DOG Planning 5

[04-27-14] This probably needs to be broken down into manageable sections, or at least mined for the most relevant material. Amazing the record herein contained of persistence, mistakes, bravado and competency.

visionary babble, interesting story tangents, notes on process 1/4/07-2/22-07, map of sound

Daughter of God – Planning and Logistics
1. key
1.1. * in process, monitoring
1.2. √ done
2. movie metavision – the short version
2.1. meta concept – why make movies? (assorted)
2.1.1. this is important stuff. Actions in the world, to make an effective move, what does that look like? something that will be decisive. in an illusory ocean, learn to swim.
2.1.2. what is the meta concept? the movie as magic spell, as ritual, as participatory prayer. making a movie can be a sacred practice. by making the movie, writing the plot, am i discovering the truth or creating it? is this why gerry puts his body on ice, because he knows that he is not going to die, that he’d like to have the body available for some later date. Gerry is not giving up, he is vacationing in the hyper-dimensions, the mythic digital ether, where anything is possible. Geeks might say it isn’t so, but artists know. Those who think the truth is something you figure out, don’t know much about the truth. the truth is something one creates. One has to believe it’s true, otherwise it ain’t. If I don’t believe g bush was elected twice, then he ain’t my president. if i do beleive that he was, then I got to go along with the damn system, unless i don’t believe in democracy or i don’t give a damn period. if i don’t care, g bush is just the weather.
2.1.3. i think that by making a movie, we are discovering something. it’s a kind of therapy certainly – excercising the courage to be vulnerable… but for a wizard, it’s a kind of making, of bringing into being. it’s not just that we bring characters or stories to life for a moment in the theater, or that we ignite the imagination of the audience. Those things happen, but that’s not all. it’s that we restructure the consensual reality, we shape the very fabric of space time. A movie seems an ephermeral wisp of insight, a flickering of light, a ripples of the air washing up against our eardrums, but making it is akin to forging a magic sword. why do we make movies? to try on another’s skin? hell no, we want to resonate with alternate versions of ourselves. what i mean by this is that it’s not pretending to be someone else, it’s bringing out the others waiting within us, welcoming it out into the light, giving it the steering wheel of our senses and body, releasing it. ah yes
2.1.4. quick to uncle joe, what am i letting out. he’s a dangerous character, finding some sort of rehabilitation. a criminal, a savage and ruthless killer, a twisted samari, a pushbutton murderer. that is in me (dan kelly) somewhere. remember his whole deal, there’s an occluded person there, deliberately occluded, self deceived. and yet there’s another part of him that begins to wake up somehow. god has started to turn his heart, saul to paul.
2.1.5. and the warrior code, he just discovered that it might exist, and that being an operative is not enough, that he is a warrior. they conned him into something less than that, fooling him into thinking he was living his hearts desire, corrupting his dream into something suitable for their work. what penance will he have to pay?
2.2. I had an insight about movies that was stirring. Sure it’s a way to combine all the disciplines… what does that say? As a meeting point for so many aspects of my expression, it is my response. What results from fully activated process? power, baby. full out peg the meter presence and being. Effective defense. Engaging the adversary, decisive action.
2.3. movie making is a form of discovery
2.3.1. it’s a way to learn what’s really going on
2.3.2. this is how we identify and grok the situation, strategically and spiritually.
2.4. movie making is an act of creation
2.4.1. we create concepts that are useful
2.4.2. we organize the world into a shape that is interesting and fun
2.4.3. we design a new way
2.4.4. we weave a spell that spools out into the universe and changes everything
2.5. movie making is training
2.5.1. we train our dicipline, fortitude and intelligence
2.5.2. we excercise and strengthen our power of belief
2.5.3. we edify and prepare the unknown allies in the audience
2.6. movies are an energy lens
2.6.1. contracts establish an architecture for the energy
2.6.1.1. they are a blueprint for how all involved bring the future to be
2.6.1.2. it’s our vow and promise, our word
2.6.1.3. the language matters! is it the language of the elves or mordor?
2.6.1.4. is it an alliance of all, not a shield for one
2.6.2. forging a magic sword
2.6.2.1. process in balance with the product
2.6.2.2. the process must be sacred
2.6.2.3. ritualize the simple and bless ourselves in every action
2.6.2.4. live with gratitude for this chance at life
2.7. movie making is right action
2.7.1. an expression of the warrior code
2.7.2. of effective response to the adversary
2.8. 12/16/2005
2.8.1. I want to create the ultimate training experience for revolutionaries.

what would this include? what the heck do i know about this?

if i were to train myself, what would i do?

…

life as game

imagine a world where the ultimate game is possible. real believable characters, physical struggle, mental anguish, *just like life*. now think about life, what makes life unfun? why can’t i approach life like a game? if i die am i out of the game? do i get to play again? what if this is a game? the ultimate game.

bringing all the screenplays together.

what is the budget – how long could i sustain my research, what would i want to deliver along the way?

what is the development environment?

two thing happening at once here – the idea of the game on two levels – designing a tool for freedom training for freedom and self determination. what if the world was populated by evolved beings, wouldn’t we rise to their level by association? of course that’s a given. so in this story, we engage with higher level personalities who constantly challenge us. are we real? is anything real? if anything else is real then we are too. we are alive here in this moment with you, in this “game” but we are also alive beyond this game. in the universe next door, fictional characters are real, and vice versa. art is the crosstalk between universes. it’s not so complicated. either by accident or choice artists are more open, able to handle more variability than the average joe or joanne. therefor, they stand between universes, they see and feel what others cannot, they are able to express what others cannot. that’s why i am real here but not elsewhere, but i am alive always. in many universe’s there are living breathing flesh and blood dan kellys, where in other universes there are fictional dan kelly’s inspired by the exploits of the flesh and blood versions. perhaps too, the flesh and blood versions are moved by the stories of the fictional characters, they writhe and dance to the thoughts of their authors. somewhere, everyone authors my story

at least for he next 6 months, i have an opportunity to research something, or to build something – the merits of which might launch me in the intended direction. so whatever that is – camera guy, storyteller, etc. what do people really need right now? tools for revolution surely. but if i dedicate myself to building revolutionary tools, might the revolution be over in a year or two? i don’t want to build my life around sustaining conflict. so what do i want to build my life around? pragmatic consciousness, awareness and real world action. that’s what i need. what would be a great tool for me right now? a universe that i could enter alone and make embarrassing mistakes so i could learn and then go back into the world as an effective warrior to do what? maybe take out langley or the pentagon, or free mumia. that sort of thing. how can i free others minds when my own is not free. in the prison cell, one inmate can start a tunnel and die before it’s finished, but the next one in that cell will find the tunnel and finish it.

i am totally free. nothing blocks me except myself. i am my own prison, and no other prison could hold me. absolute freedom is my next adventure. you are free to go, but i’ve gotten used to this… then stay prisoner, forever.

a studio, a large studio. steiner studios what about them and a giant green screen for what exactly? it’s about getting very clear about a creative idea and then executing it.

what if i shot daughter of god as a game? what would the daughter of god game be like? i need to shoot another short soon. something. i am afraid of this project now, a little. that’s what keeps me from finishing carmen’s form.

fun things

doing performances that don’t suck
coding experiences
painting, learning about human anatomy
pushy hands, the confidence of knowing i can handle myself anywhere
pragmatic style – knowing i look good and am fully functional – not hampered by delicate cloths
having a fucking plan!
financially put together, not floundering

20k credit card debt
10k to invest
40k what…
14k quad and fiber channel
5k software
camera rental

camera
computer
software

for serving dancers lets say, but what else? what’s the next step?

first, relax. get rid of the sour feeling in your gut. you are about to have 40k to deploy, you could just live off it and nap. you could take a trip. you could sequester yourself in studio for a year, on and on. or you could get your shit together and really fly.

14400 rent
2400 food
etc.

bringing swami in

dishes and rack on the ceiling
telephone line + telephone
heater
insulation
no cat

3. archive from start to finish
3.1. DOG concepts
3.1.1. 2/16/06
3.1.1.1. christina’s watching tv
3.1.1.1.1. soldier in the field giving interview, holding camo game controller instead of rifle
3.1.1.1.2. zombies
3.1.1.1.3. turns tv off, shooting in the street, helicopters zooming over
3.1.1.1.4. she’s in her party dress, there’s a lot of cardboard boxes, she hasn’t unpacked
3.1.1.1.5. he’s down the hall, literally down the hall in an apartment like laurence’s. kind of kooky, i mean, she never noticed the guy down the hall whose got an entire universe inside his room
3.1.1.1.6. guy on tv articulating tim wise civil war
3.1.1.1.7. walking down the street – hey, $20 dollars to watch my show, yo, i’ll give you $20 to watch my show, no mine!
3.1.1.1.8. on the TV, it’s thousands of channels, it’s internet TV, websites and blogs have transformed into wide spectrum broadcast point sources, everyone has a channel – everybody’s talking at once, nobody’s listening. look at me, look at me, bad art. she’s flicking through thousands of channels… what’s public domain – museum of broadcasting?
3.1.1.1.9. pathology of privilage
3.1.1.2. uncle joe’s secret life
3.1.1.2.1. opening for daughter of god – little girls in line-up. black girls, blonde girls, etc. music
3.1.1.2.2. uncle joe’s watching the lineup, another agent is trying convince him, this has to be the time, she is alive now. brandishing the book, this time and roughly this place. what do you think rabbi? a needle in a haystack, do you really think god would make it easy or surrender. you’ll have to do better joseph
3.1.1.3. surprising jesus assertions support daughter premise
3.1.1.3.1. he had brothers and sisters, the disciple thomas was his twin brother – springing this information on the audience shakes their foundations, driving a wedge in the armor of established belief in which the daughter premise can be inserted. after a shock like that, daughter will seem quite feasible
3.1.1.4. naked
3.1.1.4.1. bluescreen on a snowy mountaintop
3.1.1.5. christina
3.1.1.5.1. from carmen
3.1.1.5.2. adopting old cloths, transform them
3.1.1.5.3. weird nails like feet – taking life so seriously that she is funny
3.1.1.5.4. carmen says, this character really is me
3.1.2. 5/30/06
3.1.2.1. boat at dawn rolling in waves, lots of tape time lapse

It’s the end times again. waves of refugees become catastrophe, disaster, turmoil, plague. the chosen people are screwed

great waves of refugees

it’s the end times again

ok, so an angel, a virgin, and a monk are on this boat see, and the angel says to the virgin…

the situation is exceptionally dire on planet earth, god’s chosen are obsessed with suicide, the dead walk the earth, war, plague, turmoil, catastrophe and chaos rage on. but the curtain hasn’t dropped the shadow government has fallen

refugees are tucked into every corner of the civilization’s crumbling foundations

In the first blush of the end times, a cell phone call from her dead uncle sends a young refugee on a mission of salvation, seduction, or something. She’s going to give birth to the daughter of god – and not a moment too soon considering the dire global situation. It will be twice the miracle if she can get the recluse down the hall to collaborate.

The real miracle will be getting the quirky awkward recluse, a man made of shadows,There’s a quirky awkward recluse down the hall who has to cooperatet’ll be twice the miracle.

A cell phone call from her dead uncle brings strange tidings to a young lesbian refugee – she is going to give birth to the daughter of god. To fulfill her destiny, she must get help from the awkward recluse down the hall. Meanwhile, it’s the end times… again!

It’s the end times again and folks are on the move! Climate change, natural disasters, political polarization, economic chaos and weaponized contagion have

The west is reaping a dark harvest for decades of suicidal policy environmental and international apathy

3.1.3. 7/31/06 true crypt
3.1.3.1. i am the true son of the living god and all i got was this tee shirt

i personally vanquished the antichrist in physical combat and all i got was this tee-shirt

i ended fascism in our time and all i got was this tee shirt

i went down on britney spears and all i got was this tee shirt

i’ve been multi orgasmic for the better part of the last half hour and all i got was this tee shirt

i haven’t murdered any unborn children today and all i got was this tee-shirt.

i survived a sustained burst from a black ops death ray and all i got was this tee-shirt

I didn’t catch herpes from a republican pundit and all i got was this tee-shirt.

i was sadistically tazered by cops for non-compliance and all i got was this tee-shirt

i had my genitalia electrocuted by guards at gitmo and all i got was this tee-shirt

i burned down a walmart and all I got was this tee-shirt

I modded my multi-tool in a really clever way and all i got was this tee-shirt

3.1.4. 8/24/06
3.1.4.1. ward churchill cages of steel

glass on window, 2 scenes

music in transition faster

focus on c in bed is really soft
3.1.5. thoughts on other films (new script ideas)
3.1.5.1. two guys at bar, one is telling the other how he went back in time, traveled to vegas and saved jayne mansfield from decapitation. a jayne mansfield, there’s countless many jayne mansfield’s in the infinite moment universes surrounding ours. so what happened after you saved her? i brought her back to our time and helped her go through detox, and we fell in love. how does her pussy taste? great. stolen from John Kessler
3.1.5.2. ridley scott is a visual artist and storyboarded everything for alien
3.1.5.3. in day the earth stood still, the event of stopping all electricity is illustrated with 5 shots of cars stalled at major world centers, starting with motorcycle cop in DC, london, paris, russia, then personal, cow milking machines, milk shake blenders, immediate and easy to relate to circumstance. ending with motorcycle cop in DC.
3.1.5.4. the strongest part of Day is the connection between the spaceman and the kid. certainly there’s a romance with his mom that’s never realized, they become fast partners in the end, but it’s all happening through the boy, he’s a vehicle to bring the spaceman and mom together, then he dies, she resurrects him and he leaves. the boy is totally jettisoned when she drives to the house to rescue the spaceman, we never see bobby again. bobby’s dad died at anzio. bobby’s only got his mom. his new dad won’t care a lick for him. but mr carpenter is his friend. a figure of incredible power, but he walks around and has to borrow the kids flashlight. the interior of the spaceship is great, the robot is a mess of course, except for his visor. but he’s bulky and totally looks like a guy in bulky suit. it would have been better if the robot was an ordinary looking guy who just walked strangely with minimal costume
3.1.5.5. the westerner – gary cooper makes friends with the judge roy bean and then later has to hunt him down and kill him. before he dies he carries him back to meet the jersey lilly in her dressing room. it’s sap city, but somehow goes beyond. truly the samuri thing, where they are trying to kill each other, but ultimately there’s no hard feelings, it’s just what they have to do
3.1.5.6. african queen, actually slow and poinless until the characters notice each other. rosie and charley. let’s blow up the german ship she says and he’s skeptical but then says ok fine, but we never get the sense that he’s just humoring her and would never imagined he would actually take his boat down that river. but what’s cool about this movie is the maker aspect, he pops off the shaft and they build a little blacksmith shop and he forges a new blade for the prop. then he builds torpedos and he shows us (sells us) on their functionality.
3.1.5.7. the queen sinks because she has to finish in her own time, and bring them together. they brag to the german captain about their accomplishments, he consents to marry them before they are hung.
3.1.5.8. there was another movie i watched with a strong maker thing, a tinkerer ethic. that was what? i think the tinkerer thing is important, it’s should be stuff that they live and breathe, not just tossed in with no context. we are tool makers and mostly that has turned into tool users, but the making is a joy also which is the anticipation of using and proper function. i made this. indeed. what about a movie about designing a land
3.1.5.9. in alien back full circle, they built this immersive set, the nostromo and once you entered the set you had to go through the whole thing to get out. like the alexander henry.
3.2. √ pre-production
3.2.1. kingston canada
3.2.1.1. hold zero down until the pls sign shows up… 0+ 011 41 076 517 5359
3.2.1.2. military communications – 6135415395
3.2.1.3. correctional services of 613 530 3122
3.2.1.4. 3/13/2006
3.2.1.4.1. calls
3.2.1.4.1.1. film school queens university
3.2.1.4.1.2. historical society
3.2.1.4.1.2.1. tenements or living spaces to shoot?
3.2.1.4.1.3. military communications museum
3.2.1.4.1.4. maho
3.2.1.4.1.4.1. bed and breakfasts
3.2.1.4.1.4.1.1. maho gives me links
3.2.1.4.1.4.2. city hall
3.2.1.4.1.4.2.1. are permits required, if so what?
3.2.1.4.1.4.2.2. interior shots possibly exteriors in public spaces (general information)
3.2.2. jobs
3.2.2.1. priority!
3.2.2.1.1. four most important things
3.2.2.1.1.1. story
3.2.2.1.1.1.1. concepts for extra shots and business, additional coverage
3.2.2.1.1.1.2. scene breakdown for script
3.2.2.1.1.1.2.1. guideline – it’s a short, so scenes are set up with a minimum of waste. for example, she is sitting on the floor, but we see her front door behind her, thus establishing her and the next moment. even better would be shot of christina watching TV, front door background, christina midground with color flickering on her face and TV in foreground.
3.2.2.1.1.1.2.1.1. SFX – there’s a light mist in the room that catches the projection beam and creates a haze around the TV in the foreground
3.2.2.1.1.1.2.1.2. props
3.2.2.1.1.1.2.1.2.1. would need scenes to project on her face, have to edit something.
3.2.2.1.1.1.2.1.3. make-up could have white face for projection, ramp up the surreal factor
3.2.2.1.1.1.2.1.4. scenes
3.2.2.1.1.1.2.1.4.1. opening – christina on the couch/floor watching TV
3.2.2.1.1.1.2.1.4.1.1. the TV is exposition. she’s channel surfing, and we get a peek at the parallel universe
3.2.2.1.1.1.2.1.4.1.2. we get a glimpse of her room, she’s nomadic, a refugee already. she may have to move anytime, is she coming or going?
3.2.2.1.1.1.2.1.4.1.3. boxes are a metaphor, the architecture of transience
3.2.2.1.1.1.2.1.4.1.4. they are labeled like the props in ragel gumms world, symbolizing the various trappings of domesticity – living room, library, bathroom, bicycle…
3.2.2.1.1.1.2.1.4.2. front door – christina at front door and uncle joe
3.2.2.1.1.1.2.1.4.2.1. uncle joe in door or a conversation between christina and joe with the door between them (we don’t see joe)
3.2.2.1.1.1.2.1.4.2.2. christina and joe talking (?)
3.2.2.1.1.1.2.1.4.2.2.1. he pops tape in
3.2.2.1.1.1.2.1.4.2.2.2. he looks “much better”
3.2.2.1.1.1.2.1.4.3. christina in hallway knocking on jerry’s door
3.2.2.1.1.1.2.1.4.4. in gerry’s apartment
3.2.2.1.1.1.2.1.4.4.1. philip k dick? can we have his books on the shelf? rights
3.2.2.1.1.1.2.1.4.4.2. who is gerry? he’s been attacked and knows it. his physical condition is failing, but he is about to translate himself to the digital domain. he’s developed an active archive of himself and has developed a virus to do distributed processing over the entire web. to kill him thus would require wiping out the entire world wide communication infrastructure. as a target of the system he has decided to become the system, to dive into the open maw of the beast and disappear. if he retains his discreet persona, he can continue his revolutionary agenda – find the nest of the oppressor and bring the fight to them. he was a brilliant geek/aesthetique, but was discovered and nearly neutralized. His body is dying yet the twin engines of anger and curiosity drive him forward. he will have the last laugh.
this attractive woman is an unexpected boon, he’s long since given up on being able to talk to let alone fuck a hot babe. He looks rough, he feels worse than he looks, naps a lot, has bursts of motivation.
3.2.2.1.1.1.2.1.4.4.2.1. gerry is clinically depressed. he can barely get out of bed in the morning. this is an important element to his character. it’s why i’ve been tossed back into this place, to remember what gerry is going through – how the unseen enemy is trying to knock him down, and how he uploads himself into the network, bit’s of his personality like a virus processing on computers all over the world.
3.2.2.1.1.1.2.1.4.4.2.2. this is nice, seti meets the hacker revoltionary and he is dead but not, neither (check the max headroom storyline) so they kill him but that’s how he lives on and talks to daughter of god. but remember, he’s depressed, he’s under attack
3.2.2.1.1.1.2.1.4.4.3. stds is gerry thinking about it?
3.2.2.1.1.2. performance / presence
3.2.2.1.1.2.1. steven
3.2.2.1.1.2.1.1. who is gerry, development
3.2.2.1.1.2.2. carmen
3.2.2.1.1.2.3. me
3.2.2.1.1.2.3.1. uncle joe’s
3.2.2.1.1.3. lighting and composition, “the look”
3.2.2.1.1.3.1. uncle joe (stage before shooting)
3.2.2.1.1.3.1.1. protocol for handling these scenes. we determine camera placement and composition, set marks, lights and so forth, then walk through the entire scene. then carmen and i get into character and do it. the idea here is not to be moving equipment around while i am in my suit, to have go into and out of character.
3.2.2.1.1.3.1.2.
3.2.2.1.1.3.1.3. for gerry and carmen it can be a little more spontaneous, but if we have a clue what we are looking for, then all will be well.
3.2.2.1.1.4. sound
3.2.2.1.2. kits – identify and purchase everything
3.2.2.1.2.1. protocol
3.2.2.1.2.1.1. all equipment must have cases and inventory list
3.2.2.1.2.2. HDEF camera_one
3.2.2.1.2.2.1. Panasonic HVX200
serial number c6Tc00435 R
3.2.2.1.2.2.1.1. cables etc.
3.2.2.1.2.2.2. Apple Powerbook 1.67 Mhz G4 17″ 1g RAM HD
serial number W86060UQSX0
3.2.2.1.2.2.2.1. power supply
3.2.2.1.2.2.2.2. extension cord
3.2.2.1.2.2.2.3. VGA monitor adapter
3.2.2.1.2.2.2.4. NTSC monitor adapter
3.2.2.1.2.2.2.5. final cut pro version
3.2.2.1.2.2.3. LaCie Firewire 800 PCMCIA card w/power supply
3.2.2.1.2.2.4. GRAID 500 gig
3.2.2.1.2.2.4.1. power supply
3.2.2.1.2.2.4.2. extesion cable
3.2.2.1.2.3. HDEF camera_two
3.2.2.1.2.3.1. Panasonic HVX200
serial number
3.2.2.1.2.3.1.1. cables etc.
3.2.2.1.2.3.2. Apple Powerbook 1.67 Mhz G4 17″ 1g RAM HD
serial number
3.2.2.1.2.3.2.1. power supply
3.2.2.1.2.3.2.2. extension cord
3.2.2.1.2.3.2.3. monitor adapter
3.2.2.1.2.3.2.4. final cut pro version
3.2.2.1.2.3.3. LaCie Firewire 800 PCMCIA card w/power supply
3.2.2.1.2.3.4. GRAID 500 gig
3.2.2.1.2.3.4.1. power supply
3.2.2.1.2.3.4.2. extesion cable
3.2.2.1.2.4. tripods and camera support (triangular tenba case)
3.2.2.1.2.4.1. Gitzo basalt (carbon fiber)
3.2.2.1.2.4.1.1. Gitzo G2380 head
3.2.2.1.2.4.1.2. Gitzo short plate
3.2.2.1.2.4.2. Gitzo explorer (steel)
3.2.2.1.2.4.2.1. Gitzo G2380 head
3.2.2.1.2.4.2.2. Gitzo quick release plate 20″
3.2.2.1.2.4.3. Gitzo Systematic tripod (carbon steel)
3.2.2.1.2.4.3.1. Gitzo G2380 head
3.2.2.1.2.4.3.2. Gitzo tube extender with top plate (carbon fiber)
3.2.2.1.2.4.3.3. top plate (steel)
3.2.2.1.2.4.3.4. Manfrotto leveler for top plate
3.2.2.1.2.4.3.5. Gitzo quick release plate 20″
3.2.2.1.2.4.3.6. Gitzo quick release plate short
3.2.2.1.2.5. sound
3.2.2.1.2.5.1. sennheiser
3.2.2.1.2.5.2. Gitzo boom pole (tripod case)
3.2.2.1.2.5.3. shock mount
3.2.2.1.2.6. lights
3.2.2.1.2.6.1. white foamcore
3.2.2.1.2.6.2. night
3.2.2.1.2.6.2.1. set paper, black
3.2.2.1.2.6.2.2. gaffer tape
3.2.2.1.2.6.3. day
3.2.2.1.2.6.3.1. frosted gels
3.2.2.1.2.6.4. extension cords
3.2.2.1.2.6.4.1. main line from gens, 200 ft?
3.2.2.1.2.6.5. tent or van for gens
3.2.2.1.2.6.6. generators and weather
3.2.2.1.2.7. construction
3.2.2.1.2.7.1. saws, etc.
3.2.2.1.2.8. legal
3.2.2.1.2.8.1. location release
3.2.2.1.2.8.2. actor release
3.2.2.1.2.9. what other kits?
3.2.2.2. press release
3.2.2.3. sunday
3.2.2.3.1. tire pressure
3.2.2.3.2. √ dewalt and construction
3.2.2.3.3. √ heaters
3.2.2.3.4. √ ndong and cecile
3.2.2.3.5. √ passport and labor market opinion
3.2.2.3.6. artist house checks
3.2.2.3.7. √ pack g4
3.2.2.3.8. √ equipment list to get
3.2.2.3.8.1. √ clear credit cards
3.2.2.3.8.2. √ martijne
3.2.2.3.8.2.1. dido light kit
3.2.2.3.8.3. √ finish testing all equipment
3.2.2.3.8.4. √ cargo van CC rentals, remember driver’s licenses…
3.2.2.3.8.5. √ BH (10-5)
3.2.2.3.8.5.1. sandbags
3.2.2.3.8.5.2. √ extra batteries AA
3.2.2.3.8.5.3. √ two 4 g card
3.2.2.3.8.5.4. if no 4 gig, battery power, inverter
3.2.2.3.8.5.5. √ Panasonic extra batteries
3.2.2.3.8.5.6. return mattebox with polarizer
3.2.2.3.8.5.7. √ tenba 3 cases
3.2.2.3.8.5.8. √ frosted gels
3.2.2.3.8.5.9. √ boom pole
3.2.2.3.8.5.10. √ 2 additional GRAIDs
3.2.2.3.8.5.11. √ another two radio mics
3.2.2.3.8.6. √ home depot
3.2.2.3.8.6.1. √ rugs for van
3.2.2.3.8.6.2. √ plastic to block hallways
3.2.2.3.8.6.3. √ extension cords thick
3.2.2.3.8.6.4. √ electrical breakout
3.2.2.3.8.6.5. √ tarp
3.2.2.3.8.6.6. √ bungie
3.2.2.3.8.6.7. √ gas can
3.2.2.3.8.7. √ coop 6:00 – 7:30
3.2.2.3.8.7.1. breakfast shopping
3.2.2.3.8.8. pearl stamps
3.2.2.3.9. 250 st marks
3.2.2.3.9.1. pipes and adjusters
3.2.2.3.9.2. metering chart for generator
3.2.2.3.10. set paper
3.2.2.3.11. * insurance policies
3.2.2.3.11.1. boat is included
3.2.2.3.11.2. 2 million
3.2.2.3.12. √ A polaroid camera (target)
3.2.2.3.13. √ film makers handbook?
3.2.2.3.14. √ lawyers book?
3.2.2.3.15. √ generator (how loud)
3.2.2.3.16. √ arrive
3.2.2.4. tuesday
3.2.2.4.1. log
3.2.2.4.1.1. unpacked
3.2.2.4.1.2. set up printer
3.2.2.4.1.3. enlarged layouts
3.2.2.4.2. lunch
3.2.2.4.2.1. set up for emily
3.2.2.4.2.2. replacement for tea dance
3.2.2.4.2.3. capture tapes
3.2.2.4.2.4. maho
3.2.2.4.2.4.1. packet retain lawyer
3.2.2.4.2.4.1.1. check for $1000
3.2.2.4.2.4.1.2. tasks
3.2.2.4.2.4.1.2.1. dick rights
3.2.2.4.2.4.1.2.2. actors contracts
3.2.2.4.2.4.1.2.3. location agreement
3.2.2.4.2.5. prepare lawyer packet
3.2.2.4.2.5.1. location agreement
3.2.2.4.2.5.2. actors contracts
3.2.2.4.2.5.3. phil dick rights
3.2.2.4.3. ann
3.2.2.4.3.1. type location agreement draft
3.2.2.4.4. choose locations
3.2.2.4.4.1. with round portholes
3.2.2.4.4.2. port hole access from outside
3.2.2.4.4.3. size of the room
3.2.2.4.4.4. multiple plugs
3.2.2.4.4.5. camera test for blocking and movement
3.2.2.4.5. melonie
3.2.2.4.5.1. gaffers tape
3.2.2.4.5.1.1. label all extension cords, tools etc.
3.2.2.4.5.1.2. inventory list of all equipment
3.2.2.4.6. joe’s props
3.2.2.4.6.1. black socks paragon
3.2.2.4.6.2. A black shoes (dan – filenes)
3.2.2.4.6.3. B glasses (chinatown)
3.2.2.4.7. set-up
3.2.2.4.8. make-up test for dan
3.2.2.4.9. light tests
3.2.2.4.10. pm
3.2.2.4.10.1. 512-215-9286 tech dv film digital to film transfer -dvfilm.com atlantis…
3.2.2.4.10.2. also duart
3.2.2.4.11. laundry
3.2.2.4.12. continuity talk
3.2.2.5. done
3.2.2.5.1. √ sand
3.2.2.5.2. * labor market opinion
3.2.2.5.2.1. birthdate and ss numbers for laynea
3.2.2.5.2.2. fax updates to sonya
3.2.2.5.3. √ unpack
3.2.2.5.4. done
3.2.2.5.4.1. √ camera status
3.2.2.5.4.1.1. dennis checks in today
3.2.2.5.4.1.2. waiting for rob and dennis
3.2.2.5.4.2. √ light frame
3.2.2.5.4.3. √ location scouting in canada
3.2.2.5.4.3.1. kingston
3.2.2.5.4.3.1.1. 81 across border to 401
3.2.2.5.4.3.1.2. 401 west
3.2.2.5.4.3.1.3. 619 Battersea Rd South Montreal St
3.2.2.5.4.3.1.4. East on Ordnance Street to Ontario Street
3.2.2.5.4.3.2. alexander henry
3.2.2.5.4.3.2.1. there is shore power
3.2.2.5.4.3.2.2. most of the cabins are in original condition
3.2.2.5.4.3.2.3. water gets turned on in mid april
3.2.2.5.4.3.2.4. gallery / mess operational, but not necessarily available
3.2.2.5.4.3.2.5. parking?
3.2.2.5.4.3.2.6. paul – interim executive director
3.2.2.5.4.3.2.7. i talked to gordon
3.2.2.5.4.3.3. military communications and electronics museum
3.2.2.5.4.3.3.1. Director – Major Jack Magilton, CD (Ret’d)- Museum Operations – (613) 541-4211.
3.2.2.5.4.3.4. canadian guidebooks
3.2.2.5.4.3.5. access and site clearance
3.2.2.5.4.3.6. possibilities
3.2.2.5.4.3.6.1. apartments
3.2.2.5.4.3.6.2. trailer park
3.2.2.5.4.3.6.3. condominium
3.2.2.5.4.3.6.4. extended stay hotels
3.2.2.5.4.3.6.5. funky hotels < older prewar extended stay
3.2.2.5.4.3.6.6. low occupancy
3.2.2.5.4.4. √ need records from tc court 2:00 pm melonie
3.2.2.5.4.5. √ canada gives labor market opinion – call sophia
3.2.2.5.4.5.1. exact location?
3.2.2.5.4.5.2. can we add crew as we go
3.2.2.5.4.5.3. one form for every person?
3.2.2.5.4.5.4. letter of introduction
3.2.2.5.5. √ location final
3.2.2.5.6. √ tekserve $10,598.00 reverse
3.2.2.5.6.1. 03/17/2006
TEKSERVE-CURRENT DESIGNS NEW YORK NY
<REFERENCE 2424651EY2PHDE9RY>
$10,598.00
3.2.2.5.6.2. invoiced the same day
3.2.2.5.7. √ van rental
3.2.2.5.7.1. St Marks Park
3.2.2.5.7.1.1. 718 789-2555 Steve
3.2.2.5.7.1.2. .89 / mile
3.2.2.5.7.1.3. $330 for 10 days (personel use)
3.2.2.5.7.1.4. $5 / extra driver
3.2.2.5.7.1.5. call a few days ahead of time
3.2.2.5.7.2. cc rentals
3.2.2.5.7.2.1. weekly x 1 $400 x 1 = $400
daily x 4 $80 x 4 = $320
weekly insurance x 1 $66 x 1 = $66
daily x 4 $13 x 4 = $52

