Tag Archives: film

The Blarg No. 81: Chris Ayers

Perhaps the least enjoyable aspect of podcasting is the editing process. Well, really, the least enjoyable part of anything is the editing process. Actually, I take all that back. The worst part of a process that involves editing is editing your own work. That’s the worst. The worst for me, at any rate. Other people might really enjoy editing their own stuff, but I can’t stand it. I’m not one of those people who doubts the quality of their work—not anymore, anyway, at least not to the point that I let it get in the way.

Where was I going with that?

Oh, yeah, the whole point is that editing myself is the worst, because whether it’s written or audio, I have to deal with my own voice. Audio is the worst! Who wants to listen to themselves talk that much? I can’t be alone in this. Going back and forth over cut points, making sure the tracks sound right when they’re glued back together… It’s a weekly torture. By the time I put a show up, I’m ready to never hear it again. This has absolutely nothing to do with the person I’m talking to, or the quality of the finished product, it’s simply that I can’t stand to hear the sound of my own voice a moment longer than I have to.

As someone who has suffered from more than a little bit of self-doubt, it’s a wonder I manage to put anything out there at all, and it’s only due to years of feedback from people whose opinions I respect, forcing myself to view my own work objectively, and the cultivation of a strong, healthy “Fuck It” attitude that I keep on plugging away.

This is why I envy the role of a producer who isn’t also the host. The actual editing itself is fun, when it’s someone else’s work. I like doing it. When I edit Chatterpod, it’s great, because I’m not in any of it. I just get to listen back to the storytellers, cut out some of the mic handling noises and transitional silences, level out the sound, and post the episode. I think Limited Engagement is a good, quality podcast, but if I never had to hear myself again, I’d be totally cool with that. Which brings us to this episode’s guest, who gets to happily sit behind the boards, as it were.

Chris Ayers is the producer of On the Grid (hosted by prior guest, Phil Haldiman), as well as the art director at RightThisMinute, and he just started up an awesome passion project, PHX Film Collective, which is dedicated “to bringing culturally relevant cinema to Central Phoenix.” PHX Film Collective’s first event, a screening of Dr. Strangelove, takes place at the Phoenix location of Changing Hands on Saturday, July 14th, at 7:30 pm. Be sure to follow PHX Film Collective across social media platforms for more information on this screening and future events.

Listen to LE 81 – Chris Ayers

Best,

Jared

 

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The Blarg No. 80: Philip Haldiman

80 episodes!

First, though, a quick note of thanks to everyone for the feedback on the intro to the last episode. I was nervous about making myself vulnerable to an audience of listeners, but I felt like it had to be done. Depression, anxiety, feeling overwhelmed, it helps to talk about what’s going on, and as a podcast listener, it helps to hear other people going through similar issues, to relate and empathize, so to not open up would have felt dishonest. Again, thanks for listening, and thanks for the feedback.

But, 80 episodes—fuck, man! I don’t know if it’s ever going to sink in that this is a program other people are interested in, that it’s something other people consider worth their time—it’s mind blowing. As of writing this, Limited Engagement has already had more listeners in the first six months of 2018 than we had in all of 2017, which means, at this rate, we might actually double last year’s number. It’s nuts. If you’re reading this and you listen to the podcast (which, really, I’m not sure why you’d read this if you aren’t a listener), my gratitude runs deep. But, also, please rate and review us on iTunes/Apple Podcasts–listens are amazing, and ratings help us get more listens.

Quick Hoot n Waddle plug: we’re taking pre-orders for our first book, Chris Danowski’s DOGSEAR. You can get the book by itself, or purchase a bundle with a t-shirt or poster or both, and there’s a discount on the bundles exclusively for folks who pre-order online. Chris has written a fantastic book, and I am immensely proud to be publishing it.

