Hello. Sometimes I make movies. I'm making several right now. Herein lies a mostly comprehensive record of movies behind which I was/am a primary creative force, or at least for which I possessed or shared some duties as producer of some kind. Click on a production year to find more information on all the movies that were made/"released" in that year, or go to the "People" page to see what projects certain Pancake Productions "team members" worked on. As a word of warning: Many of the individual movie pages have links to photo/stills galleries. Many of these will not work, but some do. Don't be too surprised when they don't, though.

| HOMESTYLE | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | COMING SOON | ALL | PEOPLE |

19 February 2007

Death of a Pancake Productions Legend

Bartholomew Gordon Severson, known as and answering to "Bart" and born in the waning months of George Bush, Sr.'s Presidency, was found dead earlier today at his Southlake, Texas home. The causes were natural. Bart was over 100 years old in dog years.

As the first Severson family pet, he brought joy to others and torture upon himself. Spending his first two years with the Vliet family, he was coddled as a human child--the runt of the litter--and based on a foot-shaped toy, gained an appreciation for the flavor and appearance of a good human foot. Brought to the Severson household of Dutchill Downs in Chesterfield, Missouri, with its 8.34 acres of land and five children aged approximately 9 to 16 at the time, he graduated from the baby-treatment he'd previously experienced to enter a world of wonder, intrigue, and experience (and occasionally, pain).

Quickly taught to sit, shake, speak, and lay, Bart was nobody's fool. He could pick the word "bath" out of common human speech and would run for cover at the mere mention. He loved a solid game of tug-of-war with an old sock (remember the foot thing) and was sure to bark like a maniac at the appearance of any visitor. Truly a watchdog to be reckoned with, he was nevertheless frequently exploitative of the free reign he often got with his bathroom breaks, "potty" being another bit of human vocabulary he quickly learned. Which is to say, it was not an uncommon occurrence for Bart to run away. However, generally within a matter of hours he'd be back--exhibiting not only a resistance to the influences of the wild, but a keen sense of direction and loyalty (or perhaps mere hunger).

Bart's fate as the pet of a frequently-travelling family was soon to manifest itself. Various neighbors and friends were called upon at varying times, and usually at the last minute, to watch over him in the family's absence. On one or two ill-fated occasions he was left to his own designs based on a poorly rigged fence and the family's so-called "Florida Room," which got its name based on the inevitable mugginess therein resulting from the many windows. Bart's intuition usually found his way out of such a containment, which contributed further to his galavanting around the neighborhood at will. While nobody is sure exactly what he got himself into, it's safe to say it was apparently worth going back for, time and time again.

In the summer of 2001, he made his star turn in the short only-partly-true documentary, What Is Mustardfish?, playing himself to great acclaim and plenty of "awwwwwww"s at the various screenings the movie saw. By far the most intelligible and cute member of the cast, he always had plenty to say (for better or worse) about his buddies in Mustardfish.

The following summer saw the bulk of the family, and therefore Bart as well, move to the outskirts of Fort Worth, Texas, to a suburb called Southlake. He lived out his retirement years in the warm, sunny climes of Texas, where his time was divided between sunbathing, sleeping, eating more table scraps than were probably healthy, and enjoying the several-times-yearly visits of the various family members who had moved on (or stayed put when Bart moved on). His failing eyesight, hearing, and overall orientation in his later years did not deter or distract from his perpetual status as a scrapper and a survivor.

Bart will be interred on the 65-acre Davies Ranch near his Southlake home.

08 November 2006
Well, I don't have time to make a complete update right now, as it's late and I just popped over here for the important stuff. I mean the really, really, really important stuff.

That's right: I've uploaded Pour Chaque «Non» to the world wide web. You can view it yerself right here.

Now if you weren't awesome enough to see it in theatres or other public screenings, you can sit at home and watch it as much as you want!

