When I found out that the folks over at Ironbound Films had made Évocateur: The Morton Downey Jr. Movie, a documentary about one of the most unique television hosts from the 1980s, I was intrigued. Then when I learned the documentary was going to have its world premiere this month at the Tribeca Film Festival, I was fortunate enough to email interview one of the three creative forces (and directors) from Ironbound, Jeremy Newberger.

Tim O’Shea: Was it hard to track down folks that had worked on the production of his show, or are many of them still active in the industry today?

Jeremy Newberger: Finding the producers of “The Morton Downey Jr. Show” was easy. Getting them to overlook twenty years of repressed rage and therapy bills was a little trickier. Most of them are still in production on everything from theSPEED Network to “The Ellen DeGeneres Show.” Show creator Bob Pittman is now CEO of a little company called Clear Channel.

O’Shea: Much has been made of the bigoted/anti-gay slur that Rev. Al Sharpton uttered (and was the subject of some coverage for the documentary last year). While I know Sharpton declined to be interviewed, were there other reluctant interview subjects that you were able to convince to participate? Don’t you expect once the film premieres at Tribeca and gains wider attention that Sharpton will have to comment on the clip in some regard?

Newberger: Often with documentaries, potential interviewees decline. Most people we approached were ready and willing to participate. In some cases, it seemed as if they were waiting for our call. Reverend Al Sharpton will speak volumes about our project, with either his words or silence.

O’Shea: I had long forgotten that present day presidential hopeful Ron Paul was on Downey’s show. What other present day movers and shakers were you able to feature from Downey’s shows?

Newberger: We have often referred to “The Morton Downey Jr. Show” as spring training for today’s pundits. In addition to Ron Paul, we feature Gloria Allred, Pat Buchanan, Stanley Crouch, Alan Dershowitz, and Curtis Sliwa, to name a few.

O’Shea: What did you learn about Downey in the research of the project that genuinely surprised you?

Newberger: One of the biggest surprises was the Downey family’s relationship to the Kennedys. Morton Downey Sr. and Joe Kennedy Sr. were neighbors and best friends. Clearly Morton Downey Jr.’s upbringing helped shape hisworldview.

O’Shea: How early in the project did you realize you wanted to include Chris Elliott among the interviews for the doc (because of his Downey imitation)?

Newberger: In the late ‘80s, all three directors watched “The Morton Downey Jr. Show” and Letterman after. At the time, a 28-year-old Chris Elliott was doing a hilarious Mort impression on Letterman. He loved Mort, and was one of the people I mentioned who was “waiting for our call.” We interview Chris at Manhattan’s Bowery Poetry Club. His performance had us rolling on the floor.

O’Shea: You attended many of the tapings of the show yourself (in fact, as noted here) “Jeremy even played Morton Downey Jr. Show dress-up with his high school friends.”) When the cameras were off, was there a substantial shift in the demeanor of folks involved in the show? What insight did you gain (which helped inform your work on this doc) from attending those tapings?

Newberger: None of the three of us ever actually made it to a taping, either because we weren’t allowed or couldn’t get a ride. We were forced to watch (and imitate) it in our living rooms. Our friends (then heroes) who did attend are featured in our film. We gather them for a therapy session in Downey’s old studio.

O’Shea: In the doc, are you able to draw parallels between some of Downey’s tactics with tactics employed by TV and radio talk show hosts of today?

Newberger: We visit a Tea Party media conference to tap into the latest crop of Morts. The cultural critics in the film detail the anatomy of a populist entertainer. Mort’s producers reveal how one is forged.

O’Shea: How challenging was it to convince Bob Pittman to license the Downey footage to you?

Newberger: The founder of MTV, Bob Pittman we believe was convinced by our creativity. We didn’t just want to make a Morton Downey Jr. documentary, but an in-your-face, take-no-prisoners cult classic. We took a gamble that Bob would share our vision. He rewarded us with the show footage.

O’Shea: Creatively, was there a debate whether or not to include animation in the documentary to recreate moments in Downey’s life that had not been filmed?

Newberger: The three of us were all on board to animate parts of the film. Not necessarily to recreate un-filmed moments of Mort’s life, but to portray his demons. Our South African animator Murray John employs a hand-drawn,“Heavy Metal” style.

O’Shea: Were there other challenges to overcome in getting this documentary made?

Newberger: The biggest challenge we faced was combing through more than 400 tapes of show footage to not necessarily capture the finest moments—as if putting together a “best of” compilation—but to sculpt a narrative and get inside Mort’s mind and motivation.

O’Shea: Anything you’d like to discuss that I neglected to ask you about?

Newberger: ÉVOCATEUR: THE MORTON DOWNEY JR. MOVIE is premiering at the Tribeca Film Festival in April 2012. We encourage your readers to attend a screening:

These are busy times for musician J.D. McPherson, seeing as this week he will be making the rounds at SXSW, then next month will see Rounder Records re-release his album, Signs & Signifiers (initially released by his bass player Jimmy Sutton’s HiStyle Records in 2010). McPherson is a singer/songwriter who clearly has an affinity for music’s history, but with a distinctive voice that defies any comparison and that is garnering him an increasing amount of attention. Last week he learned that his music had been nominated in the rock/hard rock category by the Independent Music Awards. This was on the heels of learning last month that Decca Records will be releasing his Signs & Signifiers in the United Kingdom, news that pleased him so much that he tweeted “This is more special than gold to me”. McPherson was recently kind enough to answer a few of my questions about the making of his album in this email interview. After reading the interview, be sure to check his tour page to see if he’s playing near you.

How important was it to you to be able to record Signs & Signifiers in 100% analog?

It was my first experience recording in this way, and I can promise you that I have no interest in recording in any other environment from here on out. It was a completely exciting and rewarding process.

How early in the CD’s development did you realize you wanted to record a cover of Country Boy?

It was a couple of weeks before I had left for Chicago. I was listening to Tiny Kennedy’s version of Country Boy in the car. I really liked the groove of the song, and the repetitiveness of the lyrics. During recording, we had discussions to make it have more of a hip hop influence, in the way that the music mimics a “loop”. It’s a very sparse arrangement, one of my favorites on the record.

