Fresh News

Plain Us "preview" screening in MD and Shanks in NYC

in
Plain Us has a "preview screening" on June 26th 2008, as part of the lo-def screening series in Silverspring MD. Don't have much info yet, but will write a new post when i find out more on Tuesday or Wed.

Also, "My Darling Dia" the new and really first full length Shanks and the Dreamers album is now officially in NYC getting mastered. Art will pick it up when he travels over to Manhattan in a week or so. I can't sit in on the session because i gave myself a deadline to finish whale, and i'm sticking to the damn thing. But man, its tough when all you want to do is listen to some DUB, and cool the fuck out.

Peace.

New Interview for Plain Us

in

"This is a reprint with permission from the DIY FILMMAKER BLOG"



Interview with Amir Motlagh, director of new short film Plain Us


First, the trailer:



For my review of Plain Us, a new short film about a touring musician who visits his home town, go here. And now, the interview with Amir Motlagh, the director of Plain Us:

Sujewa: So let's start with some basic stuff; what lead you to pick the subject of a touring musician dealing with a domestic issue (visiting his young daughter, attempting to reconcile with his estranged former lover/the daughter's mother)?

Amir: Well, I feel that given my own circumstance as a person who plays in a band, blending this alter-reality is very interesting. I felt that I could give this world some personal realism but in a narrative, fictional type of way in which I play out issues that I wanted to write about. I have my own band, but obviously the circumstances in this film are made up. The character is make believe. I don't have the same issues and conflicts as this character, well, not entirely, but to the degree presented is a fabrication. It's post modern in a whimsical way, the idea of it, not the film. I also wanted to do another character piece, and try to get as deep as I could within my time constraints working in the short film form. But because its short, I could also really work much more on character then worry about plot. And these days, instinctively I think about having kids. I wouldn't mind it, but it's not so easy right?

Sujewa: Having kids is probably easier than shooting some indie movies. What were the technical challenges encountered in making Plain Us? Was it as easy to work with 35MM as it was with digital (same amount of prep & set up, w/ just a different type of capture media in the camera or did everything have to be done differently than when using digital in order to accommodate the use of 35MM film?)?

Amir: Well, really there wasn't. Time I think is the only real burden when it comes to shooting on this type of budget. Oh, and shooting in a tiny room with two 35mm cameras is a bit tricky, specially when its about 90 degrees in the room. This isn't the first time I shot on 35mm so, other then set up time, it's just a damn camera. The medium is just one part of what it is you are actually doing, which is, filmmaking. But I worked again with the same cinematographer as
knock. knock., Zamir Kokonozi, who is always a pleasure to work with. He is very patient and talented.

Sujewa: I saw that you used digital for a couple of scenes - the opening scenes where the main character is performing & is on the road with his band. Did this come out of the fact that these scenes were added later to the film/not originally planned & thus were easier to capture on digital or was it because you wanted to have a low-budget tour documentary type feel or even fan footage type feel to those scenes?

Amir: No, those were always planned. It's mostly about how it feels. It's intended to be a video diary of the character on the road for lets say, a DVD release when his new record comes out, right. It's the three stages of conceptual realism I was after. That intro is how many of us view the world on YouTube these days.

Sujewa: I guess this wouldn't be a DIY Filmmaker interview if we did not touch on some issues related to "race", specially if the film warrants it :) So, here's a question: even though there was little dialogue in Plain Us, you chose to have the lead character mention, perhaps jokingly, perhaps seriously, that his band was not getting enough press because he was "brown". In your personal experience, has this been the case - have you felt that media was ignoring your music work because your band was lead by a non-"white" person/you? Or have you observed this happening to other bands that are fronted by non-"white" performers?

Amir: Ha, you had to take it there. The issue of race is a small through line within the film. But there are other character issues as well. It's a small piece of a living, breathing character. I don't buy that argument about race holding someone down anymore, at least as it pertains to me, and even if it did, I refuse to get into that debate because it's just a hindrance and an excuse. So, with that said, you would have to address that question to Cyrus, the character in the movie. Maybe he was joking, but maybe he is hung up on things.

Sujewa: Tell us about your future plans for Plain Us; distribution wise, etc., and when we can expect to see the couple of feature films that you have been working on for the past year or so.

