You may have noticed that I actually go out of my way on this blog to not go off on too many personal rants or diss films or companies (unless they REALLY deserve it). Well, the mini-rant I'm about to embark on is one in which I think the company in question has earned.
"Hate" is a strong and ugly word that should not be used too lightly. So know that I am serious when I say, I hate the Blockbustervideo chain and God bless Netflix for revolutionizing the video rental industry and putting a foot in Blockbuster's non-filmmaker-friendly ass.
Without going into all the reasons why I hate Blockbuster, I'll just share with you the very last straw in a long chain of video rental disappointments with the once mighty rental giant...
About two years ago when I last went to my local Blockbuster to rent "Scared Straight" by Arnold Shapiro (one of my all-time favorite docs) I simply couldn't find it anywhere in the store. I asked the clerk where the Documentary section was and she matter-of-factly informed me that they "got rid of" the Documentary section and that the docs they still carried were now mixed in with the other sections. They just eliminated an entire filmmaking genre of their own accord (at a time when the genre was rapidly growing, no less)!
By now you know that I'm no film snob (hell, if anything, I'm the anti-film snob!), but this was complete and total stupidity and disrespect towards an entire film genre, documentary filmmakers, and even film fans. It was yet another ill-conceived business decision on the part of a company that pretty much deserves bankruptcy.
The other big mistake that Blockbuster made in my eyes was excessive Late Fees. (To their credit, they did try to fix this policy after Netflix started cutting into their profits, but ended up botching it so badly that they inspired multiple lawsuits by various States Attorneys which I believe they ultimately lost.) I also have heard that the new CEO is making a sincere effort to try to fix the many bad decisions of his predecessors, but I think it's probably too little, too late. Netflix has already won the hearts and minds of indie filmmakers and we ain't goin' back.
Anyway, if you are one of the people that has not yet turned on to the filmmakers joy known as Netflix, because you prefer immediate access to video rentals, here's a guerrilla tip I stumbled across on the Wired mag website that just might help you avoid an exhorbinant late fee if you do get back from your Spring Break vacation to discover that you have a video that's a week past due. It's truly Down and Dirty- creative, simple and effective...
Read this little Wired How-to Article on how to dodge chain store video late fees and stick it back to the man!
Ever wondered what was out there to help the Down and Dirty producer?
I talked with working producer, Christina DeHaven, about what programs she uses, and she recommended EP Scheduling and EP Budgeting. She told me in her opinion both are industry standards and the only software used across the board, and that almost all 1st ADs in the professional world us EP scheduling.
So I did a little research:
EP Scheduling
"Movie Magic's newest release offers increased flexibility and stability. With exciting new features and a more intuitive interface, based on input directly from the user community, a new level of scheduling versatility has been achieved. Breakdown your script, create scenes and enter all elements required for a shooting schedule.
Easily add elements to your breakdown sheets through a quick and simple interface. Drag and drop strip board in an easy to use visual interface. Pre-configured Reports - Breakdowns, shooting schedules, and Day out of Days are pre-configured or you can design your own. Import elements from popular screenwriting applications such as Final Draft and Movie Magic Screenwriter."
"EP's clients have long requested a budgeting application that would address the expanded range of needs facing cost estimators today. Greater flexibility. A wide range of options for comparing budgets and examining individual components. Capacity for an additional level of detail. More time saving features.
In response we give you Movie Magic's newest release, EP Budgeting, this revolutionary new budgeting and cost estimation tool. Forwards and backwards compatible with Movie Magic Budgeting. Intuitive, flexible format allows users to create and edit comprehensive budgets of all sizes, for all types of productions. Budget Production with Greater Ease and Accuracy. Quickly becoming the entertainment industry standard!"
List Price: $499.00
Click here for more info or to buy https://webstore.entertainmentpartners.com/epstore/default.aspx?catalog_id=EP&category_id=EPB&product_id=EPB-100NW
Academic Version: $194.00 Click here for more info or to buy http://www.showbizsoftware.com/Academic_EP_Budgeting_6_p/1007.htm
Don't be confused by an older version of these programs called Movie Magic Budgeting and Scheduling. While these programs are still available for purchase and work with EP Budgeting and Scheduling, the latter are the newest releases and they are becoming the industry standard. Also note that Movie Magic will not work on Intel Macs.
