Cleveland Museum of Art Screening November 14th!

12 11 2012

Howdy to mid westerners in the Cleveland area!  Want to let you know the film is being screened at the Cleveland Museum of Art Wednesday, November 14th, as part of their excellent ongoing film series.  They’re located at 11150 East Boulevard, Cleveland, Ohio 44106, telephone 216-421-7350.  Here’s a link to the film program’s listings: http://www.clevelandart.org/events/films.aspx.

John Ewing

John Ewing, Associate Director, Film at the Cleveland Museum of Art

The Cleveland Museum of Art possesses one of the oldest museum film programs in the United States. and is a  major year-long presence that attracts thousands of people to the museum. They present at least two different feature films every week (on Wednesday nights, Fridays nights, or Sunday afternoons) and I’m honored that they’ve chosen my film to be one of them.  Many thanks to John Ewing, Associate Director for Film at the museum for seeking the film out by contacting me.

Again, though I’d love to visit Cleveland as haven’t been there in awhile, my current schedule just doesn’t allow for it, but hope you can make it!

–Stan Warnow

 





Walt Disney Concert Hall show in LA: Oingo Boingo’s Steve Bartek & Ego Plum November 9th, 8:30 pm

8 11 2012
Sorry to be a bit late with this, but I have a good excuse as the Hurricane Sandy has complicated my life recently!  For everyone in and around L.A. some exciting news: REDCAT, CalArts’ downtown center for contemporary arts is presenting,  in cooperation with JEFF E. WINNER of The Raymond Scott Archives, a special evening celebrating Raymond Scott. Machine-Man: The Musical Mayhem of Raymond Scott will be held at the Roy and Edna Disney/CalArts Theater on Friday, November 9 at 8:30 pm.  (Jeff is also co-producer of the film and also a major character in it and out of it!) ,

In this unprecedented celebration of Scott’s polymorphic career, former OINGO BOINGO Short Term Loans UK co-founder and guitarist STEVE BARTEK and his band (including other Oingo Boingo alums) find new takes on the composer’s early cartoon classics, while composer EGO PLUM’s ensemble re-envisions Scott’s farsighted electronica. Joining in is the Rogue Artists Ensemble who will stage a first-ever live interpretation of a vintage Scott film collaboration with MUPPETS creator JIM HENSON.

AND though I can’t be there there will be a merchandise table and the DVD of the film will be for sale there.  Hope you can make it!

–Stan Warnow





Film Opening in NYC July 13th!

6 06 2012

Week of NYC Theater Screenings: July 13th-19th

Further Update–July 17th–

* Q&As with filmmaker STAN WARNOW–The Q&A’s we did over the weekend were such a hit that we’ve added more for the next 3 days:

7/17, 7/18 and 7/19 (Tuesday-Thursday) after 7:30pm show.

Hope to see you there!

 

Update–Breaking News–July 12th–we just got an excellent review in the New York Times: http://movies.nytimes.com/2012/07/13/movies/deconstructing-dad-recalls-raymond-scott-musical-inventor.html.  And for all the latest info go to our Facebook event page:  https://www.facebook.com/events/436981592988640/

——————————————————————

I’m delighted to announce that the film is opening on Friday July 13th at the Quad Cinema in Manhattan’s Greenwich Village (34 West 13th Street between 5th & 6th avenues). The film will be screened several times a day, for a week, through July 19th.  The QUAD has been owned by the same family since 1972, and attracts passionate moviegoers eager to see the best in independent, foreign and documentary films.  It books films from major distributors such as as Miramax, Sony Pictures Classics, Fox Searchlight, and many more, and now us (not that we’re a major distributor!).

Quad LogoAs you can see we’re not superstitious — I kind of like the idea that we’re opening on a Friday the 13th, and plan to make it a good luck day for the film!  And given that the Quad is on 13th street it seems particularly apt to me to open the film on a Friday the 13th.  And now that I’ve spun it all together, it will be easy for everyone who reads this post to remember the date and place, won’t it?