Does it creatively liberate you to avoid being labeled/classified as any particular musical genre?

Getting classified is unavoidable, but it’s not necessarily a bad thing. We are very clear about having a starting point in 1950s Rhythm & Blues and Rock N’ Roll, but we’re trying to write songs and arrangements that are forward-thinking.

In what ways does your album benefit from collaborating with fellow musicians, Jimmy Sutton (Bass, Guitars) and Alex Hall (Drums, Piano, Organ)?

Jimmy is my collaborator, as well as the bass player and producer of the album. His greatest strength is his ability to inject style into a recording, and discovering hooks to make a song infectious. We are told quite often that there’s not a lot of filler on this record, and I attribute that to Jimmy’s input. Alex is also a huge part of the process… he’s a brilliant engineer, and a musical prodigy as well! He’s also a great contributor to the creative process in the studio. I’m the luckiest kid in the world to be working with these fellows.

Signs & Signifiers also features a number of appearances from guest artists, including Scott Ligon on piano, as well as Susan Voelz on violin and Allison Chesley on cello. In the case of guest artists how much effort does it take to establish a rapport with the artist in a short amount of time?

As far as Scott Ligon (piano) goes… I didn’t know him from Adam. He came into the studio, sat down at the piano and started producing the most brilliant piano playing I’d ever heard… He’s not afraid to really push the envelope, and he’s also this amazing blend of traditional and avant garde! He plays guitar with Terry Adams in NRBQ, and I know that Terry’s playing is a huge influence on him. I look up to Scott in a major way. He’s such a musical guy. I never met Susan and Allison personally, but I’m so moved by their contribution to “A Gentle Awakening”… their playing is so beautiful.

Can you walk readers through the experience of making the video for A Gentle Awakening?

We wanted to shoot something in Oklahoma, on the ranch where I grew up. We had already shot North Side Gal in Chicago, so we wanted to get the other side as well. Jimmy and our buddy James Ventrella drove down from Chicago in early February, and we shot nonstop for three days straight, waking up before the dawn to try to take advantage of the beautiful light that happens just before the sun rises. We did the same thing at sunset. At night, we’d talk about what we were going to shoot the next day. Jimmy has this beautiful vintage portable Ampex recorder, and we used it in the shoot. It’s sort of an homage to the [Alan] Lomax field recordings. Everything you see in that video is on the McPherson ranch, still operated by my parents in Southeast Oklahoma.

Speaking of that video, when did you find out that it had been selected as AOL Spinner’s video of the day?

That was great news! It wasn’t too long after we had released the video. People seem to enjoy it.

In 2011 you played a series of dates in Spain, how is your music perceived abroad?

As it stands right now, the folks in Spain are the most enthusiastic fan base! Each show on our Spanish tour was sold out, or even oversold. We played very large halls in Barcelona, Bilbao, Santiago, and Madrid, and it was an incredible response. A very diverse crowd, as well. Things are also going well in Germany and the Benelux area.

Recently, we were named one of the Top 5 bands to know about in 2011 by NPR here in the states, and that has been a huge help getting things going here at home! A dream of mine is to play Cain’s Ballroom here in Tulsa… It’s the most amazing venue in the world. Here’s hoping for 2012!!!

Terence Bernie Hines

The next two months are going to be quite busy for actor Terence Bernie Hines. First up, on March 9, A Thousand Words, a comedy-drama Eddie Murphy film will open, featuring Hines among the supporting cast. Then, in April, Rushlights, a murder-mystery movie with a cast featuring Beau Bridges–and including Hines as well–will be released. In anticipation of these two new films, Hines was kind enough to entertain a series of questions in an email interview about the creative process in both projects.

In your next film, A Thousand Words, you are part of a cast that includes Eddie Murphy, Allison Janney, and Jack McBrayer. How did you land the role–and who are most of your scenes with?

I auditioned for the part and was initially cast in a different role; but when I met with the director Brian Robbins on set, he felt I would better fit the role as a friend of Eddie’s in his office. So everything I do is with Eddie – and we definitely had fun!

What were some of the benefits of getting to work with a director like Brian Robbins?

Brian has been in the business since he was a kid and has done literally hundreds of shows as an actor, producer or director, so he has a great sensibility for working with actors. And when he sees something that works, he just lets you go with it, which is always nice.

What appealed to you about working on A Thousand Words? Were there certain aspects of the role or your scenes that proved challenging?

I pride myself on being able to hold my own with anyone I work with – and I’ve worked with Academy Award-winning actors. I’ve followed Eddie’s career from way back when he was on SNL, before breaking big time in Hollywood. Yeah, he’s had some downs like everybody, but at the same time he’s made some of the funniest movies ever. Bottom line: Dude is funny! So for me, the challenge was to keep up with him and his improv and not let anything fall flat. And we wound up hitting it off really well and loved working together.

Not many folks can say they worked in a film with one of the legendary Bridges brothers. Did you have many scenes with Beau in Rushlights?

This is murder-mystery drama where I play the owner and cook of a small-town diner who knows everyone. I only had one scene with Beau, but it’s a pivotal one in the movie. I loved working with him. He really is a great guy, personally as well as professionally. Very easy to work with and just as easy going as anybody. What’s really cool about this movie is his son Jordan – a great actor in his own right – also plays a lead in the film. We all got along great, and I got a kick out of seeing how tight they were off set. I try to learn something from everyone that I work with, and spending time with them on breaks was like sitting around a campfire listening to great stories. And he had a ton of them about his experiences growing up in Hollywood as the son of an iconic actor, going to acting school, and as an actor himself. I would jump at the chance of working with Beau again.

What kind of a creative dynamic did Rushlights director Antoni Stutz foster?

I had worked on a black comedy called Expired, with Samantha Morton and Jason Patric, that Antoni was the Executive Producer on. But this movie is most definitely a drama, and he was at first a bit leery that I would be too funny in the film; but I convinced him that I could be great in any genre. Antoni has a very strong sense of atmosphere and mystery and goes out of his way to convey that on film.

