TINY TIM & HIS TURN OF THE CENTURY VAUDEVILLE & TIN PAN ALLEY SONGS

Rudy Vallee - My Time is Your Time (1929)

Billy Murray - Stumbling (1922)

Johnny Long -  My Dreams Are Getting Better All The Time (1945)

Shirley Temple  - On The Good Ship Lollipop (1934) 

Cliff Edwards - When You Wish Upon A Star (1940)  

Russ Columbo - You Call It Madness (But I Call It Love) (1931) 

Bing Crosby  - Let Me Call You Sweetheart (1934)  

Irving & Jack Kaufman - I'll Be Happy When The Preacher Makes You Mine (1919)

Bert Williams - Nobody (1906)

Charles Harrison   I'm Always Chasing Rainbows (1918)

Arthur Fields - Oh How I Hate To Get Up In The Morning (1919)  

Henry Burr - Meet Me Tonight In Dreamland (1910)

Maurice Chevalier - Louise  (1929)

Harry Richman - Puttin on the Ritz (1930)

Rudy Vallee - Deep Night  (1929)

Frank Crumit - I'm A Lonesome Little Rain Drop' (1920)

Rudy Vallée    Baby, Oh Where Can You Be (1929)

Billy Murray - Long Live The Ladies (1916)

Roy Smeck - Twelfth Street Rag (1931)   

Henry Burr   Beautiful Ohio (1919)

Spike Jones - Cocktails for Two (1945)

Bert Williams - The Moon Shines On The Moonshine (1919)

Al Jolson - Beautiful Dreamer (1950)

Byron G Harlan - My Gal Sal (1907)

Irving Kaufman - Tonight You Belong To Me (1926)

Dick Haymes - The More I See You (1945)

************

Tiny Tim - Little Girl (1966)

Dick Robertson - Crosby, Columbo and Vallee (1931)

Nick Lucas - Tip toe Through the Tulips (1929)

Henry Burr - Stay Down Here Where You Belong (Anti WW1 Song) (Recorded 1915)

Harry Richman - Laugh Clown, Laugh (Recorded March 1928)

John McCormack - God Be With Our Boys Tonight (1918)

Harry Richman - King for a Day (Recorded August 1928)

Russ Columbo   Too Beautiful For Words (1934)

Billy Williams - Where Does Daddy Go When He Goes Out (1921)

Tom Lehrer - I Hold Your Hand In Mine (1953)  

Billy Murray  - Ever Since You Told That You Love Me (Im A Nut) (1913)

Russ Columbo   Prisoner Of Love (1931)

The Columbians  - I've Never Seen A Straight Banana (1927)

Eddie Cantor - I Love Me (I'm Wild About Myself) (1922)

Nick Lucas - High, High, High Up in the Hills (1927)

Harry Reser's Syncopators - I Wonder How I Look When I'm Asleep (1927)

Rudy Vallee - If I Had a Girl Like You (1930)  

Edward M Favor - Then I’d Be Satisfied With Life (1902)  

Al Jolson - I Gave Her That (1919) 

Billy Murray & Ada Jones - Out On the Old Front Porch (1914)

Gene Austin - Save Your Sorrow (1925)

Ben Selvin - (Potatoes Are Cheaper, Tomatoes Are Cheaper) Now's The Time To Fall In Love (1931)

Irving Kaufman   Stay Home, Little Girl, Stay Home (1923)

Henry Burr -  I’m Sorry I Made You Cry (1918)

Irving Kaufman - Don't Bite The Hand That Feeds You (1915)

Tiny Tim - My What A Funny Little World This Is (Original 1910 - Lewis & Bennett)

MUSIC INTERVIEW: Future Roads on writing epic guitar bangers

Facebook (Future Roads)

How did the Future Roads come together? 

Adam: Me and Gav knew each other at School but didn’t really click until college. We played in various line-ups together and separately for a number of years and found Dave from an advert in a local music shop. This probably sounds quite an old fashioned way of connecting but it was a long time ago and just before social media kicked off so that is the way it worked. We played as The Roads and then Jericho Scream before stopping as life took over with work and family life’s. This incarnation is due to our friendships staying solid even though our glue was playing music together. Many nights out where one too many drinks and promises to each other to get in a practice room never quite happened but Covid - 19 and technology created the opportunity to create music again 

Dave: Future Roads came together as a result of me asking Gav to send me some of his latest stuff to play around with in the studio. I was feeling cut off as lockdown struck. This then snowballed into becoming a sort of ‘virtual band’, which suited us lots as we’re all fathers and we had all grown disillusioned with the live gigging scene. We soon realised that what we had was a music - making machine, with Gav’s talent for song - writing, Adam’s magic basslines and my passion for mixing and producing. 

Gav: Adam and I were at school together but gelled at college, where I started a band and we needed a bassist, he learnt fast! Dave, we met after several incarnations of the group, our mate Ian saw an advert from Dave and he joined as drummer, we were instant friends when we discovered we both had “Howl” by BRMC in the CD player at the same time. We played together for years, went up and down the country and did some recordings but it came to an end when playing live was more of a drag than fun. Best thing about the band has always been that its us as a gang of mates. Now I've begun writing again, Adam is creating amazing complimentary basslines to the songs and Dave is incredible at drumming, mixing and producing. 

What influences do the band have ? 

