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Excursion to Scotland - part 1/2

11/10/2014

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About three weeks ago, I moved back to Austin, TX after living in London for two years.  It's a difficult transition back in part because I had grown so accustomed to frequent excursions to unknown towns and cities.  I went to Oxford, Canterbury, Bristol, Dublin - just to name a few. I have as yet not written about any of those travels, which is unfortunate because those trips carry the potential for travel-blogging GOLD.  But, it's not too late; I'll begin here:

Just before I came back to the US, I went on a short trip to Edinburgh, a trip which meant I had finally set foot on all of the four countries that make up the United Kingdom.  I had only about three days and I jam-packed it with activities.  The trip began with a five hour train ride from London to Edinburgh, which, if you've ever taken the train through the UK countryside you will know is absolutely part of trip.  The beauty of rolling hills, the seaside, the farmland, the sheep, the small cottages, and distant ancient-looking churches!  Knowing the the journey back would be by plane, I enjoyed this train ride as much as I could, but I was also anxious to set an itinerary for the time in Edinburgh.

My boyfriend, Rob, the loyal companion that he is, was happy to acquiesce to my insanity as I pulled out my phone and began researching the best things to do in Edinburgh.  I knew we couldn't do everything but I was determined to be informed so I would know what I was missing out on.  After reading through a list of a the top 25 activities in Edinburgh and researching the most Scottish of whisky bars, I wrote down all the ones that struck our fancy and slot them into the itinerary where I could find an opening.  By the time we got off the train, our schedule was arranged to the T, with multiple options for things to do depending on what we felt up to at the moment. Although we didn't do everything on the list, what we did accomplish was an amazing feat! 

After we arrived and while we waited to meet a friend, we walked up and down the Royal Mile, a historic section of Edinburgh with a host of tourist shops, jewelry booths, and the beautiful St. Giles Cathedral.  Nearby was Victoria Street, a curved road on a hill with a host of quaint shops - books, candles, clothes, antiques, etc.  Sadly, most of the stores were closed when we arrived, but it was nice to do some window shopping and one store, which was unexpectedly open late, sold some wonderful natural soaps (I bought one that smells exactly like honeysuckle - no regrets here).  Both the Royal Mile and Victoria Street were perfect for some meandering; it was a very chill (and chilly) evening.

Later in the evening after we met up with our friend, the three of us stopped into the Whiski Rooms, a classy whisky bar with large oxblood leather booths, wood wall paneling, and a comfortable yellow lighting.  If it had a few cigar chairs and some bookshelves filled with leather-bound classics, I could've imagined myself in the headquarters of a gentleman's cigar lounge.  As it was, however, the Whiski Rooms felt like the perfect combination between modern and classic, between young and old.  I highly recommend this classy bar, located just off of Market Street and near Prince's Street Gardens.  My friend and I both enjoyed a Godfather, my favorite drink - a shot of amaretto and blended Scotch on the rocks.  Although I enjoy Scotch on its own, to my rather naive tastebuds, the sweetness of amaretto with the pepperyness of the Scotch is wonderful.

For the following morning, I managed to convince Rob to climb Arthur's Seat, the highest of several hills.  We woke up at 6:30am, took a cab to the base of the hill, and hiked in the semi-dark.  The hike wasn't too difficult, and the path is pretty clear.  It took us 45 minutes to get to the top; as planned, we arrived just in time for the sunrise.  We saw several people come and go, but we just watched.  We watched the sun rise, creating soft blue and pink in the clouds.  We watched as the sun seemed to strengthen, waking up the world with fiery orange.  A hike up Arthur's seat is absolutely recommended.  And if you can do it at sunrise, so much the better.

This, more or less, marked the halfway point of our trip.  It was so full of adventures, I can hardly fit it all in one post!  So please bear with me and I will continue my tale shortly.

Update: You can find Part 2 here

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My short film is completed!

