Monthly Archives: February 2008

Don’t Worry, I’m an Amateur Astronomer

Carlos dropped by around noon to grab a couple of pick-up shots for his Chort/Shorts trilogy. The problem was, his actor Christopher had changed his hair. He’d been involved in some sort of fashion event called Hairstory. His mom, Annette (of Rome Talent Agency), had explained to Carlos that her son now had frosted tips on his hair.

As we waited for mother and son to search the beauty stores for a quick hair fix, Amy stopped by with a couple of her kids. She was waiting to pick up her son, Douglas, who’s in the Say Si youth arts program a few blocks away. Amy was willing to help out in the hair transformation, but by the time Annette and Christopher showed up, Amy had to scoot. Annette, however, felt confident that she could get Christopher’s hair back to the original black.

I’d wanted to take before-and-after photos, but before I could get a shot of Christopher’s very very blond look, I looked up and saw him using the driver’s side mirror on my truck as he began spraying on black temp dye from an aerosol can.

At least I got a few shots of Annette blasting him with the color.

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Carlos got his shots over fairly quickly.

I still had enough time to grab the daily lunch special over at Pepe’s cafe just before they closed, and then I headed a couple blocks down to Urban-15.

George had invited me over to watch the Spirit Awards on the big rear projection TV he has set up in the basement space. I’m usually inclined to make a pass on awards shows (for example, I will not be watching the Oscars tomorrow — I just don’t care). But one of the films nominated for the Spirit’s John Cassavetes Award (which is given out to the best feature made for under $500,000) was Chris Eska’s feature film, August Evening.

The film was shot in Gonzales, Texas, but it has some strong San Antonio ties. The Cisneros helped out the best they could by letting Chris use their Urban-15 studios for casting and what not.

Sadly, I still haven’t seen the film. Last I heard, the distributor (Maya, I believe, picked it up), will be screening it locally sometime in May. I guess I’ll have to wait until then.

But the best thing is, August Evening won the Cassavetes award!

Congratulations, Chris Eska! He took to the stage and made a very sweet and humble speech. Sometimes great things happen to good people.

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The fact that the For Lease sign disappeared from in front of my house a couple of weeks ago should have prepared me for the third apartment in this triplex to get an occupant. But I waited and waited and I guess I forgot about it.

But it happened today. Someone is in there. One person? A couple? I don’t know yet. All I know is I can’t lurk at the back of the driveway or in the backyard with my big-ass astronomy binoculars. And I completely understand. Even I wouldn’t want to peek out my bedroom window and see this.

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“Don’t mind me, I’m just checking out M52. You know, the stellar cluster in Cassiopeia.”

Uhuh. And in some nearby precinct house a Taser, with my name on it, is nestled in its charger cradle.

Dreams, Nightmares, and the Moon … in a Box

Thursday

Perhaps I should read my own blog. I was all set to watch the full lunar eclipse tonight (Thursday, Feb. 21) — hell, I even went so far as to tell people today to look to the heavens. And at 10pm tonight I wondered, hmm, just when is this thing supposed to start? And I looked back at my last blog entry.

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The answer? Well, here’s the short version.

It was supposed to start yesterday, dumb ass! You missed it.

Jeeze! Oh, well. I did get a nice quote. I was walking across the parking-lot behind Casa Chiapas with a certain Ms. Y- and I pointed up at the lovely full moon. “There’s going to be a total lunar eclipse tonight. You might want to take a look at it later.” She smiled and drifted back down the years. “I remember when I was a little girl,” she said wistfully, “and we’d watch the eclipse of the moon through a box.” I looked over at her. “You mean the sun, right?” “Pardon?” “Oh, never mind.”

Of course, I don’t come out any better in this story. Off by a whole damn day. Shit!

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Members of the local chapter of NALIP met Thursday night at Casa Chiapas.

(For those out of the loop, NALIP stands for the National Association of Latino Independent Producers. I really wish NALIP would replace the word “of” with “for.” Having grown up around feminist activists, I became sensitive at an early age to the fact that NOW stands for “National Organization FOR Woman,” and I continue to be amazed when people who should know better mistakenly use the word “of” rather than “for” — it changes things quite a bit, doesn’t it?)

One of the items on the agenda was the election of a new board of officers. Roger Castillo was running things. He was functioning as the interim president for the second time in a year. 2007 had been a rather tumultuous year for the leadership of NALIP-SA. However, we’d still kept close to the planned schedule of events.

When the question of a nomination of for the executive chairperson came up, Veronica Hernandez was nominated. I thought that was appropriate enough. She accepted. There were no other nominations for that position. Roger then explained that we would go through a process where members in attendance would nominate the rest of the officers. NALIP-SA has been functioning with a board of four officers. Executive Chair, Vice Chair, Secretary, and Treasurer. We would all nominate a slate of potential officers, and then each member would cast a ballot for their three favorites. The three with the most numbers of votes would, in essence, exist as officers at large, until they met together and decided who would fulfill each position.

Veronica jumped in and took me by surprise by nominating me, one of the very few token guerros on the roll of NALIP-SA. I was tempted to politely decline. But the reason I joined NALIP and the reason I attended all the meetings and events was because I wanted to help out in an organization whose mission statement fit so well with what I have been doing and wanted to continue to do in the media world. So, I said, sure, wholly expecting not to win enough votes.

There was some confusion when both Dora and Manuel were nominated. They have been the heart of NALIP-SA for years. But, as husband and wife, with kids, projects, and day jobs, they took a moment for a mini confab. They decided that only one would accept a nomination — the idea, I assume, was that someone would have to look after the kids. Manuel accepted the nomination.

Laura was nominated. She’s been at the center of this chapter for years — she’s worked tirelessly to program years worth of events. I could see she was really conflicted. She’s in the midst of some very ambitious projects which are already enjoying a great deal of attention. She finally shook her head, no. She just had too much on her plate.

And then someone nominated both Victor and Sandra. They had actually showed up to pitch the CineFestival. They been conscripted to run the festival this year. They are long time NALIP members, but recently relocated here from California. Of the many things they do, they help run the media program over at the San Anto Cultural Arts Center. I’d meet Victor and his wife Sandra (AKA, Pocha) while running the JYMF as well as the 48HFP. They’re great people. (Check out Aztecgoldtv.com for some of the video madness they create as a side project.)

And that was it. There were four nominees for three positions. Me, Manuel, Victor, and Sandra.

I felt pretty confident. I mean, there was no way I could win this. In fact, I was tempted to cast my three votes for Manuel, Victor, and Sandra. They were really good choices. But then I realized, ’tis a jackass who doesn’t vote for himself.

And so, I teased two out of those three excellent choices and added them to the my ballot form. Then wrote my own name on the final line.

As Roger tabulated up the results, I turned to Dora and got up to speed on her feature, Dream Healer. It’s still in post, being edited by her DP down in Mexico.

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Eventually, Roger cleared his throat. The room fell silent. My name was mentioned first. Fuck. I was selected. Oh, well, it’s always nice to be wanted. The other two names were Sandra and Manuel.

On the plus side, I’m now in a group with three people I feel comfortable working with, and with whom I feel confident we can continue the great work that Dora, Laura, Lisa, Roger, TJ, and all the other hard-working key members brought to NALIP-SA. I’m glad that Manuel made the cut. He will serve this new board with an important element of continuity.

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Last night it took forever to get to sleep. I kept drifting off, and then some noise would wake me up. What was it? A scratching — a sort of clawing, rattling noise. I pulled back awake, and waited breathlessly in the dark, listening. But, nothing. And as I began breathing again — dammit, there it was! The noise was coming from my lungs, not some squirrel scrabbling around in the walls. Too much mucosal fluids in the old bronchial tubes. But, you know? Nothing I can do about it. At one a.m. I sure as shit wasn’t going to get dressed and drive four miles to fucking WalMart to get some NyQuil. So, I opened that deathly dull Chesterton short story collection from the library I still haven’t read. I hoped it’d serve well as literary NyQuil … sans the expectorant. Actually, it turned out to be pretty fun, once you got into the rhythm of his prose.

Eventually I managed to fall asleep.