Amir: Well, what can we do but first try the festivals? It's a short film, so that's were it goes first. I am certain that a new DVD compilation of my works will come out soon and it will include this, but until then, if you are interested, please talk to your local fest programmer and get this damn film screened. The trailer is up, and if you are a reviewer, curator or programmer, contact me and I will send out a screener. I have a feature film (it was titled Whale and it might still be) that I will release in a month or two at the most. It's part of a broader work palette, with Plain Us being its distant cousin. Other that that, My Darling Dia, the Shanks and the Dreamers new album drops in the Summer, and I'm working on a new feature script.

Thanks Amir!

For more on Plain Us, go here.

knock. knock. gets distro deal

in ,
To update on the most recent happenings in life, knock. knock. has been acquired by Toronto based distribution company Ouat! Media for an exclusive worldwide deal.  I can now hand over the duty of getting the damn thing seen to someone else.

In other news, Shanks and the Dreamers album is officially ready to be sent out for mastering.  I think i posted on this before, but alas, we went in and mixed some more.  But this time, its for real. It includes 11 tracks with names like, WhiteHouse, 405, Hush and Popsicles.  Nothing too pretentious, just short and sweet mutherfuckin titles.

We are sending it out to a NY Mastering House, since ART is rolling through NY in a few weeks and were getting good vibes from a couple dudes out there but...... there are a couple solid choices in LA as well, so nothing is finalized as to who will do the honors, but the field has been weeded out.

Keep it fresh

FM/AM

 

"Plain Us" movie trailer and info

in ,
So, my new film Plain Us is finished and i 'm ready for both the love and the hate.  I wrote and directed the piece. It was shot by cinematographer Zamir Kokonozi on 35mm, who also shot my last film knock knock.

The film also features songs on the upcoming full length Shanks and the Dreamers album, My Darling Dia.

Here is a short synopsis:  "Cy, a touring musician in an up and coming band drops into the town he grew up in":

In my next few post i'll get more in depth with the process, and conception of the piece.

The film features:

Kindy Barr

Nadia Anwar

Art Toussi

Tom O'Connell

Rami Dogg

Kristen Penza

Josh Virnick

[youtube]http://youtube.com/watch?v=iFC4mQeEeDM[/youtube]

knock. knock. trailer

in
Here is a trailer for knock. knock. posted on youtube. The film was finished in mid 07 and was a collaboration with Chris Manz, cinematography by Zamir Kokonozi and edited by my main man Rick Curnutt, who i'm helping right at this minute finish his new film. For heads up, my new film Plain Us is finished. In the next post i'll give the goods, but for now, enjoy this.

[youtube]http://youtube.com/watch?v=k8UaycJEUk0[/youtube]

oh man

in
So, for some reason my worpress is showing posts from one year ago instead of the most current.  It might have something to do with my damn host who shall remain nameless unless things get resolved.

But on a more positive note, i have many good things to share in the most shortest of times.  Just wait.

Quick Q & A with the San Bernardino Sun

in
Here is a little Q & A i did about knock. knock. screening at the Smogdance Film Festival. Its towards the end of the article...

http://www.sbsun.com/ci_8058838?source=most_emailed

Or if your really lazy... let me copy and paste.

_______________________________________________________________________

"This article was written by Diana Sholley for the San Bernardino Sun on 1-23-08"

Q & A with Amir Motlagh

Motlagh's 20-minute comedy, "knock, knock," is the filmmaker's third showing in the Smogdance Film Festival. The Los Angeles resident talks here a bit about his work and the festival.

Q: What is your film, "knock, knock," about?

A: "A comedian starts to experience some fame on an Internet comedy show. During a taping of an episode, his ex-girlfriend knocks on his door. The two have unresolved issues that start to unravel concerning people, egos and various influences that get in the way of communication."

Q: What was your inspiration?

A: "I wanted to try something more narrative - film a comedy piece in a more nontraditional way. The comedy comes from the characters, especially the main character's awkwardness and neuroses. It's a low-key comedy in the form of naturalism."

Q: What do you hope people will take away from your film?

A: "I would like it if people leave behind their preconceived notions of how audiences usually see film. Let the experience just happen to you. It's not made in the Hollywood tradition, it's not spoon-fed. It's all about life itself in terms of character."

Q: What keeps bringing you back to Smogdance?

