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Behind The Scenes Film Production Blog # 3

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Finishing principal photography early summer 2015, we've already begun the post-production (editing) phase on MAN WHO "SAVED" THE MOVIES with an eye towards the Fall / Winter 2015 - 2016 film festival season.  Keep abreast of updates and developments by "Like"-ing MAN WHO "SAVED" THE MOVIES ON FACEBOOK, or clicking the link below to join our weekly GullCottage / Flying Bear Films mailing list.  To financially support MAN WHO "SAVED" THE MOVIES directly, click the logo to the right to connect with the production ... you mogul, you!

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PHASE #3: Philadelphia, PA
(Sun. Oct. 20th, 2013) 

by CEJ

     There are endless variations on the venerable axiom as to what constituents go into good work and / or ultimate success.  Screenwriters learn early on the three most important attributes of a decent script are “Structure, structure and structure”.  There is of course the old joke, wherein a driver, lost in New York City asks a street vendor the best way to get to Carnegie Hall, and he’s told “Practice, practice, practice” (Always liked that one).  And when legendary director Terence Young (DR. NO, FROM RUSSIA WITH LOVE, THUNDERBALL) was asked many years after his involvement his opinion as to what secret ingredients go into the making of a great Bond film, he replied without hesitation “Sean Connery, Sean Connery and SEAN CONNERY”.  Heh!  Always liked that one even more.  At any rate, you get the idea.

      In our last Production Blog (#2 L.A. Shoot), a key theme was the dual "irony / though not really irony" of prepping one’s shoot out the proverbial “yin yang”, while simultaneously remaining open to “the winds of sudden inspiration from the Creativity Gods”.  And this time around, that philosophy would factor more than ever as it became the mantra of our marathon Philadelphia, PA Phase 3 shoot.  “Planning, Planning and just a little more Planning” combined with a bit of fortuitous timing, ... which at first appeared unfortuitous.  Here’s how it went down …

      A) Earlier this year, upon laying out the tentative shoot schedule (“so many days in Mars, PA.; so many in L.A.” etc.), we’d slated two weekends (with a third as contingency) for the Philadelphia portion. One weekend to be dedicated to exteriors in and around the Center City area, including the Academy of Music, where Steve Vertlieb first met friend and mentor - BEN HUR composer Miklos Rozsa in the late 1960s;  the Fox TV Channel 29 building - where during his early 1980s TV career (before the station became a Fox affiliate) Steve headed up the Film & Video Dept.; and other locales.  But dwindling finances (the squirrels nibbling at the vine of all creative endeavors) and a rapidly approaching Fall season (when it gets genuinely cold in this part of the country) necessitated getting it all done in ONE weekend (Oct. 19th - 20th), with the following Friday set aside as a “bad weather contingency date” if needed.  Then …

      B) Joined once again by our cinematographer from the Pittsburgh / Mars, P.A. “Monster Bash”  shoot, Cameron Mitchell, we knew ahead of time that a scheduling conflict would preclude our sound man from that earlier “Phase 1” weekend, Ryan Farber, from being available to us this time around.  We therefore launched a search for a replacement, which took us up to the very weekend of Oct. 19th; in fact right up to the Saturday in which we’d hoped to commence photography.  At the last minute we acquired Charles Bouril, who proved to be a technical dream come true.  But, even though Charles was willing to go that Saturday afternoon, and even though everyone, including our documentary subject himself, had altered their schedules accordingly, I made the difficult decision, in order that we might all start fresh and not feel rushed, to scrap Saturday, and begin early A.M. Sunday morning.  We'd use the planned contingency Friday.

      Filming in a major Northeastern city like Philadelphia, whereupon it’s population is stacked vertically near BLADE RUNNER-like atop one another, is a ballet of dodging traffic and pedestrians; especially on the weekend, and uber especially in and around the historic touristy locales we were planning on utilizing.  But having grown up, lived and worked in Philly most of my life, I knew it’s “living, breathing and sleeping” schedule rather well, and hence decided an early A.M. (as in 4:30 A.M.!!!!!!) start would be optimum for the Center City photography for two reasons.

