Tag: interviews

Darren Fung is one of Canada’s most accomplished music composers

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Darren Fung. Photography provided by CW3PR Inc.

Based in Los Angeles, Darren Fung is a talented, award-winning music composer. Born in Canada with strong Chinese roots, Mr. Fung’s music is a medley of the East and the West. His love of music began at the age of three and led him to become an accomplished composer. After a lifetime of living in Canada, Darren Fung moved to the United States to create music for film and TV in a new location.

Fung has a colorful, diverse, and nostalgic music style with a powerful yet gentle effect on the viewer’s senses. “With over 100 composition credits to his name, Darren Fung is seminally gifted and a highly influential composer who is well-respected in the TV and Film scoring worlds. Fung is one of Canada’s most accomplished composers, thrice nominated for a Canadian Screen Award. Most recently, he scored The Great Human Odyssey, a mini-series that explores the roots of humankind. The project opened to widespread critical acclaim in Canada, winning the 2016 Canadian Screen Award for Best Music and receiving a nomination from the International Film Music Critics Association. (The Great Human Odyssey premieres in the U.S. this fall on PBS.) Darren utilizes an epic, large-scale orchestra and choir to bring this special’s score to life, replete with memorable melodies and unique musical colors. His diverse credits also include a recreation of Canada’s second national anthem (the beloved Hockey Theme) for CTV and TSN and the theme music for CTV’s flagship morning news show Canada AM. Additionally, Darren scored Bell Canada’s Orchestra advertisement spot (for the 2010 Vancouver Olympics), which was voted as Canada’s top commercial by readers of The Globe and Mail. Darren’s feature and short film scores have been heard at prestigious film festivals around the world, including Toronto, Cannes, and Sundance. After Fung studied at McGill University and worked full-time as a composer in Montreal, he moved to Los Angeles and is represented by Maria Machado of Gorfaine/Schwartz Agency and CW3PR.”

In 2016, Mr. Fung spoke with local Texas writer, Nicolette Mallow, to discuss the bird’s-eye view of his life lived in music and how he came to be in California with his wife and daughter after many years in Canada.

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Darren Fung and orchestra. Photography provided by CW3PR Inc.

Nicolette Mallow: Will you please tell me a little about when your love for music began and when you learned to play an instrument?

Darren Fung: I started playing piano when I was 3. Music has always been part of my life. After piano, I dabbled a little in violin and then the saxophone. I loved trying new instruments and playing the music in my head.

NM: Yes, I read in other interviews that you tend to create music with a large-scale orchestra. That makes sense, given you learned to play so many instruments… What number of instruments (musicians) entails a large scale orchestra?

DF: A large scale orchestra can be 40, 50, 60 people. Even 90-100. For me, that means anything over 40. Over 40 is a pretty big orchestra…Now, do I prefer to work with a recording group? I also like the challenge of not having a large scale orchestra and doing other things that are not orchestral.

NM: Your online biography states that you “caught the composing bug at age 15” when you wrote a piece for Edmonton Symphony Orchestra’s Young Composer Project … Did you always know that music was your life calling?

DF: Yes, and no. I always loved music, but at the age of 15, I knew I wanted to be a composer. But it was hard for my family at first to accept that I am good at this, good enough to make a career of it. My mother is a Chinese tiger mom, and she wanted the best for me growing up. She had a preset idea of what my future looked like. She wanted me to pursue something more secure than music. Music or a creative career was too risky. So, when I first began music school instead of pursuing a life as a lawyer… it was hard for her. Culturally there were some conflicts and it would’ve been easier and more accepted had I chosen to be a doctor, lawyer, or engineer. My mother is very supportive now and she is very happy for me that I chose music.

NM: I understand the family and cultural aspects of what you just said. My Latina mother was most displeased, if not furious when I said I was going to Savannah College of Art & Design 12 years ago instead of Barnard or Stanford to be a psychologist or doctor. But she, too, is now very happy for me that I chased my artistic dreams.

DF: Yes it can be hard at first to choose your own path.

NM: In regards to music composition, what are some of the most distinct differences between Canada and the US?

DF: The most significant diff between the two is that Canada is more comparable to the Indie film scenes—the budgets are not that big. The AFM calls them low-budget films because we are lucky to get around a $3 million budget. We are supposed to do more with less. However, since we are so close to the states, we have a lot of similar musical influences.

NM: Reading about your career, I saw the phrase “musical colors” mentioned in writing. Can you tell me a little about what musical colors means to you?

