Deadline. Deadline. Deadline... Rest.

Tools for frantic editing

Deadlines are a good thing. With deadlines come pressure and a sense of urgency. Pressure and urgency not only get things done; they inspire creativity. However, if not managed well, a deadline too tight can lead to frantic decision making.

I’ve been editing on my first feature documentary since July, a music documentary about Brooklyn-based folk singer Ana Egge. The director is Jesse Lyda, the producer is Jason Wehling. Jesse followed Ana on and off for about two and a half years, capturing somewhere in the neighborhood of 140 hours of footage.

Our deadline was to have a decent rough cut by November/December. That’s five to six months to cull 140 hours down to a feature length run time. An editor we sought advice from told us she spends three to four months watching/logging/marking up footage, then a month of hardcore editing to get to a first assembly on a feature doc.

We needed an assembly in half that time.

Editing first feature doc

If you found yourself on my blog page via my website, you may have noticed my last post was from this summer. So I thought I'd chime in with a quick update.

In July I started editing a documentary feature, a music doc about singer/songwriter Ana Egge. This is my first foray into documentary editor as the lead editor. I have assisted on docs in the past, both for director Margaret Brown (Be Here To Love Me: A Film About Townes Van Zandt and The Order of Myths). 

So as soon as I returned from the Sundance Documentary Story and Edit Lab this summer, I took all that wisdom I had cribbed from Fellows way more experienced and smarter than I and began applying said wisdom to this project.

Over 140 hours of footage. Interviews, verite, live concerts and archival. We are currently in the midst of taking the story from an assembly to our first rough. It's been daunting, stressful, overwhelming at times. It's also been invigorating, exciting and a satisfying challenge. I am becoming a better editor and storyteller because of it. 

If I'm sporadic in my updates on this blog, that's the reason. But you can always find me on Twitter or G+.

One of the unique aspects of the documentary is that we're editing in the much maligned Final Cut Pro X. If you're interested in what that process is shaping up to be like, check out my workflow blog that I recently began which chronicles the ins and outs of editing an independent feature documentary in Final Cut Pro X.

Sundance Doc Lab pt.5 - Notes From The Lab

I was invited to attend this years Sundance Documentary Edit and Story Lab as an assistant editor. Each assistant is assigned to one of the five feature-length documentaries that have been invited to participate in the lab. Each project consists of its director(s) and editor. This is Part Five in my Sundance Labs re-cap. Part One. Part Two. Part Three. Part Four.

I've been vague about exactly what I learned at the Doc Lab this summer. That is due, in part, to the fact that during their presentations, the advisors have to speak candidly about their work or about themselves and I feel I should protect that.

But I think I can provide a list of helpful, general anecdotes that stuck with me this summer. I know this will help me on the documentary I'm editing now and it may also help you on yours.

I won't attribute any one tip or anecdote to any one advisor. Instead this will be one list so it is from one voice. That said, allow me to tell you a little bit about our advisors this year:

2013 Sundance Doc Lab pt.4: The A[E] Team

I was invited to attend this years Sundance Documentary Edit and Story Lab as an assistant editor. Each assistant is assigned to one of the five feature-length documentaries that have been invited to participate in the lab. Each project consists of its director(s) and editor. This is Part Four in my Sundance Labs re-cap. Part One. Part Two. Part Three.

Each year, Labs and Artist Support Director Kristin Feeley and Labs and Artist Support Coordinator John Cardellino seek out recommendations for assistant editors from past fellows and advisors. They try to maintain a high turnover of assistants each year in order to expose new people to the lab. By assigning assistants to projects they have no knowledge of, it gives the assistants a chance to quickly gel with new filmmakers. It also gives those filmmakers another pair of eyes to bounce ideas off of.

Now that there are two doc labs, there is more opportunity for past assistants to return as Mark Harrison and I did this summer. We were able to serve as a resource for other first-time AEs when they had procedural questions or faced a delicate situation with their team. That can lift the burden off Kristin, John and Post Production Supervisor Dave Drusky: We can tackle something before we need to involve them, giving them time to concentrate on other important matters. Being a returning AE allowed me to feel more comfortable and increased my participation and engagement twofold.

Comedy Fodder

I'm not a regular blogger. This blog is to post irregular updates as it pertains to my filmmaking career. It's linked to my website. Ergo - I still have another Sundance Doc Labs report coming woefully late.

