Answers to a set of Interview Questions about “Voodoo Cowboys”

Question 1:  What made you decide to be a director?  I FOUND THAT BEING THE DIRECTOR ON A FILM WAS THE MOST POWERFUL WAY TO CONTROL THE TELLING OF THE STORY, AT THE END OF THE DAY ITS THE DIRECTOR TO PUTS TOGETHER THE STORY, USING THE CINEMATOGRAPHER, EDITOR, COMPOSER, AND ACTORS AS TOOLS TO TELL  THE STORY. How did you get into directing? I WAS A PRODUCER AND COORDINATOR FOR SEVERAL YEARS, AND DISCOVERED A LOVE FOR DIRECTING AND THE CREATIVE ASPECT OF FILMMAKING, SO SET ABOUT FINDING FUNDING FOR MY OWN PROJECTS. 

Question 2:  Why did you pick Voodoo Cowboys to make into a movie?  VOODOO COWBOYS WAS A VERY ORGANIC STORY. IT BEGAN WITH SEVERAL OF US DECIDING TO MAKE A WEIRD CHEAP MOVIE ABOUT COWBOYS FIGHTING TOP HAT WEARING BAD GUYS IN THE ABANDONED SCHOOL, THEN THE IDEA GREW AS MORE PEOPLE BECAME INVOLVED, UNTIL SUCH TIME AS A SCRIPT WAS WRITTEN, AND 5 DRAFTS LATER WE ENDED UP WITH THE SHOOTING SCRIPT FOR THE MOVIE. What goes into the decision to make a movie? IT IS A BLEND OF THINGS… ONE PART BUSINESS, IN WORKING OUT WHAT KIND OF MOVIE CAN MAKE THE BEST RETURN ON THE INVESTMENT OF TIME/MONEY, ONE PART IS CREATIVE, IN THAT WE MUST TELL A STORY BOTH WORTH TELLING AND THAT WE ARE PASSIONATE ABOUT, AND THE FINAL IS ABOUT LOGISTICS… WHAT CAN WE MAKE WITH WHAT WE HAVE, OR WHAT WE CAN BEG/BORROW/STEAL 😉

Question 3:  What is the hardest part about making movies? FINDING THE FUNDING, MOVIES ARE A RISKY INVESTMENT AT BEST, AND WITH THE ECONOMY IT IS TOUGH TO GET PEOPLE TO WRITE THOSE CHECKS, ESPECIALLY FOR INDEPENDENTS, WHO DON’T COMMAND A-LIST CELEBRITY CAST OR 35MM CAMERAS. 

Question 4:  What is the easiest part about making movies? THERE IS AN EASY PART?

Question 5:  What goes into picking cast and crew for your productions? LIKE CHOOSING WHAT MOVIE TO MAKE, IT IS A BLEND OF FACTORS, THE FIRST BEING WHO IS WORTH WHAT SALARY (FOR CREW ITS EXPERIENCE/SKILL, FOR CAST IT IS CELEBRITY LEVEL & TALENT), THEN ITS THE CHEMISTRY BETWEEN CAST/CREW AND THEIR COUNTERPARTS

Question 6:  How do you decide the length of time it will take to make a movie? DEPENDS ON THE SCRIPT, THE FUNDING AVAILABLE, AND THE CAST/CREW, BUT USUALLY A RESPONSIBLE AMOUNT OF TIME TO PREP A FILM IS 6 WEEKS, SHOOTING IS 2-3 WEEKS, AND POST PRODUCTION (EDITING, SOUND, MUSIC, VISUAL FX) IS ROUGHLY 12 WEEKS 

Question 7:  What happens if you get behind schedule? YOU HAVE TO START SACRIFICING SCENES AND MODIFYING YOUR SCRIPT TO COPE WITH LESS SHOOTING TIME, LIKE TRIAGE, OR YOU GO RAISE MORE FUNDING AND TRY TO ADD MORE DAYS TO YOUR SCHEDULE 