Adam: This is probably very varied for all three of us. Mine is literally dictated by mood so could be anything but I do listen to music everyday and find it hard if I can’t get to stick some cans on or have something in the background 

Dave: As Gav is the songwriter, his influences flavour the music most. Mine and Adam’s influences are probably less easy to decipher, but they are sometimes detectable. We all meet at The Beatles, Oasis, Fleet Foxes, Smiths etc. But we also fragment, me into electronic music and Adam into metal and heavy stuff. Hardships, relationships, heartbreak, the pandemic – they’re all in there too. 

Gav: I've varied taste but its mainly rooted in guitar music, The Beatles, Oasis, Guns n’ Roses, Motorhead, Metallica, Nirvana and The Smiths. 

What's the bands song writing process ? 

Adam: Gav writes the songs, creates the shape and structure on acoustic and vocally. He sends the songs and rough notes then I add the bass track before shipping off to Dave for drums and production. It is odd that this together, but not together has generated more songs than ever before. 

Dave: Gav churns a song out seemingly from nowhere. He posts a demo on Whatsapp . We hear it and tell him he’s a genius. Then he sends the files over to me and Adam via Dropbox. Adam steals a few minutes in his busy schedule to smash down a bassline and then everything comes to me in the home studio. If something’s not right, I get them to redo it. Then I send a series of rough mixes over to them, there’s a bit of back and forth until we all say it’s finished. 

Gav: I’ve always written songs around saying and word association is key. Sometimes it is melody first and then sometimes I have a lyric that I write a melody for, then I just keep playing the part until the rest develops around it. Some songs take 20 minutes to fully form, some come good after 10 years! 

What does the band name mean ? 

Adam: We were The Roads and were known for that name. Future Roads is a nod back to that time but is us probably having the songs we wish we had back then. 

Dave: Future Roads is our way of honouring what we used to be ‘The Roads’, but also the changes life brings when it turns into the future. I like the idea of roads leading somewhere unknown too. 

Gav: Our original band was ‘The Roads’, so it wasn’t a massive stretch to put a spin on that name. 

What first got you into music ? 

Adam: I wanted to be in a band but couldn’t play anything or sing. Gav needed a bass player for a band he was starting in college so we caught the bus into town and spent every penny I had a bashed up bass and amp. Sat in his room where I followed the notes he was playing and learnt that way (some would say I’m still doing this... ) 

Dave: For me, music was always around in my house growing up. So was a piano and so was a drumkit. I spent lots of my time listening to very rhythmic stuff, like prodigy, dance, pop and reggae. I’d obsess about rhythms and learn them intricately. This all happened amidst a background of 60’s n 70’s pop, rock and progressive rock that my Dad would play. Pink Floyd, Beatles, Kinks, Caravan, Marillion etc. My Dad taught me to have a critical ear – he still offers his even when it’s unwelcome! Drumming and being in a band also opened lots of other doors – a great social life for one. And girls. 

Gav: My Mum and Dad both play instruments and music was always played around the house. It also helps having an older brother who is an ace guitarist with a wicked music collection, I was always robbing his cassettes! 

Any crazy stories that have happened to the band ? 

Adam: What goes on tour, stays on tour 

Dave: None whatsoever. Gav once pissed on his jeans moments before going on stage and had to dry his jeans under the hand dryer. That’s about it. We’re all pretty sensible. 

Gav: I don’t accept the premise to be honest, one mans “crazy” is another guy just rolling his eyes. Lets just say we had loads of fun in our twenties, something was always happening to entertain us. 

What's next in store for the band?

Adam: You get bogged down by plans it's so easy to be disappointed or lose focus. We are onto a good thing and have some great songs that will form an album (something we never really did before). For me playing live again would be great not in a touring way but as a one off to feel that excitement again but not sure if we could do that with the state of live venues, our lives and my hands ceasing up after about 10 mins of playing... 

Dave: We have no plans, other than to keep doing what we’re doing. Make songs, get them out there and enjoy it all. Above all else, we’re great friends – that comes first. Maybe one day we’ll find ourselves in a practice room trying actually play the songs for real.  

Gav: We’ll keep writing and recording whilst it feels good and it interests us. Things are cyclical, we will always be great mates and the music side of things will naturally ebb and flow. But right now we will release our first album and hopefully more will follow

NEW MUSIC: Interview with the band Rapturous

Rapturous (Facebook)

How did Rapturous come together? It all started about 10 years ago when we were at college. Luke B, Davey and Luke D were in the same class obviously studying music. Luke B, Luke D and Davey formed a band in college and began to connect with each other. Luke Bs sister got with Ashton's brother and they both said they should link up as they share a common interest; music. Nathan is Davey's best friend, and not only have they got a connection though the rhythm section they have it as best pals. One day Luke b, Luke d and Ashton were drinking 85% absinthe and they just started writing songs which lead to the band officially forming. We already knew a drummer that we jelled with, Davey, and Davey brought in beautiful Nathan on the bass. The rest is history and we’re still together as Rapturous. 

What are your bands inspirations? Very diverse and wide spread, we all love different genre's and come from different music backgrounds with different musical influences. Genres such as metal, rock, dnb, blues, soul, reggae, are just a few we take inspiration from. If you were to compare us to any artists the closest would probably be Plan B, The Streets, and The Gorilla’s. 

Tell us the story of how Signs was written? Luke b woke up with a melody in his head, found it on the guitar and brought it to band. That same melody become the chorus, followed by the lyrics coming together with help from Ash and Nathan. We didn’t know what it was about at the time but it feels like it predicted the future as it just explains 2020 and everything that has happened in the world while we’ve been taking the back seat.

Has the band had a creative year amidst all the turmoil in 2020? Yes, in the way of writing and recording for sure, but obviously playing live and gigging has slowed right down. It’s a blessing in a way as it has given us the chance to write new material. 