Typically with feature films, there’s a great deal of lagtime between when you film your scenes and when the film is finally released. How much patience does it take, patiently waiting for a film to be released–given that understandably you want people to see your work that you are proud of, of course?

You know, sometimes I hate that! Don’t they know every film we do is really about “us” and getting our work out there to the fans?! I mean really! All kidding aside, it really can be frustrating. And the reasons a film gets delayed can be so varied (not enough money to release and promote it properly, a big star with power didn’t like the director and demanded his role be re-cast and re-shot after principle photography was completed, sometimes a great independent movie can take a while to get a distributor). On the other hand, sometimes it works in your favor and several movies you’ve done in the past all come out within months of each other and you appear to be much busier than you are!

How many scripts/roles do you consider in a given year? I’m always auditioning or having meetings.

I usually do one to two features per year. I also do TV and have done some classic short films as well, such as Jedi Gym and a short called The Handkerchief, which won the LA film festival a few years ago.

What’s the biggest challenge to staying a successful actor in the highly competitive film market?

For me it’s finding the right opportunities, being prepared, and then taking advantage of them. Being a great actor is never enough in this business; there are plenty of excellent actors that don’t work for way too many reasons to mention. I’ve been very fortunate to have worked in films with the likes of Meryl Streep, Matt Damon, Harrison Ford – among other great actors. I constantly watch and never stop learning. That and really believing in your talent – and getting important people in the business to agree with you by any means necessary!

A couple of months back, I interviewed writer/director Jairaj Walia about Pendejo, his romantic comedy starring Danny Trejo, Raja Fenske and Fernanda Romero, while the film was in post-production. More recently, the Pendejo team granted Technorati the exclusive premiere of the film’s official trailer (featured above) along with brief interviews of Fenske and Romero. My thanks to Fenske and Romero for their time. Current plans are for Pendejo to be released in 2012.

Five Questions with Raja Fenske

Were you nervous the first day on the set, or are you too experienced to get nervous any longer?

Not so much nervous. More anxious and excited to take on the role and begin shooting. It was my first experience being the lead in a film and I loved the idea that I would be in a position to carry a film.

Which attracted you more to working on the project, the director or the script?

Initially the script drew me in. It was witty and smart. It was one of those projects that you relish the chance to be a part of. Once we began filming, I quickly became very close friends with the director Jairaj Walia.

What was it like working with Danny Trejo?

An absolute pleasure and honor. Mr. Trejo is well known for his tough exterior and the badass characters he portrays. But I was lucky enough to see a rare side of him. He’s one hell of a comedic actor with a great sense of humor. I hope we’re lucky enough to collaborate again in the future.

Can you single out a favorite scene or moment in the film?

Wow, there’s so many brilliant scenes – and I had fun with every moment – but if I had to narrow it down to only one, I’d have to say the Haunted House scene was one of my favorites to shoot. Everyone on set had such a great time making that scene happen.

What is the most challenging aspect of doing a comedy?

Doing justice to the script and story Jai created. When I read the script, it was laugh-out-loud funny. My biggest concern was making sure that when the scenes came off the page they were as funny seeing them as they were if you had read them.

Five Questions with Fernanda Romero

How quickly were you able to establish a rapport with your co-star Raja?

It was pretty easy. We had instant good energy, which made it very easy and fun.

What interested you in working on the movie?

The script and the humor in it! I really liked the story.

What was it like working with the cast?

It was drama-free and quite fun on set.

Was it hard to decide how you wanted to approach playing your character?

Not at all. When I read it, I pictured her immediately! I saw her as savvy, fun, and a little bit of a joker – but never mean.

What did you enjoy most about working with director Jairaj Walia?

Jai really listens to you and is very happy to hear your feedback. At the end of the day we are a team. And having great communication with your director is a must.

The Life and Writings of Paul Nelson

From the 1960s to the early 1980s, Paul Nelson was known for writing passionate, insightful criticism of folk and rock music that showed a partiality for singer-songwriters. He, and his record collection, was of great importance to Bob Dylan early in his career. As an editor at Rolling Stone, he influenced many great critics, such as Charles M. Young and Mikal Gilmore. But suddenly, in the early 1980s, when editorial decisions at Rolling Stone ran contrary to his thinking, Nelson walked away from music criticism. In fact, he dropped out of criticism entirely, choosing to spend his remaining years in relative obscurity, working at a video rental store. He died in 2006, but not before writer Kevin Avery contacted him about a potential biography. After Nelson’s death, Avery was tapped to compile this new Fantagraphics book, Everything Is An Afterthought: The Life And Writings Of Paul Nelson, in which Avery documented Nelson’s career as well as collecting his writing. In addition to discussing this book, Avery also discussed his other Nelson-related book that he edited, Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979-1983 (Continuum Books). To mark the release of both books, Avery recently allowed me to interview him via email.

Not to toss a large question your way, but how did Paul Nelson help to shape present day rock criticism?

I’m probably the wrong person to ask. As a result of immersing myself in the music and criticism of the Seventies and Eighties, I really don’t follow rock criticism much anymore, but what I do read bears very little resemblance to the kind of writing that Paul did. Paul’s writing was more contemplative and expansive—in contrast to some of what I read today, which is dictated by time and space constraints (some of the very things that brought Paul’s tenure at Rolling Stone to an end in 1982).

In gathering this book, were there certain key parts to the collection that proved harder to track down then others?

Everything Is an Afterthought: The Life and Writings of Paul Nelson is actually divided into two books: Book One, which is Paul’s biography and sets up Book Two, which, while continuing to tell Paul’s story, presents an anthology of some of his best writing. Tracking down the various writings that I wanted to include in the book wasn’t that difficult—the challenge was documenting the last twenty or so years of his life, after he left Rolling Stone and “began to erase himself from the world” (as Anthony DeCurtis recently chillingly wrote). He closed the door on most of his many friends and colleagues and began leading an increasingly private life (which was hermetic to begin with).

