I recently sat down with Joe Avella, Steve Delahoyde and Paul Thomas to discuss the state of the art of film-making in Chicago. All three are part of a small but hardworking group of filmmakers who call Chicago home. Though New York and particularly Los Angeles may hold the allure of glamor and money, these three find that they're able to do work that they're proud of right here in the second city.
Something that these three have in common is that they're all self-taught filmmakers. Each felt the need to learn the craft if they wanted to bring their film ideas to fruition. "It's a lot easier to do it yourself than I previously had thought," said Avella, who claimed he initially lacked the know how or confidence, but quickly taught himself the skills of film-making out of necessity. Paul Thomas added that one of the benefits of being self-taught was that, particularly with shooting comedy, he avoided some of the technical hang-ups that a film school grad might face. The others agreed that with their inclination toward shooting humorous work and not having a formal film background did not necessarily hinder them.
Joe Avella What's the project you're most proud of making?
Hmm. If I had to pick one, I'd go with Scatterbrained .
I made it super quick, as an entry to the iO Theater's Vidiocy competition. I wrote, shot, and edited it in a day and a half, for no money. It ended up winning the fest. It also got into the South by Southwest Film festival, which to this day tickles me greatly.
What do you think are the benefits or challenges to filming in Chicago?
In my experiences, people are usually pretty cool when you're shooting in a public place. I've never gotten harassed by police or surly locals...well, one time I was helping a friend shoot something in an alley by his apartment, and this dude called the cops on us. He told the police we were filming a porno. The cops showed up for 2 seconds and were like 'yeah, you're fine.' It was really weird, but the porno turned out great!
If the Olympic coverage wraps up for the night and you've still got the energy to go out, check out "the El Show with Alex Moffat" at iO. It is a weekly talk show that hosts local notables and combines interviews, improv bits, and taped segments. Tonight's guest is Evanston's own Tim Kazurinsky, "Second City" and "Saturday Night Live" alum.
Tickets are $5 and can be purchased online, or at the iO box office. iO is located at 3541 N. Clark street.
Everyone can relate to having that adolescent moment when they discover a life-changing type of music, and punkplay zeroes in on that slice of life for a couple of kids named Duck and Mickey.
"It's a play about two sort of marginal adolescent boys growing up in the suburbs who sort of latch on to punk rock and use it to find an identity outside of the mainstream," said New England playwright Gregory Moss, whose punkplay comes to Chicago as a Pavement Group production, part of Steppenwolf Theatre Company's new Visiting Company Initiative, Garage Rep.
When the two boys - played by Alexander Lane and Matt Farabee under the direction of Pavement Group's founding artistic director David Perez - have trouble adapting, bands like Black Flag and Sonic Youth give them a path to self-discovery. It's not a music-as-salvation story, though.
This Saturday, recently relocated OhNo!Doom gallery hosts the 'Torn Pages' group show, a series of artist/writer collaborations focusing on imagined children's tales and the illustrations they've inspired. I spoke with art blogger and show curator Josh Lucas, and we touched briefly on the themes behind the show as well as Chicago neighborhoods, fairy tales, and the trials and rewards inherent in running a large group show.
"The Following are Pages Torn from our Most Favorite Imaginary Books", takes place on Saturday, February 13th, 2010, and runs through the end of the month. OhNo!Doom gallery, 1800 N. Milwaukee Ave., 6-10pm.
What's the Torn Pages Show all about?
The Torn Pages show is about a few things. Bringing people together who don't normally work together. in the creative world people tend to congregate together in what they do. writers will have readings, artists have shows, etc. but they rarely do things together. I believe the things that connect people are more powerful than the things that make them different. The creative process, and act, is a very beautiful and personal thing. And at the core, it's that feeling, and need to do so that every artist understands.
It's also about that feeling you got reading a story as a child. And wanting to get back to that place. The full show name expresses this "the following are pages torn from our most favorite imaginary books", it's about that story you always had in your head, or maybe just an image. But it was yours and now we get to share those things with the public.
How did the idea/theme happen? How were the artists picked?
