What? No Sex? A Blog About The Disappearing Sex Scene: By guest: Casey Sheridan

Editor’s Note:

I’ve often said that getting to work with erotica author Casey Sheridan was some of the most fun that I’ve had on either end of an interview. After appearing on my show about a year and a half ago, she graciously invited me to join the fun on her blog as the subject of one of her playful “Pajama Party” interviews a short time later.

Needless to say, I was thrilled when I was presented with the opportunity to work with her again. The timing worked out extremely well and we agreed to each run guest posts by the other on the exact same day. As Casey will be talking about sex on my blog, I whipped together one of my signature rant pieces for hers which will also (hopefully) raise an eyebrow or two.

Ergo and without further ado, let the “Casey Crossover” begin.

Casey, the floor is yours…

CJR   

 

What? No Sex? A Blog About The Disappearing Sex Scene:
By: Casey Sheridan

Casey is a wonderful supporter of indie artists, authors, musicians–you name it. He's a great guy that I have a lot of respect for, so when he put up a call for guest bloggers, I jumped at the chance. What woman wouldn't want to hang out with such hot guy, right? J

Since I write erotica, Casey presented me with an article that appeared in Entertainment Weekly about the lack of sex scenes in movies. No sex? Really? I hadn't noticed, and considering what I write, you'd think I'd be one of the first people to notice that. But I didn't. I guess I was too busy being entertained by a good story.

Is it a bad thing that Hollywood has left their sex scenes by the wayside? Not necessarily. I can see your eyes bugging out of your head in disbelief. You're thinking, "How can she say that? She's an author, an author of EROTICA! She's supposed to be all about the sex. And the boobies! We want boobies!"

Look, I'm the last person to deny a grown, adult person their required boobie fix, but you can't just through a pair of tits onto the screen for no reason. Honest. If Hollywood's marketing is aimed at teenagers, well, let's say it's aimed at thirteen years of age on up, you're going to get more people into theatres, more people paying out hard earned cash to see a movie, so the boobies are going to stay covered. You're going to see battle scenes on other planets, high-tech explosions, car chases, fast moving action, demons and ghosts, robots going haywire and beating the shit out of each other. Some of that is damn good stuff.

So where's the sex? In writing, if your story can't stand on its own without the sex, you had better rewrite that story. It's all about the story. The sex is great, but you can't throw it into a story thinking it will make the story good. You do that, all you have is a bad story with sex. Sex needs to be part of the plot. It can't just be thrown in to spice things up.

Hollywood is about money, understandably so. They invest big bucks in settings, costumes, actors, F/X, etc. The more people that can see a film the better the chance Hollywood gets back some of the money, and then some, they invested. They want a good story.

Also, since it's the younger people, the 13 to 21 year olds (approximately), that have the most disposable income, that's what the target market is. That's why you have sparkly vampires and angst-driven teenage girls falling in love, or superheroes charging across the big screen.

I may not get into the sparkly vampires, but I do love the superheroes, although, they could be a bit sexier, in my humble opinion. Then again, I wouldn't exactly say no to Thor, Captain American, or Ironman just as they are.

Even my favorite character hasn't gone untouched by the lack of Hollywood sex scenes. "Bond. James Bond," Daniel Craig smoothly utters in his deep, sexy voice. 007 movies used to be a mix of action, gadgets, and sex with every beautiful woman that cast a glance his way. But starting with Casino Royale, they have had fewer beauties and gadgets, more story, more action, more Bond. I'm not complaining.

So, again, is it a bad thing that Hollywood has let the sex scene go to the wayside? As long as Hollywood is giving us good stories (for the most part), without sex scenes, I don't think it's a bad thing. I like a good story, good characters, whether it's in sci-fi, action, comedy, on-screen or in a book. If the story has sex included, that's great. If the story is good without it, that's okay too.

What do you think? Should Hollywood bring back the sex scene? Did you even miss it?

Bio:

Casey Sheridan is the author of playful erotic fiction. Like most authors, she began writing when she was very young. It was later in life when she read her first piece of erotica and it was on a dare that she wrote her first erotic story. Casey’s work has been published by CecilCat Productions, Breathless Press, and Cobblestone Press, and her short fiction has appeared on various erotic web­sites.