A: "It's local and it's a festival that feels like it's family-run. The quality of works entered keeps getting better and better."

updates far left behind...but good news

in
So, the film known as "whale" is officially cut. Just finished picture lock (although, you never really know). It is now in sound design. I am pleased. It is what i always wanted it it become. A trailer should be up very shortly.

Whats the film about? Let me see real. OK...
" An Iranian American writer quickly approaching 30 returns back to his mothers house in the suburbs of Irvine California, unexpectedly, with a broken heart, a never ending manuscript and a few telephone numbers from his old life."

Other News:
1. knock. knock. plays at the Smogdance Film Festival in late January. More details TBA.

2. My Untitled 35mm film (Plain Us?) was shot a month ago. Should be ready for viewing in April hopefully.

-It was shot once again by Zamir Kokonozi who captured knock. knock.
-It stars Kindy Barr and a lovely 6 year old named Nadia. I'm in there somewhere.
-Also in the film is Kristen Penza, Josh Virnick, Rami Dogma, Art Toussi (Shanks and the Dreamers), and Tom O'Connell who was also the production designer for the film.

3. I have finally put together my recording studio. It is done. Shanks and the Dreamers have been busy recording a new album. Should be ready before summer 08. This is much different then the first album, well, because its not an instrumental album to say the least.

4. Been filming Micro on and off....

5. I am alive.

feature film done, plus two

in ,
I'm finished with my first narrative feature(whale, although the title might change), but  this is where it gets kind of tricky.

I can't release it yet. Why you ask, well, because i shoot another film in about a month tentatively titled "Plain Us" which is a 20+ min. short and pre production has been exhausting(last short in a long long time).
Also in the mean time, i have been filming "Micro" which is my second fictional feature during the past two months as it is an ongoing project.

They will be released in this order, mind you all the titles are tentative.  Whale (Dec), Plain Us (March), and Micro (May).

This is a trilogy of sorts.  They are all related. Its not a sequential thing, and yes, they are all certainly independent from one another in all aspects but in the grand scheme of things, there paths cross.  I don't really want to talk about it more then that, but i'm excited anyways.  Its a cumlative effort

It seems i've been MIA for a while, but i have never been busier artistically then right now and i guess that keeps me from the promoting aspect.

I'll see you guys in a little over a month.

This was taken from Chris Manz's myspace blog promoting my latest film knock. knock. from a guy who was in the movie.

in ,

-Note:  This is not my writing.  I am copying and pasting only.  Permission was granted. 


"Knock. Knock." and why it's kind of like "The Chris Manz Show"


Ok, so in the past I have used this blog as a place to post little improvised stories of varying quality. But today I am going to use it like it is intended to be used, to promote an art project thing that I worked on. I'm talking to you about "Knock. Knock.", a film that I wrote and starred in, and which is just now starting to hit the film festival circuit (or has at least been sent out into it). I'm going to conduct this thing in an interview format, and sort of rip-off one of my past (more popular) blog entries called "Dialogue of the Chris Manz's". Time to begin...

First a setting. This interview is to take place in my house (for a visual reference please refer to the most recently added picture in my myspace picture section, where I am standing up wearing an "Art Ensemble of Chicago" t-shirt, and looking off into space planning my next move (which was to go into the kitchen to eat something, if I remember correctly)). Now in this room there shall be two Chris's. One Chris will be sitting at the piano located in the back of the picture (where the book of BACH MASTERPIECES is displayed, ready at all times to have the 2 simplest preludes of the well-tempered clavier performed). This seated chris will be the interviewer. The other Chris will stand up kind of like how I am in the picture, but probably face more towards the Chris who is seated at the piano (rather than away).

