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1. How to make it in LOS ANGELES

  • Published: 2015-02-25T09:17:53+00:00
  • Duration: 1730
How to make it in LOS ANGELES

We have a great passion for cinema but, the most important thing that we have realized was that our present ideas and works have been largely influenced by movies, tv series, and stories that came from the United States of America. People from all over the world have followed their dream to work and prosper in America, so we wanted to discover who are the ones who can succeed along this path to self-realization and success.

2. How to make an Angel

  • Published: 2009-09-11T12:39:57+00:00
  • Duration: 176
  • By
How to make an Angel

Karen Hollis from K. Hollis Jewelers in Batavia, IL demonstrates how to make an Angel or Fairy pendant. You can go into her store on Randall and she'll teach you how to make one yourself! tres cool. Located at: 147 S Randall Rd Batavia, IL 60510 (630) 879-8003

3. The Competition. Trailer

The Competition. Trailer

Suscribe for updates on: Cast of participant architects: Frank Gehry Jean Nouvel Zaha Hadid Dominique Perrault Norman Foster Production team: A production by Office for Strategic Spaces (OSS) Director and Producer: Angel Borrego Cubero Technical Director and Editor: Simon Lund Assistants to edition: Gaël Urzáiz, Cristina Hortigüela Music: popular song: “When Johnny comes marching home” Musical arrangements and production: César Bartolomé Solo voice: Saira Mir; Flute and piccolo: Nayra Adrian ; Clarinet: Javier Llopis Boquer Cameras: Gaël Urzáiz, Loreto García, Sara Verd, Simon Lund, Angel Borrego Cubero Funding and collaborations: Fundación Arte y Derecho, Govern d’Andorra, Lord Culture, Universidad Politécnica de Madrid, Ateliers Jean Nouvel, Dominique Perrault Architecture, Zaha Hadid Architects, Gehry Partners Press & Marketing: Simona Rota ( [email protected]) Date of World Premier: October 10th 2013 at the Architecture Film Festival Rotterdam (AFFR) Date of final edit release: October 25th 2014 at Filmoteca Española - Cine Doré (Spanish Film Archives) Synopsis An almost uncomfortable but intensely fascinating account of how some of the best architects in the world, design giants like Jean Nouvel or Frank Gehry, toil, struggle and strategize to beat the competition. While nearly as old as the profession itself, architectural competitions became a social, political and cultural phenomenon of the post-Guggenheim Bilbao museums and real estate bubbles of the recent past. Taking place at the dramatic moment in which the bubble became a crisis, this is the first one to be documented, in excruciatingly raw detail. But does the jury have the last word? Jean Nouvel, Frank Gehry, Dominique Perrault, Zaha Hadid and Norman Foster are selected to participate in the design of the future National Museum of Art of Andorra, a first in the Pyrenees small country. Norman Foster drops out of the competition after a change in the rules that allow the documentary to happen. Three months of design work go into the making of the different proposals, while, behind doors, a power struggle between the different architects and the client has a profound impact on the level of transparency granted by each office to the resident documentary crew, and which has a definite influence in the material shown in the film. The presentations to the jury happen in one intense day close to election time in Andorra, becoming a hot event in the tiny country, with media all around the international stars that may help shape its future. Of the four remaining architects three show up to make personal presentations, every one of which becomes a fascinating study in personality, strategy, character, showmanship… and a dramatic moment in which any detail becomes both important and irrelevant, the line between failure and success perfectly imperceptible Director’s biography Angel Borrego Cubero (Spain, 1967). While trained in architecture, with a PhD from ETSA Madrid and a MArch from Princeton University, where he was a Fulbright scholar, Borrego Cubero has been developing an interdisciplinary body of works that deal with issues such as the contemporary urban condition, the negotiations between private and public space, violence, surveillance, fictions in architecture, etc. After succeeding in a big international competition, in a process which was akin to a thriller, Angel Borrego Cubero decides to make a documentary of this recurring architectural procedure. During four years, intense work was dedicated to find, document and edit one into film format. “The Competition” is the first feature documentary of this Spanish director and is also the first film documenting the tense developments that characterize architectural contests.

4. "Cosmo" opening sequence

  • Published: 2011-05-15T14:47:55+00:00
  • Duration: 87
  • By Sylvain Marc

This is the opening sequence of an twenty two minutes animatic for "Cosmo", an episodic TV show project created by Charlie Bean for CN development studio Europe. This was made in early 2009, as a test to show how the series could look like. I was in charge of recruiting a small team, supervising the sequence, animate it and do most of the compositing. It took around ten weeks to make, including four for animation. See some of my development art here: CREDITS: Created, written and Directed by Charlie Bean Storyboards - Charlie Bean Sequence supervisor - Sylvain Marc Layouts - Sylvain Marc 3D Animation - Sylvain Marc 2D Animation - Sylvain Marc, Rikke Asjborn Art Direction & designs - Charlie Bean, Alberto Mielgo, Alan Kerswell, Steve Small, Sylvain Marc, Dave Needham, Chris Garbutt, Chris Reccardi Color keys - Celine Desrumaux CGI supervisor - John Martin Character modelling, rigging, texturing&shading - John Martin Modelling & texturing - John Martin, Chris Radcliff Lighting & rendering - Celine desrumaux, John Martin, Marion Nové-Josserand Compositing - Sylvain Marc, Stephane Coedel, Celine Desrumaux Editing - Charlie Bean, Sylvain Marc Voice Talent -Justin Stein as Cosmo, Tom Kinney, Chris Reccardi. Music - Andrew Hewitt, Jake Berkovichi SFX and Final Mix - Angel sound Production - Angelica Jung-Woo, Joy Whilby Exec Producers - Suzanne Berman, Daniel Lennard

5. Moonü fully animated comic book

  • Published: 2015-05-25T05:34:03+00:00
  • Duration: 259
  • By mike reyes
Moonü fully animated comic book Short Summary Bruno, a 10 year old boy caught up in his video games, has to stay with his grandfather for a short season in his cabin deep in the Woods. One day Bruno along with his portable video game console are magically transported to a fantastic nature filled world, where he will meet Moonü. They will fight together against the radical changes Bruno’s technology has begun to make in Moonü’s world, while forging an unbreakable friendship. How did Moonü come about? Moonü came about with my son’s Taddeo’s birth. He taught me to enjoy nature, and the value of life. that is why sharing this story is so important to me. It’s a gift to him and to all of us: There is more to life around us. Miguel Angel Reyes (Creator) Qi Studio description Qi Studio is a startup company focused on generating new original content in traditional and digital 2d animation, for feature films, television and advertising. We are a group of artists who live to create quality propositive content that connects with the public.