I had a series of strange and vibrant dreams. One of the images that stood out was of a nighttime scene. If it were a movie, it’d be a point-of-view shot. It was like I was sitting in the front seat of a car, at night. The car was driving through a forest (and I’m still not sure if we were on an actual road, or if we were like just, you know, driving through a wild forest). The trees were huge and old, like redwoods. But they were lighted — the trees were — brightly and irrationally. This was not light from headlights. Do you remember that montage of the night driving scene in Thelma and Louise? They’re going through the desert and the distant buttes and mountains and huge rocks were lit, in a weird moment of fantasy, by magnesium military flares floating to the earth by parachute. These trees were similarly lit by some unlikely and powerful source.

Around six in the morning I must have coughed mys
elf awake. There was a bit of weak sunlight coming in from the windows. I got out of bed and walked into the bathroom and choked down a couple of aspirin. My throat was raw and sore and my head wasn’t feeling too great either.

I crawled back into bed.

I soon drifted into a dream where I was sitting in a conference room with several well-dressed but skeptical men.

“This is a visual set-piece,” I was telling them. “Visual and visceral, and it’s a killer. Actually, it came from a dream I had. We have this main character in the passenger seat of a car. He’s exhausted, and he keeps nodding off. Finally, he pulls back, wide awake, He sees through the dashboard these huge Sequoias — you know, California pine trees. But they’re lit powerfully from something more heavy-duty than headlights. Is there, perhaps, some bright-lit UFO hovering over the car? I mean, damn, it’s an aesthetic moment! How can we make this dream come alive, gentlemen? How?”

I don’t recall how this Hollywood pitch session ended. Most likely the dream morphed into something fundamentally unrelated, such as moo shu pork or Evel Knievel’s house slippers. But this is the first time I have ever recalled where I had a dream which referenced a previous dream.

Freaky.

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Friday.

Today I headed over to Urban-15 for a quick up-date with the Josiah Youth Media Festival. I also wanted to see about using the courtyard for an upcoming shoot for my short piece commissioned for the Luminaria arts festival, March 15.

It’s going to be very very good.

And the festival shouldn’t be too shabby, either. Try and make it out.

Later in the afternoon I drove over to the auditions being held for Sam Lerma’s four part PSAs for the second annual SAL film festival.

(The current issue of Connexion features four local filmmakers: Dora Pena, Pablo Veliz, Laura Varela, and Bryan Ortiz. They are all excellent artists, involved in some promising work. But it’s sad that the man who is perhaps this city’s best filmmaker, Sam Lerma, is mostly known only by other local film folks.)

I was there to help out Dar, and also because I’m on-board as unspecific crew for the video promos. Sam’s directing; Russ is shooting; I’m doing most everything else (and don’t think I can’t make a mean peanut butter sandwich, ’cause I can).

The auditions were being held at Nightmare on Grayson, San Antonio’s best seasonal haunted house. It was a last minute decision to hold it there, because SAL founder Dar Miller is a friend of the guys who run the place. And, like the rest of us in the San Antonio film community, we are hard pressed to find space. This needs to be remedied. Holding auditions in your home, a rented room at the public library, a park, or the food court of a shopping mall (and I’ve know all these to happen) is no way to operate. The city government and it’s supposed desire to support the arts is fucking useless. And all the local film groups who have their own spaces and are always flaunting their desire to help out, quickly make themselves scare when you take them at their word and try and negotiate for use of their facilities.

Guys, if you can’t make it happen, don’t offer to make it happen.

Anyway, Dar actually arranged for a very cool place to hold the auditions. If you haven’t visited Nightmare on Grayson, mark your calendar for this coming fall.

Michael Druck did an excellent job coordinating the audition. (Thanks Druck — and thanks PrimaDonna Productions!) I didn’t count up all the names, but I think it was something like 14 actors. I saw some people I knew. Good to see you Rainya, Venda, and Stephen. There were also a few people I didn’t know I had worked with before. There was a woman who was an extra on a shot film where I was the DP. Another actress was in a short film that screened twice in a festival I produced.

I think Sam has what he needs from this pool. The three (or is it four?) leads, as well as the brace of extras.

I think it was a very productive evening.

Bombastic Camp Under a Bright Moon

Yesterday night I had a very nice time at the offices of Prima Donna Productions. I was a featured guest for their monthly Hot Meal/Cold Read series.

It seems to have really caught on, even though it’s just at the second month so far. There is a cap of only ten attendees. The events fill up fast, Nikki tells me. Tonight we had nine actors — one wasn’t able to make it. They ranged from seasoned veterans, to new-comers, to people returning to acting after long absences.

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Just by luck, I managed to bring the perfect amount of material. Nine actors, seven selections — and two of the selections were dialogues. Everyone got words just for them. I had forgotten how cool it is to heard other people read words I have written.

When things are going well, there’s this weird necromancy involved in the writing process. It’s just you, scribbling on paper or tapping away at plastic keys. And some times, somehow, you create something as real and vital as the table you’re sitting at or that mosquito buzzing in your ear. They’re not just words any more, you’ve generated the real deal, alive and frisky.

But a whole new form of alchemy begins to form when you bring in actors to use those words of yours and they make something precious out of the base metals and dross of your work. You might discover that a serious piece of poignant confession is actually an absurdist comedic riff. Maybe you learn that three pages of clever banter is nothing of the sort. Perhaps a sensitive actor shows you that your scene of slapstick bafoonery plays so much better as dry deadpan.

I love those moments when I work with actors and, after I call “cut,” I have to tell them I never knew that one of their character’s lines was supposed to be funny, and if it succeeded within the scene, I say thank you, thank you so much. A filmmaker who can’t learn from his actors is a fool and a hack.

The two guys who read my three page micro one-act I’m planning for the Olvidate del Alamo show were so perfect. And usually I try and set myself up, as often as possible, for color-blind casting, but this particular piece needs two white guys, to help sell a sociopolitical message, and also convey a certain sense of historical realism. But the two wonderful performers were Latino, and African-American. But, man, I need to think this through. Maybe it WOULD work with them.

And then there was my Luminaria piece. I wanted a man to do the narrative voice-over. (I had been thinking along the lines of Orson Wells from his days hawking Paul Masson, and if you’re old enough you’ll recall those commercials wherein Wells in his most baritone Falstaffian slurs of inebriation would intone that “we will sell no wine before it’s time”.) But the actress I gave it to was so phenomenal, I had to cast her. There on the spot. Normally I would let Nikki contact her so the woman might be able to gracefully decline (I mean, I’m not so egotistical that I don’t think that there are people who, after seeing the admittedly amateurishness of my film work, might decide between NO and HELL NO.) But I couldn’t hold my tongue.

Before she did her reading, I explained to her that the piece was supposed to be pretentious, and she should chew scenery like a terrier going after the wainscoting. “Preposterously over-the-top,” I believe I added.

Jesus. It was sublime. I didn’t know the piece was that strong and that hilarious. It was something I hammered out the other night, basically in real time, as fast as my fingers can fly over the keyboards (which, admittedly, isn’t so very fast, as I believe only about five of these ten fingers really know where the right keys are).

Below we have the three blocks of the piece:

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Ever since we climbed down from the trees all those millions of years ago, we have continued to look back up. The sky held all our hope for light and fire. The blazing sun and the heavenly bodies at night provided light. And even fire came down from above in the form of lightening strikes on a dry prairie. He who could harness the magic of the heavens would be worshipped by a primitive society that placed such value on the communal hearth which could cook food, warm bodies, frighten away wild beasts, and provide light to the darkest midnight.

Ever since we first transformed a hunk of flint into a spearpoint we have worked to modify and improve our tools so that with little more than a flick of a finger or a thumb we could turn night into day or have the very primal fire leap from our hands as a simple gift to give another. It is this ease, this natural genius for invention, that marks our species as vastly superior to the baser animals.

Ever since James Pillans invented the chalkboard in 1798 we have been breaking the very the stuff of nature on the anvil of Science and Mathematics until the finest detritus we could observe became little more than probabilistic wave-forms that may or may not exist, depending upon the tools of observation. We have snaked an outlet cord so far down into the realm beneath the subatomic strata, that were we to succeed in tapping that reservoir, we could shine light onto the darkest midnight between the galaxies.