$838

mileage allowance 700 + 400 = 1100

weekly x 2 $400 x 2 = $800
weekly insurance x 2 $66 x 2 = $132

$932

mileage allowance 700 x 2 = 1400

returns?
3.2.2.5.8. √ makeup
3.2.2.5.8.1. brent for hair
3.2.2.5.8.2. laynea
3.2.2.5.8.2.1. hair too
3.2.2.5.8.2.2. can we do trial run?
3.2.2.5.8.2.3. materials
3.2.2.5.8.2.4. something startling (experimental)
3.2.2.5.8.3. uncle joe is a robust 65
3.2.2.5.8.3.1. wrinkles
3.2.2.5.8.3.2. grey and flattop
3.2.2.5.8.4. gerry is drawn haggard, hollowed out, wild
3.2.2.5.8.5. christina over the top, (depending on gown) basic
3.2.2.6. maho
3.2.2.6.1. meeting with maho √
3.2.2.6.1.1. script analysis (to be continued)
3.2.2.6.1.1.1. the difference between men and women getting pregnant
3.2.2.6.1.1.2. tests – proof of concept
3.2.2.6.1.2. logistics – swiss and canadian actors, can’t shoot in usa, cananda location scouting
3.2.2.6.2. generate invoices
3.2.3. rehearsal notes
3.2.3.1. rehearsal notes 1
3.2.3.1.1. reclusive – what does that mean?
3.2.3.1.1.1. writes
3.2.3.1.1.2. plays guitar
3.2.3.1.1.3. fixes things
3.2.3.1.1.4. rushed
3.2.3.1.1.5. there’s nothing more dangerous than a man with nothing to loose – D
3.2.3.1.1.6. I wish I was 17 – S
3.2.3.1.1.7. Harrison Bergeron
3.2.3.1.2. how to develop the characters
3.2.3.1.2.1. mechanical – scene blocking technical
3.2.3.1.2.2. improv – emotional status ad-libbing
3.2.3.1.2.3. trying the full spectrum – misner
3.2.3.1.2.3.1. learn the lines without emotion dont’ think about the meaning
3.2.3.1.2.4. know it by rote – carmen’s technique
3.2.3.1.2.5. take the character, know what she is wearing – costume
3.2.3.1.2.5.1. she puts it on, goes outside as christina and interacts with people
3.2.3.1.2.5.2. i give them assignments, things they have to do
3.2.3.1.2.6. scenes in context and out of context
3.2.3.1.2.7. storytelling, exposition
3.2.3.1.3. why would he peek out the door
3.2.3.1.3.1. curiosity, boredom, it’s what he used to do
3.2.3.1.3.2. (gerry / steve tends to wander off the subject… useful)
3.2.3.1.4. business with christina
3.2.3.1.4.1. gum to picture, maybe she tries different things to put it up there
3.2.3.1.4.2. didn’t recognize there was a disaster – my whole life is a disastermy period qualifies as natural disaster
3.2.3.1.4.3. other methods
3.2.3.1.4.4.
3.2.3.1.4.5.
3.2.3.1.5. conclusion, the scene worked well with carmen and steve, but carmen was starting to take the lead and steve was taking sort of a backseat, riding along being easy.
3.2.3.2. rehearsal notes 2
3.2.3.2.1. i am not doing what I want.
3.2.3.2.2. double edit, quick edit, rewind, slo time with DETAIL
3.2.3.2.3. hard wood floor new olympic sport
3.2.3.2.4. reading like a psycho -don’t open that door!
3.2.3.2.5. shit sorry little faster. frantic
3.2.3.2.6. fuck!?
3.2.3.3. schedule
3.2.3.3.1. tuesday
3.2.3.3.1.1. prop list tonight
3.2.3.3.1.2. hair – call tonight
3.2.3.3.1.3. virginia – no go.
3.2.3.3.2. wednesday
3.2.3.3.2.1. all day – all cast
3.2.3.3.2.2. use the rooms space
3.2.3.3.2.3. afternoon shopping
3.2.3.3.2.4. evening dinner with eiji
3.2.3.3.3. thursday
3.2.3.3.3.1. all day – all cast
3.2.3.3.3.2. direction
3.2.3.3.3.3. props and costumes 80%
3.2.3.3.3.4. massage
3.2.3.3.3.5. brent
3.2.3.3.4. friday
3.2.3.3.4.1. all day – gerry and christina
3.2.3.3.4.2. improvs
3.2.3.3.4.3. laynea ?
3.2.3.3.4.4. friday treatment
3.2.3.3.5. saturday
3.2.3.3.5.1. half day – carmen and dan
3.2.3.3.6. sunday
3.2.3.3.6.1. packing day
3.2.3.3.6.1.1. 6:00 pm treatments for steven and carmen
3.2.3.3.6.1.2. 11:00 pm melonie
3.2.3.3.7. monday
3.2.3.3.7.1. 6:00 am
3.2.4. production elements
3.2.4.1. props
3.2.4.1.1. gerry
3.2.4.1.1.1. √ A shirt to tuck in – weird or makes sense (steve)
3.2.4.1.1.2. √ A phil dick books (melonie)
3.2.4.1.1.3. √ A tea pot (kitchen)
3.2.4.1.1.4. √ A gerry’s shirt or something for christina (steve’s wearing pink shirt)
3.2.4.1.1.5. A what crashed in gerry’s apartment (dan)
3.2.4.1.1.6. A hotplate etc. bunson burner (ann)
3.2.4.1.1.7. A pick up books for steve to read
3.2.4.1.1.8. B sonic care
3.2.4.1.1.9. tool belt
3.2.4.1.2. christina
3.2.4.1.2.1. A TV (dan)
3.2.4.1.2.2. A VHS (dan)
3.2.4.1.2.3. A shoes (carmen)
3.2.4.1.2.4. A polaroid Camera (target)
3.2.4.1.2.5. A picture of joe (friday)
3.2.4.1.2.6. √ A biker boots
3.2.4.1.2.7. √ A cell phone
3.2.4.1.2.8. √ A bed or couch
3.2.4.1.2.9. √ A broad hat (carmen – chinatown)
3.2.4.1.2.10. A flowers from the field (canada)
3.2.4.1.2.11. √ A headphones
3.2.4.1.2.12. √ A hallway white dress
3.2.4.1.2.13. √ A elegant dress (dan and carmen)
3.2.4.1.2.14. √ A Christina outside wear (carmen – friday)
3.2.4.1.2.15. √ A tape (dan)
3.2.4.1.2.16. √ A lipstick
3.2.4.1.2.17. √ B bra
3.2.4.1.2.18. B popcorn (carmen)
3.2.4.1.2.19. √ B clothing for getting ready sequence (carmen – friday)
3.2.4.1.2.20. B nails (workshop)
3.2.4.1.2.21. B hammer (workshop)
3.2.4.1.2.22. B drill (workshop)
3.2.4.1.2.23. √ B gum (carmen)
3.2.4.1.2.24. √ B nail business (carmen)
3.2.4.1.2.25. √ B scotch tape (carmen)
3.2.4.1.2.26. B tobacco (carmen)
3.2.4.1.2.27. √ B sage (kitchen)
3.2.4.1.2.28. B papers (carmen)
3.2.4.1.2.29. √ B nail stuff with separator (carmen)
3.2.4.1.2.30. B maybe a cat or dog, not that animals are props, its just I always felt that Christina loves cats and dogs
3.2.4.1.2.31. name of my best friend is Julchen, Vivian
3.2.4.1.3. joe
3.2.4.1.3.1. A black shoes (dan – filenes)
3.2.4.1.3.2. B glasses real (dan)
3.2.4.1.3.3. √ A suit
3.2.4.1.3.4. √ B cell phone
3.2.4.1.3.5. √ B black tape gaffers
3.2.4.1.4. √ boxes
3.2.4.1.5. relief / supply stamp
3.2.4.2. budget
3.2.4.2.1. budget (projected) $25,000
3.2.4.2.1.1. contractors (6, no extras) $12,262
3.2.4.2.1.1.1. pre-production crew – total $1150
3.2.4.2.1.1.1.1. maho
3.2.4.2.1.1.1.1.1. $500 + $150 treatment
3.2.4.2.1.1.1.2. eiji
3.2.4.2.1.1.1.3. ann loeding
3.2.4.2.1.1.1.3.1. $500
3.2.4.2.1.1.1.4. melonie
3.2.4.2.1.1.2. production crew – total $4500
3.2.4.2.1.1.2.1. eiji
3.2.4.2.1.1.2.1.1. $100 day x 10 days = $1000
3.2.4.2.1.1.2.2. melonie
3.2.4.2.1.1.2.2.1. $100 day x 10 days = $1000
3.2.4.2.1.1.2.3. ann
3.2.4.2.1.1.2.3.1. $100 day x 15 days = $1500
3.2.4.2.1.1.2.4. laynea
3.2.4.2.1.1.2.4.1. $100 day x 10 days = $1000
3.2.4.2.1.1.2.5. total = $4000
3.2.4.2.1.1.3. cast $total – $6412 + $200
3.2.4.2.1.1.3.1. carmen
3.2.4.2.1.1.3.1.1. $100 day x 10 days (production) + 5 days (rehearsal) + 5 days (character development) = $2000
3.2.4.2.1.1.3.1.2. lodging brooklyn 4 weeks $300
3.2.4.2.1.1.3.1.3. food supplement $100
3.2.4.2.1.1.3.1.4. treatments $160
3.2.4.2.1.1.3.1.5. plane ticket $646
3.2.4.2.1.1.3.1.6. total $3206
3.2.4.2.1.1.3.2. steve
3.2.4.2.1.1.3.2.1. $100 day x 10 days (production) + 5 days (rehearsal) + 5 days (character development) = $2000
3.2.4.2.1.1.3.2.2. share my apartment april $600
3.2.4.2.1.1.3.2.3. food supplement $100
3.2.4.2.1.1.3.2.4. match $…
3.2.4.2.1.1.3.2.5. total $3206
3.2.4.2.1.1.3.3. extras $50/day (if boat) x 4 = $200
3.2.4.2.1.2. location $5000
3.2.4.2.1.2.1. boat $5,000
3.2.4.2.1.3. lodging $3000
3.2.4.2.1.4. insurance $2083
3.2.4.2.1.4.1. floater $1432 (1 year) / 52 weeks * 2 weeks = $55
3.2.4.2.1.4.2. production $1228
3.2.4.2.1.5. transport $2356
3.2.4.2.1.5.1. canada round trip
3.2.4.2.1.5.1.1. $100
3.2.4.2.1.5.2. box van $932 + $200
3.2.4.2.1.5.2.1. cc rentals
3.2.4.2.1.5.2.1.1. weekly x 1 $400 x 1 = $400
daily x 4 $80 x 4 = $320
weekly insurance x 1 $66 x 1 = $66
daily x 4 $13 x 4 = $52

$838

mileage allowance 700 + 400 = 1100

weekly x 2 $400 x 2 = $800
weekly insurance x 2 $66 x 2 = $132

$932

mileage allowance 700 x 2 = 1400

returns?
3.2.4.2.1.5.3. airplanes
3.2.4.2.1.5.3.1. melonie
3.2.4.2.1.5.3.1.1. $406 US
3.2.4.2.1.5.3.2. carmen
3.2.4.2.1.5.3.2.1. $650 US
3.2.4.2.1.6. catering $3000
3.2.4.2.1.7. legal $1000
3.2.4.2.1.8. ? equipment expense $3000
3.2.4.2.1.8.1. consumables
3.2.4.2.1.8.2. rental
3.2.4.2.1.8.3. makeup
3.2.4.2.1.8.4. costumes
3.2.4.2.1.8.5. props
3.2.4.2.2. capital (projected) $30,000
3.2.4.2.2.1. cameras $20,000
3.2.4.2.2.2. hard drives
3.2.4.2.2.3. powerbooks
3.2.4.2.2.4. – (1) 15ft 4 to 6 pin FW400 cable w/Ferrite Cores (see note on Cores later in this post)
– (1) FW400 Repeater
– (1) 15ft 6 to 6 pin FW400 cable w/Ferrite Cores
3.2.4.2.2.5. century optics
3.2.4.2.2.6. glidecam $2000
3.2.4.2.2.7. second light kit $5000
3.2.4.2.2.8. radio mics and receivers
3.2.4.3. script and support
3.2.4.3.1. script
3.2.4.3.2. backstory (bible)
3.2.4.3.2.1. gerry
3.2.4.3.2.1.1. gerry is an artist who followed the digital way. Gerzson which means stanger banished. Gerry feels he is under attack. He can’t say who or what is doing the attacking, but he wakes up in the morning with strange injuries, as if from battle. Most recently, he was hit hard by depression and though that almost killed him, he still lives. However, something vital was lost after he threw off the depression, something which makes him repellent to most people, espcially women. It is as if he gives off a pheremonal signal, nothing he does or says seems to make any difference. It is not easy for him. However, he has not surrendered, he has not decided to accept his fate. He has a workable plan to download himself, and then hand over control of his physical body to the virtual self. He will still own the body, but he will be able to express himself over a wider spectrum of physicality, not just through the body. The body could be put into a sort of stasis, parked in a institution for low functioning people or frozen in a clandestine cryo lab. Maybe taken up again in a later episode, when it can be fully repaired. Basically this process is like offing himself, with the possibility of future resurrection. So it might be uncanny that Joe picks Gerry for Christina, except that Joe is being guided by the hand of god.
3.2.4.3.2.1.2. steve meeting 3/20/06
3.2.4.3.2.1.2.1. integrity polite
believes in love
been in love many times
got a mean side to him, don’t cross him. once you cross the line
likes to fuck, likes to slam it home
want’s to be careful
physical intercourse
he falls in love and he’s vulnerable
he’s lovable but he like’s to love from a distance
missing opportunities, to careful
works wiith his hands, no 9 – 5
tinkering
pacing
enjoys the day… expects the same from other people, he likes to be treated like that
how does feel to be him
how long has he been in this place over two year under six
late 30’s early 40’s
deliberately, purposefully
love and work
getting settled and established within himself
not in a rut cause he wants to be there
took awhile for him to get there
sense of humor
sense of absurd
pinnacle of life achievement or trough
mid coming down from a pinnacle or up from a low
been in the place for awhile
move on from there, accepting and craving a change

dazed and dozed – crowd pollinate many flowers, too much power and nothing to apply

3.2.4.3.2.2. joe’s monolog (dan)
3.2.4.3.2.2.1. they knew she was coming, they told me to find her, me and probably at least two other wise men. I ran the show – research, resources. you know the way they work it, secrecy is not hierarchical, it’s lateral. how many other teams there were – looking for her, pinning her arrival down – I can’t say, but for critical operations things always run in parallel. in other words, though I had funds and boots on the dirt, I couldn’t be sure that I ran the only show in town. Presumably, there might be some wheel at the top who watches all the parallel teams, i met someone like that once, briefly. then they died. so within my little project I’ve set up a few trip wires to alert me to the presence of competitors, a few red herrings. Usually who cares, but usually you’ve got six degrees of seperation from the target, which i didn’t. Christina was going to be the mother of the daughter and Christina was my brother’s daughter, and i owed him and loved her. They say emotion is a kind of intelligence. i had to compartmentalize and encrypt my feelings for her, and convert them into a biological imperative – like shitting. the protect christina program.
3.2.4.3.2.2.2. so what exactly am i talking about? if you haven’t guessed it by now, I’m a spook. A particularly effective spook, gods little double agent. When I see how elegantly I’ve been guided, i realize what a fight the agency is facing. An operation to thwart the deity, good luck. I am sure they’ve got more trip wires to find surprises like me, but damned if I can find them. It’s my magical power, finding trip wires and traps, setting them too.
3.2.4.3.2.2.3. OK, so the government (quote, unquote) is looking for the daughter of god. She’s on her way, but they don’t quite know where or when she’ll show up. They are working with a margin of error of about plus or minus 5 years. Mostly we’ve decided to concentrate on the bloodlines, where… anyway, they don’t want the daughter of god to show up and liberate anyone, fuck up the system, throw off the profit cycles. She’s the enemy, basically. They’ve got a pretty good lock on the planet at this point, but god’s gonna try and get her through the perimeter, as he has many times before with lesser avatars and saints. However, to send a daughter to earth is a major undertaking, something the masters of earth can’t easily miss. Not like disguising coldpak commandos in random meteor showers. This sort of event starts the frequencies resonating like the big brass bells of chartre. all the precogs and remote viewers are picking it up as clear as i love lucy reruns arriving in tau ceti. she is a big deal.
3.2.4.3.2.2.4. so they’ve got me (and likely others) looking for her. Well, I found a exclusive source of information and discovered to my chagrin that the mother of the daughter of god was going to be my niece. It’s actually a little more complicated. See if I wanted my brother’s daughter to live, she had to carry the daughter of god. so i kind of hijacked god to save my brothers daughter. meanwhile, the agency is looking for this kid vis a vis her mom, but i stepped out of the box and saw that rather than try and discover the mom, I could create her, then I would know exactly who she was. By doing so I then could save my brother’s daughter, cause she would be god’s vessel, and there’s no better protection than that afforded by god. see the agency has slated my brothers daughter (and the city she lived in) to be the target for a future terrorist holocaust. I knew this because I play poker with a gang of other project managers in the agency every other friday, but instead of money we play for secrets. it’s trivia mostly, useless stuff, but agents have been known to act on these tidbits – insider trading or currency exchange. harmless fun. when a spookette from counter terrorism offered “next american city to suffer a bio strike” as a call and raise to my “three contemporary british pop stars descended from the jesus bloodline” and I took her 2 pair with a royal flush, well imagine my chagrin. It changed my life. One moment I was a company man, the next a prophet. who’d a thunk it?
3.2.4.3.2.2.5. so i am protecting my youth, my last secret treasure. the days of sunshine when i pushed her around the pool and her laughter like little bells. young and noble was I, before all the training and intrigue. Before I died and left her alone, poor thing. At my level, it was considered very gungho if you offered to sever your ties to the past and die. This way, you were invisible, no records, no family or friends outside the company. you would achieve ultimate freedom. I didn’t like leaving her alone, but she had so many friends, lots of young men especially, I didn’t think she’d miss me all that much. I didn’t miss my parents much, it was quite a relief to have them gone actually. But i wasn’t her dad, and that made our bond unusual. after my death, she had a hard time coping and went through a series of rough relationships. eventually she swore off men for the most part. when you die, it’s bad form to keep tabs on your old friends and family, it’s frowned on certainly. After my death I initiated some remote viewing training and she kept popping into my head, I couldn’t help but see what she was going through. So I made up my mind to be a pair of invisible hands, helping her along. Her previous abusive boyfriend died in terrible accident (once again quote unquote) right after I’d pointed a young idealistic artist who’d washed out as a manchurian candidate candidate in her direction, a gentle little schmuck who nurtured her and closed most of the wounds. Christina eventually got bored with her and moved on – can’t blame her, the brainwashing leaves ’em a little pale and colorless.
3.2.4.3.2.2.6. Even so, I kept my intervention minimal, that is until I heard that she was slated to be another WM fuckin D statistic.
3.2.4.3.2.2.7. So I played it fast and loose, showing up at her apartment, claimed I was an angel of god disguised as her dead uncle (not far from the truth) and told her about her mission. I had planted her in the same building as a brilliant but mostly demolished young avatar, gerald pornal. This guy we had spotted some years back and had hit him with enough trouble to totally knock the stuffing out of him, he was reduced to making tinker toy spaceships and hacking corporate websites, while the air hissed out off his balloons, poor sap. But his genes were good, and him and christina were complementary animals, so why not? god could always object, but he didn’t. Who was hijacking who?
3.2.4.3.2.2.8. His medical record didn’t look so good, but I’d take charge of Christina and the kid eventually anyway. He was past helping from my end, only love could save him now and even that was a long shot.
3.2.4.3.2.2.9. So my deal? Suckered into the life of a spy and now thinking better of it. Perhaps grace does leak into this prison planet. What I’m feeling just couldn’t come from the arsenal of the agency, plus I could definitely loose my pension if they knew, so that must prove that I am doing gods work, right? sweet redemption.
3.2.4.3.2.3. christina’s monolog (dan)
3.2.4.3.2.3.1. she was born and her parents were rough with her. at 16 she moved out and lived her own life, contrasting her approach to life with that of her parents. where they were distrusting and skeptical, she was full of magic and faith. she wanted to approach life like her uncle joe, to carry on his example of humorous optimism, his bravado. he always lived as if things would work out right and he was always gentle and kind to her, unlike her own father. joe and christina were pals, comrades. she was 17 when he was suddenly diagnosed with cancer and despite treatment, lapsed into a coma and died at age 35. she stayed by his bedside until he passed. right before the coma he seemed serene and at peace with the process, and spoke loving words of encouragement about this or that boyfriend. He tried to coax her into going back to school, but she insisted she needed her own path. Within a year of her his death, Christina’s parents were killed in an accident and so she never had the chance to reconcile with them. She did find letters from her father to his brother joe, discussing the mistakes in treating his daughter and how he could reconnect with her and set things right.
3.2.4.3.2.3.1.1. tell me about christina’s parents
3.2.4.3.2.3.1.2. about her boyfriends
3.2.4.3.2.3.1.3. how did she get this way?
3.2.4.3.2.3.1.4. what’s she like
3.2.4.3.2.3.2. interview with carmen 3/10/06
3.2.4.3.2.3.2.1. lucky superstitious
she wants to be loved so much
uncle joe
her family where she grew up, mother father sister everybody’s there, nobody understands her.