  • Published: 2014-08-24T15:12:42+00:00
  • Duration: 323
  • By Ty Olson

THE ETERNITY IN HER EYES WE MADE IT 4 U a pow wow two summers ago she sat quietly in the grass, her mother braiding her hair. who are you? she danced, and I knew. I never thought about her that winter or that spring but when the summer came I thought about her again. dove off the dock when the feeling came. I saw her there. dancing. I saw it all in a dream. we tracked her down. we made a movie. that day in the the forest? it was like watching an angel making her way through this motherfucking life. like an old soul. like a pure vessel. bringing us messages from eternity. on the very last take of our very last shot, dancing in the fire at night, her eagle feather fell to the ground. everything stopped. quiet. she offered tobacco to right her wrong but the feeling lingered. I took it as a sign. I thought myself genuine-- but my motivation was exploitative. I questioned why we were making this. it had to be a tribute and an ode. not a commercial. not a single. not a cry for help. I let the film sit for months. to think about what had to be done. went to Stockholm, had some fun. I met JJ in the club. Postiljonen delivered me on their wings. The Embassy showed me my dreaming had no meaning. but it's plain to see now how I needed you. Joakim got me in the light. I told him the story of Lexi. her name. my girl. the pow wow, the fallen feather. we knew we had to make something. we knew we had to make it right. I took a walk around midnight to listen to Inner Light. my world opened up and when I got to Skanstullbron, snow started falling. I couldn't stand it any longer. I leaned over the bridge. tears streaming down my face. and cried and cried and cried and it wouldn't stop. and couldn't stop. I knew this was the sound of the images. Inner Light was Lexi Lexi was Inner Light and maybe we always knew. in eternity. then… tragedy! a few months later, just a week after seeing the final cut, her mother died. a heart attack. a broken heart for the rest of us. she was her best friend. her confidant and care giver. she was there on the shoot. making Lexi an Angel. she's in that video. her spirit is there. this is art about Indians. about all of us. it's about why we dance. for ourselves? for our family? for our tribe? it's about drugs, sex, blood, moonshine, Ojibwe and JJ. it's about the Inner Light in all of us. and we made it for you. we had to.

7. A Day in the Life at Fantasy Camp - Almost Live Season 5 Episode 16

A Day in the Life at Fantasy Camp - Almost Live Season 5 Episode 16

Get a picture of what went down to make Fantasy Camp possible that you didn’t see in Way of Life. Coordinating cinematographers, athletes, pilots, guides and photographers in the remote mountains of Alaska is no joke. Find out how we get the best shots with our new GSS camera system using the RED Epic and Sony Action Cams. Here’s what an average day entails for the TGR production team and athletes. Teton Gravity Research’s Almost Live series takes you around the globe with the TGR production team and athletes. Get an inside look at what goes into first descents, building and hitting massive backcountry jumps, traveling throughout the most exotic locales on the planet, and the lives of the world's top riders. Almost Live plants you on location with the TGR crew. You will be able to track the crew’s progress throughout the season, and watch the drama unfold. Athletes: Sage Cattabriga-Alosa, Tim Durtschi, Ian McIntosh, Angel Collinson, Todd Ligare Buy Way of Life on iTunes: Watch Almost Live Episodes: Big thanks to Goal Zero for helping make it all happen. Drop In For More: Facebook: Twitter: Instagram: YouTube:

8. Cass McCombs - "Opposite House"

  • Published: 2016-08-15T23:52:14+00:00
  • Duration: 263
  • By Anti Records
Cass McCombs -

"Opposite House" by Cass McCombs from the album 'Mangy Love,' available 8/26 Pre-order here: Featuring collages by Camille Johnson @nighthorse.studios Official Site: Facebook: Twitter: Lyrics The ceiling’s on the floor floor’s in the refrigerator what of the door? it’s there no more When it rains inside there’s nowhere to hide which is why I’m all sunshine Aint nobody warned you aint nobody warned me too if Hell is above you you’re even lower than I knew oh why does it rain inside? Mine is an opposite house rain inside when it’s sunny out outside in inside out One step forward, two steps back they say opposites attract but they haven’t tracked in my odd shack The opposite of white isn’t black but rainbow blood this house is too narrow and made from endangered wood oh why does it rain inside? How do you make a magnet? you create a potential just an old refrigerator magnet repelled and pulled tell me why… Living in a golden age why do these words sound so strange? nothing’s changed inside this cage From the window I can see you coming back to me how can this be? my window’s a tree Pet snakes in the hall pet snakes, wall to wall coiling where the mice crawl winter, spring, summer and fall oh why does it rain inside? Dan Horne: bass Jesse Lee: drums Cass McCombs: vocal, guitar Angel Olsen: vocal Lee Pardini: organ, keys Ryan Sawyer: congas

9. [Supernatural] Izzy original movie trailer

  • Published: 2011-02-12T06:58:26+00:00
  • Duration: 89
  • By Jane Scarim
[Supernatural] Izzy original movie trailer

SUMMARY: Fanmade movie trailer about Sam and Ruby's daughter, Izzy, and how the angel Castiel was sent to kill her. NOTES: Made for a challenge to make a SPN vid with an original character in it. This video went through many stages and finally ended up being a movie trailer. People have asked if I'm writing a fanfic to this story and I'm not but I'm planning an original book series with a similar premise. Awards: Bronze award at SVS Program: Sony Vegas 8

10. How To Make a Christmas Tree Angel

How To Make a Christmas Tree Angel

Watch how to make a Christmas tree angel using basic everyday items within your household.

11. 10 Secrets to Maximized Fundraising: Webinar

  • Published: 2013-05-10T12:13:05+00:00
  • Duration: 2895
  • By Dan Rutledge
10 Secrets to Maximized Fundraising: Webinar

Whether you are raising money for a nonprofit, school, sports league or church mission trip, SignUpGenius is here to help! In "10 Secrets to Maximized Fundraising", you will gain expert tips on how to raise more money and learn how to make the most of all SignUpGenius has to offer to take your next fundraiser to a whole new level. Join SignUpGenius staffer and fundraising guru Angel Rutledge to learn the secrets she’s come to understand through fundraising for schools, sports leagues, youth groups and nonprofits, including raising an average of $50,000 a year for orphanages in Liberia, West Africa.