Perhaps … just perhaps.

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If you can get a talented actress to pile up the ham so that her reading makes Phyllis Diller look like Helen Mirren, you’re on to something. What I got was more than I could ever have hoped for. Bombastic camp, yet still a element of grandeur that made the hairs on my neck stir.

What fun!

And great food, you know, for the Hot Meal part of the evening.

Great job, Nikki!

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Back home I sprawled out in the bed of my truck and aimed my star-gazing binoculars at the near-full moon. It is just so insanely silver and bright. The southern Tycho crater shines as albino scar tissue spreading out to the darkening region of the Mare Nubium. Under magnification, the moon looks so naked and exposed. It can only hide when it’s in our shadow.

Speaking of our shadow, Wednesday night — this Wednesday, the 20th — there will a full lunar eclipse. Head outside and check it out. Here in San Antonio the action begins at about 7:45. The moon will be in full eclipse for almost an hour from 9 until just before 10. And everything should be over by about 11.

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Today was a postal holiday. President’s Day (or as we like to call it ’round this parts for the last seven years or so, “Fuck Off and Die Day”). At the risk of further offending federal employees, this Monday holiday stuff really throws my NetFlix cycle out of whack. I won’t be receiving Nicholas Ray’s In a Lonely Place until Wednesday or Thursday. What an ordeal!

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Actually, tonight I drove to the post office to stick the prepaid mailer in the box. But the gigantic outside mailbox (there’s just one) was super-stuffed with all of Sunday and Monday (probably mostly DVDs in prepaid mailers), and my piece of mail would be left there, sticking out for anyone to swipe. And were that to happen, I’d be waiting forever for In a Lonely Place. Screw it, I’ll just clip it to my mailbox in the morning (and hope no one but the mailman swipes it).

The DVD I’m currently lugging around with me is Terrance Malick’s Days of Heaven. For some reason I had never seen this film. Malick’s previous film, Badlands, had a major impact on me. What a breathtakingly beautiful movie. The best performances we’ve yet to
see from both Sissy Spacek and Martin Sheen. How did Malick feed us the passions of love and violence which was presented as absolutely banal, and yet every second of the film was compelling and vital? Badlands kicks ass!

Days of Heaven had, for me, a serious strike against it. I find Richard Gere to be one of the most wooden actors Hollywood has foisted on the world. Yes, I understand that many people find his “pretty boy” credentials flawless, but I’m not swayed by a pretty face with soulless eyes.

But it was a treat to see Sam Shepherd, and so young — he’s always an excellent actor. Brooke Adams was also amazing. One of the great crimes of the 20th century is that Brooke Adams never broke through to feature film stardom. I was also very impressed by Linda Manz. She played the kid sister to Gere’s character. Apparently Malick decided to scrap most of the dialogue in the final edit, bringing Manz into the recording studio to provide voice-over narration (much of it improvised by the 15 year-old actress). Manz’s odd dialect choice (maybe that’s really the way she talks???) is a bit hard to sit through. But her performance is absolutely compelling. There is something so terrifying about this little girl and at the same time something so natural. It’s little surprise that Harmony Korine decided to track down this former child actress and cast her in his film, Gummo. (A friend gave me a copy of Gummo years ago, and I found it’s inherent cruelty so disturbing that I could only watch it for about ten minutes at a time. Maybe I need to squirm my way through it again just to watch Linda Manz.)

I think Days of Heaven is cluttered, convoluted, and ultimately unsuccessful. To acknowledge it as a beautiful movie is a gross understatement. The extraordinary cinematography alone makes it a film I can highly recommend. But I think the story and the characters became over-shadowed by the location, photography, and the grand set pieces. But maybe it was just that I had to keep looking at Richard fucking Gere that so irked me.

Also, I was having problems with the setting. The film was supposedly set in the Texas panhandle. But it was filmed in Alberta. Alberta doesn’t look like Texas. And Malick, a Texan from way back, knew this. Nothing about the film would have suffered if they said they were on a farm in Alberta. And to make matters worse, the very first time we see this Texas farm house, we know we’re in Texas because the house has a flag pole out front. But for this quick shot, the art department screwed up and hung the Texas flag upside down. It was remedied in all the other shots featuring the flag, but it did set the tone (unconsciously, I presume) that we weren’t really in Texas.

Tired of Texcentric Heroism?

For the last month and a half it seems so many people I know have been hacking and groaning and tossing back all manner of cold and flue medicine. I had felt quite lucky in having avoided this current pestilence. In fact, mid-week I’d woken to a bit of a sore throat. I quickly swallowed a massive amount of vitamin C (which probably has as much impact on the common cold as touching wood), and seemingly snookered the early infestation. Obviously I placed too much faith in Linus Pauling’s ideas on self-medication, because I woke up Friday with a nasty cough and even less energy than I normally can manage in the morning.

However I did succeed in pulling it together enough to make it to Circuit City. By combining a Circuit City gift card (payment for a particular dog-walking stint) with some birthday money, I knew I had enough to buy an external DVD burner to replace the ailing one in my computer. But it turned out much as I expected. There were very few brands on the shelves compatible with Mac. And of those, all demanded the most recent Mac operating system. This technological ageism is getting tiresome. Sign me up for the class action suit.

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Wednesday’s excursion to check out the location for the film component of the Luminaria festival was great fun. Much of the ground floor of the Kress building is currently unoccupied. It’s maybe ten stories high. Generic decoesque design. I’d guess it was build in the 1930s.

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There are three large display windows so that film work can be displayed onto the street. The plan is to place 42 inch plasma monitors in each window. I was a bit disappointed. I was hoping for larger, rear-projection screens. The next area is a lobby of what I believed used to be a club. There’s a little angled stage, and a small bar area. The idea is to place a large screen in this room and hang a video projector. And then we were all taken down this corridor which I believe was supposed to resemble a New Orleans street. There were faux brick walls and lighting fixtures sconced out from the walls in the style of lead-framed gas street lights. But even this kitschery didn’t prepare me for the sheer vertiguous aesthetic abomination that was the larger club room we entered next. I believe I gasped and said something like, “Oh my goodness, this is awful!” Followed by: “I love it!”

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It’s a large space, and it was poorly lit by a single sodium vapor industrial light in the ceiling (clearly the “house” light that would be turned on back when this was a dance club so that the patrons would know it was time to leave — you know, when the low atmospheric lighting is blasted out by this unflattering glare which flashes off the puddles of vomit in the corners and lets you finally see that the amorous guy or gal desperately clutching your elbow bares an uncanny resemblance to Walter Brennen). Anyway, I would have taken more pictures, but that monster light still wasn’t bright enough for my little camera, and the flash would have been wasted because the space was too big.

It was done up all Miami pastel deco, but very cursory and minimal. The sort of thing that happens when the club owner has installed the wrap-around mezzanine cat-walk, a large sunken dance floor in the center of the space, a smaller balcony dance floor, an island bar the size of a garbage truck, a dozen cozy booths, and he turns to the anemic manic-depressive first year associate from the interior design firm and says, “Oh, yeah, we want this place to look like Miami Beach, but we only have $500 left in the budget.”

This space is going to be used for longer films. A large screen will be brought in. And, like the lobby, the works will be shown via a video projector. I tried to remain positive. Meaning I kept my mouth shut as much as possible. But I could tell that the acoustics of this place were miserable. Sure, it probably worked great back in the early ’90s with house music cranked to vibrate the fillings in the mouths of coked-out debutantes and failed MBAs with the keys to daddy’s Mercedes … but the audio tracks of amateur films? No way,

One of the artists kept asking questions. He wasn’t seeing it. He asked about installation works. I knew exactly what he was envisioning — the sort of gallery set-up that allowed for the peripatetic viewing.

“There are these windows in the hallway,” I said, meaning the New Orleans corridor. “You could frost them and back-project your work.”

He really got into the idea. Actually there were three such windows. The other side was in a room which we were not allowed to use. But it seemed possible that we could use it to set up equipment in — just not let audience members inside. It sounded intriguing.

