Interview: Listening Raven - screenwriter of "REZ" (Question 2)

ROFFEKE: In 2016, you wrote a stage play that ran Off-Broadway in New York City and have written many other plays. What do you enjoy about writing screenplays that you find challenging when writing stage plays, and vice versa?

LISTENING RAVEN: Wow, good question! I like how with a stage play, actors can get up on stage and read the dialogue days after putting it on paper. That's the case with a stage play-type-format. That's huge. Its cool how something will come out that you didn't know about your dialogue. And then there are times a good actor will read it and you realize you laid a big fat egg.

If that's never happened to you, you're lying. Everybody's written some bad stuff.

And then there's times an actor will read something that turns out great.

Stage plays however have to be on one set. I love flashbacks and jumping to different places. Screenplays allow for that freedom.

Screenplays are a visual art. I feel the writer can inspire the director to some degree. Great directors are awesome. Then the camera, light, sound people along with folks putting down the little railroad tracks as I call them.

Sometimes when writing a stage play, I wish it were a screenplay. And then when its a screenplay, I wish it were a stage play.

When two actors are engaged in an amazing moment, the stage allows for more time. The difference between a 12 second exchange is so much different than an exchange that goes on just 24 seconds. Screenplays should move a little quicker when it comes to dialogue. You have to show the audience with images and quick cuts. Stage gives the writer more time to elaborate with dialogue.  

You can lose your audience in a matter of seconds in a screenplay.  The audience these days want things to move along and move fast. Especially in a comic exchange.

That's just how it is.

In a stage play, the audience knows going into the theatre there is going to be a lot of dialogue. You're not going to have realistic looking bombs, explosions, car chase scenes and people jumping off buildings, into a pool of fire, and coming out to chase down the bad guy in slow motion.

But, if a great actor(s) are engaged in a stimulating conversation with engaging dialogue, it works in a screenplay or stage play.

***

Look out for Listening Raven's answer for Question 3: "Your portrayal of women in "Rez" is non-stereotypical, does not show them as being "voiceless, or silent...an object of desire, and victims of violence...without agency" (Illuminative's "The Time is Now: The Power of Native Representation in Entertainment", page 26) Did you purposely set out to portray the women in this more positive and realistic light or was it just a happy accident?"

You can read his answers for Question 1 HERE

Interview: Zeke Hanson - Director of "Jazz and Roll" Rockumentary

ROFFEKE: The filmmakers of the Rockumentary "Metallica: Some Kind of Monster" filmed 1600 hours of footage which was cut down to 2 hours 20 minutes. How many hours (or minutes) of footage did you film for this 10 minute documentary about the TriTones? What criteria did you use to include or not include footage in the final cut of Jazz and Roll?

ZEKE HANSON: That was a monster of a documentary. I remember when they did that, and it's still hard to wrap my mind around that incredible amount of footage. I think TriTones was about 2.5 hours, give or take. What does or doesn't make the final cut is always the storytellers dilemma. My goal is always to be in a situation where I have to cut good footage, because I have too much that I like to make it work. But that's not always the case. For The TriTones it was different. They were minors at the time, and it was almost the end of their school year, so there really wasn't a possibility for me to shoot practice room or the jam sessions that they were talking about. It was more of capturing a moment in time, so that no matter what they all end up accomplishing down the road, this was something that they did and that they could use to look back on.

ROFFEKE: How did this project come about? Did you reach out to the TriTones or did The TriTones reach out to you? What challenges did you face while making Jazz and Roll?

ZEKE: I was actually working on another series at the time. (Step Into My Studio, on SDPB) and was interviewing Drex's (Trombone player) dad. During the interview he was sharing stories about a band his son was a part of and said it might be a fun story if I wanted to check them out. It took a bit for me to finish up some other projects, but I was able to make it to one of their last shows that summer.It was an uncertain time for them as the majority were graduating high school and leaving the regularity of the group. I'm glad I was able to see them play. It's one of those projects that came about by being present in the conversation, not just the interview.

ROFFEKE: Your other project - which is quite different from Jazz and Roll - is called "The Missing and Murdered". What inspired you to work on this? What lessons did you learn from that project that you (may have) applied in filming Jazz and Roll?

ZEKE: Yes. It is quite different. When I started on The Missing and Murdered, I didn't really understand what I was getting into. I was working on another feature documentary at the time, and was told that if I rode along on the Missing and Murdered ride, that it might help get other interview participants for the other project. At the time I had never done a cross documentary state trip.  Not on my own and certainly not periodically from a horse. It was a long shoot and I had to negotiate a lack of electricity to make it work. I think the lesson that I learned from that, that I take with me for every project is that there will always be obstacles. Part of telling any story is accommodating the struggle to make it. It can be a frustrating journey, but the story has to reveal itself sometimes. You can't just force it. How any filmmaker handles that is part of their style.

ROFFEKE: Your thoughts on Artificial Intelligence and the future of filmmaking?