      1) Philly (like most metropolises) just looks damned exponentially more beautiful at night, what with the various multi-colored lights and early morning blue hue slowly invading the overhead sky.  And 2) Before the sun comes up, particularly in that brief sliver of time between 4:A.M. and 6:30 A.M., the streets of Center City Philadelphia, even around the towering City Hall and central Broad Street thoroughfare, unlike many other U.S. cities, is damned near a ghost town with hardly an auto or pedestrian traffic, as well as with easy parking almost anywhere you wish.  If you’ve seen ROCKY (those early morning scenes when Stallone's jogging through town) or Terry Gilliam’s Philly-shot TWELVE MONKEYS, much of that is NOT just a film crew blocking off various streets.  That “desertedness” genuinely IS the City of Brotherly Love in that ethereal time phase just before “magic hour”.  Shooting during that time had been the plan weeks in advance, and that wouldn’t change.  What DID change however was a bit of simultaneous madness and brilliance suggested by our D.P.

      After the decision to scrap Saturday and use the Friday contingency, Cameron floated the notion of “combining the entire originally planned weekend”: namely to film both the early A.M. Center City material and the contingency day interiors (on-camera “One on One” interview / reminisces with Steve at his home in the Northeast section of town 17 miles away ) back to back all on the same Sunday.   The interior shoot, on whichever day we shot it, was originally intended to begin around 11:30 A.M. anyway - around the time our early A.M. business was scheduled to finish up.  So, we'd combine two days filming into one.  

     Whew!  It would be a bitch of an exhausting marathon, because we had lots of LITERAL ground to cover in Center City, hopscotching from one locale to another blocks away; then to another, then to another; finally finishing up on the “high steel”, the center of the city’s Benjamin Franklin Bridge, stretching from Philadelphia across the Delaware River into Camden, N.J.  But everyone agreed.  And our "Philadelphia Marathon" was off and running.


play ROUTE 66 - "Theme" (N. Riddle)


      On Friday nights from October, 1960 to March, 1964, television speakers across the nation vibrated to the super-cool rolling jazz piano strains of Nelson Riddle’s chart topping theme song to one of CBS’ most popular series -  ROUTE 66.  Named after "America’s original highway” which, established in 1926, ran from Chicago, Illinois straight through to Santa Monica, California, the show starred Martin Milner as Tod Stiles and George Maharis as Buz Murdock. 

     On the surface it pretended to be sort of a benign version of THE FUGITIVE (think “THE FUGITIVE meets EASY RIDER“) in which two young men, the straight laced all-American Tod - from a history of wealth, and whom decides to find himself after the collapse of his family’s business; and the more street-wise / "Beat Generation" Buz, form a brotherhood after deciding to travel cross country together in a tricked-out ’61 Corvette convertible.  En route they encounter locals (a panoply of guest stars such as James Caan, Robert Duvall, Robert Redford, Ethal Waters, Gene Hackman, Martin Sheen, Boris Karloff and more) and become intimately involved in their personal dramatic adventures. This was where the show’s “true stripes” showed.

     Unlike say THE FUGITIVE, which was primarily suspense and action, ROUTE 66 would use those genre staples as a springboard into more than a few 60s era topics of social discussion including race and gender relations, still fresh memories of the Holocaust, drug and alcohol addiction, domestic violence and more.  No surprise as it was created by legendary socially conscious screenwriter (with a flair for the pulp milieu) Stirling Silliphant  - also responsible for TV’s NAKED CITY and LONGSTREET as well as filmdom’s IN THE HEAT OF THE NIGHT and THE POSEIDON ADVENTURE.

      During it’s initial run two of ROUTE 66’s biggest fans were 14 year old Philadelphia natives Steve Vertlieb and his 11 yr. old younger brother Erwin.  From the get go, Steve and Erwin, two young lads secluded in the “small town” world of Northeast Philadelphia, saw themselves in the brotherhood of Tod and Buz.  In this excerpt from a forthcoming article (to be published in "Mad About Movies" magazine from Midnight Marquee Press) Steve recounts his and Erwin‘s excitement upon hearing news that their fave show was headed their way.

      “They were like brothers, sharing life's adventure on the road, finding maturity in their travels, free to move in whichever directions their whims and desires led them.  We lived for each new experience on life’s unfolding highway. Each new city, town and neighborhood across the United States provided Tod and Buz with physical and emotional challenges designed to test both their endurance and yearning early maturity. However, the moment of ultimate truth came for us in the summer of 1961 as the pair neared the Eastern Coast of the United States, and it was announced that they would travel first to Baltimore and then Philadelphia to shoot two episodes on location. We were exhilarated to learn that our literary counterparts would be traveling to our neck of the woods. In mid October 1961, Tod and Buz drove into the outskirts of Philadelphia.