I might try and get my piece on one of those interior windows.

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I found myself pulled into another behind-the-scenes Luminaria situation.

Thursday I stopped by Urban-15 to talk with George and Catherine about the 2008 Josiah Youth Media Festival. I hadn’t made an appointment, and was prepared to drop by later if that had something scheduled.

I was a bit taken aback in that they had two major meetings planned. But now that I guess I’ve been folded into the Urban-15 family, they just assumed I’d stick around.

Upstairs in the performance space Catherine was meeting with two architects from the firm working on their renovation plans as well as an invited guest from the County Commissioner’s Office. They had the floor plans, artist renderings, and associated images all on easels. There was also a really cool cardboard model. It never even occurred to me to take a photo of it. This might be because as this is still in the early stages where Urban-15 is seeking funding and community support, I’m not sure if the full scale and ambition of their renovation is yet ready for public consumption.

Meeting number two was down in the basement. George is helping to coordinate the performance side of the Luminaria festival. There are half a dozen stages scattered around the downtown area that George and a few other folks from the local arts community are over-seeing.

There’s a shit load of stuff that’s going to be happening on March 15th. And I mean even after all the shit that will be happening earlier that day in downtown San Antonio. Because, um, well, it’s St. Patrick’s Day.

This would be a massive cluster fuck for so many other large cities. But even though, as I understand things, this scheduling cock-up with St. Paddy was simply a perplexing oversight, the truth is, San Antonio does this sort of massive crowd control, street closings, and parade productions all the time. We’ve got Fiesta, a ten day bacchanalia of parades, festivals, and abject madness. We have the country’s largest MLK march. Monthly art street fairs on both Houston Street and Alamo Street. We march massively for Cesar Chavez. We run for breast cancer one day a year all around downtown where cars can’t drive. And we have at least two major parades that float down the San Antonio River. Oh, and as one of the three members of Proyecto Locos, I was instrumental in the creation of the parade down Fredericksburg Road back in 2006 for the Dia de los Artistas festival … although my friend Deborah did most all the work. And, man, there are so many other large public events I’m not even thinking of. San Antonio loves a p
arty, big or small, preferably outside, with music and barbecue.

Personally, I don’t think this city needs another damn parade or festival. It just creates another day I can’t drive through downtown. But, when I get grouchy about these sorts of public spectacles, all I need to do is attend the events — after seeing elderly couples drinking beer from plastic cups while they dance, people walking their Chihuahuas and Labradors in outrageous costumes, and people of all ages and backgrounds joyously making music together, I guess I can excuse the occasional street closure.

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Tomorrow I’m a featured guest over at the offices of Prima Donna Productions (check them out, over in the old El Cid Building, which is still, though just barely, within loop 410, and therefore safely inside my boycott zone). Um, where was I?

Oh. Yeah. PDP has begun their monthly “Hot Meals, Cold Reads” events. Actors sign up for the event — and I believe there are only ten slots each month. Here, let me poach from the website:

“This program gives local actors a chance improve their auditioning skills by learning from the pros. The next class is on the topic of Indie Short Films, and will be taught by director Erik Bosse.”

I’m flattered. Nikki and the gang are clearly stretching the definition of “pros.”

Anyway, the idea is for me to give some sort of palaver — you know, my name is such and so and I do this and that. And then I hand out “sides,” this is the production term for printed material that actors are given to read from during auditions. Oh, yeah, there is also a provided hot meal.

Actually, I’m not sure if I’m supposed to blather on a bit about who I am, but it doesn’t matter. If needed, I can do this off the cuff.

Every now and then I have to remind myself how far I’ve come from suffering crippling shyness (which, over the years I’ve seen slowly erode, so that by the time I entered my fourth decade, is almost gone for good … unless, of course, I’m trying to talk to a cute girl). I’m not particularly good at extemporaneous speaking. Yes, I know I’m not horrible. But the great lesson I’ve learned somewhere along the way is that if I’m only mediocre, well, that’s good enough. When Lorenzo Lopez arranged for me to appear on a San Antonio morning TV show last year to help promote the 48 Hour Film Project, I said, great. I had no trouble sleeping that night. I didn’t try to prepare myself. I just showed up, chatted when the red light came on, and, afterwards, still had enough presence of mind to take of photo of the host there in the studio. No way could I have done that in my teens, twenties, or thirties. Self-confidence is indeed an idiosyncratic commodity, some people seem to have it straight out of the womb, while others of us have to build it piece by piece over time.

For this “Hot Meal / Cold Read,” I’ve printed out seven sides. They range from older works, to new works-in-progress. I had hoped to use this as an opportunity to workshop scenes from a feature script I’m working on, tentatively entitled, “Tunnels Under the Tower.” But some of the scenes were very short and didn’t give actors much meat to chew on.

So, I pulled two from that piece which I thought strong. I should point out that Nikki told me the names of some of the actors who would be attending. I know some. And so, I tried to make sure that some of my sides would fit certain gender and age categories.

There’s a woman I know who can play older than she looks. And there’s two teen girls. So, I made sure to provide a couple of routines to fit them.

I printed up a few compressed short prose pieces of mine. They’re first person narrations, so they make good monologues. And then I printed up the opening for my novel-in-progress, “Shadows Where the Darkness Was,” because it’s a first person narration of a female character.

And I also plan to take the scripts for two super short pieces I plan to shoot in the next three weeks. Maybe I’ll find the perfect actor. One is for an on-camera monologue that also will serve as a voice-over narration (this is my Luminaria piece); the other is a two man little one-act I want to pull off in a single take for the up-coming Olvidate del Alamo show that Ramon Vasquez y Sanchez curates every year as a purgative counter-point to all the giddy feel-good Texas nationalistic bullshit that the Daughters of the Texas Republic generate each year during this period of those “13 Days of Glory,” February 23 — March 6, when the Alamo was besieged. And for many years Ramon, and the gallery he founded (Centro Cultural Aztlan), celebrated not this Texcentric heroism, but instead, the sly, winking ambiguity you ultimately arrive at when you look history full in the face.

Remember the Alamo? Naw. Olvidate del Alamo.

Watch this space for show times.

Fact: The Brontosaurus Never Ate Grapes

Sunday morning Jorge stopped by to treat me to a birthday breakfast. We headed to Pepe’s Cafe, and had a very pleasant hour or so of talking about this and that. Thanks so much, Jorge!

But I had to get back to the house because Carlos was stopping by to shoot some scenes from his trilogy of short films collectively titled Chort/Shorts. Armando showed up. He’s one of Carlos’ regular actors. I consider Armando to be one of the finer non-actors acting in town. He has no training that I know of, but his intuition is usually correct. Also, we had Christopher on set as an actor. He’s the son of Annette Romo Schaefer — Annette’s an actor herself, but she also run’s Rome Talent Agency. Chris is still in high school, but he has a very strong presence. He’s professional, focused, and damn quick if improv is needed.

There was also Carlos’ little girl, Rockie. It fell upon me to do more in the line of childcare than helping Carlos in a crew capacity. The best bit was when Rockie wanted to go for a walk. About two blocks down Guenther we came upon a little girl with what I at first thought was a lemonade stand. As we got closer I read the sign.

“Cookies or Grapes, 50 cents.”

The little girl might have been even younger than Rockie. But her mom was there. I asked for two orders of grapes. The girl filled a sandwich bag with grapes, and she handed it to Rockie. She began filling up another bag, and I noticed an elderly gentleman from the neighborhood as he walked up behind us, smiling.

“Hurry, honey,” the little girl’s mother said, giggling at the whole absurd thing. “We’ve got a line.”

As the kid was putting grapes in my bag I turned to the mother.

“I feel I should ask, but has she washed her hands?”

“Oh yes.” And then she smiled. “She also washed the grapes.”

I was waiting for the kid to pipe up irrepressibly with the phrase, “with laundry soap,” but she was all business.

I took my bag of grapes. Paid my dollar. And as me and Rockie walked away, I mentioned something to Rockie about how that little girl had just made a dollar, thinking this might be a learning experience. “Yes,” Rockie acknowledged. But then, of course, she began talking about dinosaurs. Apparently dinosaurs don’t eat grapes.