12. Blumenblatt (2013)

  • Published: 2014-08-05T09:56:05+00:00
  • Duration: 300
  • By Eric Chang
Blumenblatt (2013)

BLUMENBLATT (Petals in German) ACCD Final Thesis Blumenblatt is a short fashion-experimental film of an artist's statement: Blumenblatt [petals], Bloom and Blood. It's suggesting a human way of living by slanting the point of view of freedom, religion, sexuality and women - within petals of a flower. Statement I choose how I live – like art, like petals of a flower – I own the freedom to control and create my own reality. A lover once said to me, "Life is not rainbows and butterflies." Life is conflict and struggle – as it is the basis of breathing – full of opportunities and unfortunate events that form a process, a cycle. Like an opera, I fall in love, fight, break-up, and do it again. I find myself attached to my muses, fascinated at first with the excitement of a love that gradually grows into an insatiable thirst of lust. But only to find myself bored and haunted with heartbreak in the end. Deem it open or committed, blessed or damned, there are yet many faces of affairs ahead of us. A certain religion said that we should always give thanks to our creator for all that he has given us. Ironic, but "Thank you Father, for the affairs." Thus, my universe spins around this pattern: I fall, I serve, and then, I break her – gently. Women are the soul to my existence – a vulnerable, susceptible presence, easy to depict yet hard to conceal. It’s the rawness of being present in an unprotected environment, the feeling of being defenseless and threatened, yet, she seems as if there is no danger at all – free from care, as if in her own little world. Showing herself inside out, her dynamic presence – innocent as a beast, adorable as a maiden – a beauty you can fantasize and make love to but never marry. Like a creature you can caress but never possess, she makes you want to die – boiling your blood like an angel seducing you to hell, forcing you to say, “Please don’t forgive me Father, for I have sinned.” So strip off all your clothes, you’ll feel better. We’re born naked and always will be – just like the Sun, bare.

13. HBO's 'How to Make it in America' Los Angeles Premiere

  • Published: 2010-02-12T08:41:07+00:00
  • Duration: 79
  • By Chris Lee
HBO's 'How to Make it in America' Los Angeles Premiere

14. Angel Pond

  • Published: 2012-02-16T19:06:01+00:00
  • Duration: 122
  • By SchmueyVision
Angel Pond

“Angel Pond” During our autumnal equinox I captured time-lapse video of the sky with a modest pocket camera. I was absorbed with cloud formations which suggested to me an ethereal world where angels gather. I imagined that I was beamed up to this heavenly plane for a candid view and found myself observing a band of angels practicing their music near a pond composed of waves of grace. While the Archangel Gabriel calls his fellow angels with his ethereal horn, they respond with a chorus of harps and voices. As dusk approaches the angels welcome the cosmos with their music and for their protection Michael the Archangel is standing guard nearby with his mighty sword. While I was five years old two summers before my grandfather John Louis Loarie passed away I recall him napping in our back yard until I unintentionally woke him up. I asked him what he was dreaming of and he kindly told me he was in the clouds sledding with angels. That image of him sliding down a cloud is forever in my mind. I always think of him in that way having a great time as he had a very rough start and a harsh childhood. Thank you Granddad Loarie ! MUSIC: Since the images were cut first, the workflow demanded that the music be constructed to follow the visuals. My compositional form begins with the traditional ‘call and response’ which develops into an exaggerated extension. The overall scheme is somewhat like a nocturne although some scholars might find this description a bit of a stretch. Much of my inspiration for this piece comes from the following sources: Early Gregorian Chant, Claude Debussy’s Nocturnes for orchestra 3rd movement “Sirènes”, Ralph Vaughan Williams’ “Toward the Unknown Region” as well as his “Fantasia on a Theme by Thomas Tallis”, Philip Glass’s “North Star”, and Mark Snow’s “The X-Files” theme music. The instrumentation was carefully constructed by electronic means using a Yamaha S08 Synthesizer and a Zoom G2.1u effects pedal. Harps, Voices, French Horn, and Strings were all modified to offer attributes not normally associated with their natural acoustic versions. Biblical scholars indicate that the angels were created before our universe, so with that in mind, I could easily imagine that Gabriel fostered a grand collection of trumpets by including an ethereal French Horn. However, my artistic license may still be pending approval by the DMV (Department of Musical Vices). CINEMATOGRAPHY: “Angel Pond” is a surreal wide angle kaleidoscopic view of clouds drifting across the sky in time-lapse motion. The action ranges from ½ to 8 times faster than normal speed. The entire video was shot near the autumnal equinox of 2011 and on location at Ferry Point, Richmond, California which is coincidentally within eye shot of Angel Island. While “Angel Pond” is a continuation of my interest in the kinetic nature of clouds it is also my first attempt at a more intensive use of compositing images with extensive mirroring and altered motion. Perhaps I made one too many snow angels while growing up? All of the cinematic magic here is aimed at illustrating how clouds suggest heavenly forms such as angels, albeit in this piece some of these angels may be interpreted as fallen angels, centaurs, demons, dragons, fairies, gargoyles, goblins, griffins, or other mythical creatures, possibly Godzilla or your Aunt Trudy as may be conjured up by your imagination. (Nephelococcygia pronounced ne-fê-lê-kak-'si-jee-yê is a term used when people find familiar objects within the shape of a cloud. source: Since this past August I have been almost entirely obsessed with anything cloud related from low level marine layer fog to stratus. What fascinates me so much is that everything about a cloud is changing although this might not be always evident until the event is sped up to see these changes. Very few things change shape, size, color, density, brightness, and contrast with so much diversity in such little time as the way clouds do, which makes clouds an astonishing significant subject for cinematography. Granted, if we were able to alter the time domain of the universe then almost everything from mountains to galaxies would appear to be dramatically changing. While it has been stated that motion is the defining characteristic of life then the motion of change is certainly the defining characteristic of a life well spent. With my head in the clouds armed with smoke and mirrors it appears to me that ‘the sky's the limit’. :> I sincerely hope you enjoy my humble offering of “Angel Pond” as much as I enjoyed making it. -Phil Loarie February 16th, 2012 Technical Information: The entire video was shot with a modest pocket camera on a very old Bogen 3046 tripod which was heavy enough to keep things steady under a good wind. My biggest challenge in postproduction was ‘de-birding’. Anytime you shoot the sky you are bound to get birds but with time-lapse they can look like nasty blips. I removed the worst offenders as outtakes but if you look carefully you can surely find a couple of birds looking like quick gnats. Anyone out there with a time-lapse camera that has a De-bird feature? Most images were shot with 1920 x 1080 at 15 fps, and further sped to 8x in postproduction. Only one clip is at ½ normal speed (at 01:09) which was shot at 720p at 60 fps. While the Nikon S9100 does not have manual exposure controls like a DSLR, it does have the ability to increase or decrease the overall exposure by + or – 2 stops. I found that setting this offset to -.07 allowed for a steady exposure and better overall balance of a partly cloudy sky. All the images have some sort of mirroring effect added in postproduction whether it is a slight cookie cutter slice or a more complicated 4 way mirror. These images at times are also echoed in compositing the same shot but with cropping or zoomed crops or with reversed sides. There were over 35 visual elements compiled in the edit. Other effects included slight sharpening, optimizing contrast and brightness, key framed cookie cutters, key framed spherical distortion (titles), and key framed de-saturation and saturation. I had some “resource” issues in the rendering. I learned that my computer could not handle more than ½ of the video with effects at one time. I had to break it in half and render each section separately. I then brought them together in a merged version which I used for creating the music tracks as well. Technically it was only rendered once as the merge version was a simple matter and did not need to be re-sampled. Camera: Nikon Coolpix S9100 (pocket camera) Editing suite: Sony Vegas Pro 10(d) Original Music for “Angel Pond” was composed and performed by Phil Loarie using a Yamaha S08 synthesizer through a Zoom G2.1u effects processor and recorded directly to the Vegas timeline. Effects included Hall Reverb, Dynamic Flanger, and Multi Tap Delay. As many as 18 stereo tracks were created to make this final version.