Find her on the Web:

Main Website
Facebook
Twitter

Agent. Publicist. That’s the Same Thing. Right? By guest writer: Lynette Carrington

Editor’s Note:

Working with Lynette Carrington has quite arguably been the most successful, progressive, and enduring collaboration that I’ve enjoyed in my five years as a podcaster and blogger. I defy you to find a more astute and altruistic business person in the indie community.    

As a Lifestyle Editor and journalist for Arizona Sports and Lifestyle Magazine (and TV show) she brings an enthusiasm to her work that is nothing short of contagious. She’s also been fortunate enough to have interviewed some of the biggest names in the entertainment business – always asking relevant questions and gathering interesting bits of information for her readers.

In her capacity as a publicist, Lynette puts her clients’ needs first and is always willing to share helpful advice with others when asked – even if she’s not involved in the project directly.

In today’s guest post, she helps to draw some clear lines between the roles of agent and publicist and offers up some best practices in dealing with each.

Lynette, the floor is yours…

CJR   

 

Agent. Publicist. That’s the Same Thing. Right?

By:  Lynette Carrington

I am often approached by fledgling actors, actresses and entertainers that are seeking a publicist. Sometimes, one of the first questions is, “How soon can you get me work?” I’m not sure why, but it seems some in the entertainment industry think that a publicist is an agent or an agent is a publicist; or that an agent, publicist and manager are the same thing. Let’s cover just a few basics on talent agents and publicists.

An agent is typically with an agency (although some work independently) and they work to get their talent paying jobs. In return, the agent takes a percentage of money the talent earns from doing that job. Most of you reading this probably know that and at this point I’ll inject some advice. As some of the strongest words of caution I can offer to talent that don’t yet know the ropes, finding an agent can be tricky. There are so many fly-by-night agencies that will dazzle you with name-dropping, claiming they discovered Brad Pitt or that Chris Hemsworth took classes with them, etc. Be extremely careful with any agency that relies on making you “star struck” but has nothing of substance to show in terms of what jobs they are getting for their clients. Red flag. HUGE red flag. Also, too, realize that every star has to start somewhere and even big name stars may have taken classes with many outlets or coaches prior to hitting the big time. No agency should try to lay claim to a star’s success in an attempt to separate you from your money or in a bid to get you to sign a contract. Agents or agencies that use this technique are banking that you’ll want your career to look just like that of Robert Downey Jr. or Jennifer Lawrence and you’ll do anything or spend any amount of money to make it happen.

Don’t fall for it.  

                                                                                                                                          
The better gauge is to do your research. Before you commit to an agent or agency, get on to IMDb and look up your potential agent or agency. Who else do they represent? What kind of work has their current roster of clients been getting? Who have they represented in the past? Are they strictly booking commercials and industrial films or are they booking well-known network television shows and major films? Don’t be afraid to ask for the professional credentials and/or license numbers for agencies. Also, ask to get professional references from production companies, clients and/or corporate accounts. If a personal reference is what you want, just hop in the Internet, type in the name of the agent or agency and the word “complaints” after it. This should give you some idea if that agency is on the up-and-up or on the take. Also check the Better Business Bureau. If you hear an “agency” advertising on the radio that a big casting agent is in town casting for some huge company, just remember it is going to be a cattle call where you’ll be herded in with hundreds of others and in many times, you’ll be pitched classes and photos. That’s how they MAKE that money to run those radio ads. Be smart, don’t waste your time and don’t get suckered.

Another red flag is any agent that promises you work or says they already have work for you before actually signing you or having you seen by a casting agent or director. (On a related note, a casting agent or director should not be your agent. In most cases, that is a conflict of interest and will be viewed by some as unethical.) No good agent should ever promise or guarantee you work. This brings me to one of the biggest, muddiest and nastiest problems that I’ve encountered with agencies. Some agencies make the lion’s share of their money off of selling you photos, classes or both. There are some known agencies that have been around for decades and that is pretty much all they do. They make money off you in that way rather than getting you actual work, leaving you bitter, frustrated or thinking that you are lacking in talent because you’re not booking work. What do you think that agent will tell you when you complain that you’re not getting work? Yes, they will very likely suggest that you need new photos and more classes.