What were the biggest logistical challenges to developing this book?

Selecting those writings of Paul’s that would not only demonstrate what a fine writer he was but would also serve to tell his story. Paul was a very autobiographical writer, although not overtly so. Sometimes, as with the Rolling Stone cover story about Warren Zevon’s battle with alcoholism, he was a reluctant participant in the story. But in Paul’s other work, I think even the casual reader could sense his presence lurking between the lines.

What I wanted to do was structure the book so that, after reading the first half of the book, Paul’s writing, in the second half, revealed just how much he had almost surreptitiously been telling his own story all along—in record reviews as well as articles.

In terms of Nelson’s peers and associates, were there a few that proved to be a critical path in terms of giving you the proper frame of mind on the body of Nelson’s work?

At the risk of failing to mention several people who undoubtedly contributed on this front—and there were many (the usual suspects jump to mind: Robert Christgau, Dave Marsh, Greil Marcus, and Kit Rachlis—I’d have to say that Paul’s good friend Jay Cocks, a fine critic in his own right who went on to forge a very successful career as a screenwriter, provided me with the best insight to not only the work Paul had done but also placing it in perspective with rock music and rock writing as a whole. And not just the rock music and criticism of the Seventies of the Eighties, but where it had come from and where it ended up going.

How much fun was it to appear on Kick Out the Jams with Dave Marsh, discussing Nelson’s work?

Lots of fun. Speaking as someone who as a teenager used to sit cross-legged on my bed reading these guys’ work—guys like Dave, Christgau, Greil, Jay, and of course Paul—anticipating reading what they had to say about notable new albums as much as I anticipated the albums themselves—on that level this project was a dream come true.

Before embarking on this project had you known that Bob Dylan had stolen folk records from Nelson at one point early in his career?

Yes, thanks to Martin Scorsese’s Dylan documentary No Direction Home, where Paul himself tells the story. Though, as I point out in the book, Paul always claimed that the records actually belonged to his best friend at the time, and cofounder of The Little Sandy Review, Jon Pankake. On the other hand, Jon said they were Paul’s. Regardless of their ownership, Dylan took them.

After researching the book, did you find that your view of Nelson changed (for the better or whatever) as you learned more about him?

I certainly understood him better and, as a result, now appreciate his writing even more. While I was writing the book, I experienced the same thing that I think many people have expressed after reading it: an immense sadness. Paul’s story is a tragedy that, by and large, took place behind closed doors in small illegal sublets scattered throughout New York City. There’s an inevitability to what happened to him, but he did the best he could with what he had to work with.

But that sadness passed. It was replaced by a genuine appreciation of the man and the great writing he left behind.

Would punk music have flourished as much without Nelson’s advocacy for it?

What Paul did, especially by way of his amazing Rolling Stone review of the Sex Pistols’ debut album, was help introduce punk to the mainstream. Because he was a critic of some gravitas, famous for writing about singer-songwriters like Dylan, Jackson Browne, Leonard Cohen, and Neil Young, I think he undoubtedly engaged some people who otherwise would’ve never considered giving punk a listen. And certainly, when he was editor of the record-review section at Rolling Stone, he encouraged writers like Charles M. Young and Mikal Gilmore to write about bands like the Dead Boys, Joy Division, and Public Image Ltd.

Conversations with Clint

Care to talk a little bit about your Clint Eastwood book?

Absolutely. It’s called Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979–1983. Even though it came out first, a few weeks before Everything Is an Afterthought, it’s actually my second book.

I’d always remembered, since reading the aforementioned Zevon cover story in Rolling Stone, that Paul had interviewed Clint Eastwood. In the piece, Paul mentions that he’s interviewing Eastwood for a story. But such a story never materialized anywhere. I hadn’t thought about those interviews with Eastwood in years, but then Dave Marsh mentioned them in a remembrance he wrote about Paul in 2006. Over the next few months, as I began researching the book and conducting interviews, several people asked me if I knew the whereabouts of Paul’s Eastwood tapes. Ultimately, they were found in Paul’s apartment after the medical examiner unsealed it.

The interviews, over seventeen hours’ worth, range from 1979 to 1983, and were intended for a Rolling Stone cover story that Paul, for various reasons, was never able to write it. What struck me while I listened to the tapes for the first time was the obvious friendship that quickly developed between these two men. They clearly enjoyed one another’s company. As a result, Eastwood is much more open and revealing—about his career and his aspirations, about his influences—than the Eastwood we’re used to reading about. Paul had correctly predicted, as far back as 1971, that Eastwood would become a “major force” as an actor and director.

Conversations with Clint presents these interviews as an occasional but ongoing four-year conversation between two friends.

MoPix

I’ll be the first to admit, I know next to nothing about film distribution. But when I caught wind of the plans for MoPix, a film and video distribution platform set to launch in January 2012, I wanted to find out more about it. A few emails later, I was in contact with MoPix founder, Ryan Stoner, who was more than willing to educate me in the ways of digital distribution and technology. My thanks to Stoner for his time.

Tim O’Shea: When and how did MoPix initially get conceived?

Ryan Stoner: MoPix was conceived in late 2010. We were developing entertainment apps for the likes of Warner Brothers, Disney and entertainment moguls like Anthony Zuicker the creator of CSI. We had just finished building the Dark Prophecy app, and were exploring creating an ePub authoring solution for publishers looking to enhance their books with a layer of context aware content, transforming an ordinary ebook into a full sensory experience, complete with audio, visuals, discoverable content, special effects, and other content to enhance the reading experience. We quickly realized the pitfalls of transmedia content rights for back catalogues and shifted our focus to the film work. We saw an opportunity to replace the income lost from traditional distribution outlets by creating a platform for filmmakers to release their work. We also saw it as an opportunity to enable users to experience more than just the film, such as, photo galleries, behind the scenes, and any second story content created around the film.

O’Shea: Is MoPix ideal for iPads or tablets or a mixture of both?