Question 8:  What do you go through to find and use locations for sets? JUST A KEEN EYE FOR WHAT THE CAMERA WILL SEE… A LOCATION CAN LOOK AMAZING TO THE NAKED EYE, BUT LOOKS CRAMPED OR BORING TO THE CAMERA, ALSO IT IS A QUESTION OF ACCESS… BATHROOMS, DISTANCE FROM LODGING/OFFICE, THE SOUND OF THE AREA FOR AUDIO, TRAFFIC, BYSTANDERS… MAKING A MOVIE IS ABOUT CONTROLLING REALITY, SO WE HAVE TO PUT OURSELVES IN A SITUATION WHERE WE CAN CONTROL AS MUCH OF REALITY AS POSSIBLE WHEN IT COMES TO WHAT GOES INTO THE CAMERA 

Question 9:  What all is involved in pre-production?  HIRING CAST/CREW, FINISHING THE SCRIPT, FINDING THE FUNDING, ARRANGING LODGING, CATERING, ETC Post-production? EDITING, AUDIO, MUSICAL SCORE, VISUAL FX 

Question 10:  What is involved in advertising and spreading the word about the movies you’ve made? FACEBOOK, MYSPACE, VIRAL ONLINE MARKETING, MAGAZINE ARTICLES AND ADVERTISING, FILM FESTIVALS AND MARKETS 

Question 11:  Is there anything else you’d like to tell us about what you do and are involved with? THE MOVIE BUSINESS IS A COTTAGE INDUSTRY, SO JUST LIKE THE FRONTIER FAMILIES OF COLONIAL AMERICA, IT CAN BE DONE ANYWHERE

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Ronin

One of my close friends and I have taken to calling ourselves Ronin, and it came up again today, so I thought I would post the definition (wiki style) of the word. We use it in our own way, in that instead of katana wielding warriors we use our cameras, editing systems, and interpersonal prowess. Though I believe that in spirit, we share much with these men of old. We are not the bound servants of a single master, and yet we are not total mercenaries either, but somewhere in between. Driven by a desire for Beauty, Variety, and Conflict. Who needs a real job when you can do this?

Magical Activism

Magical Activism is the use of magic(k) in a variety of endeavors commonly associated with social change, or more specifically, the alteration of consentual reality to reflect the changes one wishes to manifest in the psychosocial fabric of human civilization.

Despite the classical definition of magical activism, there is another interpritation of its nature the has become, in this author’s experience, more commonplace in the occult circles of my own experience. Perhaps this is evidence of the sorts of persons I am given to surround myself with, though I warrant that a non-classical and quite alternative, even if so much more so direct, interpritation is the more commonplace.

That definition, or re-interpritation, of magical activism is of the same stripe as environmental activism. In that environmental, as a word, describes the sort of activism being perpetrated, and not the tools by which such perpetration occurs. As such, environmental activism is activism that is chiefly concerned with the environment, and the preservation, nurturing, and re-establishment therein. So following this model magical activism would be activism chiefly concerned with the preservation, nurturing, and re-establishment of magic.

Naturally such a bold and broad statement such as this bears some delving into. Questions arise as to what exactly is the world of magic, and how one best goes about the preservation and re-establishment of such a thing, if even it is a thing. I propose that both definitions of magical activism jointly define and empower the other, to the betterment of both.

Magical Activism for the purpose of the preservation, nurturing, and re-establishment of magic is best perpetrated through the use of magic, employed in acts of magical activism.

What does all of this wordplay point too?

Practical magic.

The use of magical workings, knowledge, and abilities towards practical applications in the everyday lives of those who wish to become magical activists.

To practice magic in a direct and useful manner, in other words practical, in order to further the quality and goals of one’s own life, is a manifestation of magical activism.

If the goal of magical activism is to preserve, nurture, and re-establish magic in the world, then living a life of dailey practical magic is the most direct way of manifesting such activism. This not only expands the knowledge of the activist, hones his or her magical skills, but it also becomes a living expression and manifestation of the activism which the magician is striving for.

A life of everyday magical adventure.

What is Mythpunk?

Mythpunk refers to “a subgenre of mythic fiction” in which classical folklore and faerie tales get hyperpoetic postmodern makeovers. Coined by author Catherynne M. Valente, the term describes a brand of speculative fiction which starts in folklore and myth and adds elements of postmodern fantastic techniques: urban fantasy, confessional poetry, non-linear storytelling, linguistic calisthenics, worldbuilding, and academic fantasy.

http://tvtropes.org/pmwiki/pmwiki.php/Main/Mythpunk