uncle joe was a person who would talk to me
take me sometimes to another planet
tell me stories
18
his childhood
was good
did you know every there was to know about him
his dad was violent
collecting spiders and turtles – into nature
writer
you wished that he would have lived forever
yeah – secrets
mysterious way of doing things
but if i had asked him he would have told me, when i got older
vivian she’s not a lesbian, we are similiar people we go well together because we have the same values about life, she is more open, she can do things i can’t because she seems sometimes more confident that i do. she is the most important to me
she is most important, she actually expects her to be on the fool – $100 tip from the rich guy, that i am a waitress, red bag lots and lots of $1 dollar bills and $100 dollar bills – she was out working really late.
specific ideas about the first act

she is always challenging her people around her – can you really deal with me? are you really sure i am supposed to fuck this guy?

don’t think about this so
arrogant and sporty and uncomplicated

virginia ask her use it longer than a week we’ll go out

she convincing him, exciting him, calming him down…

what if i am not attracted to me actually means i am not attracted to him

he opens her window

great
3.2.4.3.2.3.2.2. she’s like nutella, liquid chocolate, everybody wants it, it’s creamy mild and soft. eat too much you get sick, if you take a lot of it, it’s going to disappear. have to be careful with her. and when it gets’s cold it get’s hard like stone, you cannot cut it through. you can’t take anything from her unless you made it warm, so you have to warm her up.
3.2.4.3.2.3.2.3. you cannot bite on her, the only way to get her is to lick on her.
3.2.4.3.2.3.2.4. poeple want to look at her, they want to taste her. some poeple make the effort those who don’t don’t get anything.
3.2.4.3.2.3.2.5. she is superstitious
3.2.4.3.2.3.2.5.1. when she sees on the cloosk that it’s 12:12, that’s six (sums) so she blinks 6 tiems because she wants to stay lucky like that.
3.2.4.3.2.3.2.5.2.
3.2.4.3.2.3.2.6. she wants to be loved so much.
3.2.4.3.2.3.2.6.1. she buys pieces of cloths that are ugly to her because she does not want these pieces of cloths to be alone and not bought from anybody.
3.2.4.3.2.3.2.6.2. sometimes she finds herself very ugly and sop she still wants someone to like her as ugly as she is, she wants to be loved so much.
3.2.4.3.2.3.2.7. uncle joe
3.2.4.3.2.3.2.7.1. her family where she grew up mother father sister is there but nobody really understands her
3.2.4.3.2.3.2.7.2. he would talk to me, wouldn’t talk about family stuff but would take me to another planet.
3.2.4.3.2.3.2.7.3. her gave me the freedom to be who I am
3.2.4.3.2.3.2.7.4. he would talk about magical places, in reality, places that wouldn’t exist – fairies and dwarves and witches when i was little
3.2.4.3.2.3.2.7.5. then later we would talk about the world and wars and social problems
3.2.4.3.2.3.2.7.6. christina was 18 when he died
3.2.4.3.2.3.2.7.7. he was very much interested and knowledgable
3.2.4.3.2.3.2.7.8. when we were older we talked about his childhood
3.2.4.3.2.3.2.7.9.
3.2.4.3.2.4. gerry’s monolog (dan)
3.2.4.3.2.4.1. I’m Gerry. Gerald’s teutonic in origin and means something like ruler with a spear (the babes used to think so, now not so much) but my grandmother called me Gerzson, which in Hungarian means stranger and banished. My grandmother was an educated woman with a fierce sense of things. Perhaps her education made her unhappy. Had she been a peasant woman she might have had a simpler more fulfilling life. I know this might not make sense. It’s not a generalization applicable to all poeple everywhere, it’s just an intuition I had about her specifically.
3.2.4.3.2.4.2. But again, my name. Grandma knew something about me and didn’t want to pull any punches. She wanted to let me know where i stood from the start. It’s a compliment actually, knowing her. I was (and am) the kind of person that doesn’t fit in. When you are young, this is a badge of honor. As I get older, it just feels lonely.
3.2.4.3.2.4.3. When I was a kid on the playground, I remember the girls saying I was weird. As an optimistic kid, I turned it around and decided that weird was good, that I would ally myself with all things wierd and hard to explain. I was THE mystery. The lesson came early and often, I am not like the other kids.
3.2.4.3.2.4.4. I had a short heyday, my time in the light. Everything went downhill from highschool really. I went from being a nobody to the counter culture king, leader of the pack. A beneficent leader I thought, having come up from the dregs, a kid who appreciated what it was like to be an outcast, who gathered up the other outcasts and made them into a tribe. I did that, whether they realized it or not.
3.2.4.3.2.4.5. But my star rose too early, I haven’t since reached that pinnacle of responisibilty and authority. I didn’t really want to go to school for another 4+ years, nor did I have the gumption to remake the world in my image. I just burned up my youth enjoying myself. Thwarted by the pleasure cage. Now that’s what most folks do, so why am I griping? Why indeed?
3.2.4.3.2.4.6. If I had known then what I know now. What would I tell my young self if I could go back? Prepare for battle kid. That’s what. Learn the way of the warrior. You are under attack.
3.2.4.3.2.4.7. I mean it literally. It took 40 some years to realize that I am under attack. It’s not provable, it’s just something I sense. I am taking what action I can now, but oh if I had that kid again, I’d show him what’s what. I’d know just what buttons to push to make him one hell of a tough target, one kick ass trouble maker. What kid would trade in a life of idle partying for a schedule of discipline and rigor? A visionary kid like I was, in a heartbeat. If I had known I really was part of something bigger, that I wasn’t dreaming it, wow. I’d have a 25 year lead on the adversary by now, I might be able to identify them. Instead I feel like I am just getting started. Can’t say it’s too late because this time is all I’ve got, it has to be enough or else.
3.2.4.3.2.4.8. I just took that little detour to reveal something about myself. I am done now, let’s get back to the moment. I can’t offer any real proof that there is an enemy or that I’ve been and am being attacked. I am not even sure if this is a useful premise in the matter to energy translation scheme. Since no one else is going to read this aside from me, I don’t need to offer proof, do I? We know what we know. The best attack is one that the enemy is never aware of. Even better if there is no war declared. Of course, anyone with eyes can tell if there’s a war, declared or no. I knew there was a war, i just didn’t really take it very seriously, I never thought I’d be a target. Here’s a little Sun Tzu, Lionel Giles 1910 translation – “supreme excellence consists in breaking the enemy’s resistance without fighting.” and here’s another
3.2.4.3.2.4.9. “O divine art of subtlety and secrecy! Through you we learn to be invisible, through you inaudible; and hence we can hold the enemy’s fate in our hands.”
3.2.4.3.2.4.10. Yeah, that’s the stuff. Of course there’s a war, look at how the planet’s been injured, it’s ability to sustain life is much diminished and constantly threatened. Are we supposed to believe that the human species is suicidal, a cancer? 4.5 billion years of lucky accidents snuffed out in a short 1000 years of western civilization? Basic humans have been around like 400,000 years and version 2.0, homo sapiens sapiens has been around for a 150,000. what happened? One has to ask after such a long time, why are things so messed up now?
3.2.4.3.2.4.11. That’s one bit of supporting evidence for an enemy. Our planet is under siege, big boulders and fire balls are being lobbed over the walls of the citadel, small pox infected blankets are being distributed to our tribe, our air and water is being poisoned with hormone twisting goo. We are doing it to ourselves – after 150,000 years of balance, we are apparently spontaneously commiting suicide and taking a hell of a lot of other species with us.
3.2.4.3.2.4.12. There’s not much room for revolution either. Look at how the best of us are out right murdered Jesus, Gahndiji, Martin Luther King and Malcolm to name a few. I too have felt the death ray pointed at me, how many other saints and avatars have had their tickets punched without any fanfare or headlines. I’m not dead yet, so maybe I am not that important, not much of a threat. Maybe they fixed my wagon early, stunting my growth by making my life just a little too easy, instead of a little too hard like they do for others.
3.2.4.3.2.4.13. But I can still be a player, I can still kick some ass. my beautiful body might not last much longer, but I’ve got a plan to keep their feet to the fire for years to come. Just got to hang in a little longer, my life’s work. Oops, somebodys knocking at the door…
3.2.4.3.2.4.14. 101 5/8 +2 5/8 = 104 1/4 – 3/8 for vertical
3.2.4.3.2.4.15. compensation
3.2.4.3.2.4.15.1. $1500 for 10 days of work in Canada – payable after completion of shooting
3.2.4.3.2.4.15.2. $500 bonus (based on dedication to project and excellence in performance)
3.2.4.3.2.4.15.3. Food and lodging provided
3.2.4.3.2.4.15.4. Credit, full card
3.2.4.3.2.4.15.5. Excerpt of project available for actor on DVD by June
3.2.4.3.2.4.15.6. Complete version of project available by August
3.2.4.3.2.4.15.7. Passes for festivals, travel reimbursement possibly
3.2.4.3.2.4.15.8. Production will be insured
3.2.4.3.2.4.16. work for hire
3.2.4.3.2.4.16.1. recommended – 10 half days of rehearsal and workshop (5 hours) 4/1 – 4/10 (schedule)
3.2.4.3.2.4.16.2. recommended – character development (40 hours)
3.2.4.3.2.4.16.3. 10 full days of shooting on location (Canada) 8-10 hours
3.2.4.3.2.4.16.4. actor gets no “points”, no residuals, no merchandising. actor has no further expectation of payment after production is complete
3.2.4.3.2.4.16.5. work for hire, actor releases all rights for any and every purpose, throughout the universe in perpetuity, including marketing and merchandising
3.2.4.3.2.4.16.6. bank account number in home country to wire money or mail check to
3.2.4.3.2.4.16.7. healthy and well rested upon departure for canada on April 10
3.2.4.3.2.5. evolving backstory
3.2.4.3.2.5.1. uncle joe in the hospital dance
3.2.4.3.2.5.2. pictures in frames
3.2.4.3.3. character development
3.2.4.3.4. extras
3.2.4.3.4.1. aliens judge the earth’s fitness to exist based on the quality of our theater.
3.2.4.3.4.2. killed by the other white meat
3.2.4.3.4.2.1. a guy who goes around killing all his analogs from nearby dimensions because he thinks they’re doing things to fuck up his rep. detective, it’s not exactly a serial killer, this is something new. the same guy keeps getting killed over and over again. yep, same dental work and everything. clones? what do the black bag gang have to say, something of theirs run amock – again? … I always wear the same cloths that way I know who I am. that’s something they’d never do, the fucks. that’s how i find ’em.
3.2.4.3.4.2.2. attractive girl in bed – so let me get this straight. this isn’t your universe of origin, and your analog in this universe is hunting you down? big deal! you don’t know how lucky you are. Try cleaning hotel rooms all day. listen, if that guy shows up, i’ll give him the what for, now do me again like you really mean it, stud, and remember what i showed you.
3.2.4.3.4.3. ending scenes
3.2.4.3.4.3.1. christina and gerry

G, well, do think that was the one? C – hang on, wait a minute (hand on her belly, closes eyes… nope, we better do it again. G – this must be a miracle because I can, i mean i want too, i am ready too, you know. (flustered, happy) it’s amazing. C – god gerry – oh! that is your name, right?

kid on phone…

business during phone call
idly flipping through folder, (page 1) SECURE, project MELCHIOR. (page 2) NON-AUTHORIZED PERSONEL WILL HAVE EYES POKED OUT!!! (handwritten) that means you, kid k-Shit! (closes folder focuses on phone)

Joe? I don’t know, he’s been out of the office for days. Yeah and guess what? They got it working, yep… (listens) absolutely they can hear peoples prayers. PRAYER’S – you know when people pray… to GOD. (listening) What do you mean, of course people pray still. We’ll now we can listen in to people’s prayers and if somebody’s praying for something, well, you know, bad, well then we’ll snatch them right up. Sure. What do you think all those new camps are for, duh!

joe on phone…

tony, this is your uncle joe… I know tony… but listen now, i am at your front door…
3.2.4.3.4.4. extra scenes
3.2.4.3.4.4.1. gerry in bathroom talking to himself in mirror
3.2.4.3.4.4.2. using the sonic care without batteries
3.2.4.3.4.4.3. making the leg pillow
3.2.4.3.4.4.4. using the leg pillow
3.2.4.3.4.4.5. 1 gerry glimpses out
3.2.4.3.4.4.6. 2 hallway carrying boots
3.2.4.3.4.4.7. 3 bar sequence serving with men watching maybe
3.2.4.3.4.4.8. 4 taking boots off
3.2.4.3.4.4.9. doing nails with finger separators
3.2.4.3.4.4.10. A stretching bra “I all over of this” stretches your suspension of disbelief
3.2.4.3.4.4.10.1. men kind of bother me (snaps it away)
3.2.4.3.4.4.11. heli-pad fall into arms
3.2.4.3.4.4.12. in bed call from uncle joe
3.2.4.3.4.4.12.1. hello
3.2.4.3.4.4.12.2. I think that’s enough for now, switch to speaker phone
3.2.4.3.4.4.12.3. can you both here me
3.2.4.3.4.4.12.4. yep, yeah
3.2.4.3.4.4.12.5. Congratulations, you make a lovely couple. Now listen carefully – the forces of darkness do not want god’s daughter on earth, they are already searching for you. In about half an hour the secret police are going to be swarming all over that boat. Be at peace children, god is watching. There is a soccer mom sort of minivan stashed by the quay, the keys are under the drivers side tire. I want you guys to make a move, you’ll find further instructions in the glove box. Do you understand?
3.2.4.3.4.4.12.6. yes, uh excuse me?
3.2.4.3.4.4.12.7. kid, make sure you bring your disks ok? you must finish the translation.
3.2.4.3.4.4.12.8. i’m uh…
3.2.4.3.4.4.12.9. i know, i’m sorry, it can’t be helped. at least you get a little taste of happiness before immortality kicks in. enjoy it while you can…. anything else? bye and go with god’s blessings.
3.2.4.4. cast and crew
3.2.4.4.1. ann (executive producer)
3.2.4.4.1.1. receipts and cash
3.2.4.4.1.2. liason with food, lodging, museum staff, other official
3.2.4.4.1.3. check for (take charge of) staff documentation – passports or birth certificates with state issued photo ID. Eiji and I both need to have our arrest records with us too.
3.2.4.4.1.4. boat consultant, safety inspection, incident list (what we did on the boat, (accidents, damage) what we found on the boat
3.2.4.4.2. melonie
3.2.4.4.2.1. assist camera lights, build stuff, cable geek
3.2.4.4.3. eiji
3.2.4.4.3.1. gaffer, mover, spare hands, driver, errands, cable geek
3.2.4.4.4. contracts and compensations
3.2.4.4.4.1. carmen
3.2.4.4.4.2. steve
3.2.4.4.4.2.1. steve zilliax
3.2.4.4.4.2.1.1. keep all gear stowed under bed. don’t let it leak out
3.2.4.4.4.2.1.2. keep the top and middle bunks mostly clear for visitors / meetings
3.2.4.4.4.2.1.3. don’t occupy my table, don’t skype on my machine motherfucker!
3.2.4.4.4.2.1.4. keep the place clean and organized – compost, garbage, recycle
3.2.4.4.4.2.1.5. enjoy!
3.2.4.4.4.3. maho
3.2.4.4.4.4. claire (no)
3.2.4.4.4.5. eiji
3.2.4.4.5. √ visas and international
3.2.4.4.5.1. shooting in canada with labor market opinion clears international talent
3.2.4.5. locations
3.2.4.5.1. primary
3.2.4.5.2. secondary
3.2.4.5.2.1. hospital room
3.2.4.5.2.2. is there a sound stage somewhere? who could do lights? what about dave from baruch? and how the hell is laura
3.2.4.6. schedule
3.2.4.6.1. rehearsal
3.2.4.6.2. shooting
3.2.4.7. insurance
3.2.4.8. rehearsals
3.2.4.8.1. uncle joe
3.2.4.8.1.1. i am developing a voice for uncle joe. he’s actually eastern european, czech or hungarian. born in 55 say, he came over in late 60’s early 70’s to new york, with his father was recruited into the club and gyorgy figured out what his father was up to, or else he got a little dose of mkultra (bring your kid to work week) the variation where they were feeding them royal jelly to make super operatives.
3.2.4.8.1.2. http://www.sca.org/heraldry/laurel/names/magyarnames1012.html
3.2.4.8.2. training
3.2.4.8.3. camera tests
3.2.4.9. production
3.2.4.9.1. look and feel – style
3.2.4.9.2. kit
3.2.4.9.2.1. camera
3.2.4.9.2.2. sound
3.2.4.9.2.3. lights
3.2.4.9.2.4. editing
3.2.4.9.3. shot list
3.2.4.9.3.1. christie approaches gerry’s door
3.2.4.9.3.1.1. she wearing her naked dress and biker boots. She wants to sneak down the hall so that he doesn’t open the door and scare her before she is ready. so she walks with her barefeet on a towel and carries the boots. she gets to the end of the hall and bending over with her butt against the wall for balance, slips them on. then she chucks the towel down the hall. she takes a breath and prepares to knock then hears an odd noise through the door. pauses, listening. then she raps the door hard too hard her energy is suddenly very strong and from inside one hears a tremendous crashing noise. she totally looses the composure she fought so hard to establish. the door opens, he pretends not to know her name. she blurts out her mission, he invites her in.
3.2.4.9.3.1.2. once in the apartment, we hear the boots clomping, they are quite loud. (he asks her to take them off, cause he is hygienic that way.) she becomes a little more exposed.
3.2.4.9.3.1.3. whenever she enters the apartment, we hear a click of his door. it’s subtle.
3.2.4.9.3.2. christina and gerry

G, well, do think that was the one? C – hang on, wait a minute (hand on her belly, closes eyes… nope, we better do it again. G – this must be a miracle because I can, i mean i want too, i am ready too, you know. (flustered, happy) it’s amazing. C – god gerry – oh! that is your name, right?

kid on phone…

business during phone call
idly flipping through folder, (page 1) SECURE, project MELCHIOR. (page 2) NON-AUTHORIZED PERSONEL WILL HAVE EYES POKED OUT!!! (handwritten) that means you, kid k-Shit! (closes folder focuses on phone)

Joe? I don’t know, he’s been out of the office for days. Yeah and guess what? They got it working, yep… (listens) absolutely they can hear peoples prayers. PRAYER’S – you know when people pray… to GOD. (listening) What do you mean, of course people pray still. Well now we can listen in to people’s prayers and if somebody’s praying for something, well, you know, bad, well then we’ll snatch them right up. Sure. What do you think all those new camps are for, duh!

joe on phone…

tony, this is your uncle joe… I know tony… but listen now, i am at your front door…

3.2.4.9.4. crew
3.2.4.9.5. makeup
3.2.4.9.5.1. Laynea Roberts
Makeup Artist
917-497-4835
3.2.4.9.6. props
3.2.4.9.6.1. gerry
3.2.4.9.6.1.1. lab glassware for gerry
3.2.4.9.6.2. uncle joe / melchior
3.2.4.9.6.2.1. project melchior folder
3.2.4.9.6.2.2. cell phone
3.2.4.9.6.2.3. suit
3.2.4.9.6.2.4. shiny black shoes
3.2.4.9.6.2.5. glasses
3.2.4.9.6.2.6. handkerchief
3.2.4.9.6.3. small retro TV
3.2.4.9.7. costumes
3.2.4.9.8. effects
3.2.4.9.9. logistics
3.2.4.9.9.1. food
3.2.4.9.9.2. housing
3.2.4.10. anecdotes and observations
3.2.4.10.1. story of the canadian border
3.2.4.10.1.1. so I forgot to sign my passport. sent me over to the shed and into door 1. there spoke to a cute canadian officer who looked up my FBI file and decided to send me back to the USA. Turns out my file from the FBI isn’t exactly accurate. I had to wait about 1/2 hour to find this out. Before they let me go another guy had to search my car. this took about 20 minutes. he found the book on protecting yourself with handguns and got very upset. he came over and told me to keep my hands on my chest while he searched me. he showed me the book and asked me why i had it. I told him I am a filmmaker, i do a lot of research. he said is this also part of your romantic comedy? i said no, I am working on several scripts at once. he came back with the book later and said, can you see why this would make me upset? sure i said. then he let me go. I drove around to the back and they gave me my passport back. then i had to go through american customs where they looked me up again. They said they have problem with FBI files too. then they let me go.
3.2.4.10.1.2. my assessment of my performance was that I was nervous and a little upset, i asked for the hassle in a way. Was this the way a warrior deals with the unknown? no, a warrior is best served by facing the unknown with curiosity and even excitement, remaining calm and attentive to everything around him. for future reference.
3.3. locations
3.3.1. failure! letter to the non profit board that owns the train cars and railroad right of way.
3.3.1.1. My name is Dan Kelly and I am the president of Artist house, Inc. and the director of a soon to be released short film entitled, Daughter of God. Although this not my first film project, it is the first project that I wrote and directed. I am proud of this film because we have overcome a variety of incredible obstacles to make this movie, it may sound strange but in some ways I feel this film wanted to be made.
3.3.1.2. I am aware that members of the board met last month to consider whether or not to release rights for two scenes that included property of your organization and declined to grant those rights. I also understand that the reason for refusing was that the percieved title and subject matter of my movie was offensive to the personal religious beliefs of some of the board members. subject matter of my movie offended by Making a film is a complicated affair involving hundreds of tasks every week, from the time one schedules a shoot until the day when the project is complete, and that’s why I only just found out about your decision yesterday. It’s now 2:30 in the morning on Thursday, and as your next board meeting is Saturday, i am writing to ask you to revisit the matter after having beenpresented with a little more background.
3.3.1.3. I’d have taken the time to write this letter and also more of
3.3.1.4. don’t talk about the movie being finished, or they’ll want to see it. i can’t do public screenings until all the releases are signed.
3.3.1.5. fully insured
3.3.1.6. misunderstanding about the ownership of the cars
3.3.1.7. now we get to the central matter, the subject matter of the project. First let me provide a short synopsis. or what we in the industry call the pitch.
3.3.1.8. An aging master spy volunteers to fake his own death in the service of his country. Although he is a widower and without children of his own, his sacrifice is great as he must leave behind his sister, her husband and their children including his imaginative 12 year old niece Christina who loves him dearly. The loss of her uncle joe is hard for the 12 year old to understand and adjust to, From his vantage point in the shadow world of covert operations he makes time to watches over her, insuring her security in an increasingly dangerous world.
3.3.1.9. 5 years after his “death” a wobble or variation in the earth’s tilt causes catastrophes worldwide. Many poeple perish and the vital infrastructure of society – heat, power, water – is crippled. In the ensuing chaos Joe loses track of Christina. Finding her house destroyed and her parents dead, Joe assumes that she has met the same fate. He then becomes one of a handful of dedicated individuals who somehow manages to keep the government going – organizing restructuring efforts and managing what resource remain.
3.3.1.10. 5 more years pass and the valiant efforts of joe and his ilk are beginning to show results. The government is slowly coming back online, reestablishing communication with long isolated communities. The remaining population have found trains and boats vital to the sustainance of their way of life, because of the infrastructure onboard – the ability to generate power. As in world war II petroleum based powerplants in these boats and ships are converted to producer gas, coal, even hydrogen, through the ingenuity and courage of the survivors. Joe discovers Christina is alive and living on a coast guard icebreaker.
3.3.1.11. Although she has found a secure home aboard this ship, she has been severely traumatized by the loss of her family and the situation in general. she is very depressed and on the verge of giving up. Joe concieves of a plan to restore her faith in life. He cannot just show up because he “died” before the great catastrophe and explainations might prove difficult. He feels that if she knew he faked his own death and left her behind it might push her over the edge. Instead he decides to pose as an angel and give her a powerful reason to live. He tells her that she is going to give birth to a divine child and must marry a man God has chosen for her. There can only be one son of god, so joe tells her that she is going to have a daughter. Joe tells her that her husband is to be the boats engineer, Joe knows that inspite of his reclusive ways he is a kind man who has also suffered the loss of family.
3.3.1.12. Convinced by the “miraculous” reappearance of her dead uncle, Christina humbly accepts her destiny, the great honor bestoyed upon her by the creator. She determines to win the heart of the engineer but to her surprise and delight she finds that the engineer wins her heart, and together the two rise above their past trauma. Reawakened to life through love, we leave christina and gerry wondering, was the apparition of her dead uncle just a dream? Are they really going to have the daughter of god? The answer of course is yes, for every child is a child of god.
3.3.1.13. Thanks to the work of Joe Campbell, i am fascinated by religious and spiritual teachings, I was raised a catholic and attended parochial school as a child, I have studied with hindu and taoist philosophers and visited many of the great spirtual and religious monuments around the world – from Notre Dame in Paris to Stone henge in england to the great ashrams of India. With Daugther of God, I have created an allegory in the tradition of Dante, an fictional cosmology that reveals and celebrates the universal truths in all faiths – love, family and our relationship to divinity.
3.3.2. success! letter to the pike
3.3.2.1. Murray Schrotenboer, Pike to Bike
Andy Patterson, Southern Alleghenies Conservancy

Hi Murray and Andy,

I’ve had problems sending/receiving email due to issues with my service provider. I apologize for any inconvenience this may have caused you in trying to reach me. My team is making the transition to a new provider and I expect my standard email and web site to be back up next week.

Here is my information.

Dan Kelly
President
Artist house, Inc.
4077 Crystal Drive
Beulah, MI 49617
231 882-0460 (cell)
http://www.artisthouse.com (may not be immediately available)
artist_house_inc@yahoo.com

I am currently based in Brooklyn, NY for the duration of this project. My mailing address in NY…

Artist house, Inc.
PO BOX 2090
NY, NY 11238

Corporate history

Artist house, Inc. is a media cooperative based in Northern Michigan with a production office in Brooklyn, New York. Since 1997 Artist house, Inc. has designed and developed media rich interactive exhibits for museums and provided production services for broadcast television. Just over a year ago, Artist house began pre-production on an independent short film tentatively entitled “DOG”, short for “Daughter of God”. Produced in high definition digital video, “DOG” is intended as a pilot for a mini-series and will be promoted at film festivals.