We’re getting a lot of good publicity and hope to see you at the Quad–I’m doing Q&A’s along with co-producer Jeff Winner and special guests Friday and Saturday after the 7:30 and 9:50 shows, and Sunday after the 3pm matinee.  Again , hope you can make it  to the Quad for any show during the period from July 13th-19th, it will mean a lot for the future of the film.  Thanks….

For press inquiries please contact: Isil Bagdadi at CAVU Pictures/CAVU PR, email: cavupictures@aol.com

—Stan Warnow





2011 — Do Look Back

8 01 2012

It’s been an exceptional year, so time to look back at 2011.  Last year I wrote 2010 had been, “a year in which the film has been at many international festivals, and as a result I’ve traveled to lots of great places and met a spectrum of new friends and colleagues,” and that emphatically applies again to 2011. So I’m going to thank those who made 2011 one of the best of my professional life.  I’m beginning with thanks to all who have purchased the DVD and viewed the doc at festivals and other events — your support of independent film is inspiring and appreciated.

2010 started off with a great festival experience at in Calgary, Alberta at the Soundasaurus Festival at the EPCOR center.  Jodi Lucas was the programmer who brought the film there and was wonderful host during my stay.  Later in January, another great experience at the Club Transmediale festival in Berlin.  The man who made it all happen was Remco Schuurbiers.  The film was also in the REEL Music festival in Portland, Oregon, last January, Bill Foster is the  Director there.  I couldn’t make it to Portland, but I did go there last September for another terrific event — the Jackpot Music Film Festival, run by Issac Slusarenko the owner of the fabulous Jackpot Record shops there.

In February the film was shown at the Glasgow Film Festival in Scotland.  Stu Brown’s Sextet, who live in Glasgow, performed and filled-in for the Q&A.  Then in March I was at the wonderful Sebastopol Documentary Film Festival in the wine country north of San Francisco.  A big shout out to festival programmer Jason Perdue (and wife Gena) as well as Robert and Paula Brent who graciously let me stay at their lovely home in the nearby countryside.  This would have been a fabulous festival in any case but was made all the better bythe fact that the film won the Critics Award.  Thanks again to critic Gil Mansergh for picking the film.  In April the film was at the electronic music oriented Together Festival in Boston, run by David Day — I had a lovely evening there as Tom Rhea and Hoby Cook , who are both in the film, were able to attend, and thanks to Berklee for providing us with a screening room.  And then I had another lovely event, in Peekskill, NY, at the Center for The Digital Arts at Peekskill Community College organized by Lise Prown.

In early April there was the showing at the Unsound Festival in Manhattan, programmed by Andy Battaglia.  In early July the film and I went to the Karlovy Vary International Film Festival in the Czech Republic.  This was a great trip and another truly memorable experience — the KVIFF is one of Europe’s biggest and there were two full-house screenings while I was there — Pavel Klusak, the festival programmer for music films is the man who made it all happen.  Back in the USA later in July the film shown in Sacramento at Movies On A Big Screen, an ongoing weekly festival programmed by Robert McKeown.

August was notable for an event at the municipal art gallery in the town of  Milton Keynes about 50 miles Northwest of London — the film was selected by local sound artist Caroline Devine.  At the end of the month I was fortunate to be invited to Museum Ludwig in historic Cologne (Köln) Germany during an event that’s part of the reiheM concert and film series.  This came about through the efforts and enthusiasm of Frank Dommert from A-Musik, and reiheM.

In October there were two New Jersey festivals, the first was the ATP festival on October 2nd in Asbury Park, NJ (ATP stands for All Tomorrow’s Parties) — a wonderful fest that started in the UK and now has worldwide events.  Deborah Higgins and Barry Hogan, are festival organizers and thanks too to Aidan Flax-Clark of Lapham’s Quarterly, who brought the film to ATP’s attention, and to Abbey Lustgarten and Jason Altman of the Criterion Collection for including the film in their curated film section at the festival.  A couple of weeks later I was in Atlantic City for the Downbeach Film Festival where Deconstructing Dad won the Best Documentary award.  