DF: Instruments or sounds are our palette. Composers (and musicians) can kind of make whatever we want out of it. Musical colors are why I think I love orchestra so much because there is so much available—so many colors and moods to portray. Not to say other genres of music don’t have that. But I am a classically trained musician, and to be able to take that stuff and play away. It’s endless and I never know what will happen and I love it.

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Darren Fung and orchestra. Photography provided by CW3PR Inc.

NM: Were you nervous or excited to recreate the 2nd national anthem for Canada?

DF: Both. When I recreated the 2nd national anthem for hockey night in Canada, we wanted to pay homage to the original, but with a whole bunch of orchestrations and differentiators. For the longest time, it was a really iconic song in Canada. Everyone knows the song and it’s equivalent to Major League Baseball’s classic tune “Take Me Out to the Ballgame”…At the time I was working with CPC and they wanted to make it their own. I was 26 at the time and I didn’t want the country hating me as the guy who guy who f*cked up the hockey thing… However, I was thrilled to be part of the project. And at 26 I got to work with the Toronto Symphony Orchestra and specific members who the company hired to play. So to be given that budget and content for a major broadcast was amazing.

NM: The Great Human Odyssey sounds amazing. What was it like writing for this TV show?

DF: It was 85 minutes of music in 7.5 weeks. There was material to score but we didn’t start writing till 7.5 weeks before we recorded… Niobe Thompson (Producer and Director of The Great Human Odyssey) sort of talked about bringing me on board as he was shooting. Almost two years before he started editing, I saw some raw footage. And I have to admit that when I first met up with Naobi, there was not a lot of money and I was not really sure the resources were available to create what he wanted with an orchestra and choir. But then he showed me the first warrior of this man jumping across ice flows. Drone shots across ice flows, and the backdrop was spectacular. The costumes, everything was visually stunning. And I realized we needed to get the music to match the greatness of the film… Fast forward in time and he then needed trailers. Then suddenly later on I am going to Prague so I can record a couple of cues to cut… Fast forward to the final count down where we are talking frame by frame, intentions, character and motivations; figuring out the music for each character and each scene.  

NM: Do you have any hobbies that you enjoy to keep you balanced outside work?

DF: Hockey and rowing are my two hobbies. Often I get up at stupid-o-clock in the morning around 5 A.M. to go rowing before work. What I love about hockey and rowing is that it’s two completely unrelated things to music. I meet people who aren’t in the business and it’s not a sedentary job. I get to move around and I get to blow off a lot of steam. I keep biz cards on me, just in case, but I like that it’s totally separate from work. Honestly I worry about the day where I might have to give one or both of them up… I find so much sanity and comic relief in hockey and rowing. Im horrible at both… but trying to get physical activity is necessary. And it’s fun to go have a beer with the guys sometimes. 

NM: Are there any genres in film or television that you would like to write for that you’ve yet to work on? 

DF: I’ve been lucky so far and enjoyed all my projects. But I would like to write for sci fi or opera. I haven’t yet had the chance to do either. Also, Animation is something else I am interested in. I like changing things up and I just finished up on an installation work for a gondola ride in Banff. So long as it’s a great project with great music: count me in! I am always looking for new projects and I came to LA to establish myself here.

For more information about Darren Fung please read his online bio. And to hear many songs or tracks from Fung’s music portfolio, please check out his SoundCloud page.

Dolly Parton’s Imagination Library brings the magic of reading to preschool children worldwide

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The High Road on Dawson has launched the first branch in Austin to support Dolly Parton’s Imagination Library. Bringing the magic of reading to local preschool children, Dolly Parton’s Imagination Library has distributed over 117,920,187 million books to four countries around the world: United States, United Kingdom, Australia and Canada. Dolly’s beloved organization is present within other Texas cities—but there wasn’t a branch in Austin until now. Thankfully, The High Road on Dawson and its committee raised enough funds to bring the Imagination Library to another city in The Lone Star State. 

The Imagination Library is a non-profit organization based in Sevier County, Tennessee. The High Road on Dawson (THROD) is a member based non-profit charity in ATX. For two years The High Road on Dawson committee strived to open an account. Finally their dream became a reality for the local community and the Imagination Library will make its debut in the 78721 zip code. 