Stoner: The iPad is our primary device because it represents a majority of all tablet sales and is the fastest growing device, but we plan on expanding to the Android, Kindle and future tablet devices as well. We are bullish (about) tablets. I also believe it is not just about the size of the tablet, but also the possible connectivity of the tablet to other devices

O’Shea: How much help have filmmakers like Enzo Tedeschi been to beta testing MoPix?

Stoner: All our initial filmmakers are instrumental to helping us define the product. We are building focus for the content creators who want to have a better creative outlet to engage with their fans. We love receiving feedback and suggestions from all our core users as that is what helps us evolve the platform. We have spent a lot of our energy working closely with filmmakers like Enzo who understand the limitations of the DVD and what is possible with a touch based tablet experience.

O’Shea: Has MoPix changed drastically while in beta mode, or have there just been minor tweaks?

Stoner: We believe our launch platform is a game changer and will set the bar for what is possible with tablet distribution. When we began our beta we were building apps around existing content. When we launch we are focused on setting the bar for what is possible if a filmmaker goes into product with us in mind. It is a drastic difference to say the least and we are super excited to share it with the world in early 2012.

O’Shea: In terms of getting the word out about MoPix, how beneficial was it to be one of 20 companies presenting at the Launch ‘Pad Tablet event?

Stoner: The Tablet Conference was a great opportunity to expose MoPix to the tech world. We live at the intersection of entertainment and technology so we are constantly trying to find our place in both worlds, navigating the world of film rights, while building an end-product that has mass consumer adoption potential.

O’Shea: MoPix was a sponsor at the recent Northwest Filmmakers Festival, given that festivals are populated with filmmakers looking to garner distribution, did you find folks were quite eager to find out more about MoPix?

Stoner: Film Festivals are under exposed events. I wish more people would support local film festivals. Over 5000 films are premiered a year at film festivals, but very few get picked up. We are very much in support of those amazing films that need help finding their niche audience. We are excited about sponsoring several other film festivals as well and releasing more apps like the Cine City App, that we did for the Brighton Film Festival.

Personally I love to see filmmakers take chances and eager to control distribution. No one knows how to market a film better than the creator and filmmakers need to shift their mindset to wanting to control their destiny. They might not make the millions they dreamed, but they can make their money back, build a brand for themselves and have an audience who is craving for their next film.

O’Shea: As noted in this recent article, there are at least 27 platforms for digital distribution. When the distribution landscape shakes out, will the number of viable ones narrow down to five–or even less?

Stoner: It is about being were your audience is. There is no one-stop shop anymore, but there is also no need to be everywhere. I urge all filmmakers to research where their audience is before signing any deals. We will see some films getting 100% of their sales from PlayStation, while others succeed on Amazon. Know thy audience. VOD is here to stay, physical medium will always exist and digital download ownership will continue to grow.

Personally I am bullish on tablets. With Apple Airplay film apps are not only viewable on the iPad, but you could stream the film to your TV or even your car if you have apple TV inside. The opportunities are endless. The Format and the Content is combined into one device for a fraction of the price of what it costs to produce a Blu-Ray.

O’Shea: How important is effective social media to the success of MoPix?

Stoner: Relationships are important to MoPix. Our goal is to build a brand that is honest, trustworthy and personal. Part of that is being engaged with filmmakers and our audience. MoPix goes beyond our needs to help others. If you want advice on how to negotiate the best deal or go direct to VOD we are always eager to have that conversation. Social Media is just an amplification of that support. Our social media strategy is geared around conversations. As more people become engaged with MoPix we can collectively help more of the films and filmmakers who use our platform.

O’Shea: When Netflix goes and shoots itself in the foot and loses market share, is that an opportunity for digital distribution apps to gain market share?

Stoner: Hollywood is divided over VOD. Consumers don’t understand the business economics, but the loss of income with VOD has been a shot to the head for the studios. The margins on a DVD purchase= about 9 Netflix rentals and how many consumers watch a film on Netflix 9 times? You are going to see a big push towards digital downloads and formats that allow for those higher margins. I think consumers will pay for premium content, which is why we are trying to create the best experience possible on the iPad.

O’Shea: What’s on the horizon for MoPix?

Stoner: While we have done a lot we are still pre-launch. Our launch will be at the end of January and we are excited to showcase what is possible on tablet devices. Sign up for the beta on our website.

Article first published as Stephen Battaglio on From Yesterday to TODAY on Technorati.

From Yesterday to Today

In 2012, the U.S. national TV broadcast network NBC will celebrate that Today, its morning news and talk show, first went on the air 60 years ago in January of 1952. Indeed, NBC’s celebration started a little early in mid-November, with the release of From Yesterday to Today: Six Decades of America’s Favorite Morning Show, a book written by Stephen Battaglio (TV Guide‘s business editor) and published by Running Press. Battaglio, who was granted access to the TODAY show’s archives in order to fully document the rich history of the show, was kind enough to take part in a recent email interview about his 272-page book. The book features a variety of information and photos covering the show’s 60-year history as well as an introduction by current Today show host Matt Lauer.

Did NBC give you full access to its show archives?

Yes. We were able to use their photos. I was able to review past episodes of Today – a lot of fun – and interviews with the personalities that NBC News producers had done over the years. I combined that with my own research and reporting on the show done over my career as a journalist covering the TV industry. I also did a few dozen fresh interviews with the current and past Today producers and cast members.

Personally I think an entire book could be devoted to Pat Weaver, a very important figure in NBC’s history. While I am sure you were already well aware of his role in Today’s formation, I was wondering if there were things you learned about him that you did not know.

Pat Weaver wrote his autobiography a few years ago and always appeared on the Today anniversary shows. He has never been shy about recounting his role as a television pioneer. I think the enduring key to his brilliance was his understanding that live television with personalities who provide a connection and companionship to the viewer could survive the technological changes we’ve seen in television. Sixty years after he created Today, people still want to get up in the morning and have someone they like tell them that the world is still there.

No other morning show ever had a chimpanzee for a host. But I am curious if, in researching the book, did you find there was another host during the show’s history that surprised you?