15. Angels for 2011

Angels for 2011

how to make an air dry clay angel

16. El Mensaje

  • Published: 2010-02-12T04:17:36+00:00
  • Duration: 171
El Mensaje

As a first time Director, I experienced an adventure like no other through the thrill, rush, and detail that goes into a production. I must confess that I was so nervous I thought I was going to hurl. We filmed on Super Bowl Sunday. It was a day after it stopped raining in Southern California, one of the actors had flaked on us like 2 days prior, we got the location through a friend days before, and we literally edited and uploaded the video within the last hour of the competition deadline. Its insane how everything worked out in the end! I feel extremely blessed to have friends like Michelle, Skit, Qazi and my number one supporter, Jean (my sister). They helped me carry out my vision and kept me sane throughout the process. I had the time of my life and can’t see myself doing anything else but making films after this. I recommend every aspiring filmmaker to get a Canon, get out there, and start shooting. If you are thinking about filming something, stop thinking and do it. Just do it, don’t make excuses, get a camera, and go crazy. You’ll discover a voice and talent you didn’t know you had and only good things can come of it. Trust me! Every person has a story to tell and this is ours. I hope you enjoy my film entitled “El Mensaje”. Shot with: Canon 5D Mark 2 Camera Sound: Zoom H4N Dolly: Cineslider Music: Directed by: Amadeo Castañeda Written by: Jean Velario Cinematographer: Ski-ter Jones Edited by: Waqas Qazi Produced by: Michelle Willrich and Jean Velario Actors The Tuxedo: Scott Ford The Boss: Jose Dimas Aguilar The Muscle: Nayan Raina and Angel Mar The Wife: Jenna Phillips Special thanks to: Ariel ‘Da Carpa’ Corral

17. HANGMAN | Ep.1 of "RAPACES - The Western Web Series"

  • Published: 2011-03-27T00:01:00+00:00
  • Duration: 536
  • By Toskian
HANGMAN | Ep.1 of