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The history, mission and vision of Dolly’s Imagination Library is quite interesting. “In 1995, Dolly Parton launched an exciting new effort, Dolly Parton’s Imagination Library, to benefit the children of her home county in East Tennessee, USA. Her father, Robert Lee Parton, was the inspiration of Dolly’s Imagination Library. Dolly’s vision was to foster a love of reading among her county’s preschool children and their families by providing them with the gift of a specially selected book each month. By mailing high quality, age-appropriate books directly to their homes, she wanted children to be excited about books and to feel the magic that books can create. Moreover, she could insure that every child would have books, regardless of their family’s income. Dolly’s Imagination Library became so popular that in the year 2000 she announced that she would make the program available for replication to any community that was willing to partner with her to support it locally. Already statistics and independent reports have shown Dolly Parton’s Imagination Library drastically improves early childhood literacy for children enrolled in the program. Further studies have shown improved scores during early literacy testing.”

The Board of Directors at The High Road on Dawson are immensely proud of their two team leaders that brought the Imagination Library into fruition within Austin: Monica Keller and Jen Philhower. Recently, Keller and Philhower spoke with local writer and fellow THROD member, Nicolette Mallow, to further discuss Dolly Parton’s Imagination Library, the new branch in Austin and their passion for childhood education. A recording of the entire interview can be found online. 

Nicolette Mallow: Will you tell me how The High Road on Dawson came to be involved with Dolly Parton’s Imagination Library?

The High Road on Dawson: So, we are both members of the lodge at The High Road on Dawson. We were Elks members prior to that and we both participated in a committee that was put together just to create charitable events. One of the purposes behind the lodge, besides community, is to do charitable things. In the committee, we kind of discovered that there were a bunch of us that are fans of Dolly (Parton) and we just think she’s a spectacular human, a great entertainer and just this awesome, cool person. An entity that deserved recognition. We really like her… Then one of our committee members, I think it was Heather, she asked if we had seen or heard about the Imagination Library. So then we got to talking about Dolly a lot more. And since we knew her birthday (January 19), the lodge at THROD decided to throw a birthday party in honor of Dolly Parton every year. Forever. There are a lot of events where we pay homage in Austin to different musicians. We have a Buck Owens birthday party, a Loretta Lynn pie social and the HAAM fundraiser. Suddenly we had the realization that there was no Dolly event and that she deserved her own special party. That was like a light bulb and we began hosting a Dolly’s Birthday Party and soon after it was suggested we should open our own branch of the Imagination Library. And we decided that the birthday party would be the fundraiser. We didn’t realize at the time the party would be a sellout and so successful! It was entirely conceivable that it would’ve just been us sitting upstairs with friends and musicians singing songs. 

NM: What is the goal for the next year between THROD and the Imagination Library?

THROD: They have a set series of goals for membership. Their 5 year plan is that within the first year, your branch gets 20% of eligible kids to sign up. And by year five the goal is to have 100% of the eligible kids signed up. Their goals are 20% every year and they give you the costs that would be associated with sending out all the books each year. Our personal goal is to have that done in four years and by the fifth year add an additional zip code. That is our hope and our goal. 

NM: My understanding is that each month for five years, preschool children receive books in the mail from the Imagination Library. Sent directly to their home so the little ones can begin their own book collection. However, are the monthly books preselected or are the books selected at random?

THROD: Yes, there is a series of books and everything is pre-selected and planned out by the Imagination Library month-to-month each year. The series actually starts with “The Little Engine That Could”.  We also looked briefly into the books and they’re gender neutral, they don’t have any sort of political and religious message. They’re just classic children’s books to introduce kids to the magic of reading and imagination. 

For more information about Dolly Parton’s Imagination Library please visit the website at www.imaginationlibrary.com. Parents or guardians that wish to enroll their children may Register Online. To contact members and volunteers at The High Road on Dawson to become involved with this local project, please call 512-442-8535. 

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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 Wendy 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.

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.

Sebastian Evans: Composer of Nickelodeon’s “Teenage Mutant Ninja Turtles” series

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Teenage Mutant Ninja Turtles and April. Photography used with permission from Nickelodeon.

Composer Sebastian Evans is scoring the music for Nickelodeon Animation Studio’s “Teenage Mutant Ninja Turtles” TV series. Based in California, Sebastian Evans learned music theory as a kid and began to play piano when he was 10 years old. Evans’ mission to pursue music began after watching “Return of the Jedi” when he was seven. After participating in various musical entities until he reached college: a jazz band, concert orchestra, drum line and musical theater. Over the course of time Sebastian Evans also taught himself how to score music as a working professional.