ZEKE: Oh. Good. I think art has been kicked around and bullied for its entire existence. You can always find people who are willing to take credit for other people's work. But now you see people who are taking credit for something that isn't even real. Art should be felt, not simulated. In my opinion, fake intelligence is a steroid. It should be treated the same way as any asterisk is used in a sporting event or record book. Heavy use of anyone else's work isn't homage, it isn't creative, and there is a word for it. Plagiarism. It culls from existing art to "create" something else. There's nothing new about it. Just heavy filtering. For some of my other documentary research, the immediate incorporation of AI into search engines has actually made it more difficult to find what I'm looking for. Why use artificial, when we are all capable of using the real thing?

ROFFEKE: Your advice for aspiring documentary filmmakers?

ZEKE: You have to have that sick to your stomach feeling.That need to create. Filmmaking is a tough business. Not because of the storytelling, but because of the business. It'll come at a cost, and not always just financially. It costs time, resources, and focus. It'll beat you down and chew you up. But it can also take you around the world and introduce you to people and places you would never otherwise see. I can't imagine doing anything else. For me, documentary filmmaking shines a light on the community of the world. It isn't always pretty, but... if you don't share it...then who will?

Director's Biography:
Zeke Hanson is a film producer, documentarian and author.

"Jazz and Roll" Synopsis:
A little bit rock'n roll, a whole lot of jazz fusion. Hear from The TriTones about what music means to them, and why they can put their musical twist on any genre. 

Interview: Listening Raven - screenwriter of "REZ" (Question 1)

ROFFEKE: Your screenplay "REZ" has many moving parts that work well together. How long did it take you to write it? What's your writing process like? Are you an outliner or a seat-of-the-pants-er?

LISTENING RAVEN: First off, thank you for your observation and sentiment that REZ is, many moving parts that work well together. That is extremely observant and complimentary.  

Never actually put together a written outline. Maybe I will next project, maybe not. I wish I could. But, then again, maybe there was one that just took place somewhere other than documentation. Maybe in my head floating around.  

Writing to me is not pencil & paper. Or computer in the contemporary sense. It's day dreaming. We all do that. We all daydream. As a child, many thought my wondering off in my mind was a medical condition that required some medication to resolve. Thank the powers beyond us my handlers never put me on those drugs.  

We see things when we don't think; or try not to think. Thought, ideas, concept come to us. From where, I think I know, but I can't prove it. Then write it down in no particular order.

It can be a single sentence. It can be pages of non-sense. No matter. See where it goes from there. That in and of itself is meditation. That is being one with God; The Great Spirit. The place beyond us. Have many friends that are atheists. And that is their choice.  

That said, these folks are incredible dreamers, some of them, just as some believers can't write a grocery list to save their lives. The best atheistic writers I know can go places in their minds they can't explain. Nobody knows for sure what they're going to dream tonight. There is so much that is unexplained. But meditation is peace and out of peace can come order.

So you have a bunch of thoughts written down.

That's great and they are valuable. Anything you take the time to write down is worth saving. If not for the public, yourself. If you're like me, you'll look at stuff you wrote down years ago and feel embarrassed, ashamed and down right sick at how incredibly stupid you were, and still are. So what.

Eventually, if your passion is in it, something precious will surface.  

Then comes the editing. You can do this yourself. And/or get input from others. But, BE CAREFUL of those who will destroy these thoughts. Sometimes these critics will give you great advice. But, once you mull it over, you will know.  

In my case, I've spent tens of thousands of hours writing regarding many projects. They were followed by just as much time editing, cutting the parts that went on too long. And by too long I mean the parts that don't appeal to the audience. When you see your stuff performed in front of an audience, and the body language of those in the crowd is that of, Please get me out of here, that makes a writer ponder.

It also sucks.

I've sat in the back row for one act plays when there was feedback time.  I heard one lady say about one of my works, If that character pontificated for another second, I was going to pull my hair out and scream out loud.

I was not all that happy. Then, upon further review, she was right.

REZ was actually in New York City's Off-Broadway in the summer of 2016. The stage play went by the name of, “Last of the Caucasians. It was written under my legal name, Erich L Ruehs.

The name gifted to me by my brothers & sisters as a child long ago is Listening Raven. That is now the name I write under.  

This was some time ago, and a story for another day I chose not to share with the public. It's when I not only found out for a fact about my dirty blood, but leaned to embrace it. And the Raven that always showed up during our story telling hours was real. It took the form of a real creature we could all see. And, as Forest Gump would say, That's all I have to say about that.

Last of the Caucasians was on YouTube for some time, but alas is not there anymore. Don't get me started about the internet. *Actually, during my re-write of these questions, I think LAST OF THE CAUCASIANS is back on The YouTube if you search:  Last of Caucasians Erich L Ruehs. At least its on The YouTube for now. I don't really understand these search engines.

(ROFFEKE Note: You can watch it HERE)

But, it's about the re-writes. Thousands of hours; literally. And that's cool. Writing is life. Never write because you have to. Write because it gives you life.

LAST OF THE CAUCASIANS, the stage play, turned into REZ, the screenplay.

Lots of hours. Many days ran into afternoons which would turn into nights. Followed, naturally by daybreak next day. The first draft for REZ was around 185 pages long.

More weeks and months were joyfully spent getting it down to 95 pages. You will feel as if there is assistance from somewhere else when you write and edit from the heart.