10/30/2014

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Picture
My short film, Count to a Hundred, is completed! It has been a very long process from April 2013 all the way to October 2014.  What started as the dissertation for my MA in Filmmaking, a film which I was already proud of, was improved with time and a lot of talent from a wonderful post-production crew that has been working with me for several months.

Count to a Hundred is the story of Thomas, a 6-year-old boy who loves adventure but, bored with the quiet life of his family’s farm, he plays hide and seek with his reluctant teenage sister.  While he hides in the shadows of the barn, Thomas witnesses two sketchy men unloading a heavy sack.  A mystery is raised: could this be a dead body?  Terrified and thrilled, he follows the men and soon notices that Michelle is missing. Thomas then watches his father speak with the men and strains to get his father’s attention to warn him.  His father calls him over and the men are introduced as the new farmhands just as Michelle reappears.  So they must not be murderers.  And that wasn’t a dead body.  Right?

The film is fun and adventurous, combining childhood imagination with natural beauty. Inspired by the work of Terrence Malick, I hope that Count to a Hundred will also inspire viewers to be present in the moment and let their imaginations run away with them.

Unfortunately, I cannot post the film online, but if you contact me, I may be able to send you a link and password to view the film.

Thank you to all of my Kickstarter backers who were so kind in supporting me and patient in waiting for the final result!

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DSTRKT - the night club from the movies

9/17/2014

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PictureDSTRKT: View from the top of the runway
For the first time, I'm actually going to review a night club, a snazzy, over-the-top, expensive night club which I got into for free. Score.

Located near Leicester Square in London, DSTRKT is a night club dominated by late-20s to late-30s white and rich clientele.  That is was one of many observations I made during the evening because, to be totally honest, the whole experience was so new to me that I was really happy to just observe my surroundings. 

DSTRKT is a part night club, part restaurant which seems to act as the after-party for certain celebrity clients including Jay-Z.  They have recently remodeled their night-club, and myself and a guest were invited to attend the launch.  Upon entering, my guest and I were given a free cocktail each in the restaurant area.  I had been promised 'lots of food and drink', and, not knowing what that meant, I asked if we were going to be seated for dinner.  No, apparently; I was told that the launch party was in the night club only and we were directed to the correct area.  They lost a point on that one because there was no clarity in the invitation about restaurant versus night club.

They did, however, gain points on the decor.  The night-club is laid out so that a small runway dominates the center.  Booths and tables surround the runway and then more booths sit along the entire edge of the room.  The ceiling was decorated with artistic metal rods and the lighting was a classy combination of candles and dim ceiling lights and lamps. My guest and I found some seats along the edge and waited to see what sort of entertainment, food, and drink might be provided.


The first act on the runway stage was a female band made up of a singer, a guitarist, and a saxophone player.  The three women were dressed in outlandish caped costumes and playing what I'll describe as a mix of punk rock and alternative music.  Following a break, the second act was an interpretive dancer who danced in the same slow, wavy style for a good twenty minutes to half hour.  After another break came the entertainment which claims DSTRKT as its home.  This was a group of costumed entertainers: some of the women wore feathered tails which reminded me strongly of Las Vegas showgirls and the men were dressed in shiny, somehow modern Renaissance attire.  Rather than performing an act, one of the men introduced a chic, pale-painted woman who danced along to a light show which appeared behind her back on a temporary screen.  I couldn't tell if she somehow choreographed her odd dance to the lighting design, but, either way, it was intriguing.

All of the entertainment in combination with the decor reminded me of a blockbuster movie, and, yes I'll admit my naivety, I never considered if such places actually exist.  Once I was accustomed to the new, very foreign environment, my guest and I began making observations about the clientele.  Most of them were, ourselves included, white and in their late-20s or early 30s, and most, ourselves included, primarily treated the entertainment as background noise.  The focus was on the group that you came with.  The club left very little room for mingling with strangers, although, we did discover one 40-somthing gentleman with dreadlocks who was desperate to pick up a lady.  We watched him go from woman to woman, oddly carrying two drinks in his hands (and drinking both of them) at all times.  With every woman he was rejected.  Near the end of the evening, we watched him attempt to chat up one of the few older women, probably 50-something, and, there too, he was kindly rejected.  Poor guy.