That being said, some agencies will have a small roster of photographers they utilize because they truly are good and can photograph to industry standards (sorry, Olan Mills isn’t going to make the grade, here). Either way, make an informed decision. I have personally encountered agencies that will tack on multiple hundreds of dollars to a photo session through a referred photographer because you need “professional photos”. Why pay $2,000 for your photos when your “agent” might be pocketing half of that money? You should be free to pick and choose your photographer and it would be best to ask your agent’s advice if you are going to use a photographer of your own. If an agent ever insists that they do your photos or that you absolutely must use this or that particular photographer…RUN, as quickly as you can.

An agent or agency should not charge you a “fee” for representation; another red flag. However, it is very common that you might have some incidental fees for a video that needs to be made to show some basic skills or representation of yourself. You might have to pay a small fee to maintain space on a casting database in connection with your being a part of an agency or buy comp cards. Each situation will vary, but you should never feel like you’re being gouged or pressured into something that costs a lot of money.

Remember, your agent makes money when they book work for you and you’ve completed the job.

If money is an issue for you, be up front with your agent before you sign on so you know exactly what fees you’ll be responsible for throughout the year. In nearly every situation, you should never sign on to an agency hoping that being an actor, actress or model is going to financially support you.

Moving on to publicists…a publicist gets publicity for you and publicity can come in many forms. A publicist is not an agent. A publicist will not typically be out looking for jobs for you. Rather, a publicist will help to find you publicity for accomplishments, awards, participation in different types of films, milestones in your career, etc. A publicist might maintain your social networking accounts and help to engage your fan base, although not all publicists do this. Sometimes that task falls to a manager or someone who does nothing but social networking.

Places that publicists within the entertainment field seek publicity and related attention include radio, podcasts, television and cable shows, websites, magazines, local newspapers and possibly trade publications. If you are an actor and just starting out on your first indie film, you shouldn’t expect that you’ll see your name splashed across People magazine or on CNN. That being said, if you do have something that is newsworthy, a good publicist will find a place to get you at least some level of exposure.

I am a publicist that does not work with an agency. I am independent and I keep that in perspective. I am a fantastic choice for the right type of client who is either getting started or who has achieved some measure of success. Would I be right for someone like Tom Cruise or Hugh Jackman? Of course I could easily do the work, except I’d have to take my expertise to an agency that would offer the technical and logistical support that would fall along the lines of what someone of that stature would require. Being a publicist of someone on the A-List often includes not only a publicist, but an entire support team that is comprised of many people.

Since I am not typically working with A-List actors and actresses (I do that in a different job as a writer, journalist and television host), I can indeed assist my clients with assorted other tasks that they don’t have time to do or for other requests that will naturally sound better coming from a publicist. I know that may sound a little funny, but there is definitely a protocol, lingo and considerations that are involved in my line of work. Knowing how to approach a magazine with a newsworthy item will differ from approaching someone that has a podcast, which in turn is different from what I might say to a newspaper.

As a talent, when you approach a publication yourself, you will frequently not get the same reaction or response from a publicity outlet than if you had a publicist do it on your behalf. Typically, those within the media know that a publicist is in the business of handling schedules, following up and working at a level that is productive to both the client and the potential publicity outlet. We speak the lingo and know how to act as a conduit between a talent and publicity outlet. Having a publicist can often put you ahead of the pack, too, because publicity outlets are used to dealing with industry pros.

Other tasks I have dealt with under the publicist umbrella: putting out press releases, checking on a client’s property, updating and optimizing IMDb pages, securing legal representation, fielding fan mail, finding film festivals, industry networking, arranging red carpet appearances and yes, even dealing with online client defamation and stalking. Most publicists just deal with securing publicity, but since I’m not held to the constraints of a large agency, I have more flexibility to assist my clients with associated management tasks.

How do you know when it’s the right time to hire a publicist? Once you’ve gotten to the point where you are busy enough auditioning and working that you don’t have time to maintain your own business affairs, it may be time for a publicist. If you are booking progressively more high profile jobs and roles, that may also be a time to consider a publicist. Or, you may just be looking for someone to field inquiries on your behalf. A publicist can be a great supplement to someone in the entertainment industry when the time is right. Join me on my always entertaining journey here on Facebook.