Study the little things. Just meditate on one line, even one word. If a sentence can be said with five syllables, instead of seven, that's a victory. If that takes you days to edit, take those days. I don't count words, I count syllables. Each is a musical note.

When you realize there's something on page whatever, and it can come back as a reference point to another page, grab it.

Then there's something said on the later pages that could be introduced in a subtle way 30 pages back, that's a victory.  

Read your own work hundreds of times.  Read it thousands. Something is going to come to you for the first time. And then you still might have it wrong. And if you think that is a struggle, it isn't. That's living on the pages. That's where you live at that moment.

So how long did it take me to write REZ?

I guess a really long time. Thousands of hours followed by thousands more.  I would guess around 10,000 hours on LAST OF THE CAUCASIANS (The stage play) combined with the metamorphization into REZ (The screenplay.)

During these two project, which one could say was the same project, there was other writing going on. Other stories or just free-flow-writing. I do some free-flow writing at the end of this interview, Mildred, which was inspired by your questions.   

One writing secret I have is to print out a hard copy of my play/screenplay. I say secret because I'm not writing for money or people to notice me. I wouldn't charge people to learn my technique. Somebody asks, I share. Many good people have shared their time with me and I'm proud to do the same.

Anyway, my secret is having a hard copy of something I wrote. Even if it's one page, it can be pulled out when on line at the grocery store, or anywhere else. Make edits and/or add to what was written down.

Then put in on a computer copy. And then make edits and/or add dialogue to that computer document when it's on the screen.

Then, print out into a hard copy and do the same.

Then, put those changes into the computer version and do it again.  

Go back and forth a couple hundred times, I don't know why, but you'll discover things on the hard copy version you won't see on the computer screen and vice versa.

Each gives a different perspective in a subtle manner.

I'll have a hard copy with the words printed out and a pencil in my hand and something in hard copy form just JUMPS out at me. Then circle something and point it to another place on the page. Or some other page. I'll line the pages out it a room and look at how the flow goes and look to one page to the other.

Then put the edits back on the computer. The computer version will reveal a different perspective. You can zoom back and forth on the computer in a different manner in which you edit with papers on the ground.

I love papers in my hand, or on the ground, or pinned to a wall or old barn outside. There's this movie with Russel Crow and his mind and he puts stuff on a window, or something and the thoughts bounce back and forth from the written stuff on the window to his head and then back and forth again.

I can't relate when folks think he's crazy. He's not crazy. He's the only normal one in the movie.

Or, sometimes you'll get something right the first time. It could be that the first thing you write down is the best, especially with one important line of dialogue.

There aren't really any rules but passion, hard work and honesty. And thousands of hours.  

***

Look out for Listening Raven's answers for question 2:
ROFFEKE: What do you enjoy about writing screenplays that you find challenging when writing stage plays, and vice versa?

Gaza, Dear Child II, Bepuwaveh, Lupe and the Galactic Corn Cake: A Halloween Reflection

 In the hero's journey, we first meet the horeoine in the Ordinary World, her normal state of affairs. It is only when the Inciting Incident occurs that the heroine is catapulted into the unknown. Ilsya Spencer's Beupevah ought to be considered the Ordinary World of every child: a fun, welcoming, creative, school environment where children are nurtured and are allowed to shine and flourish. This Halloween, I would like to reflect on the very real horros facing a child in Gaza, courtesy of a brilliant short animation film called Dear Child II, directed by Devin Peters and inspired by a letter written by Pulitzer Prize winning author, Chris Hedges.

"You know only the security barriers and fences patrolled by soldiers that surround Gaza."

Bepuwaveh is all about bridges, friendship, fun and freedom rather than barriers and fences: "Pojoaque Middle School students create a dialog, drama skit and culture around welcoming at their school and in their community." The children of Gaza experience the opposite - unspeakable horrors: "Trapped under the piles of smashed concrete. Your playmates. Your schoolmates...You see the chalky faces and limp bodies when they are dug out. I am a reporter. It is my job to see this. You are a child. You should never see this."

Creativity abounds in Bepuwaveh. In the first few seconds of the film, we are welcomed with a drawing of an alien in a spaceship. A few minutes later, we see an art teacher explain how "Faux Food" -  a delicious looking burger - was made from toilet paper, water and paint!

"You are hungry. The bakeries are destroyed. There is no bread. You eat one meal a day. Pasta. A cucumber. Soon this will seem like a feast."

The next part of the letter sounds like a good plot for a Halloween movie. Sadly, it is the reality of many people around the world: "I tried to tell your story. I tried to tell the world that when you are cruel to people, week after week, month after month, year after year, decade after decade, when you deny people freedom and dignity, when you humiliate and trap them in an open-air prison, when you kill them as if they were beasts, they become very angry. They do to others what was done to them. I told it for seven years. Few listened. And now this."

Dear Child II is "stylish, artistic and horrifying, yet hopeful that we can do better, centering the story around children in this way affirms a message - that we must." Children are at the centre of Bepuwaveh, but there is no denying that the adults - the teachers and the filmmaker, Ilysa Spencer - believe that we can do better. From their actions, it is clear that they are doing better and are doing right by the children.

