Příliš hlučná samota: Production crew raises funds for film about Czech writer Bohumil Hrabal’s novel “Too Loud A Solitude”

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“My education has been so unwitting I can’t quite tell which of my thoughts come from me and which from my books, but that’s how I’ve stayed attuned to myself and the world around me for the past thirty-five years. Because when I read, I don’t really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or I sip it like a liqueur until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel.” – Bohumil Hrabal

An imaginative production crew seeks to fundraise resources to launch a full-length feature film about Czech writer Bohumil Hrabal’s novel, Too Loud a Solitude.  Directed by Genevieve Anderson and starring Paul Giamatti as the voice of Hanta, Too Loud A Solitude (Příliš hlučná samota) is a feature adaptation of Bohumil Hrabal’s beloved book made with live action puppets, animated sequences and visual effects.

This globally famous novel is about a book crusher, Hanta. Watching the trailer of Too Loud A Solitude is like entering a magic portal to another dimension where Bohumil Hrabal’s book takes place in a world of puppetry.  An intimate, sneak peek to Hanta’s daily life and his private love affair with the books and their stories. A mirror reflection of Hrabal’s writing voice and how each book he created almost seems to be a personal letter written to each individual reader as opposed to the masses. As the camera soars in over the skyline of the town and we see gears grinding, scraps of papers tossed about and a city that seems to be very cold and quiet. Characters bundled up in many layers, speaking to each other without speaking as they go about daily life. The music is hypnotic and dreamy with its romantic yet haunting tune of a melancholy violin. 

Too Loud a Solitude is the story of a waste compactor, Hanta, who was charged with destroying his country’s great literature in his humble press, and who fell so in love with the beautiful ideas contained within the books that he began secretly rescuing them – hiding them whole inside the bales, taking them home in his briefcase, and lining the walls of his basement with them. It became one of the defining books in Czechoslovakia’s history for its unsentimental, humorous, painfully relevant portrayal of humankind’s resilience. The story of Hanta’s quest to save the world of books and literature from destruction is often cited as the most beloved of Hrabal’s books. Too Loud a Solitude has a global fan base and an active community of support has emerged for our feature film project. The book has been translated into 37 languages and sold over 70,000 copies of Michael Henry Heim’s English translation alone. Bohumil Hrabal wrote the novella as an unsentimental account of what happened to him during the Russian occupation of Czechoslovakia during the 40’s and 50’s. Many of Hrabal’s books were banned by the Russian regime and other great books by many authors were physically destroyed, an act Hrabal characterizes in Too Loud a Solitude as ‘crimes against humanity’… Our team has been committed to bringing Czech writer Bohumil Hrabal’s beloved novella Too Loud a Solitude to the screen since 2004. With the assistance of The Rockefeller Media Arts Foundation (now the Tribeca Film Institute), Heather Henson and Handmade Puppet Dreams, and The Jim Henson Foundation, we completed a 17 minute sample of the film in 2007. The film has been playing nationally and internationally in the Handmade Puppet Dreams program, and in 2009 was awarded an UNIMA-USA citation of excellence. We are currently working on financing the feature project, first through a Kickstarter start-up funds campaign and then through partnership with other financing and production entities. Our intention is to enlist the support of the book’s global fan base and expand its already impressive audience. We’re down to two weeks left in our Kickstarter fundraising campaign and are continuing to do outreach work to drum up more support for our project. We seek to raise $35,000 to cover the costs of puppet design, armature creation, motion exploration, character development, costume design, and visual effects.”

For more information about the film, please visit www.tooloudasolitude.com.screen-shot-2016-10-19-at-8-16-58-pm “For thirty-five years now I’ve been in wastepaper, and it’s my love story…I am a jug filled with water both magic and plain; I have only to lean over and a stream of beautiful thoughts flows out of me.”screen-shot-2016-10-19-at-8-16-25-pm

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“I felt beautiful and holy for having the courage to hold on to my sanity after all I’d seen and had been through, body and soul, in too loud a solitude.”

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‘Unsolved Murders: True Crime Stories’: a podcast series launched by Parcast

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Photography provided by Parcast Network.