But perhaps if your looking for a more economical purchase, Chistina also told me about another program that is attempting to compete by combining both the budgeting and scheduling aspects into one program:
Gorilla 4
"Producing a movie doesn't have to be difficult. With Gorilla, all of your information can be stored in one place: Budgeting, Scheduling, Crew, Cast, Profit-sharing, Editing Notes, and even Film Festival Submissions. When it's time to create reports, Gorilla can generate over 80 industry-standard reports, from stripboards to breakdown sheets, budget top sheets to variances, your entire production can be run from one program. Gorilla is the only software package built with the independent producer in mind. You have to do it all, so why not have software that can do it all too?"
14 Shoot Day Limit 50,000 Budget Limit Track Multiple Projects
"Surprise!! You don't have to be a student to buy the Student Edition, all you need is a idea, a few people to work on your project and a copy of Gorilla, The Student edition. This edition includes everything you need to help put your production together. And when you are ready, upgrade to Pro."
"Launched in 2003, the Reel Production Calendar overcomes the limitations of traditional calendar programs and is the only calendar software with features created for managing all aspects of Film, Television, Commercial, Video and Media Production projects. From tracking Prep, through Shoot and Post -- it improves effeciency, saves time and supports communication."
Reel Production Calendar can also import production schedules from Movie Magic and EP Scheduling and scripts from Final Draft.
Price $129.00 (Discount available to Current Film Students) *Works with Windows only.
"The First Ever Budgeting & Actualization Software for Film, TV, & Commercials! When production starts Showbiz Budgeting keeps working too. Its built-in actualization tools lets you track purchase orders, petty cash envelopes, payroll and more. When you’re wrapped Showbiz Budgeting delivers the reports you need to make your wrap package look sharp. Jumpstart your budget with the most comprehensive set of budget forms ever."
Unlimited Budget Formats – AICP, AICE, CICP, Corporate Video, Film and Television – including all available studio charts of accounts. Work with both Macs and PCs off one license.
Click here for more info or to buy the Standard Edition - Price $299.00
Click here for more info or to buy the Academic Edition - Price: $99.00
...So, jumping back a little in the sequence of events, as Christie and I wrapped up with our free massages and sandwiches, we observed that there was a frenzy of activity in a large dining room nearby. A dozen or so workers were setting up 200 hundred or so fancy place settings for what looked to be a lavish banquet.
Turns out they were setting up for something called Chefdance where they bring in a different world-class chef each night of Sundance to serve up a multicourse gourmet meal. It sounded very cool, but tickets were $100 a head and sold out…but back to Chefdance later.
We stopped by the bar next door for one last free Steaz organic tea / energy drink (which actually tasted much better than I expected, since half the new beverages handed out for free usually taste like crap). After some friendly conversation with the bartender who was a very nice actress, we were blessed with a few wristbands for the Ray Ban Rock Bar party later that evening.
After the Sundance Press/Filmmaker event and everything else that day, by nightfall I’d had enough and only wanted to lay my head on a pillow until my 7am airport shuttle arrived, but I was the guy holding all the wristbands for my friends who were supposed to meet me at the party. Doh!
So I dragged my ass out of a cozy warm condo later that night despite being completely exhausted from another day of humping up and down hills in chilly temperatures, I went to one last Sundance Party (you know just for old times sake and cause I had the wristbands).
Just as I arrived got a quick glance at Quentin Tarantino as he slipped into the requisite black SUV with tinted windows. (Damn! Now I’ll never get that script to him!) Met my peeps and made our way into the open-bar party which was jam-packed. Ultimately, it turned out to be the most fun night of my trip...
Met this guy (whose name I forgot, sorry) who was there with a friend promoting a new product called Icepod, which is a jewel-encrusted bling-blingcase for your iPod that comes in your choice of gold or platinum and with an assortment of jewels.- Still another item to consider when I get that big Hollywood pay day.
Met Chris Gore, founder of FilmThreat magazine and website and also author of Ultimate Film Festival Survival Guide. Turns out that Chris had recently read and was a fan of my new book, “The Shut Up and Shoot Documentary Guide”. Which is a great compliment coming from someone that has such a good book and popular filmmaking website out already. Search the bookshelves for yourself, but I’m telling you that you won’t find a better book on film festivals and festival strategy than Chris’ book. It’s the first resource I go to when it’s time to hit the festival circuit. (Check out my full list of Recommended Film Books)
Spent the rest of the night meeting more filmmakers and chilling with my film friend, Rebekah Sindoris from Cornukopia who produced Paper Chasers and some other projects I’ve worked on. We actually both worked on Maxie Collier’s feature film, B-More Hacks, back in Baltimore when I was fresh out of film school. It was the first feature film shoot for both of us and we’re still at it some 15 years later.