My guest for our 80th episode is Philip Haldiman. Phil is known to a large swath of rabid fans as Denny from the cult classic film, The Room. In our conversation, Phil discusses what life is like as a member of the pop culture zeitgeist, the comic book he’s written about his Hollywood experience, My Big Break, and much more. Learn more about Phil’s work on his website.

Also on the show, a brief snippet from an upcoming episode of LE of a conversation I had with Tony Moschetti, who is the host of the Starving Artist PHX podcast and a co-founder of Laughing Pig Theatre. Laughing Pig’s original production, Survival Skills, begins a run of four performances at Mesa Arts Center on June 29th. Get your tickets on Ticket Leap and use the code PODCAST at checkout to receive $5 off per ticket.

Listen to LE 80 – Philip Haldiman

Best,

Jared

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The Blarg No. 77: Jason Keil (plus a mini talk w/Dan Hull)

I had two conversations this weekend that made me think about religion. Specifically my personal relationship with religion, which, to be perfectly honest, isn’t that great.

One, with poet Katie Manning, made me consider religion and religious imagery as it appears in my writing, which is not often, but it does. That conversation will go up soon. The other conversation was with friend and neighbor Dan Hull, a short one that you can hear at the beginning of this edition of the show.

Dan has a film premiering on May 25th at The Newton called Bad Buddhist, and he invited me over to watch it with him. A recording of a fantastic one man show he staged at Space 55 a few years ago, the film mines veins of love, ritual, imperfection, and man’s inhumanity to man. Serious stuff, but it’s very funny as well, and the Buddhist lens through which everything is filtered serves to somehow make the film universally relatable in its specificity. The Buddhist rituals that Dan incorporates into the show connected me to memories of donning a yarmulke and saying the prayers as a kid. The ritual and the language of that came back to me instantly, and in Hebrew, too, and it’s easily been 20 years since I participated in anything remotely Jewish from a spiritual standpoint. Cultural and social Jewishness is inescapably ingrained in my personality makeup, but I was surprised, especially as a non-spiritual person, to find myself sort of missing the ritual, and it went a long way towards explaining a lot of my need for organization and routine. It’s something I’m going to have to really think about for a while, which I believe speaks directly to how powerful the film is. You should go see it on the 25th at 7 PM. If you can’t make it to the screening, visit the Bad Buddhist website and contact Dan for the Vimeo link.

Surprisingly, this weaves perfectly into my conversation with writer Jason Keil. Jason is a frequent contributor to The New Times, as well as other publications, and I highly recommend checking out his work. I connected with Jason via Twitter, and it did not take long for us to connect on a primally nerdy level. Jason is the sort of person that I can talk to endlessly about pop culture, so it was really hard to keep this conversation on the rails—which I swear I try to do despite all the evidence to the contrary. In addition to all the shared interests, Jason is just a really amazingly nice guy, and he’s so genuinely enthusiastic and in awe of the fact that he gets to do something he loves and is passionate about and in some way contribute to the pop culture fabric, that I want as many people to read his work and support him as possible. Check out Jason’s website, and be sure to follow all of his social media accounts.

One last quick note, a little bit of business, Hoot N Waddle is officially open for manuscript submissions. We’re currently accepting Poetry, Fiction, and Creative Non-Fiction. You can visit the Hoot N Waddle site, or go directly to our Submittable page to read our guidelines.

Best,
Jared

Listen to LE 77 – Jason Keil (plus a mini talk w/Dan Hull)

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LE 68: Amy Young and Ashley Naftule

Happy New Year, everyone. We made it!

Not shitting anyone, I was going to write this entire blarg about optimism and determination. That was the plan. Then, something came up, and now I feel like I have to talk about that instead. Maybe I’ll try and sneak some optimism in at the end.

