Archive for the “Production Notes” Category

IFN Film grab

IFN’s Jason Bunyan interviews producer Will Kreth about the backstory behind the story of GET IT ALL OUT.

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What you’re seeing here is the test acetate pressing of “Get It All Out” – the album that will share the same name as the documentary – (a tangible transmedia instantiation with a retro flair).   Watch this short video to see the birth of our LP – etching into an artifact – a transfer that seemed like alchemy as a kid, but when you see it happening – it all seems quite normal. (@ Masterdisk NYC – Monday,  18 June 2012)

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Last year (2011) saw the re-birth and re-hydration of the music of Stick Against Stone.  Songs not heard live in nearly 30 years were performed for the first time by the SAS Orchestra – a 13 piece ensemble that played 2 shows in NYC (@ Sullivan Hall and Von King Park).   After months of rehearsals stretching back to a cold January 2011 day in the Lower East Side of NYC (with 2 feet of snow on the ground!) – to the June and July debut of the band – we showed that the songbook of this group would not be forgotten.

Filmed for the documentary, these concert clips will be appearing online during the year – but 2011 also saw the start of a new artifact. We went into the recording studio on July 31st and have been working little-by-little, on weekends and around busy schedules – to record a NEW SAS Orchestra album for release this year.   We’re happy to say it’s sounding great and will be done and available this spring fall (hey, these things take time!)

Expect to see some new mixes from that album – also called “Get It All Out” – soon.

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studio pecussion instruments arrayed and displayed like candy
“…Stick Against Stone is horns and percussion and horns and percussion and percussion and horns and more percussion…” - Bob Wenzel – 1982

Hey all – it’s been awhile since our July SAS Orchestra shows, and in an effort to capture all those months of rehearsing and the energy behind the performances, we’ve been recording an album of Stick Against Stone songs with the SASO team. It. Is. Sounding. Amazing. Really. We’re knocked-out by how rich the sound is, and while we’ve got a ways to go, we’re excited to think about a release in the early part of 2012. We’re working on 12 to 13 songs for the record.

We’re also editing the film portion of the doc, and are working on the eBook planning process – too. Much to do, many to co-ordinate with – but all good markers of progress.

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WAMM logo

The Transmedia Resurrection of Stick Against Stone by Max Willens

This summer, the surviving members of Stick Against Stone will join forces with some local musicians to play some gigs for the first time in close to 30 years.

In addition to these shows, a documentary about the band’s history and its deceased frontman John Creighton, Get It All Out, is currently in production, with an eye towards a 2012 release. And on top of that, Creighton’s writings and poetry have been compiled into an interactive eBook which will see release later this year.

All this activity would be impressive for any indie band. But how – and why – has all this activity come together for an obscure no-wave/post-punk/free jazz band from the early ‘80s?……..(continued)

WorkBook Project logo

Building the Ideal Transmedia Music Doc Team – A Top 5 List by Will Kreth

Where do you go to find the right team of collaborators for something that’s never exactly been done before? Who’s your Dream Team for the Unseen? What are their roles and responsibilities? ……..(continued)

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DIY Days NYC 2011Looking back on yesterday’s DIY Days event , it’s hard to say what was the most valuable insight or inspiring takeaway from the sessions. Get a couple hundred media / film-making / storytelling “makers” (I think of my buddy @Frauenfelder of MAKE Magazine and Maker Faire) and cross-media nerds in a room for a day and good ideas are going to flow.

There is something beautiful about media makers wanting to take more control of the process, development and distribution of their own work. But as each formerly mysterious and uncontrollable/rarefied element or tool becomes democratized, storytellers have fewer entities to blame or point fingers at for their inability to (a) Tell a good story, and (b) Get shit done.

I’m looking in the mirror here, too. We are a month late on our own deadline to produce a new trailer for “Get It All Out” – and it is becoming an issue. That said, the DIY ethos – the old punk-rock sensibility of “fuckit – this is going to get done, NOW” is a powerful stimulus – and one that can probably only add more integrity to the final product. Thank you, DIY Days – my move.

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This was the question posed by Jennifer Wilson at the BAVC Producers Institute for New Media Technologies Public Conference Day last weekend. Filmmakers (and this includes documentary filmmakers) have a myriad of options for telling their stories. Which begs the question, when does it stop being about the film? Or put another way, when does it stop being only about the film? The narrative spine need not be exclusively encased in a linear, run-time theatrical experience. (Also known as “movie”).

This is going to drive film purists nuts.

We’re not talking about the myth of taking away the primacy of the storyteller/auteur, or letting the audience choose alternate endings to the film, or adding interactivity just for the sake of “being interactive.” We’re talking about how new devices (e.g. – tablets, smartphones), eBooks (downloadable electronic books that blend text, video, audio, social media, etc.), data visualization (graphic representations of people, places and inter-relationships – paired with a timeline/chronology – sometimes presented using mind mapping software), and locative media (e.g. – GPS tagging, story maps, augmented reality apps) could all potentially be additive to the world of documentary storytelling – inclusive of the linear film, but more than just a theater or living room experience.

As a producer/director – I have many choices on how to tell the story of Get It All Out, but for practical reasons – I can’t choose them all. So, we’re working with what we have – and looking to augment the story (not the film) by all available means, when and where the cross-platform instance of the story adds value to the audience’s experience.

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