The idea for the show was just a quick thought at first. My girlfriend was telling me about a story she was working on, and as she was telling me about it I saw it in my head, illustrated by a friend of mine. So i sat on it for a month or so and then started sending out emails to see if it would work. And it just kind of evolved from there.
The artists and writers were picked from names I'd seen around, and a few people I already knew. My girlfriend suggested some great people. I also got some help from Jason over at "Orange Alert": http://orangealert.net/blog he sent me some great suggestions. I got really lucky with the people who are now the lineup for the show.
On March 6, the Museum of Contemporary Art (MCA) will host the Third Coast Filmless Festival, an all-day event that will showcase a collection of audio documentaries, screenings and Q & A sessions with many accomplished radio producers including Gwen Macsai of "Re:Sound," Ira Glass of "This American Life," and The Kitchen Sisters. The full list of events and ticketing information can be found on the MCA's website. I interviewed Johanna Zorn, the founder and executive director of the Third Coast International Audio Festival.
Can you explain the relationship between "Re:Sound" and the Third Coast International Audio Festival?
Third Coast Audio Festival sounds like it's a one-time thing. But, it's actually a yearlong and ongoing project and then a lot of different things all around the curation of audio. [It is about] really encouraging a culture of listening. We are an independent organization now and among the things we do is we produce a weekly radio show called "Re:sound" that airs on WBEZ on Saturdays at 1 [pm] and Sundays at 9 [pm]. So that's our weekly radio show. And in addition to that, we host a challenge every year. We didn't do one this year because we were just going independent and we were mighty busy and trying to figure out how to do that but...what we do with the audio challenge is we invite people--anyone and everyone--to create a short audio piece based on a set of rules and every year we team up with a really interesting organization to collaborate on this set of rules and as an inspiration to the audio challenge.
Nick Disabato is writing a style guide for interaction design. This was not a sudden thing: Nick's interest in making things work and look better intertwined with computers early on. Growing up in a self-described "really wired household", he was exposed to technology and the internet at a young age. Born in Park Ridge, Nick earned his master's in Human-Computer Interaction at University of North Carolina at Chapel Hill before returning to Chicago. He currently resides in Logan Square, and works as a user experience designer at Groupon.com. I had the opportunity to talk with Nick about his book, Cadence & Slang, the process and ideas behind it, and how he's using Kickstarter to make it a reality.
Mike Bancroft is an interdisciplinary community artist from Chicago and the founder and executive director of Co-op Image, a Non-Profit youth arts organization.
Gapers Block interviewed Bancroft at the site of his newest art installation, Stolen, which re-creates the claustrophobic space of a pawnshop out of a 3 car garage, executing a caustic aesthetic with ill installed faux wood paneling, low dropped ceilings, and mismatched fluorescent lighting.
Renee Prible Una talks with ChicagoArts about how Teaching and her meditation practice inform her art making and had become an integral part of her process.
On Monday October 12th Renee will be doing a followup interview on ChicagoArts Live you will be able to ask questions and participate on UStream.
You can find out more about Renee on her website, and don't miss her shows in November at The Noyes Cultural Arts Center in Evanston and at Perimeter Gallery in Chicago.
No stranger to comics, movies, or Chicago, it seems only natural that Gordon McAlpin would create Multiplex, "a comic strip about life at a movie theater." The Peoria native's knowledge of and deep affection for the webcomic's prevailing topics is evident: characters and dialogue have an easy familiarity to them, movement and expression coming through surprisingly well given the strip's slightly static, cartoonish aesthetic. Recently, Gordon filled me in on his history, Multiplex's backstory, and the next step in its evolution.
How did you get into comics in the first place?
I always loved superheroes from watching cartoons, specifically Super Friends. My older brother read a few comics, horror comics, he had the most copies of Gru. He was never really into it. He was more into D&D and heavy metal. In 4th or 5th grade, I got the DC Heroes roleplaying game. They kept referencing this series called Crisis on Infinite Earth, so I saved up more allowance, trucked on over to a comic book store, picked up the old Crisis books. I started hanging around Metropolis, a comic book store, then Acme, its competitor. A chain-smoking, curmudgeonly guy named Jim would recommend stuff to me. Eventually, he would introduce me to slightly more grown-up stuff, he knew I wasn't going to run and show it to my mom. I hung out there for years. Fell in love with the medium, and I always liked to draw.