Also had a last drink with Nate and Meghan, occasional Down and Dirty DV bloggers and full-time filmmakers there at Slamdance with Covered Tracks.
It was another great night with good people trading indie war stories and business cards and flyers, but I was done for the night, tired, talked out and tipsy. I said my good byes, put on my fly-ass faux fur coat and headed for the door.
Just as I start up the steps to head out, a guy walks up to me and says, "Do you know where Chefdance is?". I look in his face and realize that it's Woody Harrelson and had one of those Homer Simpson brainfart moments...I drew a total blank for a few seconds then it came to me "Yes! Chefdance is right over there, my man." Still stunned in my place I wondered for a moment then said "This will make for a good story won't it?" So I followed behind Woody and his band of two friends and simply uttered "I'm with Woody" and they let me right in.
Later I tried this same tactic to get into Harry-O's, the most coveted (and likely overrated) club on Main Street right upstairs , but discovered that just saying, "I'm with Woody" only works when you actually are with Woody or at least close enough behind him walking at a brisk pace.
Got a flick with Woody who was sporting a button for the Sundance doc, Fields of Fuel which went on to win a Sundance documentary audience award (see trailer below). Hung out for awhile smoozing with a few diners, drinking fine red wine and feeding my face with the finest of pastries and ice cream.
Fields of Fuel Trailer
I expected the crowd at Chefdance to be stuffy, but the people I met were all pretty cool and friendly enough. All in all, it was probably my finest party-crashing moment. I decided to end the night on a high note and cut out now that my belly was full and I had a good case of "permagrin". So I called it a night, or so I thought...
...Until I stopped back in the Black Lounge for just a minute to catch the end of my man, Eric Lewis', performance. If you don't know who Eric Lewis in now, you likely will one day soon. Eric is a crazy talented jazz pianist that I've shot a few times and he composed the soundtrack for Pete Chatmon's feature, "Premium". He is otherwise known as "The Black Beethoven" and if you ever see him perform, you'll understand why. The man is sick with music.
There's an amateur You Tube video clip below, so you can check out his skillz for yourself. The audio is a little whack, but you'll still get good sense of the performance. (I didn't shoot this clip.)
Here's an interview and some performance fotage with Eric that I actually did shoot for the "Premium" behind the scenes DVD and the Double 7 Diaries podcast:
At the Black Lounge, I met back up with Benedict Hadley and Analyze and we ended up bugging out on a whole other adventure that ended some hours later at a very crowded party somewhere near the top of mainstreet.
There were plenty more chill people that I met along the way, but sorry peeps I can't blog about you ALL. Besides it's already taken me damn near 2 months just to get around to summing up Sundance in words and pix.
This last night ended up being my all-around most full and fun day at Sundance yet. And to think that I almost quit, when the night was only half way through.
Yet another guerrilla lesson in the rewards of persistence and balls!
Okay, I won't lie...It doesn't seem like the deepest or most complex, or historically accurate picture in the world, but it does look like a fun guilty pleasure and I also enjoy movies that just take you on a ride.
In this N.Y. Times "Anatomy of a Scene" video clip director, Roland Emmerich, breaks down some of the Special FX considerations for his new prehistoric epic action movie 10,000 B.C. It's quite amazing to marvel at how far special FX of things like fur and water have come and well they can be blended in to live action movies.
While complicated special FX like those in this scene are probably beyond the equipment and skill level of most Down and Dirty filmmakers, there are a growing number of tools and tutorials out there that can help low-budget action directors digitally accomplish otherwise impossible filmmaking feats.
(Note: The video on the left tab is the scene and the video on the right tab is the director commentary.)
Tonight's March 5th seminar and book signing at The Showbiz Software Store in NYC has been postponed. Stay Tuned for a rescheduled date in the next few weeks.
This Friday, February 22nd @7pm I will be giving a Master Class on Guerrilla Filmmaking at Downtown Community Television (DCTV) in New York. Come learn how to develop a Down and Dirty DV filmmaking mindset and specific strategies and tactics for putting money back in your budget and up on the screen on any budget, any camera, at any time.
