The Real Thing- Aaron Levy

I had breakfast the other day with a former student of mine named Aaron Levy.

Remember that name.

Aaron was in town from New York visiting his parents and he rang up his old teacher.

After getting his B.A. Aaron hung around Chicago. He logged film for a reality sports TV show, I hired him as a p.a. a few times- he was lousy as a p.a. it was just not his cup of tea (not mine either)- and he did a variety of add jobs like work in a lawyers' office. In all his spare time he would write. Of all my students in these near 13 years of teaching college Aaron is the one who sticks out as a writer. As a college student he was a mediocre filmmaker, but an excellent writer. More importantly he loves the act of writing perhaps more than anyone I know.

A few years after he graduated I prodded him into applying to graduate schools and he was accepted at NYU. Two years later he received a M.F.A. in playwriting. In the years since NYU he has been a struggling artist. He has had some opportunities and readings, took some more classes, got hired at an off-Broadway theater as a manager. In June had a one act play produced in Washington D.C. He's on the rise.

When Aaron walked into the restaurant early the other day he was a new man. Gone was the round, soft, relaxed former student. In walked a lean, 32 year old playwright- an artist, a person on a mission. I was taken not only by his physical transformation- he also quit smoking and began exercising- but his emotional transformation. Sitting before me was a creative person to be reckoned with. As we ate, Aaron told me about his new play. It's about race and youth and when he pitched it I got goose bumps. He asked if I want to read it. I said, "No, I'll wait to see it."

So you don't think I romanticize all of my former students, I left the restaurant and went to my second meeting of the morning (I get a lot done before 9am). This was with two former students- who I have previously hired- who have really good editing jobs, making nice money and doing really fine work. I like them a lot, respect them even more, but they are not artists of the same caliber.

If there is a consistent theme to this blog it is work hard, then work harder. It takes ten years to be an overnight success, just keep at it if it is something you want to do. So with apologies to Tom Stoppard keep your eye out for playwright Aaron Levy- the real thing.

PeterH

Florida State University

Last weekend I went to Florida State University where I spoke with a group of film students working on their thesis films.  The dumb filmmaker likes nothing better than a road trip, and getting a chance to talk film with passionate film students was the icing on the cake- or perhaps the cake itself.  I think the cultural exchange-  visiting and lecturing at another institution- was very valuable.  

FSU has a good program.  There are only 60 undergraduates.  The program is set up like this- the first two years are general education classes and the final two years is hardcore filmmaking.  I really like the practical, hands on approach- something we do at Flashpoint.  I also liked seeing how the students really had to collaborate.  Each student must serve as a writer/director, producer, DP, a.d., sound, production designer or editor on a film.  There are some other hard rules as well- films cannot be more than seven and a half minutes- they will not be accepted otherwise.  For the thesis (B.F.A.)  films the school pays for 2000 feet of film and processing and gives each film a $250 stipend for food and production design.

Having taught only at urban campuses, I was envious that students had 24 hour access.  I was in the film department at 11pm Saturday night and there were probably 20 students editing, building sets, meeting etc....  It was great to see and reminded me of my own misspent youth hanging out making film at all hours.

My lecture was about personal vision.  I bored them with my journey, then we talked about Tom McCarthy- writer/director of The Visitor and The Station Agent and his personal vision. Regarding both films we talked about what makes family and community and themes of connection.  It was a nice evening- the students were engaged and engaging and some even took notes.  Several asked me if they could send me their work so I could comment.  I look forward to seeing it.

I want to send a special thanks to Joey Daoud who found me, thanks in part to this blog, and brought me down to speak.  Check out his Coffee and Celluloid blog- a good taste of what it is like to be a hard working film student.   http:coffeeandcelluloid.com

Finally, despite the nice trip, it is nice to be home.  My own Flashpoint film students began their second productions this past Monday and I look forward to seeing what they produce.