 

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Whatever Makes You Happy: A Film Review

Whatever Makes You Happy is the first feature length offering from writer/director A.T. Sayre. In providing a no-holds-barred view of the ambivalence that can steadily boil to the surface in some relationships, Sayre is able to tell a story that is familiar but, with fresh branding and viewpoint that still keeps viewers consistently engaged and guessing.

The film centers on Anna and Alex – played with subtle effectiveness by Rachel Delante and Tyler Peck. Anna is a grad school student majoring in literature and living with her lovably benign boyfriend Kevin – played by the equally effective Jon Miguel. We learn fairly early on that Anna is content with her life but, isn’t terribly excited by it. She meets Alex (a musician) through a mutual friend not knowing that the relatively chance encounter will quickly escalate into something a lot more serious.

The plot touches on many of the standard reference points that you’d expect to see in a romantic drama but, avoids the trap of over the top theatrics. Instead, each of the characters reveals only as much information at any given point as they’re prepared to which makes them all the more compelling.

Sayre’s greatest strength is that he was able to tap a nerve that runs much deeper than the relationships between Anna and the two men in her life. He forces Anna, Alex, and Kevin to take a hard look in the mirror and at least ponder, if not answer, the questions: “What do you really want out of life?” and “How would you feel if you actually got it?”

Link to the film's main website:      

New Orleans Films: The Right & Wrong: By Guest: Elaine Calloway

Editor’s Note:

When I issued my most recent call for guest articles, one of the first people to respond was novelist Elaine Calloway. Admittedly this was also the first time I’d spoken to Elaine or been exposed to any of her work but, I’m grateful for both opportunities. A native of New Orleans, Louisiana, she clearly has an affinity for some of the old fashioned mystery and spooky stories that often lovingly get associated with the city. You can read more about her books on her website.

When you see your home city showcased in the movies, it’s only natural to smile in approval at the things the filmmakers did “get right” and point and laugh at the misfires. Those who know me best will tell you that I’m an avid traveler and furthermore that New Orleans is way up towards the top of places that I’d most like to visit. As such, I thought it would be fun to ask Elaine to offer up some of her own thoughts as to how the images of “The Big Easy” that we see in the movies actually measure up.

In an odd little way, I like to think of this piece as research for a future vacation.

Elaine, the floor is yours…

CJR  

New Orleans Films: The Right & Wrong
by Elaine Calloway

New Orleans is such an iconic city; she makes a great backdrop to any film. With the tax breaks so high and available for films shot in Louisiana, many companies are flocking to the Big Easy to get their next feature made.

Having grown up in the Crescent City (not to mention being a huge fan of my hometown), I can’t help but nitpick at those films that get the details right, and those who don’t. Many mistakes are simple camera editing, and it’s understandable to make a fluent scene work. However, in some films, the script lines are completely inaccurate.

Let’s look at a few:

Hard Target: Evil men hunt humans for sport across the New Orleans streets.

What they got right:

a.  The accents / pattern of speech, particularly Wilford Brimley’s portrayal of the crusty old Cajun uncle. Cajun accents are difficult to perform; he did a commendable job.

b.    Portraying the city as the threat it can be; Van Damme warns the girl about the dangers of waving her wallet around. Very accurate, something most tourists don’t realize.

c.    No over-glamorizing or setting up props. This was a gritty movie. There was no need to dress up the film with parades or Mardi Gras beads. Kudos to them for not pandering in this way.

What they got wrong:

a.     I wouldn’t even classify this as a “wrong” but more of a camera editing trick that makes us locals groan every time we see it. Heads up, Hollywood: A person cannot run from the Cemetery District onto Bourbon Street within 5 seconds. The distance between the two is about 5 miles.

Undercover Blues: Husband & Wife espionage agents now have an infant; they return to New Orleans for one last mission before settling down as a happy family.

What they got right:

a.    The scenery of the city, including spotlights on a few places not often shown in New Orleans movies. There are great shots of the Audubon Zoo, the streetcar route Uptown, etc.

What they got wrong:

a.    The random trumpet. This is all-too-common in New Orleans movies. It means there is at least one scene where, for no apparent reason, the actor picks up a trumpet and is immediately surrounded by dozens of musicians who jam with him on a random street.  
No. Not correct. There are parades, music jamming, musicians on street corners, etc. during Mardi Gras and various special occasions, but never on a random street with no warning and no reason.  