I will update more about Indiefest Chicago, the Long Island International Film Expo, Cinemerge Film Festival, Salento International Film Festival, and whatever else very soon! I've much to report, and much to update on this very website!

01 July 2006
My oh my when it rains it pours indeed. Just a few days ago, Pour Chaque «Non» was selected to play in the 2006 Salento International Film Festival in ITALY! Aside from the Golden Lion Film Festival, PCN has never played internationally before (to my knowledge), so this comes as exciting news! What's more, it is the European premiere of the film, and of that I am very excited. Unfortunately chances are slim to none that I'll be able to attend myself, but hopefully it'll get some European exposure and such. They apparently need Italian subtitles for that, so I'm hoping to have Alejandro Thiermann and his girlfriend help make that happen. Keep checking here to keep abreast of screening dates and such, especially if you are in Italy and want to see the film (hey, ya never know)!

Also, Jonathan Waters and I are organizing a screening of local films--Webster University senior overview projects, to be exact, and those from the last year and a half or so to be even more exact. This screening will take place at Winifred Moore auditorium on the campus of Webster University at 3:00PM Saturday, July 8th, 2006. PCN and Jon's Mistaken Love Stories, Part II (as well as Part I) will be screening, and Anne Freivogel's Mary Wants To Kill (on which I helped out a little) will hopefully also be shown (if I can get a hold of Anne). David Strugar's The Talley Twins Strike Back, on which I was Production Designer and Courtney was Art Director, will make its premiere that day, and Dan Fulton's The Tribesman (I was Production Designer, Courtney was Art Director and Costume Designer/maker) will kick things off. It'll be about a three hour program featuring additional films by Keith, Dave Ledesma, Cynthia Copeland, and a few others! It is absolutely free and open to the public, so GET THERE!

25 June 2006
It's been a time since muh last update, and MUCH has been happening. Five screenings of Pour Chaque «Non», two more announced, and even an entirely new movie made! I'll go in chronological order. Stay with me for a minute.

In March, both the George Lindsey UNA Film Festival and the East Lansing Film Festival took place, and I attended both with Ron. Alex and Katie Kosinski also attended ELFF with us.

The GLUNA festival was pretty awesome (located in Florence, Alabama). We got there really late and stayed the night in a motel for the next day's film screening. The next day (March 4th), the scheduling was a little screwed up. Basically what happened was, I went in the building where the screening was to see what the deal was, found out the film wasn't supposed to play for a little bit and that nobody was really taking money at the door, so we went around the block to a five-and-dime type store for some breakfast. When we got back, they'd already played PCN, which was stupid cuz it wasn't scheduled to play 'til later. The dude runnin' the thing was pretty cool, though, and showed our movie again, mostly to people who'd just seen it. One guy even wrote a review online (kind of a negative one where he panned the movie and also thought it was made by High Schoolers), and I corrected all of his bad information--there was a link to it, but it was a cached version and ceased to work at some point. The same reviewer, though, also wrote a really positive (11 out of 10 stars, as I recall) review about the just-average movie that ended up winning top prize at the festival, called Chasing Daylight by this guy from the AFI (anyone surprised that some $10,000 budget movie made with Hollywood money in California won out over PCN and/or anything/everything else?). Later that night we tried to go to some party the film festival was having at some bar, but we went bowling first, then had some trouble finding the bar, and by the time we got there everyone with the festival was gone. However, I met some girl (our server) who was best friends with the girlfriend of this guy (Jake Tippee) that I went to High School with, pretty bizarre. We drank lots of $1 Jell-O shots, made requests of the band playing there that night, went back to the motel, had some Krystal burgers, and drunk dialed tons of people. We left the next morning/afternoon. It was awesome.