Why so late? Two reasons: First - I just started editing a new project, a feature documentary. So I've been working long days to try to keep us on a good pace before I start teaching part-time again. I'll write more on the project later, but needless to say, it limits my time to write and keep this blog up to date.

Second... Last Wednesday I participated in The Megaphone Show at the New Movement Theater here in Austin. I told true stories from incidents in my life on stage - three stories, about two minutes each. After each story, the New Movement's improv cast would act out scenes inspired by the stories. Some scenes would be directly lifted from the story I told. Other scenes would be loosely linked, maybe only one word or phrase I mentioned was at the center of the premise. It was fun to see what the cast - led by local comedian Chris Trew - came up with. The pace ebbed and flowed as it does with improv, but when the team got rolling in a direction that worked well they milked it for huge laughs.

None of the cast members had an inkling of what I was going to say before I said it. The only coaching Chris gave me (mere moments before the show began) was that I give them lots of details. Don't generalize any events; give them specifics. They will be hanging on every detail I give in order to build a scene.

2013 Sundance Doc Lab - pt.3: A Working Vacation

I was invited to attend this years Sundance Documentary Edit and Story Lab as an assistant editor. Each assistant is assigned to one of the five feature-length documentaries that have been invited to participate in the lab. Each project consists of its director(s) and editor. This is Part Three in my Sundance Labs re-cap. Part One. Part Two.

Once the lab gets going, each day is jam packed with work. 

Breakfast is served every morning at 8 AM. Our first morning there I didn't read the coffee signage closely and mistakenly poured myself decaf. Always read the signs when you're at the lab.

The first full day of the lab we screen cuts. The selected projects arrive at different stages in their editing process. Some are further along than others. But they are each at the lab for the same purpose: To get fresh eyes on their work and be in an environment that allows them to be sharply focused for a week. 

2013 Sundance Doc Lab pt.2: Summer Camp + Indie Film Rehab

I was invited to attend this year's Sundance Documentary Edit and Story Lab as an assistant editor. Each assistant is assigned to one of the five feature-length documentaries that have been invited to participate in the lab. Each project consists of its director(s) and editor. This is Part Two in my Sundance Labs re-cap. To read Part One, click here.

Post screening discussion

The lab is a summer camp and a rehabilitation center for your film. Or maybe a better way to phrase that - since rehab connotes that you're coming in with problems - is that it's a gut check for your film. It's fun, it's creatively and intellectually invigorating, it's exhausting. Fellows and advisors bare their souls. Many come to terms with what their film is and isn't. The Sundance screening room has a way of making people tear up for one reason or another. I've learned so much at the lab about storytelling and editing, just in time to take on a new doc project, my first ever as an editor.

I apologize for being vague on the details as to how the labs can have such a profound effect on a group of adults, most of which will have met each other for the first time. But I'm trying to protect the privacy of the lab to a certain extent. I want any one reading this to have a flavor of what the doc labs are like but without betraying the confidence of any of the participants.

2013 Sundance Doc Lab - pt.1: Riding the lift. Hiking. Potguts.

I was invited to attend this year's Sundance Documentary Edit and Story Lab as an assistant editor. Each assistant is assigned to one of the five feature-length documentaries that have been invited to participate in the lab. Each project consists of its director(s) and editor. This is Part One in my Sundance Labs re-cap. To read the brief prologue, click here. Part Two. Part Three. Part Four. Part Five.

This was my second trip to the labs as an assistant editor. Two years ago, I never had an opportunity to go on the ski lift or go on a hike. This year, we had a little down time as the assistants were flown in a day early.

The entire AE team of five rode the ski lift into the mountains that overlook the Sundance Resort. From there we went on a brief, 20-minute hike. It was gorgeous day. Not too hot yet, before the so-called heat wave hit. 

I'm very glad we knocked this out on the first day. The rest of the week was too packed with lab activities to get away in the middle of the day like this. 

2013 Sundance Doc Lab: Prologue

I spent last week at the Sundance Resort, participating in the Sundance Doc Edit and Story Lab. It was a my second trip up the mountain. It was a tremendous experience.

As I write this by hand somewhere over Nevada on my way back to Texas, I feel the most exhausted I have felt all week. Exhaustion is normal throughout the Sundance Lab, but once you have some Oikos Greek Yogurt with a cup of coffee, followed by stimulating presentations on storytelling, filmmaking, editing, followed by intense cutting and re-cutting, screening then cutting and re-cutting - the exhaustion never slows you down until you lock up the edit trailer and head back to your cabin. It hits you when it needs to hit you: At bedtime.