Synopsis of story

DOG is a romantic comedy based in an alternate future – a slightly surreal post consumer, post industrial North America. In the world of DOG, transportation infrastructure, energy distribution and wired communication have collapsed. Population centers and industrial production are no longer viable. Society is in flux as regional populations rediscover agriculture and utilitarian trades.

Ships (and to a lesser degree trains) become significant as the onboard power and plumbing infrastructure enables vestiges of consumer culture to continue. Enclaves of technical people, “medicals” and “creatives” congregate around these resources. The main characters, Christina and Gerry live on a such a ship, and it’s there that their story unfolds.

Project history

The 150 ft Canadian Coast Guard Ice breaker “Alexander Henry”, located in Kingston Ontario Canada was the location for 10 days of production in April of 2006. The Marine Museum of the Great Lakes at Kingston generously made this incredible resource available. For more information, contact Ann Blake, the Executive Director at (613) 542-2261.

To complete the project, I’ve identified a number of locations that suggest post industrial north america. So far we’ve cleared flooded coastline, architecture reclaimed by nature and makeshift shelter including train cars, caves and rustic cabins. The Pike would be a wonderful addition as the car (and it’s associated infrastructure) is a powerful symbol of consumer culture.

Proposal

I’d like to photograph the Pike at at “magic hour” (dawn and dusk) in a variety of different spots. I expect to use perhaps 15 seconds of the Pike in the final edit. After discussing the project with Murray, I suggested that in exchange for a release from your organization, he and I work together to document the Pike more extensively than is required for my project. From this extra material we would create a video tour that could be used to educate local decision makers about the value of the resource and promote it to interested end users including bicyclists, hikers and perhaps even other production companies. The final video would be approximately 5 minutes long and could be distributed via DVD and the web. As the budget for DOG is tight, I would like to offer this documentation as an in-kind donation in lieu of a cash fee. The value of this donation would be approximately $5000 (our cost)and would include pre-production planning, HD production and editing.

During production, Artist house, Inc. will carry at least one million dollars in liability insurance, proof of which will be provided to your organizations. We will have a small crew of 3-5 and stay for no more than 2-3 days. I would like to schedule the production as soon as possible.

Thanks very much for your consideration, if you have any questions do not hesitate to call or write.

Dan Kelly
Artist house, Inc.
3.4. legal
3.4.1. legal documentation inventory supporting chain of title
3.4.2. entertainment lawyer
3.4.2.1. before phone call 7/18/06
3.4.2.1.1. is john working out? he is definitely charging serious money, but does he really know waht he is doing? I am not sure. This whole thing about contracts after chain of title, that doesn’t make sense.
3.4.2.2. after phone call 7/18/06
3.4.2.2.1. essentially what he is saying is that artist house needs to be bulletproof before we go writing a bunch of new contracts. that makes sense. that means – corporate tax returns, corporate reports, transfer of ownership to me from dad
3.4.3. viable corporate entity
3.4.3.1. status! automatic dissolution – sue
3.4.3.1.1. * new corporate report papers on the way
3.4.3.2. transfer of ownership jb kelly to dan kelly
3.4.3.2.1. * do i own it, is there ownership transfer paperwork? pop is mailing papers
3.4.3.3. what are my corporate obligations?
3.4.3.3.1. need a corporate lawyer or at least do the research
3.4.3.4. taxes up to date
3.4.3.4.1. * tax attorneys
3.4.3.4.1.1. Hi Dan,

CAll (517) 371-8100 ask to speak to Sherry Stein or Matt Hrebec. Explain to
both that your books are backed up and you are behind a return.

I would speak to Matt first. Ask your questions, like what is your hourly
rate, will you give me an estimate of total fee cost per project up front.
What will be my ongoing tax prep charges per quarter, do I get attorney
client priviledge. Then do that with Sherry and decide who you like best.

You can mention my name if you want. Maybe they will like me better then
(just kidding)

Good luck and may the force be with you.

Steve
3.4.3.5. assets
3.4.3.5.1. trademark information
3.4.3.5.1.1. 2002-11-15 – Section 8 (6-year) accepted
3.4.3.5.1.2. 2008-11-15
3.4.3.5.1.3. International Class: 042
Class Status: Active
custom design and development of computer software; commercial and graphic art design; art direction services; script writing services; music composition for others; writing of copy for others
Basis: 1(a)
First Use Date: 1986-05-18
First Use in Commerce Date: 1986-05-18
3.4.3.5.2. url
3.4.3.5.3. * trademark changed to include filmmaking, music… widest possible definition.
3.4.3.5.4. * international application MADRID
3.4.4. copyright – script and movie
3.4.5. contracts work for hire
3.4.6. clearance
3.4.6.1. Martian Time Slip
Del Ray First Edition April 1964, 4th printing June 1981
Ballantine, Random House ISBN 0-345-29560-9 cover by Darrell K Sweet

Now Wait for Last Year
Manor Books First Printing November 1968, Second Printing May 1974
Library of congress cat number 66-17393 ISBN? 532-12214-125

Our Friends from Frolix 8
Ace Book, copyright 1970

The Three Stigmata of Palmer Eldritch DAW March 1983 ISBN 0-87997-810-4
Cover Art by Bob Pepper

Crack In Space Ace 1966 ISBN 441-12126-095

3.4.7. tasks check
3.4.7.1. dan to do
3.4.7.1.1. Artist house, Inc. corporate
3.4.7.1.1.1. corporate reports
3.4.7.1.1.2. ownership
3.4.7.1.1.2.1. paperwork from JBK
3.4.7.1.1.3. accounting
3.4.7.1.1.3.1. file corporate reports and pay corporate taxes
3.4.7.1.1.4. trademark
3.4.7.1.1.4.1. john needs documentation – (september)
3.4.7.1.1.4.2. definition to include film making, production
3.4.7.1.1.4.3. international
3.4.7.1.1.4.4. defense via letters
3.4.7.1.1.5. Canadian law
3.4.7.1.1.5.1. contractors, taxes and related reporting
3.4.7.1.1.6. Artist house, Inc. as a container for assets that is disconnected with Dan’s personal fate. If authorities attack Dan, the container could continue under some other prearranged stewardship. A theoretical discussion to be revisited later.
3.4.7.1.2. work permits
3.4.7.1.2.1. Sonya after August 1 on corrections
3.4.7.1.3. copyright
3.4.7.1.3.1. claiming for Artist house, Inc. rather than Dan Kelly, appropriate for accounting?
3.4.7.1.3.2. new script, draft copyright application, forward to John for review. possibly remove dick reference in update.
3.4.7.1.3.3. simplify all copyright notices – © 2006 Artist house, Inc. All Rights Reserved
3.4.7.1.4. documentation
3.4.7.1.4.1. √ emails initiating work with all contractors
3.4.7.1.4.1.1. BCCed to members of DOG mailing list,
Carmen Althaus
Michael (Melonie) Callaghan
Dan Kelly
Ann Loeding
Maho Mizutani Sone
Laynea Roberts
Eiji Sumi
Steven Zilliax
3.4.7.1.4.1.2. From: Dan Kelly <nomad@artisthouse.com>
Date: March 21, 2006 10:27:30 AM EST
To: Dan Kelly <nomad@artisthouse.com>
Cc: Dan Kelly <nomad@artisthouse.com>
Subject: contracts and profit sharing for upcoming project

Greetings all.

I am wearing my Artist house, Inc. corporate hat today. This is my first broadcast to the entire ensemble for Daughter of God. First of all, welcome to our first international production!

I plan on having independent contractor agreements ready before April 1, thanks for your patience. You’ll all have at least one week to review and comment before the sign date, April 7. We then will leave for Canada on April 10 for 10 days.

I have been considering the terms for the contracts. As you may know, on movie projects there are two significant ways to compensate the participants- 1) pay everyone for the actual time they work and 2) pay them based on how much money the project makes in the market – profit sharing. Partial ownership of a project through profit sharing can be very motivating during production and may provide ongoing income afterwards. In principle, I don’t have a problem with this idea. The real life application to “Daughter of God” however is complicated. Aside from the legal research required (which takes time away from general pre-production) I don’t really think this makes sense. I’ll explain why, but first let’s assume that the final product is amazing – the performance’s are fantastic and the production is masterful. Here we go…

I am excited to bring “Daughter of God” to the entire universe via festivals and creative distribution. I am not sure how much distribution will happen through sales. The length of the finished project is projected to be about 10-15 minutes long. There is a market for selling short format movies, but it isn’t huge. The revenue stream may be pretty trivial or even non-existent.

Artist house, Inc. is funding this project and has first dibs on any revenue. Profits would have to exceed total expenditures before any profit sharing would kick in. The projected budget for this project is significant. I’d be thrilled (shocked) to break even on my first marketable project.

The director (me) was lucky to get some pretty amazing people involved. The only hitch is that some of our actors are not legal to work in the USA. When the project goes into wide distribution it’s likely that some close minded folks might be upset by the slightly controversial subject matter. The last thing we need is to be legally vulnerable – for instance drawing the attention of immigration and homeland security. That could ruin not only potential profitability, but even prevent participation in film festivals. That’s primarily why special arrangements have been made to shoot the project outside of the USA. These special arrangements have increased the budget – travel, lodging, location, etc. Again, profits have to exceed expenditures.

Finally, entertainment lawyers make a heap of money working up profit sharing agreements. These agreements spell out who actually owns the project, who has title to it, what counts as shared revenue etc. If the title is unclear or disputed, say goodbye to distribution. Again as this is my first foray into the business of movies, my preference is for keeping the situation dirt simple – Artist house, Inc. as the sole owner of all rights, period.

Keeping all this in mind, I think the idea of profit sharing is good in principle. As the chief executive officer of Artist house, here is my offer for all participants in the project – be you cast, crew or support. If we pull off a miracle in Canada I will authorize a profit sharing effort, which basically means hiring legal resources to create profit sharing agreements for everyone involved. The following caveats apply!

1) The decision to profit share will be totally at my discretion. The final arbiter of miracles is the post production process. If the performances are strong and things flow smoothly during the edit, we are golden.
2) Everyone involved from in all phases of production will share equally in the hypothetical profits. With lots of participants, percentages will likely be modest – less than 3%.
3) Artist house, Inc. will need to recover all of it’s investment before profit sharing will kick in. That includes every possible bean you can imagine – labor, equipment, marketing, legal expenses, etc. The specific break even point would be listed as part of any agreement.

So that’s the profit sharing issue in a nutshell. The rest of the terms for the contractor agreements are listed below. If anyone has any problems with anything in this document, you must contact me immediately!

1) 10 full days of shooting on location (Canada) 8-10 hours
2) contractors get no additional profits from the sale of the movie and have no further expectation of payment after production is complete
3) work for hire, contractor releases all rights for any and every purpose, throughout the universe in perpetuity, including marketing and merchandising
4) please be healthy and well rested upon departure for canada on April 10
5) Actor’s rate on location is $150 US/day. Everyone else’s rate is $100US/day. Food and lodging will be provided.

Questions? Call or email.

Dan Kelly
Artist house, Inc.

3.4.7.1.4.1.3. From: ageamuse@yahoo.com
Subject: Re: contracts and profit sharing for upcoming project
Date: March 22, 2006 2:44:49 AM EST
To: nomad@artisthouse.com

i understood fully. 🙂

e
3.4.7.1.4.1.4. From: carmen.althaus@web.de
Subject: Re: contracts and profit sharing for upcoming project
Date: March 27, 2006 5:37:47 AM EST
To: nomad@artisthouse.com
Is fine. Hear ya. Kiss
3.4.7.1.4.1.5. From: frognoise@centurytel.net
Subject: Re:
Date: March 31, 2006 12:35:08 PM EST
To: anything@artisthouse.com

Hi,
I need to check on the passport, but I think I can work this out to come alone. I need more details like method of travel, where and what it is, am I qualified? I actually can probably do this. Call me.

love, M
3.4.7.1.4.1.6. From: aboatgrrl@yahoo.com
Subject: Re: help?
Date: March 30, 2006 6:25:48 AM EST
To: anything@artisthouse.com

I really want to help. Yesterday Ada was weaned so I’m
free from that demand. I will work today on trying to
set up child care. Are the dates definite?
-Ann

3.4.7.1.4.1.7. From: szilliax@yahoo.com
Subject: Re: monolog
Date: March 29, 2006 11:20:51 PM EST
To: anything@artisthouse.com

hey dan, lost my phone. i`ll come by in the morning
k. what`s your num?

sz
3.4.7.1.4.1.8. From: anything@artisthouse.com
Subject: Re: Makeup Artist – Laynea Roberts
Date: April 4, 2006 1:40:02 PM EDT
To: reichan76@hotmail.com
Cc: anything@artisthouse.com

Hey Laynea,

Everybody thinks your cool. Are you still up for makeup trial this week? Let us know!

D

3.4.7.1.4.1.9. From: mahaha@earthlink.net
Subject: Re: hi
Date: April 5, 2006 4:25:31 PM EDT
To: anything@artisthouse.com

Here attached is the invoice for the check you gave me. Sorry I forgot about it.
Thanks,

maho

3.4.7.1.4.2. √ contractor information
3.4.7.1.4.2.1. √ eiji sumi (male)
3.4.7.1.4.2.1.1. japan citizen, green card
3.4.7.1.4.2.1.2. 624-68-3788
3.4.7.1.4.2.1.3. phone (646) 472-6419
3.4.7.1.4.2.1.4. birthday 1/11/1970
3.4.7.1.4.2.1.5. 445 E 9th st #9
New York, NY, 10009
3.4.7.1.4.2.2. √ ann loeding (female)
3.4.7.1.4.2.2.1. usa citizen
3.4.7.1.4.2.2.2. 044-68-3380
3.4.7.1.4.2.2.3. phone (845) 331-3180
3.4.7.1.4.2.2.4. birthday 09/28/1963
3.4.7.1.4.2.2.5. 39 Tompkins St
Kingston NY 12401
3.4.7.1.4.2.3. √ melonie callaghan (female)
3.4.7.1.4.2.3.1. usa citizen
3.4.7.1.4.2.3.2. 386-90-2093
3.4.7.1.4.2.3.3. phone (231) 275-1364
3.4.7.1.4.2.3.4. birthday 4/9/73
3.4.7.1.4.2.3.5. 1890 Sleepy Hollow Lane
Interlochen Michigan 49643-9296
3.4.7.1.4.2.4. √ steven zilliax (male)
3.4.7.1.4.2.4.1. canada citizen (no usa green card)
3.4.7.1.4.2.4.2. phone (705) 929-5904, (347) 401-1756
3.4.7.1.4.2.4.3. birthday 4/22/71
3.4.7.1.4.2.4.4. 536 Ester Rd
Sudbury Ontario Canada P3E 5C4
3.4.7.1.4.2.5. √ carmen althaus (female)
3.4.7.1.4.2.5.1. switzerland citizen (no usa green card)
3.4.7.1.4.2.5.2. phone (41) 76 517 5359
3.4.7.1.4.2.5.3. birthday 12/24/1976
3.4.7.1.4.2.5.4. Balmweg 10
3604 Thun, Switzerland
3.4.7.1.4.2.6. √ dan kelly (male)
3.4.7.1.4.2.6.1. usa citizen
3.4.7.1.4.2.6.2. 055-54-4244
3.4.7.1.4.2.6.3. phone (231) 882-0460
3.4.7.1.4.2.6.4. birthday 5/18/1963
3.4.7.1.4.2.6.5. 4077 Crystal Drive
Beulah, MI 49617 USA
3.4.7.1.4.2.7. √ laynea roberts (female)
3.4.7.1.4.2.7.1. dual USA and Canada citizen
3.4.7.1.4.2.7.2. 085-90-3712
3.4.7.1.4.2.7.3. phone (917) 497-4835
3.4.7.1.4.2.7.4. birthday
6/22/83
3.4.7.1.4.2.7.5. 22 Fort Place
Staten Island, NY 10301
3.4.7.1.4.2.8. √ maho mizutani (female)
3.4.7.1.4.2.8.1. japanese citizen (green card)
3.4.7.1.4.2.8.2. 083-86-0351
3.4.7.1.4.2.8.3. phone (917) 604-5061
3.4.7.1.4.2.8.4. birthday 2/25/70
3.4.7.1.4.2.8.5. 67 S 4th Street
Brooklyn NY 11211 USA
3.4.7.1.4.3. √ carmen’s h2b application
3.4.7.1.4.4. √ photocopy of check mailed with copyright application
3.4.7.1.4.5. √ photocopy of canceled check
3.4.7.2. √ Work permits
3.4.7.2.1. (from 2.6) IF FALSE OR INCORRECT INFORMATION WAS PROVIDED TO THE RELEVANT AUTHORITIES, OR IF THE AUTHORITIES RELIED UPON FALSE OR INCORRECT INFORMATION WHEN ISSUING THE DOCUMENT OR DOCUMENTS, I SUPPOSE IT COULD BE ARGUED THAT WORK EVOLVING FROM THAT FACT PATTERN WAS IN FACT NOT LEGALLY PERMITTED. BUT AS ABOVE, THE ANSWER WOULD NEED TO BE A CANADIAN COUNSEL CALL.
3.4.7.2.2. (from 2.6) I THINK YOUR COMPANY ALREADY WANTS TO KEEP THEM CONFIDENTIAL AND NOT DISSEMINATE THEM TO ANYONE UNLESS ABSOLUTELY NECESSARY. AT MINIMUM THEY RAISE A FEW UNANSWERED QUESTIONS, LIKE ‘HOW DID THE AUTHORITIES ACTUALLY OBTAIN THE MISTAKEN INFORMATION, FROM WHOM, AND UNDER WHAT CIRCUMSTANCES’?
3.4.7.2.3. (from 2.6.2) THEREFORE, YOU SHOULD WORK WITH THE ASSUMPTION THAT YOU WILL HAVE TO SHOW ALL CARDS. OTHERWISE YOU COULD END UP IN BREACH.

THAT BEING SAID, FILM COMPANIES MAY VARY TO THE DEGREE TO WHICH THEY WILL WANT TO REVIEW AND RECEIVE COPIES OF THE ACTUAL WORK PERMITS. UNFORTUNATELY, YOU WON’T REALLY KNOW UNTIL YOU TEST IT, IN THE CONTEXT OF ANY INDIVIDUAL DISTRIBUTOR.

I KNOW IF I WERE REPRESENTING A U.S. DISTRIBUTOR REGARDING A FILM I WAS TOLD WAS SHOT IN CANADA DEPICTING ACTORS RESIDENT IN MULTIPLE COUNTRIES, I’D ASK IN WRITING FOR DOCUMENTATION PROVING THEIR RESPECTIVE RIGHTS TO WORK ON THE PICTURE AND IN CANADA. BUT AS TO WHAT I WOULD DO, IF DENIED IN WHOLE OR IN PART – WELL, I’D ADVISE MY CLIENT OF THE RISKS AND THE CLIENT WOULD THEN DECIDE WHETHER THEY STILL WANTED TO DO THE DEAL WITHOUT THAT DOCUMENTATION PROVIDED.
3.4.7.2.4. *** False testimony could not and did not factor in. Canadian immigration authorities relied solely on two documents when preparing the permits – the labour market opinion (issued by Service Canada Foriegn Worker Program) and the applicant’s passport.
3.4.7.2.5. *** It doesn’t make sense to keep documents crucial to the chain of title process confidential, certification will fail. Any party with serious interest is going to scrutinize the property thoroughly, so an attempt has to be made to have the permits remediated. Dan is less concerned about Canadian immigration coming after Artist house, Inc. or Dan personally for non-compliance with flawed permits than he is with the hassle of a failed chain of title certification by an interested distributor.
3.4.7.2.6. (from 2.6.2) HOWEVER, DIFFERENT COMPANIES HAVE DIFFERENT PROCEDURES, AND SOME ARE MORE FORMAL AND DETAILED THAN OTHERS. IT WOULD ULTIMATELY TURN INTO A RISK AND BUSINESS CALL THAT THE (PRESUMABLY WELL-ADVISED) CLIENT WOULD MAKE.
3.4.7.2.7. (from 7.4) Ann’s labor market opinion is still missing. Dan might be able to get the Canadian Entertainment Unit of the Foreign Worker Program to fax another for the file, since Ann’s inaccurate and misspelled permit could stand some clarification.
SUBJECT TO MY CONCERN ABOVE THOUGH, ON PAGES 3 AND 12. BE CAREFUL. MY INSTINCT IS THAT YOU HOLD OFF ON CORRECTIONS, AFTER SEEING THIS MEMO.
3.4.7.2.8. *** A clarification – the labour market opinions were issued by Service Canada Foriegn Worker Program and work permits were issued by the Landsdowne Immigration Office. Dan has contacted Sonya Di Mambro the Foriegn Worker Program Officer responsible for issuing the Labour Market Opinions and obtained a copy of Ann’s labour market opinion via fax, and requested advice on how to best resolve the gross errors made on the permits. She intervened on the projects behalf with immigration once before and may be able to staighten this out also. These are basically clerical errors, totally the responsibility of the immigration authorities and might turn out to be no big deal to fix. Dan is confident that consulting her is a sensible first step and will not jeapordize the project, Artist house, Inc. or Dan personally.
3.4.7.2.9. (from 15.1.1.1) Alexander Henry is the name of the ship that was the location, an asset of the museum which rented it to us. Ann and Dan caught this at the immigration office, but they said “oh that doesn’t matter.” Clearly it matters now.
OH, THANK GOD. I THOUGHT SOMEONE MAY HAVE MADE A MIS-STATEMENT TO THE AUTHORITIES. I NOW UNDERSTAND AND FEEL A LOT BETTER ABOUT THIS.

I THINK THE IMMIGRATION FOLKS WHO SAID ‘THAT DOESN’T MATTER’ WERE WRONG, AND THAT THE WRITTEN RECORD SHOULD HAVE BEEN CORRECTLY MADE. THEN AGAIN, I ALSO UNDERSTAND WHY YOU WOULDN’T WANT TO BE A THORN IN THE SIDE OF THE IMMIGRATION AUTHORITIES, AND ‘MAKE’ THEM RE-DO FORMS, ETC.
3.4.7.2.10. *** John is correct in this assessment, Dan and Ann were reluctant to ask Canadian immigration officials to fix the error plus they were already a day behind schedule because of the mistake immigration had made the day before.
3.4.7.2.11. I THINK THERE IS ENOUGH ON RECORD NOW TO ESTABLISH THAT THIS WAS THE MISTAKE OF THE IMMIGRATION AUTHORITIES; THAT YOU CAUGHT IT; AND THAT THEY CHOSE NOT TO FIX IT. IN OTHER WORDS, A BIT OF A RELIEF.
3.4.7.2.12. *** That’s good.
3.4.7.2.13. (from 15.8) Interpretation – the gross errors on the work permits appear to be a very weak link in the chain. Dan will attempt to have all the permits reissued with the correct information when a copy of Ann’s labour market opinion is obtained.

WHOA. DON’T DO THIS YET, PLEASE.

I AM TROUBLED BY THE POSSIBILITY OF YOUR COMPANY OR YOU OR ANN GOING BACK TO THE IMMIGRATION AUTHORITIES AND RISKING ‘ADMITTING’ ANY NON-COMPLIANCE, EVEN IF ANN’S.

I WANT TO DELIBERATE ON THIS, AND THEN DISCUSS IT WITH YOU, NOT IN FURTHER WRITING, BUT ON THE PHONE (UNUSUAL AS THAT MAY SOUND COMING FROM ME).
3.4.7.2.14. *** Dan’s email to Sonya. The “chart” refered to in the email was a small spreadsheet documenting the types of errors made on the 4 work permits.
3.4.7.2.14.1. From: anything@artisthouse.com
Subject: Re: Foreign Worker Application
Date: July 27, 2006 4:31:56 PM EDT
To: sonya.dimambro@servicecanada.gc.ca
Cc: anything@artisthouse.com

Sonya,

Got the fax, thanks very much!

I’ve included a little chart of errors for the work permits. The crucial item is “employer” which is wrong on all four permits. Where as “employer” should have been “Artist house, Inc.” everyone is listed as working for “Alexander Henry”, which was the name of the ship that we rented from Marine Museum of the Great Lakes in Kingston and used for our location. I caught this error right away but the immigration folks said, “oh, that doesn’t matter”. It turns out it does matter – to our lawyer. Without proper documentation we might have a problem proving that the project actually belongs to Artist house, Inc.

Any suggestions?