      After failing to score an invite to the set from a neighbor who had family in the promotional department handling the TV crew’s visit to Philly, the Vertlieb boys took matters into their own hands, cutting school and taking a series of busses to the City Line Ave. hotel where the cast and crew were staying and filming.  Lo and behold their youthful exuberance (and surprising beyond-their-years knowledge of TV and film) resulted in a half hour sit-down with guest star actor Murray Hamilton (THE F.B.I. STORY, JAWS) and a personal invite from Buz himself, George Maharis, to visit that day’s climactic shoot on the Benjamin Franklin Bridge.  A few more bus connections, and a walk up the bridge’s pedestrian walkway later, the Vertlieb boys watched as cameras rolled and captured a scene which would alter Steve’s future choice of life’s career.

   ROUTE 66: "The Thin White Line" (orig. airdate 12/8/61)

      “Tod had mistakenly swallowed a 'mickey' intended for someone else. We watched as Tod, in drug-induced paranoia, threatened to jump from the bridge to his death in the raging traffic below. ‘Don't do it, buddy. I love you,’ cried Buz to his stricken friend. As Tod regains his senses, climbing precariously into the sheltering arms of his beloved friend and brother, the scene ended and the camera crew began disassembling their equipment. The ensemble began coming down from the bridge, and Erwin and I came down with them, meeting at the opening gateway. As George Maharis walked quickly down to the street, he saw us standing there and waved enthusiastically with his characteristic smile. It was a moment we would somehow never forget ".


                         ON ROUTE 66 ...”:


      Developing into a tradition, Steve and I would meet for dinner in town approximately one week before each of our three shoots.  One week before our “Phase 3” Philly shoot he suggested that I first stop by his home to watch the ROUTE 66 episode, “THE THIN WHITE LINE”, which had meant (and still means) so much to him.  And while I’d known of his affection for the episode, and had made plans to include “a couple of shots” near the Benjamin Franklin Bridge to “harken back” to it, upon watching “The Thin White Line” all plans suddenly changed.  Alfred Hitchcock’s words (first mentioned in our film’s “
Mission Statement” blog) roared to the forefront of my writer / director’s mind reminding me, “In a narrative film the director is God; but in a documentary film God is the director”.  And those creative gods were once again making their artistic presence known … loud and clear.  Best to listen. 

      In the same way in which the geographical Route 66 had once been the “central nervous system” of the geographical U.S., so now would memories of ROUTE 66 the show (and “The Thin White Line” episode in particular) become - in a manner of speaking - the central nervous system of our film, STEVE VERTLIEB: THE MAN WHO “SAVED” THE MOVIES with, "structure / editorial"-wise, many of the film's other “limbs, arteries and such” stemming from it.  The Philly portion of our shoot was always intended to be the most personal, (positively and negatively - as in delving into some of Steve's deep heartbreaking histories and trauma as well as the fun inspirational stuff), and as such was always the “heart” of the film.  That was a primary reason for saving it for “Phase 3”.  After spending time with the more upbeat elements of Steve’s life story it would then be a bit easier to segue into the darker portions rather than just dive headlong into them coldly from the git-go.  It would all now stem from this seminal ROUTE 66 episode.  And there was but one week, ... under one week to set it all up.

     Philadelphia "Phase 3" crew: Cameron Mitchell (D.P.), Charles Bouril (Sound), Tom Wills (Steadicam)


      The Thursday night before the proposed weekend shoot (a raw and rainy one which helped the onslaught of a flu I'd battle weeks afterwards), after leaving the “day job” (actually ending around 11:PM), I took a photographic recon to the base of the Ben Franklin Bridge in order to see how closely we could get to recreating some of the actual camera angles of the original December 8, 1961 ROUTE 66 episode.  The hope was to try to (licensing permitting) later dissolve from b&w screen grabs of the episode to present day color footage of Steve at the same locale.  I also needed to determine camera angles in and around Center City’s City Hall, Broad Street, the Academy of Music and the Fox Channel 29 building, as well as the driving and / or walking distance in blocks between those locales and the BFB, the midpoint of which (where we’d do most of our filming) was discovered to be six city blocks from the pedestrian walkway on-ramp. 

