hell i still love you new york

hell i still love you new york

so i’m back in dc from spending a couple of days in new york for the PRAXIS premiere at New Filmmakers, and i feel like i’m in a completely different space: one that is more free, creative, inspired, and less stressed out, less anxiety, and more ready to work on the myriad of film projects that are going on at the time. i feel like i’m filled with a new sense of positive energy, one that is more willing to concentrate on the creative side, and less on the negative energy that seems to be the majority of the film industry. as cliche as it may sound, i do feel that anything is possible, if you just put your mind down to it. and actually, this feeling is incredibly liberating.

The premiere of the film at New Filmmakers was an incredible success – it’s safe to say that it’s been the best audience response to the film so far. and i’m glad to hear so many people talk about the film not only just positively, but also about all of the images and themes that inspired them, all of the things that they took away from the experience of watching the film on the big screen. to have such a great response to the film is incredibly validating. i got so caught up in the moment that i didn’t end up shooting any video or taking any pictures of the event. i guess to me, it was more important to connect with people at that moment than shoot any video or take pics. so it goes…

it was really great to catch up with my good friend Barney, who has been helping to run New Filmmakers for a very long time now. i met him years ago when my short film Unfortunate Man screened there (and for anyone who hasn’t seen UMAN, you can watch the entire film online at www.damagedfilms.com/U_Man.html ), and he’s been in the new york indie film scene for a very long time. so, i love talking to him about all things film related – he’s got so much wisdom and insight about the industry, and i always learn something from our conversations. we talked about the current state of indie film and what filmmakers need to do with the internet in relation to putting their work out there. the whole thing is both exciting and frightening, but i think every filmmaker needs to think about the different ways that they can put their stuff out there, and to concentrate more on the things that they can control and do on there own without relying on any outside sources.

on the train ride up to new york, i watched a documentary called WAMEGO STRIKES BACK from my good friend Steve Balderson, an incredibly talented filmmaker from Kansas. this documentary was about his first feature FIRECRACKER, and the distribution hell that went on with it after it played the festival circuit. this doc was incredible, and I think it’s one that every filmmaker and/or aspiring filmmaker must to see. i totally agree with steve in that the easiest part of filmmaking is making the movie. the hardest part is getting it out there. needless to say, i learned a ton from this doc, and realized that some of the things that i was going through with the promotion of PRAXIS were exactly the same things that steve went through. so, if you haven’t seen WAMEGO, you MUST see this doc.

at the screening, i finally met tom macy’s parents, and they were so cool. i’ve heard so much about them during the course of making the film for the past few years, and i told them that they should be very proud of tom – he’s an incredibly talented actor, and we were so fortunate to find him way back when, during the auditioning. he did a fantastic job with the film, and the majority of the audiences have been so impressed with his acting. it’s beautiful, and tom is such a low-key, down-to-earth guy: he was totally stoked at the screening, and it was awesome, and i could tell that his parents were very very proud that tom did such a great job.

the following day, i was able to meet up with my good friend andrew and his partner roland for lunch. roland is also an incredibly accomplished filmmaker, and andrew is a total sweetheart. me and andrew have been good friends for quiet some time now, so being able to catch up with both of them was awesome, even if it was just for lunch. roland always gives me such great insights into the film industry, and he is also such a good-hearted, down-to-earth guy – i learn a ton from talking to roland. when i mention stan brakage or jonas mekas, roland knows what i’m talking about. it’s awesome to have a fellow filmmaker that understand you, one that’ on the same page. and i think it’s important to surround yourself with like-minded sorts, the kinds of people that will inspire you, and encourage you to do more and think creatively. andrew pointed out to me that one of the things that he enjoyed most about PRAXIS, what made it stand out from other indie films, is that the visuals were so strong, that it had high production value, and the cinematography was beautiful. most indies don’t spend the time and/or have the money for good cinematography. but at the same time, i think, first and foremost, the film HAS to look as good as possible on screen. but i think what made me really stoked, was seeing how happy both roland and andrew were together – seeing your friends in a ‘good’ space sends out such a good vibe. i was really glad to be able to spend time with both roland and andrew during my short visit to nyc.