This month, first Friday, Four Chambers Press published a series of chapbooks which was the culmination of the collaborative efforts between 18 artists and 18 writers called InSight II (in case the title didn’t give it away, it the follow up to last year’s InSight). I am one among those 18 writers, and my collaboration was with artist Ryan Parra. I’m really proud of the finished work, and this weekend should have been a celebration of the efforts of all those involved. Instead, it all collapsed into a horrible, stinking shithole. New City Studios, the gallery where the work is currently on display, instructed the curators of InSight to remove one of the artist’s pieces (incidentally, the artist, Malena Barnhart, is the person with whom Ashley Naftule, one of this episode’s guests, collaborated for the project) for what amount to religious reasons—specifically that the work is overtly sexual.

I’ve been thinking about how I wanted to respond to this, and if I’d written this immediately upon receiving the news of the work’s removal, I would have written a venomous tirade all about theological fascism. Given some time, this is what I’ve distilled those initial feelings of outrage down to in a much more constructive and objective fashion. Personally, I am vehemently anti-censorship. Additionally, while I am not anti-religion—as I believe that would be hypocritical on my part, I am against the idea that religious institutions have the right to impose their values on anyone who does not choose to subscribe to those values, and that extends to their creative output. New City Studios purports to “[exist] to serve and flourish the arts scene of downtown Phoenix. [We] make a point of promoting local art and artists across as many mediums as we can support.” These words and two other similarly worded expressions of community support are the only elements of text outside of external links that exist on the studio’s site. Nowhere on the website is the fact that the gallery is owned by New City Church reported, nor is there any wording which would suggest that the gallery’s support of the Phoenix arts scene is dependent on that art’s alignment with the church’s views. To use words the church may be familiar with, this presentation of the gallery to the community is both overtly and covertly deceptive. To use words that I would in any normal conversational context, this is really fucking far from okay. If the gallery is a part of the church, and it has become blatantly obvious that it is, then the way to support the arts community is not to deceive it. Even something as simple as the addendum “…so long as the work coincides with the church’s views and beliefs” would serve as an honest attempt to convey the gallery’s aesthetic to any artists who may find themselves involved with the gallery to make an informed decision. I know that would have been enough for me to decide that I did not want to be involved with such an establishment, nor have my work on display. I know that my statement as a writer and creative type is that I will only work with and contribute work to an establishment that is honest, inclusive, and truly supportive of an artist’s right to express themselves without restriction. In other words, not a bunch of theological fascists.

Ultimately, things come down to a breakdown in communications between organizers and artists, and as usual, it’s the artists that take the brunt of the negative consequences. All the hard work and collaboration that went into this project is currently being overshadowed by the sensationalized news story surrounding it. The possibility of this was overlooked by the determination of the organizers to see the project come to fruition regardless of the cost to the artists and writers involved, and I’m not talking monetarily, I’m referring to personal ethos and feelings surrounding the work contributed. As I said earlier, I’m immensely proud of the finished work. I feel like my response to Ryan Parra’s art, and his to my writing, speak to each other in a shared language developed without us ever having worked together in the same room. As a result of the events surrounding what should have been a joyful occasion, I cannot feel good about sharing or promoting the completed project. For me, the whole thing has fallen under a cloud of negativity and resentment. My heart goes out to any other artist or writer who contributed to this project and feels the same way.

Fuck.

Right, onto something much more positive. Amy Young and Ashley Naftule came over to the house to talk with me about their new film podcast, Prizefighting Kangaroo, and we sort of managed to do that. I won’t speak for them, but I had a blast. Our conversation went all over the place, and I haven’t laughed like that in a long time. I think I said during our conversation that I was going to edit a bunch of it out, but I didn’t end up cutting much, because when I was listening back to it, it was all too much fun. I hope you enjoy the chaos.

Amy Young and Ashley Naftule are both deeply ingrained in the Phoenix arts and culture scene. Their new film podcast, Prizefighting Kangaroo, is produced by Yab Yum Music and Arts, and you can hear it on Bandcamp, or via Yab Yum. You can also catch Amy and Ashley hosting Triviadome: Cinema and Culture Trivia over at Valley Bar on January 30th, and curating a new monthly series at Film Bar called “Gateway Drugs: A Director’s Showcase” beginning on February 1st. More info on those events here.