The Big Easy: Cop stops corruption in his own precinct with help from a district attorney.

What they got right:

a.    The police corruption. This is a given in New Orleans, something the locals are used to hearing about. Not everyone is corrupt, but the reputation is akin to prohibition era Chicago when things simply worked a certain way.

b.    The scenery and use of local places. Great scenes in Tipitina’s, on Bayou St. John, in the courthouse.

c.    The music. Some of the best local and Cajun music was on this soundtrack.

What they got wrong:

a.    The accents. Gah! That horrible fake and overdone accent that Dennis Quaid used. He was on the right track, but it was very overdone and wound up taking away the focus on the movie because it was distracting.

 A few other mentions:

Runaway Jury: John Cusack character mentions that the Jefferson Parish police department is right across the street from the Esplanade Mall. Nope. Not even close. This was a script mistake designed to make the dialogue work, but it’s incorrect.

The Mechanic: Great scenes of Garden District homes, New Orleans “real” neighborhoods.

Double Jeopardy: Scenes of the ferry on the Mississippi River, the dress shop where Ashley Judd buys her gown is actually the famous Carousel Bar in the Hotel Montleone disguised for the film set.

So, after all the nitpicking I’ve done, you may be asking yourself, “So, does she love any movie made in New Orleans?”

And the answer is a resounding Yes.

My two favorites:

The Curious Case of Benjamin Button: Man is born old and becomes young; he and his lover meet in the middle for a life together.

Amazing Cinematography - This is the absolute best movie to see if you want to know what New Orleans looks like in beautiful light. There are shots of Uptown, the Garden District, City Park, the Riverfront, the old houses and Victorian style architecture. I love watching this film; it’s like a love letter written to my hometown, showing her in her very best outfits. For anyone who has never been to New Orleans and wants to know how it looks to us locals who love it so much, this is the film to see.

The Music - the 1920s slinky music adds a depth and charm to an already charming storyline.
 
Flakes: A young slacker too scared to commit to his own artistic pursuits winds up running a cereal bar while learning the importance of having a dream.

This film uses all the typical props: Superdome, a random parade, Jackson Square, Bourbon Street, and some famous restaurants. But it doesn’t seem like these things are props; the scenery doesn’t draw attention to itself. 
 
The film also highlights a newly popular area - Frenchmen Street. Not to mention, the plot is about following one’s artistic passion. With a backdrop of New Orleans added in, who wouldn’t love such a movie?

One thing I’ll add about the various and typical scenery props in this one. Perhaps this is why I’m so forgiving of it. This was the last film made in New Orleans before Hurricane Katrina hit in 2005; it captured magic pieces of the city which took years to return to normal.

Visit New Orleans one day. You’ll fall in love.

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Book Info

Monkey Management: A Modern Corporate Fable:

Editor’s Note:

Having spent most of my professional career as a sales rep, I’ve been on all kinds of different training classes and heard countless stories and barnyard analogies about life in the corporate world. Some of them were more relevant and enduring than others but, the one you’re about to read is my personal favorite.

It was first passed down to me from a nameless colleague who used to collect stuff like this and I thought it would be fun to share it with you here. While the specific origins of the story are unknown, it appears to have been loosely based on an actual scientific experiment.

(Turns on 1920s carnival barker voice.)

Now everybody listen closely as I reveal the secret of… Monkey Management!

CJR 

Monkey Management: A Modern Corporate Fable:

Start with a cage containing five monkeys. Inside the cage, hang a banana on a string and place a set of stairs under it.

Before long, a monkey will go to the stairs and start to climb towards the banana. As soon as he touches the stairs, spray all of the other monkeys with icy cold water. Douse them until they’re soaked to the bone.

After a while, another monkey will make an attempt at the banana. Again, spray all the others with cold water. When a third monkey goes for the stairs, the remaining ones will unleash upon him a beating of biblical proportions.

Now, put away the cold water.