“Not even the Apatosaurus?” I asked.

“No.”

That seemed like quite a broad statement to make. I’m sure there’s not a single Brontosaurus (what old fucks like myself call the Apatosaurus) who would turn nose up at a succulent cluster of grapes drooping upon the vine. And then I remembered that grapes, and all flowering plants (the angiosperms), didn’t begin even their most rudimentary evolution until many of the dinosaurs were well into extinction.

Chalk one up to the girl with the grapes.

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Monday afternoon I took the trolly downtown to attend an artist orientation meeting for the upcoming Luminaria fest.

The meeting was being run by people from something called CE. A quick snoop on the internet, and I’m assuming these folks were from the marketing and public relations firm, the CE Group (Communications and Events). They have offices in both San Antonio and Austin.

I’m curious as to when they were brought aboard. The main woman hustling so much of the hot air from up at the podium had her boosterism dial cranked up to 11, just a hair clockward of the “Amphetamine Weather Girl” setting.

When some guy in the audience wondered aloud — during the Q&A session — “why had it been decided to have this arts event during the week of SXSW, the biggest arts festival in the state, and on the VERY DAY of a downtown San Antonio St. Patrick’s parade?” The CE woman did her job nobly, and fell on a sword of someone else’s responsibility by simpering effusively. She apologized for a scheduling decision that most likely came out of the mayor’s office … or some other city organization.

In the world of public relations, you get what you pay for. And, man, CE was delivering the goods.

I was, however, heartened to hear George Cisneros’ name mentioned several times as the man who came up with the name of the festival. It’s a great name and he should get the credit.

I saw representatives from several theater companies (Blue Frog, Majik Children’s Theatre, Jump-Start, La Collectiva), a dance company (Urban-15), cultural organizations (Guadalupe Cultural Arts Center, American Indians in Texas), film (NALIP), printing (Stone Metal Press) … but I only saw one person who I knew that was planning to create a work as an individual artist. True there were obviously individual artists in attendance, but just none I knew. Most of the painters and sculptures of my acquaintance who I’d spoken with in the last months about this first annual arts festival had been curious, but after they looked at the information on the web site realized there was no place for the sort of work they did.

I hope this unforgivable oversight into basic community outreach is remedied for next year.

When the cheerleading and the question and answer period ended, we were all broken up into groups. Dora Pena had been selected to oversee the film people. An excellent choice. And as we — the folks in her group — gathered to one side of the room, I noticed that poor Dora had made the mistake of backing herself into a corner. Literally. I stood back, looking on bemused, knowing Dora could handle herself. But, as I scanned the faces, I wondered just who the fuck were these people? I didn’t know them from the art community. I didn’t know them from the film world. Just a bunch of humorless, earnest twats (in fact I believe one indeed introduced himself as Ernest Twat … or am I thinking of the guy who played bass on the final Circle Jerks tour?). They sure were making a lot of demands for their 200 buck artist honorariums. Bottled artesian water and exotic Bosnian chocolates just aren’t in the budget. Two hundred clams are all you get, guys, ’cause the flack-catchers from the CE Group don’t come cheap.

Bitchery aside, I am looking forward to Wednesday. Dora has set aside some time in the afternoon when our group can go check out the film screening space. It will be in the ground floor of the old Kress Building. I love poking around in old buildings.

Maybe Ana de Portela will show up to join us. She was mentioned as one of the artists providing work for the film/video part of Luminaria, but I didn’t see her at the meeting. I haven’t seen Anna in a few years. And actually, I believe I’ve only met her twice. She’s one of Alston’s friends. Most of her art I know from her web site and reviews in local papers. I’m still not sure if I really care for her work, but she amazed me with the incredible charge of her personality. I was also glad she decided to pose for one of Deborah’s Tara series. I only wish I had a bigger scan to poach and post.

Photobucket - Video and Image Hosting

I’m hoping Anna will help shake things up in the Kress building mid March.

Oh, yeah. There’s also my piece. I guess I’d better start working on it. I believe the first step is to write a script. You see, if I want my 200 dollar honorarium, I gotta produce.

So, watch this space. I’ll have more information about my short experimental video to be titled “The Prometheus Thesis.” It will be screened March 15, downtown San Antonio. More info concerning time(s) and location when I know more. Also, I’ll stick it up on the web for my out-of-town fan-base. (Make no mistake, I’m very popular in Asheville, North Carolina — go Bulldogs!)

It’s Different in First Class

Last summer I was flying back to Texas from California. I had driven out west on a road trip with an old friend, and he popped for my return passage. It was the first time I had flown since 9/11 and the increased airport security. After a series of tedious indignities I discovered, at the boarding kiosk, that the plane had been overbooked. But before I could voice my disapproval, I was informed that the airline would happily upgrade me to the first class section.

There is something wonderfully nostalgic about the Burbank Airport, which I believe is officially the Bob Hope Airport. The deco charm is still fresh about the concourse and boarding areas. As for the final boarding, passengers cross the tarmac like in a Humphrey Bogart movie. I moved with a knot of passengers up the impromptu staircase which had been rolled alongside my plane.

They had apparently already seated the first class passengers, because when I entered through the flank of the DC10, the stewardess, upon glancing at my ticket, flashed me a genuine smile and cut me from the herd. I was gently escorted through a curtain into the front portion of the plane. She sat me down beside a tanned and bearded man in his late fifties. He looked up at me with a pleasant nod, used his boarding pass as a bookmark, and placed his Peter Hathaway Capstick Reader into the little pouch on the back of the seat in front of him. He introduced himself as Gerald Westdale, but I should call him Gerry. His grip let me know I wasn’t sitting next to just some other old man.

“So, what line are you in?” Gerry asked, stroking his beard.

I made some vague mention of independent film.

“Oh, I’ve heard all about you Texas movie boys!” he responded with a grin. “My nephew works over at Lions Gate. He says no one fucks with the Texans. Uncle Gerry, the boy will tell me, you don’t cross the likes of Tommy Lee Jones, Bill Wittliff, even Robert Rodriguez, ’cause they’ll fuck you back harder’n a heifer.”

I tried my best to convey a noncommittal smile.

“Boy don’t know much about the cattle business,” he added. “But he’s passionate.”

I asked what Gerry did for a living.

“Ought to be retired,” he said. “Least that’s what the ex-wife keeps telling me. But I can’t just sit around playing cards or teaching myself golf. Nope. I broker large equipment for small outfits. The oil business, you know. Used to be wide open territory here and abroad, especially back in my daddy’s day. Now I’m mainly working for smaller concerns drilling Texas, New Mexico, and some in the Gulf.”

Once in flight, with the “fasten seatbelts” sign off, Gerry made sure we were both well taken care of with champagne. “The only time I drink champagne,” he told me with a declarative simplicity as the stewardess filled our crystal flutes, “if when I’m airborne.” The two of us clinked our glasses and took a sip. Gerry looked out his window and then turned back to me. “What else would you drink above the clouds? A beer or bourbon? Naw. It’s got to be French, bubbly and, if possible, drier than a dust devil.”

Throughout the flight I don’t think there was ever a moment when we didn’t have a drink in hand, and it was refreshed constantly, as if by magic. He did most of the talking, which was okay. As a raconteur, he delivered the goods.

We both ordered the poached salmon. And when our lunch arrived we fell silent as we ate. I discovered that one of the reasons to fly first class is that the aisles are wider, so that flight attendants can always come to your aid with more liquid refreshments, even during that time when meals are being distributed.

“I have a little hobby,” Gerry said solemnly. And then he smiled, his cheeks now bright red from the wine. “Not so little, really. It has become a damn expensive hobby. It’s what I’ve heard, at times, referred to as adventurous gastronomy.”

“Oh, yeah,” I said. “Like eating those poisonous puffer fish. Or drinking coffee from civet cat scat.” And I started to giggle because of the way those last three words so gracelessly tripped off my tongue, and, well, because of the wine.