Chris (seated at the piano): So, Chris. What is this "Knock. Knock." thing?
Chris: Well it's a movie that I developed with director Amir Motlagh--
Chris: Is he a good director?
Chris: Yes. And you will find that out when you watch the film. I have a copy here and I will show it to you after we finish the interview.
Chris: Ok, who else was involved in this film?
Chris: Well it also features two wonderful performances by Keaton Shyler who plays a character named "Carla" (my ex-girlfriend in the film), and Lene Pederson who plays "Sharon" (a guest on my show). It was produced by Chris Otteson, edited by Rick Curnutt, and was co-produced by (and features a production design by) Tom O'Connell, who frequently works on the Chris Manz show.
Chris: Ok, now you say that Keaton plays an ex-girfriend and Lene is a guest on your show. What does that mean? Do you mean it's like your internet show?
Chris: It's a lot more narrative than that, and a bit more glossy. It's loosely based off of the idea of the Chris Manz show (and to further confuse things the internet show that appears in the film is called the Chris Manz Show) but the story is totally made up and NOT auto-biographical, even though the character I play has my same name.
Chris: So do you have an enormous ego then? Why do you play a character named after yourself in this film? Why do you have a show named after yourself?
Chris: Actually Amir worked with me on some of the development of the script, and when he cast me in it, he said he wanted me to go by real name. He likes to blur fiction and reality in his films, and by making these choices, he achieves that in "Knock. Knock." In terms of the show, I wouldn't say that I have a very high self-esteem, but not so much a low one either. And the show wasn't even my idea originally, but my friend's. I guess it's kind of like therapy. Just learning to be comfortable with myself, and learning to talk to other people and to not be afraid of that.
Chris: So what happens in this movie?
Chris: Well there isn't really a story to it. I mean there is in that it feels like a narrative film, but all of the events in it just kind of happen in a very intuitive manner. Much of my past work has been totally non-narrative, experimental, very stylized, and much more about image and sound relationships (or textual). There is a hint of some of that in this, but not much (although the film does truly achieve an original feel, and perhaps story). And it just seeks to capture that awkward feeling of making peace with an ex-lover, and sometimes revisiting that, and how things are always changing, are more funny than we realize, and how it's really hard to control everything, or something like that…
Chris: I don't really get that last part—in terms of what you are trying to say—
Chris: Sorry… I'm not totally sure what the movie is about. I'm just saying that it definitely succeeds at something. It does capture certain feelings. And many people have responded pretty favorably to it. But it's really in poor taste to list the types of praise your work receives…
Chris: So it has received praise?
Chris: Some. But like I said, I'm not going to talk about that.
Chris: So is this film LIKE other films? What are some cinematic reference points?
Chris: Not that "Knock. Knock." is on the same level, but there are some elements of early Godard, a bit of Woody Allen, also some of that guy who did "In the Mood for Love."
Chris: Wong Kar-Wai?
Chris: Yeah, but I still haven't watched a full movie of his yet.
Chris: ...Because you're against Chinese cinema?
Chris: No! Nothing like that. I just don't really like contemporary films, and so I see very few of them. Hopefully my position will change. I hear a lot about how good he is. But that new movie he did with the girl who thinks she is a jazz singer (on the pop radio stations) didn't seem to fair to well, from what I have read...
Chris: Well, I haven't seen it myself, so I can't really comment. Ok, I guess we're getting towards the end of the interview. Anything else you'd like to add?
Chris: Well, just go see "Knock. Knock." For what it is, there's nothing about it that I would change (and the same has been said from everyone else who was involved with it). And it works! Yes it has a story and characters, but it is fun to watch and it really has some "real" elements in it. Also, stay tuned for more Chris Manz shows. And if you like the Chris Manz show (or even if you hate the Chris Manz show) you might very well like "Knock. Knock."
Chris: And I guess I'm going to go ahead and watch it right now, right? You said you were going to show me a copy after the interview...
Chris: Yeah, let me go get it. See if you can find the remote to the TV if you can.
Chris: What does it look like?
Chris: It's gray, has buttons... You know, like a remote.

[youtube]http://youtube.com/watch?v=KmvYGpQrojk[/youtube]

[youtube]http://youtube.com/watch?v=Zl6JQ5qci0E[/youtube]

[youtube]http://youtube.com/watch?v=fVio9OC3CPc[/youtube]

Promo video for the film Knock. Knock.

in
So this is the promo video we did for my new film knock. knock. I introduce the bit, then Chris Manz and Keaton Shyler talk about their experience on the film (ie: watching clips and discussing them). This video was originally going to be a Chris Manz Show episode but the tape was eaten by a shark, hence my intro.

Also, this video highlights the complex relationships between actor and dictator, oh no, i meant director.

Either way, hope you find it amusing.
[youtube]http://www.youtube.com/watch?v=fVio9OC3CPc[/youtube]