1886. A mysterious set of cards is scattered all around the World: the MAJOR ARCANAS. Among the greedy adventurers struggling to collect them are THE LOVERS: STONE, his TWO WIFES and his son. They just captured one of their most dangerous rivals. A MANIPULATIVE and SEDUCTIVE bird of prey. Introduction of the episode available here: _____________________ // THE GENESIS The RAPACES adventure began two years ago with a crazy idea: Paying tribute to our first love, the Western, by shooting a short movie with a very simple concept: 100% action, no dialogue, guns and real bad-ass desperados! Thus we have produced "RAPACES Birds of Prey", the struggle of three greedy cowboys for the body of another dying bastard... Mission accomplished: our costumes and our gunfights were quite credible, despite a ridiculously low budget of about $200. In spite of the difficulties, this short movie finally exceeded our expectations. We could not stop there! Hardly have we finished editing “Birds of Prey” that our decision was made: we wanted to develop our western concept, tell a story over several episodes, develop interesting characters, touch the audience and cross genres. We also needed to add our personal touch. And what about a mystical touch? Fantasy and esotericism crossing the doors of a grimy saloon? The western mythology is full of strong archetypes: the desperado Eastwood style is none other than the Angel of Death personified, no name and no ties. We had a lead. We decide to draw our inspiration from the divinatory Tarot and we build the foundations of a brand new Rapace adventure: a mystical card game, 22 major Arcanas and 22 "Rapaces" related to these magical items, struggling to collect these precious artifacts and launched into a real treasure hunt... // THE TEAM Rapaces is above all a family affair. We have selected our team by bringing people we were sure of the talent and involvement. Shooting the first episode of a western webserie involves a strong organization and a flawless cohesion. A director (Thibaut Oskian), a screenwriter (Thomas Mansuy), a team of production managers... We needed to find some specific talents. To work on the soundtrack oh HANGMAN, we wanted composers who could create a unique atmosphere and put rhythm into the action of our first episode. The Bernagoult brothers had already worked on "Birds of prey" –doing a great job! – and they decided to follow us for a new challenge: they had already rebranded the western music style, now they also had to compose a more moving and mysterious soundtrack. Let just say that they exceeded our expectations. HANGMAN also required a lot of special effects. Hugo Oskian had already dealt with all the visual effects of "Birds of prey" and we had confidence in him to make real our gunfight and create fully animated closing credits. We also decided to work with stuntman Manu Cartigny. He managed all aspects of physical tricks: jumps, runs, falls and blows ... The realism he brought to our fight scenes is more undeniable when striking at a genre like western also influenced by action. We had a united team, a family crew. We had a script, we had the equipment, we had location in Nemours, France. We had now to found our Rapaces... // THE CAST We already knew many talented actors, met on other set or seen on other movies. For HANGMAN we needed "faces", but also subtle actors able to transmit a range of emotion without any dialogue. HANGMAN Dan Bronchinson was an evidence for us. It was time that we wanted to work with him: very invested, very active and his physical appearance fit perfectly to this role. But Dan had much more to bring to Hangman. A simple coffee as an informal casting was enough: he agreed to be our hero. STONE Hervé Berty is a friend. He could have embodied very different characters with much subtlety. To play this part we needed an experienced actor, able to play the brute but not only! Hervé was Already committed to other projects with us and he seemed perfect to play a cruel and jealous bad-ass sheriff. A phone call was enough to make him a Rapace. RUBY and SAPHYR For both roles, we organized (a real) castings via the Internet. Meeting at least twenty actresses for each role, Mathilde and Laura have emerged as the obvious. We needed two very different characters but which could be run in a trio with the character of Hervé. Mathilde and Laura were able to get inside the skin of these two rivals women loving a man they’re trying to escape from. Above all they were also able to fully trust us. CUPIDO Make a young actor play is a gamble. Being confronted with strong personalities and being completely involved when you’re just thirteen years old is a kind of challenge. Elliot was brought into the project from its genesis and he had several coaching sessions delivered by Martin Dillard, a professional actor. On the set he finally played his part perfectly and even performed his stunts without body double! JUGGLER She just appears during 5 seconds but this part is actually very important! Juggler is one of the main characters of our series. We've found our Juggler after two days of intensive casting. France was able to identify our expectations and play during a few second a mysterious and seductive Rapace with a little touch of madness! //PRE PRODUCTION Pre-production was a three month process, during which we gathered everything we could to make a French western look like… a western. The last thing we wanted was the audience to see people wearing cow-boys hats running around in a French forest. While we already owned some of the props (like firearms), we designed and created the costumes ourselves, from old cloths that we cut in pieces. The costume of HANGMAN, in particular, had to perfectly match the description we had in the script, since it was really part of the character and of the story. The location stood as the biggest challenge: we definitely had no sufficient budget to neither build a set nor count on mate painting. We found the perfect match while scouting around Fontainebleau: Darvault’s (disaffected) sandpit. It looks like a white sand desert from New Mexico, but with these incredible Fontainebleau rocks all around. What about the gear? From the start, we knew that the only way to achieve the look we were after within our budget we’d need to use DSLRs. We’d seen what they could and could not do, and went for 5Ds (two of them) for their famous full-frame censor. Since we could not afford any DP, this 3 month pre production gave us the opportunity to familiarise with the cameras and lenses as well as to learn how to work around their limitations. We also built a $100 home made dolly that had to keep smooth on pretty much any ground, even Darvault’s sand! // SHOOTING HANGMAN was shot in three days in July and August 2010. The shooting was an intense and amazing experience: we’re completely lost in the middle of a New Mexico desert. While this has been a logistical nightmare, it definitely pleased the actors and added credibility to their performance. We were lucky to have many friends to help on the set, as you can see in the ending credits. A stunt coordinator (Manu Cartigny) came on the third day and insured safety while adding some “epicness” to the stunts. Shooting with dual 5Ds was a real pleasure. Their limitations probably slowed down a bit the workflow on the set, but the look is worth every “lost” minute. Interestingly enough, we had absolutely no rolling shutter issue during the action scenes with dual 5D (which wouldn’t have been the case if we had gone for the Jason Bourn shaky cam look). We experienced much more trouble with regular camera moves, like when the cameraman is walking in the sand (even with a shoulder mount). One should also notice the very nice weather we had: great for the movie, terrible for the live-view of the 5Ds, especially with all this whit sand around us, reflecting sun all around. We found the solution after the first hour of shooting: from that point, every cameraman was protected from the sun by an umbrella held by an assistant. Simple (even quite funny looking) ideas usually are the best. // POST PRODUCTION That was the longest part of the making of HANGMAN. Thibaut took 3 months to edit the whole movie on Adobe Premiere Pro while his brother, Hugo, designed the animated ending credits and the special effects on After Effects. It took us another month to re-create all the sounds (0 sound recording on the set, everything was done in post, including some ADR), and then another one to color correct and grade shot by shot (Premiere + Magic Bullet Mojo) while Davy and Yoann Bernagoult were creating a great original soundtrack. // IN THE END Shooting an action driven period narrative with virtually no budget is an extremely difficult task. You can work around many of the difficulties with time and dedication, but nothing could be done without a talented team and the moral support from relatives. At many points, we feared the project could not be completed "as we wished", which meant even more work and delays. In the end, HANGMAN is what it is. We're conscious of its weaknesses, but we're very proud of it, since we achieved at least one thing: doing a movie we, as spectators, would like to see. We hope you'll enjoy the ride as much as we enjoyed making it. _____________________ Cameras: two Canon 5D Mark II Lenses: 24-105 F4L, 70-200 F2.8L, 100mm macro Dolly: home made Edited on Adobe Premiere Pro, graded with Magic Bullet Mojo. Special effects and animations done with Photoshop and After Effects. Mixed on Audacity and Premiere Pro. More info: Twitter: @RapacesWS