While all of this was going on, I was starving and I kept having to act like a cat, pouncing on an tray of food I saw carried by a waiter.  The lack of customer service was appalling.  The waiters only brought the canapés to the same two tables and by the time those two tables had their fill, there was no food left for the rest of the us.  I took to watching the door so that as soon as a waiter would enter, I could walk up to him and ask him for a the small bowl of overly-salted mushroom risotto  or the cream-cheese veggie crackers whose crackers were not even close to crunchy.  The only food that tasted delicious were the mini-burgers.  Those were succulent, juicy, and perfect.  Unfortunately I only got one and it was one I had to hunt down.

Eventually I saw managers directing the waiters to other tables, but the damage had been done. I had been promised 'lots of food and drink' and they did not deliver.  Apparently, we were only supped to get one free drink upon entering, which I got and it tasted average.  Plus, I shouldn't have to work that hard to get my food, and when I do get it, it should taste better.

I enjoyed the evening, but more because it was a new experience for me and less because I felt I was valued as a potential customer.  Decor was excellent, entertainment was interesting, but customer service was terrible.


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The Comedy of Errors

9/1/2014

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Seeing a performance at Shakespeare's Globe Theatre has all the charm and excitement that you might expect.  Seeing The Comedy of Errors, Shakespeare's most farcical play, only triples the enjoyment.  The play, directed by Blanche McIntyre, is the story of two sets of twins who are separated as children.  One pair of twin brothers (both called Antipholus) are, in two different cities, the masters of twin brothers (both called Dromio).  The hilarity ensues when  Antipholus and Dromio of Syracuse enter the city of Ephesus where the other Antipholus and other Dromio live.  What follows is over-the-top slapstick humor (as slapstick humor should be) and wonderfully drawn out jokes of mistaken identity.

To start things off, McIntyre has added a ten minute scene of Dromio of Ephesus (played by Jamie Wilkes) as he tries to retrieve a piece of laundry that is hung far too high to reach.  Determined to do his job as Antopholus' servant, he concocts all sorts of ideas to try and get the shirt.  He tries reaching on his toes, jumping, climbing a ladder, and using a rope.  Eventually he has to give up and the shirt remains hung on the ceiling for the majority of the play.  It only falls down after a major scuffle at which point Dromio of Ephesus can finally have some relief on the matter.

This piece of the play, added entirely by McIntyre, sets the tone for the rest of the performance.  The audience is engrossed and humored by Dromio's attempts, and for me, this bit at the beginning endeared him to me.  Indeed, Jamie Wilkes' performance throughout was one of the finest of the evening.  While all of the cast members were fully committed to their roles and held nothing back, Wilkes' performance had a cleanliness to it which was very refreshing.

Second to his performance was that of Simon Harrison who played Antipholus of Syracuse.  Upon entering Ephesus, Antipholus of Syracuse is immediately mistaken for Antipholus of Ephesus and the people of the city treat him with an incredibly warm regard.  His supposed 'wife', at first furious at him for missing supper and worried that he may no longer love her, proceeds to kiss him at which time Antipholus of Syracuse can hardly hold back his pleasure at being so welcomed in a foreign city. The mistaken identity leads Antipholus of Syracuse to a lovely supper at 'home' and a beautiful 'sister-in-law' with whom he immediately falls in love.  As the play continues, Harrison portrays the perfect combination of boyish giddy alternated with a comical fury every time one of the Dromios does something that he didn't ask for. 