One adult, a New Mexico history teacher, gets emotional when talking about her grandmother: "She always made me feel welcome in her home...she always had food, my favourite food."

A child and her grandmother are at the centre of "Lupe Q and the Galactic Corn Cake", directed by Javier Badillo, written by Nat Marshik and Javier Badillo: "Lupe doesn't care about her abuela's cooking lessons, she just wants to rock with her badass punk band. But when Lupe finds herself battling an alien monster with her band, her abuela's lessons remind her that punk rock is more than just loud music, and connecting with her latin roots may just save their lives."

In the book "The Undead and Philosophy: Chicken Soup for the Soulless", Noel Carrols's chapter is titled "The Fear of Fear Itself: The Philosophy of Halloween". He tells us the history of Halloween then writes: "In fact all manner of monsters can inspire Halloween mumming - even those who hail from outer space - since they would fit into the Christian redefinition of the Halloween universe as demons..."

During the inaugural Global Artivism conference that was held this September in South Africa, Louisa Zondo listed some demons that we must fight: “We must address the scourge of poverty, inequality, corruption, gender-based violence, deteriorating mental health and well-being and the imminent threat of climate change. We must push for the end of genocide in Gaza."

You can read the full letter by Chris Hedges to the children of Gaza at: https://scheerpost.com/2023/11/08/chris-hedges-letter-to-the-children-of-gaza/

Global Media & Information Literacy Week and ROFFEKE

Tomorrow (October 24th) is the beginning of Global Media and Information Literacy Week. The 2024 theme is “The New Digital Frontiers of Information: Media and Information Literacy for Public Interest Information”. It will address the transformative impact of emerging technologies such as Generative Artificial Intelligence and the new generation of digital content creators on the production and dissemination of public-interest information, highlighting both opportunities and risks." https://www.unesco.org/en/articles/celebrating-global-media-and-information-literacy-week-2024?hub=66833

I uploaded to notebooklm a document that has the first two laws of UNESCO's five laws of media and information literacy, and ROFFEKE's motto (Friendship, Fun, Freedom) and mission (to promote rock music in Kenya via film by dispelling myths and misconceptions about rock music). Here are some excerpts from the podcast:

00:18 ...rock music, especially in Kenya, isn't exactly mainstream...ROFFEKE is providing this entry point. It's a place where people can experience a culture and art that they might not ever come across otherwise.

00:37 ...when I hear barriers to information I usually picture Internet censorship but simply not being exposed to a certain type of music...that's a barrier too.

00:50 ...ROFFEKE showcases rock music through film...suddenly those financial and geographical barriers start to disappear. The genre becomes open to people who might never even have thought of listening to rock before.

1:25 ...music, film, these are powerful ways to share information too...stories woven into them, emotions, ideas that can actually challenge how we see the world and even build bridges between cultures. ROFFEKE is using that power to dismantle common misconceptions about rock music.

2:08 ...ROFFEKE becomes a space for people to come together, bond over this music they love and just express themselves without holding back."

You can listen to the full 3-minute podcast HERE:

World Mental Health Day: Excerpts from ROFFEKE Interviews - podcast by Google's Notebooklm

I (Mildred Achoch) compiled a mental health document comprised of excerpts from ROFFEKE interviews, uploaded the document to Google's Notebooklm which then generated a podcast based on the information in the document. Below is the podcast and the interview excerpts, with links to the full interviews.

Interview: IVA ("Run" producer/singer/performer) and Camilla Natta ("Run" music video director)

ROFFEKE: IVA and Camille, how do you find your inner strength in a world and an industry that can be quite challenging for women?

CAMILLE: I’m excited to see things are changing in our industry, I think it’s an inspiring time to be a woman in our industry right now.  While only 22% of Hollywood directors are currently women, we’re still making changes faster than other industries like neurosurgery where less than 10% of neurosurgeons are women.  I have made an effort to surround myself with smart women in my industry (like IVA) who have been so generous in sharing their experience and supporting me.  Because of the importance of mentorship in our industry, we still have some way to go.  When you consider that twice as many main characters are male than female and then you break it down further, you see that in films with at least one woman director and/or writer, females comprise 57% of protagonists, whereas in films with exclusively male directors and/or writers, females only account for 19% of protagonists, it becomes very apparent that, as women, we still have great need of a greater pool of role models and it’s so important to support each other.  I’m grateful to be part of the female directors who can lead the way for the next generation of filmmakers, I want to be there for them, to encourage them.

The daily practice of showing up is also something IVA and I worked on together.  We’ve had a ritual of warming up our voices together every morning for the past 18 months and it just set us up for success.  It’s kind of like meditation, but we did it together, so it added a dimension of showing up for another person so you double up on your accountability and also your sense of achievement as a team.