18. Adam Carmichael - Heaven Knows

Adam Carmichael - Heaven Knows

Artist : Adam Carmichael Song : Heaven Knows Album : Before I Go Director : Raymond J. Schlogel Production Company : Underground Planet I simply adore this video and so many of the reasons why I adore this video have little or nothing to do with me but the combined talents of all involved. For some of you that have read my little “blog” type descriptions on some of my other videos this first bit may seem a little redundant but: I loved this song on first listen. Actually thinking about it as I write I suppose that’s a logical pattern to fall into and it shouldn’t surprise me that many of my vid descriptions start with that statement or similar, of course I loved it on first listen or I probably wouldn’t have taken the gig! Anyway, back to this song in particular, loved the piano, loved Adam’s voice, and love love loved the lyrics. “Hell knows I know right from wrong but heaven knows how I've tried …“ Brilliant! So as per usual during the “concept” phase, I put the song on repeat and thought my little thoughts waiting for that “Ah Ha!” moment. That being the moment that I think what I’m seeing in my head would be perfect for the song and that the concept will work within whatever budget (or lack thereof) that the project consists of. For “Heaven Knows” the “Ah Ha!” moment came after a good thirty or forty listens when I realized I already had the concept for this over a year or so ago! Not sure why it took me so long to realize it but once I remembered it that little voice in my head let out a loud resounding “DUH!” I’ve talked before about how I tend to mentally bookmark various locations that I think are cool and/or unique if the right project comes along, the same thing happens with concepts. In this vid I had both. The idea for this came awhile back and was actually inspired by an “acoustic” version of a radio performance by Lady Gaga for her song “Fooled Me Again.” Still and always one of my favorites by her. If you care to check it out you can see that here: I’ve watched enough “So You Think You Can Dance” to know just how profound dance can be and that’s all that I had really wanted to do as I was reasonably sure that Lady Gaga wouldn’t have answered my calls to make a guest appearance in the vid. Just one dancer, dancing out the lyrics, emoting the passion and angst while matching the swells and lulls that occur throughout the song. The only other embellishments I wanted to incorporate beyond that were to be the angel wings along with the opening where she puts them on and the end where she “takes them off”. Symbolism to me that I won’t bother getting into only because I know would come off too artsy fartsy and in the end would prefer to leave it to the audience to formulate their own interpretation. So anyhoo, as with many pet projects I’d like to do, it feel by the wayside and lingered on the back burner as something I would get to one of these days. Thankfully that day came when Adam sent me this song and after many a listen the light bulb finally lit. From the original concept it was always Marisa Mingea (with one “S”) who I saw as the dancer. She’s lent her talents to two of my video’s in the past, both Teera - Flashy ( and Larissa Ness - Thoughts of You ( and is undoubtedly one of the most talented dancers I’ve ever met. Even without the wings she has an ethereal quality to her and the way she dances that I knew would be a perfect fit. On a complete side note I might add that the first time I met Marisa over two years ago during a rehearsal for the Larissa Ness vid Marisa was wearing pants with angel wings on her butt, hows that for foretelling? .. not that I was looking at her butt mind you, just happen to notice in my peripheral vision. That's my story and I'm stickin to it. For Adams part there were only three key requirements, the first being the simpler of the trio. Going back to my “locations I’ve bookmarked in my brain” was a place that I’d seen a couple photographers use and had hoped to use one day, a local Austin bar called Lustre Pearl ( The staff there were awesome and more than accommodating. The second thing needed was a strong performance, just as the dance needed to be emotive Adam had to tap into the passion and vulnerability that comes across so well in the song, it without that the video would have been unbalanced. The next challenge was the wings. What I wanted wasn’t something you could pick up at your local costume shop. I wanted them to be articulated in such a way that Marisa could incorporate them into the dance, that she could bend them, move them, and reposition them at will as opposed to just sticking a pair of generic wings on her back. I also wanted to show her putting them on, I wanted the straps to be in full view (perhaps the only thing I wanted that would make making them just slightly easier to make!) as I wanted to sell the fact that they were “fake” to add a bit of surprise during the last reveal. To build these I turned to Meredith Johns and her company Hawgfly Productions Inc ( They’re a local FX company that had been nominated for 2010 Emmy Award and that, much to my joy and surprise, is based only blocks from my house. Bonus! Thankfully they were up to the challenge as I’m sure you saw in the vid, the wings were simply stunning and everything I wanted them to be. But consider this next time you watch it, as graceful as Marisa executed her choreography, she was doing so with 40 pounds of feathers, leather, and metal strapped to her back. In the shape I’m in I don’t think I could have walked up a flight of stairs wearing em but Marisa made it look effortless. Amy Chambless from Hawgfly was on set and did all the blood effects/wounds and the, um, well, the nipple covering stuff. Hawgfly also made a second pair of partial wings for the close up of ripping them out of her back. Huge thanks to Adam, Marisa, Hawgfly, Lustre Pearl, and my awesome crew Matt Friede, Arturo Cavazos, and Eliazar Mendoza, you all do such an amazing job at making me look good. Quick technical details for those who care, shot on a Sony PMW-F3 in S-Log recording to internal SxS card. Edited and CC'd in Sony Vegas with additional CC from Magic Bullet. One additional Magic Bullet tidbit worth the mention is that as the chest covering and make-up were not completely smooth MB's filter "Cosmo" which did a great job at smoothing it out.