June 27, 2016— “Unsolved Murders: True Crime Stories” released a thrilling, new podcast episode this week titled “Lights, Camera, Murder”. “Unsolved Murders” is a recently launched podcast series Produced by Parcast and co-Founded by Max Cutler and Ron Cutler (son and father). Parcast created this multi-dimensional podcast network as a flagship series with an acute focus on cold case files. The first three episodes of “Unsolved Murders” pertain to “The Axeman”, a serial killer in New Orleans. And the second series of podcasts within most recent episodes revolve around “Hollywood’s First Murder”. Please bear in mind these episodes are not intended for children—the podcast contains a great deal of graphic and bloody details—therefore viewer discretion is strongly advised. Nonetheless, “Unsolved Murders” is an enticing and haunting mixture of a classic radio show, a theatrical script and a murder-mystery-book-on-tape that morphed into the form of a modern day podcast. Narrated by Carter Roy and Wenndy Mackenzie, “Unsolved Murders” combines the beauty of audio and sound design with the articulate eloquence of literature and storytelling. The professional sound effects, dialogue and delivery within each episode of the show are compelling—and the audio is very clear and precise to the ears. Listeners can almost hear the amount of time, heart and energy that Parcast’s talented crew of employees dedicated into this podcast just by the quality of presentation and sound.

Reminiscent of a riveting and spooky time machine, “Unsolved Murders: True Crime Stories” take us back, safely, to mysterious cold cases like The Axeman from the 20th century in New Orleans when his murderous and diabolical rampage in Louisiana began. Actors and a sound crew portray all the voices of the witnesses, the victims, the locals and the police. The footsteps in the dark and the screams in the night. The audience can feel the fright, and yet the lovely melodies from the jazz era that trickle in throughout the podcast add a sense of playfulness and lightness in the midst of a dark, heavy story. Listeners come to know the presence of The Axeman by the bone chilling audio of his weapon hacking into flesh and bone after carving his way in the back door with a blade. Even though the murderer is a mystery, the audience comes to learn about his obsession for jazz music and the fact he was a deranged man who believed he was inhuman. And by the end of “The Axeman” episodes, the narrators swap theories as to who they believed to be the violent serial killer.

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Max Cutler, Co-founder and President of Parcast, consented to a phone interview in June 2016 with Arts & Entertainment Writer for Examiner, Nicolette Mallow to discuss “Unsolved Murders: True Crime Stories”, the launch of Parcast and The Axeman of New Orleans.

Nicolette Mallow: Will you tell me about your love for radio and storytelling? How did this all begin from childhood to adulthood?

Max Cutler: I’ve always loved radio and I was born into it. But I remember when I was 4 to 5 years old that it really became part of me. My dad (Ron Cutler) worked in radio and operated 12 national radio shows when I was growing up called Cutler Productions. His company was also the #1 in comedy. However, my love for storytelling happened as I got older and then I grew an interest in true crime and mysteries. Looking back, my dad had a profound impact on my career. He was also a storyteller that wrote a novel titled “The Secret Scroll” … As an adult I wanted to start my own company and I wanted to pursue the entertainment business. Obviously I love radio for many reasons but what I hope to gain from “Unsolved Murders” is not only to share crime stories and top quality audio productions, but I want to bring people together and help take away the daily stress of life. People are very stressed out sometimes and to help lessen the stress of others in the form of radio and storytelling for 20 minutes, or an hour, is a very good thing. Its important to relax and unwind.

NM: Will Parcast and its podcasts networks focus solely on “Unsolved Murders” or do you and your team intend to cover and produce other topics of interest?

MC: “Unsolved Murders” is the first show but there will be five to seven new shows within the next year that cover other topics than cold cases, such as education or history. We started with this genre because I love mystery and true crime stories 100%. And there is also a large community that appreciates cold cases. So from a business standpoint it’s also a hot topic that has a market. “Unsolved Murders” is about my passions and entertaining the interests of others… Parcast came to be so that we could take audio and radio to the next level. There are many great, high quality podcasts out there that are up to par. But a large majority of the podcasts these days are lacking in sound quality and production with a lot of holes to be filled. Parcast has the most talented crew working with us and I am so grateful for my team that my father and I assembled. The whole company is very gifted and talented. We spent a lot of time searching and recruiting voice actors, writers, and we have a great digital engineer (Ron Shapiro) that brings the sound of the axe to life. It took about 3 to 4 months to get it right, but we are just very overwhelmed and excited about this start. “Unsolved Murders” already ranked #5 out of 300,000 podcasts. It’s just a really humbling experience and we all look forward to the future.