Such confusion is the perfect opportunity for Shakespeare to showcase his writing talents, for when it all does come to a head, the back-and-forth between characters makes me laugh just to think of it.  And the Globe's open-air amphitheater structure lends itself to audience participation.  Standing in the yard amongst hundred of audience members, it felt as though we were truly participating in the performance and it added to the overall enjoyment.  The Comedy of Errors at the Globe is one of the most hilarious and purely entertaining shows I have ever seen.  I highly recommend it.


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Boyhood by Richard Linklater

7/24/2014

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Richard Linklater's Boyhood is really quite a simple story.  Its about a boy, Mason (played by Ellar Coltrane), and his life as he grows up.  It shows his life from age 5 to 18.  Linklater's choice to film the same actors over the course of 12 years is really what makes this film stand out.  That directorial choice meant that what came across on the screen was far more naturalistic than otherwise.


I've heard people ask the question: why couldn't he have just cast different actors for each age of the kids?  He could have, but it wouldn't have been the same film.  By using the same actors, I like to think that the characters' themselves grew up over time just as we all do.  Sure you can dress up a 40-year-old man in 80-year-old make up and have him act like an 80-year-old and he might do an incredible job of it.  That's what actors do. But to film the man at age 40 and then again at age 80 is to add a layer to the character that wouldn't be there otherwise.


Actors inevitably bring a part of themselves into a role.   In Boyhood, the fact that the child actors, Ellar Coltrane and Lorelai Linklater, who played Mason's older sister, Samantha, are the same age as their characters makes it more naturalistic.  The actors don't have to work so hard to play a certain age; they just focus on the character, a character that they've grown accustomed to over several years, a character that has had the time to grow up like an actual child does.


All of this naturalism lends itself to Linklater's goal, which seems to be to show his audiences how everyone has to grow up.  We all have different stories, different plot lines, but we share a common experience in the path from childhood to adulthood: we learn, we adapt, we grow, and one day, we're adults.  It gives me somewhat of a sense of unity with others, but more than that, watching Boyhood gives me a sense that we're all going to be okay because there is always a next step; there is always a future.

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Try a smile - The Crucible at the Old Vic

6/30/2014

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PictureRichard Armitage as farmer John Proctor
Stepping into The Old Vic theatre has long been a wish of mine ever since I studied its history in my university theatre history classes.  Of course I couldn't remember exactly why it was such a momentous theatre so on the day I went to see The Crucible by Arthur Miller, The Old Vic's Wikipedia page definitely came in handy.

The theatre itself was spectacular and beautiful, currently set with a wonderful stage in the round. Plus to think of the royalty, the leaders, the stars who had made history within its walls was a real pleasure.   I was reminded, however, how different people were in the 1800s when The Old Vic first opened; the space between rows of seats was tiny and I felt bad for my 6'4'' boyfriend who cringed in pain as we sat through the show.

The show itself was impassioned and powerful.   The Crucible is Arthur Miller's daunting tale of the Salem Witch Trials from the 17th Century.  Young teenager Abigail Williams (played by Samantha Colley) leads a group of hysterical girls in accusing the Salem townspeople of witchcraft.  It leaves John Proctor (played by Richard Armitage) to convince the court that his wife and other honorable women of the town are indeed Christian-fearing. There was never a dull moment, never a time when it felt as though the cast were not fully invested in their characters.  And it drew me in, it held my attention and my emotion so I became invested in the story as well.

The cast sustained the drama with what The Telegraph called 'electrifying intensity' for the show's three and a half hours.  The Independent as well well hailed it as 'unmissable' and said 'there isn't a weak link.'  Although most critics have given it  five stars, I have to admit that there were times when the 'electrifying intensity' was just too much.

I don't doubt for a moment the skill of each of the actors nor the talent of South African director Yaël Farber, but there is a lot to be said for adding a little bit of lightness to an incredibly challenging, thought-provoking, and emotionally-wrenching piece.  After the first 45 minutes or so, I was ready for intermission.  I wasn't even on stage and I was already exhausted from the anger and fear portrayed.  The audience craved the very few moments they had liberty to smile or laugh.  And during those moments when the audience had a break, they could gain some perspective through comparison which makes the story all that much more powerful.  