This is a paid event. Price of admission includes:
Full Guerrilla Filmmaking Seminar
Q&A Session & Booksigning
A free copy of "The Shut Up and Shoot Documentary Guide" (a $35 value)
This is the very first time that I am presenting this Master Class to the public, so tickets will go fast. I've been to many events at DCTV recently and I can tell you that they know how to do it up and I think it's some of the best networking in town, so come out and join us.
I promise an evening of education, networking, and Down and Dirty fun, so bring your notebooks, business cards, and sense of humor. (Remember, when filmmaking was still fun? Well, it is again.)
So I totally forgot to mention that I also went to the NYU/Sundance Party also on Sundance Day 2. Saw many of my NYU colleagues and current and recent students. Grad student, Dee Rees was at Sundance with her film "Pariah" which seemed to be getting some very good buzz.
Sundance Meet the Filmmaker Interview w/ Dee Rees:
Pariah Trailer:
Also, met up with an old friend or two from back in my film school days. Saw my fellow alum, Alan Jacobson, for the first time in about 15 years. He was a D.P. on the Sundance film, TheAuteurMovie and has also been shooting a number of other projects that have been getting noticed including HBO's "The Journalist and the Jihadi, the Murder of Daniel Pearl".
It's really satisfying to meet people that you started out with and to see that we are still grinding in the business and putting in work doing what we love. Everyone's followed a different path to get where they are, but the one common thread is always persistence.
Sundance Day 3
Started off the day with an early morning appointment to speak to a group of students taking an independent cinema class at Eckerd College in St. Petersburg, Florida. Their professor , Nathan Anderson, assigned "The Shut Up and Shoot Documentary Guide" and got in touch with me before the festival. Nathan is a genuine fan of the book and left an extensive review on Amazon.com.
I gave the class a private presentation on guerrilla filmmaking philosophy an tactics and spoke about a few specific production issues they were encountering. For a group of college students they were surprisingly awake and alert before 10am.
Headed over to a Slamdance Filmmaker's breakfast with my filmmaking friends and Down and Dirty DV bloggers, Nathan Kensinger and Meaghan O'Hara who co-directed and produced the documentary short, "Covered Tracks" about a mysterious abandoned section of NYC Subway. (FYI- There is also another Meaghan O'Hara that is an established documentary producer, but I'm sure that my friend, Meaghan O'Hara, will match her noteriety in a few more years.)
I first met Nate and Meaghan at a DCTV Open House in NYC about two years ago. We hit it off and they were instrumental in helping me complete my book and tieing up the final loose ends.
Dashed out of the breakfast to my booksigning at Dolly's Book Store on Main Street...the only book store on Main Street. The booksigning went very well, especially considering thye fact that I was signing at the exact same time as the NFL Playoff game was starting. Goooo Giants! (I should point out here that I remain a devout Ravens supporter, but I'm also a firm believer in sticking up for the underdog and I do actually live in NYC, hence my support of the Giants in the playoffs.)
I met fans and fellow and aspiring Down and Dirty filmmakers from all over the world including, fellow writer, Neal Thompson, who was looking to make a film based on his new novel, Hurricane Season, about a football team in New Orleans after Hurricane Katrina.
All set up for the booksigning. - A True Sundance Digital Video Pimp in full pimp outfit feauturing 3/4 length fur coat and of course the Digital Pimps Guide to the Universe a.k.a. "The Shut Up and Shoot Documentary Guide"-->
Signing a book for some new fans from Spain. -->
My old friend, Christie Pesicka, of Film Trix fame stopped by as well. Christie is featured in the book along with my long-time colleague and fellow producer, Rebekah Sindoris, who both give excellent tips for networking and party-crashing at Sundance. Trust me these ladies know this festival inside and out. My experience this trip would not have been nearly as cool without their guidance and connections. Best Sundance parties ever! -->
Video from the Film Trix Archive:
After the book signing I headed across the street with Christie and wandered into a venue sponsored by the all-new and super-swanky Dakota Mountain Lodge. There are so many small cool events and little perks all over Sundance if you know how to sniff them out between the flyers, listings, blogs, and trading rumors. I think we honestly just stumbled into this one...free drinks (non-alcoholic unfortunately), free fancy sandwiches and hourse-devres, and free massages from the Golden Door Spa at the Lodge.