Whats next for you guys? Well the next step is get our music and our message out in to the world; we’ve been quiet for too long and it's our time to be heard. We are currently working on an album which will run with singles being dropped first leading up to the album drop. Our next goal is to capture the peoples attention in a way that's never been done before; in a Rapturous way.

Interview with author Rick Davy

 

Rick Davy is a writer and researcher and author of the book 'The Prisoner - The Essential Guide' and co-editor of the book 'Playboys, Spies and Private Eyes - Inspired by ITC'. Rick has contributed to many other books related to 'The Prisoner', and is hols of the ITC celebration events at Elstree Studios. He also wrote the production text commentaries for all 17 episodes for the 50th Anniversary edition of the BluRay and DVD sets and for 17 years has run The Unmutual Website at theunmutual.co.uk, the World's largest website devoted to the series, talks with filmmaker Fabrizio Federico about his works.

How old were u when you discovered The Prisoner?
I was 10 years old in 1983 when the series was repeated on Channel 4 in the UK. My 20 year old brother, knowing I liked offbeat series such as 'Sapphire and Steel', had seen the series in the late 70s when it was previously repeated on ITV and said to me 'ask Mum if you can stay up, there's a show you might like on C4 late on Monday night'. Even aged 10 I was aware that what I was watching was unique, and also incredibly important, television. I watched 'live' on the night, and recorded it on VHS and rewatched a couple of times before the following week's episode (inexplicably 'Many Happy Returns' was shown second, not that I knew at the time that this was odd), and I was hooked from then.
The show has lived with me ever since and is completely unrivalled in terms of the effect it has had on me.

What is your interpretation of the show?
Can be summed up in six words; "The Village is all around us".

Your fav episode?
I genuinely love all 17 episodes, for different reasons, but the episode I'd pick out as being a shining example is 'Checkmate'. Not only does it have the elements which make the series as a whole great (lots of Portmeirion footage, inclusion of Rover, great plot, action/adventure sequences, great acting, the sinister side of the Village on show), it also contains a great allegorical tale for life. We are all pawns.

Some episodes are better regarded than others by fans, but I genuinely feel all of them weave wonderfully together to form an unforgettable series. The episode 'Do No Forsake Me Oh My Darling' for example often comes bottom of fan polls, but it has some fantastic music in it, some of the best in the entire series in fact, as well as some great location footage, and a nice peek at the 'non-Village life' of Number Six.

So many other great episodes, but I'd put 'A. B. and C', 'Many Happy Returns' and 'Hammer into Anvil' at the top of the list for pure drama and plot, with 'Dance of the Dead' in there for its great surrealist and allegorical elements, and 'Once Upon a Time' is a tour-de-force of acting. But there's in my opinion not a weak episode amongst the 17.

What do you think of the 3 novels of The Prisoner?
There have been 11 novels written based on 'The Prisoner', and only one in my opinion ('The Prisoner's Dilemma' by Jonathan Blum and Ruper Booth) coming close to getting the essence of the series on their pages. The original 17 episodes really caught the sun in a bottle and cannot be equalled by fiction writers or fan film makers (not that there's anything wrong in trying, of course). The problem people have when they create these things is that they deliberately try to be enigmatic, wheres the enigmatic nature of McGoohan's original came naturally.

What is your fav piece of memorabilia?
That I own? I'm very proud to have been intrusted with several items from the production of the series including the original master tapes of the first music recording sessions for the series, and I secured at auction the original film print of the original/alternative 'cut' of the opening episode 'Arrival'. There's been lots of wonderful attempts at creating memorabilia, such as wonderful models of some of the iconic props and so forth, but there's nothing more satisfying than picking up a decent condition version of the original 'Dinky' Mini Moke released at the time of the series.

Did you ever meet Patrick McGoohan?
I had the opportunity to, but I always felt that he preferred the company of family and friends, rather than 'fans', so I chose not to. I'm happy I chose that path. The correspondence he sent when I organised some charity fundraising events in Portmeirion in the mid 2000s, when he donated signed photos for us to auction off, was enough for me to show that he was a great man. I have since met and corresponded with his daughter Catherine, and she's very much like her father - to some extent I feel like I met him, when I met her, despite it being several years after he passed away when I met her.

What is your interpretation of the final episode?
'Fall Out' is a work of genius in my opinion. It shows us that however much we want to escape the prisons that we make for ourselves within society, there is no escape from them. The series is a perfectly executed allegory of life. We think we are free, but we never truly are, due to the shackles that we place upon ourselves.

What do you think inspired Patrick to make The Prisoner?
He's been quoted as saying that he wanted to stand up for the individual and anyone who had been trampled on my bureaucracy, and I think he definitely got that message across. Patrick McGoohan was a true visionary. One only has to look around at the World today, over 50 years on, to see that all his predictions (cordless phones, cashless society, dehumanisation, Government control of the masses, propaganda media, electorates voting for dictators, CCTV) have sadly come to a fruition. He could see that society was sleepwalking into its own imprisonment. He was right.