I am literally being transported back to the "real world." Between flickers of micro sleep I think back on  all that I have learned, the new friendships I've made, and the hopeful feeling I have toward my next editing project. I feel invigorated. I hope I can carry this feeling with me for a long, long time.

I hope to write about it here on this blog in some detail (not total detail - there are many things said and seen at the lab that should remain private to the lab). I don't know if I'll write one massive post or divide it into sections. But if you're interested in hearing a bit more about my adventures at the lab, please visit this blog over the next week or two. I begin a new project later today, so whatever I do will be at infrequent intervals.

Part 1

Part 2

Part 3
Part 4
Part 5

Do Over Press + Trailer: The Value of Shorts

Jordan Gasse-Plasse at Slackerwood wrote a nice little article about "Do Over" being released on +VHX. She did a great job of whittling down my rambling answers to her during our interview to get to the essence of the story. An editor always needs another editor.

We're trying something different with "Do Over" in that it is a short film we are selling rather than throwing up on +YouTube or +Vimeo for free. I know this makes it a tough sell. We're competing with thousands upon thousands of filmmakers around the world who have samples of their work easily accessible and more importantly, easily sharable.

Consumers are used to and expect to pay for streaming longer content. In people's minds longer content means it cost more to make, plus you're getting more entertainment value out of it when you think of "value" in terms of time or the amount of content.

But because something is short does not mean it wasn't any less challenging to make. Nor does it mean it was cheap to make. And most importantly - nor does it make it any less entertaining.

Cassavetes at the Marchesa: BOOKIE/HUSBANDS

The film [Killing of a Chinese Bookie] is about a conformist, about somebody who would have been a white-collar worker years ago and who does all the right things and who is going to be killed for it.... It's the story of so many people's lives. It's not hard to understand because it happens all the time.

- John Cassavetes

from Cassavetes on Cassavetes by Ray Carny 

Killing Of A Chinese Bookie

I was first introduced to The Killing Of A Chinese Bookie (and to John Cassavetes) by director Spencer Parsons. He assigned me Cassavetes boot camp just before I began editing his feature, I'll Come Running. I binged my way through Bookie, Faces, A Woman Under The Influence, Minnie & Moskovitz (my current fave), and Husbands. Spencer wanted me to absorb the performance styles, cutting rhythms, the way camera follows the actors, and especially how Cassavetes constructed everything around performance and emotion regardless of whether the image was technically perfect.

Since that binge I had not seen Cassavetes since. I've got a Netflix DVD copy of Opening Night waiting for me, and I'd love to get my hands on Love Streams, though I know that's tough one to track down.

Last Monday, I made my first trip to the new Marchesa Theater which is operated by the Austin Film Society. The best way to describe the Marchesa is that its Austin's own version of the New Beverly in Los Angeles. When I briefly lived in LA, I loved going out of my way to go to the New Beverly to see older movies or arthouse fare or grindhouse flicks. The Marchesa is located at what used to be the Lincoln Village, a dumpy 8-theater building I remember occaisonally seeing movies at when I was a kid. It was a weird feeling realizing what the Marchesa used to be when I pulled into the parking lot.

Do Over screens this weekend in the Hill Country

My short film "Do Over" will screen this weekend at the 2013 Hill Country Film Festival in Fredricksburg, TX. We screen in Shorts Block 8 at 10 AM. My producer Andrew Logan and I will be attending.

I've been grappling for weeks as to whether I'd be staying overnight and enjoy the fest for a few days. It's close enough to drive to, but far enough away that you wouldn't want to make the trip back and forth all week long. I've got a few projects I'm working on all once, so I've decided to drive up Saturday and spend the day watching movies and talking to whomever I can in that time. Wish I could stay longer though.

"Do Over" has screened at numerous film festivals throughout 2012 and 2013. It has received awards such as Best Comedy Short at the Iowa Film Festival, Best Regional Short at the Flatland Film Festival, and it wont the PBS NYC Reel 13 Online Competition.

Can't make it to the Hill Country Film Festival? You can purchase it for $1.99 and watch it right now!

SXSW Leftovers PT3: GOOD NIGHT Premiere

I was post-supervisor on The Bounceback and had been working on it right up to its premiere. The second film I was a part of that premiered at the festival was a movie I co-edited called Good Night. I worked on this film on and off over the course of a year and a half. I thought director Sean Gallagher had a pretty unique and savvy approach to making a micro budget indie that tells an emotional story.