NM: “Unsolved Murders” begins with the story of “The Axeman” and all the podcast episodes about this cold case are so captivating. I didn’t want to stop listening to the audio. Although I admit I probably will not listen to the podcast right before bedtime. Anyway, the sound quality is amazing and I love the voice actors and the narrators. Y’all did a great job and I look forward to more episodes… How did you come to hear of The Axeman?

MC: Thank you. I am glad you enjoy it and I appreciate the compliments… The Axeman is ranked among the Top 10 serial killers to never be caught. Our podcast focuses on serial killers and cold case crimes that aren’t as well known as criminals like Jack The Ripper or The Zodiac Killer. We didn’t want to focus on the commercial cases the media already had a field day with. A lot of research lead me to the launch of this series about The Axeman. Another reason I chose this story is because it gets me upset when someone gets away with a crime and justice is not served, so this podcast is also a way to never forget the case. It’s just a very interesting and scary story about a clearly deranged criminal.

NM: Yes, he is very deranged. That episode entailing the letter written by The Axeman to himself and when its read aloud in that sinister voice on the podcast. The letter he wrote to the police. It was very creepy and disturbing how he claims that he is a demon, inhuman. And The Axeman even writes the return address as being from ‘hell’ just like the infamous Jack The Ripper… Did people really believe this guy was a demon? And was it ever made clear why he demanded people go to jazz halls and listen to jazz music in order to be spared from his axe?

MC: Actually, yes, many people did believe he was a demon. And many people even thought The Axeman was somehow Jack The Ripper manifesting in another continent at another time. You can’t make this up! We have to remember this is the early 20th century in New Orleans, a very superstitious place. When the newspaper in New Orleans published his letter in 1919, locals and immigrants were terrified and became very scared of this ‘inhuman’ criminal. Which is why most of the city went out that one Tuesday night to listen to jazz music at “12:15 earthly time” just as The Axeman demanded. However, there is a common theory that perhaps the The Axeman was actually a musician and needed to get paid. Regardless, The Axeman had a sense of control over this town and the fact he was never convicted only added to the stigma that he was supernatural. It was a huge topic all around Louisiana and a #1 hit jazz song about The Axeman was written about him.

For more information about “The Axeman” series, Parcast network and the podcast “Unsolved Murders: True Crime Stories” please visit their website, iTunes or SoundCloud. (The podcast is also available on Google play for those with Androids.) Stay tuned and subscribe to receive the latest information of new episodes and upcoming shows.

 Note: This article was originally published on Examiner.com in June 2016.   

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Letter from the Axeman written to The New Orleans Police Department. March 13, 1919.

The Crusader Bible: A Gothic Masterpiece illuminates The Blanton Museum of Art

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“Crusader Bible: A Gothic Masterpiece” – The Blanton Museum of Art at The University of Texas at Austin.

Showcased by The Blanton Museum of Art at The University of Texas at Austin, The Crusader Bible: A Gothic Masterpiece is a traveling art gallery highlighting an illuminated Medieval manuscript from the 13th century. Traveling to seven different countries in the world over a timeline of seven centuries, this French Gothic manuscript from the Middle Ages is created by seven anonymous artists. Depicting selected stories from the Old Testament, retold in the era and culture of Medieval period, originally this one-of-a-kind manuscript was designed to be a picture-book without any script. These colorful illustrations were intended to portray biblical stories without any annotations, explaining why each drawing is so very graphic, specific and characteristic. However, as the Crusader Bible journeyed seven times from France to Italy, Poland, Persia, Egypt, England and the United States: alterations were made and inscriptions were added in various languages, including Latin, Persian and Juedo-Persian.