Official Website

Rare Experimental Cinema Masterpieces

*Reifezeit (1976)  - Sohrab Shahid-Saless

*Endless Flaneuring (2018) - Isao Yamada

*Pregnant (2015) - Fabrizio Federico

*Heimat Is A Space In Time (2019) - Thomas Heise

*Sorrows (1969) - Gregory J Markopoulos 

*Carol (1970) - Ed Emshwiller

*Fragments Of Decay (1983) - Henri Plaat

*Light Years - The Film Diaries Of Tim Cawkwell (1968) - Tim Cawkwell

*Treefall (1970) - David Rimmer

*From The Cloud To The Resistance (1979) Jean-Marie Straub

*Constellations (2012) Helga Fanderl

*Boi Neon (2015) - Gabriel Mascaro

*Herbeas Corpus (1986) - Jorge Acha

*Landscape (2003) - Sergei Loznitsa

*Addio Anatolia (1976) - Stavros Tornes

*Respice Finem (1968) - Jan Spata

*Soleil (1988) - Pierre Clementi

*Experiments (1981) - Dirk De Bruyn

*The Sound Of The Shaking Earth (1990) - Rita Azevedo Gomes

*The Astronauts (1959) - Chris Marker

*Zone (1995) - Takashi Itoh

*Tetraedar (1967) - Vjekoslav Nakic

*Dieu Sait Quoi (1994) - Jean Daniel Pollet

*Montanas Ardientes Que Vomitan Fuego (2016) - Helena Giron

*The Death Of Maria Malibran (1972) - Werner Schroeter

*Compline (2009) - Nathaniel Dorsky

*Pneuma (1983) - Nathaniel Dorsky

*New Old (1979) - Pierre Clementi

*Nostos I (1979) - Thierry Kuntzel

*Laisve (2000) - Sharunas Bartas

*Own Death (2008) - Peter Forgacs

*21-87 (1964) - Arthur Lipsett

*Invisible Adversaries (1977) - Valie Export

*New Left Note (1968-1982) - Saul Levine

*The 4th Dimention (1988) - Zbigniew Rybczynski

*La Fille De Nulle Part (2012) - Jean Claude Brisseau

*Everything Visible Is Empty (1975) - Toshio Matsumoto

*Sicilia (1999) - Jean Marie Straub

*La France Contre Les Robots (2020) - Jean Marie Straub

*Once Upon A Time In Anatolia (2011) - Nuri Bilge Ceylan

*Nausea/Balanti (2015) - Zeki Demirkubuz

*The Sun & The Moon (2008) - Stephen Dwoskin

*The Man Who Left His Will On Film (1970) - Nagisa Oshima

*The Passing (1991) - Bill Viola

*India Song (1975) - Marguerite Duras

*The Hart Of London (1970) - Jack Chambers

*The Forgotten Colours Of Dreams (2018) - Johnny Clyde

*Utopia (1983) - Sohrab Shahid Saless

*Beduino (2016) - Julio Bressane 

*The Story Of Sin (1975) - Walerian Borowczyk

*The Embryo Hunts In Secret (1966) - Koji Wakamatsu

*Narcissus & Psyche (1980) Gabor Body

*Night Noon (2014) - Shabhavi Kaul

*Lete (1968) - Marcel Hanoun

*Birdsong (2008) - Albert Serra

*Sinbad (1971) - Zoltan Huszarik

*Mirror (1975) - Robert Bresson 

*Institute Benjamenta Or This Dream That One Calls Human Life (1995) - Quay Brothers

*Affettuosa Presenza (2004) - Franco Piavoli

*The Birch Tree (1967) - Ante Babaja

*Dont Deliver Us From Evil (1971) - Joel Seria

*Die Andere Heimat (2013) - Edgar Reitz

*Lovesong (2001) - Stan Brakhage

*April (1961) - Otar Losseliani

*Soul Of The Cypress (1921) - Dudley Murphy

*The Kingdom (1973) - Katsu Kanai

*Blood Beat (1983) - Fabrice A Zaphiratos

*The Other Side Of Underneath (1972) - Jane Arden

*The Blue Planet (1981) - Franco Piavoli 

*L'Imitation Du Cinema (1960) - Marcel Marien

*The Devils Cleavage (1975) - George Kuchar

*Copacabana Mon Amour (1970) - Rogerio Sganzerla

*Le Grand Depart (1972) - Martial Raysse

*Space Is The Place (1974) - John Coney

*Tokyo X Erotica (2001) - Shibireru Kairaku

*Manji (1983) - Hiroto Yokoyama

*Monday (2000) - Sabu

*Pafnucio (1977) - Rafael Corkidi

*Vampires Of Poverty (1977) - Carlos Mayolo, Luis Ospina

*Phantasmagoria 2: Labyrinths Of Blood (2018) - Cosmotropia de Xam

*Rampo Noir (2005) - Suguru Takeuchi, Hisayasu Satō, Akio Jissoji, Atsushi Kaneko