I've been looking forward to Good Night's premiere for a long time. I get attahed to each long-form project I work on. As an editor, I feel like I have to. I feel like I have to be on that edge of objectivity and emotionality. As Pacino said in Heat, "Keeps me sharp. Where I gotta be."

During the course of making this film, some of the events it depicts paralleled events in my own life in unfortunate ways. The themes of the film took on even greater meaning to me. I think grew close to this project in ways I hadn't to others since the first film I edited, I'll Come Running. That's not a slight at any other film on my resume. Circumstances just made Good Night uniquely entwine with my life.

SXSW 2013 - Leftovers PT2: BOUNCEBACK Premiere

The premiere for The Bounceback was Saturday March 9th at the historic Paramount theater. Panic struck our team an hour before the show when our director, Bryan Poyser, got word the screening might have to be canceled due to a problem with our HDCAM tape. As Post Supervisor I went on high alert as getting these tapes made and QCed was part of my job.

I was on my way to the Paramount when he called me so I was able to get to the theater pretty quick. There was some confusion but we figured it out pretty fast: There had been a problem with the film screening before us. Our tape was fine. That other film's screening had been canceled (but SXSW added two more screenings to make up for the loss of their premiere). Still, it was a scare before our big unveiling. Good thing they keep the Paramount cold inside cause I was sweating bullets for a few minutes.

Jury Duty

In 2005, I was lucky enough to win the Best Hecho en Tejas (Best Made in Texas) Film Award at the Cine Las Americas Film Festival for my short film "Test Day." The shorts we screened with were strong, powerful narratives. The Hecho en Tejas section that year was comprised of only four short films. Today, it has expanded to include two features and around eleven shorts.

For that matter, Cine itself has grown since 2005. It is screening somewhere in the neighborhood of 160 films, shorts and features, docs and narratives. No film screens twice. There's a lot to experience in under a week's time.

I've been looking forward to getting back to Cine Las Americas ever since "Test Day" screened and was warmly received. This year they asked me to be a jury member for the Hecho en Tejas section. What I've discovered is I am a one-person jury - so if anyone is upset at the end of the weekend they only have me to blame! No pressure...

SXSW 2013 - Leftovers PT1: Missing Swag and Riding Coattails

This year's +SXSW  felt different. Maybe it was the plethora of Texas films that had received acclaim at Sundance ahead of their regional debuts. Maybe it was the fact I had two films I worked on premiering at the fest, and I realize how fortunate I am to be a part of two great projects that beat the odds (and how much luck figures into festival selections along with the quality of the projects). Maybe I felt the size of the festival in a way I hadn't before.

But there was a different energy this year. And in retrospect - now that I've had a month to reflect (and to finally write a post on the festival; wish I wrote more often but I when duty calls, I answer) - maybe the energy didn't come from the festival itself but from the banner year that Texas film is having. Whatever it was, it made for a memorable fest.

Halfway through the festival I landed a free lance gig editing panels for SXSW Interactive. So not only did the fun end prematurely and I saw way less movies than I had initially planned, the time I had to publish posts got eaten up by some uneventful panel cutting. That's the trade-off with such a large festival in your own backyard: There's work to pick up during a solid two week period. (And if you're a free lancer, you know it's hard to turn down work when it's this abundant.)

So what do I have to add to the post-SXSW reviews so many bloggers and critics have already provided for the past month already? Honestly - probably not much. But I got all these photos I took and they need to go somewhere...

This will be the first of a set of free-association, summative posts about the fest as I experienced it. You won't find any movie reviews here. Just impressions and fuzzy memories. And some photos!

Mentoring at SXSW 2013

Last year I was lucky enough to on a +SXSW panel with a director I had just finished editing three projects for (+Kyle Henry) and an editor I have long admired (Sandra Adair). The panel was a workshop where the three of us would give notes on fundraiser reels that filmmakers brought in for us to watch in a room full of strangers. It was an informative, practical and useful workshop that I think people really dug and that we should try to resurrect next year.

This year, I'm a panelist of another sort: A SXSW mentor. Mentor workshops operate like this: Attendees read the bios of the mentors of a given session, then sign up for one-on-one time with the mentor they most want to hear from. You can sign up to meet with one or you can meet with all of them.