The chimp, J. Fred Muggs, was not a host. But his arrival saved the program, which was almost cancelled in its first year. I think the surprising aspect of the hosts is that they all possessed distinctive personalities, interesting quirks and diverse backgrounds. They did not all come out of the same mold. That made them fun to write about.

A morning TV news show of this kind had not been attempted before the TODAY show. Are you surprised, despite the trail he blazed in new TV content, that Dave Garroway is far from a household name?

For nine years, few people logged as many hours on television as Dave Garroway. But it was live television. There were no repeats that ran in perpetuity like I Love Lucy. He was not an actor who appeared in classic films that still run on cable TV. He has been dead for 30 years and his career had faded 20 years before that. When you’re not on the air, it’s easy to fade from the public memory. But I think this book will remind or reveal to readers that he was a unique talent and a very unusual guy.

When did the Today show stop having the host doing commercials (a practice done as shown in this photo of Hugh Downs)?

In the mid 1970s, NBC News wanted Tom Brokaw to host Today. He was the White House reporter at the time, and he did not want to do commercials. He thought it would hurt his reputation as a hard news journalist. When he was approached a second time he was told that he would not have to “hold the can” as they used to say, and he signed on.

Given her long history in TV, some people may not realize how pivotal Barbara Walters was to the show, how much do you delve into that?

The book goes into great detail about how Barbara Walters paved the way for women in TV journalism and helped define the skills that every morning program personality needed to have to succeed – the ability to comfortably do hard news and softer entertainment segments. She also had a deep affection for Today, and I don’t think she has ever gotten over leaving NBC.

Not every author can have the full current Today show lineup promoting the book with a signing, how great was that?

What I liked most about it is that it allowed me to experience close up what I wrote in the book. The people on Today understand how much the program means to the viewers and how it’s really important part of their lives. It’s a very intimate relationship unlike any other in television.

The Best of Times

During 2010, in the wake of the Texas Legislature’s budgetary cuts for arts funding, Sara Hickman, the Texas State Musician of the Year, decided to use her position to raise funds and awareness for the importance of arts education (and the funding of it) for children. More exactly, she spearheaded a collaborative effort–with a variety of Texas artists including Shawn Colvin, Willie Nelson, Rhett Miller, Robert Earl Keen as well as many more–to record a collection of Hickman’s own songs. The project, The Best of Times, was recently released as a two-CD, 38-cut collection by Waterloo Records. All proceeds from the sale of the CD set go directly to the Theatre Action Project, a non-profit that supports unique arts programs for more than 16,000 young people. To fully grasp the drive behind her charitable efforts, I recently email interviewed Hickman.

How did you go about getting all of the many fellow talented people who contributed their musical talents to Best of Times?

I knew I had, at least, a year to start lining up musicians to record for The Best of Times because Willie Nelson, who also recorded for the album, was the State Musician before my position took place. So, I immediately made a “wish list” and began calling/emailing/asking in person. I kept a giant chart on the wall with the names of artists/bands I had contacted, the titles of songs I had sent, if they had responded, if they were in the studio, if they had finished recording, if I had the recording.

When did your involvement and interest start with the Theatre Action Project?

I believe the first time I knew about Theatre Action Project was an after school program I was invited to lead concerning songwriting and drumming. I would guess that was about six or seven years ago. Then, I was in a ninth month course entitled Leadership Austin in which Karen LaShelle was also enrolled. We spent time getting to know one another and discussing the importance of arts availability to children in Texas.

For folks like myself woefully ignorant about the Theatre Action Project, what does it do and why should folks want to donate money to its cause?

There are many non-profit groups that bring a variety of art expressions to children in and after school. The difference, and outstanding quality, about Theatre Action Project (TAP) is how they empower and engage kids to learn about theatre, art, music, movement, creativity and self-expression in conjunction with everyday issues. TAP asks kids, “What’s important in your lives? What’s going on in your world?” The kids get to discuss issues such as bullying, or dating violence, or even home issues. TAP can then help the kids to create scripts, costumes, sets, art goals (a tiled wall, giant mosaic self portraits in pastel, sculptural pieces to display) which can they be presented peer-to-peer. Involving the kids to use their own ideas and bringing them to fruition and then sharing what they’ve created makes a big impact within the school, within the community.

In terms of making people aware of the cut in funding, do you think your concerns get more attention given that you have a platform and a voice as the official state musician of Texas?

Well, this was, and still is, my hope. When I was told of this humbling honor, I set out to raise awareness concerning the cuts in arts funding and to also raise monies slashed by the legislature that gave me the accolade. I hope I have raised awareness. I hope people will buy the CD, The Best of Times. However, I do find it ironic that as my term ended in May, the Texas Commission on the Arts (TCA) had its own funding cut by 50%. This is the group that works with the legislature to not only choose the State Poet Laureate, 2D and 3D artists and the State Musician, but they ALSO give out grants to teens wanting to pursue further education in an arts program. For example, if a 16 year old wanted to spend their summer taking a painting course at UT, or Rhode Island School of Design, or private lessons with a professional in their chosen arts field, TCA can give up to $2500 to that teen towards the costs of the course. I know many other non-profit arts groups and school programs have been deeply affected by loss of government funding, as well.

As a songwriter, how gratifying is it to hear this diverse a selection of musicians sing songs that you wrote?

First of all, I’m still honored and blown away by the fact that the CDs EXIST! God placed it on my heart to create this collection, and the fact that musicians responded with such passion and determination really astounds me. Having been a songwriter since I was seven, hearing 38 of my songs reinterpreted by such great talent has made me feel a part of a greater community, where, before, I felt rather isolated in my songwriting. That by coming together we can, of course, make change happen for the arts, for children in Texas. But, as far as how I feel personally about the diversity of musicians performing my songs, I’m deeply touched and grateful. When the songs started coming in, I would, literally, cry tears of gratitude or smile with joy until my face hurt. The interpretations were never what I expected, and always beyond what I expected. Plus, it made me hear my songs in a whole new light, and that was prettttttty cool!

What were some of the more challenging logistical aspects of attempting a project of this scale?