*Decoder (1984) - Muscha

*Chappaqua (1966) - Conrad Rooks

*Vakratunda Swaha (2010) - Ashish Avikunthak

*The Ghost (1982) - Herbert Achternbusch

*Marsal (1999) - Vinko Bresnan

*The Lighthouse (2006) - Maria Saakyan

*Save The Green Planet (2003) - Jang Joon Hwan

*In The Shadow Of The Blue Rascal (1986) - Pierre Clementi

*Gambling, Gods & LSD (2002) - Peter Mettler

*Arrebato (1979) - Ivan Zulueta

*In the Shadow Of The Sun (1981) - Derek Jarman

*Relativity (1966) - Ed Emshwiller

*Aus Der Ferne (1989) - Matthias Muller

*The Scream (2019) - Philippe Grandrieux

*Unrest (2017) - Philippe Grandrieux

*Song & Solitude (2007) - Nathaniel Dorsky

*The Red Sea (1992) - Michael Maziere

*Aus Den Algen (1986) - Schmelzdahin

*Les Chants (1981) - Jean Paul Dupuis

*Lapse (1981) - Claudine Eizykman

*Antler (2018) - Atoosa Pour Hosseini

*Saint Bathans Repetitions (2016) - Alexandre Larose

*Crepuscule Aux Aresquiers (2014) - Martine Rousset

*The Wind Is Driving Him Towards The Open Sea (1968) - David Brooks

*Homeo (1967) - Etienne O'Leary

*Sun Strobes Light Shows Nitobe (1965) - Sam Perry

*Voluptuous Sleep (2011) - Betzy Bromberg

*Om (1968-72) - Myron Ort

*Never Comes Tomorrow (2016) - Rainer Kohlberger

*Thief Or Reality (2001) - Antoinetta Angelidi

*Code Verse (2018) - Ryoji Ileda

*Reality's Invisible (1971) - Robert Fulton

*The Lighted Field (1987) - Andrew Noren

*Pandora (2020) - Los Ingravidos

*Three Diary Pieces (1985) - Nina Danino

*Rey (2017) - Niles Atallah

*In The Shadow Of The Blue Rascal (1986) - Pierre Clementi

*Faust Sonnengesang (2011) - Werner Fritsch

*Brouillard - Passage 14 (2014) - Alexandre Larose

*Mediterranee (1963) - Jean Daniel Pollet

*I Cannot Tell You How I Feel (2016) - Su Friedrich

*The Parallel Street (1962) - Ferdinand Khittl 

*Aka Ana (2008) - Antoine D'Agata

*Midwinter Hue (2017) - Willem Van Der Zanden

*Bouquets 21-30 (2005) - Rose Lowder

*T-Wo-Men (1972) - Werner Nekes

*Les Soviets Plus L'Electricite (2001) - Nicolas Rey

*Apple Pie (2016) - Sam Hamilton

*Parental Leave (2020) - Matthew Taylor Blais

*Psalm 2: Walking Distance (1999) - Phil Solomon

*Villatalla (2011) - Jeannette Munoz

*4 A Metro Barbes Rochechou Art (1983) - Teo Hernandez

*Tables D'Hivers (1979) - Teo Hernandez

*Private Imaginings & Narrative Facts (1966) - Edward Owens

*Still In Cosmos (2009) - Takashi Makino

*Lamentations A Monumental For The Dead World (1985) - R Bruce Elder

*Sada (1998) - Nobuhiko Obayashi

*Coast Of Death (2013) - Lois Patino

*Reason Over Passion (1969) - Joyce Wieland

*Rumi (1999) - Narcisa Hirsch

*A Mal Gam A (1976) - Ivan Zulueta

*Sink Or Swim (1990) - Su Friedrich

*Parsifal (1982) - Hans Jurgen Syberberg

*Idees Fixes/Dies Irae (1977) - Antonietta Angelidi

*Studies For The Decay Of The West (2010) - Klaus Wyborny

*Jaime (1974) - Antonio Reis

*Ana (1982) - Margarita Cordeiro

*The Room Called Heaven (2012) - Laida Lertxundi

*Ticket Of No Return (1979) - Ulrike Ottinger

Interview with filmmaker Vitória Vasconcellos

Fogo Infinito will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
At first it was just about editing little videos for my mother and sister on iMovie, then it quickly became a way through which I developed my English speaking skills and next thing I knew, filmmaking became the only way through which I can properly understand the world. And explain how I see the world. Because I never had much money for filmmaking, despite attending the University of Southern California School of Cinematic Arts, filmmaking also became a way to explore places, practice my creativity and resourcefulness and meet passionate artists. 

*What inspired you to make your movie? 
This movie was supposed to be a visual identity for a poem about oblivion that I had written years ago. A couple of days after we shot, COVID happened and I ended up editing Fogo Infinito during quarantine, which substantially changed the story. Instead, I saw myself cutting and writing a movie that reflected the impact of loneliness and toyed with the idea of ownership, ultimately thinking about the questions: are humans only humans when we are in a community? Do we lose ownership of ourselves when we are isolated? 

*How has your style evolved? 
At first, I just wanted to adapt a poem I had written while following the motto of Cinema Novo (“a camera in the hand, an idea in the head”), but I ended up trying to bring some style references from Agnes Varda’s work in Cleo from 5 to 7, since Fogo Infinito deals strongly with mortality; and I also believe my film evokes a bit of Andrea Arnold’s style when it comes to the way she portrays the human-nature connection. 

*Tell us any strange or funny stories while making the film? 
It was my brilliant idea to shoot the final scene at this VERY COLD beach in California (and being from Brazil I’m used to the warm Atlantic sea and I often forget that American beaches are ridiculously cold). In the scene, I had to fake drown as the tide carried me, but the water was so cold that I kept shaking involuntarily when I was supposed to be “dead”. So apparently we freaked out the few people that were at the beach who would stare at me and not understand (what is this floating thing? is it dead? WHY is it shaking?) because they couldn’t see the camera. We also got kicked out of the garden where we shot the third scene by a cop, we told him “but every filmmaker trasspasses here, it’s a California tradition”,to which he just agreed and let us go. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Freedom. As an actor-director with no money who just went around with one friend and a camera and shot Fogo Infinito on the spot, going against everything I’m taught at USC, Pink8 manifesto reinforces my freedom as a filmmaker. As I “wrote” and put together the movie in my laptop, I embraced the lack of plot and the nature of street filmmaking. The Misrule Film Movement encourages me to continue making unconventional films and to not obey the restraining rules of Hollywood filmmaking, which, in my opinion, often hurt films and put them in a box. 