Upon entrance into The Crusader Bible: A Gothic Masterpiece, the rooms of the gallery are glittering with 40 illuminated pages of gold leafs (pure gold that has been hammered down into thin sheets). The gold is still so remarkably shiny that it’s almost hard to believe this manuscript is nearly 1000 years old. Even under dimmed lighting within a museum, the gold leafs on the pages are so prominent and bold that the display cases within the gallery shine similarly to a jewelry display case. Fortunately the Crusader Bible has withstood the tests of time and it comes to no surprise that these handmade manuscripts are very challenging to make, often taking many years to complete. There is a very specific and thorough process to creating illuminated manuscripts, beginning with the preparation of the parchment paper. Parchment paper derives from animal skin and once it’s finished after weeks of preparation. Then scribes would begin inscriptions. Once the scribe had finished their task, the illuminator left its mark on the parchment paper before sending the manuscript over to bindery. An illumniator is the artist whom illuminated the manuscript with silver or gold leafing. They were responsible for lighting up the pages with precious metals.

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Silver, gold and colorful illuminations aren’t the only part of the Crusader Bible that catch the eye. The carbon black inscriptions also carry a dominant presence. Admiring all the various scripts in different languages is quite compelling because it notes the seven foreign locations and cultures the Crusader Bible ventured to. The number seven is believed to be a divine number of truth and mysticism within numerology studies and spiritual texts. Therefore it’s an interesting coincidence that the number seven plays such a predominant and powerful role in the history of the Crusader Bible. Furthermore, the black calligraphy is immaculate in every language and it took scribes endless hours to complete the script; using a quill pen to write the script and a knife to cut away ink errors when necessary. The carbon black ink used by the scribes is referred to as lampblack. And even though most of us cannot read Latin, Persian or Juedo-Persian. With the use of modern technology and an application called Layar, guests can scan the Medieval manuscript and the application translates it for you right that instant.

Additionally, this special exhibit also features European arms and armor, an illustrated book from Persia, and a large display case featuring many of the tools, rocks, metals and pigments used to inscribe, illustrate and illuminate the parchment paper. There is also a video to regard the process from preparing the parchment paper to the final result in bindery. The Crusader Bible: A Gothic Masterpiece will be on display until April 3, 2016. For more information regarding The Blanton Museum of Art and its hours of operation, admission, upcoming exhibitions or membership, please call 512-471-7324 or visit www.blantonmuseum.org.

“The Blanton Museum of Art at The University of Texas at Austin presents The Crusader Bible: A Gothic Masterpiece, an exhibition of over forty unbound pages from the one of the most celebrated French illuminated manuscripts of the Middle Ages. The illuminations include some of the most compelling visualizations of the Old Testament, bringing Bible stories to life through vivid images that reflect medieval culture and the world of the Crusades. Designed to resonate with thirteenth-century French viewers, biblical characters are depicted as battling knights, equipped with contemporary arms and armor, and situated within medieval French towns. Loans from the Metropolitan Museum, including a shirt of mail, sword, prick spur, and war hat, will augment visitors’ understanding of the weaponry featured in the Crusader Bible. On loan from the Morgan Library & Museum in New York, the Crusader Bible features Old Testament scenes in medieval settings, with brilliantly colored illustrations attributed to seven anonymous artists. To provide historical context for the Bible, the presentation features medieval arms and armor from New York’s Metropolitan Museum of Art. Also included are sixteenth-century Persian illustrations from the Metropolitan and the Ardashīr-nāma, a seventeenth-century Judeo-Persian manuscript of Old Testament stories from The Jewish Theological Seminary of America in New York. The history of the Crusader Bible is fascinating, covering seven centuries and multiple continents. Likely created in Paris during the 1240s for King Louis IX of France— famous for building the Sainte-Chapelle and for leading two crusades— the Bible then passed to the king’s younger brother, Charles of Anjou, who took it to Italy. More than four centuries later, the Archbishop of Cracow acquired and offered it as a diplomatic gift to the great Shah of Persia, ‘Abbas I. By the eighteenth century, the manuscript belonged to an anonymous Persian Jew. After its journey from France to Italy, Poland, and Persia, the Bible traveled to Egypt, England, and finally to the Morgan Library & Museum in the United States. The Crusader Bible, which originally had no text, bears inscriptions in Latin, Persian, and Judeo-Persian. They function as evidence of its changing ownership throughout the centuries and reflect how each owner used his language to lay claim to the book, appropriating its imagery for assimilation into their respective cultures.”

Note: This article was originally published on Examiner.com in December 2015.