19. Loza Szydercow 2, part3ed, Last part by Malga Kubiak at Le Madame in Warsaw 2005

Loza Szydercow 2, part3ed, Last part by Malga Kubiak at Le Madame in Warsaw 2005 LOZA SZYDERCOW 2 by Malga Kubiak last part at Le Madame in Warsaw 2005 /including interview in TEXT with Agata Mocarska from The Ego trip Label Blog/ Loza Szydercow 2 by Malga Kubiak the last part at Le Madame in Warsaw 2005 script cut out from Federico Garcia Lorca, Antonin Artaud, Georges Bataille, Sartre, Stanislawsky, Majakowskij, OMS by Malga Kubiak cast Malga Kubiak, Agata Mocarska, Katarzyna Jaskiewicz, Marta Boros, Maciek Poreba, Jacek i Natalia Andrzejewski, Ania Tomczynska, Mariusz, Marta Mroz, Krystian Legierski, Wojtek i Natalia Sowka camera Janusz Cegielo, back ground camera Zosia Jocz light by Wolfram make up Agata Piasecka back ground music Martinez drum Wojtek Sowka production The Ego Trip AGATA MOCARSKA MALGA KUBIAKs MUSE! WHAT AM I SEARCHING for? interview by Bolo Butler, corrections Anna Kowalska-Petrie, lay out Auto Matt, photos Game Girl, COK, & private How can the actress work for so long with the director who doesn't pay? A: Art is not only about money. Whats the deal about Malga? What skills are required to get on her team? A: She likes people I think. These kind of persona surround themselves by lots of people they find interesting in some ways. She gives space for people to be themselves. How did u meet Malga Kubiak? A: We met in a cult club in Warsaw Le Madame How did u see her? What was your first impression? A: The first time I saw her in that club on some party I thought ,what a bitch she must be, But that was before talking to her. After some conversation about the workshop I was surprised that she is very sweet person indeed. How did it all begun? A: Malga who just came from Sweden started organizing actor,s workshops in that club for a few of my friends. I talked to her and joined that program. It was fascinating and engaged a lot of emotions. At that time our friendship began. What was your relation at the very start? A:There was a lot talking about life and art, exchanging of ideas, opinions etc. Malga has very curious mind and I enjoyed spending time in her company. We used to walk in parks and discuss discuss.. She asked me sometimes to imagine some situation and act it in that public area. I liked her looks which was not typical for a Polish woman. Also I considered her a very gentle and sensitive person. I thought that she was an extraordinary person living an untypical kind of life, like someone you would meet in New York rather than Warsaw. How come she asked u to join her team, her art work? A:Probably she felt good about me. What was your own situation at this point? A:I was just doing my art, which was painting mostly at that time. Did she train u? A:Yes, this workshop was about that. What was your actress experience? A:I played in some short movies in my friends projects, mostly in Maksym Matuszewski,s ones. What did u do on the workshop? And for how long? A: We were practicing some behavior joining the team together, which looked like some witch rituals, some kind of putting together of energies. But mostly it was acting various emotional situations from our lives. Without Malga it was 3 of us, which made it quite an intimate story. How come u traveled together in a very quick car trip to Paris and back? A:Malga wanted to sing in clubs in Berlin, Amsterdam and Paris with DJ Martinez. Actually one more driver was necessary, as only one person had a driving license. But seriously I thing we just liked each other and enjoyed the company. Did u ever hear about her before u met her? A:No How did u see her when u finally met? A:Very interesting, unusual, witchy, arty.. What was this project game/girl movie about? A:Maybe about mixing ,reality, and the imaginative world. About living fast in a community, about bands, romance, hitting the road. Like ,everything is possible,. How was the Denmark excursion? A:Oh it was great, summertime, an interesting project, a great group of people with a plan to spend creative time together. Malga payed our petrol bills and arranged a house on the seashore, where a lot of scenes were shot, as well as on the beach. The water was cold but pleasant, refreshing. We swam a lot in the waves, wandered at night in the forest. Why did she ask just u? A:I,m not sure what it means ,just you,. There were plenty of people engaged somehow in that project. There were about 11 actors, as everybody played, cameramen also and assistants. Some girl cooked us delicious dinners, and did make-up and blood effects too. It was like filming and living in a crazy community at the same time. A lot of people didn't know each other before, and then we spent over a week in the same house, acting, eating, partying, sleeping. There was some flirting actions, arguments and stuff. Which probably is unavoidable in a group of people intensively doing such a thing. There were moments of great laughter and fun and also days when some tension was hanging around. Did u really shoot 58 scenes in 1 week? A:Probably, I wasn't counting. Who kept the tempo? A:The director of course. I thought that she could be very disciplined if she wanted, which I think is very important in art work. Everywhere probably. Why did u play 3 different roles? Do u think in GG, she has a lead role or u? A:I never considered myself as having a lead role, I just played the best I could from my part of the movie. There were a lot of people playing with us. Malga was the glue of all this, so maybe she was the main character. But I really dont try to find out who had a leading role. It was not so important for me. If I had a lot of roles, it means that in Malga,s concept it was good for the movie. Probably the way I behaved and looked was what she wanted to express on the screen. For me, some scenes were not easy, but thanks to that I could experience a new something. I,ve heard that Fellini didn't expect actors to rehearse too much or to think about the character they played. I think that is similar in Malga,s case. Why did she ask u to continue working with her? A:Maybe it was stimulating. How did u create "Loza Szydercow 2" and why? How did u work? A:I didn't have much input in LS. Your role in COK? How did u prepare? A:I read a lot of Sarah. Did u discuss with Malga your ideas? Did she? Did she demand of u a certain way of acting and what was it? A:Malga rather didn't demand any particular way of acting. Of course we talked about the general idea and particular scenes but she left a lot of space to actors. I think she was interested in observing us in different situations. You were free to act out some topic, how you felt about it. When u shot COK, how did u feel about it? A:I,ve read for the first time something of Kane. And I found her world very strong and modern. When did u work with Loza Szydercow 2? A:I dont remember the precise date, I have difficulty with that and in many other things in my life too. Were u aware Loza Szydercow 1 was also created for u, but u didn't participate, u had an exam, why didn't any of u change the dates? A:Maybe it wasn't meant to be. Is being an actress your main go, main goal? A:No but I like it when it happens. I'm interested in various activities. How do you keep going in life? A:I think positively in spite of obstacles. In the creative process its sometimes difficult, things dont go the way we would them to. But this make us think, and create new solutions that push the world forward.I dont think much about theory. I do what comes to my mind. I imagine something and try to find a proper way (technically) to do it. I like using different media like paints, wood, metal, silicone etc in my works. I go to scrap yards to find interesting pieces and then combine them together. Certainly all areas of my activity influence each other. Whats your education? A:Economics. Whats your passion? A:Sports what sports? and what excites u in sports? A:a body is our medium here in this life.I like the way I feel it after sports. For example when it's flexible after yoga asanas. I adore swimming, water skies, diving etc. At gym u can build your body like a sculpture. and diving? A:diving is divine. u put on weights and go down heavy like a cow, but under water it gets very peaceful, quiet, slow motion. u can even dance there. in warm seas you can see a lot of space and light, beside all those crazy creatures. of course to a certain depth. u rely on equipment so it can be dangerous, but still, life is dangerous. What are your sexual preferences? A:Hetero, but I like women in certain way too. I think certain intimacy is over gender. Your personal history? A:Oh, I should write a novel here;) Just a person with more or less a human experience. Your dreams? A:A sea comes to my dreams often, literary speaking. It appears as wild and dark or bright and beautiful depending on state of mind I guess. I like my dreams, I used to note them after night, as they are crazy and complicated stories, very real. I believe they say a lot about us. Why did she get u into the Berlin play she was going to work with Carl Andersen, Carl was the director, Malga was acting director on stage,and u were the directors, Malga,s assistant? How was it to work with Malga in Berlin? How was to work with Carl? A:This is a kind of question that should be asked to Malga.I guess it was the same reason why I acted in her projects with her. Carl I found very interesting, sensitive, drinking & smoking much. Somebody who pays attention on many little subtle things in a person. Who could be very bad tempered too. It was exclusively someth. dark, sensual and sexual that interested him. The Berlin theater was a challenge for me. I've never done it before in a theater in another country. We had couple of days of rehearsal and then played in front of the public. It was very intense. Was the act between both of u her plan? A:I dont know, its possible. Why did she force u to undress on stage? A:Again, I wouldn't use the word ,force,. I wouldn't do it if I didn't want to. I dont have a problem with nakedness. Although its quite a stress experience in front of audience when u r sober. Did u understand that your entire love scene, the climax scene was Malga's construction, not Carl's? A:I wasn't aware of this fully, but its possible she had her own ideas which Carl accepted. Why did she do that? A:Crossing borders maybe, getting close. Do u think she had a crush on u? A:We liked each other a lot. How many shows did u play? A:I dont remember, several maybe. It was a few times a week for couple of weeks. What happened after? A:We finished and came back to Warsaw. It wasn't bad. It was a very intense time. We were different in a way over there. I found Malga very concentrated on herself, which made our communication a little difficult. So far it was like ,us, somehow, and there it was she versus me. Maybe I wasn't an angel too. But still, I think its a part of the process. For me the whole time in Berlin was a learning experience, new, creative. There were emotions between everybody, I mean the actors and the director. Artists can be very oversensitive. No doubt, I like that experience, with all the pluses and minuses. It was not easy, but worth it. I wouldn't have it without Malga. Did u understand COK, did she create it for herself, for Sarah Kane and for u? A:No, she didn't say anything outright. If she did, maybe I would have a different attitude. Why didn't u want to work with Malga afterwards? A:It was time for a short break. Did all this excursion through the wild hurt u somehow? A:No. Did u feel wounded or elevated? A:I'm the type of person that is wounded by many things. It comes from vulnerability. But I try not to concentrate on this, as life itself is like that. Maybe sometimes I close myself, when I have enough of something, I've always felt a little aside. And then I get stubborn. Why did u stop working with her when it was at its best? A:Life sometimes gives us different paths for its own reasons. U made 2 films with her, and 2 different theater plays. Of course Carl was the director of the theater Lick an Apple, but all actions between both of u, on stage was Malga's desire? What was going on? Were u tired of her? A:A bit maybe. But don't we have sth like that about everything sometimes, including ourselves? Did she want too much of u as the lead actress? A:No, I liked that. Maybe at one moment she did. And this is something I can't function with. Did she want your soul? A:Having a close relationship with someone is always having somebodies soul in a way. Did u understand she created the script about vampires for u, but u barely acted in it? U bailed out. She was making her Gay Hell at Dante Cafe but it turned out to be a different movie. U showed up only in the most crowded scenes, where u could be left to yourself. A:It was a time when I appreciated my solitude. I didn't feel like crowds and cameras. I did as much as I could then. In Mishima project she put your name on the poster for Mishima 1, but u never considered going there, joining? She had a special role for u for a very long time, but finally gave it to another actress. A:Malga lives in Stockholm and I live in Warsaw. It was all about that. I liked the concept of Mishima. After Malga's proposition I read a few stories of him. I imagined myself even in harakiry scene, full of blood, dramatic.. If we lived in the same city I'm sure I would played there with pleasure. What are your future plans? A:I would like to travel with my exhibitions all over the world. I would love to reach a state of mind when I'm happy not because of external reasons but because of my inner awareness. I hope Malga and I do something together again. -------------------- DIRECTOR resume malga kubiak 2004 january/ massive screening at le madame of the ego trip collection february/ art fair in stockholm, suns birthday in gothenburg carl and me are planing to write a script, he throws the topic. the directors couple, problems with sex. He soon bails out. I write a scrip, it crystallizes quickly. march/april/may/june/ workshop with actors june/ 3 days trip to paris via berlin, amsterdam and bruxelle, martinez & me perform 2x in amsterdam, 1 in paris, way back is 25h drive without a stop, ela & agata drive june karate, one day shooting GG at m25 july/august/ sweden, Carl bails out of entire project GG shooting thats scheduled for september, frantic search for the cameras! september/ GG shoot a week in rorvig, denmark with MY TEAM october/ trip to berlin w agata & kasia / failing of editing by berlin,s boys november/ depression 2005 february/ loza szydercow 1 on wotever night at le madame carl andersen is planing lick an apple like a pussy the play schiller never wrote/ at brotfabrik theater in berlin. i plan to take agata with to berlin. in order to prepare her, i make decision to put up the play loza szydercow 2 at le madame.i write script, based on antoni artaud, george bataile, garcia lorca, include beats of OMS. we rehears few times, we train yoga. agata is going to play my assistant, i am playing director.le madame is going to be shut down, we get the last night. the place is maximally filled up, we play 3 hours and its success. april/ i prepare script for berlin based on bertold brecht, schiller, heiner muller/hamletmachine, sarah kane whit highlights f artoud and bataile. i read shillers letters to the prince, they are revolutionary. may / berlin brotfabriken theater, on the first rehearsal i picture to carl my idea for using stanislawskis movement exercise w everybody and my act with agata. we are a lesbian couple and we are going to manage it emotional,16 shows we roll the hard stage floor nude, kissing, fumbling, seducing,shouting, fighting. one morning i wake up and i have the COK script ready in my head. the last day i badly fall down the staircase in carls house. june / warsaw my boy friend comes by, we make love,its absurd,i dont find myself in the situation i got so incredibly used to agatas lips, kisses,and body, i am shocked i am thinking WHAT a Hell is He doing? what for he stuck his tongue in my mouth? i write the script f COK, get actors, we rehearse intensely. martinez is going to film, maksym, g.graham comes f berlin to be my assistant,attila and paul come from berlin to film and act. we film few days, i am ill,after the staircase flight i take a v.strong penicillin, each day starts with the shitty quarter in the lu, martinez saves my skin talking to actors, deciding cameras placing, g.g figures actors positions. in the key scene under the bridge i get arrested and sit a while in the police car, direct f there. we film few days, all works. WHAT AM I SEARCHING? i am editing with martinez, he does sound and special effects and color. we take COK first, GG almost year later. i get limited PR, but full at the cinema. since i did with martinez GAY HELL, & MISHIMA MASKS, cooperation is PERFECT