“Sebastian Evans is one of the only black Composers in the industry, and he’s quickly rising in the competitive world of TV and film music. Evans is a creative type who is rapidly gaining accolades within the industry. Invigorating several hit animated television shows with his unique style, Sebastian has received considerable acclaim from fans and critics alike. Most recently, Sebastian’s distinct sound has helped reinvent the “Teenage Mutant Ninja Turtles” franchise starring Seth Green and Sean Astin. From his head-bob inducing main title theme to his seamless blend of Far East and Western musical styles, Sebastian provides a lively score that’s helped reinvent Nickelodeon’s Emmy-winning series for a whole new generation. Sebastian has also created scores for other hugely popular shows including “Cartoon Network’s Ben 10: Omniverse”, starring Yuri Lowenthal and Joe DiMaggio, “Transformers: Animated”, starring David Kaye and Tara Strong as well as “Super Robot Monkey Team Hyperforce Go”, starring Greg Cipes and Mark Hamill for Disney. He has also worked on various projects for “Warner Brothers” and “Adult Swim”. Also, in case you were wondering, his favorite Ninja Turtle is Donatello.”

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    Teenage Mutant Ninja Turtles: Donatello, Michelangelo, Raphael and Leonardo. Photography used with permission from Nickelodeon.
  • Transformers Animated. Photography provided by CW3PR Inc.
  • Transformers Animated. Photography provided by CW3PR Inc.
  • Cartoon Network’s Ben 10: Omniverse. Photography provided by CW3PR Inc.
  • Teenage Mutant Ninja Turtles (Raphael, Leonardo, Michelangelo and Donatello) and April. Photography used with permission from Nickelodeon.

Earlier this week in June 2016, a phone interview was booked between Sebastian Evans and Writer for Examiner, Nicolette Mallow.

Nicolette Mallow: When was the moment you realized the power of music and that you wanted to make music? How did you know that you were meant to be a composer?

Sebastian Evans: The day I saw “Return of the Jedi” for the first time when I was 7. That was when I really remember feeling something from the music and I wanted to replicate it myself. Specifically it was the moment when Admiral Ackbar says “It’s a trap!”… Right then and there I wanted to learn music. I wanted to know how to make the audience feel a certain way just by hearing the sounds. That scene in “Star Wars” stuck with me and I started taking music lessons soon after. By the time I was 10, I could play the piano and as time went by. I learned all kinds of musical styles. Eventually I moved out to L.A. with my band, but that didn’t work out. So then I got a job after sending demos to various studios. Warner Bros. hired me for “Cartoon Monsoon” which was an animated pilot program online. Later I made some connections standing in the “Star Wars” line at Mann’s Chinese Theater to see “The Phantom Menace”. Then I pitched to Disney. Along the way I met Ciro Nieli (Executive Producer of “Teenage Mutant Ninja Turtles” for Nickelodeon) and we began working together on various projects.

NM: Do you have a music ritual or a method of operation for when you create and compose? Or do the projects flow naturally and you write from the heart as it comes along?

SE: I used to write a lot more from the heart when it was personal, like for the band or my own art portfolio. But when it’s a project for a team: my style is based around the desire to reflect the Director’s vision. I want to support the film or the story. I try to stay flexible because you don’t always know exactly what the team wants. My focus for work projects are dictated by the team and how I can bring my own musical style to meet their vision.

NM: I am unfamiliar with writing music and putting audio or soundtracks onto film. What is it like writing for “Teenage Mutant Ninja Turtles”?

SE: Ninja Turtles has a lot of underground hip hop influences and a lot of loops. The music is often subtle and grey as to not overpower the story, dialogue or the characters. But the Director is also seeking to get something across that emotes something in a scene that would not be as prevalent without the music accompanying it. Music foreshadows events that are about to happen, or perhaps it uplifts the mood or makes the tone more serious. It all depends on the situation at hand. We have a couple of meetings every episode and we discuss what the scene needs. This helps me create a score that will benefit the character building of the story within each episode.

NM: Did you always intend to write for animation, comics or cartoons? Or did this path sort of unfold naturally?

SE: Yes, it all sort of unfolded naturally. My end goal in the future is to work on movies, but I really love working on animation for television. It’s been a learning experience and very rewarding because I never imagined that I would be where I am now. My roots in music are very scattered and I grew up listening to classical, like Mozart and the greats. Yet I also love metal and alternative. I will play Mos Def, Timbaland and Wu Tang during the same duration as I listen to Bjork or classical. So, yeah, I would like to explore as many characters as possible through TV and film in the future. But I am grateful for where I am right now and enjoy working on animation.