  (1961)                                                                                      (2013)

      Keep in mind that first and foremost is my concern over Steve’s age.  Hey,, the man’s a trooper, and in some regards a lifesize Energizer Bunny.  And while he certainly doesn’t have one foot in the grave by any means, he has had heart and foot surgery in recent years.  On top of this we’d be filming in the early A.M. in relatively cold weather (at least until the sun came up), and we'd be hopscotching somewhat hurriedly from locale to locale.  Part of that recon planning was to determine easily accessible parking places for our vehicles that Steve might “take a few minutes to chill” between takes - a rather difficult task at times.  As determined as he was to “keep going” he did however realize the wisdom in not “pushing it too hard”.  And I thank you dude for not giving ME heart trouble!      

Steve (left), Charles Bouril (center) and
                                                                        Cameron Mitchell (right) prep at the base of historic City Hall.

play ROCKY -
"Philadelphia Morning" (B. Conti)


        - 4:30 A.M. -

      Our small unit - consisting of Steve, D.P. Cameron Mitchell, sound man Charles Bouril and myself, meet early A.M. at the 24 hr. Walgreens on the corner of Broad & Chestnut - just across the street from Philadelphia’s illustrious Prince Music Theater, and one block from historic City Hall, topped by the famous 27 ton / 37 ft. tall Alexander Calder statue of city founder William Penn - to date the tallest atop any building in the world (take THAT New York and L.A.!!!). 

     Having planned every single desired shot and angle beforehand, we make great time moving from our filming at City Hall, to Broad Street, then ultimately to the Academy of Music.  We also manage along the way a few great “B” roll pick ups of the color strewn city and it’s downtown buildings, and even have enough time to spare before sunrise that we’re able to capture some last minute frames of the cityscape at dawn, as rainbow colors crest over the horizon.  Here I sing the praises of "planning, planning and more planning", while in that soundtrack playing in the back of the mind I can't help but hear Bill Conti's "Philadelphia Morning" track from the ROCKY film score.  There was something truly and quietly magical at work this morning.  

     We snag those dawn cityscape shots from the top level of a nearby parking garage.  Heh! - one in which a disgruntled patron warns us to not park our vehicles, as he claims the staff has been known to themselves steal or turn a blind eye towards the theft of property.  At any rate we’re parked blocks away. 

     We capture that gorgeous footage set against the mural strewn side of an old building; and so far everything is so good.  Though in the cold morning air I keep my eye on Steve; not wanting him to do too many retakes.  Those who know him (yes, this one's for you, Erwin) know he's like one of those actors who insists on doing their own stunts.  I remind him and our crew however that we’ve still a long day ahead, including that six block jaunt trekking up the BFB (Benjamin Franklin Bridge).  

                      - “7:AM”: -


      In the early to mid 1980s while Steve headed the Film & Video Department at (then) WTAF TV 29, he also published the magazine CINEMACABRE, and, before the station’s takeover and cutting of staff, was being groomed to be it’s on air film commentator / reviewer.  He was even given a screen test, reviewing a new summer 1982 film from Steven Spielberg entitled E.T.: THE EXTRATERRESTRIAL.

"Review of E.T." WTAF TV 29 8-6-82 )

      While not officially open for business on the weekend, the Fox 29 building is occupied 24 hrs. per day, down to a security guard at the lobby desk on duty at all times.  I’d hoped to film our subject entering said lobby while in voice-over reminiscing about what he still considers “the most enjoyable days of my life”.  And to this end I’d contacted Fox 29 personnel and fashioned, as per request, a mammothly detailed letter / shooting outline for the perusal of their legal department.  Unfortunately, receiving no response by our shooting date, we contented ourselves to filming Steve crossing the main Market Street thoroughfare towards the building without him actually entering.  The security guard on duty didn’t much care for us doing so.  But, ehhhh, …  we did it anyway!  Footage captured, we then drive to the foot of the Benjamin Franklin Bridge as the warming October sun begins to rise

Early A.M magic beneath the Benjamin Franklin Bridge:
 D.P. Cameron Mitchell aligns a shot while documentary subject,
 Steve Vertlieb, looms over in shadow. (Photo by Charles Bouril)

    - “8:AM”: -

      During our Mars / Pittsburgh, P.A. shoot, D.P. Cameron Mitchell performed double duty as Steadicam operator.  And during the early A.M. Center City photography he’d also function as focus puller.  Knowing however that the bridge photography would be more challenging, he’d arranged for a genius of a local Steadicam operator, Tom Wills, to join us at the bridge. 