“That amateur shit’s for kids and tourists,” Gerry replied dismissively. “Condor egg omelets, or maybe skirt steak from a giant panda — that’s what I’m talking about. Rarities. Don’t let anyone steer your otherwise — endangered meat is the sweetest.” He twisted around in his seat and looked straight at me. “There’s a pygmy sea tortoise that comes ashore on Tiburón Island — that’s in the Sea of Cortez — and the inhabitants of the island, the Seri tribe, make this incredible stew from the little endangered tortoises.” He smiled and looked off into space. “Yes, I played the game. All above board. The local government agreed to provided me, as a gringo, with a license to harvest one, and eat it. Let me tell you, it put a dent in the wallet. But if heaven serves lunch ….” And then he sighed. “But it’s unlikely I will ever have it again, what with the new laws in Mexico concerning endangered species.”

Gerry turned away and watched the clouds go by out his window for a while.

“My next such meal,” he suddenly said, turning back to me, “was a pure guerrilla operation. Completely under the radar of those goddamn government agencies. I headed out to Grand Comore, an island in the Indian Ocean. Just me and an adventurous cordon bleu trained chef. We put out the word what we were looking for and we waited.”

“You’re kidding,” I said. “The Comoros, that’s coelacanth territory.”

“And that salmon me and you just ate — as dry and soulless as airplane food tends to be — would get four stars from Zagat compared to the goddamn coelacanth, if you’ll pardon the French. And speaking of the French, that’s where my chef was from. And he tried everything in his repertoire. I mean, the fish was pretty damn big. We tried it fried, baked, poached, sauteed with shallots and fresh basil — and fresh basil isn’t so hard to come by on Grand Comore, just so you’ll know …. Um, where was I?”

“Not so savory,” I said, smiling up at the stewardess as she refilled my glass.

“The only thing that came close to acceptable was with it boiled and ground up, you know, like gefilte fish. And why not? The gefilte carp is also pretty much a boney prehistoric fish.”

“But you don’t crave the coelacanth like the Mexican turtle soup?”

“Oh, sweat lord! We spent 12 weeks in the slums of Tsudjini just waiting for a fisherman to find one of those fossil fish. The anticipation was extraordinary. And the reality … oh, dear me.”

“Hey,” I said, with a giddy slur. “I have a fossil fish story. It’s not a living fossil. And, well, it isn’t really a fish.”

Gerry nodded with an indulgent and encouraging smile.

“Maybe twenty years ago,” I said, “the second time I dropped out of college, I went out to spend a month with a friend on his cousin’s ranch in West Texas. The cousin had to deal with some legal issues or something. And it was really just me and this guy house-sitting. Not a working ranch. No animals.”

I tore open a packet of peanuts and let them slide into my mouth. While chewing, I continued.

“I was clearing some brush off of a flat level of ground half a mile from the ranch house. And I realized I’d found a fossil. At first I thought it was a fish, but as I kept digging, it was turning into a pretty big fish. Dinosaur? I was getting excited. My friend had left for a few days to attend his sister’s wedding back in Austin, so it was just me and a shovel. When I finally uncovered the fossil, I realized it was a trilobite. A monster of a trilobite.”

“Oh?” Gerry leaned forward. “How big?”

“Volkswagen,” I said.

“You’re saying it was eight feet from nose to tip of the pygidium?”

“The what?”

“Its behind.”

“Yeah,” I said, “I measured it to eleven feet by six feet.”

“This is incredible. It’d be the fucking Loch Ness monster of the Ordovician!”

“Well, hold on there. The Loch Ness monster is, well, it’s like a monster. I’m talking about just a little … well, you said it — Volkswagen.”

Gerry leaned forward and pulled a bag from under his seat. “This is very exciting. The largest trilobite known — and I can’t recall it’s name — well, it wasn’t even close to three feet long.”

As Gerry dug through his bag, I tried to recall that summer out at the ranch. It was twenty years ago. And one of the things I didn’t share with Gerry was that this friend of mine often drove his rickety Subaru down to Terlingua to buy peyote from a Mexican rancher. The stuff tasted awful, but it was very interesting.

Gerry unfolded a geological map of Texas, and then he refolded it so it was only showing the trans-Pecos area of the state.

I was about to place my finger on the region, a little dot between the Chinati and Bofecillos mountain ranges which is called Casa Piedra, when I noticed that the whole area of the Big Bend region on Gerry’s map was colored orange.

Now I didn’t have to look at the map key to know that orange represented depositional material. In this case, lava flows and ash fall. The whole region suffered cataclysmic volcanism — and this happened well after the reign of the dinosaurs, and certainly the trilobite. Any such fossils would be well buried under the volcanic material. In fact, that’s why my friend had to drive so far to get peyote. The stuff prefers limestone rich soil.

Having studied a bit of Texas geology I knew all this stuff. But somehow I never let science fact and my dim memories of a summer lost years ago to surface in my mind at the same time. They were simply not compatible pieces of information. And then the whole thing about this gigantic trilobite. I know how big a trilobite is supposed to be. True, back then I only knew their basic shape. But, over the years, with reading and nature films and such, I added pieces here and there, filling in the picture of natural history. But this particular memory was never allowed to be reanalyzed in the light of reason.

Gerry was waiting. With his knowledge of geology, I knew he’d think me foolish were I to point to Casa Piedra, so I let my finger drift over to an empty region to the east, near the little town of Sanderson, where I knew there were plenty of exposed limestone beds of the ancient Permian seas which would be logical trilobite territory.

He made a mark with a stubby pencil, and mentioned something about alerting his wildcatter friends who scouted for oil fields in the region to keep their eyes open for weird fossils.

As Gerry dropped off into a doze somewhere over the Painted Desert, I began trying to untangle fact and fantasy, those spurious knotted tendrils of memories. After half an hour I accepted a plump pillow from a flight attendant and decided to give up, and so I allowed the uncertain past to fall away as quickly as Burbank Airport was receding from behind us in a billowing contrail.

New Short Story

I invite my blog readers to cruise over to my fiction site where I've placed a new short story.

http://erikbosse.wordpress.com/2008/02/11/its-different-in-first-class/

It's entitled: It's Different In First Class. The story is about Burbank Airport, adventurous gastronomy, and the noble trilobite.

As there are no scary zombies nor any nudity and only a modicum of blasphemy, it's perfect as a bedtime story for those of you with youngsters.

I mean, really, you have no excuse not to give it a read. It's only 2034 words. That's, like, nothing. That's like a Denny's menu or an instruction manual for an IKEA foot stool. Just loads more fun to read. I'm serious. Imagine the thrill you felt the first time you encountered a Denny's menu and you realized you could have a pork chop — a motherfucking pork chop — for breakfast!!!! Now increase that rapture ten-fold. There you have it.

It's Different In First Class.

Keep the nitroglycerin tablets and the dramamine within reach.

Yeah, check it out.

You'll be glad you did.

Candle in the Short Stack

Yesterday Dar took me out for a birthday lunch.  It's an endearing custom of hers — she bequeaths birthday lunches upon her friends.  She'd also invited three other friends of mine (well, that I know of), but because it was a Thursday afternoon, no one else could make it.  The two of use met at Cascabel on S. St. Marys in my neighborhood.  It's interior Mexican cuisine.  I had the enmoladas.  They're basically enchiladas with mole sauce.  It's a more literal nomenclature.  En-chil-ada, is a corn tortillas dipped “en” CHILe sauce … and then usually rolled around some filling.  With enmoladas, the CHILe has been replaced by the MOLe sauce.  Also, they serve their nopalitos (diced prickly pear cactus pads) cooked, but cold, like a salad. Also, if you go to Cascabel Mexican Patio, don't overlook the coffee — ask for their cafe de olla.

Dar had to get back to work, but because I'm a gentleman a leisure (or, one might say, unemployed) I was able to saunter over to the downtown library where representatives from Humanities Texas (formerly Texas Council on the Humanities) were giving a free two-hour grant writing seminar.