It is a difficult script to find those moments, but there is more depth to a character when you see them fighting against all odds to smile.

I congratulate the cast, crew, and the director for sustaining the intensity as they did.  I may have longed for a break, but I was still heavily invested in what was happening on stage and eager to see what would happen next. That is a huge accomplishment for such a long, draining show.  I haven't even mentioned the harsh lighting, simplicity of staging, and dauntingly powerful music which added tremendously the overall mood.  Farber may have missed the opportunity to have his character's fight for happiness against all odds, but certainly her directorial vision is clear: every element worked seamlessly with the others to present a story of passion, drama, and fear.


The Old Vic's history is one great talent and theatrical success.  That history is really a continuing heritage on The Old Vic stage and I'm honored that I was able to be part of it.




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Frank Review

6/5/2014

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PictureMagnolia Pictures
As an indie dark comedy about bizarre indie rock music, it was expected  that 'Frank', directed by Lenny Abrahamson, would take us out of our comfort zones.  What wasn't expected was the deeply emotional and mental issues that surface from some of its chief characters.

 Domhnall Gleeson plays Jon, a young wannabe rock star who stumbles into the offbeat band Soronprfbs led by Frank (Michael Fassbender).  Never found without his strange doll-head, even in the shower, Frank suggests, "Would it help if I said my facial expressions out loud?"  

Based upon the persona created by the late Chris Sievey, English musician and comedian, Frank is a talented and inspiring band leader with unusual tactics.  He finds inspiration in everything around him: he writes 'Lone Standing Tuft, an ode to a stray carpet strand and the band creates new sounds out of everyday objects (Frank becomes enthralled by the sound of a door opening and closing).  

The Soronprfbs include Clara (Maggie Gyllenhaal), the theremin player with a hostile attitude; Don (Scooty McNairy), the manager with a sexual attraction to mannequins; and a French pair (François Civil and Hayley Derrbyberry) who, to be honest, seem to mostly fill the need for extra band/cast members.  They depart for Ireland to write and record a new album.  Shut off from the rest of the world, insanity, which arrived when they did, intensifies.

Jon, the one with whom the audience can most closely associate, is eager and mesmerized by Frank's genius.  Hoping to find his own musical success through the band, Jon suggests they accept an invitation to play at the SXSW music festival in Texas.  Frank is thrilled by the idea; he has a deeply-held desire to be liked which Jon encourages thereby engendering 'Frank's Most Likeable Song'.  Clara, however, incredibly loyal, conscious of Frank's sensitive nature, and determined to keep the band underground, threatens Jon should his SXSW trip fail ("I will stab you.").

The combination of hilarity, touching sincerity, and my own curiosity at the bizarre kept me intrigued.  The play between Jon, Frank, and Clara is most interesting, but Gyllenhaal's one-dimensional combative attitude gets old pretty quickly.  Its really Frank's mental and emotional state that offers the most depth for the film and Fassbender's portrayal of it, mostly behind a papier-mâché head with a muffled voice, is spectacular.  He clearly know's what Frank's issues are, but, unfortunately, those details eluded me through to the end (mental? emotional? physical? all of the above?).

Maybe I don't really need to know; maybe all I need to know is that Frank needs the band and the band needs Frank (the reasons for the latter are more vague).  Perhaps it is in the band where Frank's perpetual need to be liked is satisfied.  With that kind of genuine sincerity and friendship, however bizarelly it is presented, I suppose I can be okay with missing out on some of the character details I'm used to having. 

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Corny, I know, but I was moved to tears by the BBC Symphony Orchestra

5/14/2014

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My sincere apologies for not having written.  I have been neglectful for the past three months and as much as I would like to backdate some reviews of recent shows and exhibitions, I know that is not realistic.  I do, however, want to express my wonder at the performance by the BBC Symphony Orchestra last Friday.  Although hardly a symphonic  expert, I want to applaud the orchestra for a moving performance and a personally cathartic experience.