20. MATEO Trailer

  • Published: 2016-01-19T13:24:05+00:00
  • Duration: 104
  • By Monoduo Films
MATEO Trailer

A gold-plated voice trapped inside a hapless dreamer tries to make the big time. You don’t expect scrawny, strawberry blond Matthew Stoneman to blow you away with a falsetto love song, in perfect Spanish to boot. But that’s his hook and it might finally make him a star in this thoroughly fun chronicle of how “America’s first gringo mariachi singer” tries to shake his own gimmick and achieve true greatness. A thief with a heart and a voice of gold, he wound up in prison, where he learned Spanish and was bewitched by Cuban music. Now, the lovable crooner invests every honest nickel he earns playing L.A.’s streets into trips to Cuba. But what’s he really after—cheap access to amazing studio musicians, sun-filled fantasies or the comfort of its women? With a dizzyingly beautiful soundtrack of his songs as a backdrop, an unexpected side to Matthew’s artistic life slowly emerges in this irresistible ode to all the dreaming and hard work it takes to make it. Reviews: "A deeply complicated portrait of an angel-voiced musician" -The New York Times "So how did a forty something Caucasian redhead from New Hampshire end up becoming a minor Latino music sensation? And where can we get the soundtrack to this documentary?" - Rolling Stone Magazine "Beyond standard music doc conventions to a much more intriguing look at the wide chasm that lies between talent and fame" - What (Not) To Doc