Yours,

Dan Kelly
3.4.7.2.15. *** Dan’s phone call with Sonya July 28, 2006 1:00 pm.
3.4.7.2.15.1. Sonya Di Mambro’s agency has authority over business and foriegn workers in Canada so documents issued by her agency are important. The information recorded by her agency is also part of the electronic FOSS system, and can be accessed by Canadian embassies and consulates. In her opinion, since the electronic FOSS records for our project are accurate, the discrepancies between the labor market opinions and the work permits indicate human error in generating the work permits. Working through her agency, Sonya will explore correcting the permits with immigration. She will be in contact early next week. If corrections are not feasible, another option would be approach the Canadian consulate or embassy and present the case for some form of correction or remediation. Dan faxed her the four permits and the group permit, and she acknowledged receipt.
3.4.7.2.16. *** Dan will act only if Sonya offers a straightforward solution to this problem, otherwise Dan and John can discuss alternatives.
3.4.7.3. √ Corporate status
3.4.7.3.1. (from 3.4) John should expect an update by the middle of August confirming Artist house, Inc.’s viability as a entity to own intellectual property and make contracts. OK. I AM ASSUMING THAT ARTIST HOUSE, INC. IS ALREADY VIABLE, AND THAT THE STEPS YOU ARE TAKING ARE STEPS OF CARE TO SUSTAIN THAT ON WRITTEN RECORD. I DO THINK THE SEQUENCE OF STEPS, OF ‘LOOK INWARD BEFORE LOOKING OUTWARD’, MAKES A LOT OF SENSE IN THIS CONTEXT THOUGH.
3.4.7.3.2. *** I agree, let’s proceed with the expectation that everything will be in order by mid August and get the contracts ready ASAP.
3.4.7.4. √ Trademark
3.4.7.4.1. (from 4.2.1 ) renewal
3.4.7.4.1.1. “artist house” is a registered trademark of Artist house, Inc. The mark is up for renewal in 1997, expiring in 1998. WAIT A MINUTE. 1997? 1998? THOSE YEARS DON’T LOOK RIGHT.
3.4.7.4.1.2. *** Disregard this. based on TARR record, Artist house, Inc. must be renewed by 2008.
3.4.7.4.1.3. *** TARR record
3.4.7.4.1.3.1. http://tarr.uspto.gov/servlet/tarr?regser=serial&entry=74578537&action=Request+Status
3.4.7.4.1.3.2. *** Prosecution history 2002-11-15 – Section 8 (6-year) accepted
3.4.7.4.1.3.3. *** 11/15/2002 + 6 years = 11/15/2008
3.4.7.4.2. expansion and international
3.4.7.4.2.1. (from 4.3.1) expand the definition of the mark to include filmmaking and all related activity AFTER CONFERRING WITH YOUR TRADEMARK COUNSEL WHO HANDLED THE ORIGINAL FILING FOR YOU.
3.4.7.4.2.2. (from 4.3.2) look into international registration eg madrid and c) take steps to defend the mark. AFTER CONFERRING WITH YOUR TRADEMARK COUNSEL WHO HANDLED THE ORIGINAL
FILING FOR YOU.
3.4.7.4.2.3. *** No counsel was involved. Dan traveled to USPTO archives, searched the trademark records and filed the application. It’s likely that Dan will handle this process again, perhaps with the assistance of counsel.
3.4.7.4.3. defending the mark
3.4.7.4.3.1. (from 4.3.3) take steps to defend the mark. MAYBE, DEPENDING UPON THE FACT PATTERNS. TILTING AT TRADEMARK WIND MILLS CAN BE AN EXPENSIVE PROPOSITION.
3.4.7.4.3.2. *** Dan has been lax at defending the mark in the past, and if the mark is worth promoting it’s important to start a good faith effort to defend it. Letters are cost effective, could resolve most disputes by making the other entity aware that the mark is not available, and also serve to document the history of defense in cases where more agressive action is later required. This is certainly an area for further research for Dan and will update John on progress.
3.4.7.5. √ Copyright
3.4.7.5.1. (from 5.4) Is this application hopelessly screwed up, should Dan/John attempt to amend? NOT ‘AMEND’, IN MY VIEW, UNLESS YOU FEEL STRONGLY COMPELLED OTHERWISE. THE COST AND HASSLE MIGHT OUTSTRIP THE BENEFIT. CORRECTIVE FILINGS COST MORE AND ARE MORE COMPLICATED THAN NEW FILINGS.

HOWEVER, YOU MIGHT WANT TO DRAFT UP A NEW PROPOSED FILING, AND FORWARD IT TO ME BY FAX FOR COMMENT. YOU COULD THEREBY REGISTER THE MOST CURRENT VERSION OF THE SCRIPT, AND AT LEAST PUT ONE DOCUMENT ON FILE WHICH, WHEN TAKEN TOGETHER WITH THE PRIOR FILING, CORRECTS ALL PERCEIVED ERRORS, AND MAKES ALL NEEDED UPDATES IF ANY.
3.4.7.5.2. *** Dan will complete a revised and final version of the script, draft an new application and forward it to John for comment.
3.4.7.5.3. (from 5.5.3.1.1) Dan is not sure why this redundancy is a problem. IT’S NOT A HUGE PROBLEM, BUT IT COULD BE A PROBLEM FROM A PERCEPTION STANDPOINT – FOR EXAMPLE, PERCEIVED AS AT ODDS TO THAT WITH WHICH MOST DISTRIBUTORS (AND DISTRIBUTOR COUNSEL) ARE ACCUSTOMED, WHEN SEEING A TEXTUAL COPYRIGHT NOTICE.

YOU WANT YOUR COPYRIGHT NOTICES TO BE PERFECTLY ACCURATE AND PROTECTIVE – BUT ALSO AS BORING, CONVENTIONAL, AND UN-REMARKABLE AS AT ALL POSSIBLE. YOU SHOULD KILL THE REDUNDANCY.
3.4.7.5.4. *** Dan understands and agrees
3.4.7.5.5. (from 5.5.6.1.1) Dan understands and agrees.
OK, BUT ALSO PROVIDE ME A LIST OF ANY ADDITIONAL WRITERS IF ANY.
3.4.7.5.6. *** Dan is the sole author of the script.
3.4.7.5.7. (from 16.5.1) Dan understands, though a dated cover letter could be created after the fact.
I SUPPOSE, BUT I COULDN’T THEN PARTICIPATE IN ANY ACTIVITY RELATING TO IT.
3.4.7.5.8. *** Yes of course, the point is that a dated cover letter is not authenticated by a third party and therefor wouldn’t it be less credible than a postmarked proof of mailing from the USPS, a canceled check from a bank, etc.? A dated cover letter could be printed up anytime, anywhere. What does it prove really? Dan grasps the concept, but it would seem to carry the same weight as private memoranda saved in a plain text file on a hard drive. There’s no possible way to authenticate the date of creation.
3.4.7.5.9. (from 16.5.2) There is a photcopy of the check. Could the canceled check or photocopy of same be dispositive?
DISPOSITIVE, BUT ON A DIFFERENT ISSUE. PLEASE DO COPY ME ON THE CANCELED CHECK WHEN YOU GET IT, THOUGH.
3.4.7.5.10. *** Included
3.4.7.5.11. (from 16.5.3) Dan *may* have the certificate of mailing receipt from the USPS with the cancellation mark.
DON’T GO CRAZY RUMMAGING FOR IT, BUT IF AVAILABLE I’D LIKE A COPY FOR THE FILE. NEXT TIME, THE DATED COVER LETTER WILL DO ALL OF THIS WORK FOR YOU, AND YOU CAN KEEP IT ON YOUR HARD DRIVE FOR EASY RE-PRINTING. (THAT’S WHAT I DO).
3.4.7.5.12. *** Dan’s point exactly! Dan understands and agrees, but persists in the belief that third party authentication like hard copy reciepts and canceled checks are also important and perhaps more credible than computer files on a hard drive. Dan also recognizes that John is the lawyer.
3.4.7.5.13. (from 16.11.3) The estate and/or literary agents of author Philip K Dick whose name is mentioned in the script (along with the titles of two of his novels) could claim contribution eventhough the script is not based on any of his works. WELL, NAME USE ALONE CAN ENGENDER A CLAIM, E.G. UNDER NY CIVIL RIGHTS LAW SECTIONS 50/51.

I ONCE HAD TO DEFEND AGAINST A CLAIM BY A FOLK/ROCK SINGER, OVER CITATION OF HER NAME IN THE DVD ALONE. (WHAT SHE REALLY WANTED BY WAY OF RECOMPENSE WAS A COPY OF THE DVD, SO IT WAS GIVEN TO HER, AND SHE WITHDREW THE CLAIM THEREAFTER AS I WAS TOLD). I’M NOT SAYING A CLAIM FOR INCIDENTAL NAME USE ALONE WOULD LIKELY PREVAIL – IT MIGHT NOT, DEPENDING ON CIRCUMSTANCES – BUT ON THE OTHER HAND, I’D STAY AWAY FROM NAMING KNOWN CAREER-PLAINTIFFS LIKE S. KING AND M. JAGGER, AT MINIMUM. The idea of God’s child being born to a human woman is a central theme in the two novels mentioned in the script, but then then that’s true of the new testament also which was not mentioned. IMMACULATE CONCEPTION COMMONALITY, I’M NOT WORRIED ABOUT.

BUT IF COPYRIGHTABLE DETAIL FROM EITHER OR BOTH DICK NOVELS, WAS USED IN THE SCRIPT OR FILM, THEN YOUR COMPANY MIGHT HAVE A PROBLEM.
3.4.7.5.14. *** The script for ‘Daughter of God’ is totally original to Dan. The name of author Philip K Dick is mentioned along with two of his book titles, but the script is not based on his work.
3.4.7.5.15. I’D NEED TO DO A SIDE-BY-SIDE READING AND COMPARISON OF THE 3 WEEKS TO HAVE ANY BASIS FOR OPINION ON THIS. Since John has not flagged this, DON’T ASSUME THAT. IT WASN’T POSED TO ME AS AN ISSUE OR POTENTIAL ISSUE BEFORE THIS E-MAIL.
3.4.7.5.16. *** Dan assumes “weeks” should have been “works”. Dan apologizes for not pointing out the mention of “Dick” earlier.
3.4.7.5.17. WHAT YOU HAVE NOT DONE, IS ASKED ME TO REVIEW THE SCRIPT (OR FOOTAGE) AND MEMO YOU ON ALL CLEARANCE PROBLEMS THAT MIGHT EXIST WITHIN IT. FOR THAT
MATTER, IF YOU WERE TO DO SO, IT COULD TURN OUT TO BE WASTE OR AT LEAST DUPLICATION OF EXPENDITURE BY YOU, SINCE A DISTRIBUTOR OR STUDIO MIGHT
SPECIFICALLY REQUIRE THE SAME TYPE OF REPORT BUT INSTEAD PENNED BY A ‘DEFOREST, MARSHALL PLUMB OR THOMSON & THOMSON’. IN OTHER WORDS, CHAIN OF
TITLE IS ONE THING, SCRIPT CLEARANCE IS SOMETHING DIFFERENT – AND I HAVE REASON TO BELIEVE YOU’RE GOING TO WANT TO GAUGE POSSIBLE DISTRIBUTION OR INSURANCE REQUIREMENTS BEFORE YOU DECIDE HOW YOU MIGHT HAVE TO ‘CLEAR’ THE SCRIPT.
3.4.7.5.18. *** Dan will handle script clearance later. John should focus on chain of title, keeping Dan informed of other concerns as they arise.
3.4.7.5.19. AND MY PRESUMPTION ON ALL THIS WAS EXACTLY OTHERWISE. AFTER ALL, IN THE COPYRIGHT REGISTRATION, YOU CERTIFIED TO A U.S. GOVERNMENTAL AUTHORITY
(UNDER A PENALTY OF PERJURY EQUIVALENT) THAT THE FILED WORK WAS WHOLLY ORIGINAL TO YOU. I DIDN’T SEE YOU EXPRESSLY CARVE OUT ANY DICK MATERIAL IN THE COPYRIGHT REGISTRATION – AND KEEP IN MIND THAT THERE IS A SECTION OF THE FORM WITHIN WHICH TO DO SO. Dan assumes the mention of Dick’s name and book titles could be considered fair use. SEE ABOVE. NEITHER ARE REALLY ‘FAIR USE’ ISSUES.
3.4.7.5.20. *** Is John asserting that the mere inclusion of popular names and book titles constitutes co-authorship of copyrightable material? Is John further asserting the copyright application for the DOG script is invalid? If so can the copyright be repaired in an updated filing as discussed earlier?
3.4.7.5.21. A BOOK TITLE, HOWEVER, IS IF ANYTHING A TRADEMARK ISSUE.
3.4.7.5.22. *** There are live no trademarks on TARR for either PKD book title.
3.4.7.5.23. AND A PERSON’S NAME IS, IF ANYTHING, A NAME AND LIKENESS/RIGHT OF PRIVACY/RIGHT OF PUBLICITY ISSUE.
3.4.7.5.24. *** These rights could be cleared with the legal stewards of Dick’s name and work. Can John advise on an effective proceedure for submitting the script or video for permission?
3.4.7.5.25. SO BE CAREFUL NOT TO MIX THE THREE CONCEPTS TOGETHER.
3.4.7.5.26. *** Dan understands the concepts are different, but this doesn’t clarify the situation. Interpretation – It’s possible that the mention IS fair use, but this will not keep the project out of litigation.
3.4.7.5.27. THE BOTTOM LINE IS, IF YOU RUN A DEFOREST/MARSHALL PLUMB/THOMSON & THOMSON REPORT ON THE SCRIPT, THE SERVICE WILL LIKELY FLAG ALL ‘CLEARANCE’ ISSUES
THEREIN, AND WILL LIKELY FLAG THE DICK TITLES AND THE DICK NAME AS POSSIBLE CLEARANCE ISSUES.

MANY DISTRIBUTORS REQUIRE SUCH A WRITTEN CLEARANCE REPORT, AS A PRECONDITION TO DOING THE DEAL. SOMETIMES IT?S INCLUDED IN THE CHAIN OF TITLE REQUEST IN THE DRAFT PROPOSED DISTRIBUTION AGREEMENT.

BUT THE REAL ISSUE IS WHAT THE ERRORS AND OMISSIONS (E&O) INSURANCE CARRIER DOES, ASSUMING THE PICTURE IS OR NEEDS TO BE INSURED. THE CARRIER USUALLY ALSO REQUIRES THE WRITTEN CLEARANCE REPORT. THE CARRIER OFTEN ENDS UP DRIVING YOUR CLEARANCE (AND SOMETIMES THEREFORE, EDITING) DECISIONS.

IN OTHER WORDS, IF THE CARRIER ENDS UP SAYING ‘NO DICK’, THEN THE ANSWER WILL IN LIKELIHOOD BE ‘NO DICK’, AS A PRACTICAL MATTER.
3.4.7.5.28. *** All the more reason to explore formally clearing the use of Dick’s name, if feasible.
3.4.7.6. √ Immigration
3.4.7.6.1. (from 9.4) Since immigration isn’t John’s responsibility it’s not clear why John wants the H2B application and rejection but a copy will be forwarded. TO COMPLETE AND ROUND OUT THE FILE, AND POSSIBLY TO HELP INTERPRET WHAT IS ALREADY ON FILE. BETTER THAT I FILTER, THAN YOU.
3.4.7.6.2. *** Dan understands and agrees. Basically the H2B process was halted when proof was requested that the job was offered to americans. Dan cast Carmen Althaus because she matched his vision of the character, it did not make sense to document a bogus search for American talent when Dan had no intention of casting anyone else. Also, there was no way to be sure that an H2B visa would definitely be granted. Moving the project to Canada mde it possible to immediately begin scheduling resources and contractors. H2B files are included.
3.4.7.6.3. (from 9.5.1) Interpretation – Immigration trouble would not target the project specifically. Immigration authorities would not move to halt production or block distribution of a project incorporating illegal workers, but would prosecute the entity responsible for the project. OR PERHAPS THEY WOULD BLOW THROUGH THE ENTITY AND SEEK INDIVIDUALS (OR AN INDIVIDUAL’S) LIABILITY AND ACCOUNTABILITY INSTEAD. A CORPORATE VEIL DOESN’T MEAN MUCH TO THE TAX, IMMIGRATION, AND OTHER FEDERAL AUTHORITIES. SCARY, BUT TRUE.
3.4.7.6.4. *** Dan understands and agrees.
3.4.7.6.5. (14.1.1) John – “Query if ‘Employer’ / ‘Employee’ language could possibly undermine the independent contractor characterization. (It could, in the US)
3.4.7.6.5.1. Who can clarify – Canadian officials? What sort of attorney and from what jurisdiction could render an authoritative opinion? PROBABLY CANADIAN COUNSEL. BUT THE THING IS, I DOUBT THE AUTHORITIES ARE GOING TO CHANGE THEIR FORMS SIMPLY BECAUSE THEY CAUSE CONFLICT WITH U.S. PRESUMPTIONS AND U.S. I.P. LAW. I DON’T THINK ANY INDIVIDUAL WILL LIKELY HAVE THE LEVERAGE TO MAKE THE AUTHORITIES VERSION OR CUSTOMIZE THEIR FORMS SPECIFICALLY FOR THE INDIVIDUAL. I JUST WANT YOU TO BE AWARE OF THIS TEXT AND ITS ARGUABLE POSSIBLE IMPLICATIONS FOR NEXT TIME. YOU MAY NEED TO PAPER AROUND THEM AS BEST AS POSSIBLE IN SOME FASHION.
3.4.7.6.5.2. *** Dan understands and agrees. Our documentation and future contracts define the project relationships. It’s about whether Canadian law allows foriegn companies working in Canada to hire contractors as opposed to employees. If Canada does allow this and the appropriate documentation in conformance with Canadian law is present, then probably the labels on the work permits are irrelevant. Dan will look into conforming with Canadian law in regards to contractors, taxes and related reporting.
3.4.7.7. √ Contracts
3.4.7.7.1. (from 11.2) Steve receives additional payment equal to the value of Carmen’s plane ticket so that actors are equally compensated. OK, REMIND ME PLEASE OF THE DOLLAR FIGURE VALUE OF THE PLANE TICKET?
3.4.7.7.2. *** $646 US – it’s on the agreements.
3.4.7.7.3. (from 11.3.2) “yikes” is kind of vague feedback. What’s the issue? IT’S BETTER THAN AN EXPLETIVE. ‘CREDIT, FULL CARD’ SOUNDS FAIRLY OPEN-ENDED ON SOME ISSUE, AND PROBABLY ITSELF TOO VAGUE TO INTERPRET CONTRACTUALLY – SORT OF LIKE ‘YIKES’.

WHAT DID IT MEAN? WHAT WAS ACTUALLY INTENDED? (HOW WOULD YOU EXPLAIN IT TO A NON-FILM-INDUSTRY DUMB JUROR – YOUR ULTIMATE POTENTIAL AUDIENCE FOR CONTRACTUAL DOCUMENTS, BY THE WAY).
3.4.7.7.4. *** thanks for clarifying that “yikes”. The juror point is well taken. “Full card” means the actor’s name will appear on screen alone or possibly associated with the name of the character they portrayed, in a font large enough and for a period long enough to be easily read. More specifically, a font size no less than 5% of screen height at a 3:4 aspect ratio and for a duration of at least 3 seconds, not including dissolve time if any.
3.4.8. legal defunct
3.4.8.1. john tormey
3.4.8.1.1. notes revised 7/28/06
3.4.8.1.1.1. √ Work permits
3.4.8.1.1.1.1. (from 2.6) IF FALSE OR INCORRECT INFORMATION WAS PROVIDED TO THE RELEVANT AUTHORITIES, OR IF THE AUTHORITIES RELIED UPON FALSE OR INCORRECT INFORMATION WHEN ISSUING THE DOCUMENT OR DOCUMENTS, I SUPPOSE IT COULD BE ARGUED THAT WORK EVOLVING FROM THAT FACT PATTERN WAS IN FACT NOT LEGALLY PERMITTED. BUT AS ABOVE, THE ANSWER WOULD NEED TO BE A CANADIAN COUNSEL CALL.
3.4.8.1.1.1.2. (from 2.6) I THINK YOUR COMPANY ALREADY WANTS TO KEEP THEM CONFIDENTIAL AND NOT DISSEMINATE THEM TO ANYONE UNLESS ABSOLUTELY NECESSARY. AT MINIMUM THEY RAISE A FEW UNANSWERED QUESTIONS, LIKE ‘HOW DID THE AUTHORITIES ACTUALLY OBTAIN THE MISTAKEN INFORMATION, FROM WHOM, AND UNDER WHAT CIRCUMSTANCES’?
3.4.8.1.1.1.3. (from 2.6.2) THEREFORE, YOU SHOULD WORK WITH THE ASSUMPTION THAT YOU WILL HAVE TO SHOW ALL CARDS. OTHERWISE YOU COULD END UP IN BREACH.

THAT BEING SAID, FILM COMPANIES MAY VARY TO THE DEGREE TO WHICH THEY WILL WANT TO REVIEW AND RECEIVE COPIES OF THE ACTUAL WORK PERMITS. UNFORTUNATELY, YOU WON’T REALLY KNOW UNTIL YOU TEST IT, IN THE CONTEXT OF ANY INDIVIDUAL DISTRIBUTOR.

I KNOW IF I WERE REPRESENTING A U.S. DISTRIBUTOR REGARDING A FILM I WAS TOLD WAS SHOT IN CANADA DEPICTING ACTORS RESIDENT IN MULTIPLE COUNTRIES, I’D ASK IN WRITING FOR DOCUMENTATION PROVING THEIR RESPECTIVE RIGHTS TO WORK ON THE PICTURE AND IN CANADA. BUT AS TO WHAT I WOULD DO, IF DENIED IN WHOLE OR IN PART – WELL, I’D ADVISE MY CLIENT OF THE RISKS AND THE CLIENT WOULD THEN DECIDE WHETHER THEY STILL WANTED TO DO THE DEAL WITHOUT THAT DOCUMENTATION PROVIDED.
3.4.8.1.1.1.4. *** False testimony could not and did not factor in. Canadian immigration authorities relied solely on two documents when preparing the permits – the labour market opinion (issued by Service Canada Foreign Worker Program) and the applicant’s passport.
3.4.8.1.1.1.5. *** It doesn’t make sense to keep documents crucial to the chain of title process confidential, certification will fail. Any party with serious interest is going to scrutinize the property thoroughly, so an attempt has to be made to have the permits re-mediated. Dan is less concerned about Canadian immigration coming after Artist house, Inc. or Dan personally for non-compliance with flawed permits than he is with the hassle of a failed chain of title certification by an interested distributor.
3.4.8.1.1.1.6. (from 2.6.2) HOWEVER, DIFFERENT COMPANIES HAVE DIFFERENT PROCEDURES, AND SOME ARE MORE FORMAL AND DETAILED THAN OTHERS. IT WOULD ULTIMATELY TURN INTO A RISK AND BUSINESS CALL THAT THE (PRESUMABLY WELL-ADVISED) CLIENT WOULD MAKE.
3.4.8.1.1.1.7. (from 7.4) Ann’s labor market opinion is still missing. Dan might be able to get the Canadian Entertainment Unit of the Foreign Worker Program to fax another for the file, since Ann’s inaccurate and misspelled permit could stand some clarification.
SUBJECT TO MY CONCERN ABOVE THOUGH, ON PAGES 3 AND 12. BE CAREFUL. MY INSTINCT IS THAT YOU HOLD OFF ON CORRECTIONS, AFTER SEEING THIS MEMO.
3.4.8.1.1.1.8. *** A clarification – the labour market opinions were issued by Service Canada Foreign Worker Program and work permits were issued by the Landsdowne Immigration Office. Dan has contacted Sonya Di Mambro the Foreign Worker Program Officer responsible for issuing the Labour Market Opinions and obtained a copy of Ann’s labour market opinion via fax, and requested advice on how to best resolve the gross errors made on the permits. She intervened on the projects behalf with immigration once before and may be able to straighten this out also. These are basically clerical errors, totally the responsibility of the immigration authorities and might turn out to be no big deal to fix. Dan is confident that consulting her is a sensible first step and will not jeopardize the project, Artist house, Inc. or Dan personally.
3.4.8.1.1.1.9. (from 15.1.1.1) Alexander Henry is the name of the ship that was the location, an asset of the museum which rented it to us. Ann and Dan caught this at the immigration office, but they said “oh that doesn’t matter.” Clearly it matters now.
OH, THANK GOD. I THOUGHT SOMEONE MAY HAVE MADE A MIS-STATEMENT TO THE AUTHORITIES. I NOW UNDERSTAND AND FEEL A LOT BETTER ABOUT THIS.

I THINK THE IMMIGRATION FOLKS WHO SAID ‘THAT DOESN’T MATTER’ WERE WRONG, AND THAT THE WRITTEN RECORD SHOULD HAVE BEEN CORRECTLY MADE. THEN AGAIN, I ALSO UNDERSTAND WHY YOU WOULDN’T WANT TO BE A THORN IN THE SIDE OF THE IMMIGRATION AUTHORITIES, AND ‘MAKE’ THEM RE-DO FORMS, ETC.
3.4.8.1.1.1.10. *** John is correct in this assessment, Dan and Ann were reluctant to ask Canadian immigration officials to fix the error plus they were already a day behind schedule because of the mistake immigration had made the day before.
3.4.8.1.1.1.11. I THINK THERE IS ENOUGH ON RECORD NOW TO ESTABLISH THAT THIS WAS THE MISTAKE OF THE IMMIGRATION AUTHORITIES; THAT YOU CAUGHT IT; AND THAT THEY CHOSE NOT TO FIX IT. IN OTHER WORDS, A BIT OF A RELIEF.
3.4.8.1.1.1.12. *** That’s good.
3.4.8.1.1.1.13. (from 15.8) Interpretation – the gross errors on the work permits appear to be a very weak link in the chain. Dan will attempt to have all the permits reissued with the correct information when a copy of Ann’s labour market opinion is obtained.

WHOA. DON’T DO THIS YET, PLEASE.

I AM TROUBLED BY THE POSSIBILITY OF YOUR COMPANY OR YOU OR ANN GOING BACK TO THE IMMIGRATION AUTHORITIES AND RISKING ‘ADMITTING’ ANY NON-COMPLIANCE, EVEN IF ANN’S.

I WANT TO DELIBERATE ON THIS, AND THEN DISCUSS IT WITH YOU, NOT IN FURTHER WRITING, BUT ON THE PHONE (UNUSUAL AS THAT MAY SOUND COMING FROM ME).
3.4.8.1.1.1.14. *** Dan’s email to Sonya. The “chart” referred to in the email was a small spreadsheet documenting the types of errors made on the 4 work permits.
3.4.8.1.1.1.14.1. From: anything@artisthouse.com
Subject: Re: Foreign Worker Application
Date: July 27, 2006 4:31:56 PM EDT
To: sonya.dimambro@servicecanada.gc.ca
Cc: anything@artisthouse.com

Sonya,

Got the fax, thanks very much!

I’ve included a little chart of errors for the work permits. The crucial item is “employer” which is wrong on all four permits. Where as “employer” should have been “Artist house, Inc.” everyone is listed as working for “Alexander Henry”, which was the name of the ship that we rented from Marine Museum of the Great Lakes in Kingston and used for our location. I caught this error right away but the immigration folks said, “oh, that doesn’t matter”. It turns out it does matter – to our lawyer. Without proper documentation we might have a problem proving that the project actually belongs to Artist house, Inc.

Any suggestions?