*What can we expect from your next film? 
My next film is a crazy censorial trip that reflects the effect that PTSD can have on someone’s life. We made it with a very limited budget but a lot of heart and I’m excited for the world to see it, specially because it’s directly inspired by what I learned after being temporarily disabled after getting hit by a car.

Interview with filmmaker Zygmunt Cendinsky

Interferencia will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
After making a couple of experimental short films with a borrowed video 8 camera in the late 80s I started working with different filmmakers collectives who started making short films in 16 mm with all kinds of cameras (Arri BL, Bolex, Zenith, etc) all organized as self-managed cooperatives. Later, when the year 2000 arrived, all these collectives dispersed and each one followed its own path in different ways, some directly linked to industrial and advertising cinema and others, as is my case to this day, still linked to alternative, independent, experimental and underground cinema, the visual, scenic and performative arts. 

What inspired you to make your movie? 
This film was based on a failed project in the mid-90s based directly on the documents of the interrogations of CIA agent Dan Mitrione by the Uruguayan guerrilla group Movimiento de Liberación Nacional-Tupamaros in the late 1960s in Montevideo, Uruguay. We did not know that a film called "State of Siege" (Costa-Gavras, 1972) had already been made based on the same event. So, surprised to realize that little gap in our research and thinking about how anachronistic the whole proposal could be, the project gradually mutated into an interstellar science fiction plot in which the CIA agent became a high official of a criminal syndicate called "United Narcotics Organization" in a direct reference to the novel "Nova Express" (William Burroughs, 1964). 

How has your style evolved? 
Since I started making short films in the late 80's with video 8 cameras, through all kinds of 16 mm and 35 mm cameras in the 90's, until now I'm working with the aesthetics of smart phone cameras, the search has been to escape from any stylization of the image and a devaluation of it as an artistic product. Rather than style, the process has been to explore different aesthetics and how these are directly linked to their forms of production.  In the case of the film "Interference" this was recorded seven years ago and its aesthetic makes direct reference to the sci-fi films of the 50s and the American spy TV series of the 60s in which the cold war was parodied, but evidently, Kafka, Dr. Caligari, Dr. Mabuse, Alphaville and the Glauber Rocha of Terra em Transe were also present from A to Z. Satire and parody in discourse is a theme that I have not stopped working on since my first works in film and also in the various artistic practices that I continue to carry out in the performing, visual and performing arts. 

Tell us any strange or funny stories while making the film? 
Everything was strange in this film and nothing was funny, it was literally a bad trip like the one that the protagonist of the film had, the agent Jack Martinez (Francisco Denis), but as Fritz Lang (Metropolis, "M" The Vampire of Düsseldorf, Dr. Mabuse) said at some point... Cinema for me is a vice. (Lang, 1964). 

The Misrule Film Movement & Pink8 manifesto bring what to mind? 
One thing: that when I hear the word "producer" I immediately pull out a revolver. 

What can we expect from your next film? 
The next film is called "Panoptic Files of the Present-Future: Tropical Quarantine, which is an experimental project already in the process of recording transmedia cinema made completely independently in collaboration between 16 visual, multidisciplinary, sound and performance artists about the global quarantine experienced in Caracas during the months of June and July of this year 2020 as a result of the Covid-19 virus that currently continues to affect the human population of planet Earth.

Interview with filmmaker Fran Martin

La Estrella will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
At the age of 12 I was diagnosed with mononucleosis, a disease that forced me to stay locked up in my house because of the severe symptoms I had and the possibility of infecting my friends. For a month the only thing that kept me entertained were my toys and a digital camera that with only 512 Mb of memory allowed me to portray them in heroic and risky poses. I asked my dad to buy me a Telgopor template to make the streets of a city to scale, adapt shoe boxes to make the buildings and look for my big brother's toy cars. I made up a short story where my Spider-Man doll had to face some villains. With the camera I made an improvised attempt to capture him in action. I downloaded the pictures to the computer, manually synchronised the music of the original film and, passing photo by photo in the digital viewer, I showed my relatives the final result. Without realising it, what had kept me busy all afternoon was called StopMotion. At that moment, I realized that I wanted to make movies. During the following years I tortured my friends to be actors, extras or directors of photography for the short films I wanted to produce. Even though, as they were made by 16-year-old children, they lacked an outstanding quality, one could already appreciate a certain sense of composition in the image, a concern for continuity and editing, but fundamentally a willingness to narrate through sound. None of this is casual, I was raised in a cultural family. A sister an actress, another a designer, a brother a philosopher, mother a visual artist and father a storyteller and above all an excellent observer and listener. Films were always present in my life, through classics (El ciudadano Kane, Casablanca), national directors (Lucrecia Martel, Carlos Sorín, etc), international ones (Hermanos Coen, Alejandro Iñarritu, etc). 

What inspired you to make your movie? 
The project originated in my fourth year at the university. My older sister (who has a degree in theatre), after having starred in several plays, told me that she wanted to star in a film and that I should write a script for her. I kept in my memory a character from my childhood "The Star", a house painter who worked fixing the openings in my paternal grandmother's house. "The Star" was a very particular character, whom I deeply admired. He was apparently rough, short and with big hands, muscular in spite of his age, about 50 years old. He didn't have the hands of a painter, but he was very delicate and meticulous. He used to tell me legends of mythological animals while drawing them on paper and pencil in perfect detail. One day, when I arrived at my grandmother's house he was waiting for me and asked me to beat him up. I couldn't understand what he meant and he insisted that I hit him. I stood in front of him and threw a very clumsy punch. He easily dodged me and put his fist very close to my face. That day he confessed to me that he had been a boxer, but that because of a betrayal in his last fight he had decided to quit the sport. My little head at that moment exploded, how could anyone go from being a boxer to a house painter? Being a boxer was the closest thing to being a superhero and a painter... well I was a painter. For many years I treasured that memory. It was time to take that story to the movies. A small but complex story. I imagined that the path of a boxer should be much more complex than that of a boxer and even more so if it was a mother-boxer. With these triggers I began to weave the threads of the story. 