So needless to say we hung out there for awhile feeding our faces and getting massages while some very nice reps touted the virtues of the Dakota Mountain Lodge, which definitely looked like a very cool place from the videos, but undoubtedly one that we can't afford until after our big Hollywood pay day- whenever that comes. In the meantime it was good to close our eyes and pretend we already got that big pay day as our attractive and skilled masseusse rubbed away our worries.
Next, we headed to the Sundance Filmmaker/Press reception where all the hot filmmakers were gathered for a big smooze-fest with the press including yours truly. Although I tried to shoot a few interviews, it was just too noisy with music blasting and a loud crowd, that I eventually gave up and gave in to the open bar and smoozing with the filmmakers myself.
Some woman who wasn't looking where she was walking bumped into me and treated her sweater to a healthy helping of my glass of red wine- then got pissed at me eventhough she bumped into me. She was a stereotypical self-absorbed wanna-be Hollywood producer-type.
No doubt I'll find myself across the table from her at some crucial studio meeting in the future. Apart from seeing the guy who fell off the roof, this was my only bad Sundance experience this trip, but I was kinda happy it took her down a peg. Actually, in hindsight it was more of a funny moment that reminded me of why I left Hollywood in the first place.- I ran into too many delusional narcissistic people with a warped sense of self-importance...and the traffic sucked.
Stay tuned for the final Part 3 in which I will regale you tales of my funny chance encounter with Woody Harrelson...
So, I returned to Park City, Utah for my third trip to the Sundance/Slamdance festivals. As always, it was a worthwhile pilgrimmage. I doubt that there's anyplace in the world with a greater mix of networking, parties, indie filmmakers, and movies all in one place at one time. It's like the Oscars for indies.
Even if you don't have a project to promote, I think it's well worth the trip for bonding with fellow indie filmmakers, inspirational success stories, and networking alone. It makes you realize that:
You aren't the only person crazy enough to make a go of it in this industry.
You can be recognized for your work.
Almost every filmmaker in the festivals overcame the samehardships that you face.
I went down primarily to promote "The Shut Up and Shoot Documentary Guide" and just to spend some time vibing with fellow filmmakers. Met and partied with some of my favorite people in the industry and connected and reconnected with a bunch of fellow Down and Dirty DV filmmakers from all over the world. Here's my Sundance Diary 2008...
Day 1 - Slamdance Opening Night Party w/ Dead Prez
Kicked off the festival with the Slamdance crew at the Star Bar on Main St. The Slamdance events are always fun and down-to-earth with an ample supply of genuine characters.
I may be a bit biased, because Shelter premiered there a few years ago, but Slamdance is always good times and good peeps to me. Hung out with old friends and met some cool new ones.
I had no clue that there was gonna be a performance, so imagine my surprise when I heard Dead Prez was gonna hit the stage. Activist emcees M-1 and stic.man of Dead Prez turned out the party for those that stuck around a little later.
They played some tracks from their latest album, RBG: Revolutionary But Gangsta. Partook of the open bar. Shook what my mama gave me. Partied with friends after the show. Things were off to a good start.
...and later that night a guy falls off a building
a) very drunk and fell off a balcony at a party b) very drunk and trying to scale between two snow-covered buildings c) a very dumb cat burglar who slipped off the roof of the mall in a botched burglary
I feel for the guy, but any which way you slice it, you can be sure that there was a significant lack of judgement involved in the incident. Snow, rooftops, alcohol and/or idiocy are always a bad combination kids. It was a good reminder to party responsibly (and at low altitudes).
Day 2 - Some Good Seminars
Attended a Sundance seminar on "How to Talk to the Big Guys When You're a Little Guy" which gave advice on programs at various companies that offer film, equipment and services grants to indie filmmakers. The panel consisted of Ric Halpern from Panavision, Lorette Bayle of Kodak, Steve-O of Deluxe Laboratories, David Hays of Efilm, and Allan Tudzin of Fotokem.
They didn't have a rep on this panel, but since this site is about digital filmmaking, I should also tell you that Panasonic and AbelCineTech also offer a Digital Filmmakers Grant consisting of an AJ-SDX-900 Camera (standard def/24P/DVCPRO50) and Editing Rental Package.