If you were at the West Loop gallery openings on Sept. 11, you may have noticed a girl walking around with a dead cat on her head. As it turns out, the girl is an artist, an MFA student at UIC, and her name is Rebecca Beachy. The cat hat is one of her new pieces. I paid her a studio visit last week, and we talked about her work.
Kelly Reaves: Did you know that if you google "West Loop gallery openings," one of the first things that comes up is Alicia Eler's post on Chicago Now about you and your taxidermied cat hat?
Rebecca Beachy: Yeah, I saw that but I didn't know that it comes up when you google the art openings.
KR: Yep. You were at number three the first time I checked it but today you've moved up to the top. And your hat was also mentioned in an article on Art Talk Chicago about the openings. So I think it was a hit. How did you come up with the idea to make the hat?
I got the opportunity to sit down with Paul Sierra and talk with him about being an artist. I find it very inspirational to do studio visits with artists, especially ones that are 20+ years my senior.
Long el rides, MegaBustrips to visit your family in Milwaukee, waiting to see if you'll be called to serve on a jury- these painfully long occasions all require some sort of self-contained entertainment to get you through them, and a clever podcast might be just what you need.
We'll Be Right Back with Ruby Streak is a Second City endeavor, hosted by their mainstage musical director Ruby Streak. It's both entertaining and edutaining, as the show's guests chat about life, comedy, and often their paths that lead them to Second City. They interview local Second City folk, in addition to reaching out to their extended family on the coasts and getting folks like "30 Rock's" Jack McBrayer and Scott Adsit to spill the beans. The show may slant towards comedy nerd-dom, but all should find it a good listen.
About a month ago, there were sightings of a film crew lurking around the Bridgeview Bank in Uptown, shooting scenes for what was rumored to be a new "Green Hornet" web series connected to the film being developed by Seth Rogan. We tracked down that film crew to find out what's going on.
The Green Hornet web series turns out to be produced by local indie producer Eric Neal. He and Pek Pongpaet, who plays the Hornet's sidekick, Kato, were nice enough to answer a few questions.
So, first things first: Is this directly tied to the Green Hornet film?
Eric Neal: Absolutely not. We've been very careful to let anyone and everyone involved know that we're in no way connected with the film. In fact, we'd only referred to the show by a psuedonym title until just recently, to keep those lines from crossing. Our show has been in the works for some years and it's just coincidence -- or fate? I don't know -- that both versions are congealing at the same time.
Broadway vet. World traveler. Winner of the GOLDIE award, National Poetry Slam champion, and featured artist on Russell Simmons' Def Poetry for two seasons in a row. Oh yeah - he's also a former teacher of high-school English. It would seem that dancer/poet/playwright/choreographer Marc Bamuthi Joseph has done it all. This weekend, he'll be doing it all at the MCA, where he is performing his latest project, the break/s, an international hip-hop diary which combines spoken word, live music, and outstanding dance. Joseph was recently kind enough to take some time off from a sound check and answer just a few questions for GB.
Jennifer Gage has been dancing ballet, jazz, hip-hop, and everything in between for decades and hit the Chicago dance community in 1991. She has performed with numerous Chicago companies, including the great Joel Hall Dancers, and started her own dance company, GI Alliance. She loves listening and choreographing to Metallica, got significant inspiration from a giant cast on her foot, and can touch the back of her head with her knee. GB managed to catch up with her at midnight just after she had finished performing a ballroom number in a contemporary dance company's concert.
When and how did you start dancing?
I started dancing because I was a complete clutz when I was a child and had zero coordination. My mom decided to take control and enroll me in dance classes to give me a bit of grace. I teased her when she came to see me do some professional shows when I was in my 20s. That's when it dawned on her that I'm really a professional dancer and that's what I do. She said, "I didn't know what that meant until I saw it. My daughter always had 15 little jobs and was dancing on the side. Now I can tell people my daughter is a professional dancer!"
About a month ago, there were 