How has your style evolved? 
Usually when we think about the “style of an artist” we put our selves in a place of hope. We hope, as viewers, that our speculations or respectability to that artists get satisfied when we consume his art. I always say that I will or could talk about my style as a movie director in the future, probably when I be an old man waiting for death. I the meantime I would try to make the movies that I would like to see and not worried about an “aesthetic line”. Although I understand what we mean when we talk about the “artist style” and I can talk about things that I like or inspire me. I have a strong commitment with the things we try to name “reality”. That´s why when I make “The Star” I try to get involved with all the boxing mood. I know that the line of making art that I´m (TRYING) to fallow it´s a political one. We have a world that we need to change. 

Tell us any strange or funny stories while making the film? 
The project already had approximately 90 pages of script when I met Mario Pereyro, a 60-year-old boxing trainer in charge of the most important gym of the Civil Association of Boxing Technicians in the province of Córdoba. He would be the one designated to train the actresses in the techniques and choreography that would be part of the film. At the same time, I met with a professional actor whose physical characteristics attracted me to the character of Miguel, the trainer in the film. However, as the training of the actresses advanced, in which I also participated by training, assisting the teachers or collecting anecdotes from that immense world, I saw how Mario surprisingly presented several of Miguel's characteristics. One icy winter night we met in the gymnasium to shoot the movie teaser. A very simple scene where Victoria would be training and her son sleeping in the stands of the gym. The actor who plays Miguel didn't show up due to certain circumstances. Julieta, my sister, Victoria's actress, approaches me and proposes to offer Mario the character of Miguel. Mario had never in his life stood in front of a camera, but I trusted him and his responsibility. We offered him and he automatically said yes. From that moment on, and thanks to that small decision, the project acquired a freshness and a very big impression of realism. Where the professional actors and actresses who shared (or did not share) the scene with Mario, felt revitalised and challenged to relate the naturalness of words and actions with which Mario performed. 

The Misrule Film Movement & Pink8 manifesto brings what to mind? 
The thing that i really like about this manifesto is that it tries to bring a way of making  films thinking out of the industry. And it´s connected with my last answer. Manifestos must exist and they take place in their being. They are a way to talk and discus and thats why we are here. The Pink8 manifesto it´s also like a recipe for making movies but I would like to say something about it. To really understand what this (and all) manifesto it´s talking about, we need to know and understand the other ways of filming. This is the kind of question that i would love to answer it in a bar drinking a bear. 

What can we expect from your next film? 
This is a very difficult question to answer my friend. Right now I´m making my second movie. This time a documentary. It´s a movie that I´m making since 2016. Here I´m gonna let you the synopsis but I can´t talk no more about it because… I just don´t know where I´m going to, but I love it. In 2016 

Daniel Mollani, a former guitar concert artist and music teacher, they diagnose cancer. Daniel, on the verge of turning sixty, had been my teacher guitar for five years and one of my mentors in the artistic field. Paradoxically, his excellence with the guitar had not given him recognition, on the contrary, society had forgotten him, confining him to his home and his poverty. However, Daniel never lowered his arms and remained firm in the composition of works, writing in newspapers and novels never edited, always fantasising about the idea of shooting your own movie. For the next 4 years, Daniel ran away from his reality, began to ramble on time travel, with the ability to connect with your ancestors through of archival materials and I even have conversations with his pocket watch that he recorded with his new camera. I accompanied him teaching him to post produce his images, to think about your camera settings and to make your ideas come true. When Daniel showed me what he had been working on I couldn't believe the simplicity and sensitivity of their achievements. He had recorded the subtleties of life, the aromas and flavors that the rest of us could not capture mired in our work daily. Through cinema, he had found a new meaning in his life.

Interview with filmmaker Ricardo Ceballos

Los Olvidados will premier at the Straight-Jacket Guerrilla Film Festival

* How did you get into making movies? 
I started as a theatre actor, then I made television in my country, soap operas, but I felt something else was missing, and I found the cinema, it caught me, but I needed more, I wanted to tell the story, from my vision and I dared to lead 

*What inspired you to make your movie? 
It's about people in street situations, either for reasons beyond their control, or by their own decision, I was inspired to see how people in that situation were adding up in my country, and it made me reflect and want to see their underworld a bit How has your style evolved? I feel that I am still missing, I have not even reached what I want, in my country it is difficult to make movies, I have no resources, this is my first film, but then I have recorded 3 more feature films, there is more mastery of the technique and the way to tell the stories, but always with the limitations that I present in my country. 

*Tell us some strange or funny story while making the movie? 
I have the support of a small staff, people who like me want to do things for their state, for their country, but I have to do everything, like a man orchestra, cook, do art direction, act, direct, almost everything and it is Something funny but with all the discipline of the command, to see how I have and we have with my team of people to do everything with so little, an austere cinema. 