Best,
Jared

Listen to LE 68 – Amy Young and Ashley Naftule

P.S.
If you listen to us on iTunes, we could really use some ratings and reviews love there.

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The Blarg No. 41: Sean David Christensen

I’m working on something very exciting and very big. Well, I think it’s very exciting and very big, but I can’t talk about it. I hate that. When I’ve got an idea cooking that can lead to something awesome, I want to talk about it with everyone who asks me what I’m up to. Unfortunately, that same stage where I want to tell everyone about something is the same stage where the idea tends to fall apart, because people aren’t as excited as I am, or they try some devil’s advocate sort of thing. All of it is well-intentioned, I’m sure, but it also has an awful deflating effect on me which often leads me to abandon the idea, to lose faith in it. I’m not letting that happen this time. This idea is too important—direction of life changing level.

In the meantime, I’ll settle for teasing the idea and hope that in itself will generate some excitement and keep me going. There is a lot of groundwork ahead—a lot of meetings, conversations…hard, organizational shit that is not my strong suit, that I loathe doing. I am much more of an idea man, like Michael Keaton’s character in Night Shift (if you haven’t seen that movie, I highly recommend you do so). In a perfect world, I’d offer up the idea, the motivation behind it, and then someone else would swoop in and take care of the logistics, but what are you gonna do? Anyway, as they say, watch this space.

This week’s episode is a conversation with Sean David Christensen. Sean is promoting his short film, The Duel, which has had screenings at the Athens International Film and Video Festival and the San Francisco Documentary Festival, and can be seen at the Marfa Film Festival this July. He’s also done a number of other short films which you can find on Vimeo, he’s a frequent storyteller at Chatterbox and Bar Flies, and he’s in the band Maggie Dave. I had a great time talking to Sean, and you should definitely check out his work. The soundscape at the end of the show was created by Rafael Anton Irisarri.

Best,

Jared

Listen to LE 41 – Sean David Christensen

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Birdman Kicks Ass

I walked out of the theater after having seen Birdman, and I felt happy–not just because it’s a great film, but because it’s a great film starring Michael Keaton. I like Michael Keaton, and in many ways, being the age I am (and the rest of this statement will give you a ballpark figure) I feel like I grew up with Mr. Mom–I mean Keaton…

For those who have yet to see Birdman, fear not–this is no attempt to Siskel and Ebert things up here, there will be no spoilers. All I will say is, it’s a great movie. You should go see it. Trust me, I know these things.

Where was I? You’re always making me lose my train of thought… Right, growing up with Michael Keaton.

He was like the cool kid I wanted to hang out with. You know, the kinda weird one who was funny and smart, but also a little scary and given to the occasional bout of depression, but that’s cool, too, because it just means you’re, you know Deep.

I felt that way up through Batman Returns, and then he made some questionable film choices, so it was like, well, maybe we won’t hang out so much anymore, and then it was more, I’m moving out of state, but we’ll totally keep in touch, and then, whad’ya know, it’s been who knows how many years since the last time we saw each other.

Again, just like that friend, he’d pop up every once in a while in some great character roll or other that made me think, oh, yeah, that’s why we used to hang out. He’d come up in conversations from time to time–conversations populated with phrases like “totally underrated” and more often than not end with the words “and I still think he’s the best Batman.”

Then, when I began seeing previews for Birdman, I thought to myself, it’s time for me and Michael to hang out again, catch up, get reacquainted–awkward pauses and all. Now I’ve seen the film, and it’s great–we’ve sat down and had coffee, talked about where we are in our lives, and found out we still have a lot in common.

Whether or not Birdman is a commercial success, it is an artistic and stylistic success, and it gives me hope that things can be as good as they ever were–not just for Michael Keaton, but for myself, and, honestly, you can’t ask for much more from the price of a matinee ticket.

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