IVA:  We had a beautiful, wild ride creating this video together, and we have collaborated many times, which made our working relationship even more powerful on this film, both when things went right and if things went wrong - like losing a much desired makeup artist at the last minute or facing a large budget and finding ways to make it smaller while holding true to the vision. We had inner strength from a mutual trust and respect for each other’s artistry, and from having each other to lean on. Camille and I have a very strong friendship. We lift each other up when our self esteem is damaged by the industry, and help each other navigate through when life and work becomes challenging. We have a pact to be fully honest with each other, and we can hash through differences and fight sometimes and then discuss openly what happened with no hard feelings. As a musician, I focus on sharing my truth in the most effective way I can, which I find is through my music, and Camille helped me emanate a deeper, stronger version of myself in this video. A few years ago I lost my mother suddenly, and was also in a romantic relationship where I was a victim of domestic abuse for many years. I was grieving for a long time and felt somewhat defeated, and Camille helped me feel ready to “Run” with passion again. Camille and I also provided firsts for each other with this video, she as lead director and I in having the creative direction of someone of Camille’s caliber and deep knowledge of me as an artist. I was able to look into the camera with my full being, unafraid of being seen. That has given me a new perspective on my artistry, and about who I am. I know most of all that standing together is our strength, and I am grateful to have a friend and colleague like Camille who gives it to me straight and loves me with all her heart, as I do her. I hope that as two women creating this music video together we will be able to reach many more people and inspire other women to realize their creative visions fully, and as often, as possible.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2023/03/interview-iva-run-producersingerperform.html

Interview: Dr. Lisa Spencer aka llysa - writer of Bad Syne

ROFFEKE: Bad Syne begins with the graffiti artist saying: “if there are more public places specifically allotted to the public creativity and the public's idea of whatever they want to do with art...in Europe, it’s a lot easier, just walk up to a wall and write on it, no problem, it’s legal.” There is always a tension between freedom of expression and those who want to regulate art. What are your thoughts about this?

DR. LISA SPENCER: The regulation of art is dangerous. In history, we see artists being persecuted because they often were brave enough to express commentary on social and political mores and structures. One of the purposes of art is to make change in thought and in the action of art, the world continues to open up, change, and heal. The freedom of expression should only be regulated by consideration for others in terms of, for example: racism, sexism, exploitation, etc. Governments...have banned forms of religion, language, and art, dance and song, punishable by death. Art’s significance is vast, but its freedom plays a role in human freedom and human rights.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/01/interview-dr-lisa-spencer-aka-llysa.html

Interview: Dr. Nolan Stolz - composer of "Gravitation" (Part 2)

ROFFEKE: Advice for musicians, music scholars and creatives in general?

DR. STOLZ: My advice depends on their goals.
For creatives not relying on their work as their primary income, I say "create the art that you want to exist in the world: music you want to hear, films that you want to see" and so on. If it's mainstream, great! If it's experimental, great! I wish that could be the case for all, but if you are trying to make a living at your art, diversify by finding as many ways to earn an income by providing a needed service. This means you may need to play music you don't like, do lighting for a show you don't like, etc. Doing this is a business choice, not an artistic one. Both are perfectly acceptable, and it depends on the person and the balance that is right for them...

For scholars, know now that you won't make much money off of book sales or royalties. Income from scholarship will come in other ways, such as a teaching position and invited talks. My advice is "write the book [or article, etc.] that you believe should exist but doesn't." There is so much joy in knowing your contribution serves its purpose. It pays off in other ways, sometimes not until years later. If I hadn't written those essays for that collection (which was essentially for free—my payment was a physical copy of the two-volume book), I probably would have never gone to England, France, or Sweden to lecture on Black Sabbath, written the book on Black Sabbath, gotten a personal email from Ozzy Osbourne. . .

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/01/interview-dr-nolan-stolz-composer-of_8.html

Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 1)

ROFFEKE: In your “About Me” page on your website, it is mentioned that you teach piano and music education at middle schools, high schools and music schools. What would you say is the importance of music education in middle school and high school?

FEDERICO SANTINI: I believe that musical activity has an important contribution in strengthening cognitive, emotional, linguistic, motor and relational skills, especially in developmental age, where the brain is still in the training phase. This is why I believe music education in schools is important...the music, by involving the emotional sphere of the individual, especially at an age where this is not yet fully mature, guides him to greater awareness and maturation of the same...Music is also often recognized as having a social and aggregative role. In fact, I have participated in several projects whose main objectives include not so much the students' musical performance but socialization and integration in areas and situations of social hardship. Music urges us to listen to others in order to work in unison and each member of the group or orchestra is important, each one with their part. In essence, I believe that musical activity within schools includes various aspects and substantially integrates the individual's education."

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/02/interview-federico-santini-composer-of.html

Interview: Simone Massi - Director of "in quanto a noi" (From our side)

ROFFEKE: In these hectic times, how do you take care of your mental health?

SIMONE: I try not to follow the media, not to rush. And then I try to take the good in life, accepting defeat and respecting others.

