Melbourne Australia Screening June 2nd

22 05 2013

ACMIG’day, and delighted to announce that the film will be shown down under on Sunday, June 2nd at the Australian Centre for the Moving Image as part of their Jazz on Film series.  CMI is located in the heart of Melbourne’s famous meeting place, Federation Square, and was founded to celebrate , explore and promote the cultural and creative richness of the moving image in all its forms — film, television and digital culture.  Of course we here at scottdoc.com are thrilled to be included in this program, and it represents a new milestone in the film’s history as this is the most far flung event to date.

The screening will be held at 2pm at the ACMI theatres within the centre complex, here’s a link to theACMI page for the screening.  Tickets start at $11 for members, regular price is $15.

Wish I could be there, but it’s a long and expensive trip so unfortunately I can’t be.  But if you’re in the area hope you can make it.

Thanks to Centre Programmer Spiro Economopoulos for seeking the film out for this series…..

—Stan Warnow





2012 — Do Look Back

30 01 2013

It’s been another year full of lots of events for the film, so time to look back at 2012 and to thank once more those who made the last 12 months another very memorable year.  As I did last year I’m beginning with thanks to all who have purchased the DVD and viewed the film at festivals and other events — your support of independent film is inspiring and hugely appreciated.

Left to Right, Tom Rhea, Stan Warnow, Isil Bagdadi, Jeff Winner, Herb Deutsch at the Quad Cinema

Though I was as busy as ever with film related activities, there weren’t any showings in the first few months of the year, but then in July the film opened theatrically at the Quad Cinema in Manhattan.  Of course this was a major milestone for the film and for me, and particular and perpetual thanks to my fabulous publicist, Isil Bagdadi of Cavu Releasing, who made sure the word got out to all the right people about the film’s opening.  We got wonderful NYC and national reviews which have led to all kinds of possibilities I hope will come to pass in 2013.  Huge thanks as well to Elliot Kanbar of the Quad who is a true lover of all kinds of film and a great friend to and supporter of independent filmmakers.  And thanks to the Quad staff for their hard work and for making me feel so welcome during the film’s run.  And of course thanks to to Tom Rhea, Jeff Winner, and Herb Deutsch for supporting the film by attending the opening and participating in Q&As.

As part of the Quad opening I was also interviewed on radio and for various publications.  Particular thanks to Bruce Bennet of the Wall Street JournalDoug Doyle and Michael Bourne of WBGO, Leonard Lopate of WNYC and Michael Shelley of WFMU, and to all the other media folks who were kind enough to help promote the film and write nice things about me.

In September the film was at the Buffalo Film Festival, thanks to Ed Summer and Roberta Friedman for making it all happen.   October brought the film to the Earshot Jazz Film Festival in Seattle, thanks to Adam Sekuler, the programmer there for presenting the film.  And then in November the film was presented at the Cleveland Art Museum much gratitude to John Ewing who runs their film program for having the film there.

And as always 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 DJs), 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





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





Best Documentary, Atlantic City Cinefest!

18 10 2011

Greetings from Atlantic City — OK, not literally as I’m back home, but I was in fact there this past weekend of October 14-16 for the 4th annual Atlantic City Cinefest, presented by the Downbeach Film Festival.  Not your normal type of film festival location, but that made it all the more fun and definitely unique.  The fest is run a by a dedicated group of film lovers headed by William Sokolic and they work very hard to create a festival that feels at once real and fantastical, given the Las Vegas inspired nature of modern Atlantic City (and there’s still a beautiful beach, boardwalk, ocean, and salt water taffy).  But I’m delighted to report that the highlight of the weekend for me was that “Deconstructing Dad” won the Best Documentary award!  A real thrill and thanks to Bill Sokolic, Joelle SokolicNed Eckhardt, and 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….

—Stan Warnow





2010 — Do Look Back

2 01 2011

Despite Bob’s advice, I am going to look back because it’s been a truly exceptional year.  A year in which the film has been at many wonderful festivals, both in the U.S. and abroad, and as a result I’ve traveled to lots of great places and met a whole spectrum of new friends and colleagues.

So I’m going to take this opportunity to give a thank you shout out to those who made this year one of the most exciting and satisfying of my professional life.  In the UK Ros Rigby and crew at the Gateshead Jazz Festival, Nigel Humberstone and Jo Wingate at the terrifically enjoyable Sensoria Festival in Sheffield, and Jon Kraus in Manchester who produced a splendid Raymond Scott tribute this November.  And ongoing thanks to Stu Brown in Glasgow for all he’s done for Raymond Scott’s music and my film in the UK.

Back in the USA thanks to David Kaminski and Matthew Seig of the Rockland Filmmakers group for organizing a great local screening, and Larry Applebaum at the Library of Congress for a great DC screening; Doug Whipple and Thom Mulligan for the filmmaker focused New Hope Film Festival in Pennsylvania; Allison and Tiffany Anders for their selection of the film for the Don’t Knock The Rock Festival in L.A., and to Hadrian Belove and Bret Berg of Cinefamily who started the ball rolling — this was one of the all time best screenings.  And I’ve just learned some exciting news — Allison and Tiffany selected the film for inclusion in their contribution to the See It Loud Best Music Docs of the Year list.  Thanks to Scott Parejo of the Carmel Art and Film Festival, a lovely event in a a lovely part of the USA; and to Leslie Harlow at the Park City Music Film Festival, where the film won a Director’s Choice Gold Medal.  And thanks/merci to Adam O’Callaghan who produced and played with his group at the scintillating Montreal event at the Rialto Theatre just a few weeks ago; then it was on to Austin’s amazing Alamo Drafthouse — thanks to programmers George Bragdon and Zack Carlson of for hosting the film as part of their Music Monday Signature Series.

Back on the other side of the Atlantic, gracias to Daniela Rosenfeld at the Barcelona Jewish Film Festival in July,  and to Miguel Malla of Racalmuto who initiated my visit with the festival and then performed with his group in a stellar outdoor concert of Raymond Scott music, — and dank u to Dario van Vree and everyone on the KLIK Animation Festival in Amsterdam — special dank u to Lucy van Kleef who was a tireless guardian angel and facilitator during my stay in Amsterdam in September.

AND….thanks to all the people who came to the screenings, participated in the QAs, and those who have also supported truly independent filmmaking by buying the DVDs.  The audience responses I’ve gotten this year make all the hard work and thousands of hours I’ve devoted to this film worthwhile.

Finally, perpetual thanks to Gert-Jan Blom, Irwin Chusid, and Jeff Winner — the Raymond Scott brain trust — who are great colleagues, friends, and consultants.  Their work on the Raymond Scott legacy is an ongoing inspiration to me…

Happy New Year to all!

Stan Warnow





Attn Brits: Two UK Festivals!

16 02 2010

The film is now scheduled for two exciting UK events over the next few months! Event one takes place March 28 at the Sage Gateshead Jazz Festival in Newcastle Upon Tyne, and is presented in co-operation with the Northern Lights Film Festival which occurs at the same time. It includes excerpts from the film, a performance by Stu Brown’s Raymond Scott Project, based in Glasgow, and a panel discussion with Stu and me that will be chaired by Alyn Shipton,  author and Times jazz critic.  For more details about the Sage Gateshead dates click on this link

The second event is at the cutting edge Sensoria Festival of Music and Film in Sheffield. This is the official UK premiere of the film–the festival runs from April 23-29, and the film is now definitely  scheduled for showing on April 27,  though the specific listing is not yet up on their website.   I’ll be posting again when more details but here’s a link to the overall Sensoria Festival website–the schedule is not yet up on their site.  I’ll be attending this event as well….

I’ll be posting with more info as it becomes available…








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