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Production JournalUpdated 08.14.06Work started in New York as soon as I landed Tuesday morning after the red-eye flight from Seattle. I cabbed it to my roommate's sister's flat in SoHo to shed some luggage, then turned around and headed East - my tripod and camera straps crossed over my chest like pistoleros. The band was at Studio Loho, which was rented out for a session by an online indie entertainment wesite. It was a very meta affair, as they had their own camera crew which would take turns getting into my sight lines and I into theirs. Scowls all around. Good times. Next we went west to the financial district where John played a solo acoustic set to a group of ad agency people who made sure to stand at least 20 feet away from the couch he was playing from, and succeeded at being as cool and disinterested-looking as possible. It should be noted that it was here that I met Elizabeth Weinberg: taker of pictures, and a new friend of DorsiaFilms. She and I would spend the next few days watching each other's gear, saving each other's spots in front of the stage, and being dis-invited from a ride in the free towncar with the rest of the group. I met Kathryn Yu at the show that night, who with Little Quill Productions is working on a music documentary about The Wrens. We've missed each other in person on several occasions, and it was great to compare notes. As different as the subjects of our films are, it's funny how similar our issues have been during production. We had a few laughs at the absurdity of it all. The show at Mercury Lounge was great. Too bad I didn't film it. Here's where I need to get on my soapbox for a minute: there's a thing in New York clubs called an 'origination fee', where this venue (and others, I'm told) charge $250 in exchange for the privilege of shooting in their poorly lit, asshole-bartendered club. Evidently, because every music documentary filmmaker is getting a studio distribution deal and rolling in dough they feel they're entitled to a cut. I'm sure well-funded films can absorb this outrage, and maybe if mine was one of those I would have paid it, but it isn't and I didn't. So I left my camera in the case and enjoyed the show as a spectator. There's a camaraderie I've experienced in making this film that I guess I sort of took for granted, the kind in which venues grant access and a good luck handshake in exchange for a 'shout out' that they wouldn't solicit but I would kindly give. What a naive thought. Anyways, the next day brought an expedition through SoHo, and an interview with Chris Caniglia on a rooftop with a view. That night was a John solo show at Other Music, featuring Matthew Caws from Nada Surf. There aren't many sounds better than Matthew and John harmonizing on songs like Commander Thinks Aloud and Pushover. This show, combined with the excellent interview granted by Chris earlier in the day helped make the trip worth it. < > |
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