Yours,

Dan Kelly
3.4.8.1.1.1.15. *** Dan’s phone call with Sonya July 28, 2006 1:00 PM.
3.4.8.1.1.1.15.1. Sonya Di Mambro’s agency has authority over business and foreign workers in Canada so documents issued by her agency are important. The information recorded by her agency is also part of the electronic FOSS system, and can be accessed by Canadian embassies and consulates. In her opinion, since the electronic FOSS records for our project are accurate, the discrepancies between the labor market opinions and the work permits indicate human error in generating the work permits. Working through her agency, Sonya will explore correcting the permits with immigration. She will be in contact early next week. If corrections are not feasible, another option would be approach the Canadian consulate or embassy and present the case for some form of correction or remediation. Dan faxed her the four permits and the group permit, and she acknowledged receipt.
3.4.8.1.1.1.16. *** Dan will act only if Sonya offers a straightforward solution to this problem, otherwise Dan and John can discuss alternatives.
3.4.8.1.1.2. √ Corporate status
3.4.8.1.1.2.1. (from 3.4) John should expect an update by the middle of August confirming Artist house, Inc.’s viability as a entity to own intellectual property and make contracts. OK. I AM ASSUMING THAT ARTIST HOUSE, INC. IS ALREADY VIABLE, AND THAT THE STEPS YOU ARE TAKING ARE STEPS OF CARE TO SUSTAIN THAT ON WRITTEN RECORD. I DO THINK THE SEQUENCE OF STEPS, OF ‘LOOK INWARD BEFORE LOOKING OUTWARD’, MAKES A LOT OF SENSE IN THIS CONTEXT THOUGH.
3.4.8.1.1.2.2. *** I agree, let’s proceed with the expectation that everything will be in order by mid August and get the contracts ready ASAP.
3.4.8.1.1.3. √ Trademark
3.4.8.1.1.3.1. (from 4.2.1 ) renewal
3.4.8.1.1.3.1.1. “artist house” is a registered trademark of Artist house, Inc. The mark is up for renewal in 1997, expiring in 1998. WAIT A MINUTE. 1997? 1998? THOSE YEARS DON’T LOOK RIGHT.
3.4.8.1.1.3.1.2. *** Disregard this. based on TARR record, Artist house, Inc. must be renewed by 2008.
3.4.8.1.1.3.1.3. *** TARR record
3.4.8.1.1.3.1.3.1. http://tarr.uspto.gov/servlet/tarr?regser=serial&entry=74578537&action=Request+Status
3.4.8.1.1.3.1.3.2. *** Prosecution history 2002-11-15 – Section 8 (6-year) accepted
3.4.8.1.1.3.1.3.3. *** 11/15/2002 + 6 years = 11/15/2008
3.4.8.1.1.3.2. expansion and international
3.4.8.1.1.3.2.1. (from 4.3.1) expand the definition of the mark to include filmmaking and all related activity AFTER CONFERRING WITH YOUR TRADEMARK COUNSEL WHO HANDLED THE ORIGINAL FILING FOR YOU.
3.4.8.1.1.3.2.2. (from 4.3.2) look into international registration e.g. Madrid and c) take steps to defend the mark. AFTER CONFERRING WITH YOUR TRADEMARK COUNSEL WHO HANDLED THE ORIGINAL
FILING FOR YOU.
3.4.8.1.1.3.2.3. *** No counsel was involved. Dan traveled to USPTO archives, searched the trademark records and filed the application. It’s likely that Dan will handle this process again, perhaps with the assistance of counsel.
3.4.8.1.1.3.3. defending the mark
3.4.8.1.1.3.3.1. (from 4.3.3) take steps to defend the mark. MAYBE, DEPENDING UPON THE FACT PATTERNS. TILTING AT TRADEMARK WIND MILLS CAN BE AN EXPENSIVE PROPOSITION.
3.4.8.1.1.3.3.2. *** Dan has been lax at defending the mark in the past, and if the mark is worth promoting it’s important to start a good faith effort to defend it. Letters are cost effective, could resolve most disputes by making the other entity aware that the mark is not available, and also serve to document the history of defense in cases where more aggressive action is later required. This is certainly an area for further research for Dan and will update John on progress.
3.4.8.1.1.4. √ Copyright
3.4.8.1.1.4.1. (from 5.4) Is this application hopelessly screwed up, should Dan/John attempt to amend? NOT ‘AMEND’, IN MY VIEW, UNLESS YOU FEEL STRONGLY COMPELLED OTHERWISE. THE COST AND HASSLE MIGHT OUTSTRIP THE BENEFIT. CORRECTIVE FILINGS COST MORE AND ARE MORE COMPLICATED THAN NEW FILINGS.

HOWEVER, YOU MIGHT WANT TO DRAFT UP A NEW PROPOSED FILING, AND FORWARD IT TO ME BY FAX FOR COMMENT. YOU COULD THEREBY REGISTER THE MOST CURRENT VERSION OF THE SCRIPT, AND AT LEAST PUT ONE DOCUMENT ON FILE WHICH, WHEN TAKEN TOGETHER WITH THE PRIOR FILING, CORRECTS ALL PERCEIVED ERRORS, AND MAKES ALL NEEDED UPDATES IF ANY.
3.4.8.1.1.4.2. *** Dan will complete a revised and final version of the script, draft an new application and forward it to John for comment.
3.4.8.1.1.4.3. (from 5.5.3.1.1) Dan is not sure why this redundancy is a problem. IT’S NOT A HUGE PROBLEM, BUT IT COULD BE A PROBLEM FROM A PERCEPTION STANDPOINT – FOR EXAMPLE, PERCEIVED AS AT ODDS TO THAT WITH WHICH MOST DISTRIBUTORS (AND DISTRIBUTOR COUNSEL) ARE ACCUSTOMED, WHEN SEEING A TEXTUAL COPYRIGHT NOTICE.

YOU WANT YOUR COPYRIGHT NOTICES TO BE PERFECTLY ACCURATE AND PROTECTIVE – BUT ALSO AS BORING, CONVENTIONAL, AND UN-REMARKABLE AS AT ALL POSSIBLE. YOU SHOULD KILL THE REDUNDANCY.
3.4.8.1.1.4.4. *** Dan understands and agrees
3.4.8.1.1.4.5. (from 5.5.6.1.1) Dan understands and agrees.
OK, BUT ALSO PROVIDE ME A LIST OF ANY ADDITIONAL WRITERS IF ANY.
3.4.8.1.1.4.6. *** Dan is the sole author of the script.
3.4.8.1.1.4.7. (from 16.5.1) Dan understands, though a dated cover letter could be created after the fact.
I SUPPOSE, BUT I COULDN’T THEN PARTICIPATE IN ANY ACTIVITY RELATING TO IT.
3.4.8.1.1.4.8. *** Yes of course, the point is that a dated cover letter is not authenticated by a third party and therefor wouldn’t it be less credible than a postmarked proof of mailing from the USPS, a canceled check from a bank, etc.? A dated cover letter could be printed up anytime, anywhere. What does it prove really? Dan grasps the concept, but it would seem to carry the same weight as private memoranda saved in a plain text file on a hard drive. There’s no possible way to authenticate the date of creation.
3.4.8.1.1.4.9. (from 16.5.2) There is a photocopy of the check. Could the canceled check or photocopy of same be dispositive?
DISPOSITIVE, BUT ON A DIFFERENT ISSUE. PLEASE DO COPY ME ON THE CANCELED CHECK WHEN YOU GET IT, THOUGH.
3.4.8.1.1.4.10. *** Included
3.4.8.1.1.4.11. (from 16.5.3) Dan *may* have the certificate of mailing receipt from the USPS with the cancellation mark.
DON’T GO CRAZY RUMMAGING FOR IT, BUT IF AVAILABLE I’D LIKE A COPY FOR THE FILE. NEXT TIME, THE DATED COVER LETTER WILL DO ALL OF THIS WORK FOR YOU, AND YOU CAN KEEP IT ON YOUR HARD DRIVE FOR EASY RE-PRINTING. (THAT’S WHAT I DO).
3.4.8.1.1.4.12. *** Dan’s point exactly! Dan understands and agrees, but persists in the belief that third party authentication like hard copy receipts and canceled checks are also important and perhaps more credible than computer files on a hard drive. Dan also recognizes that John is the lawyer.
3.4.8.1.1.4.13. (from 16.11.3) The estate and/or literary agents of author Philip K Dick whose name is mentioned in the script (along with the titles of two of his novels) could claim contribution even though the script is not based on any of his works. WELL, NAME USE ALONE CAN ENGENDER A CLAIM, E.G. UNDER NY CIVIL RIGHTS LAW SECTIONS 50/51.

I ONCE HAD TO DEFEND AGAINST A CLAIM BY A FOLK/ROCK SINGER, OVER CITATION OF HER NAME IN THE DVD ALONE. (WHAT SHE REALLY WANTED BY WAY OF RECOMPENSE WAS A COPY OF THE DVD, SO IT WAS GIVEN TO HER, AND SHE WITHDREW THE CLAIM THEREAFTER AS I WAS TOLD). I’M NOT SAYING A CLAIM FOR INCIDENTAL NAME USE ALONE WOULD LIKELY PREVAIL – IT MIGHT NOT, DEPENDING ON CIRCUMSTANCES – BUT ON THE OTHER HAND, I’D STAY AWAY FROM NAMING KNOWN CAREER-PLAINTIFFS LIKE S. KING AND M. JAGGER, AT MINIMUM. The idea of God’s child being born to a human woman is a central theme in the two novels mentioned in the script, but then then that’s true of the new testament also which was not mentioned. IMMACULATE CONCEPTION COMMONALITY, I’M NOT WORRIED ABOUT.

BUT IF COPYRIGHTABLE DETAIL FROM EITHER OR BOTH DICK NOVELS, WAS USED IN THE SCRIPT OR FILM, THEN YOUR COMPANY MIGHT HAVE A PROBLEM.
3.4.8.1.1.4.14. *** The script for ‘Daughter of God’ is totally original to Dan. The name of author Philip K Dick is mentioned along with two of his book titles, but the script is not based on his work.
3.4.8.1.1.4.15. I’D NEED TO DO A SIDE-BY-SIDE READING AND COMPARISON OF THE 3 WEEKS TO HAVE ANY BASIS FOR OPINION ON THIS. Since John has not flagged this, DON’T ASSUME THAT. IT WASN’T POSED TO ME AS AN ISSUE OR POTENTIAL ISSUE BEFORE THIS E-MAIL.
3.4.8.1.1.4.16. *** Dan assumes “weeks” should have been “works”. Dan apologizes for not pointing out the mention of “Dick” earlier.
3.4.8.1.1.4.17. WHAT YOU HAVE NOT DONE, IS ASKED ME TO REVIEW THE SCRIPT (OR FOOTAGE) AND MEMO YOU ON ALL CLEARANCE PROBLEMS THAT MIGHT EXIST WITHIN IT. FOR THAT
MATTER, IF YOU WERE TO DO SO, IT COULD TURN OUT TO BE WASTE OR AT LEAST DUPLICATION OF EXPENDITURE BY YOU, SINCE A DISTRIBUTOR OR STUDIO MIGHT
SPECIFICALLY REQUIRE THE SAME TYPE OF REPORT BUT INSTEAD PENNED BY A ‘DEFOREST, MARSHALL PLUMB OR THOMSON & THOMSON’. IN OTHER WORDS, CHAIN OF
TITLE IS ONE THING, SCRIPT CLEARANCE IS SOMETHING DIFFERENT – AND I HAVE REASON TO BELIEVE YOU’RE GOING TO WANT TO GAUGE POSSIBLE DISTRIBUTION OR INSURANCE REQUIREMENTS BEFORE YOU DECIDE HOW YOU MIGHT HAVE TO ‘CLEAR’ THE SCRIPT.
3.4.8.1.1.4.18. *** Dan will handle script clearance later. John should focus on chain of title, keeping Dan informed of other concerns as they arise.
3.4.8.1.1.4.19. AND MY PRESUMPTION ON ALL THIS WAS EXACTLY OTHERWISE. AFTER ALL, IN THE COPYRIGHT REGISTRATION, YOU CERTIFIED TO A U.S. GOVERNMENTAL AUTHORITY
(UNDER A PENALTY OF PERJURY EQUIVALENT) THAT THE FILED WORK WAS WHOLLY ORIGINAL TO YOU. I DIDN’T SEE YOU EXPRESSLY CARVE OUT ANY DICK MATERIAL IN THE COPYRIGHT REGISTRATION – AND KEEP IN MIND THAT THERE IS A SECTION OF THE FORM WITHIN WHICH TO DO SO. Dan assumes the mention of Dick’s name and book titles could be considered fair use. SEE ABOVE. NEITHER ARE REALLY ‘FAIR USE’ ISSUES.
3.4.8.1.1.4.20. *** Is John asserting that the mere inclusion of popular names and book titles constitutes co-authorship of copyrightable material? Is John further asserting the copyright application for the DOG script is invalid? If so can the copyright be repaired in an updated filing as discussed earlier?
3.4.8.1.1.4.21. A BOOK TITLE, HOWEVER, IS IF ANYTHING A TRADEMARK ISSUE.
3.4.8.1.1.4.22. *** There are live no trademarks on TARR for either PKD book title.
3.4.8.1.1.4.23. AND A PERSON’S NAME IS, IF ANYTHING, A NAME AND LIKENESS/RIGHT OF PRIVACY/RIGHT OF PUBLICITY ISSUE.
3.4.8.1.1.4.24. *** These rights could be cleared with the legal stewards of Dick’s name and work. Can John advise on an effective procedure for submitting the script or video for permission?
3.4.8.1.1.4.25. SO BE CAREFUL NOT TO MIX THE THREE CONCEPTS TOGETHER.
3.4.8.1.1.4.26. *** Dan understands the concepts are different, but this doesn’t clarify the situation. Interpretation – It’s possible that the mention IS fair use, but this will not keep the project out of litigation.
3.4.8.1.1.4.27. THE BOTTOM LINE IS, IF YOU RUN A DEFOREST/MARSHALL PLUMB/THOMSON & THOMSON REPORT ON THE SCRIPT, THE SERVICE WILL LIKELY FLAG ALL ‘CLEARANCE’ ISSUES
THEREIN, AND WILL LIKELY FLAG THE DICK TITLES AND THE DICK NAME AS POSSIBLE CLEARANCE ISSUES.

MANY DISTRIBUTORS REQUIRE SUCH A WRITTEN CLEARANCE REPORT, AS A PRECONDITION TO DOING THE DEAL. SOMETIMES IT?S INCLUDED IN THE CHAIN OF TITLE REQUEST IN THE DRAFT PROPOSED DISTRIBUTION AGREEMENT.

BUT THE REAL ISSUE IS WHAT THE ERRORS AND OMISSIONS (E&O) INSURANCE CARRIER DOES, ASSUMING THE PICTURE IS OR NEEDS TO BE INSURED. THE CARRIER USUALLY ALSO REQUIRES THE WRITTEN CLEARANCE REPORT. THE CARRIER OFTEN ENDS UP DRIVING YOUR CLEARANCE (AND SOMETIMES THEREFORE, EDITING) DECISIONS.

IN OTHER WORDS, IF THE CARRIER ENDS UP SAYING ‘NO DICK’, THEN THE ANSWER WILL IN LIKELIHOOD BE ‘NO DICK’, AS A PRACTICAL MATTER.
3.4.8.1.1.4.28. *** All the more reason to explore formally clearing the use of Dick’s name, if feasible.
3.4.8.1.1.5. √ Immigration
3.4.8.1.1.5.1. (from 9.4) Since immigration isn’t John’s responsibility it’s not clear why John wants the H2B application and rejection but a copy will be forwarded. TO COMPLETE AND ROUND OUT THE FILE, AND POSSIBLY TO HELP INTERPRET WHAT IS ALREADY ON FILE. BETTER THAT I FILTER, THAN YOU.
3.4.8.1.1.5.2. *** Dan understands and agrees. Basically the H2B process was halted when proof was requested that the job was offered to Americans. Dan cast Carmen Althaus because she matched his vision of the character, it did not make sense to document a bogus search for American talent when Dan had no intention of casting anyone else. Also, there was no way to be sure that an H2B visa would definitely be granted. Moving the project to Canada made it possible to immediately begin scheduling resources and contractors. H2B files are included.
3.4.8.1.1.5.3. (from 9.5.1) Interpretation – Immigration trouble would not target the project specifically. Immigration authorities would not move to halt production or block distribution of a project incorporating illegal workers, but would prosecute the entity responsible for the project. OR PERHAPS THEY WOULD BLOW THROUGH THE ENTITY AND SEEK INDIVIDUALS (OR AN INDIVIDUAL’S) LIABILITY AND ACCOUNTABILITY INSTEAD. A CORPORATE VEIL DOESN’T MEAN MUCH TO THE TAX, IMMIGRATION, AND OTHER FEDERAL AUTHORITIES. SCARY, BUT TRUE.
3.4.8.1.1.5.4. *** Dan understands and agrees.
3.4.8.1.1.5.5. (14.1.1) John – “Query if ‘Employer’ / ‘Employee’ language could possibly undermine the independent contractor characterization. (It could, in the US)
3.4.8.1.1.5.5.1. Who can clarify – Canadian officials? What sort of attorney and from what jurisdiction could render an authoritative opinion? PROBABLY CANADIAN COUNSEL. BUT THE THING IS, I DOUBT THE AUTHORITIES ARE GOING TO CHANGE THEIR FORMS SIMPLY BECAUSE THEY CAUSE CONFLICT WITH U.S. PRESUMPTIONS AND U.S. I.P. LAW. I DON’T THINK ANY INDIVIDUAL WILL LIKELY HAVE THE LEVERAGE TO MAKE THE AUTHORITIES VERSION OR CUSTOMIZE THEIR FORMS SPECIFICALLY FOR THE INDIVIDUAL. I JUST WANT YOU TO BE AWARE OF THIS TEXT AND ITS ARGUABLE POSSIBLE IMPLICATIONS FOR NEXT TIME. YOU MAY NEED TO PAPER AROUND THEM AS BEST AS POSSIBLE IN SOME FASHION.
3.4.8.1.1.5.5.2. *** Dan understands and agrees. Our documentation and future contracts define the project relationships. It’s about whether Canadian law allows foreign companies working in Canada to hire contractors as opposed to employees. If Canada does allow this and the appropriate documentation in conformance with Canadian law is present, then probably the labels on the work permits are irrelevant. Dan will look into conforming with Canadian law in regards to contractors, taxes and related reporting.
3.4.8.1.1.6. √ Contracts
3.4.8.1.1.6.1. (from 11.2) Steve receives additional payment equal to the value of Carmen’s plane ticket so that actors are equally compensated. OK, REMIND ME PLEASE OF THE DOLLAR FIGURE VALUE OF THE PLANE TICKET?
3.4.8.1.1.6.2. *** $646 US – it’s on the agreements.
3.4.8.1.1.6.3. (from 11.3.2) “yikes” is kind of vague feedback. What’s the issue? IT’S BETTER THAN AN EXPLETIVE. ‘CREDIT, FULL CARD’ SOUNDS FAIRLY OPEN-ENDED ON SOME ISSUE, AND PROBABLY ITSELF TOO VAGUE TO INTERPRET CONTRACTUALLY – SORT OF LIKE ‘YIKES’.

WHAT DID IT MEAN? WHAT WAS ACTUALLY INTENDED? (HOW WOULD YOU EXPLAIN IT TO A NON-FILM-INDUSTRY DUMB JUROR – YOUR ULTIMATE POTENTIAL AUDIENCE FOR CONTRACTUAL DOCUMENTS, BY THE WAY).
3.4.8.1.1.6.4. *** thanks for clarifying that “yikes”. The juror point is well taken. “Full card” means the actor’s name will appear on screen alone or possibly associated with the name of the character they portrayed, in a font large enough and for a period long enough to be easily read. More specifically, a font size no less than 5% of screen height at a 3:4 aspect ratio and for a duration of at least 3 seconds, not including dissolve time if any.
3.4.8.1.2. letter to jt 6/6/06
3.4.8.1.2.1. Dan Kelly
Artist house, Inc.
4077 Crystal Drive
Beulah, MI 49617
231 882-0460

VIA US MAIL

06/06/06

John Tormey III, PLLC
217 East 86th Street PMB 221
New York, NY 10028

Hi John,

Please find enclosed copies of papers with inventory cover sheet related to the motion picture project Daughter of God.

The two tasks I’d like you to handle immediately are 1) generating contracts for all participants and 2) evaluating the chain of title for the entire project.

As you know I shot the project in Canada, having first obtained Canadian work permits for all non-Canadian cast and crew members. The non-union independent contractors listed below verbally agreed to assign all rights related to their work on the project to Artist house, Inc. Carmen Althaus and Steven Zilliax also signed agreements. The basic rate for all participants was $100/day plus lodging, food and travel expenses.

Carmen and Steven could not legally work in the USA which is one of the reasons I chose to shoot in Canada. The contracts you create must include whatever is required to safeguard the company and project from US immigration problems.

The first task theoretically supports the second, which is 2) an evaluation of the chain of title for this project.

makeup artist Laynea Roberts citizen of Canada and USA
assistant director Melonie Steffes Callaghan citizen of USA
producer Ann Loeding citizen of USA
director/actor Dan Kelly citizen of USA
actor Carmen Althaus citizen of Switzerland (not legal to work in USA)
actor Steven Zilliax citizen of Canada (not legal to work in USA)

Thanks John!

Dan Kelly
Artist house, Inc.
PO BOX 2090
New York, NY 10013
231 882-0460

3.4.8.1.3. cover for jT
3.4.8.1.3.1. Hey John,

There just wasn’t time to meet this week. I’ll be out of town most of next week, but if you give me some advance warning as to when you are planning on coming into NYC and I’ll work around your schedule.

These items should arrive at your office next week and can be added to the project’s legal file.

√ labor market opinion confirmation Ann Loeding (1 page)
√ work permit for carmen althaus SWITZERLAND (1 page)
√ work permit for melonie callaghan USA (1 page)
√ contractor terms via email (4 pages)
√ photocopy of check for copyright application (1 page)
√ canceled check for copyright application (1 page)
√ contractor information (2 pages)
√ Artist house, Inc. H2B visa application and final determination for Carmen Althaus (15 pages)

This is the latest addition to our ongoing notes and commentaries. I am available to talk to you this weekend or early next week.

Is there anything else you require before drafting the contracts?

Thanks,

Dan Kelly
President
Artist house, Inc.
3.4.8.1.4. letter to john 7/28/06
3.4.8.1.4.1. Dan Kelly
Artist house, Inc.
4077 Crystal Drive
Beulah, MI 49617
231 882-0460

VIA US MAIL AND EMAIL
July 28, 2006

John Tormey III, PLC
217 East 86th Street PMB 221
New York, NY 10028

Hey John,

There just wasn’t time to meet this week. I’ll be out of town most of next week, but if you give me some advance warning as to when you are planning on coming into NYC I’ll make time for a meeting.

These items should arrive at your office next week and can be added to the DOG project’s legal file.

√ labor market opinion confirmation Ann Loeding (1 page)
√ work permit for carmen althaus SWITZERLAND (1 page)
√ work permit for melonie callaghan USA (1 page)
√ contractor terms via email (4 pages)
√ photocopy of check for copyright application (1 page)
√ canceled check for copyright application (1 page)
√ contractor information (2 pages)
√ Artist house, Inc. H2B visa application and final determination for Carmen Althaus (15 pages)

I’ve also included latest installment to our ongoing notes and commentaries. I am available to talk to you any time this weekend or early next week.

Is there anything else you require before drafting the contracts?

Thanks!

Dan Kelly
President
Artist house, Inc.
3.5. character development
3.5.1. notes on joe and christina (carmen hated this)
3.5.1.1. Hello

actions and events, she translates into her body

C is staring into space. Popping bubble wrap. A still life. She is thinking about nothing, empty.
]

Ring!

She’s coming back to planet earth now, slowly her expression changes – from a dreamy inner vision to something more present, awake. she doesn’t move her head.

Ring!

She’s back, her thoughts and feelings might be “the phone, it’s making noise. What am i supposed to do when the phone makes noise again?” Head doesn’t turn, left hand still popping bubbles maybe, right hand reaches and picks up phone. She doesn’t look at the face of the phone, she doesn’t need to. She puts it to her ear.

C – “Hello?”

J – “Christina?”

Surprise, eyes open slightly. This voice registers inside your body as a feeling and your body reacts. But you brain is still catching up. You don’t consciously know that it’s anyone special, but you feel something strong, different conflicting emotions, mostly surprise…

CARMEN – expecting a phone call from best friend, lots of men, why should a man call me.

C – “Yes?” It’s not in your voice yet since your brain runs your voice, but the signals are now running up to your head, you are waiting for more information. You are paying attention.

J – this is your uncle joe

emotions washing over you, crashing into each other on your face

your thoughts and feelings might be – he’s got joy in his voice, he’s happy to tell you it’s him, the crazy old joker. and wow does it sound like him, your brain is with the program now, wow, WHAT THE FUCK? He’s dead. Dead people don’t use cell phones. This is a joke. Only an asshole would make a joke like this, maybe that scary ex-boyfriend from a couple of years back, the one who disappeared mysteriously but… this is an amazing crazy impossible joke, because it’s fucking perfect. He sounds like he’s been on a long vacation, like you only talked to him a few months ago, like a friend from high school. and you can hear the love there too, NO WAY, it’s a trap, bullshit… but what if… I am gonna rip whoever this is a new asshole… uncle joe (heart pounding) need more information! get control, pull it together, cool, cool…

(playing along, poker faced)
C – OK, uncle joe, but uh, your dead.

(calm, the voice of an EMERGENCY MEDICAL TECHNICIAN (EMT) at an accident)
Uncle Joe is talking me down, he knows what i am thinking.

J – Look Christi, this isn’t a joke, ok?

your thoughts and feelings might be – He says my name in that funny way, who else ever heard him say it that way? some of the family sure, who else knew him with me, who else would know how to say it like that? This make’s me feel angry and sad, that someone knows this secret. Then again, what if…

J – “I don’t want to scare you.”

oh shit, oh shit, scare me? you are going to scare me?

J – “I am standing at your front door and i want to talk to you.”

your thoughts and feelings might be – he sounds like he’s smiling… now THIS is gonna be tough to fake. an instant flashback of the hospital, the way he looked, it was awful. why did I have to loose him, have him get so frail and horribly hollow… I don’t really want to see that again, but then he didn’t talk at all towards the end…

(comforting but pragmatic – this is a very familiar tone)
I know this seems strange, but believe me, it’s important.

Ok, now this has got to be a joke, rationally I know this. I know it can’t be possible,

C – “Uncle Joe or whoever…

but it would be just like him to pull something like this on me, show up in my life like some kind of wizard, reincarnated. right. he’s dead. it’s a gag, a cruel twisted… fuck it (emotion welling up…)

C – “This is kind of weird,”

I want this to be real! I miss him… (tearing up) It’s confusing, I…

C – “but you really do sound like uncle joe…”

Here’s your chance mr voice on the phone, let’s see what you do with it…

J – Just relax Christi

Yes, I want to…

J – and open the door

well of course I will, but I can’t even begin to describe how i feel. I know i will. I am going to open the door. right? that’s what i am going to do, isn’t it? whatever happens? yes.