I entered the auditorium and took a seat.  They had rows of tables set up with packets of literature set out.  It was quite a turn-out.  I saw Kellen from Bihl Haus Arts.  Marisela Barrera from La Colectiva.  Pete was there.  Also Lee.  The guy from Ruta Maya coffee shop whose name alludes me.  Pedro with the Guadalupe Cultural Arts Center.  And I even saw Lisa McWilliams from the Mobile Film School — I guess she'd come down from Austin.  And just before the seminar begun, a voice behind me asked if “any one is sitting here, young man?”  It was Catherine Cisneros from Urban-15.  She took a seat beside me.  Great.  Someone to exchange sarcastic notes if the afternoon took a pompous nose-dive.

But it was very informative and enlightening.  There were not only heavy-hitters from the offices of Humanities Texas, but also a central figure down from Washington from the National Institute of the Humanities.  We also had the head of the Texas Commission on the Arts.  They all seemed thoughtful and approachable.  Well, as much as you can expect from a bunch of middle-aged white guys.  They all might want to think of placing into key positions women and those not melanin-deficient.

Before the program began I had the opportunity to speak for a few minutes with Eric Lupfer, Director of Grants & Education with Humanities Texas.  He asked me what I did and who I was with.  I jumped right in and explained that I had submitted a grant to his offices two years ago.  I didn't get it — and I let him know it was no hard feelings, feller.  But I did remembered his name from some emails.  He asked me the name of the project.  I replied that it was a documentary called “Dia de Los Locos,” and how it was about a cultural and religious parade down in San Miguel de Allende.  Eric looked up thoughtfully.  And then he looked down with a smile.  “It was with Ramon Vasquez y Sanchez and Deborah Keller-Rihn, right?”

Maybe the guy has a photographic memory, but at that moment he slipped into hero status for me.

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I went home, and because I had received a phone call way back on Monday night from Christina from the 48 Hour Film Project, I knew I had to return the call.  The problem was — did I really want to do it again?  I still don't know the answer.  So putting aside the “want” element, I called her up and said I'd do it again.  So, I guess I've committed myself.

And then I headed back downtown to Ruta Maya coffee shop, just two blocks from where I'd been a couple hours earlier at the library.  It was the first Thursday monthly film gathering that AJ Garces has been orchestrating.  The turnout was quite a bit more meager than last month.  However, just as some guy was about to take the stage with the acoustic guitar, Nikki Young leaped up, grabbed the microphone, and began pitching something.  Maybe it was about TXMPA — Texas Motion Picture Alliance — but the acoustics in the place are execrable, so the only thing I understood was when she got around to singing me happy birthday.  That was very sweet of her.  And I had to explain to the well-wishers that my birthday was actually coming up on Saturday, but thank you thank you.  However … now that I reflect on the evening, it has occurred to me that no one offered to buy me one single measly fucking drink.  Friends?!?!  I wonder!

Well, I'll get over it.

The weird thing about last night at Ruta Maya was that there was a small film crew scurrying about.  They had nothing to do with our group.  And I couldn't help but think that the man with the camera resembled Travis Pettty, a fellow student of mine from the film department at UTA — we're talking maybe six years ago.  I didn't want to bother him because he was working.  But eventually he came up to me.  “Erik?”  And, yeah, it was Travis.  He's still working production in the Dallas area, but he was down in San Antonio working on some sort of auction show for TV — cable I believe.  Something about auctioning off dates.  A reality show?  I didn't have enough time with him to figure it out.  It hardly mattered.  Nothing that would interest me.  But I was glad to see Travis who seemed to be working quite comfortably and successfully in the industry where he wants to work.

Nikki mentioned something about calling me up on my birthday proper (Saturday) and singing happy birthday to me a la Marilyn Monroe to JFK.  Me, I think the girl's all talk.  Breathy and sexy to me, on the phone?  She's blushing just reading this.  Or maybe that's me blushing….

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Yesterday it was a birthday lunch.  Today it was a birthday breakfast.  Deborah invited me out.  I suggested Farolitos on South Presa.  The place is just a little unpresumptuous family-run Mexican diner.  But today they had some sort of on-site transmission with a big truck from one of the local Spanish language radio stations.  Thankfully they kept that business outside.

It's always good to see Deborah.  But she was suffering a cold or seasonal allergies.  Poor thing.  But is was a good chance for us to get up to speed on one another's projects.

Apparently our waitress had overheard Deborah making a comment about my birthday, because after we had finished eating, I looked up to see two of the waitresses heading our way with something on a plate with a lit candle sticking out of it.

The plate was placed in front of me.  The two waitresses began singing Happy Birthday.  The other patrons thought what the hell, and they joined in.  After the singing stopped, the dozen or so people in the restaurant applauded.  I blew out my candle.  It was stuck in a short stack of two tiny pancakes with a piping of cake frosting making a spiral.  It was, in a word, adorable.

(Really, this is how it is, living on the southside of San Antonio.  This is the sort of stuff that makes me pause when thoughts of leaving rise up.)

And because it was the perfect day, I took a bike ride down to Mission Espada.  It was at least 83 today, with hardly a cloud in the sky.  A bit of wind from the south.  Down at Espada, the end of the Mission Trail, I set down my bike and sprawled out on the levee slope.  I think I fell asleep for about half an hour there, lounging in the sunshine.  I complain about a lot of things.  And I've already been heard to say that 2008 is a miserable year.  But if I can just look at everything in my life through the lens of my afternoon spent sprawled out on a hill overlooking the San Antonio river, maybe there's hope yet.

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Back home I took a shower and headed over to Urban-15.  I met with George and Catherine and we talked about strategies for this year's Josiah Youth Media Festival.  One of the things I want to do is to get some known movie-makers involved in the judging and/or our day of workshops.  If anyone reading this blog knows how I can contact Bill Wittliff, please let me know.  I rather assume he lives in a world removed from email (and don't snub the Luddites, 'cause come the insurrection, they'll be the ones pulling out hand-presses and trays of type so the samizdat can roll on out).  Anyway, if anyone knows of a Texas film giant (and there are at least a dozen current drawing breath), and if that guy or gal might wanna reach out to the young folk, please let me know.

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A package arrived the other day.  And because I had already received an email from my sister explaining the under no circumstance should I open the package until my birthday, I waited.  And waited.  I told myself that I would open it tonight at midnight.  I weakened and opened it around 10:30.  It was a Celestron SkyMaster 15×70 pair of binoculars.  Clearly my sister had paid attention to my blogs about astronomy and my jonesing over a basic entry-level pair of star-gazing binoculars.

Okay.  So as I'm trying to figure out how to attached the tripod adapter attachment, the phone rings.  I look at the display on my cell phone.  It's my sister.  Busted!  And I almost didn't answer it.  But I can't not.  You know how that is.  When I answer the phone, she wants to know if I'd like to go ahead and open the package early.  I could have lied.  You know, pretend to walk my way through the procedure, pretend to be surprised, blah blah blah.  But, no.  I let her know I'd weakened.

She was okay with it.  She said the present was from her, our mother, and our aunt.  And I had her on the phone for awhile as I took the binoculars and a tripod down to the back of my driveway … so that the neighbors wouldn't see me roaming around with a pair of huge fucking binoculars (cue the sound of half a dozen mini-blinds closing at once).

They do appear to be the perfect entry level star-gazing binoculars, but I need to get this tripod adapter figured out first.

Anyway, it's now officially after midnight.  And I'm even older.  I guess it never ends.  I never expected to see the other side of 40, and yet it keeps dragging along.

I guess I'll go ahead and accept this year forty-fucking-five.

Cheers, y'all.

Are You Or Have You Ever Been a Member of the Friends of the Salt Cedar Society?

My property manager of this triplex in which I live is rather nosey. Perhaps it comes with the territory. This quality of hers has very little impact on me, as I mainly interact with my landlady. So feel free to call me neurotic, because yesterday as I walked outside, I saw her car parked in the driveway beside me truck (it’s a very wide driveway). I assumed she was waiting on a potential renter to look at one of the apartments. And as she seemed to be in a doze (perhaps sleeping off a hangover), I decided not to rouse her. I turned left and headed two door’s down to Phil’s house. He was out of town, so I was walking his dog. So, as me and Cutsie were passing in front of my house, it struck me that perhaps the property manager noticed me in her rearview mirror. And if so, she’d probably think that I was harboring an illicit pooch (pets being verboten in my lease agreement). But, what did I care? I had truth on my side. After a short jaunt down to the river and back, I noticed that her car was no longer in my drive. I thought nothing more about it.