March 23rd, Ron and I set out for Chicago. We stayed there overnight and left with Alex and Katie in tow the following day for East Lansing, Michigan. We stayed at the local Econolodge. We had no idea there was a time change between St. Louis/Chicago and East Lansing, so we thought we were 45 minutes early when in fact we were 15 minutes late. Luckily, the festival was delayed by 15 minutes on account of some scheduling issues (again). We showed up just in time to catch PCN, which played in front of a documentary about Jehovah's Witnesses called Knocking. It was a pretty good made-for-PBS type documentary (which was actually made for PBS, I might add); I think the most interesting parts had to do with Jehovah's Witnesses in German concentration camps during the holocaust. It was none too eye-opening, which I think was the point. I still feel very much the same about Jehovah's Witnesses as I formerly did.

PCN's showing was so loud, which was a mixed blessing--it was awesome that it totally got blasted, but on the other hand, I couldn't really hear the response of the audience (laughing, sighing, yawning, whatever). Still, it was probably the most well-attended screening I've yet had...not that I take any credit for it. Most of the people there were Jehovah's Witnesses, probably. I guess they liked the film, though (see below). We went to a later screening that night where we saw a German teen comedy-horror film called Die Nacht Der Lebenden Loser (Night Of The Living Dorks) which was very hilarious and which I tried to get Chris Clark to bring to SLIFF (time'll tell). ELFF was actually comparable as far as attendance numbers to SLIFF, I was very pleased with the whole operation, turnout, organization, et cetera. They almost let Alex, Ron, and Katie into the film for free but realized last-second they didn't have passes like me, dang. I did feel sorta bad they had to pay, but on the other hand, so did I (like a $30 entry fee or whatever). I also got two ELFF T-Shirts out of it, and it was a blast, so swee'.

After the screening we went to a post-party at a bar called Beggar's Banquet. In spite of its sweet name, it wasn't all that sweet. The free food was sub-par but at least we got our drinks free (whether legally or not we'll never know for sure). We went to a liquor store and were going to go to some kinda fun-zone arcade, but it was closed after Ron got pulled over for trying to enter an exit of a parking lot and we sat around while he got a sobriety test for like an hour.

Back at the Econo-Lodge, a Steve Buscemi movie called Animal Factory was on TV after Best of the Best 2 ended. No pizza place would deliver to our motel so we drank and fell asleep all around. The next day, the Continental Breakfast was over well before we were told it would be, so we didn't even get in on that. We went to Big Boy instead.

Some weeks/months later I found out accidentally that PCN had actually won the audience choice award for a "Short Film Screened Before A Feature" at ELFF. You can see it and all of the other award winners at the Audience Awards page of their website. I also just now found a brief and somewhat belittling review in the "HUB" section of the Lansing State Journal.

Between those two screenings was another screening at Salon Miniscule in Chicago, as hosted by my good buddies Paul and Roseanna Velat. They do these things at their apartment every coupla months and this one was a shining moment in their history I'm sure. It might be the best reception the movie's ever gotten; everyone seemed to understand all of the subtleties and nuances of the humor in the movie, for example. Artists! Go figure. Andrew and Jonathan also finally got to see it there (Rose & Paul had seen it at my place when they came in town to play XRII back in January).

The other two screenings took place in May. The first was the Webster University Student Film Festival on May 06th. PCN played last and was seen by lots of people (including several cast and crew members) who had not seen it previously, so it was sweet. The other screening was at the Locust Avenue Film Festival. Mike Steinberg of the Webster Film Series asked to use it for this outdoor festival which featured several selections from the WUSFF (for which Mike was also largely responsible, along with Josh "Tito" Hawkins of the Twisted Film Festival) playing before Hedwig & The Angry Inch on a large inflatable screen outdoors along Locust between 9th and 10th or something close to that. It was fun, although we showed up just as PCN was ending. It was still pretty awesome to hear the strains of the score I composed resounding through the streets of downtown. Bizarre.

Later in May, I heard word from two festivals to which I'd applied--Indiefest in Chicago and the Long Island International Film Expo. I have intentions to attend both--sort of--more on that as/after it occurs, though. PCN plays at LIIFE on July 13th at the Bellmore Theatre in Bellmore, NY (on Long Island, of course). No schedule has been set in stone for Indiefest as yet.