PeterH

Plate Spinning

I am often asked about how I can juggle being a full-time teacher and a full-time filmmaker. Honestly, I don't give it much thought, it is just something I do and have done for a long time. Ten years ago I did all that and went to graduate school at the same time and not only survived, but was the better for it.

Multi-tasking is something I am hardwired to do. Much to my mom's displeasure (though I really think she likes getting my dad out of the house) my dad can't sit still. He is busier in "retirement" than when he worked.

To me the real key is collaboration. If you work with a bunch of trusted, good people then executing the work and time management is easy. And come on it is the film business after all. It's not as if I am juggling being a member of the bomb squad and a transplant surgeon.

Of course the main reason for doing this is that being an active filmmaker makes me a better teacher, and teaching makes me a better filmmaker. Besides, what else would I do?

PeterH

Circle of Life

"Old Man look at my life, I am a lot like you were."

I heard that Neil Young song recently and those lyrics really hit home.

40 some years ago my dad and mom packed up their relatively comfortable New England lives and left their families behind to move to Kentucky (From Boston to KY even today that sounds crazy!) so my dad could help start a progressive private school called The Lexington School. A dozen years later my dad moved across town to rival Sayre School and helped shape that school. Today those are the two best schools in the state of Kentucky.

So here I am, nearly 12 years into teaching at one of the largest and best films schools in the United States and I up and leave its relative safety to move uptown and to join a progressive upstart. In a day I went from the biggest film school in the world to the smallest. One of my parent's friends even asked if I should wait to take the job until Flashpoint became established.

What am I, nuts?

If I heard Neil Young's "Cowgirl in the Sand" would it be different? Probably not. I think it is in my blood to challenge students and challenge myself and to look at new ways to present material. In short, old man take a look at my life I am a lot like you.

PeterH

Starting Up

Prior to Flashpoint the only previous experience I have with a start up venture was 20 years ago when I worked for the Museum of Broadcast Communications. Even then I was just a first generation hire, starting right around the day the museum opened the doors so I missed out on all the pre-launch chaos, business and excitement.

Comparing a museum devoted to archiving broadcast history to starting a new media arts college is an apt metaphor for my own experience, I think. I often say at Columbia I was teaching film history- the past and techniques of how things used to be done. Here at Flashpoint I am on the cutting edge. Not only am I on the cutting edge, I think I am actually one of the whetstones doing the sharpening.

It's heady stuff and something I don't take lightly.

Later this week we are going to shift our work space from a satellite office to the main campus in downtown Chicago. When we leave this office- and the Post It notes on the wall and the bad lighting and the spotty internet, and the iffy food place downstairs- I am going to be a little sad. Much like the astronauts of Apollo 13 who saw the LEM as their life raft, I see our temporary office as the mother ship where all the ideas we will execute over the next couple of years took seed. Soon we will jettison the space and gravity will bring us back to earth and the real world.

As comparisons go I think the opening of Flashpoint Academy, the first new college in Chicago in 4o years, is more like the release of a hot new product. Think of Flashpoint as an iphone or the release of the hot new video game or the Super Bowl or a new CD by your favorite musician. We are like that.

Ready or not here we come.

PeterH

Drinking the Kool-Aid

On Wednesday this past week Howard Tullman, President and CEO of Flashpoint Academy, cuffed me on the back of the head. Yesterday, as we were waiting for people to arrive at a Flashpoint open house, founder and chairman Ric Landry slapped me on the forehead. Now if Paula Froehle, academic dean, slaps me across the face (inevitable) I will have hit the Flashpoint Academy beating trifecta. In all seriousness I take these whuppins' as signs of endearment (if not I have a pretty good law suit on my hands, I think).

We are a week away from opening the doors to the first class and all is terrific. The building at 28 N. Clark Street is state of the art and for the first time in my teaching career I feel I have all the tools and resources necessary to be the best teacher I can be. In all modesty and honesty I believe Flashpoint is going to be a big success and I take great pride in helping to get it off the ground.