     The “Columbus Blvd.” section below the base of the bridge has undergone in recent years (and continues to undergo) a stunning renovation.  And, unbeknownst to any of us local boys, there was a new boardwalk promenade pier stretching from the base of the bridge out over the Delaware River.  After capturing footage on Race St. leading to the bridge (the site in the ROUTE 66 episode where a drug induced Tod steals the policeman’s gun), and while awaiting Tom’s arrival, we capture some beautiful early A.M. sunrise footage of Steve traversing the boardwalk to stop and admire the morning view.  Tom arrives, and we all make the six block pedestrian walkway ascent up Philadelphia’s historic Benjamin Franklin Bridge. 

      Originally intending to capture a “walking and talking dialog exchange” between myself and Steve (me tossing him questions about that memorable day back in October of ’61 on the set of ROUTE 66), both the wind, as well as my desire to not “break the tone” of what we’d captured thus far (with the intrusive appearance of the film maker into the proceedings) leads me to keep the cameras rolling on Steve himself.  With a fantastic D.P. pulling focus, an experienced Steadicam operator and sound man, and myself riding shotgun and calling for last minute “panning” shots here and there, we all prove an effective team, along with the Energizer Bunny himself , dodging joggers and capturing what will surely prove to be one of the most visually arresting portions of the film.  Kudos to all involved.  The shoot atop the “High Steel” will remain one of my most vivid and enjoyable memories of 2013.

     Steadicam operator Tom Wills (right) helps recreate the dizzying look & feel of "The Thin White Line"




      But that was only half of the day …


   - “11:30 A.M": -      

      Steadicam operator
Tom Wills, originally slated to be with us during the bridge portion of the shoot only, informs us he’s free till 5:PM and willing to travel with us to the Northeast.  Jokes are exchanged regarding that old 1980s era ARMY recruiting TV commercial (“We do more before Noon than most people do all day”); and we load our equipment and travel to Steve’s Grant Ave. apartment. 

      The week prior, while returning in Steve’s car from the restaurant where he and I had dinner, I was struck by the filmic uniqueness of driving up to his home while Frank Sinatra (Mr. Vertlieb’s favorite vocalist; and a personal meeting with the legendary singer will also be covered in our film) played over a Sirius radio station dedicated to “Old Blue Eyes”.  Feeling it would be a nifty transition from one scene to the next, a sequence was planned with the camera (and sound) riding “in the back seat” as Steve pulls up to his apartment building. 

     His auto not large enough for all of us to fit within, Cameron and Charles capture the footage while Tom and I prep for the interior shoot; the Steadicam operator (and the word “genius” is not overkill) blowing me away with his love of craft, mastery of both it’s artistic and technical attributes, and even more so with the revelation that he also invents filming equipment as needed per job - as he’d done the night before for our shoot.  If there was ever any doubt that Philadelphia’s pool of filmic talent was lacking behind that of any other city, let such foolish notions be put to bed here and now. 

      All agree the “MONEY SHOT OF THE DAY” is a complex "dreamed-up-on-the-spot" GOODFELLAS-like near continuous Steadicam sequence tracking Steve as he exits his automobile, enters the lobby of the apartment building, retrieves his mail, ascends the stairs, enters his apartment / museum, then places the now open letter (revealed to be an invitation to a wedding) on the kitchen table as he moves off camera to remove his coat.  It’s a damned nifty visual moment most film makers would die or kill to capture.

                       - “1:PM": -

      The “Heart” of our film commences as we delve for the first time into Steve’s “One on One” with the camera.  While he’s been captured at the Pittsburgh Monster Bash Convention, then in L.A. with his brother Erwin, at the “Composer’s Summit”; and with Juliet Rozsa, and with director Phillipe Mora and actor Paul Clemens, et al, this is the first time he’s been on screen alone - delving into both blissfully remembering and heartachingly revisiting some of the most life shaping moments of his career and personal existence. 

     We chat about those “beloved early days” on the set of ROUTE 66, to his first published works as a writer; then to his emergence as a “new breed archivist” collecting voluminous letters and personal experiences from and with creative friends and cohorts Willis O’Brien, Ray Harryhausen, Ray Bradbury, Miklos Rozsa, John Agar, Robert Bloch, Veronica Carlson, James Bernard and others.  We veer into the darker times of divorce and near bankruptcy; then an inspirational bouncing back as his love of “saving” film in return would miraculously save him as well. 