despite all the good and bad things about New York, i still find the city incredibly inspiring. the city is filled with so much going on. everyone is busy working on ‘something’. but for me to present a ‘gay/art/film’ like PRAXIS at New Filmmakers, one that is deeply visual, and not a whole lot of dialogue – people actually ‘get it.’ and i think that’s what makes crowds on the east and west coasts different. and that’s so awesome.

so, i’m back in dc, re-energized, and ready to get back to work. i’m currently working on putting together the soundtrack cd for the film, and maybe even consider putting together a cool collage type book for the film. i kind of feel like there was so much that went on with the production and everything else, that it really needs something to compile everything into one album, something to show how much hard work and heart that went into making the film. i’m also working on a couple of new scripts, testing out different visual techniques that i may use for some future projects, working on a couple of music videos, re-considering my old script for the DEAD SOLDIER as something that could be done on an indie budget, planning the DVD release options for PRAXIS, and i may even decide to work on a more freeform project that involves going back to shot on an old school bolex.

needless to say, the premiere of PRAXIS at New Fimmakers was awesome – the whole new york trip was absolutely incredible and inspiring for me.

hell, i still love you new york.

the price of love

thr

the price of love

in only a few more days, PRAXIS will have it’s New York Premiere at New Filmmakers / Anthology Film Archives. and i have mixed feelings about this upcoming event. i’m quite excited to be able to present the film to a new york audience, and our lead actor tom has invited a ton of people. hopefully, we will have a great turn out. at the same time, i’m curious about what a new york audience will think of the film. is it too artsy or is it not artsy enough? i think every filmmaker wants their film to be well received, but at the same time, i’d prefer not only to reach the audience, but also inspire them to think more on the right side of the brain. the concepts and intentions of PRAXIS were written long before the film even began actual production. and a lot of the original ideas had to be modified or changed due to the simple logistics of shooting the film and completing it in some form. hopefully, the end result is a film that stays true to it’s original intentions, a film that has its own integrity. i do think that PRAXIS does this. ultimately, PRAXIS is a film that is all about love, but at what price?

at this point in the film’s life, i’m getting a little bit exhausted. don’t get me wrong – i’m very happy that the film has screened at a number of places already, and that it’s gotten a fair bit of press. but the amount of work that goes into promoting a film can get a little tedious. that promotion, combined with new ideas and scripts and everything else that i’d like to work on – all these things, i’m finding it a bit overwhelming at the moment. the creative blocks are tough right now. and i’m not exactly sure what way to overcome them.

recently, i had an unexpected ‘pitch’ session with a producer’s rep who immediately wanted to hear what some of my new projects were. honestly, i’m not really that great at pitch sessions, and the meeting kinda made me sick to my stomach. i could tell that this other person’s single and only intention was to make money, and it had nothing to do with art. i kinda felt like i was at the AFM all over again. i’m sure that nothing will ever come from this ‘meeting’, and that this is seriously someone i would never want to work on a professional level of any sort. but, to be quite honest, i seem to be meeting more of these kind of people lately, and less of the kind that i would prefer to surround myself with.

years ago, i used to play in a couple of bands, and i really enjoyed playing music. but i did exhaust a ton of energy into the music, and i ultimately had to decide between music and filmmaking, which of the two i need to put my creative energy into. i decided then that it was filmmaking, and years later, PRAXIS is the end result. but needless to say, there is a part of me that misses writing, creating, and playing music. so, this past week, i have this simple idea to put together and album of music that i can enjoy for myself and share with others. it’s all instrumental, minimal, and cinematic. so far, i really dig the couple songs that i’ve come up with. hopefully, this project will help me with my other creative endeavors that seem to be currently blocked for whatever reason.

as for my next feature, it seems like there are two different directions i can go with – the conventional scripts: one completed horror script, a sci-fi idea, and traditional linear narrative. the other direction is to go completely experimental, and do a feature similar to stan brakage or jonas mekas – a complete disregard for convention, something more freeform and less linear. the trouble lies in the notion that a film needs to make money for it to be considered successful, and to increase the possibility for a film to make money, you have to have a built in concept of the market and the target audience. but this is a bit of a quandary – how can you really tell what the market is? what will really sell? and if you pander your project to simply all this, how much of the original idea is left to satisfy the creative integrity of the project? the other way is to be purely experimental, creating a film completely with no regard for marketability or profit or target audience. instead, you create something purely for your own sake and enjoyment.

years ago, back in film school, the first film projects i worked on were shot with a bolex on b/w 16mm. i loved the wind-up hand-held freedom of shooting with a bolex. over the years, films become much more complicated in the production, bigger crews, the need for a higher production value. but i do miss the ability to go out an just shoot stuff for fun. i think that’s really why i got into filmmaking in the first place. there were all these really beautiful things around me that i wanted to capture on film. in some ways, i would like to return to some form of filmmaking that captures this same essence of filmmaking.

but ultimately, what is the price of all this energy put into filmmaking? what is the price of this love of film?

