Really excited to be starting at AFI next year in their Directing program! Looking forward to two years of long nights, failure, and (let’s hope) some films I’m proud of.
They keep calling us “fellows” rather than “students,” which is funny to me—I feel so early in this filmmaking journey, and certainly feel much more student-like than fellow-like. I couldn’t have even imagined the slightest sliver of an opportunity like this back when I made my first shorts at UCLA Extension three years ago or when I quit my video game job two years ago. And it wouldn’t have been at all possible without the dozens of people who’ve cheered me on this whole time. Most of all my brilliant and endlessly supportive girlfriend, Liv.
Would love to see all my friends before I disappear for two years, so please text if you’re around! I’ll be between LA and New York this summer.
Pictured: My driver’s-seat attempts at photos of the sign I for the first time noticed coming off the 101 at Gower St.
Screenwriting lessons from Shakespeare by way of Auerbach…
“Shakespeare’s drama does not present isolated blows of fate, generally falling from above and involving but a few people in their effects, while the milieu is limited to the few persons indispensable to the progress of the action; on the contrary, it offers worldly entanglements which result from given conditions and from the interplay of variously constituted characters and in which not only the milieu but even the landscape, even the spirits of the dead and other supernatural beings participate. And the role of these participants often contributes nothing at all or at least very little to the progress of the action, but instead consists in a sympathetic counterpoint—a parallel or contrary notion on various levels of style. […] Shakespeare’s dramatic economy is prodigally lavish; it bears witness to his delight in rendering the most varied phenomena of life, and this delight in turn is inspired by the concept that the cosmos is everywhere interdependent, so that every chord of human destiny arouses a multitude of voices to parallel or contrary motion. The storm into which Regan drives her old father, the king, is not an accident; it is contrived by magic powers which are mobilized to bring the event to a crisis, and the fool’s speeches, and Poor Tom’s later, are voices from the same cosmic orchestra, although their function within the purely rational structure of the action is very slight. But they bring with them a rich scale of stylistic levels, which, within the prevailing key—the sublime—descends to farce and sheer nonsense.”
—Erich Auerbach, Mimesis (pp. 283-4)
Some of the most amazing Shakespeare scenes ever:
Prince Henry IV, Part 2. Act 2, scene 2:
“What a disgrace is it to me to remember thy name, or to know thy face tomorrow, or to take note how many pairs of silk stockings thou hast—with these, and those that were thy peach-colored ones—or to bear the inventory of thy shirts, as, one for superfluity and another for use. But that the tennis-court keeper knows better than I, for it is a low ebb of linen with thee when thou keepest not racket there, as thou hast not done a great while, because the rest of the low countries have mad a shift to eat up thy holland; and God knows whether those that bawl out the ruins of thy linen shall inherit His kingdom; but the midwives say the children are not in the fault, whereupon the world increases and kindreds are mightily strengthened.”
Act 5, scene 5:
“I know thee not, old man. Fall to thy prayers.
How ill white hairs becomes a fool and jester.
I have long dreamt of such a kind of man,
So surfeit-swelled, so old, and so profane;
But being awaked, I do despise my dream.
Make less thy body hence, and more thy grace;
Leave gormandizing. Know the grave doth gape
For thee thrice wider than for other men.
Reply not to me with a fool-born jest.
Presume not that I am the thing I was,
For God doth know—so shall the world perceive—
That I have tired away my former self.
So will I those that kept me company.
She thou dost hear I am as I have been,
Approach me, and thou shalt be as thou wast,
The tutor and the feeder of my riots.
Till then I banish thee, on pain of death,
As I have done the rest of my misleaders,
Not to come near our person by ten mile.
For competence of life I will allow you,
That lack of means enforce you not to evils.
And, as we hear you do reform yourselves,
We will, according to your strengths and qualities,
Give you advancement.”
Catch ANNIE'S PERFECT TEETH at Atlanta Horrorfest this weekend! Honored to be included with this amazing lineup of films—and how often do you get to see a whole block of teeth-related short films??
Screening October 19 at 2:30pm!
Limelight Theater
349 Decatur Street Southeast, Atlanta, Georgia 30312
We're coming to Chicago! Thrilled to announce that we'll be playing @chicagohorrorfest , September 26-28th at the Logan Theatre! We'll be there in person, so come say hi!
#ChicagoHorrorFilmFest
#ChicagoHorrorFilmFestival
#ChicagoHorror
Monday night is the night!
Our premiere at LA Shorts is just around the corner, and we’d love to see you all there. Link for tickets in bio.
Comment or message if you’ll be there, so we can all meet up before and after!
WHEN: Monday, July 21, 10pm
WHERE: Regal Cinemas LA Live, 1000 W Olympic Blvd., Los Angeles, CA 90015
@lashortsfest #lashortsfest
may have left new york but i still have a view of the wall next door
hello friends i moved to LA (and redownloaded instagram)! let me know if you’re ever in the area and need a place to stay or want to say hi
![Screenwriting lessons from Shakespeare by way of Auerbach…“Shakespeare’s drama does not present isolated blows of fate, generally falling from above and involving but a few people in their effects, while the milieu is limited to the few persons indispensable to the progress of the action; on the contrary, it offers worldly entanglements which result from given conditions and from the interplay of variously constituted characters and in which not only the milieu but even the landscape, even the spirits of the dead and other supernatural beings participate. And the role of these participants often contributes nothing at all or at least very little to the progress of the action, but instead consists in a sympathetic counterpoint—a parallel or contrary notion on various levels of style. […] Shakespeare’s dramatic economy is prodigally lavish; it bears witness to his delight in rendering the most varied phenomena of life, and this delight in turn is inspired by the concept that the cosmos is everywhere interdependent, so that every chord of human destiny arouses a multitude of voices to parallel or contrary motion. The storm into which Regan drives her old father, the king, is not an accident; it is contrived by magic powers which are mobilized to bring the event to a crisis, and the fool’s speeches, and Poor Tom’s later, are voices from the same cosmic orchestra, although their function within the purely rational structure of the action is very slight. But they bring with them a rich scale of stylistic levels, which, within the prevailing key—the sublime—descends to farce and sheer nonsense.”—Erich Auerbach, Mimesis (pp. 283-4)](https://sp1.picnob.com/p/pt_6747403611572038285015_0_84e025e33bfde01f9a1634fc2154be73.jpg?o=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&h=3b202e853a086bd48bf262179b2a324f)