NM: Out of all four ninja turtles (Leonardo, Raphael, Donatello and Michelangelo), why is Donatello your favorite?

SE: Donatello seems like the outcast. He’s the brains and the nerd of the group. Donatello is also a romantic yet he’s very shy. And I just like him because he’s cool with being different and I felt a kinship to his character.

NM: Interesting. I relate most to Raphael because he’s the most fiery, hot tempered and yet also the most sensitive. Do you have any favorite hobbies outside of composing music?

SE: I watch a lot of comedy shows and I build LEGO® bricks a lot.

NM: That is awesome. I love LEGO® models. Thank you so much for your time. I enjoyed interviewing you and look forward to watching the TV series with my godson, Micah. He loves “Teenage Mutant Ninja Turtles”.

SE: You’re welcome. I’m glad to hear kids like the show. Thank you for interviewing me today.

To hear a playlist of Sebastian Evans tracks for “Teenage Mutant Ninja Turtles” please visit SoundCloud. Also if you would like to watch an engaging video on YouTube posted by Nickelodeon about Season 4 of “Teenage Mutant Ninja Turtles” and the creators, characters and story line: please refer to the video “Teenage Mutant Ninja Turtles | Kicking Shell & Taking Names”.

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

Top Drawer opens a second thrift shop in the heart of Austin

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Photography provided by Top Drawer and Project Transitions.

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A welcome party was held in honor of Top Drawer’s second thrift shop located in the Crestview neighborhood within the heart of Austin, Texas. This newly released thrift shop operated by Top Drawer opened its doors earlier this spring. However the official party was hosted at 7101B Woodrow Avenue on May 15, 2016, the exact date as the International AIDS Candlelight Memorial. Top Drawer Thrift is the social enterprise arm of Project Transitions. “Since 1988, Project Transitions is a non-profit dedicated to serving people with HIV and AIDS by providing supportive living, housing and hospice in compassionate and caring environments.” Top Drawer’s original location on Burnet Road has been open since 1993, always sustaining a focus to sell items in support of Project Transitions. To this day, all proceeds directly benefit the programs of this nonprofit and volunteers mostly run the shops.

Arts and Entertainment Writer, Nicolette Mallow, interviewed the Manager of Top Drawer thrift shop, Karin Kokinda. The two spoke of donations, the history of the shop and how the employees often get sentimentally attached to the pieces. (An audio recording can be found on YouTube.)

“I can’t begin to tell you how excited Project Transitions is to dive into this new experiment. For over 20 years we’ve had the Top Drawer location at 49th and Burnet and it has been amazingly successful and popular,” said Karin Kokinda, Top Drawer’s manager. “The new store gives us the opportunity to showcase some of the more special and unusual items that are generously donated.”

The welcome party at Top Drawer’s second shop in Crestview featured complimentary wine, fruits, cheeses and crackers. All items were 20% off during the party. Entering the thrift shop, guests will notice it’s like an infusion of a high-end fashion boutique, antique library, art gallery and a retro thrift shop with vinyl records and other goodies of the past. Inside the store there is something to be desired for purchase by anyone and everyone. Top Drawer is beautifully decorated and arranged to where the space is filled top-to-bottom with inventory, and yet it does not feel crowded or scattered. The room is neatly organized and the eyes can never get bored. Boots, dresses, books, tables, lamps, giant mirrors, old cameras, artwork, imported goods and other miscellany are available for purchase.

Arts and Entertainment Writer for Examiner, Nicolette Mallow, attended this special event and purchased a lovely, handmade Italian brown leather notebook as a keepsake and a literary diary. After the purchase, Mallow interviewed the Manager of Top Drawer, Karin Kokinda. The two spoke of donations, the history of the shop and how the employees often get sentimentally attached to the pieces. To hear the interview, please click on the video above.

To contact Top Drawer Crestview about acceptable items or more information, please call 512-454-5161. The store hours of operation are 11 A.M. to 7 P.M. every Monday through Saturday. Donations will continue to only be accepted at the Burnet location. For more information about Project Transitions, please visit www.projecttransitions.org or call 512-454-8646.

“It’s a collaboration between the community and Project Transitions. It starts with our donors who provide our inventory, then our loyal customers that come shop in our store, and finally, our clients who directly benefit from 100% of the proceeds,” said Madge Whistler, Project Transitions Financial Administrator.