Reaching certain people. I tried to get Erikah Badu, Alejandro Escovedo, Carolyn Wonderland. There were so many people on my list I could just never reach, or who were on tour. I had to, of course, explain what the idea was AND ask everyone if they were willing to record for free. I was overseeing getting song choices and lyrics to people, sometimes videoing my hands on the guitar to show certain chords/movements, or creating and sending charts…I was following up with each musician/band to see if they had a studio/engineer available for them to record the song they chose, and if not, I would find one or both for them. I had to get the packaging created, figure out how to pay for duplication and mastering (thank you to all the people who helped on Kickstarter), and oversee the song order for mastering. Following up with people and checking in where they were on the process was the most time consuming. However, just to name a few—David Garza, Shawn Colvin, Robert Earl Keen—they sent their recordings in, if not that day, by the end of the week.

Given that The Best of Times project was prompted by fiscal decisions by the Texas Legislature, have you heard from anyone in the legislature, thanking you (or challenging you) for your efforts?

Three people thanked me: Rep. Elliot Naishtat, Senator Wendy Davis, Rep. Donna Howard. I’m still waiting to hear from Gov. Rick Perry I don’t know what he will say, but I’d be interested in hearing from him. We’d have a lot to discuss, I think.

Anything you’d like to discuss that I neglected to ask you about?

I would implore people to please support this project. This isn’t a “thrown together” project. It’s one of the best choices you could musically purchase. It took a lot of time, sweat and tears, and the end result is an album that just sounds terrific—the variety of musicians really showcases Texas’ musical talent—from known names like Willie Nelson and Shawn Colvin to those that deserve to be heard, who are just as talented: Matt the Electrician, Suzanna Choffel, Gretchen Phillips, the Daze…I think people will appreciate hearing how richly loaded this recording is; how it showcases the diversity of talent and songwriting, too. Most importantly, each purchase makes a statement—that people care about helping children receive the right to an excellent creative environment. Music, art, theatre, poetry, dance—all these arts enrich children’s lives, develop ways to utilize self-expression and creative problem solving, thus, helping our communities, and the world, embolden the best artists, doctors, diplomats, teachers, pilots, dancers, coaches, you name it. Art is only the beginning of what’s to come in each child’s life. Creativity helps them choose the person they want to become.

Chelsea Crowell's Crystal City

Winter 2012 marks the U.S. release of singer/songwriter Chelsea Crowell’s second album, Crystal City. To mark the upcoming release, Crowell was kind enough to do another interview with me. And her frequent collaborator/producer Loney Hutchins jumped in with his perspective. Crowell is giving folks plenty of places to give a listen (or watch a video) to her new music. My thanks to Crowell and Hutchins for their time on this email interview.

Tim O’Shea: I love the video for I’m Gonna Freeze, where did you find the archival footage to use for the video? Or was that present day video made to look vintage?

Chelsea Crowell: I don’t know, ask my favorite person to work with Colm O’Herlihy. I entrust him with whatever and he never fails. Plus part of it is that it’s a surprise for me too. He is one of about one I would let take over full control of something like that.

O’Shea: How has the collaborative process evolved for you and Loney Hutchins, given that this is the second album you have worked on together?

Crowell: I plead the 5th and Loney is a patient saint. Anyone who disagrees about Loney being stellar has only problems with themselves, not Loney.

Loney Hutchins: I am hipper to Chelsea coming in and changing her mind because she’s probably written a new song the night before. Whereas last time I was trying to bring more organization to the process.

O’Shea: What songs proved the most challenging to create on this new batch?

Crowell: Most of these songs are recorded live, no stops, no punch ins, no overdubs. It depended on the mood of the day if one would work or not. Baptized Two had a lot to memorize as well as feel comfortable singing.

Hutchins: Baptized 2. I’m Gonna Freeze went through two incarnations. Felt weird when we recut it then sounded awesome when it was finished. Things have rebirths like that

O’Shea: When did you realize you wanted Crystal City outro to be a separate cut on the album?

Crowell: The second we finished recording it.

O’Shea: During our 2010 interview, you said you intended to consider being less experimental on your next release, would you say you were less experimental?

Crowell: Yes. I was. But I want to forward this to Loney and see what his answers are too. That would be fun, cause he probably has a different take. I sort of don’t know.

Hutchins: She was way more experimental with the songwriting and less experimental with the production.

O’Shea: Again back when I interviewed you for your first album, I think you were still struggling with stage fright. How goes that battle these days?

Crowell: Eh, I finally realized that being on stage doesn’t make you the center of the universe or the ruler of the modern world. I suppose my trick now is if i get humble then i have nothing to think anyone should expect of me.

O’Shea: As noted in this recent No Depression review, you worked with former Jane Only collaborator Steven Braren on a few cuts from this album. What was the best part of getting to collaborate with him again?

Crowell: Laughing. Being able to communicate with him without words. Nods and arm movements go a long way. I annoy him, but he loves me and understands me.

O’Shea: Will you be touring in support of this new album?

Crowell: A lot

O’Shea: What else if on the creative horizon for you?

Crowell: Too much. I have so many things to finish. This question gave me anxiety cause I need to finish a song I was working on earlier.

Hutchins: That opera thang [which Crowell and I discussed in our last interview]

O’Shea: Anything we should discuss that I neglected to ask you about?

Crowell: Dave Gleason (guitar on Freeze and Better Than Her) and Ben Martin (drums on Freeze and Better Than Her). Two of the most solid men. I would trust them with my life, but more importantly I would trust them with my music and I did.

Camille Mana

October is going to be a busy month for actress-producer Camille Mana. First up, she has a supporting role in the feature film Norman, which opens in theatres on October 21. She plays Helen Black, a unique high school classmate who has a crush on Norman (played by Cougar Town‘s Dan Byrd). Secondly, she will appear in actor/playwright Jesse Eisenberg’s new Off-Broadway play Asuncion, which opens October 27 at the historic Cherry Lane Theatre (directed by Kip Fagan and produced by The Rattlestick). To mark the launch of these two latest projects, Mana was kind enough to do an email interview, where we also discuss her plans for new projects allowing her to pursue additional writer-producer opportunities as well as her additional upcoming film releases.