Remove one monkey from the cage and replace it with a new one. The new monkey sees the banana and takes a run at the stairs. To his shock and horror, all of the other monkeys attack him! After another attempt and attack, he knows that if he tries to climb the stairs, he’ll be assaulted but, having never been exposed to the cold water, he doesn’t know why.

Next, remove another of the original five monkeys and replace it with a new one. The newcomer goes to the stairs and is also attacked. The previous newcomer now takes part in the punishment with enthusiasm! Replace a third original monkey with a new one - then a fourth. The newest monkey will invariably get attacked every time he goes for the stairs.

Most of the monkeys that are beating him have no idea why they were not permitted to climb the stairs or why the beatings are taking place.

When all of the original monkeys have been replaced, none will have ever been sprayed with cold water. Nevertheless, no monkey ever again approaches the stairs to try for the banana.

Why not?

Because as far as they know that's the way it's always been done around here!

And that, dear readers, is how a company policy starts.

The End.

From Fan to Producer: By: Malise Hulme

Editor’s Note:

The thing that I like best about podcasting is hearing people’s back stories about why they got into the independent arts business.  As a relative outsider myself, they’re even more compelling when they involve someone making the transitions from being a fan to being an active contributor to the indie community.

Malise Hulme has such a story and it’s a good one too. I’ve had the pleasure of working with her a few times over the course of the past year. A consummate professional, she is always the first person to extend help to any indie artist that asks for it and is one of the most cooperative and reliable people that I’ve met in the process of doing my show.

Malise, the floor is yours…

CJR

From Fan to Producer:
by: Malise Hulme

Until a few months ago, I was happily on the ‘fan’ side of indie movies and webshows industry. I neither expected, nor even considered, any possibility of myself being on the other side of it all: behind the scenes, working with the people who make the things I’ve enjoyed so much, helping produce them, heck even starting to plan for my own!

The road that got me from there to here: well that’s a whole tale in itself, and not what I’m here to talk about right now. Today I want to tell you about my experience in becoming a producer, a  PR hack, a social media guru, a creator, a peer, a colleague – working with those I was previously a fan of.

There are, of course, a few potential issues with stepping from one side of the screen to the other. Pulling back the curtain to see how everything works can be problematic. This is the Wizard of Oz syndrome – behind all the fancy visuals, there’s just a guy pulling switches, and he’s not all that impressive to look at in comparison.

If you read the rest of the Oz books, though, turns out he’s a nice guy, and he does eventually become a pretty good wizard, given the time and the opportunity. Maybe there’s something in that. The making of a feature, the people involved: if you’re expecting it all to be large and grand and impressive as the tricks make it look, then you’re going to be disappointed. If instead, you expect human people working hard, things going wrong and needing to be worked out, and a final product that has taken time, trouble, effort, work, and a ton of passion and love – then you’re getting somewhere.

It’s worth noting here that I am a storyteller, although never previously in this medium. I write the occasional book, so I know the hard work that goes into the finished product. However, I normally write alone, not with a whole bunch of other people: to date I have never worked with the authors I’m a fan of, even if they’re friends: I possess no practical knowledge of how films and webshows are actually put together. I’d had some fun supporting the odd person/project I was a fan of, but behind the scenes? Nope.

So here I suddenly was – completely unexpectedly and, to my mind, out of nowhere and for completely unfathomable reasons – on the other side. Not just anyplace on the other side, I was now a colleague, even a friend, to people I had previously been a mere fan of. More even than that, I realised I was now supposed to be on an equal with people who are incredibly, and multi, talented, with years of experience.

Now, as a fan – I’m pretty happy with chatting to those whose work I enjoy. They’re humans too, and if I’m interested in them and what they do it’s usually because they’re talented and decent people. As a fan, no problem.

As an inexperienced newbie with only a fraction of the skills and talents that the rest of 8 Sided Films possesses in ridiculously large amounts? Now that’s different.  Suddenly finding out the struggles, the process, the amount of work – and the responsibilities I had gained myself to all these people? Cue panic! Worries about whether being behind the scenes would ruin my experience in front of it? Honestly, they never even touched me: I was far too busy worrying about letting down people who had decided to trust me with an awful lot!

In some ways I’m lucky. As has been pointed out to me many times, I tend to jump at a chance to do something cool and just dive right in with both feet. This was useful, because by the time I was starting to worry about thigns, I’d already jumped in and started going – no way I was going to back out then!