More on Flashpoint developments as the week progresses but for now I need to work on my bobbing and weaving and keeping my left up.

PeterH

Navel Gazing

It was an interesting week for the dumb filmmaker. As you saw in the previous posts I was simultaneously shooting a film and teaching eight incoming students. If it was 3:30, I must be teaching, 4pm, filmmaking and back and forth throughout the week. It was all a blur but it went well.

I didn't even think about becoming a filmmaker until I was in college. There was no path, I didn't know anyone in the business. Filmmaking- whatever that was- was something that happened in a place called Hollywood and I didn't give it much thought. Today it seems everyone knows a little something about how movies are made. DVD extras, websites and those infotainment TV shows all illuminate some part of the process, and as I result I think the barriers to entry in the business are much lower and more accessible. This is a good thing, I think.

Yet, despite how much my students thought they knew about the business, they were taken aback by what really happens on a film set. I think it was Werner Erhard (I am not a disciple, in my first draft I originally called him William- but a good quote is a good quote) who talked about three types of knowledge. 1) There is what you know you know. You use that in your life. 2) Then there is what you know you don't know- that is why you learn and discover. 3) Then there is big other area about what you don't know you don't know.

One of my jobs as a teacher is to expose students to the idea that there is a lot more out there than what they know they know and what they know they don't know. I like to peel back the curtain to expose something they didn't know existed, and then let them learn and discover on their own. When it works, like this past week, it works well.

PeterH

Production in Action

I am going to let the pictures tell the story today. The words below are from an incoming student. It is pretty straight forward. A film is being made. Students are watching. The dumb filmmaker is teaching, the dumb filmmaker and his partner, Jim are shooting the making of documentary.

PeterH

Today I observed the production of The Collector. I witnessed firsthand the massive amount of coordination that it takes to create just a five minute short film. To my surprise, at least 25 people had their hands on this project. Perhaps even more astonishing, was the fact that this one week of shooting was preceded by three weeks of pre-production work and will be followed by another three weeks of post-production editing, computer graphics, sound editing, etc. Two months of dedicated labor for a five minute picture! It was just my first day of observing on set and I feel like I have already captured a great understanding of what takes place behind the scenes. Everyone specializes in a single aspect of the production and eventually all of their individual efforts will seamlessly tie together into a single work of art. I really look forward to seeing the final product!

Gabe Anello

Teaching Again

Today, for the first time since May, I get to teach. Eight incoming Flashpoint students have agreed to be my guinea pigs for the next four afternoons and they will be coming to the set and I will be breaking down, then building up this film I described in yesterday's post.

I often joke that I make it up as I go along as a teacher, that I have no plan and I just go with the flow. It might even appear that way, but my approach is to try to be so prepared that I can deviate- ad lib if you will- from the plan to explore other options. I think of it as a trial lawyer asking questions in court. The lawyer asks the witness question, knowing the answer. You never ask something - to a witness or a student- if you don't know how they will respond. The only way to do that is to be prepared.

The plan for the students is this. Today will be orientation. I will have them read the script and see the storyboards. Introduce them to the crew and give them an overview of the crew positions. Then we will go deeper. I will show them the script with the director's marginalia, call sheets and more and more detail. We will watch a few scenes being shot and then have time with the crew to do some direct q & a. At some point (since we have to be dead silent when they are rolling) I will have them shadow specific crew members and report back to me as to what they think they do. By the end of the week, in theory, they will have a better understanding of all the small details that go into making a film.

Just a side note to finish. When I walked on the set yesterday, I was surprised to see about 1/3 of the crew are former students of mine. That made me feel good, even better when they were quick to tease me about "teaching" (air quotes here) these incoming students. Karl, the sound man, was my teaching assistant for two semesters and was quick to joke that he (as he did as my t.a.) could teach them more than me. I take it as a good sign that so many of these students are working professionals and were happy to see me after as much as five or six years.

PeterH