They began with Dukas' The Sorcerer's Apprentice and ended with Bartok's Concerto for Orchestra, and while I don't think I could flaw either performance, it was really the second piece that stole my attention.  An enrapturing Violin Concerto by composer Bright Sheng it featured Israeli-American violinist Gil Shaham.  In many ways it reminded me of an epic film soundtrack with interspersions of reflective solitude in a lush, hidden forest.  The soloist was the clear star of the show with the entire orchestra backing him up like supporting cast members: talented and necessary but not what we have our eyes (or ears) on. 

Shaham put his entire self into the performance: his body moved about in wide, fluid gestures and his smile indicated his clear love for the violin.  In the moments when he had a break from playing, he would watch the rest of the orchestra, delighted, or so it seemed, by his own presence amongst such talent.

This piece in its entirety, from the passionate solo violin to the epic explosions from the orchestra, moved me so deeply that my changing emotions were determined by the changes in music.  In one sense I was entirely relaxed, allowing the symphony to direct me, yet, in another, I was so fully engaged that I was exhausted by the end of it.  It was almost like being part of the world that the composer had sought to create.  What seemed like intense battle moments or perhaps incensed arguments, felt like just that: tiresome and depleting but also bold and daring.  And when the music slowed to sound like romantic getaways of star-crossed lovers, it felt like my heart was sprinkled with the drops of rain that dotted the heavy-laden leaves of a forgotten forest where the lovers would meet.

I cried, not out of sorrow or anger or fear, but out of sense of subconscious empathy and communion with whomever is cursed to experience such a tragic fluctuation of experiences and emotions.  But perhaps that is all of us at one point or another in our lives.  So, in that sense, Sheng's piece and the performance by Shaham and the entire Orchestra, was like a small musical illustration of the human experience.  And how very beautiful the human experience is.

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An Interview with ... ME!

12/5/2013

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Picture
I was recently interviewed by Messages in Motion, an outreach of Suite Imagery.  They asked me about being a film maker and what its like to get started in the industry.  As I said in the interview, the most important thing you need to do is work with the equipment.  Work on projects.  Get on set.  But, what I didn't say in the interview, although perhaps I should have, is don't give up.  

I don't mean 'don't give up' as in 'keep waiting and hoping that something is going to come your way.'  Yes, its good to hope for future opportunities and look for them, but don't imagine that your success is dependent on someone else's project crossing your path by happenstance.  If thats the primary attitude you take then even when the opportunities come by, will you exude the confidence to be offered? And will you have the gumption to take it?

When I say 'don't give up,' I mean:  Go.  Get out there.  Make yourself known.  Be confident about what you know and excited about what you can learn.  Meet people.  Follow the smallest lead, and follow every single one.  Something will pay off and it will lead to more connections and more payoffs.  And even then, don't give up.  Keep going.  You will always have something to offer and always have something to learn.

And in the midst of that ambition, enjoy it.  Enjoy the knowledge that you are pursing your passions and that you have the opportunity to try and reach your goals.  A lot of people don't.  A lot of people don't have the resources and others don't have the confidence and will power to believe that even their smallest desires deserve to be fulfilled.  You are one of the few who gets to pursue happiness and that pursuit, as far as I'm concerned, is happiness.

So - don't give up.

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Nebraska Film Review

11/7/2013

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PicturePhoto: Bona Fide Productions
Speaking at the screening of Nebraska at the 57th BFI London Film Festival, director Alexander Payne rightly claimed to have made a family drama that is ‘at once touching and funny’. His intuitive directorial decisions create a beautiful unity throughout the film. From the cinematography to the acting choices to the editing pace, Nebraska is a quietly touching yet humorous film that I do not hesitate to call art...

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    I am a filmmaker, actress, writer, and travel-lover from Austin, TX.  I'll use this blog to post updates about my work and reviews about films, my travels, and related topics.

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