So I finally got to see the documentary that’s been editing in my basement for the last 4 months. I think the guys did an admirable job. The original intent was to be a “behind the scenes” of the [url=]REEL BUCKEYE[/url] feature called “[url=]THREE EASY PAYMENTS[/url]” but became a study of the local Columbus film scene as a whole over the last 25 years. I got interviewed over a year ago and then I gave them a list of other filmmakers and teachers I thought might be able to contribute something. They also found a ton of other people that have been around for years making films. The film had several high points, not the least of which was how Sheldon Gleisser imparted his usual wisdom peppered with cynicism (especially in regards to the death of celluloid). Then there was William Lee, one of the most prolific and constantly churning out features for damn near 30 years.

The death of the film school at Ohio State in the early 1990’s (a debate on the year is somewhere between 1991-1992) featured prominently. It’s pretty unanimous that everyone feels that one of the largest universities on the planet, “THE” Ohio State University, needs to have a film production class, nonetheless major. Cracking the bureaucracy of said university seems to be the real problem. If [url=]REEL BUCKEYE[/url] is any indication, it’s not a lack of interest from the students. Several hundred students fight to make their own mixed major Film studies program and then participate extracurricular on the movies in various capacities.

I think if the students, especially the girl who produced [url=]THREE EASY PAYMENTS[/url], Amira Soliman, tries to crack the wall, I think they have a real shot at making it happen. She seemed to have perseverance and determination. A fully active film school could be so positive in terms of resources, trained & interested individuals, and there can be no downside.

Overall, the movie had some focus issues, but overall, I liked it and its message. There seems to be a genuine interest for most people in seeing the Columbus film scene succeed and no one had to bash anyone else to get ahead. Even the Q&A after the screening, where some of the cities oldest working filmmakers got together on one stage were courteous and respectful to one another. The ideas stayed positive the entire time from the audience and the stage. My sole regret in my interview was saying that the ONLY reason we shot film was because of its value in the sales end of the film, but that wasn’t true. It was an artistic choice because for a WWII era storyline, shooting video would inherently feel “wrong” and the audience would have a harder time getting into the story.

I guess you can be a glass is half full or a glass is the object that I hold responsible because I don’t want to do what it takes to make my dreams come true. Which one are you? I understand that sometimes baby needs a bottle and it feels cathartic to whine and cry, but sooner or later you actually have to do something to change your situation. Otherwise, it’s better if you make the best of what you have and make movies.

I saw my rough cuts from my shoot. This is not a typical project, so it will be a less conventional post production in some regards. It’s hard to edit to a phone conversation when the other side of the conversation hasn’t been written or recorded yet. I’m going into the studio to record several bits tonight so that some of these can be finalized ASAP.

My initial plan may get put on the side. I have a new fan. Someone at Yahoo Video likes my shorts, so I’m starting to get some attention there. It’s not like Grouper/Crackle where I have several MILLION views, but tens of thousands of views is not something to scoff at either. I feel a few marketing pushes coming on. I have not marketed like I used to in some time, partly because I work so much, also in part because I have had little to promote. The entire month of October will be about HORRORS OF WAR and the N. American DVD release. I have a few surprises in mind for that. My hope is to make the DVD release something that will get some notice, especially in the local media.

I tried to take today off work, but I had to go in anyway. I had 2 more TV spots to lay to Beta tape, and then I had to set up the main machine to take an analog signal from the DVCAM machine. There was something wrong in that the project was set for HD instead of SD, so after 10 minutes of tinkering, I got the project set up properly and I was able to try to come home and get some peace.

When I accepted this assignment to be an editor, I had forgotten how much I got down on my own stuff because I had the time and the inclination. At this point, I get home and I don’t want to edit or work on video projects because I’m fried and I did that all day long. If I can get my work load down, then I can find that balance for both. Part of that might be in that I have my portable 750 Gig Drive to haul to and from work with all my own projects mirrored on it, both as back up and also in case I work in some editing while at work in between jobs.

I’m putting together the editorial team for ETERNAL, the Derek’s movie. It’s been put off to the side and I won’t let it fall of the plate. I’m gonna turn the heat up and see if I can get editors in here 4-5 nights a week for a while and get this finished up. Once we reach a certain point, I can swoop in and start to re-work scenes or play with structure, etc. It’s that initial assembly that seems like an insurmountable climb, but with a group of motivated individuals, you can do anything. Teamwork creates a synergistic ball of enthusiasm and together there is NOTHING you can’t do. Nothing.

We’ve entered a serious Peter Gabriel phase for music. I got his 2002 album called “UP” and it was one of the most down sets of music I ever heard. That’s not bad per se, but if you want happy music, this ain’t the disc. I did get the 2 different DVD’s of concerts from this era and they had a great little documentary by his daughter and served as a “Family Portrait” since his other daughter Melanie was a back up singer. I developed a crush on little Melanie, but was it her or the Dolby Digital ™ 5.1 surround mix?

I managed to get my 5.1 surround sound system working again. I had to downgrade for a while to regular surround, which isn’t bad, but knowing and constantly reading about how great the sound mixes are…. And also believing that sound is 50% of the experience to any movie… I was going a little bonkers inside. I got the coaxial digital input to work, which was a first. So even when I thought I had 5.1 surround before, I really didn’t. Now I have true digital surround. I inaugurated the sound system with the 5.1 surround digital CD of the Beatles Love album. Whoa Nelly Furtado! What an amazing sound!

I followed this up with a screening of TROY: THE DIRECTOR’S CUT. I thought the original was dehydrated dog poo, They re-cut every single scene as if it were a new movie and they made a vastly better movie. Then Monday night I put in Quentin Tarantino’s DEATH PROOF: EXTENDED AND UNRATED DVD cut. I liked it a lot in GRINDHOUSE in the theatre, and this version was even better. I think if his name didn’t rhyme with “Barantino” no studio on earth would let his movies be so chatty and without action for so long. That’s not a criticism since I love his dialogue, but no one else can get away with that anymore.

I got 2 new pairs of VANS in the mail. I have not purchased SLIP ONS since the 1980’s. Here’s the wonder of the Internet. I write these blogs as a form of journal. I know of a few close personal friends who read this. It’s a way of not taking 7-10 hours a day talking on the phone or saying the exact same boring stories about my new shoes.

So to my acolytes, I say stay out of the ocean during jellyfish season.

– The Real PJR, accept no substitute

Categories: blog

Peter John Ross

A filmmaker, a dreamer, and the world's only Dan Akroyd Cosplayer


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