C – (to the phone, whispering like a little kid at a seance) Here I come…

standing, putting the phone down, it’s a decision, voices on the phone aren’t real, I’ve talked to lovers over the phone for hours when they were far away, but they couldn’t hold me, they weren’t really there. that’s what’s frustrating about phones, they seem like something nice but ultimately they cheat me, they frustrate me. No more phone now, this is something else. something big is about to happen to me, come down from fantasy land you, get a grip! no, I am ok, I am going to walk over to that door, and open it. (crossing to the door).

I am opening the door (listens)

I don’t hear anything, wait, breathing? my god, a second ago nothing was happening and now this door is the most important thing in my life, ever. whatever, whatever, let’s open it, deep breath, turn the handle of the ship door, is it because i am on a ship? look at the paint it’s all worn on this handle how many hands opened this door before me, quiet now one, two, three… (cracking the door)

(opens the door wide)

I seem him and believe. no question, that’s him and he looks – young! healthy! and he’s really happy to see me too. he looks a little sly and crafty with that hammy smile around the edges of his lips even. When he looked like this i was a lot younger, he was there for me then.

Wow, SHIT, um…

my heart comes up into my throat and look at the old fucker, he’s stepped out of a fucking spa! Uncle fucking jesus joe holy shit!

you look great uncle joe, you look like you did before the cancer!

Ok, this is a bonefide miracle, but it feels like – normal – no big deal, he’s wearing a suit, it looks new… is this what a miracle feels like?

(script said – ‘apologetically’ still true but played big

J – Actually christi, I am not your uncle joe…

He looks like he’s about to play a game with me, like when we used to pretend we were secret agents and heros, magical dragons and fairy royalty. When he used act out the parts in books in stories for me, he’s putting his acting voice on.

J – My name is melchior, I just assumed the appearance of blaa blaa blaa,

This is too much, he just launched into this character and now we are playing together, he’s inviting me to play a game. This is happening, this is what a miracle feels like sure. It just happens to you and you hold on for dear life. I was starting to forget about myself, about who i am – special, the way he taught me, what we played at all those years ago. and here he is to remind me and it’s happening, wow, wow, ok he’s still talking what is he saying? no time for too much thinking, i am just going to enjoy it, play with him yeah, so he’s telling me about how he assumed the appearance of uncle joe and so he’s back from the dead so he must be an angel, let’s try that… can he come in? he’s already in. I’ve got his hat on my head!

and we would play this game when i was older to think about life, to work through things that were confusing. he would play these games and we would act out the parts and then i would work out my problems like that. playing it big and kind of sneaking up on the problem like it was a funny ogre and i could win by tickling it. you can never win with an ogre if your angry…

Hey he put his hat on my head – flash! now the way you become invisible christi is to become something boring in the room, something that people have no interest in whatever. for instance you could be a coat rack. what’s it feel like to be a coat rack christi? be a coat rack, here i’ll put my hat on your head, you think coat rack thoughts and poof, your totally invisible. now you can listen in on people’s conversations and learn all their secrets…

turning to him and getting into the spirit of the “play”

C – Yes uh, Melchior are you an angel or what?

J – sure, that’s what i am christi and angel from heaven, and uh, there’s a little emergency, that’s why i am here.

ok, so we move the story forward just like we did when we would play, but IT’S REALLY HIM, oh god, i am so happy and how did he get here, is he really an angel? and are dragons real and fairies and everything else? I always thought so and here he is… here he IS!

Wow, that’s amazing –

I am loosing the game a little, i can’t help but feel so wonderful and kind of confused because this feels good and do people feel so good if they go crazy? does it feel so real and lovely to go crazy?

C- “Shit!”

I stepped out of character, broke the game, got to get back

C – “Sorry…”

But this is so wonderful and crazy!

C – “Shit!”

I am totally blowing my part!

C – “Sorry”

I am so happy and off balance

J – Christi, calm down. This is all happening fast I know, but I wouldn’t be here if it wasn’t vitally important.

Deep breath, he’s talking like himself again, it’s just uncle joe (whose DEAD!, you saw him fade away, go into a coma and DIE!) he stepped out of his character to let me rest a bit. ok, c’mon! I know how to play!

C – Ok, I am ok.

I want to know what this is all about. Where does this story go?

C – What’s the deal?

J – well, you know about jesus right? the son of god?

yeah, was he an ogre or a fairy? i forget. They’ve got lots of churches for him and I maybe prayed to him once or twice. I feel ok about jesus… i don’t know much about him i guess…

J – He was born in the usual way, his mother was mary.

I know that much. Son of god and mother was mary, god didn’t marry her cause she already had a guy, but somehow god did something with her, to her…

J – you are going to give birth to the daughter of god

wow, this is some story uncle joe

C – really?

J – really.

this isn’t just a story… or it’s the best one yet.

Ooh, i can feel my ego flaring up, i am a lesbian, a powerful woman no longer dependent on men for my identity – that’s the big new found truth in my life, and he’s here to reward me! no way, you think so?

C – is it because i am a lesbian?

Of course it is, everything fits!

J – No actually, and
3.6. PRODUCTION AND POST
3.6.1. old
3.6.1.1. todo (upstate)
3.6.1.1.1. √ dance with death
3.6.1.1.1.1. john tormey billing records
3.6.1.1.1.1.1. what have i paid him to date?
3.6.1.1.1.1.2. what has he billed me for
3.6.1.1.2. √ second camera
3.6.1.1.3. drive to back up…
3.6.1.1.4. √ pack food
3.6.1.1.5. √ pack personal items
3.6.1.1.6. ndong music notes
3.6.1.1.6.1. laptop has everything except rendering of the final movie with placement
3.6.1.1.7. camera settings
3.6.1.1.8. tripod handle
3.6.1.1.9. clean up, vacuum
3.6.1.1.10. √ dewey’s check in the mail
3.6.1.1.11. √ five or six apocalyptic locations, identify and reshoot
3.6.1.1.11.1. decide, what are we going for?
3.6.1.1.12. √ identify uncle joe scenes and reshoot
3.6.1.1.12.1. ironed shirt
3.6.1.1.12.2. white hair
3.6.1.1.13. -> permission releases from all locations
3.6.1.1.14. √ an edit approach for the changing scene
3.6.1.1.15. music, rerecord lyrics and master….
3.6.1.1.16. -> picture lock goshdarn it, the best footage we’ve got for the whole thing
3.6.1.1.16.1. door opens, light on joe is a little to hot
3.6.1.1.16.2. water behind christina can be separately color corrected
3.6.1.1.16.3. after effects correct window scratches… perhaps in fcp clips of areas cloned with soft wedged mask
3.6.1.1.16.4. mis-spelled “their” in joe’s note.
3.6.1.1.16.5. i don’t like her wiggle at closet door
3.6.1.1.16.6. what really works?
3.6.1.1.16.6.1. notes on edit (June 9, 2006)
3.6.1.1.16.6.1.1. notes on the edit

in the opening door, should she smile right away? i think not

at the start, we need blueprints of that boat scanned in.

that’s amazing… christi calm down – better take of this from bed

investigate replacing “angel or what” with sync 7 bed take (C) 25:37:07
also shit sorry… same take

could impose a flashing dvd in the foreground of the shot to make it work

look at reflection on c’s face for “here, check it out”. could be a nice effect

check C1-1 gerry wanders in dark – scrap… opening?

notes on 6/7/06

title daughter of god, problem with book of same name?

timing of opening theme to pictures, use changes in theme to augment fades

add blueprint scans

shorten christina popping, only two choruses

look christina i… this isn’t a joke ok – loose the i…

sound of the hall

4:31:00 several radio interference

effects

5:55:00 dramatic change in room tone

better take of calm down?

take away her laugh at – “is it because i am a lesbian?”

“here, check it out” dramatic room tone change

your a woman, make it happen, better take

speed up the beat on changing sequence

her hi in hallway is soft too quiet

color correction on kitchen scene
3.6.1.1.16.6.2. christina in door opening shot
3.6.1.1.16.7. changing sequence – final radio mix
3.6.1.1.16.7.1. can we use time remapping to create dance like motion in christina’s changing sequence. or stripper type moves, she’s dancing into and out of her cloths
3.6.1.1.16.7.2. perhaps shortwave news broadcasts to a beat “weaponized plague from abandoned government stockpiles has contaminated groundwater, says the minister of environment in a recent statement” * dramatic increases in prostate cancer and birth defects is attributed to a toxic dust, most likely the result of depleted uranium munitions used by the former occupation forces. Depleted uranium with a half life of 4.5 billion years… my dick literally fell off, and as far as i’m concerned, good riddance * like other coastal cities, rising waters have sealed it’s fate, and large vessels of every description some scheduled for the scrap yards have been towed in to provide shelter for the thousands of refugees * after the rapture, it was like a ghost town. TVs, furniture, fancy cloths there for the taking, i’ve seen money fluttering about in the wind, caught in the branches of trees… of course what’s wanted now is not crap like that, but canned food and fresh water.
3.6.1.1.16.7.3. headlines
3.6.1.1.16.7.3.1. 60 percent of the world’s coral alive today could die within a quarter century
Collectively, we are currently consuming 25 per cent more than the planet can sustain in the long term. In other words, we now need at least 1.25 planets to meet our present natural resource demands.
3.6.1.1.16.7.3.2. The “ecological footprints”, calculated by the WWF, comprise use of fossil fuels, nuclear power, cropland, grazing land, built-up land, fishing grounds, forests. For the top nations, emissions from using fossil fuels were the main component.
3.6.1.1.16.7.3.3. Death is a common and sometimes expected outcome of mouse research, and many of the cages have notes attached _ “mortality x 1” or “mortality x 2” _ that mark where the little rodents gave their lives for science.
3.6.1.1.16.7.3.4. LONDON — Wobbles or variations in the Earth’s orbit and tilt are associated with extinctions of rodent and mammalian species, Dutch scientists said on Wednesday.
3.6.1.1.16.7.3.5. County Health Officer Dr. Gregory H. Stern told the Everett newspaper he has asked local doctors to test patients with prolonged coughing, fever, severe headaches, weight loss and night sweats, all signs of cryptococcus gattii:.
3.6.1.1.16.7.4. shortwave world news
3.6.1.1.16.7.4.1. weaponized plague
3.6.1.1.16.7.4.1.1. weaponized plague spores from abandoned government stockpiles is turning up in groundwater, says the acting steward in a recent statement. The entire region will be evacuated until the point source or sources can be located and … um, cleaned up. Colocation with a nuke facility is likely. Also, any data on flow rate for the aquifer would be greatly appreciated.
3.6.1.1.16.7.4.2. phones, radio
3.6.1.1.16.7.4.2.1. like it or not, we live in totally wireless age. no one can say how long the autonomous high altitude cell stations will remain functional, but for time being some mobile phones still work , if you can keep them charged. of course, the future of global communication is shortwave radio, and there’s no time like the present to bone up on basic skills. tonight we present tips on how to build and maintain a simple transmitter, gleaned from experienced operators the world over.
3.6.1.1.16.7.4.3. hazard team
3.6.1.1.16.7.4.3.1. if you have a terminal illness but are still capable of work, a squad is being organized to decontaminate the plant and contain the plume. community resources extended to relations. transmit your application or muster in three days at the old school.
3.6.1.1.16.7.4.4. boats
3.6.1.1.16.7.4.4.1. like other coastal cities, rising waters have sealed it’s fate, and large ships of every description – even some scheduled for the scrap yards – have been towed in to provide shelter for the thousands of refugees. though they may not be totally ship shape, the electrical and plumbing infrastructure on board provide a reminder of bygone days for many.
3.6.1.1.16.7.4.5. resources
3.6.1.1.16.7.4.5.1. after the rapture, it was like a ghost town. TVs, furniture, fancy cloths there for the taking, i’ve seen $20 dollar bills fluttering about in the wind, caught in the branches of trees… of course what’s wanted now is not crap like that, but canned food and fresh water
3.6.1.1.16.7.4.6. depleted uranium
3.6.1.1.16.7.4.6.1. attributed to the dust, the depleted uranium munitions of the former occupation forces. With a half life of 4.5 billion years, depleted uranium will remain a threat until containment stategies can be devised. mayor billy asks everyone to think hard about how this might be accomplished.
3.6.1.1.16.7.4.7. dick fell off
3.6.1.1.16.7.4.7.1. my dick literally fell off, and as far as i’m concerned, good riddance
3.6.1.1.16.7.4.8. wobble
3.6.1.1.16.7.4.8.1. now everyone’s a scientist, and a plumber and a doctor, so few of us left that it behooves us all to be polymaths right. Here we have real civic pride, we’ve moved all the books from the library into this lovely big scow and it’s available to the public just like before. i myself have done quite a bit of reading and based on my research, here’s what i think happened.
3.6.1.1.16.7.4.8.2. I would say it was a wobble or variation in the earth’s tilt. Wobbles occur every million years or so and the last one was associated with a massive extinction of rodents, well… that’s all there was a million years ago, rodents. My theory is that a wobble causes extinction not just because of drastic climate and the geologic upheaval, there’s also the possibility of being instantly flung into outer space! If you don’t have both feet firmly on the ground when a wobble hits, you might suddenly find yourself outside the earth’s atmosphere, adrift hard vacuum. the earth could wobble right out from under you. and that’s what happened to all the poeple, maybe it was god’s will as some say but it wasn’t a miracle, it was a wobble!
3.6.1.1.16.7.4.9. crytpococcus gattii – bruce reads
3.6.1.1.16.7.4.9.1. For those residing in the pacific northwest, The following symptoms – prolonged coughing, fever, severe headaches weightloss and night sweats may indicate cryptococcus gattii infection. Once again the symptoms – prolonged coughing, fever, severe headaches, weightloss and night sweats. Cryptococcus gattii infection is fatal if not treated.
3.6.1.1.16.7.4.10. 75%
3.6.1.1.16.7.4.10.1. the good news is we only need 75% of the earth’s resources to sustain the current population, but the bad news is that since the previous population consumed 125% of the earth’s resources, we actually only have less than 75% of an earth left.
3.6.1.1.16.7.4.11. going gay
3.6.1.1.16.7.4.11.1. long term projections show the population continuing to decrease, as straight sex is very rare indeed. it’s generally accepted now that going gay is earth’s way of easing off on the birthrate. well i hope someone is carving this into stone tablets for posterity, sometimes it really sucks being right. but that’s all water under the bridge, girls. in the meantime find the little ones and love them, they need all the uncles and aunties they can get. this is big phil signing off.
3.6.1.1.16.7.4.12. disasters
3.6.1.1.16.7.4.12.1. intense storms seem to be abating, earthquakes and wildfires are less frequently reported. with the collapse of consumer civilization, nature seems to be calming down. coincidence? the healing has yet to begin, however. the oceans are pocked with vast dead zones, undocumented diseases are wiping out beleagered settlements, deserts are expanding and submerged industrial centers having toxified most ocean coastlines. the earth is a mess, and will be for generations to come. but it wasn’t your fault dear listener. no, you were a good citizen, you paid your taxes, you didn’t rock the boat. well unless you have a boat, the chances of soaking in a hot tub again in this lifetime are slim.
3.6.1.1.16.7.4.13. war lords
3.6.1.1.16.7.4.13.1. the territory beyond the rivers has been reclaimed by the pow, and if the so called provisional governor wants to muster troops and bring them over, we’re ready. Helicopter mechanics and kerosene aren’t easy to come by these days. Maybe she’s recruited an angelic host or cloned a herd of dinosaurs. Whatever. We routed the federals and we can whoop her too. i doubt she has even two sticks to rub together or a pot to piss in. if she sends over another school bus full of emaciated teenagers, we’ll introduce them to our kids and they can have a rave.
3.6.1.1.16.7.4.14. undisclosed location
3.6.1.1.16.7.4.14.1. rumored to be waiting in a fortified bunkers deep underground, eventually to re-emerge and run amok. reported discovery of hundreds of recent corpses, fully equipped for old school military operations with bio hazard and radiation protection and heavy armored transport. Supposedly they even found wreckage of air support. the cause of their demise has not yet been determined conclusively, probably encountered some angry grandmothers out foraging. like any other toxic industrial residue, we aim to ferret out any remaining armies of armegeddan and yank their plug.
3.6.1.1.16.8. ships ambience is like a throbbing chord of drama when we first see uncle joe
3.6.1.1.17. sound mix, better clearer punchier dialogue, low room noise, voices panned appropriately
3.6.1.1.17.1. we really need to test the sound fixing first… to prove that we can achieve good audio levels. √
3.6.1.1.17.2. -> best dialogue takes – clean and clear
3.6.1.1.17.3. if no replacement…
3.6.1.1.17.3.1. which filter?
3.6.1.1.17.3.2. add consonants to dialogue, clear it up
3.6.1.1.17.3.3. redub (steve only)
3.6.1.1.17.4. -> foley and sound effects (make a list)
3.6.1.1.17.5. random
3.6.1.1.17.5.1. A priority
3.6.1.1.17.5.1.1. second act – christina with blankets on bed, less scratchy
3.6.1.1.17.5.1.2. “whup her too”, spanking motion?
3.6.1.1.17.5.1.3. act i elliminate carmen’s great or change
3.6.1.1.17.5.2. B priority
3.6.1.1.17.5.2.1. his neck cracks when he tilts it back after she walks away
3.6.1.1.18. legal stuff – copyright contracts etc.
3.6.1.1.19. extras – postcards, dvd cases, website, festivals
3.6.2. act II repair (1/9/07)
3.6.2.1. in hall her reaction to crashing glass is still cartoony, more authentic? – red helps this mucho
3.6.3. sequence
3.6.3.1. √ execute edit approach for changing scene
3.6.3.2. √ bbc reports for changing scene
3.6.3.3. my florida list
3.6.3.3.1. on the laptop
3.6.3.3.1.1. fcp
3.6.3.3.1.2. motion
3.6.3.3.1.3. soundtrack
3.6.3.3.1.4. compressor
3.6.3.3.1.5. drives with everything
3.6.3.3.1.6. headphones decent
3.6.3.3.1.7. all filters
3.6.3.3.1.8. can I download sapphire?
3.6.3.3.1.9. life (inspiration)
3.6.3.3.1.10. no – external monitor
3.6.3.3.1.10.1. cables and power?
3.6.3.3.1.10.2. if we buy the $400 converter box and bnc cables… the bnc we have already. what other cables does it require?
3.6.3.3.2. * development
3.6.3.3.2.1. ru forms
3.6.3.3.2.2. √ ipod w/spanish
3.6.3.3.3. * camping (2 nights, everglades)
3.6.3.3.3.1. * mosquito proof tent
3.6.3.3.3.2. * green ban
3.6.3.3.3.3. * dry food iron rations
3.6.3.3.3.4. * water
3.6.3.3.3.5. *shovel
3.6.3.3.3.6. sunblock
3.6.3.3.3.7. 2 x camping towels
3.6.3.3.3.8. 2 x sleeping bags
3.6.3.3.3.9. 4 x water bottles
3.6.3.3.3.10. two backpacks
3.6.3.3.3.11. 2 x sleeping pads
3.6.3.3.3.12. 2 x flashlights
3.6.3.3.3.13. 1 shorts
3.6.3.3.3.14. 1 x tee
3.6.3.3.3.15. 1 x tevas
3.6.3.3.4. * fresh catfood
3.6.3.3.5. √ clarinda’s drive
3.6.3.3.6. √ laura copy
3.6.3.3.7. √ amy’s tape
3.6.3.4. jobs
3.6.3.4.1. priority elements
3.6.3.4.1.1. striking shots
3.6.3.4.1.2. best performances
3.6.3.4.1.3. clear dialogue
3.6.3.4.1.4. editorial flow with intriguing rhythm
3.6.3.4.1.5. sound support – foley and effects
3.6.3.4.1.6. subtle details advance story
3.6.3.4.1.7. driving effects advnace story
3.6.3.4.2. achieving
3.6.3.4.2.1. rebuild sound for act 1, act III a, b and c.
3.6.3.4.2.1.1. -> tracks organized for export
3.6.3.4.2.1.2. voices panned appropriately – how does that work for export – two monos? (let’s not overdo it, just enough to complement location, don’t empty either channel)
3.6.3.4.2.1.3. rough mix – effects, room tone, dialogue, smooth
3.6.3.4.2.1.4. ************************** do this next… *****************************
3.6.3.4.2.1.4.1. best clearest performance balanced with surrounding dialogue, replace and or clean
3.6.3.4.2.1.4.2. do we have picture lock?
3.6.3.4.2.1.4.3. dialogue volume is consistent and appropriate – whisper slightly lower than -12 say -15, yelling slightly higher than -12, – 9. dialogue should average -12. music max – 3. surprising loud effects -1max
3.6.3.4.2.1.4.4. pan gently
3.6.3.4.2.1.5. fudip – quicktime play in snyc by starting one early then kicking in the second
3.6.3.4.2.1.5.1. fudip 1 guitar is clean it sounds like a colliope nice
3.6.3.4.2.1.5.1.1. vocals a little quiet, hardly any triangle
3.6.3.4.2.1.5.2. fudip 2 vocals feel cleaner
3.6.3.4.2.1.5.2.1. true
3.6.3.4.2.1.5.3. fudip 3 nice triangle crisp clear vocals
3.6.3.4.2.1.5.4. fudip 12 no H more voice less instrument
3.6.3.4.2.1.5.5. fudip 4 deeper more resonant guitar very subtle harmonica – finale’s getting harsher!
3.6.3.4.2.1.5.6. fudip 5 harmonica – couldn’t really tell a difference
3.6.3.4.2.1.5.7. fudip 9 no harmonica
3.6.3.4.2.1.5.8. fudip 10 seems a little muddier
3.6.3.4.2.1.5.9. 13 w/H
3.6.3.4.2.1.5.10. 14w/H
3.6.3.4.2.1.5.11. in the future 3 mixes max with significant variations and labeled – no harmonica, more vocals etc.
3.6.3.4.2.2. make notes on edit act 1, 2 and eiji – evaluate…
3.6.3.4.2.2.1. performance
3.6.3.4.2.2.2. dialogue
3.6.3.4.2.2.3. rhythm(s)
3.6.3.4.2.2.4. build changes list and prioritize for completion by 01/24/07
3.6.3.4.2.3. execute changes list
3.6.3.4.3. we should now have 95%
3.6.3.4.3.1. performance
3.6.3.4.3.2. dialogue
3.6.3.4.3.3. flow
3.6.3.4.3.4. list of extra changes
3.6.3.4.4. progress report
3.6.3.4.4.1. review sound performance and picture edit – what’s not working
3.6.3.4.4.1.1. -> low room noise – almost there
3.6.3.4.4.1.2. replace christina’s great
3.6.3.4.4.1.3. joes your a woman, can we blend by adding something from the same take a little earlier? soaring intellect
3.6.3.4.4.1.4. settle the levels on the opening dialouge, soften sharp edges
3.6.3.4.4.1.5. cab i come in? her yes is too soft
3.6.3.4.4.1.6. dialogue levels must be balanced within each scene and over entire movie
3.6.3.4.4.1.7. mary a lesbian too? little click on too at the picture cut is distracting
3.6.3.4.4.1.8. more popcorn munching noises when we see gerry on screen
3.6.3.4.4.1.9. clean sound in gerry’s and christina’s bed scene
3.6.3.4.4.1.10. can “melchior!” and head swing be matched?
3.6.3.4.4.1.11. add his arm noise to other parts of the scene – we can hear it but don’t make the connection until that moment
3.6.3.4.4.1.12. add aaza into act IIIc
3.6.3.4.4.2. overall
3.6.3.4.4.2.1. what are the opening titles? what’s worth putting in the beginning? pictures of crew? nothing to give away the ship
3.6.3.4.4.2.2. smoking doors on buildings, broken windows, or smouldering fires – better long ago destruction
3.6.3.4.4.2.3. shot through the window there’s still scratches on face
3.6.3.4.4.2.4. gerry’s screen shot cut out
3.6.3.4.4.2.5. additional costuming ali schwarz
3.6.3.4.4.2.6. the hall is normal light toward the foreground and red toward the back
3.6.3.4.4.2.7. what about gerry’s door exterior
3.6.3.4.4.2.8. and gerry’s door interior slight glow
3.6.3.4.4.2.9. signs in the hall dead birds carry contagion
3.6.3.4.4.2.10. subtitles for eiji english arabic and japanese and or korean
3.6.3.4.4.2.11. plane crashes into building, room shakes
3.6.3.4.4.2.12. tape and cords showing through in corner a few scenes
3.6.3.4.4.2.13. in hall her reaction to crashing glass is still cartoony, more authentic? – red helps this mucho
3.6.3.4.4.3. what’s the homework for florida
3.6.3.5. first pass sound mix
3.6.3.5.1. organize tracks in matches , possibly deleting tracks that are not matched to the video as named. eg only gerry’s mic on gerry’s track. then when we rebuild the timeline, we are bringing in two tracks of the same thing, and we can then delete one. The main track will be organized according to character (1, 2, 3) then room tone (4,5) then sound effects.
3.6.3.6. the screening
3.6.3.6.1. what are some questions
3.6.3.6.1.1. about how many movies do you watch?
3.6.3.6.1.1.1. i hate movies
3.6.3.6.1.1.2. 1 a month
3.6.3.6.1.1.3. 4-5 a month
3.6.3.6.1.1.4. 2-3 per week
3.6.3.6.1.2. what is your native language?
3.6.3.6.1.3. who is uncle joe – really?
3.6.3.6.1.4. give up to three adjectives that describe the character christina
3.6.3.6.1.5. what character did you like the most – why?
3.6.3.6.1.6. which character di you like the least – why?
3.6.3.6.1.7. at any time during the movie, were there moments when – you noticed a “mistake”, felt let down, was bored, were confused, didn’t understand?
3.6.3.6.1.8. was this a good environment for watching this movie?
3.6.3.6.2. record audience reactions via video and audio
3.6.3.6.3. the upstairs must be sealed off and quiet
3.6.3.6.4. hire someone else to manage the room
3.6.3.6.5. do questionaires
3.6.3.6.5.1. Is the story flowing? Is anything confusing, hard to understand? Are you getting the emotional impact you are after? How is the music, editing, cuts, etc. working? If they are not laughing at the comedy, you better figure out how to make them laugh.
3.6.3.6.6. questions for dog audience
3.6.3.7. -> work for hire contracts
3.6.3.8. essential effects
3.6.3.8.1. are there alternatives to the soft focus?
3.6.3.8.1.1. remediated christina’s soft focus with spotlight on her face, certainly an improvement.
3.6.3.8.1.2. can we diffuse carmen?
3.6.3.9. * credits to add
3.6.3.9.1. Daughter of God
3.6.3.9.2. cast / in order of appearance
3.6.3.9.3. Gerry / Steven Zilliax
3.6.3.9.4. Christina / Carmen Altaus
3.6.3.9.5. two columns
3.6.3.9.5.1. The Alexander Henry / as herself
3.6.3.9.5.2. Uncle Joe / Shri Fugi Spilt
3.6.3.9.5.3. Spook One / Eiji Sumi
3.6.3.9.5.4. Spook Two / Philip Silverstein
3.6.3.9.5.5. Radio Men / Shri Fugi Spilt
3.6.3.9.5.6. Radio Women / Claire Hallereau + Arabelle Clitandra
3.6.3.9.6. Written and Directed by / Dan Kelly
3.6.3.9.7. Executive Producer / Ann Loeding
3.6.3.9.8. Assistant Director / Melonie Steffes Calaghan
3.6.3.9.9. Makeup / Layna Roberts
3.6.3.9.10. Stylist to Mr Sumi / Virginia Webster
3.6.3.9.11. Casting Consultant Laurence Shroeder
3.6.3.9.12. Spook Art / Fabrice Covelli
3.6.3.9.13. Locations Maho Mizutani / Gary Matthews
3.6.3.9.14. Shot on Location in / Kingston Ontario Canada + Kingston New York, USA + New York, New York USA
3.6.3.9.15. Canada
3.6.3.9.15.1. lodgings / Nicholas Loshak
3.6.3.9.15.2. catering / Sleepless goat
3.6.3.9.16. USA Unit unit
3.6.3.9.16.1. Assistant Cinematographer / Ndong Essinga
3.6.3.9.16.2. Grip Patrick Kelly
3.6.3.9.17. “another f~#ked up day in paradise” written and performed by Saint Master Raj Avatar, courtesy of Gulag Records, gulagrecords.co.uk
3.6.3.9.18. Arrangements and Mix / Ndong Essinga
3.6.3.9.19. Project Attorney – Innes Smolansky
3.6.3.9.20. Special Thanks (page 1)
3.6.3.9.20.1. The Commonwealth of Canada … check with Steve
3.6.3.9.20.2. Sonya Di Mambro especially
3.6.3.9.20.3. The Maritime Museum of the Great Lakes at Kingston
3.6.3.9.20.4. George, Gordon and Ann especially
3.6.3.9.20.5. Ada Bee Loeding Matthews for letting her mom go to Canada
3.6.3.9.20.6. Seamus Callaghan for letting his mom go to Canada
3.6.3.9.20.7. gary’s friend with the train
3.6.3.9.20.8. people who own the church
3.6.3.9.21. Special Thanks (page 2)
3.6.3.9.21.1. Caral Lopez, NY Suites
3.6.3.9.21.2. Gary’s train Friend (earl?) check with ann
3.6.3.9.21.3. the folks who own the church check with ann
3.6.3.9.22. Copyright © 2007 Artist house, Inc. / www.artisthouse.com
3.6.3.9.23. for charly, 1943-June 27, 2006
3.6.3.9.24. NOT USED consider
3.6.3.9.24.1. Mule
3.6.3.9.24.1.1. Eiji Sumi
3.6.3.9.24.2. Cinematographer – Steven Redling
3.6.3.9.24.3. Post Production
3.6.3.9.24.3.1. Artist house, Inc.
3.6.3.10. first pass color correction
3.6.3.11. backstory in images
3.6.3.11.1. the boxes say “RELIEF”
3.6.3.11.2. dead birds carry contagion poster
3.6.3.11.3. computer in water (unlikely thing in water)
3.6.3.11.4. other posters, bills, notices, warnings. red hallway matching shot for when joe is in hall
3.6.3.11.5. art department…
3.6.3.11.6. books in bath cabinet
3.6.3.11.6.1. physics
3.6.3.11.6.2. telemetry for beginners
3.6.3.11.6.3. download yourself naked
3.6.3.11.6.4. big iron
3.6.3.11.6.5. virus and pathology
3.6.3.11.6.6.
3.6.3.11.7. red hall, like her looking in on him, remove color correct for now and replace later if there’s time
3.6.3.12. done
3.7. marketing
3.7.1. promotional trailer
3.7.2. postcards
3.7.3. web
3.7.3.1. steve’s other credits, carmen’s other credits, ann’s other credits, etc
3.7.3.2. add aboatgirl@artisthouse.com
3.8. notes on process
3.8.1. 1/4/07 notes on edit
3.8.1.1. guy on radio, complaining – wierd audio effect, level changing
3.8.1.2. guy on radio, how do his words crack the eggs for our omelet?
3.8.1.3. make joe’s phone voice more cellish with sound soap pushed!
3.8.1.4. joe’s hot on open door
3.8.1.4.1. door doesn’t open all the way
3.8.1.4.2. we never see joe until he’s in the room
3.8.1.4.3. joe is invisible (?)
3.8.1.4.4. sparkles, fog – enhance the effect
3.8.1.5. get rid of neck noise
3.8.1.6. work on bra snap, not enough wincing from joe – speed it up?
3.8.1.7. many window marks requiring after effects
3.8.1.8. that’s him (sound effect for her mouth opening up)
3.8.1.9. closeup of steve on laptop needs higher contrast
3.8.1.10. get rid of christi’s snicker when gerry’s on the laptop
3.8.1.11. hit to the stomach needs more frames, add some stills when she strikes, maybe add a wind on her arm as she winds up
3.8.1.12. that’s right christi, up pitch?
3.8.1.13. what if he isn’t attracted to me?, mmm (mmm comes to quick, slow it down some)
3.8.1.14. your a woman, make it happen! better take of this overdub
3.8.1.15. all audio must be enhanced. perhaps some dialogue replaced with clearer takes.
3.8.1.16. elliminate carmen’s “great”
3.8.1.17. start the radio broadcasts with something more distinct from joe
3.8.1.18. better correspondence of broadcasts to visuals…
3.8.1.19. whup her too [carmen spanking visual]
3.8.1.20. trim excess in act 2, alternatives to soft focus
3.8.1.21. break the 180 rule, more obvious? perhaps the intense closeup so soon is too much, can we ease into this a little
3.8.1.22. awkward and foolish, two hesitations, sounds like he can’t remember his lines
3.8.1.23. sitting back on bed, soft focus
3.8.1.24. trim! your mysterious
3.8.1.25. trim it’s god/cut!
3.8.1.26. soft focus on her reaction to the tea cups
3.8.1.27. soft focus i think i could love you too
3.8.2. 1/6/07
3.8.2.1. so here are some thoughts about the movie. the second act needs attention, many solutions to find. there’s soft focus and trim trim trim. my first effort will be to just cut the fat off, actually first i had better find takes where the focus isn’t soft. That’s pretty important. i trust that they are there. why perfection on set? because if you are gonna take the time to get all the poeple and gear together, to rehearse and answer all the questions, well then you’ve got to go for it. later on when one is assembling the raw material into a story, there are decisions to make! there are always moments for crazy improv, but the edit shouldn’t be mostly crazy improv, eh? holes in the sequence speak to planning before and performance on location. one reason to follow through on a project (aside from believing in it) is to refine the pllanning and preparation, to clarify vision next time. to identify what we don’t know.
3.8.2.2. preparing to dive in for the final cut starting with act two. currently waiting for remix of FUDIP from ndong essinga, 90% on framing elements – opening, intermission and close. I would guess that act 1 and 2 are at 60%. now with proper infrastructure, with the context and set-up in place, i have a more traditional format. I would say the reason i took the time to build the infrastructure is that i didn’t feel the acts were totally standing on their own, almost but not quite. i have to say that the infrastructure is sort of a hack, it’s sort of grafted on to the story. One idea for the future is to drag scripts out of the closet and see what other parts of the story have showed up. what happened with dog is that i was discovering major chunks of the story all through the production and post. that’s groovy, but if that had happened before production then i would have been better prepared to take advantage of the moment.
3.8.2.3. i’d like to analyze the loss of motivation, what that was about. just the year 2006? carrying it all by myself. the dissolution of the team. keeping the energy active, etc.