LA Premiere of PRAXIS at Brilliant Light FF – Recap

So, it’s been a few days, and i’ve had some time to recover from the trip to LA – the premiere of PRAXIS at the Brilliant Light Film Festival, staying with my good friend Bob in Silver Lake, and even taking Tom Macy out to a beach in malibu for the ‘total LA experience.’ usually when i take a trip like this, it takes some time for me to recover and re-think about everything that is going on with my life and the life of the film, and the friends and people that i care about. i think it’s always important to surround yourself with the right kind of people, the true friends that you can depend on, and the ones that will truly support you whatever the situation, and not the ones that are just blowing smoke up your ass, or are only using you to get some thing. granted it’s always hard to judge the character of people, but i think if you’re upfront and honest and direct, and if you expect the same from others, then like minded people will seek you out. as simple as this seems, it’s something that i’ve learned over the years, and it’s definitely worked both in working relations and also when it comes to friendships.

so, where to start? i flew into LA on a thursday, and my friend Bob was able to take some time out and take me to the Griffith Observatory near his house in Silver Lake. the sun was out and we got some incredible views of the entire LA skyline. I’m sure there have been lots of people who’ve looked upon the LA cityscape and thought about all the ‘possibilities’ that the city has to offer. It was very cool, and to think that in a couple of days, PRAXIS was going to have it’s LA premiere – i had to laugh to myself. that yes, even in Hollywood, a ‘gay-art-film’ can even screen here, despite the millions of dollars being poured into schlock everyday. of course, this is something that you envision for – that the film will have a certain amount of festival recognition and success. but since this is something that you can’t control, only hope for, to have it actually happen, it’s incredibly validating. anyhoo, later that evening, Bob took me to his favorite Vietnamese ‘Pho’ place, and it was totally awesome- definitely on the of the best that i’ve had around. Bob explained to me the whole East LA vs West LA idea – West Hollywood and ‘Boy Town’ is where all the rich people and the justin timberlake wannabees hang out to be ‘discovered,’ while all the ‘real’ people hang out in Silver Lake. i totally got that vibe, and if i had to live in LA, i’d live in Silver Lake. i’m totally understanding why Bob lives there, even though, it was hard to picture at first.

Friday was spent running around getting ready for the fest, and Tom Macy was coming into town that evening. He had never been to LA before, but i think for his acting career to take off, he totally needs to be in LA. fortunately, for directors, i don’t think it’s as essential, but for serious actors, i do think that you need to live in LA. Because the fest went so well, i think Tom will eventually move out to the west coast. He’s incredibly talented, he’s young and upwardly mobile, and i think if he’s serious about acting, he’ll do well in LA. The hardest part of being in LA is that everyone is in the business in some way or form, but most people that i’ve met are pretty cynical and apathetic. so if you can remain positive about your work, and truly believe in it, you’ll do well regardless of location. as simple as an idea this is, i think it’s very difficult to maintain this positive outlook because LA is so full of naysayers and wannabes. the most talented people that i’ve met in the business have always been honest, down to earth people who never talk about their job – they just do it. that’s it. and these are the people that you want to develop working relationships with. not all the douche bags that LA seems to be overrun with. at least on the east coast, there’s always people working on somthing all the time, and i get a sense that they’re more direct. LA seems so ‘lackadaysical’, nobody can give you a straight answer, and nobody is in a rush to do anything. but i think for anyone to do well in the creative field, they have to not only have to have great creative talent, but also a certain sense of business savvy to put your work out there. without the business end of things, it’s hard for people to see your work. if you can maintain both ends, the creative and business ends, you’ll do well.