*What does the The Misrule film movement & Pink8 manifesto bring to mind?
I want to expand my mind and soul with cinema, I love cinema and independent movements, tell and see stories from the bowels of a city, far from an ultra-commercial stereotype that can also be valid, on the street there is so much to tell and with New festivals and platforms have the way of uniting diverse cultures, languages and being heard. I am fascinated by weighing down the old machinery of cinema and shouting that there are other ways here 

*What can we expect from your next movie? 
Intimate, little can say a lot, something condensed from so many feelings and situations that we ordinary people, of flesh and blood, go through and that can be someone's reflection and help. always in the critical and deep of being, questioning something and looking for answers

Interview with filmmaker Michael Cuenca

Jerry Powell & the Delusions of Grandeur will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I used to play with action figures ’til I was maybe 11, or 12. And I’d come up with all these stories and I’d tape them with my parents’ camcorder. During school, instead of writing essays, etc. I would make short films, too. So I’d put all this effort into that sort of stuff. By then I was becoming a huge cinephile and I took a film history college course when I was 16 and still in high school (dual enrollment). I was blown away by all this stuff I had never been exposed to: from the great silents to the French New Wave, etc. I started writing scripts in my late-teens. And I tried to get people to give me money for them, with no luck. So I started to save everything I earned. I made my first feature film — which I couldn’t complete and ended up cutting it down as a short — in 2008. 

*What inspired you to make your movie? 
Well, JERRY… in 2011 I was living in an artist house. You know, a bunch of people — musicians, filmmakers, creatives — living together in a house, splitting rent, sharing rooms, rooming in the backyard in a tent. I was unemployed and was living with Joe Halter (who plays Jerry), and whenever our mutual girlfriends would go out to their band practice, we’d just hang out, having nothing better to do. Joe would slip into this New Jersey persona.. This character was a misanthrope, pissed off at everybody and everything. And I wanted to make a series of sketches to showcase Joe’s talent and this character. So when I first started writing what became JERRY POWELL, it was very episodic. Hence, the first quarter of the movie. And then I got the idea to just make it into an entire DIY feature. Why not? I thought it would be fun. Putting this character into this crime-fiction universe, stylized in black and white… and he also was an unreliable narrator. Pretty much inspired by all the stuff at the time that I was reading, or exposing myself to. 

*How has your style evolved? 
Since JERRY? JERRY was made in 2011. And my latest feature I’LL BE AROUND was completed earlier this year. In a way, that flick encapsulates everything I’ve learned in my past dozen years as a filmmaker. I do love long takes. I wish I could do more of them, but, it’s tough when you make guerrilla/DIY films. Anything can happen. I don’t think my style would truly evolve without some financing, to be honest - haha. 

*Tell us any strange or funny stories while making the film? 
Wouldn’t call it funny. But it’s on the strange side. When we were making the flick… a hood pulled out a gun on us. It’s the scene where Jerry is talking to the camera and Donna yells out, “Street dogs!”. Small crew. Shooting at nite. Pretty much wearing all-black. DP Ammo was buried behind a cloak over the camera. So maybe this guy thought that Brittany Samson (“Donna”) was yelling out, “Street thugs!”. We don’t know. This guy is with his homies or whatever, hanging outside of their car in a parking lot. And he’s a bit away from us. But he’s yelling random stuff out while we’re shooting. And Joe, who never breaks character stops and goes, “Wait…” looking out in that guy’s direction and he goes, “I think that guy’s got a gun.” And we stop and go, “What?” We look and the dude is leaning against his car, gun resting on its side, on the roof of the car. And he says, “Fuck you sayin’, Hawaiian Boy?” Jerry’s wearing this tropical-esque shirt in the scene. And the dude comes directly towards us, gun behind his back, his buddies egging him on from their position. He goes up to Joe and starts cussing him out. And Joe completely becomes submissive — which was a good thing. And he tells the guy that hey, we’re just shooting a movie, we’re not causing any trouble, etc. And I look, the next parking lot over, this cop had pulled over a car and were talking to the passengers. This guy with the gun, looks at us, looks at Joe, sees the camera, waits a beat and goes, “Okay”. And he leaves. Just like that. We get the fuck out of there. The funny part is that the guy had a limp the entire time because one of his legs was in a cast! And this was our first official day of shooting. The next day I get an email from our scriptee and she wrote, “You guys are very brave for what you’re doing and I wish you good luck on the project but I have to quit.” (!!) Now, the strange part is that in front of this building we were shooting behind of— the building is on Sunset Blvd. in Los Angeles, very busy area — maybe a month before this, a young man had been shot and killed. The young man actually lived in the building. A couple of years go by and Joe moves into, not only the same building, but finds out he moved into the guy’s same apartment! 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Punk rock. Just do it. 

*What can we expect from your next film? 
I was set to make a sequel to my experimental second flick BY THE WAYSIDE, catching up on the characters eight years later, but due to life circumstances and what have youse, we’re going to have to wait maybe a year or two before we tackle that one. If we tackle that one. Would love. The first flick was entirely improvised, without a script. This time we have a script, but the dialogue will be improvised. And I think we came up with a fantastic story that will make the first one better when watched back-to-back. I’ve been filming THE BOYS ABOUT TOWN since 2018. That one follows the friendship of two best friends in their early-twenties, and both are obsessed with the Mod subculture and just alternative music in general, and it’s about their friendship and the changes you go through in your early-twenties. I have an anthology movie, slightly interconnected stand-alone stories, that I’LL BE AROUND co-writer Dan Rojay, and ‘Oblivion’* writer Asheel Elfman and I penned. Very excited about that one. After the anthology one I’m taking a crack at my first serious non-comedy. 
Oblivion was my half-hour long punk-inspired web series that we worked on from 2008-2010.