean=9781940689005
As always, please subscribe to the Youtube Channel and come say hello.
Not only do you get a 2D cartoon representation of me, you also get some quotable gems I've probably (wisely) moved away from.
Cartoon Amir.
In all honestly, this is a cool film series published by FOCAL PRESS with some interesting, and talented(this word is meaningless in many ways, but not always) filmmakers.
I however, did not reread this after it was sent 6 months ago to be published, because, what is the point of revising archived opinion?
With that said, can it possible be the best thing I've ever written? Not sure.
Enjoy, share and let me know your thoughts.
“A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.”
This is a quote from science fiction GRAND MASTER, Robert Heinlein, possibly & ironically most famous for in recent pop culture, as the original source of the Hollywood dud, STARSHIP TROOPERS, a book he penned in 1959. (this is also one hell of a dud sentence, but it's my fucking website, so kindly deal with it)
Most people react to the last sentence in Heinlein's quote, which forgoes context. Given at face value, its a cry against our Western ideal of mastery, and an endorsement of the "Jake of All Trades" pejorative . But in context, both as a quote and in the world we are living in, I think it's a very critical thought. Specialization is an industrial desire, and in our idea centric world, a sure way to be locked into a pivot-less occupation, when the world is accelerating exponentially.
I am a propionate of mastery. But, mastery in it, and only of itself is akin to obsessive compulsiveness. It's a limit of human potential, and of living an interesting and fulfilling life. We should all master one thing, but we should all carry that curiosity and drive into other things that are deserving of our attention. This well rounded pursuit is not to be at the top 5%, or 1% best at all things, but to be capable human beings well suited for adaption. Human beings with ability, empathy, & drive.
So, learn how to code, play an instrument, build a table, or pick up a chemistry book because it is through these other things that you can become indispensable on a higher level at the one thing that really gets your blood boiling. Ultimately, learning is the great human gift.