There’s another way in which I’m lucky: I cannot exaggerate one iota the level of awesomeness contained within the cast and crew at 8 Sided Films. Just watching them has been more than enough for me to learn an awful lot. Had questions? Always answered, never mocked.  In the past few months I’ve learned, grown, become confident enough to step out both within the company, to start defining my role and finding my place: but also without, to support others and even start my own projects. I’m sure one day I’ll even feel like I am, in fact, an equal to these people – but in the meantime, I continue to grow.

Working with them on Sass X Acceleration and Quantum Theory is proving to be quite the experience. Managing the social media, trying to keep track of what people are doing so I can support it, chatting to fans and to anyone else I happen to come across, it’s all a lot of fun. Learning the problems and the pitfalls, knowing when things aren’t going as well as hoped: this is adding to my understanding of how much work it takes to put something out there – and how brave you have to be to even begin, way before you open yourself to criticism with a finished product.

Learning how to assert the practical side of my brain before the emotional one; to learn that the others in the group are trusting me; to start trusting my own ideas; to realise that the insane amount of energy they all have is something I possess too, because I have a passion for the projects and the aims and the missions: to realise that I may have found something that I truly love and want to keep doing: these have been major themes over the past few months. Waking up every day and knowing that, whatever else is going on, I can use some of my time to go things to help people are deserve that effort, and in helping them help others, all by doing something I’m loving: hey, nothing’s perfect, nothing goes right all the time, with all of this comes responsibility: but when it’s worth it, it’s worth it!

Being an author, even though I will read something occasionally and my inner writer will chip in the odd comment, I’ve mostly learned to simply read something and take it for what it is. Whether I like the book or not, knowing the work that went into creating it and getting it to where I’m reading it – I have nothing but respect for that, and for everyone involved.

Similarly, on the inside track at 8 Sided Films, on Quantum Theory, on Sass X Acceleration, on all the things to come – I have no doubt that I will enjoy watching the things we make even more because I know what went into them. In fact, looking at something that I know and have seen be worked at and made, something I had a small part in making as good as it could be: I think I’ll enjoy it more than ever.

Pulling back the curtain isn’t for everyone. Making the transition from watcher to producer, fan to colleague – they’re things to be careful if choosing to do. I have no problem admitting that I remain somewhat daunted and suffering from inadequacy when I look at the people I work with – but actually, I’d be more concerned if I wasn’t. It means I’m working with people I can learn from, who are great at what they do, who it is a pleasure to know and work with, and with whom I can grow and become something more.

It’s not the thing for everyone, and I took a big chance in putting myself in a position where I am on both sides of those lines. It could have gone quite wrong (and technically still could): but the only thing that has ever fired me up, inspired me, and gotten me as excited as writing those stories always has, is working with these guys. I think I’m good – and I can’t wait to show you the great things we’re all making!

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The Muse: A Review

The Muse is an old-school gothic suspense thriller of a film with a modern twist. Skillfully written and directed by Rufus Chaffee, it tells the story of Addison Taylor (played by Isaac Simons).

Addison is a popular rock star who after enjoying recent success with his catchy single “Like a Porn Star” finds himself on the hunt for an ever elusive source of inspiration for some follow up songs. In an effort to escape the distractions of city life, he holes himself up in a lakeside cabin where he meets his mysterious, titular “Muse” played with an eery yet fluid grace and subtlety by Marguerite Insolia.

The supporting performances are strong across the board but, I enjoyed two of them in particular. Mike Pfaff’s “Mikey” channels a smarminess that may remind a few viewers of some of Matthew Lillard’s work. Renee Miller, on the other hand, offers a slightly coarser counterpoint as a local lakeside resident who pops up to offer Addison some unsolicited advice.

The music alone makes the movie worth watching. The songs were supplied and performed by Isaac Simons himself and if they’re any indication of the strength of the rest of his material, I look forward to listening to more of it.  

The plot has many different layers to it and I don’t want to spoil it for anyone who might be reading this. What I will say is that this is a thriller crafted as it should be – one where the tension builds slowly and purposefully before really scaring the hell out of people in the third act.

For further information on the The Muse, please visit the filmmakers' main website.