Fast-forward to this afternoon. I was heading out for a bike ride and I saw this guy standing in front of my house. He said he was waiting to look at the apartment. We chatted for about fifteen minutes, and then I saw the property manager drive up. She and the potential renter introduced one another. And then I asked her, “How have you been?”

“Busy, busy. Working like a dog.” And then she smiled at me. “Woof woof.”

Well, it doesn’t take Father Fucking Brown to read between those lines. Or am I just being paranoid?

Hmm….

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I was at the library the other afternoon browsing through the fiction stacks looking for some inane low-impact reading. Man, I must have been in a bad mood, because it all looked so awful. I thought to find one of Huxley’s earlier novels. I remembered Chrome Yellow (his first) to be unpretentious and whimsical. Maybe they’d have Antic Hay or Those Barren Leaves, as I’d never read them before. Nope. There was Point Counter Point. His first serious novel. Not really what I was looking for, but I got it anyway. I also picked up The Paradoxes of Mr. Pond by Chesterton (which might help to excuse my Father Brown reference above) — the appeal was that I’d never heard of this title, and I recall enjoying very much his The Man Was Thursday. And then I ambled over to the science-fiction section. Again, it all looked so awful. I randomly grabbed a Philip K. Dick novel that I’d never heard of before. Eye in the Sky.

That night I flopped down on the sofa and leafed through each and finally decided to start on the Dick book.

I hadn’t read him since I was a teen. And soon I realized why I never got deeply into his books — I don’t think I’ve read more than two novels and a handful of short stories. The problem is, he’s just not a very good writer. What will keep his books in print for decades to come is the stunning creativity of his work. The ideas are dazzling, but the writing feels very rushed and expository with no character development. And like so many of the novels from the so called golden age of science fiction, the ending is rushed, truncated, and far from satisfying. This is a problem I usually ascribe to novels written to be serialized in pulp magazines. However, I do believe Eye in the Sky was a paperback original. But the man was incredibly prolific and perhaps the only way he could get any payment from Ace Publishing was to hurry the manuscript off in the mail. Make no mistake, there are great ideas in his work. In fact, I’m afraid what will happen to Hollywood (where creativity is as common as Victoria’s Secret outlets in the Pennsylvania Dutch country) once they have filmed every novel and short story written by Philip K. Dick. They’ll have to start interacting with LIVING creative beings.

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I was pleased to receive an email today that a video job I had sent out had been accepted. The pay isn’t much, but it came when I needed it. It’s actually a mixed blessing. The assignment was for an online video tutorial service where you can learn anything. “How do I macramé a bustier?” “How do I play electric bass in a speed metal band?” “What is the proper way to eat escargot?” These folks over at the Expert Village website got the answer. The reason I equivocate is because I not only produced a set of video tutorials for a particular subject, but I also functioned as on-camera “talent.” (And no, the videos have nothing to do with the consumption of invertebrates.) You see, I am far from a fan of my own “acting.” I get by (one day at a time) reminding myself that I never have to watch the stuff. To put a positive blush on the assignment, there was no tension between the production side of things (myself) and the talent side (again, myself).

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A couple days back I got an email from my sister. I was instructed that if a certain birthday parcel arrived before my DOB, I was to hold off on opening it until that day. It came earlier this evening. Shit. It’s rough going to leave something be. You know. Like a present. I’ve slipped that package under the medical examining table that dominates the living room. Out of sight, out of mind. We’ll see how that works out.

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I know of three large salt cedars scattered around San Antonio. The salt cedar, also known as the tamarisk, is an alien species brought to America in the early 1800s as an ornamental. It has been thriving in the American southwest, most notoriously along the Rio Grand river valley.

I’ve already written about my friend Enrique’s desire fight the bigotry against this universally hated plant.

He has created the Friends of the Salt Cedar Society, but it’s a word-of-mouth group only. Not yet official. But make no mistake, I am an early inductee into the FSCS.

Don’t try and google the phrase “friends of the salt cedar,” or even, “save the salt cedar.” The general consensus seems to be an almost universal final solution of extermination.

I say, hold back on the herbicide. Take a look at the noble Tamarisk. Here’s a particularly tall local specimen — it’s in line of sight of Mission San Jose. I’d guess it’s about thirty-five feet high. Those black blobs on the grass to the left are medium dogs for scale. (Click on the thumbnail for a larger image.)


Here we see a close image of the foliage, which are sort of feathery needles, somewhere between pine needles and cedar foliage.


So, the next time you hear some goddamn arboreal bigot speak disparagingly of the grand tamarisk, softly query him or her with a “why must you hate … you goddamn arboreal bigot?”

It’s all about forging coalitions and building bridges.

Half a Hectare of Plastic Grass

I understand there were parties all across this great land of ours yesterday celebrating whichever two teams were battling one another for the Super Bowl prize (which, for all I know, is an enormous gold-plated bowl). I celebrated with way too much coffee and Mike Leigh’s Secrets & Lies. I’ll take a Mike Leigh movie over sports any day.

However, Saturday night, I attended a party one might consider fairly close to something like a Super Bowl party. I had been invited to Urban-15’s Carnival party. George and Catherine aimed their satellite dish towards Brazil, and about 30 to 40 guests lounged in the basement space watching the parade on a big rear-projection screen. Friday and Saturday were the parades from São Paulo; Sunday and Monday, Rio de Janeiro. (I believe that’s how it breaks down.) I should point out that one of the remarkable differences between the Super Bowl and Carnival is that Carnival has more nudity, and as such isn’t so deadly dull as a bunch of overly-padded wankers chasing a big inflated chicharrón up and down half a hectare of plastic grass.

Urban-15’s dance and drum troupe get much of their inspiration from this Brazilian bacchanalia, but I prefer their local variation to the insane opulence of what Carnival (at least the televised parades) has become. Sadly, it ain’t Black Orpheus anymore. (And if it still is, in the gritty back alleys of Rio, I might have to head down there next year.)

All in all, it was a very nice time spent with some wonderful people.

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I should be out looking for a job. But instead all I did today was to run a few errands, got caught up on a couple of science audio podcasts, and enjoyed a nice bike ride.

Here’s a photo I took noonish.

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The river is two blocks from me, and from here I can look across the San Antonio river at this line of silos. They are on the edge of the Blue Star Arts Complex. Artists rent out the silos as studios. I’m quite taken with this view. In the foreground is a line of palm trees, and I often shoot through them to frame the composition. Actually, I’m pretty sure I’ve posted very similar shots before on this blog. Visually, I find it a compelling “prospect” (a word we rarely use anymore to convey the idea of a scenic view, so at the risk of sounding oh so Hudson Valley School, I’ve placed it in quotes).

It’s barely into February and I’m glimpsing hints of spring. No tress budding yet, but the crickets have started up with their electric drone, and this morning I saw a chaotic nest of field ants swarming and hundreds of them were wearing wings (this is a behavior I’ve always associated with spring or summer).

I don’t doubt that famous groundhog is similarly confused.

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My novel-writing group is meeting again after a holiday hiatus. We’ve worked out an arrangement with the fine folks at Gemini Ink (San Antonio’s premier literary non-profit organization).

Tonight we discussed an excellent short story by Rebecca. (I guess she fell behind a bit on her novel, so she let us read an earlier piece.) Rebecca’s from Mexico, and the piece in question was previously published in a magazine from Spain. The version she provided she had recently translated into English. It’s a beautiful piece of gritty, urban magical realism. She struggles a bit with the American idiom, but even via a translation-in-progress, it’s clear she’s a gifted writer.

We also discussed an eighteen page chunk of my current novel-in-progress, The Cucuy Club.

It’s odd to hear people make comments on a first-person narrative I’ve written. The piece is about as autobiographical as one can get and still be called a work of fiction. You know, that Frederick Exley or Janet Frame kind of thing. And so when readers start passing judgment on the narrator, it can start to get under your skin like some sort of accidental group therapy session.

“Oh, is that what you think? Well, fuck you!”

But they were kind.