I've never done it before, so I'm looking forward to meeting some new folks and seeing what the experience is like. I hope my professional experience in production and (mostly) in post-production will help answer some questions for other working filmmakers.

I'm in the Producers/Production 2 session on Tuesday, March 12th from 330 PM - 5 PM. There are some great folks in that session, several of whom I've worked with. If you're coming to SXSW 2013 consider signing up for any of the offered Mentor Sessions!

Mentors: Production/Production 2

The Lowdown on GOOD NIGHT at SXSW 2013 (includes trailer)

The second of two films I am a part of that world premieres at +SXSW this year is Sean Gallagher's Good Night. I was one of the film's editors alongside Don Howard (and uncredited editing Gallagher - because once you are writer, producer, and director on the film, I think most people will assume you had a hand in the cutting).

This film has traveled a long and windy road. I've jumped on and off it just by virtue of its director's approach to making it. This film was a labor of love for all involved. I know that phrase gets tossed off easily but many of the cast and crew worked well below their pay grade or for nothing at all. There is something about this story and about these characters that I think everyone was drawn to, and we just wanted to help Sean see that it end up on a big screen someday... even if that day was further away than we thought it would be when we first came aboard.

Over the course of this film's development, many of its themes have touched the lives of its creators in ways we never could have expected nor would have wanted, in some cases. For me personally, its surreal how closely some of the events in the movie played out in my own life.

It's a challenging, darkly funny, scrappy little movie. I think Sean and producer Jonny Mars assembled the right crew to see it through.

Good Night world premieres Monday, March 11th at 945 PM at the Rollins Theater. Visit this page for its other screening times.

The Lowdown on THE BOUNCEBACK at SXSW 2013 (includes trailer)

I worked on two films at +SXSW this year. On the Bryan Poyser's latest, The Bounceback, I came on board just before production began as the film's post production supervisor. I've worked as an editor on a number of features now. Post supervising gave me an opportunity to have something closer (but not exactly, let's be clear) to a producorial role on the film.

Responsibilities include tasks I'm used to such as digital workflow, coordinating between departments during filming and in post, and troubleshooting/tech support. I expanded on my experience by hiring personnel, scheduling and negotiating with vendors, and being a point of contact for the director, producers, editing team, graphics team, and our post house.

It wasn't all technical and bureaucratic, however. I watched nearly every cut of the film and provided feedback throughout the post process. I was a sounding board, at times, for the director and producer, who are good friends of mine. I felt like I was still part of the team even though I wasn't in the editing chair - which is where I'm used to sitting.

I feel more confident now in a role like this. It's not a role I want to be in as much as I enjoy editing and direction, but in independent film there is no downside to having a multitude of skill sets.

"Do Over" and "Test Day" screen at Short Indies

It's been a busy few weeks leading up to +SXSW, so I'll be updating this blog in several posts in a short time span (I hope) to cover everything that's been happening or is about to happen. Why several posts? Why not one post, seeing as this is, in fact, a blog meant for long, descriptive posts?

1) Each topic deserves it's own blog entry!

2) It makes my blog look super active!

3) I get to make a list where each item ends with an exclamation point!

So on with it as there is a lot of ground to cover...

FOURPLAY North American Tour Launches

The beginning of the +FOURPLAY Film North American tour marks a busy spring for movies I've edited or shepherded through post production. The tour began last Thursday, February 7th, when Fourplay screened as part of a fundraiser for the Austin Film Society's Texas Filmmaker Production Fund, an important, competitive grant that supports film projects based in Texas year in and year out. It continued to screen Friday up through today at the Alamo Village to sell-out crowds. People are watching... and they're talking (about sex...ba-by... sorry, couldn't resist; for all my TLC fans out there).

Director +Kyle Henry has led a tireless media blitz across platforms: First and foremost on social media, but he also appeared on the radio as well as in a delicate TV interview. I'm sure more press is to follow in the coming weeks as the film travels the country.

Find Screening Dates Here!

Seeing as the word of mouth has been both positive and extensive, I figured I'd help out by compiling everything I can find all in one place. Links to reviews and more after the jump.

"Do Over" Review: 'Entertaining' and 'romantic'

Thanks to G+ (yes, I am active on G+ and have found it to be both enjoyable and useful in ways Facebook is not) I connected with +AIDY Reviews.... Having seen my G+ posts about "Do Over's" festival run, she inquired about when she could see it and review it. I sent her the film right around the time of our Reel 13 contest. She watched it and had some lovely things to say about the film, especially about the cinematography by our super-talented DP, Ricardo Diaz.