Read the full interview HERE:
http://kenyarockfilmfestivaljournal.blogspot.com/2024/04/interview-simone-massi-director-of-in.html

Global Artivism Conference - September 2024

On September 5^th, 6^th and 7^th, I (Mildred Achoch) attended (virtually) the inaugural Global Artivism Conference which was held in Tshwane, Pretoria, South Africa. It was an entertaining, insightful, inspiring and encouraging three days and I look forward to the next one. Below are some outstanding quotes from the first session of Day 1 and the keynote address. The keynote was by Favianna Rodrigues and was titled “Art, Social Justice and the Radical Imaginary: An Art Talk”

“I give honour to the sacredness of all the journeys which have brought us to this moment where we are gathered here…” – Louisa Zondo (22:20)

“…we also have to create ideas, ideas for the future. We need that novel that is going to help us think different, we need that film…” – Favianna Rodrigues (42:52)

“The African struggle for dignity and freedom, in the mainland and in the diaspora, is unimaginable without the contribution of Motown, Jazz, the Blues, Reggae, Hiphop…” – Professor Maluleke (13:45)

“We must address the scourge of poverty, inequality, corruption, gender-based violence, deteriorating mental health and well-being and the imminent threat of climate change. We must push for the end of genocide…” – Louisa Zondo (28:12)

“…only art and purposeful activism can help us RE-member our broken relationships, broken relationships between humans, broken relationships between men and women, between humans and the environment, between the body, the mind and the soul.” Professor Maluleke (16:41)

“…we are in a battle for the imagination, we are in a battle for understanding history and the impacts of history…” – Favianna Rodrigues (37:22)

“…we acknowledge that our histories connect all of us in many ways, including the tyrannies of colonization, oppression, inequality, marginalization and violence yet we in South Africa know that our liberation depended partly on the solidarity we received from people all over the world.” – Louisa Zondo (27:25)

“We as artists…we have to fight for justice and peace, that is what it means to be an artivist…” – Favianna Rodrigues (46:14)

 “In the beginning, there was art…” – Professor Maluleke (11:44)

You can watch the Day 1 sessions on YouTube:

 

For more information, visit www.globalartivism.com

Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration - Imaginable Futures fireside chat

On June 28th, 2023, I (Mildred Achoch) attended a virtual fireside chat titled “Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration” organized by Imaginable Futures. At the end of this very insightful and educational session, I asked a question related to mental health and activism (minute 46:20). Imaginable Futures summarized the panelists answers at the end of their post about the event. You can read their responses HERE and watch the entire session HERE.

"Show me your budget and I'll show you what you value." (Minute 45:54)

Video Interview: Daniel Lir and Bayou Bennett – directors of “Connection”

Daniel Lir and Bayou Bennett had set the bar high with their short film “Time is Eternal” so my expectations were in the stratosphere as I begun watching “Connection”. They - including the international cast and crew - did not disappoint! I (Mildred) sent Daniel and Bayou the following questions and they answered them in an awesome video. Enjoy!

1. Your short film “Connection” is a beautiful and captivating piece with a strong environmental theme and that spans different countries in different continents. Making films has an impact on the environment. How did you both and the cast/crew take care of the environment during the filming of “Connection”?

2. “Connection” begins with a quote by John Lennon: “A dream you dream alone is only a dream. A dream you dream together is a reality.” The cast and crew of “Connection” is diverse, which serves to enrich the short film. Was this choice part of the writing/pre-production or did it evolve as the project took shape? What inspired this film and the overall vision?

3.  Sticking with the theme of “Connection”, apart from Berite Labelle, Daniel Lir and Bayou Bennett, what are the other connections between this film “Connection” and the short film you previously submitted to ROFFEKE “Time is eternal”?

4.  Africa has 54 countries, including Nigeria, the home of Nollywood. Why Ghana as a location?

5.  If you both were to argue for “Connection” to be included as part of the curriculum in schools/colleges, what would you say?

Interview: Simone Massi - Director of "in quanto a noi" (From our side)

ROFFEKE: You could have chosen to animate something that portrayed lighter themes but “in quanto a noi” (From our side) is about “sixty years of Italian History flow, taking us from one darkness to another”. What is the importance of highlighting darker themes, especially from historical events?

SIMONE MASSI: I could have chosen to talk about lighter themes, it's true, but this is the path I chose from the beginning. The first short film made at school, just under thirty years ago, told the story of the Resistance and fascism. I believe I was the first in Italy to address these issues and I made this choice with awareness of the difficulties and risks. Animated cinema should be a worthy heir to painting, to the studies of Renaissance painters. And they told stories and not jokes.

ROFFEKE: In the 2013 interview by Golden Kuker Sofia regarding a career as an animator, you said that you chose “a difficult job”. Animation is challenging and time-consuming but what are some of the advantages, highlights and fun aspects of being an animator?

SIMONE: There are mainly two advantages: freedom and being able to do a job that I love. How many can say the same thing?

ROFFEKE: In the same 2013 interview, you say you’ve been an animator since 1995. What would you say are the main differences between animation in 1995 and animation in 2024?

SIMONE: In my opinion there are no big differences, I continue to see animation as a splendid opportunity for expression and I continue in the same way, with the sequence shot, the zooms, the metamorphoses... I have taken into account that in the meantime the world is changed a lot and people might see my work as something ancient, out of time.

ROFFEKE: As an animator, what are your views about artificial intelligence and creativity?