How many pages did you get into Talton Wingate’s script for Norman before you realized you wanted the role of Helen Black?

I’d say that within the first 5 to 10 pages, I knew I would love to be a part of the project. I think you always know within the first 10 pages if you’re attracted to a piece. Just like first impressions in life- you know early on whether or not you’re hooked on something. All good screenplays establish tone and the world of the story in their opening beats. I remember writing my agents, saying I loved the screenplay, because this is exactly the kind of movie that I love to watch!

What was it like to work with director Jonathan Segal?

It was great. Jonathan was very approachable. He was open to collaboration from his cast, and yet had a great sense of how he wanted to tell this story. That’s a great balance. I am so impressed with how the film turned out, and grateful to have been involved.

Would you agree that Norman is a darker-edged comedy than your typical comedy? Is dark comedy harder to pull off as an actor?

I think that on the page, the screenplay for Norman reads as a dark-comedy for sure. It has many quirks. But upon seeing the completed film, I would say that because the performances are rooted in something so heartfelt and emotionally dark, the film is a drama that has a hefty amount dark comedy peppered throughout. I think different audiences will have different responses to the film, some will see it as very dramatic and others may take it in as a dark comedy. I’ve seen it now with 3 different festival audiences, all of whom emphatically enjoyed it, but in one screening- everyone was crying, and in another everyone was laughing! I think that’s a testament to the film’s success- that it is so multifaceted and three-dimensional that people can relate to it on many levels.

I think perhaps the difficult thing about dark comedy is that it confronts elements that are taboo or a little scary for people to deal with. I love broad comedy as well as dark comedy, so I am happy performing both. But there is a level of intellect and perhaps of risk for danger that dark comedy is not afraid to tackle, whereas farce is often just plain fun.

What were the most enriching aspects of working with a talented Norman cast that includes Dan Byrd, Emily VanCamp and Richard Jenkins?

I am just thrilled to be part of casts like this. The work that Dan does in this film is on a completely different level of artistry from what most actors have been able to do in careers twice as long as his. Richard Jenkins is great in pretty much everything he does- I admire him so. I was excited that he was nominated for an Oscar a few years back because The Visitor was my favorite movie of 2008. Adam Goldberg is such an indie film icon, and Emily is so sweet and likeable onscreen and off. I am excited for people to get to see this film. It is really a gem.

Have you had the pleasure of sitting in the audience at certain film festival viewings of Norman, if so, can you talk about what it was like to soak in people’s reactions to your character?

I have actually, which is always a weird experience. I hate watching myself onscreen, and the first time seeing something is always the worst. People have been very kind to me, and have said some ridiculously flattering things. It’s always a little uncomfortable, and yet I am happy that I was able to add something to the film that people enjoyed. I have some really fun moments of awkwardness and levity to contribute some of that “quirk” factor to the film. I love that I get to do that.

Did I hear correctly that you were asked to join the cast of Jesse Eisenberg’s Off-Broadway play, Asuncion, without an audition–but rather based on your talented reputation?

Yes, you did hear right. Sometimes, I even question it myself (laughing)! But yes, I was offered the role of Asuncion from Jesse, and even more exciting is that it is quite a departure from the awkward “Helen Black” type roles that I’ve been exploring for the past few years. I am elated at the opportunity. I haven’t played a character quite like this before, so this is really opening up a whole new chapter of my career I think- I am getting to play a three-dimensional woman, rather than a girl.

What kind of themes are explored in the play?

The play explores the difference between knowledge and experience. It revolves around these two highly educated and progressive young men who have read a lot about the world, and then essentially are confronted by the world itself- in the physical manifestation of Asuncion - when she shows up on their doorstep from the Philippines. It deals a lot with the ways we use our experiences in life to justify or exploit our beliefs. There’s a lot of fascinating elements in it.

Is there a certain sense of immediate gratification when working in live theater (as compared to your film work)?

Yes, I think the closest thing to theater that is done onscreen is the multicamera sitcom format, which was actually my first big break- so in a way that was similar. But even sitcoms are only shot partially before a live audience, and there are multiple takes, then edited by multiple people.

Whereas, there is something exciting and tangible about live theater. I remember when my parents took me to see Phantom of the Opera when I was 10, I was so affected. It’s almost electric when something right in front of you is being created and speaks you on an emotional level. There is always also room for error, just like in real life, things can spiral out of control and you just have to make it work.

In addition to acting, you produced Equal Opportunity which won NBC’s Comedy Shortcuts Festival and was a hit at HBO Comedy Festival and dozens more, as well as the feature film The Things We Carry? In the future, do you hope to produce more projects?

Definitely. I’m collaborating with a new partner whom I love! We’re writing a screenplay together, and teaming up to develop a few other projects to produce as well. As soon as Asuncion closes, I am excited to get focused on that. Writing is a completely different beast, and one I find more challenging than acting or producing, if simply for the fact that it is completely isolating. I am a people person by nature, so having to chain myself alone to a desk can be really daunting for me.

What else is on the creative horizon for you in the next year or so?

I’m very much looking forward to High School hitting theaters. (Yes, it is true. My resume includes both College and High School. And not even in the correct order).

It was an audience favorite at Sundance. It has a cast of thousands, including Adrien Brody, Colin Hanks, Michael Chiklis, and Michael Vartan…! It is a really fun film, and visually edgy. Not your average teen comedy, though I think some people don’t get that the “high” in “high school” is a drug reference. I think adults might actually enjoy the film more than kids. It is somewhat in the vein of 80s teen comedies, it has that kind of timeless vibe. I play one of the straight-laced students that gets stoned along with the entire school populace when the two leads essentially inject weed into the all-pervading brownie supply.

I get to have Yeardley Smith as my homeroom teacher. How cool is that? Adam Goldberg, Yeardley Smith, and Dennis Quaid have all “taught” me. If only all school were this fun!