Most recent to occur, however, is the actual completion (sort of) of a brand new Pancake Production. Ron and Scott Cullman had intended to put together a 48 Hour Film Project team this year, and I said I would join, after which I sort of took over and made it my own team, kind of unintentionally, but kind of quickly. Soon such Rock 'n' Roll Bacteria Productions luminaries as Aaron Crozier, Suzanne Stockhausen, and Matt Sinopole had signed on to help out. We had the additional support of the acting talents of Kevin Stroup and the musical prowess of Justin DiCenzo. Many others helped to immeasurable degrees as well. Our final product was Severed Will of the Seppuku Warrior and to see more about the cast and crew, visit its page. For those not familiar with the 48 Hour Film Project, it is an opportunity for filmmakers around the globe to make a film, start to finish, within 48 hours. Genres are drawn out of a hat (so to speak) for each team, and all teams in a given city must incorporate the same prop, character (name & occupation), and line (they were a shopping bag; Linda or Leo Garren, Bank Manager; and "Is That All I Am To You?;" respectively).

'Twas a grueling weekend, but we finished on time and got 'er in there. We even made it to the "Best Of" screening and won the award for "Best Use of Line"--probably largely due to the fact that most other films in St. Louis used the line to suggest something about the sex objectification of a man or woman, or was otherwise uttered by a man, to a woman (or vice-versa) with regard to some kind of relationship whatevery. Ours, on the other hand, had the line uttered to a martial arts master inside of his own brain during a battle between himself and a seven-foot-tall milkshake (who actually said the line). Kudos to all on the Pancake Productions team, and I am definitely stoked about doing it again next year (hopefully with the same good ol' folks).

I believe the featuring of Severed Will in the Best-of screening also entitles it to show at the forthcoming St. Louis Filmmakers Showcase in July, organized by Cinema St. Louis.

Lastly, there is talk of a screening for a handful (or more) of Webster University Senior Overview projects on July 8th at Winifred Moore auditorium. Jonathan Waters and I are organizing this event. More information as it becomes available (yes, I realize how soon it is supposed to occur).

12 February 2006
Well things have been a-movin'. Not only have we completed two excellent days of shooting (which translates to two entire scenes) from Charles Evans' Fish In A Bottle, which I am producing and in which I am starring, but also our good buddy Pour Chaque «Non» has garnered two further festival acceptances. It will be showing on March 4th at the George Lindsey UNA Film Festival (George Lindsey being Goober from The Andy Griffith Show, and UNA being the University of Northern Alabama, of which he is an alumnus) in Florence, Alabama, and sometime between March 22nd and March 30th at the East Lansing Film Festival. I plan on attending the screenings at both festivals, assuming that the screening at ELFF is on a weekend-ish day that'll be easily accessible with my new work schedule (I got a new job in mid-January).

Lots of rejections, unworthy of note, have occurred as well, but I thought I should speak of one in particular--that from the worthless festival known as "Garden State." I applied to this festival in late October and was told my entry was received. Some weeks later I was told it was NOT received, but assured if I'd been earlier told it WAS received, that it was definitely received. In mid- to late January, I checked the WithoutABox (automated Film Festival submssion website--very handy) status, and it was red ("not received"), so I immediately E-Mailed the festival again to see if it had been received or not, having earlier been assured it had. Well, I was told that if WithoutABox said it hadn't, then it definitely hadn't, but hurry and get it in as judgments were being made soon. Well, the next day as I was putting the package together, I got an E-Mail saying I'd been rejected. I immediately E-Mailed asking what in the name of heckfire was going on, and she (yes, the same woman who had responded to all of my E-Mails--of course, the completely crappy communication would have been more understandable if I'd been getting different, contradictory stories from more than one person, but to have one person runnin' the whole show and telling me every which thing?) E-mailed back saying that they were unable to get my film's DVD to play on any of their players, computers, even an XBox. I wrote a (still polite and cordial) E-Mail back saying that this was somewhat silly, and could I have a refund or a waived fee for entry into next year's festival, and I got a snappy retort from Ms. Diane Raver about how I was being unrealistic and ludicrous. She posted on the WithoutABox Forums about the "angry filmmaker" that got mad that she had done such an unforgivably silly thing, and basically everyone shot her down as an idiot (read the link), and clearly deservedly so. Well, if anyone reads this, which they don't, never submit to the Garden State Film Festival. Communication's horrible, and policy's intolerable on that one. Aaron CROZIER even told me that when his film, Grumboon, played there, the publicity was bad, the organization was junk, and the festival was a subpar experience (to say the least). You've been warned. I'll see ya in Florence.