SIMONE: What I have noticed is that much of what had been imagined by the writers and directors of science fiction films is coming true. And given that they unanimously prophesied catastrophic scenarios, I cannot hide that I am worried. Throughout its thousand-year history, human beings have never demonstrated wisdom or common sense.

ROFFEKE: Advice for upcoming animators?

SIMONE: I belong to the older generation, which makes everything by hand, without using a computer, it is very difficult to give advice. Instead I have a hope, I hope that upcoming animators try to make their dreams come true without harming others.

ROFFEKE: In these hectic times, how do you take care of your mental health?

SIMONE: I try not to follow the media, not to rush. And then I try to take the good in life, accepting defeat and respecting others.

Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 2)

ROFFEKE: During the 2020 lockdown, the world saw how Italians stood in solidarity with each other through music on their balconies:“In the flat in front of me, a couple with a small child appeared,”…“The mother carried him in her arms while the father played a children’s musical toy. They waved over at us and we waved back. We’ve never met.” (“Balcony singing in solidarity spreads across Italy during lockdown” The Guardian).

Did the lockdown increase your productivity as a composer or did it lessen your productivity? How did you cope during this challenging time? How do you take care of your mental health?

FEDERICO SANTINI: At the school where I worked we started with remote lessons immediately, so the teaching activity never stopped. Unfortunately, not long before I had started having breathing problems which worsened during the lockdown, not being able to rely on medical care. At a certain moment, as directed by the doctor who was worried it could be Covid (the symptoms of the disease at that time were not yet very well known), I had to isolate myself in a couple of rooms for about a month and my activity during that period had stopped completely. During the rest of the lockdown my composition activity remained more or less the same as before, even if the cooperation with the musicians who had to record the songs from the soundtrack took place online.

 Teaching activity became more difficult during the lockdown because the remote learning triggers a series of critical issues. Feedback with students is more difficult on screen. It is difficult to understand if the topics explained are clear and it is also more difficult for the students to interact with the teacher.
For me in that period, communication with loved ones was very important, especially with the Chinese harpist, Siyun Shen, whom I spoke about above [in part 1], with whom I had established a deep friendship. Especially during my period of isolation, Siyun was very close to me and we spent hours every day communicating via Whatsapp, especially with messages since my breathing problems made verbal communication a little difficult.

ROFFEKE: Your thoughts on artificial intelligence and music?

FEDERICO: As far as I'm concerned, I don't use artificial intelligence in composition, I like to take care of every aspect personally. So far I haven't found any really interesting compositions created by artificial intelligence. I think it does well in low and medium-low level compositions but so far I haven't heard any interesting music. However, when A.I. finally will be able, to write some beautiful music, and I think it's a matter of time, I will be very happy to listen to it. But I believe that there are big risks for composers due to the numerous instances where A.I. has been involved in matter of plagiarism. Artificial intelligence operates without awareness of what it means to copy a work, and therefore, which is why many artists are complaining about this.

ROFFEKE: Advice for aspiring composers?

FEDERICO: First of all, I would recommend an in-depth study of the subject. Searching for scores and analyzing the songs you like is a useful tool. Look for qualified teachers to take lessons from. Studying alone is not enough, it is useful to play in many different contexts and enrich yourself with many experiences. It was useful to me, in addition to playing in classical ensembles, being part of rock and pop bands, accompanying Gospel choirs, and so on. I think it is important to make yourself known by interacting with other people as much as possible. Avoid contexts for which you don't have time to prepare, you risk making a bad impression. I would also recommend being fair to other composers and protecting your works before sending them out.

(You can read part 1 of the interview HERE) 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 4)

ROFFEKE: In part 3 of the interview, you said: " In my first "life," I was a musician – 25 years on live stage..." How has being a musician helped you in your work as an animator/filmmaker?

PETER Böving: I can highly recommend this sequence :) As a musician, you learn and practice not only the instrument and theory but also something extremely helpful in filmmaking: a sense of timing! One aspect of my cinematic work focuses on poetry films, with an emphasis on sound poetry and music. I have tested the texts of the poetry films created so far live on stage in various programs over many years. Audience reactions are, of course, an incredible gift: from one performance to another, you can fine-tune your performance, music, and intensity. How many filmmakers have the opportunity to collect so much feedback in the pre-production phase? However, it would be dishonest of me to claim that 25 years ago, I already knew I wanted to incorporate all these experiences into film productions later on. Sometimes, one is also lucky, and things just come together that seemingly belong together.

 

ROFFEKE: Your profile on crew-united.com says that in 2010 you "founded the animation studio "Kloetzchenkino"; from 2006 to 2011 you "held various commissions in the advertising film and music film industry"; in 1999, you "founded the audiobook label "Shower Records"...published numerous CDs in the field of literary dubbing, funk and jazz in the distribution of EICHBORN"; from 1993 to 2003 you "made extensive tours with your own literary program, visited the Goethe-Instituts in Germany, Switzerland, France, Scandinavia, the Baltic States and Russia"; since 1983, you have worked as a musician and since 1990, you have worked as "a composer in the field of theater music, mainly in North Rhine-Westphalia." How do you maintain work-life balance? How do you take care of your mental health?