3.8.3. 1/7/07
3.8.3.1. so on editing here’s what we take (and why a big screen is good in production and editing). this is in decending priority, in other words most important – least important
3.8.3.1.1. clean focus
3.8.3.1.2. clear sound
3.8.3.1.3. adequate light
3.8.3.1.4. best performance
3.8.3.1.5. continuity
3.8.3.2. In act II, I had to pull a good performance revealing more about christina (she’s on the bed with arms back) because the focus was quite soft. it was distracting and broke the story. now we’ve got a radically different scene, where we focus on gerry’s lines and maybe will have a cutaway to her. one idea for logging is to have a list of the very best moments and then somehow try to hook them all up into a movie. arf! the next is to have the story in mind and find acceptable takes to tell it. arf arf! so i guess my approach now is number two, trying to find acceptable takes to tell my story. then if there are some really mediocre takes, i can think about elliminating them if possible and tightening things up.
3.8.4. 1/8/07
3.8.4.1. and s here’s some further insight into the journey. so let’s say we shoot a mess of stuff, then we isolate it down to the parts we need to have, shots that are essential and maybe there’s only one. for instance, i am looking at performance right now, and i only have one close up of steve saying “u move so quick i hardly have time to feel awkward and foolish”, and that performance is really hesitant and slow. i was using that (because it’s all i had, but i decided to cut to a less exciting shot to get better performance. so now i am down the the level of performance
3.8.4.2. be fun to create an editing style where the characters audio edits are just slightly off, disturbingly so but not something that one can point to and say, he, he’s out of sync more like whoa what was that?
3.8.4.3. looking for long shot better performance now
3.8.4.4. MATCH-03 A to hall
3.8.4.4.1. this has the right blocking to start, she steps into the room before his line starts, and it ends well with him getting tangled in some crap on the bench and freezing in place for the goal post schtick. the performance is decent between the two of them, and even slightly relaxed, we get a hint of who they could be together. thin slicing, very important
3.8.4.5. MATCH-02 A to hall
3.8.4.5.1. similar to 03 except the “awkward and foolish” line is delivered faster
3.8.4.6. MATCH-04 (A-C) to hall, C is the only possible take and she starts out in the wrong spot.
3.8.4.7. MATCH-05 (A, B) B is a long shot but slightly tighter, his line is a little garbled but hers is decidedly weird in a good way.
3.8.4.8. MATCH-06 (A-C) A is a mid shot, acceptable, gerry’s delivery is still slow. this will require a bounce back to wide anyway because he leaves the frame when he sits down. B is steve only and his delivery isn’t stellar
3.8.5. 1/10/07
3.8.5.1. so we’ve been working on the visual for act ii and it’s coming along. i’ve also demystified the sound level question. 0db is the peak, recordings higher than 0bd are flattened, and levels rising above 0 db will sound very bad. having both high and low levels of audio is ok, if the audience is in a quiet room. that’s a wide (?) dynamic range. we might compress the range if the soundtrack was intended for a noisy car or was going to be heard where there was a lot of ambient sound. the recommended level is -12db, but volume can go right up to -1 db, between -12db and -1db is the headroom. let’s do an experiment where we take a tone and sweep it from very low volume to high volume, then adjust our speaker volume accordingly. here goes.
3.8.5.2. so what i learned is that I set the peaks at -1db and then adjusted the speaker monitor volume so that -1db is just at the limit of listening comfort. i would say i’d like my music to rock out at -9db peaking at -6 db, and the dialogue consistently hitting -12db, with the loudest effects like glass crashing peaking at -1db.
3.8.6. 1/12/07
3.8.6.1. my strategy with sound is to organize the tracks so that we have a ping pong between her and him on tracks A3 and A4, these may at times be copies of sync tracks or overdubs from clearer performances. this seems to be important because 1) i am panning them between the L and the R, while the room tone needs to stay in the middle. I want a consistent room tone coming out the left and right, and their room tone can be minimized. 2) i want to control the volume of each of them independent of the room. whisper -15, normal conversation -12 to -9, raised voice -6 shouts -3 to -1.
3.8.7. 1/13/07
3.8.7.1. audio map
3.8.7.1.1. A1 sync
3.8.7.1.2. A2 sync
3.8.7.1.3. A3 christina
3.8.7.1.4. A4 gerry
3.8.7.1.5. A5 joe
3.8.7.1.6. A6 empty
3.8.7.1.7. A7 ambience / room tone
3.8.7.1.8. A8 ambience / room tone
3.8.7.1.9. A9 effects E9
3.8.7.1.10. A10 effects E10
3.8.7.1.11. A11 effects E11
3.8.7.1.12. A12 effects E12
3.8.7.1.13. A13 foley F13
3.8.7.1.14. A14 foley F14
3.8.7.1.15. A15 foley F15
3.8.7.1.16. A16 foley F16
3.8.7.1.17. A17 music M17
3.8.7.1.18. A18 music M18
3.8.7.2. levels
3.8.7.2.1. -1db max level
3.8.7.2.2. -1db to -3db shouts locally, breakages, destruction and mayhem effects max
3.8.7.2.3. -6 raised voice locally
3.8.7.2.4. -9 to -12 normal conversation, shouts next door etc.
3.8.7.2.5. -15 whisper
3.8.7.2.6. -60 ambience
3.8.7.3. three things to think about with audio
3.8.7.3.1. appropriate volume for situation
3.8.7.3.2. where on screen – left, right or center?
3.8.7.3.3. does it need to be isolated? for instance, we have the footsteps across the floor in the room tone, which is quite noisy, and the footsteps could be more definitive. so on A7 we create a working room tone track, which is the working ambience for every shot from mic 3, the shotgun mic, at least for scene II. that means there will be a minimum of cloths rustling and so forth, but we also want some of that clothes rustling. ok, so A7 and A8 are rebuilt later, as reference. A7 the shotgun mic and A8 the least noisy of the lavs. then later we can tease out the sound effects we want to insert and then create a solid room tone for each scene. what we are doing now is grabbing the loudest clearest dialogue performance and putting them in their appropriate track, knocking off unessential clutter sound, and then copying the roomtone and ambients into A7
3.8.8. 1/14/07
3.8.8.1. the current strategy for completing act ii sound… i am replacing the current MATCH clips with the actual clips, because the nested audio is difficult to control. i was leaving behind the audio from the nested clips with zero volume, but that just takes up space, then i was leaving just the video but there’s no point to that as the video references nothing useful. if i replace everything, the nested video and audio from MATCH with non-nested video and audio from MATCH, that is 2 video and 4 audio tracks, then i have everything and it seems theoretically possible to still trim up the edits should i desire. the other way would have left an unwieldy mess that i couldn’t have tweaked very easily. This actually uncomplicates the audio, a radio track for gerry, a radio track for christine, and a shotgun track for the room and sound effects. i am running into a bug, the render doesn’t always play properly. i am thinking that as the file becomes uncluttered i’ll be able to get rid of that. also, i am isolating each chunk of dialogue so i can clean it up, making it as clean and crisp as possible, adding a boat tone under it and then using the original room tone as a foley guide. i have to accelerate this process somehow as i really only have another 3 weeks to completely finish this project.
3.8.8.2. in the hallway i added red light which might be a cool solution for joes entry, to have the side of his head red. i am not suggesting the demonic power, though some might think so, it’s emergency power for the boat, or low light solar bulbs, or infrared. i like the idea of the red though, it’s interested and covers up the cuts i made so that c reacts in the hall. however, i’ll want to tweak it somewhat to make it less contrasty if possible. let’s build a final effect list including – signage and artifacts of the story on the boat and the red light etc.
3.8.8.3. light attracts attention, stay alive, stay dark. dead birds carry contagion. your job, our survival. community broadcast schedule, report any aircraft sightings to the ships mayor immediately, workshops – sewing, field surgery, skinning, sex
3.8.8.4. lights blinking in fabs circles… is that who eiji is talking to?
3.8.9. 1/15/07
3.8.9.1. i’ve replaced his radio track with his dialogue from her radio track. it seemed clearer and there was less noise of rustling cloths. this trick might be useful to remember for other moments as well, if they are standing close together then there’s likely to be good coverage.
3.8.9.2. the next morning. worked until about 2:00 last night, it was a funny schedule, needed a nap at 4, woke up at 8 worked until 1:30 slept until 8:00. should have taken nap after treatment.
3.8.9.3. This process of replacing the audio and video is certainly time consuming. today i am at the start of “about this fucking thing”… i’d really like to finish rebuilding this scene today and then some, because we are desperate for time. there’s much more to do. be amazing to rebuild this scene and act i, and of course there is also the eiji scene. well whatever, we’ve just got to keep going.
3.8.9.4. anyway it’s good to be cranking and also to have a plan that is definitely working, the audio is improving 200% for clarity, the background noise is dropping away, I’m getting the control i need over panning and volume. also it will be much easier to replace dialogue performance should i need to. of course i should have started this way with separate audio channels, but at least i know now.
3.8.10. 1/16/07
3.8.10.1. I’ve gotten through rebuilding more than half of the second act and it’s getting clear what will need attention and more importantly, what won’t. I’m not handling ndong right, i’ve advanced him money but it doesn’t look like he really … wrote him an email. let’s see what happens
3.8.11. 1/17/07
3.8.11.1. i’ve completely rebuilt the second act and am noticing how fuzzy much of the audio sounds, what needs to be replaced. It’s possible that steve’s issues – it’s not only due to steve mumbling but the mic he’s recorded with, could be blown. i’ve got to test all my lavs to see how they sound. how am i going to remediate this audio? can i? we can go online and do research. i have 2 days until robert and cyn show up. i could rerecord steve and myself, but that would be an insane amount of work. if i could find a filter or a technique to clean it up, that would rock. there’s something on the high end that makes it sound mushy. so in theory we go through the entire first act, c and gerry in bed and eiji’s scene and 1) isolate the audio, 2) replace (if garbled) and then 3) clean (if mushy or noisy). Once all the audio is as clear as possible, then add ambience, sound effects and foley and send it out to be mastered. realistically, i may try to trim it up one more time, once i know the audio is ready. so imagine all the audio complete after this weekend.
3.8.11.2. on another note, I’ve found the theme for fudip to be acceptable, i can live with it.
3.8.11.3. i can send samples of the audio to chuck to see what he can do with it. if he’ll even call me back.
3.8.11.4. without a doubt, rebuilding the tracks and organzing the audio is needed for act i and eiji, because that gives us max control over the audio. so let’s do it. during breaks we can tinker with the filters and see what comes up.
3.8.11.5. in the future – actors who don’t mumble. actors who are fluent in the target language, who pronounce words completely and know how to get their english out. steve’s english was good but he just crushed so many consonants that it makes me have to search for workable takes. carmen tended to drop syllables and her grammer was also problematic. i caught the critcal grammer on set, but even after repeatedly telling her about “rabbit” she still couldn’t do it. so what’s to be learned here is that noticing potential problems before the shoot offers me a chance to handle them sooner – either we rehearse the hell out of the actors to get it right, or we mic them double or we adjust thier lines or we hire other actors.
3.8.12. 2/07/07
3.8.12.1. working on picture lock for act I. been trimming dialougue and dealing with the outstanding issues. currently i noticed a thin slicing problem – christina flinching away from me and dropping out of character when i say “he’s a rabbit your a *dog*…” on C1 from bed take 8. it’s enough to rattle me and the scene needs to end with if not a bang then at least cohesion.
3.8.12.1.1. take 6 pull back, not bad…
3.8.12.1.2. take 7, she does a weird imitation of me that’s a little disconcerting, could be ok
3.8.12.1.3. went for take 10, it’s simple and uncomplicated. had to link unrelated audio and video tracks to do a split screen edit and get the best switching point, she’s returning to the frame after putting the popcorn down. anyway, files have to be unlinked to edit them, otherwise their audio doesn’t correspond.
3.8.12.1.4. take 11 might actually be the one, let’s try it… has these great flairs on her dress, we could put them on the dress in the next scene. here goes.
3.8.12.1.5. ok that seems to work for me, here’s some favorable points – 1) we pull back at an appropriate time, “immediately”. that implys action. 2) it’s the only take where she actually thinks about the gravity of the decision. we don’t want her to be too flippant, we have to be able to relate to her making a real choice – to have a baby with a stranger cause her dead uncle told her to, there’s got to be a nod toward her actually weighing the implications and utilizing some foresight, is this decision right for her. so she get’s a little serious and that’s important i think (understanding that a big list of favorable points doesn’t nessisarily mean success, it has to feel right, right?)
3.8.12.1.6. now i need an acceptable great to go along with this scene, her’s is too bubbly still. something more substantial
3.8.12.1.7. 10’s ok, lil more solid
3.8.12.1.8. switching to “super”
3.8.13. 2/22/07
3.8.13.1. so i’ve been applying sound soap pro, and “sent to” seems to provide a workable if complicated workflow. the problem is that i have to process the entire clip as opposed to just the chunk i need. that sort of sucks. when sending changing the name significantly creates an error. i think applying the graphic equalizer in fcp to drop out gerry’s bass might be more flexible than doing so in stp.
3.8.14. 2/23/07
3.8.14.1. today’s strategy… two tracks in FCP A1 (christina) and A2 (gerry), including envelope for levels. duplicate the two tracks at A5 and A6 and mute them, these are the master reference tracks. then duplicate them again to A3 and A4 and take out all the level envelopes, including a little chunk of room tone to sample. then the theory is to export the whole thing and slice it up and apply filters as needed, reexport and viola. i want to work with the tracks as wholes because i want to make that not only is the fuzz removed but the voices have consistent quality.
3.9. reasons to be cheerful (and finish DOG)
3.9.1. approach colting for research and use of the airship – modifications for sailing
3.9.2. festivals acceptance and awards
3.9.3. attract talent
3.9.4. motivate to write new scripts
3.9.5. access to resources
3.9.6. becoming more of myself
3.9.7. stimulate nephews and other stout hearted folk
3.9.7.1. jonathan is really primed to make this happen, if i don’t finish soon i’ll loose this window
3.9.7.2. patrick also could use an avenue of expression, do g an after effects are the key
3.9.8. innovate
3.9.9. service to the earth
3.9.10. feel damn good!
3.9.11. i’m in it for the sex!
3.9.11.1. it’s not the answer, but it certainly is part of the answer, cause i’ll increase confidence, I’ll have a credible casting couch and there’ll be income flowing from like minded investors. also, i’ll prove to myself that i can follow through even when the chips are down and i am really all alone. finally, there are going to be all manner of amazing collaborators out there of the female persuasion. think danielle of dirty mary et al.
3.9.12. understand how to improve, refine, enhance my approach
3.9.13. how to get it right from the start
4. sound map
4.1. ambience room tone
4.2. ambience room tone
4.3. animal
4.4. animal
4.5. creaks and squeaks – doors, beds, chairs
4.6. creaks and squeaks
4.7. feet
4.8. feet
4.9. impact explosion
4.10. impact explosion
4.11. human
4.12. human
4.13. mechanical
4.14. mechanical
4.15. rustle cloth
4.16. rustle cloth
4.17. water
4.18. water
4.19. weird
4.20. weird
4.21. wind
4.22. wind
5. things i’ve learned…
5.1. rename quicktime p2 files with original p2 name and then what it is before importing into final cut. then reuse of original file by other applications such as final cut is facilitated 7/19/08

6. what is the one program i can take notes in outline style that combines a database with a spreadsheet and all files are linked?
7. motion graphic problem solving
7.1. 7/20/08 the red hallway
7.1.1. how to proceed
7.1.1.1. here are the shots for red
7.1.1.1.1. (1) act 1 – opening unsteadicam, at c cabin door (after staircase)
7.1.1.1.1.1. color correction
7.1.1.1.1.2. red light source bloom
7.1.1.1.1.3. tracking porthole
7.1.1.1.1.4. motion tracking for boxes and poster
7.1.1.1.2. (1) act 1 – opening for joe
7.1.1.1.2.1. the foreground talent – mask
7.1.1.1.2.2. door mask
7.1.1.1.2.3. background hallway
7.1.1.1.3. (4) act 1 – bed to door
7.1.1.1.3.1. the foreground talent – mask
7.1.1.1.3.2. background hallway
7.1.1.1.4. (2) act 1 – bed to door 2
7.1.1.1.4.1. the foreground talent – mask
7.1.1.1.4.2. background hallway
7.1.1.1.5. (5) act 1 – bed to door 2 (no mask)
7.1.1.1.5.1. background hallway
7.1.1.1.6. (1) act 1 – window to door
7.1.1.1.7. (?) act 1 – reverses, slight tinting of c’s face and door jams
7.1.1.1.8. (1) act 2 – gerry cracks screen door
00:03:45:00
00:03:54:00 match 4 c2-6 quicktime dog cam 2 untitled 25
7.1.1.1.9. (1) act 2 – gerry static
00:04:04:23
00:04:10:14 match 4 c2-6 quicktime dog cam 2 untitled 25
7.1.1.1.10. (1) act 2 – gerry static
00:04:04:23
00:04:10:14 match 4 c2-6 quicktime dog cam 2 untitled 25
7.1.1.1.11. (1) act 2 – gerry opens screen door
00:01:50:15
00:01:58:13 match 2 c2-3 quicktime dog cam 2 untitled 19
7.1.2. what we’ve done to date
7.1.2.1. we’ve done tests in unsteadicam for corner pin – relearn!
7.1.2.2. color correction rough
7.1.3. what we have to do still
7.1.3.1. well need tests for matting out the talent (which kind of matte)
7.1.3.2. and a test for the screen deformation
7.1.3.2.1. are there clearer grid patterns in other takes – check
7.1.3.2.2. deform or export every frame to photoshop
7.1.3.2.3. whats the treatment – filters, modes, etc. to make it look like tinting from red light?
7.1.3.3. final poster, schedule and notice designs
7.1.3.3.1. 1 posters, schedules, notices
what other ideas do we have for notices etc?
composting workshop tonight!
do not bring deceased persons into cabin
report mind attacks promptly
interpenetrate!
report super powers promptly
crew safety depends on you
symptoms checklist
inability to sneeze
bloating
bluish coating on tongue
memory fog
geometric visions
ringing in ears

7.2. 8/2/08 hindsight
7.2.1. name the original files something meaningful right from the start – date, take, description. programs like AE truncate this information so it’s important to have the most critical information at the beginning. plus having multiple file names that differ from what’s actually on the HD is seriously confusing. There should be a plugin for renaming files. now I’ve got to spend time copying and pasting names so I can tell what layers matches with what source file.
7.3. whsn creating masks – they are such a pain in the ass to animate, so be sure the strategy is sound. When making a mask to control the edge of a layer below, be sure to have the lower layer completely visible so that nothing is left out. i’ve redone this mask now 3 times and that’s time I could have spent building 3 other masks.