(Also for your reading pleasure, check out the St. Louis Film Forum thread where I lambasted Diane and the GSFF for the frauds they are.)

09 January 2006
Much to my disappointment, the place where Kyle works does not do processing, just transfers. So, the PSA/Educational film that Courtney and I shot the other weekend in Cape Girardeau, Missouri will take a little longer to develop (it was shot on the stock left over from shooting Peat Bikin' a few years ago, and I'm not 100% sure if it was tungsten or daylight and what ISO the film was anyway, so no loss if nothin' comes out really). Kyle was, however, able to suggest a place to get the processing done. As you may've guessed, I was waiting to send off all of the footage mentioned in the previous entry here (which still has not gone off--surprise, surprise!) until the Educational Film was finished. Oh, well...hopefully the already-processed film will go out tonight and Kyle can take care of it.

In better news, the Twisted Film Festival occurred on Monday, January 2nd, 2006 and was a resounding success (both for Pour Chaque «Non» and in general). 11 films were shown, most of them locally-made, and all of them made by local filmmakers (I think). Michael D. Witman's Red Ink and Chris Abreu's Another Part Of Me, which accompanied PCN in both the St. Louis Filmmakers Showcase (though not necessarily in the same program) and the St. Louis International Film Festival (SLIFF), played, in addition to many films by the festival's chief organizer, Josh "Tito" Hawkins, and the most excellent Chocolade Morfine (Chocolate Morphine) by Dutchman Michael Streeter (shot on location in Sloest, the Netherlands). It was an awesome event out in New Melle, Missouri (not to be confused with Melle, Germany, of course) in some guy's basement with a projector TV and whatnot. More can be read about it at the website!

Chocolade Morfine won top prize from the judges, and rightly enough so, but PCN came away with some pretty boss prizes, including:

PCN's page's "festival" section has been updated accordingly. A good time was had by all, and I definitely hope to participate in some capacity next year as well!

08 December 2005
Tonight or otherwise sometime VERY SOON (before this weekend) I am going to send off the developed raw footage of Fair Fare Taxi Company Commercial, The Look Of..., Check-mateless, Drawer's Block, and Hayseed George & The Dragon, as well as the somewhat botched footage of Lombard Street in order to get them transferred to video for ease of editing and completion. THESE ARE EXCITING TIMES! Many thanks be to Kyle Mayer who's helpin' me out on this one.

Also included in that package will be the raw footage of Keith Hueffmeier's film Lighter, on which I acted as Assistant Director, Sound Recordist, and Production Designer. Should be awesome.

Second-to-lastly I got a certificate for my SLIFF win (as it says below, Pour Chaque «Non» won best Local Short Film this year).

Lastly, the schedule for the ION Film Festival has been announced. Pour Chaque «Non» will play on Saturday, December 17th, 2005, at 6:00PM in the James Bridges Theatre on UCLA's campus. Tickets available online in advance here ($5 students, $10 everyone else).

23 November 2005
It seems like every time I turn around there's some good news to report! Anyway last night was the make-up screening for the award-winning Pour Chaque «Non». It wasn't too well-attended, but I know some folks that hadn't yet seen the film got to see it, at least. Thanks for comin' if you did.