     Make no mistake.  The Q&A wasn’t always easy.  On more than one occasion Mr. Vertlieb’s voice would crack, and he’d need to take a moment to regain composure.  But just as his physical “Energizer Bunny”-ness was evident earlier in the day while hopcotching about Center City and the Benjamin Franklin Bridge, so now is his emotional / spiritual “Keeps Going And Going”-ness the fuel for the second half of the day long marathon shoot.  

play "ROUTE 66" (1981 re-recording):
vocal by The Manhattan Transfer (B. Troup)



      By approximately 5:PM we finish with the last of the day’s Q&As.  I decide later in the week we’ll need one more mini-day of additional “fill in the blanks” interviews - slated for sometime in early December.  But all agree this day was one of those few and far between (if ever) ones where EVERYthing went according to plan without a hiccup. Truly this isn’t the norm.  And no one expects it to happen again anytime soon on other projects.  But for today, the “planning out the yin yang” proved priceless as it allowed us to cram more set ups and footage into a 13 hr. marathon run than some units with more people capture in three full days. 

     Over the next few days our crew separates into other projects (Cameron’s presently at work on a new locally filmed suspense / horror feature), and I’ve been prepping our three back-up drives (containing respectively the footage from Pittsburgh / Mars, L.A. and Philadelphia) - as well as myself, for the next few weeks of cutting together a 15 min. “extended trailer promo”.  It's purpose will be to accompany the film's official business plan presentation sent to independent studios, production companies, grant givers and the like.  I'm also working on a “funky rough cut template" of the film itself. 


      While the finished product is slated to run approx. 85 mins., the “funky cut” (devoid of color correction, narration, music, etc.) will run about 2 ½ to 3hrs., and will function as a rhythmic / thematic representation of “this will follow this - which will follow this ...” filmic chronology.  With over 40 hrs. of raw footage (not including later-to-be-added film and music clips as well as “B” roll transitionals and insertions of documents, photos and other archival material) the challenge of “winnowing down” will be a daunting one indeed.  But (as has emerged as something of a life motto) “having too much is always better than not enough”.  I hope to have this “funky cut” version ready not only for potential post production financiers, but also as a Christmas Gift for both the brothers Vertlieb, Steve & Erwin who, cutting school that day back in October of 1961, set in motion the creation of (in our opinion) one of the most impressive private film document archives of the last half century.  It is our intent to do it, and it's curator, justice with our feature documentary, STEVE VERTLIEB: THE MAN WHO “SAVED” THE MOVIES. 

      Big time thanks to Cameron Mitchell, Charles Bouril and Tom Wills for going the “extra mile” (and extra hours) to transform what I’d originally planned into something infinitely more visually resplendent and emotionally satisfiying than anticipated.  Thanks also to Bob Cho, as well as to my brother - Harold Jamison, and sponsor Bruce Gerhardht for that all important practical support.  An operation like this doesn’t run on “good vibes” and “good karma” alone. 

   To my “brutha from another mother” - Adam Hughes.  You’ve no idea how our exchanges keeps my morale up and running during the most “f”d up of times.  To the gang at Alma de Cuba (you know who you are) - my own personal version of “The Gang at Avenue L & 8th Street” (you “over 30” LP lovers will get that one) for believing.  And finally to my very first (and still most important) audience - my Mother.  Since childhood, whether it was drawing comic books, writing short stories, or my first professional inroads and successes as an adult screenwriter, it kinda hasn’t happened for real until I’ve shared it with you.  Your belief and support of me all these years (often when you really had no concrete reason to do so) is still the cornerstone of my creative life and desire to do better for myself and others.  

      And, of course, to the Man himself (cue the Theme to SHAFT) - Steve Vertlieb.  We’ve been friends but one year, but already in that short space of time we've shared more personal dreams, heartache, angst and creative victories (both individually and together) than most lifelong friends do in ten.  More than anything, getting this film done, and getting it done right, is a personal matter.  You know what I mean when I say it’s …

      A  promise to a dear friend.  

                                                    Years ago ... these would have been film canisters!

Craig Ellis Jamison (11/10/13)

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