On Souvenir; On encountering one's past and being just fine, thanks

Souvenir updates from the road: Spoke with some folks in Austin, and submitted Souvenir (November 2001) to the festival. As you can discover by surfing through the Souvenir-related links at left, the film is a sytnhesis of scripted narrative and documentary language; Austin is very adamant about it's "NO DOCUMENTARIES" requirement, which I can respect, but which I think has to be considered in a contemporary context. After talking to a couple of people in the short film selection office, they sounded persuaded; their requirements would not exclude the film. So, off it went.

I also signed up as a betatester for Withoutabox's electronic press kit application. So far, it's not bad, but I can't yet feel/see the benefits. If I were a festival programmer with piles of Priority Mail packs all around me, I could see some advantage, though. We'll see.

In the mean time, I've had some good breakthroughs in group (Oh, wait, that was Scott Evil.), in writing the script for Souvenir, the feature-length ensemble into which Souvenir (November 2001) will be interwoven. We're going away soon for a solid week offline, and I expect to finish a draft then. Ideally, I'll post it then.

One memory-related anecdote: After five years away, I visited a storage space I keep in Philadelphia. It was like running into a college-era friend, in a way; he's changed, but you still recognize him, and (fortunately for you both) you're not embarassed by him. Contents of this inadvertent time capsule include:

  • MBA detritus (Carefully boxed and preserved Wharton desk tchochkes, hard-earned, which seemed so precious pale in comparison to other manifestations of the experience.)
  • Early collected art (Good guess on that Brice Marden. Whod'a thought? Besides Dia, I mean.)
  • junk (five deodorants and some lotions, a bathroom cabinet hastily emptied and not restored a season later, as expected. Funny how things turn out.)
  • Surprisingly transparent evidence of who I was (brainy-yet-idealistic attempts to understand and make the future: Wittgenstein, Teilhard de Chardin; happy/goofy posse pictures from benefits, beaches and living rooms)
    It was an unexpected chance to mark-to-market (something I would've said with self-conscious pride then. Of course, I also wanted to name some dogs LIFO and FIFO, but with the French pronunciation, "Leefo."), to see how who I am now measures up to who I was then (and who I expected/hoped to be). It was reassuring to know that, despite some volatility and the current trends in the market, I have no need to take huge writeoffs or restate earnings.

  • Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

    Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

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