In other news, Pour Chaque «Non» has been accepted into the 2nd annual ION International Animation, Games, & Short Film Festival of Los Angeles, California. They debut video games in conjunction with their film festival, or something like that--pretty awesome stuff! If you're in the LA area, go see 'er. They haven't yet released a schedule (I don't think), but proof of its acceptance can be found directly here. The festival runs December 16-18 and I'm way excited for some of my LA friends to finally be able to see my film!

21 November 2005
Last night was the Awards Ceremony for the 14th Annual St. Louis International Film Festival.
Pour Chaque «Non» was awarded Best St. Louis Short of the festival.

The competition was stiff, and it is a great honor. Maybe now some of these other festivals will take it as seriously as it deserves to be taken!

18 November 2005
The St. Louis International Film Festival (SLIFF) screening of my film was a success...somewhat.

The show was sold out, and that was pretty cool, even if it was only one of the Tivoli's small theatres this time. However, the first few films that played (Carson Minow's Ethiopia: Tesfay Alem; Thuraya's Choice; and Chris Abreu's Another Part Of Me) were a bit screwed up--there was trouble with the digital projection. They eventually got it cleared up, and it was completely fine by the time they got to Pour Chaque «Non». However, I did feel bad for those filmmakers whose screenings did not go so well, especially Carson, whose movie was perhaps most marred by the unfortunate occurrence. For awhile, I felt pretty sick, physically, about the whole thing (more for the other filmmakers than myself, although I was a tad concerned that PCN's projection would also be screwy).

A day or two later, Chris Clark (SLIFF director and head honcho) announced his intentions to have the entire program re-screened as a part of the Webster Film Series! So don't miss the completely FREE screening on Tuesday, November 22nd, 2005, at 7:00PM in Webster University's Winifred Moore Auditorium at 470 East Lockwood in Webster Groves. Phew!

Anyway, I've started re-cutting PCN in order to shorten the opening credits. I hope it works out all right; I'm cutting the opening musical toothbrush sequence by about 50%. I am considering shortening the closing credits sequence, too (which would require requesting of permission from James Pertusi, but would surely be all right, as I'm pretty sure he told me to cut up "Freedom Tickler" as much as I wanted to in the first place). I think that the super-long credits sequences may be hurting what would otherwise be the festival success of PCN (I cut about 20 seconds out of the ending sequence at some point already, if you'll some of those earlier film festivals were/are prob'ly just like WHAT?!, as opposed to now, when they're just like WHA?).

18 October 2005
The official schedule of the 14th Annual St. Louis International Film Festival (SLIFF) has been announced (as of a handful of days ago)! Most importantly, Pour Chaque «Non» will be playing as part of a program of local shorts on Monday, November 14th, 2005, at 9:45PM at the Tivoli Theatre. In addition, I'm Sorry, Mr. Reeves will play in Shorts Program #5, "Punchline," on Saturday, November 19th, 2005, at 9:00PM--also at the Tivoli. Do not miss!
10 October 2005
I trekked to Springfield, Missouri this weekend (Saturday evening) to check out Pour Chaque «Non» at Cinemerge Film Festival. I arrived at the location where it was to play, a place called Merced's Cabana Ballroom. There were a bunch of folding chairs set up in front of a pull-down projection screen, and three people were sitting in them watching some kind of documentary. The guy working the door asked me if I had a pass and I told him I was there to see my own film play at the festival. After asking what my film/name was, he told me that they didn't have a copy of my film! He tried contacting Mike Strain (festival organizer) on the walkie-talkie, and he was at this bar called Traffic. Kunal and Sara (friends in Springfield) showed up and said they could show me this "Traffic" place (I had thought the guy said that Mike was stuck in traffic--oops!). A little miffed but determined to get to the bottom of this, I went to Traffic and sure enough Mr. Strain was there. He was apologetic about the mishap--apparently my film had been stolen at some point! I had received E-Mail from him a few days before but no mention was made (perhaps it hadn't been stolen yet). Well the party there didn't look too hap'nin', and Kunal and Sara woulda had to pay to get in, so we just left.