Read her glowing review here!

Two Films at SXSW 2013

I was born and raised in Austin, so the South By Southwest Film Festival is as much a fabric of my life growing up in central Texas as breakfast tacos, bar-b-que or Longhorn football. This festival single handedly shaped my perception of what a film career might could look like. Once I got out in to the real world (and lived & worked in LA for a brief spell), I discovered the many paths you can take in making moving picture stories. Still, SXSW has left its mark.

As a kid surrounded by independent film, I dreamed of having my work play at SXSW, and of being a panelist at the festival (I just thought it was so cool people might sit in a room and willfully listen to me pontificate via microphone; most of the year, I do it against their will... sans microphone.... Basically, I'm yelling my opinions at people when I'm not a panelist at a film festival). I've accomplished both a few times over now, but I still get a thrill when I can share with everyone that I have a project playing at the festival.

The SXSW line-up was announced yesterday and Texas films & filmmakers are well-represented, maybe more so than any other year I can remember. There's a handful of Texas-based or Texas-tied holdovers from Sundance [Yen Tan's Pit Stop (Yen designed the official "Do Over" poster); Andrew Bujalski's Computer Chess; Hannah Fidell's A Teacher; Jeff Nichols' Mud; David Gordon Green's Prince Avalanche; and Richard Linklater's much awaited Before Midnight].

On top of that, we have world premieres from other talented Texas artists, including Jacob Vaughn's Milo, Geoff Marslett's Loves Her Gun, Paul Stekler's Getting Back To Abnormal, and cinematographer-by-day/director-by-night PJ Raval's documentary about gay retirees, Before You Know It.

It's a very exciting year to be a part of the festival and to be a part of the Austin, Texas film community.  Click on the jump to find out which projects I was involved in that will be premiering in March...

FOURPLAY Official Theatrical Trailer and Theatrical Release

FOURPLAY - Official Theatrical Trailer from Kyle Henry on Vimeo.

The official theatrical trailer for the +FOURPLAY Film feature is available to view. Fourplay is a feature comprised of four short films that explore sexual intimacy. I had the good fortune of editing three of the four short films (I cut "Skokie," "Austin," and "Tampa" while the ever-talented Rita K. Sanders cut "San Francisco") and we're all very excited for its upcoming release.

UPDATED: Reel 13 Online Contest - Vote For "Do Over"!

UPDATE: "Do Over" won this week's Reel 13 short film contest! Check it out Saturday night on WNET/13 in New York City. Thank you to everyone who voted. I'm so happy to be able to share this win with our hard working and talented cast and crew.

Previous:
My short film "Do Over" is currently competing in an online contest against two other short films.

Visit Reel 13 now to watch "Do Over" and give it a vote!

The winner gets to air on WNET/Thirteen this Saturday night (01/19), the flagship public television station of the New York City Tri-State area. If "Do Over" wins, that could mean a lot of extra eyes on the film that otherwise wouldn't have seen it. 

This opportunity came to us by way of Devin Assuncao the programmer of the Brownfish Short Film Festival at NYC. Many thanks to Devin!

If you enjoy "Do Over," please help us spread the word and share the link to the Reel 13 site. Another way to show your appreciation is to tip us a small donation via the Vimeo Tip Jar, a great feature that allows viewers and fans to show their support for the independent filmmakers they love.

"Do Over" is a romantic comedy that has screened at film festivals across the country, including Cinequest, Aspen Shortsfest, LA Shortsfest and Austin Film Festival. It was named Best Comedy at the Iowa Film Festival and received the Chris Caddel Filmmaker Award at the Flatland Film Festival.

Two Bits Of Good News To Start Off 2013

Happy New Year!

It's been a quiet winter (by design - I've been decompressing and re-compressing all at once - more on that in a future post) but now that 2013 is here I already have two fun bits to share.

First - Austin based film critic Don Simpson listed his favorite Austin films of 2012 and +FOURPLAY Film  was one of them. Check out his list here which includes an eclectic sampling of what the Austin film scene has to offer. (I edited three shorts in +FOURPLAY Film for director +Kyle Henry).

Second - "Do Over" will continue its festival run in 2013 as it screens next month at the Love Your Shorts Film Festival. Check out the full line up; you'll find "Do Over" in the comedy section.