A real thrill and thanks to Bill SokolicJoelle SokolicNed Eckhardtand everyone on the festival staff for the award and a great time in Atlantic City.  And thanks as well to George Stewart who originally suggested that I submit my film to the festival. The film was also shown in Ghent, Belgium in October as part of the 38th annual Gent International Film Festival, programmer Jeroen Derycke was responsible for this showing. In November the film was screened in Israel at the Jewish Eye World Jewish Film Festival in Ashkelon it was very satisfying to have the film shown there though I couldn’t attend — Gady Castel of the festival was instrumental in making it possible.  And the final festival of the year was in November at Scheld’apen, programmed by David Van der Weken.  Scheld’apen is a youth culture center and a contrary art workshop in Antwerp, Belgium that has an annual program that features films about early electronic music and synthesizer pioneers.

There were also several excellent radio interviews in 2011.  On November 18th, Jeff Winner (who co-produced the film) and I were interviewed on NPR‘s “Radio Times” with Marty Moss-Coane, produced by Patty Leswing — WHYY in Philadelphia is the originating station.  You can still listen to that broadcast — here’s a link.  In October as part of spreading the word for the Atlantic City festival, George Stewart interviewed me on his show Crazy College which aired on radio station WVUD in Wilmington, Delaware.  There were three other notable radio interviews last spring and summer, one with the legendary Jordan Rich on WBZ in Boston, another with musical historian and preservationist  David Miller for his NPR show Swingin’ Down The Lane, and a third with Technically Classical, a radio show on the University of London radio station.  They put together a terrific piece about the film and Raymond Scott.  To have a listen to this half hour show click here.  Thanks to Laurel Murray and everyone else at the show for making it all happen.

And ongoing thanks to those musicians around the world who help keep the music of Raymond Scott alive: Stu Brown in Glasgow for all he’s done for Raymond Scott’s music and my film in the UK, to Adam O’Callaghan in Montreal, Miguel Malla and Raculmuto in Madrid, the revived Raymond Scott Orchestrette in New York, Quintette 7 and Kristen Mathis of the West Point Band, guitarist and music historian Skip Heller who has some wonderful moments in the film, Don Byron, one of the first contemporary musicians to revive Raymond Scott music, and the newest members of this ever expanding yet very exclusive group the MeaNensamble from Norway!  Plus the other groups from (including the DJ’s), who play Raymond Scott music one way or another. Finally, as always, perpetual thanks to Gert-Jan Blom, Irwin Chusid, and Jeff Winner (co-producer of the film) — the Raymond Scott brain trust — who are great colleagues, friends, and consultants.  Their work on the Raymond Scott legacy remains an ongoing inspiration to me…

Happy New Year to all!

—Stan Warnow





The Raymond Scott Orchestrette concert at Lincoln Center, December 1st

30 11 2011

image

The New York based Raymond Scott Orchestrette, who appear in the film, are doing a FREE concert at Lincoln Center on Thursday night, December 1st at 8:30! This is the first performance by the 7-piece Orchestrette in quite awhile, and features the original line-up. The Orchestrette perform modernistic versions of my dad’s best-known works, many of which are well-known from Warner Bros. cartoons. The RSO repertoire also includes lesser-known, non-cartoon works like “Coming Down to Earth” and “Sleepwalker,” and acoustic renditions of his later electronica, such as Soothing Sounds for Baby‘s “Little Miss Echo.”   They will be playing their adventurous arrangements at Lincoln Center’s David Rubenstein Atrium on December 1 as part of Target Free Thursdays.  I’m attending-hope to see you there!
—Stan Warnow








%d bloggers like this: