trailer is finally ready

norton and the scarf

chaos ending + firing squad

slow motion facial expression

Here we explored one way of introducing the characters by isolating each one with specific facial expressions, within the context of a slow motion portrait pose. Kind of like 1800's family portrait style, the way people had to hold still for so long, their expressions sometimes became awkward and uncomfortable.

notes from the undergroud

Here are some notes I received about the second work-in-progress showing:
From Jorge De Hoyos:
"I enjoyed the subtlety of the Introductions...the slow-mo shift of attention to the one being highlighted. There was the danger though I felt of losing each character's Introductory moment because they were so close together and all still moving in slow motion. [...] I felt that each phrase/visual image was intended to add a layer or depth to each person, but I didn't experience a deeper or more specific connection with them. I guess I was looking for ACTION, for them to DO something individually. [...] I felt great potential for Andrew's relationship to the wind. I was wanting him to want something (not that he needed to know what it was, but some sense that he's curious and/or seduced or utterly taken by the wind).

"Christine, I thought was SOO beautiful how she was saying "no" when they were wrapping her up. I look to Andrew for how to read these deaths...if he doesn't care then I don't. The setup of that is sooo beautiful, and I could see the idea behind it, but I was distracted by being confused how to read it...not that I need to be spoon-fed, but that I need to see a relationship between Andrew and the person and the event.

"Why is sexuality not being addressed? Is he asexual? Are they all asexual? Because it wasn't addressed or recognized my mind fixated on what wasn't being said.

"I think that the piece has so much texture and potential and life! Your performers are great and seem trusting and wanting to go deeper and more nuanced to own their intentions and impulses. I was moved especially by any moments that were coming from the characters in a more understated way...You've set up such a rich world, and you have all the pieces there already. A suggestion would be to refine and define...duh, you probably have been thinking/hearing this already. You have it in the bag."

From Jesse Hewitt:
-the gender stuff is there from the get-go. why this man with these women. i felt LESS distracted by this than i thought i would, but its an issue and i think it should be dealt with plainly and head-on. Why THESE characters? Is the sexy discoteque bit kind of placing these folks in a modern day SF scenario?
-the diagonal still crosses with 3 or four people moving as a vignette became a recognizable structure. do you want this?
-M seems cast as murietta becasue she is the only non-white person.
-i like A's kind of state-of-the-union-address to movement. something really confused and endearingly earnest about his quality here. it really works for me.
-what the f*** is C saying! i love this! its so great that she is not only speaking in french, but mumbling softly. this bit is brilliant.
-i really enjoyed the moment where i released any notion of needing to know why they were meeting here and now. WHY NOT!?
-A is not as dominant as i thought. He has a quality of movement that is reflective of his character, whereas the others do movement and instantly morph into contemporary dancers. I really thing this could be easily fixed.
-C's death/exit is sad and really beautiful. it feels like such an awful and misunderstood way to go. it really moved me. she was upright and "normal" for the first time...and it was as a ghost, leaving a body.
-P looks like she's been spun into a cocoon or spider web with the scarf bit. its a strong image.
-strong through-line of obscurity. not necessarily insanity or eccentricity...just obscurity.
-the transitions are really clunky and it feels like a great choice.
-why does A have the relationship to the others that he does?
-M's death choreography (being dropped and caught by A again and again) is GORGEOUS!
-super wierd to have three radnom women get up and start into the piece. are they new characters? will they have names and stories?10-12 might not even be enough to establish that it is a mob/harem and not a slew of new characters...but costumes could clarify
-I dont know why C comes back. I forgot J's narrative. The end is like women helping a man walk because he's dumb and mannish? yet...i like it.
-i like C ending it. it keeps it surreal/dreamlike/subtle.
Once again...this is just the stuff that most moved me...one way or the other. bottom line: it felt like thoroughly investigated work that was surprising and off-kilter and splattered with terribly and plainly beautiful moments. i'm on board. thank you.

From Marina Fukushima: (performer)
i realized that i sometimes go in and out of the character in different sections. i feel this most in the: prep of the scarf, taking away the scarf, getting christine with fabric, after sex scene and techno dancing. i am not too clear with when and how much (intensity) i should keep the character. or how i should drop from the character. i like the image of having the group (the strangers) on stage in the end. they look like they are other crazy ghosts from history.

From Christine Bonansea: (performer)
I feel that it was a good showing! [...] You create a world, a surrealist world mixing these people.
I would say- of the piece>>for me it's all about the IMPROBABLE....the "surrealism" of the situation (like you said the Norton's dream)! So everything is possible...!8-) and I feel that this is the articulation of the piece!
When they talked about some "modern dance part", I think they actually wanted to keep the integrity of the characters during all the piece, a physicality for each of them (which it's more obvious for Norton, Isadora, and I???)! It might be a key actually for some smoother transitions...


Special thanks to Jorge, Jesse, Marina, Christine, and to all those who attended the showing and shared your feedback with me in person.

recording voice over

Today I recorded a voice over for the piece with Wade Wright at his record store near Haight Street in San Francisco. Wade has a fantastic voice, very full and story-book sounding.

Wade is not an actor but a friend of mine from Cafe Divine in North Beach. His voice struck me as having the right feel for the Norton story. I wanted him to read the voice over in his natural voice, but slower and with space between the words (so it could be easily heard in a theater). We recorded many takes of him describing Norton's history, short soundbites about the other characters, as well as some "effects" for Norton such as cackling, wimpering, and growling.

No room in the budget to rent professional recording equipment, so I used a microphone that attaches directly to the I-Pod, called a Belkin Tune-Talk. We recorded in the large quiet space of Jack's Record Cellar, located on the corner of Scott St and Page.

isadora death scene - for reference

Isadora's remarkable death was portrayed in the 1968 film, "Isadora." I must warn you that it's a little gruesome. You can watch this chilling scene below:

Special thank you to Augusta Moore who recommended that we check this out.

In-Progress Video Excerpts

This is a selection of excerpts from our work-in-progress showing on March 17th, about 1/3 through the process. Our first draft of the entire piece. These are some of my favorite moments.