 

PETER: This may initially seem like a lot to read. However, I've been around for quite a few years, and all these activities are already a bit scattered. It might sound strange when I say that, for my taste, I'm doing far too little. That's exactly what I've been thinking since I became aware that I might have been born into one of the most significant turning points in human history: the digital revolution! There aren't many generations here in Germany that have held printing plates, hand-cut Super 8 films, or learned their craft in an analog studio and later adapted to the digital world. As I mentioned before, it's crucial for me that in a semi-digital animated film, you can almost "smell" the analog production moments. However, this can only be achieved if you feel at home in both worlds. It's the grace of the timing of my birth: a privilege and responsibility at the same time! In just a few years, as AI sets out to conquer the last remaining spaces in cultural creation, people might envy us and possibly wonder why, in this unique time, we produced so much mainstream and had so little courage to develop something exciting.

 

 

Interview: Federico Santini - composer of "Boysong" from the film Quest for Feilong (Part 1)

ROFFEKE: In your “About Me” page on your website, it is mentioned that you teach piano and music education at middle schools, high schools and music schools. What would you say is the importance of music education in middle school and high school?

FEDERICO SANTINI: I believe that musical activity has an important contribution in strengthening cognitive, emotional, linguistic, motor and relational skills, especially in developmental age, where the brain is still in the training phase. This is why I believe music education in schools is important. During the musician's activity, many brain areas are involved, from the auditory to the visual, from the motor to the language. The musician has to coordinate the movement quickly on the basis of what he finds written in the score. Furthermore, in addition to listening to his own playing, he must pay attention in real time to what others are playing, in order to play in time, to establish a joint interpretation of phrasing, etc.

Neuroscientists who have conducted studies on the subject, claim that musicians' brain connections are particularly developed as different brain areas are mobilized which must process stimuli of different nature. In addition, these stimuli and actions also involve the two different hemispheres of the brain, thus strengthening the corpus callosum which acts as a connection. Furthermore, the music, by involving the emotional sphere of the individual, especially at an age where this is not yet fully mature, guides him to greater awareness and maturation of the same. In the school program I often also include the topic of music used for advertising purposes. The advertising message, packaged in such a way as to appeal to emotional involvement, generally sees the youngest people as the most vulnerable because they still lack defense tools, so I try to explain some of the mechanisms to them, especially from the point of view of the advertising jingle.

Music is also often recognized as having a social and aggregative role. In fact, I have participated in several projects whose main objectives include not so much the students' musical performance but socialization and integration in areas and situations of social hardship. Music urges us to listen to others in order to work in unison and each member of the group or orchestra is important, each one with their part. In essence, I believe that musical activity within schools includes various aspects and substantially integrates the individual's education.

ROFFEKE: You have composed soundtracks for theatrical performances, advertisements, festivals, video games and short films like “Quest for Feilong” (song: Boysong). What elements of composing remain the same across all these different types of media and what elements differ, for example, differences between composing for a video game and composing for a short film?

FEDERICO: I think that the basis for all composition activity should be a systematic and in-depth study of harmony and composition in general. I think training based on classical principles is indispensable, but for a wider view I believe we need to grasp the harmonic principles linked to different techniques and deepen into the specific languages of many genres. In general, the different techniques of composition learned have served me for all kinds of composition.

The main differences, however, regarding music for video games compared to that of short films concern the interaction on the part of the player. When I write for short films (whether animated or live action) I have the precise timing of the scene and I can work on the synchronization between music and images. This happens both if the complete film is already provided to me and if I work with the animatic. In a video game, however, I have to predict the player's possible actions during the composition phase and make sure that the music can adapt accordingly. This can be done in a more or less complex way. A very simple example (but in my opinion not always effective) is the crossfade: one music fades out while the other is fading in. A more complex technique is to create a bridge between two different pieces of music. It is a harder task where several points must be foreseen in which the first music can transition to a short jingle that connects to the second music. Another method is to create a soundtrack with different rhythms and then move from a quieter mood to a brighter one.

Another substantial difference is the length of time the soundtrack is listened to. While a film generally lasts from an hour and a half to three hours, a video game can be played for more than 80 hours and the risk of monotony is very high . To overcome this, there will have to be moments where the music must remain as a constant background and then rise in the salient moments where it becomes more relevant.

ROFFEKE: Boysong is from the short film Quest for Feilong: “…created to promote integration in Prato where a strong presence of the immigration phenomenon takes place. Students of different ethnic groups participated, together with their teachers, in the making of the film, which touches on the issue of migration/integration.” Apart from this project “Quest for Feilong” and you teaching music abroad, how else has your musical journey helped you to interact with people from different communities and cultures?

FEDERICO: I went to a conference in Pakistan a couple of months ago to talk about music in education and I had the opportunity to meet colleagues teachers and musicians with whom we exchanged ideas, ways of working and organizing school. Musical activity also allowed me to play with people from different cultures. For a few years, for example, I have been playing in a duo with a Chinese harpist who in the meantime has also become a dear friend. I had the opportunity to collaborate with directors from countries other than mine or to play during exhibitions with artists of different nationalities.

(Look out for Part 2 of the interview).