First we went to The Moxie, Springfield's first and only independent cinema theatre (and a totally sweet place, it seemed!). I talked to the owner/operator (Nicole?) and the other guy (Dan?) who run the joint. They seemed nice folks; I guess Kunal sorta knows 'em. I told them the story of coming all the way into town to not have movie-time show (and really, I shoulda brought a copy just in case, but I didn't bring like anything). They seemed sympathetic and said if I send 'em a copy of the movie maybe they can fit it into their programming someplace. If they fit it into their programming ANYplace, I'm sure I'd be grateful. I must send off a copy soon!

Well anyway, Strain said that he'd let me submit to Cinemerge free of charge next year and that he'd still give me the note write-ups about the film (which I paid a bit extra for). Some people said I should ask for my money back, but I mean, it's gotta be tough to run a festival, and it's not like they're making any money, and that money's kinda obscure to me now, and he did offer free entry into next year's. Plus, a screening at the Moxie is likely to attract more people than Cinemerge would have, according to some folks I talked to (not to mention, if that screening at the Ballroom was any indication of the crowds drawn by Cinemerge). So, if'n yer in Springfield, look out fer Pour Chaque «Non» sometime soon! Don't forget to click on the link in that last sentence and scroll down aways to track the movie's festival history, too!

P.S. The trip wasn't a total waste, I hung out with Kunal and Sara, saw Kunal and Pete's art show, ate a sandwich, et cetera!

26 September 2005
Pour Chaque «Non» has been accepted into the Golden Lion Film Festival of Manzini, Swaziland (yes, in AFRICA) as part of a special seminar/program to be led by a Professor Guerro of the NYU Film Department for up-and-coming novice/student filmmakers. It won't be entered in competition, but it will have a screening in some remote corner of the globe nonetheless!

Also, Springfield, Missouri's Cinemerge Film Festival finally posted their schedule! Looks like Pour Chaque «Non» will play at least once a day on all three days of the festival (each time at someplace called "Merced's Cabana Ballroom")! Oct. 7th at 8:00PM, Oct. 8th at 1:00PM and 8:00PM, Oct. 9th at 5:00PM. When it is found out where this place is (Google yielded ZERO results!), I'll post it here.

29 August 2005
I decided to make this a news page too! But I kept the main links necessary at the top for convenience, since this could get pretty LONG after awhile. There are some retroactively-made entries underneath this one.

Anyway! I found out somewhat recently that Pour Chaque «Non» made it into the Cinemerge Film Festival. It'll play there sometime between October 7th and 9th, 2005. A copy of the film has also been received by several other submitted-to festivals, and any acceptances or screening times will be shown here as soon as they're known! Check the movie's main page (towards the bottom) for a comprehensive listing of festivals to which the film has been submitted and those to which it has been accepted.

Another recent occurrence was the recording of the monologue, dialogue, and music for Paris: The City Of.... Andrew was down in St. Louis and now we await Ron's workin' his magic for the audio to be complete!

23 July 2005
Last night was the big "end of the St. Louis Filmmakers Showcase" party at the Blueberry Hill Duck Room. Chris Clark awarded me a special award (in the form of a Odie PEZ dispenser--one I don't have!) for attending so many films at the Showcase like nine or ten programs), and furthermore, for having worked on so many films that showed at the showcase (six). It was a good time, and it was announced furthermore that Pour Chaque «Non» will screen as part of the St. Louis International Film Festival (SLIFF) in November. Several other films were also selected for this. Congratulations to all of them.
20 July 2005
Pour Chaque «Non» played as part of the St. Louis Filmmakers Showcase last night at the historic Tivoli Theatre with eight other films in a program entitled "Silly Humans" to a rather crowded house (even though they cut off the first 10 seconds or so)!