anyhoo, on saturday, me and tom drove out to a beach in Malibu, one that was a little further up the coast and a little bit more out of the way. needless to say, it was incredible, and it looked like some place that they would’ve shot the ending scene to PLANET OF THE APES. it was so cool to see Tom out of his normal ‘New York’ surroundings, and what was funny, was that it really didn’t take that long to go out there. either way, it was way cool, and something totally worth doing. come to find out, there are lots of people in LA who don’t go to the beach, even though it’s incredibly nearby and easy to get to. i think most people get caught up in their own little neighborhood and their own everyday, that they forget how important it is to stop and take in all the beauty that this world has to offer. even a few minutes of staring out at the sea, listening to the waves, can have a profound effect on your life and your perspective. it’s something totally worth it, and i think people should do it more often.

so, how to describe the film fest? well, the fest was really small, but it was on a cool ‘lot’ and i got a chance to wander around all the different sound stages and the little two-story writer ‘cabanas’ spread out around the studios. the festival director and people organizing the fest were very cool, and they loved the film. Tom ended up bringing his ‘entourage’ of fellow actress friends that he went to school with who now live in LA. I’m sure they not only were excited to see tom in a movie, but also got a kick out of seeing him making out on screen with andrew. fun stuff…either way, the screening was way cool, and i got kind of caught up in taking in everything, so i didn’t take any pics or video or such. so it goes…

So, the trip to LA was such a really good time – i’m glad that i was able to catch up with Bob, and that we’re talking about future projects, and maybe even putting together a PRAXIS soundtrack cd. but for now, i can’t rest too much on my laurels – in about a month, PRAXIS is having it’s New York premiere at New Filmmakers, which will be a lot of fun. regardless, i’m taking things one step at a time, and enjoying all the work that i’m doing – staying focused and positive, which i think is ultimately the most important thing to keep in mind.

i’ll miss my friend bob. but i’m sure that we’ll see each other real soon – whether he’ll be back here in DC, or me back there sometime. either way, it was a really great trip all around, one that i’ll enjoy looking back on whenever i’m a little down.

xoxo,

a

PRAXIS @ DCIFF promo videos

So the Premiere of PRAXIS at the DC Independent Film Festival on March 8th was really awesome, and a really great time all around. Both Tom and Andrew were able to come down from New York to attend, and a ton of people showed up, even tho the screening was so late in the evening.

To help recap the event, i’ve put together these two short little videos, one of the pre-screening, and one of the Q and A. I hope you get a good feel for what the night was like, and i hope that you enjoy the videos.

Thanks so much to the DC Independent Film Festival and our good friend Doug for shooting such awesome video.

cheers!

PRAXIS on NPR!

PRAXIS was featured on NPR last week, and I discussed the film briefly in reference to the upcoming screening at the DC Independent Film Festival this Saturday.

We’ve also posted an mp3 of the spot on our myspace page:www.myspace.com/praxis2007

Things are crazy busy this week, getting ready for the screening on saturday – lotsa folks coming into town. lotsa press coverage. But the cool thing is that a good friend of mine is going to do video coverage, and after it’s all set and done, we’ll put together a cool little promo for everyone to see. We’ll also post a bunch of pics on our site when they become available.

So, we’re looking forward to the screening at the DCIFF this sat.

PRAXIS @ DCIFF!

woo hoo! we’ve just found out the PRAXIS is an Official Selection to this Year’s Washington DC Independent Film Festival. check out their site: www.dciff.org

Here’s the Press Release too:

FOR IMMEDIATE RELEASE : 18TH FEBRUARY 2008

LOCAL FILMMAKER ALEX PACHECO’S DEBUT FEATURE ‘PRAXIS’ TO PREMIERE AT THE WASHINGTON DC INDEPENDENT FILM FESTIVAL, SATURDAY MARCH 8, 2008 @ 9:30PM.
(GWU JACK MORTON AUDITORIUM, 805 21st Street NW,Corner of 21st and H St NW.)

COULD ‘PRAXIS’ BE THE MOST IMPORTANT ‘INDIE’ FILM MADE IN DC?
When most Washingtonians are asked about filmmakers from DC, not a whole lot of names come to mind: Jeff Krulik of HEAVY METAL PARKING LOT fame, Eduardo Sanchez of THE BLAIR WITCH PROJECT. It’s not a very long list. The majority of local filmsare either documentaries, shorts, or student work.