The gist that I got from the panel, apart from don't be a jerk to deal with, was that you should demonstrate that you are passionate about your project and equally important, you'll need to demonstrate a solid plan on paper which means, script, shooting schedule, budget, talent and crew attachments, as well as DVD's of previous work. (Funny, it's almost as if they want filmmakers that apply for these grants and programs to actually be prepared to make their movie!)
Sony brought out some of it's latest guerrilla- friendly HD cameras. The XDCam EXand the brand new soon to be released HVR-V1U which I think it's Sony's first pro-sumer HDV camera with a detachable lens, so naturally the early production model on display was pimped out with a beautiful and no doubt pricey Zeiss Digiprime lens.
Since I'm generally a production guy, it was nice to learn about some of the tools and recent advances in post-production. Norm schooled me to an AVID tool called ScriptSnyc that allows you to import your script into AVID, phonetically scrubs the audio and then it graphically matches your video clips up with the dialogue from your script by drawing lines down the script to represent the dialogue covered by that particular take. (No $#:+!)
Maybe ScriptSync is old hat to some of you, but it blew my mind. This feature allows you to graphically see how much coverage you have for a given scene and easily audition various takes side-by-side. I'm continuously amazed at the new digital tools that are making our lives easier.
Norm also went on to demostrate how simple it is to color-correct footage using MacBeth color charts recorded on location and how they used the recently released Magic Bullet Looks program to customize the look of the "Jack-in-the-Box".
Narrowly dodged a row of PETA protesters hatin' on my endangered Great Grizzly bear fur coat. (Just kidding, my coat is faux Great Grizzly fur.)
Swung through Black House one of several filmmaker lounges up and down Main Street. They were running a trailer of the new documentary, Len Bias, about the tragic story of a would-be basketball great that could've rivaled Michael Jordan.
Also saw some beautiful portraits from the new documentary, The Black List. Producer/Photographer Timothy Greenfield-Sanders and film critic, Elvis Mitchell, teamed up to do a series of interviews with some of the most influential Black figures in America on Black culture. It was recently picked up by HBO Films, so stay tuned.
"THE BLACK LIST" TRAILER:
Kicked it at the Slamdance Happy Hour where my man Howie was serving up drinks (left). Met a cool cast of filmmakers including Jack Truman, who was there with his new film, Outhouse. Jack's previous Slamdance film was the provacatively-titled Phone Sex Grandma.
Met and kicked it with fellow NYC filmmaker, Benedict Hadley, who was there with hip-hop artist, Analyze, star of Benedict's new feature, The End is the Beginning. I've got a feeling you'll be hearing both their names again.
It always bugs me out how this industry really is very small. In just a few minutes of talking with someone who was up until that moment a total stranger, we discover that we have at least three people in the industry that we both know and/or have worked with.
If there are six degrees of separation between any two ordinary people, I really believe that there are only 2-3 degrees of separation between any two people who've been in indie film game for a minute. Met more good people. Had more good times.
Here's the trailer for Benedict's new feature, "The End is the Beginning":
Peep the music video Benedict directed for Analyze:
Went back to the condo early and crashed out despite a tempting invitation to a 50 Cent Concert after party...that started at 2am. After 2 days of humping up and down mainstreet with a bag full of books and camera gear in cold-ass 14-25 degree temperatures I was already exhausted. (With a few previous Slamdance/Sundance's under my belt, I learned to pace myself.) I was just recharging for the next day's adventure...
BRAND NEW!!! Indie Film Bootcamp 6-DVD Set - 8+ Hours - Only $129!
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However, you can't just fake it. There's a lot to know when it comes to covering weddings. Just because it's your first wedding video, doesn't mean it has to seem like it to your clients.
This ebook and audiobook are concise straight-forward tips and advice to help you prepare for and shoot dynamic wedding videos like the pros and never miss a beat.
Support Down and Dirty DV and let 'em know you roll "Any Budget. Any Camera. Any Time." with hot guerrilla hoodies, t-shirts, tanks, and more from the Down and Dirty DV Store.
Yes this is where you will find our infamous and much sought after Crackhead + Crowbar Sweatshirts to remind your crew of set security.
entire film genre, documentary filmmakers, and even film fans. It was yet another ill-conceived business decision on the part of a company that pretty much deserves bankruptcy.
d very cool, but tickets were $100 a head and sold out…but back to Chefdance later.
. Turns out that Chris had recently read and was a fan of my new book, 
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