This is where the debut feature film ‘PRAXIS’ from DC Filmmaker, Alex Pacheco, stands out. It was shot on film, not video. It’s decisive, and difficult to categorize: Experimental, Art House, Dramatic, Narrative, Gay/Straight, Surreal, Fantastic, Sci-Fi, Existential. It’s not the typical ‘indie’ film, with snappy dialogue or a story centered around people with animal suits. In fact, PRAXIS ismore in tune with the work of Hungarian filmmaker Bela Tarr, and Pacheco’s previous films have been compared to the likes of David Lynch, Stanley Kubrick, and Luis
Buñuel. “I’m more interested in the subtle,unspoken connections, the visual experience – that a film can invite you in to make your own assumptions.” Pacheco declares. PRAXIS is a story that is told through the visuals and cinematography, versus dialogue.

Produced completely outside of Hollywood by a small, dedicated group of volunteers and talented local crew, the film features powerful acting from Tom Macy, (Brian) a graduate of the School for Film and Television in NYC, and Andrew Roth (Joe), an accomplished method actor also from New York. PRAXIS also features an innovatory music score from DC music virtuoso Bob Massey, of The Gena Rowlands Band, Nitrate Hymnal, and Telograph Melts fames.

PRAXIS is an incredibly ambitious film – A young writer named Brian suffers a mental breakdown, and is forced to come to terms with his own identity and the meaning of the universe. Pacheco says,”It basically can be summed up to one line,’If you could be anywhere, where would you be?’ This is what Brian is questioning, and the possibilities are endless.”

Matt Borlik from THE WASHINGTON CITY PAPER describes PRAXIS as:
“…A bold first step into the foray of feature filmmaking.” (June 8th,2007)

In January of 2008, PRAXIS was chosen as an Official Selection of the CINEQUEST FILM FESTIVAL, a festival known for showcasing daring and edgy experimental work. PRAXIS is also slated to screen at NEW FILMMAKERS/ANTHOLOGY FILM ARCHIVES in New York later this spring. Anthology Film Archives was started by one of the grandmasters of American indie/experimental film, JONAS MEKAS, which Pacheco finds,”…a true honor.”

This year marks the Tenth Anniversary of the DC Independent Film Festival, and Pacheco’s previous short UNFORTUNATE MAN screened at the 2002 DCIFF. In June 1999, UNFORTUNATE MAN had an unprecedented DC premiere at the Hirshhorn Museum: roughly 700 people showed up to a theatre that could only hold 250.

PRAXIS is proof that an incredibly beautiful feature film can be produced within the nation’s capital, regardless of physical location, albeit New York, L.A., Park City, or even Adams Morgan.

bela tarr and the AFM

so, it’s been a few days from the trip out to l.a., and i’ve needed almost every bit of free time to recover from the trip. i’m not very good with jet-lag, and i’ve had a really tough time figuring out what time it is, pretty much as soon as i stepped on the plane. when people ask me how was it, i pretty much respond with, “it was a rough trip.” being in santa monica was cool, and there were parts of the trip that were really cool. but the market itself was rough, and not a really fun experience. but i learned a hell of a whole lot from the trip, and it was good for me to get out there and really experience what it’s like. and i’m happy to share my experiences and thoughts about the market to anyone out there who’s curious about what it’s like.

(i wrote the following few paragraphs while waiting at the gate at LAX for my flight back home):

the past few days of attending the American Film Market could be literally summed up in one word: insane. it’s hard to describe the how crazy the market has been for the past few days. but because the market is what it is, i wasn’t able to vlog about it, which i initially thought i would have the time to do. the sheer number of filmmakers and screenwriters and distributors and buyers and sales agents, it’s hard to believe that they all can be at the same place at the same time making million dollar deals to the latest teen slasher flick. but as with any convention type atmosphere, it’s difficult to get your worked noticed.

i was able to meet quite a number of people of various levels of experience and professions and the lot. lots of business cards exchanged, and i was fortunate enough to meet with several potential distributors. it’s hard to say if anything will result from these meetings – even though i think i make pretty good movies, my pitch isn’t always on target. but i’m learning, and that’s important.

there seems to be this general conservative attitude to all studios and distributors. the bottom line is that they’re in the business of making money. the film itself is not important – the box office is. this attitude has a serious negative backlash to any filmmaker struggling to get their work seen, and i’d like to say that the general feeling i got from most of the people i met at the market was that of a very cynical attitude toward the industry and hollywood. i was able to find commraderie with other east coast filmmakers, either those based in new york or the like. the east coast/west coast attitude was clear to me, and in a way, it helped me re-enforce what type of film PRAXIS is, and what it represents.

PRAXIS is not a specific genre piece. when i describe the work to some as arthouse/experimental, i generally got a blank look on people’s faces. but as soon as i mention kurosawa, kubrick, and david lynch, it all of a sudden makes sense. while when i described the project to anyone from the east coast, they totally get it. tho, i did meet a few ‘old school’ hollywood film people, ones who’ve been in the town for more than thirty years, making movies back in the early sixties and seventies. they were very cool to talk to, and they were surprised that i should mention names like kubrick and kurosawa. one told me that he was pitching an idea to a distributor, and mentioned ‘the french connection’, and the distributor had no idea what he was talking about. sad as it is, this is what the industry is, and what it has become.

in a lot of ways, it’s a little early for me to attend the market with PRAXIS – the film was only completed this past june, and still needs a good two years of playing at the festivals. after that, then it would a good time to come to the market. but there’s also a possibility that one of the distributors that i met with might really get into it, and it can all go from there. ya never know...

on a lighter note, i recently had a friend tell me his thoughts about PRAXIS. i sent him a screener a while back, and he finally let me know what he thought of the film. even though he didn’t get it, he compared it to the work of hungarian filmmaker bela tarr. i was thrilled at the comparison. quite honestly, if i could achieve even one tiny bit of the same filmmaking ideals and experimentation that bela tarr has done, i would be incredibly happy.

between bela tarr and the AFM, me and paul have decided to shift the whole marketing and focus of PRAXIS to more european markets and festivals that cater to more experimental/arthouse films. i think reaching out to more of a european audiences versus an american audience may help PRAXIS do better, and really get to people. someone at the market told me that teen slasher flicks and/or huge action or horror gore flicks don’t really do well in europe. rather, the artsy dramatic intellectual films do really well. PRAXIS definitely challenges the intellect. so, let’s see if this new direction will work.

if anything, the American Film Market experience has totally re-enforced the whole reason of why i make films, and to stick to that mentality. i’ve always been very punk-rock about this, and maybe that’s the approach that the marketing for PRAXIS needs to go. the work needs to get seen by any means necessary. it may not be for everyone, and that’s okay. but if and audience can get into it, it can be a totally amazing experience.

so, i’m glad to be home, and i’m glad to be back on the east coast. and, as always, it’s back to work…

New Making of Video

The Making of PRAXIS (2007)

Add to My Profile | More Videos

so, i decided to put together a shorter version of the Making of Praxis on-line and on our myspace page. the longer version is about 20 minutes or so, and is basically meant for DVD extras and other publicity stuff. this 5 minute version is a lot more concise, and will hopefully help promote the film in a different way, mainly for the upcoming American Film Market.

watching this short video is incredibly encouraging. and i hope posting will help inspire other filmmaker to continue to make movies in their own way.

-al

grindhouse

today, i head to a meeting with the event coordinator at the american film institute in silver spring to finalize a couple of things for the cast and crew screening in june. i’m looking forward to this, and it’ll be awesome to see the film on the big screen. hopefully, this will be the starting point for the film’s next phase: applying to festivals and putting the film out there for all to see. but of course, before i get too ahead of myself, there’s still a ton of things that need to get done before june: posters, invites, after party, website, press kits…tons of stuff…but it’s all good, and it’s very cool to be at this point of the movie making process.

last weekend, me and paul got a chance to see grindhouse, the rodriguez/tarantino 3 hr plus epic and homage to the exploitation films of the seventies. though it is a bit long, and kinda gets a little boring in the middle, the first film is a straight up zombie gore flick, and the final sequence in tarantino’s film is absolutely incredible. in the age of CG and computer effects, back in the day, stunts and effects were done with real people in real danger. old school…needless to say, i loved the film. i thought it was incredible. even though this film has nothing to do with praxis per say, it’s still cool to see movies that are genuine good movies – seems hard to do in this day and age.

so, my goal for the weekend is to put together the trailer for the website, and finish some of the other press kit stuff, and maybe even start work on the website.

back to work it is!