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

Screenshot from the original publication on Examiner.com.

HBO Films presents “All The Way” red carpet event at LBJ Presidential Library

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HBO Films presents “All The Way” at The Lyndon B. Johnson Presidential Library on May 11, 2016 in Austin, Texas. Photography used with permission from Jay Godwin.

On May 21, 2016—HBO Films will feature the grand debut of “All The Way” at 7:00 PM CST. Directed by Jay Roach and Written by Robert Schenkkan, “All The Way” is like an immaculate time machine that takes you back to the 1960’s when former President Lyndon B. Johnson (LBJ) came into The Oval Office after the assassination of former President John F. Kennedy. The film begins with a powerful start: reliving the intense aftermath of a deeply tragic situation in Dallas, Texas. The audience sees and hears the bloody mess and the Lincoln limousine. And we feel the intimate conversation between LBJ and his wife, Lady Bird Johnson, while up in the sky on Air Force One. When LBJ gets to office in Washington DC, this is when the story of “All The Way” truly begins. Because the focus of the film is how President Lyndon B. Johnson brought the civil rights moment into legal affect with The Civil Rights Act of 1964.

According to HBO: “All The Way” offers a riveting behind-the scenes look at President Lyndon B. Johnson’s tumultuous first year in office after the assassination of former President John F. Kennedy. Staking his presidency on what would be an historic unprecedented Civil Rights Act, Johnson finds himself caught between the moral imperative of Dr. Martin Luther King, Jr. and the expectations of the southern Democratic Party leaders who brought Johnson to power. As King battles to press Johnson while controlling more radical elements of the Civil Rights Movement, Johnson navigates the bill through Congress, winning a landslide victory against Barry Goldwater, but causing the South to defect from the Democratic Party. Following its critically acclaimed, award-winning Broadway run, “All The Way” comes to HBO on May 21, 2016. Actor, Bryan Cranston (four-time Emmy® winner for “Breaking Bad”) reprises his Tony Award-winning role as LBJ for the HBO Films presentation, which also stars Anthony Mackie as MLK (“The Hurt Locker”) and is Directed by Jay Roach (“Trumbo”; Emmy® winner for HBO’s “Game Change” and “Recount”) from a screenplay by Robert Schenkkan (Pulitzer Prize winner for “The Kentucky Cycle”; two-time Emmy® nominee and Writers Guild Award winner for HBO’s “The Pacific”), who has adapted his Tony Award-winning play of the same name.”

Last week on May 11, 2016 in Austin, Texas—HBO Films and The Lyndon B. Johnson Presidential Library hosted a special event and exclusive screening of the film. The delightful cast and crew of “All The Way” strolled the red carpet for the Press before the screening of the film. After the movie ended, a Q&A session took place. (A video of the Q&A conversation is online.) Local Arts and Entertainment Writer for Examiner, Nicolette Mallow, attended the red carpet event and she interviewed Director Jay Roach and Writer Robert Schenkkan. Both audio recordings of each interview are uploaded onto YouTube.

Director Jay Roach discussed the changes and differences between the making of his many comedy films (ie: “Hitchhikers Guide to the Galaxy”) and transcending into more serious, political topics like “All The Way”. During the interview Roach also shared his insights on the importance of voting and what he hopes that viewers, especially younger generations, will retain the most from this story about The Civil Rights Act and how one man from Texas made history by striving to give all people equal rights and that every vote counts. Writer Robert Schenkkan talks about what he would’ve liked to ask former President LBJ if he were still alive. And he talks about the writing process as to how he developed this story and wrote it so beautifully.

Also in attendance to this red carpet event was Luci Baines Johnson, the daughter of Lyndon B. Johnson and former First Lady Lady Bird Johnson. There is one scene that made a writer (Nicolette Mallow) in attendance of this film cry and it was one of the only moments in the film we really connect with the daughter. (In fact, there were many scenes that made Mallow laugh and cry, and she was glad she wasn’t wearing eyeliner or mascara, but this one scene hit home.) Nonetheless, in the midst of White House chaos and political war, there is a moment that LBJ watches his daughter Luci passing by and he asks her not to rush off. As they’re talking, he takes a good look at his daughter and says three words: “You’re getting tall”. It’s in that moment we see that time is moving fast, too fast, and that his energy and dedication to politics has sort of taken away some personal time with family, particularly Luci. Any daughter that had a father who worked that hard to provide a better life can understand the bittersweet feeling of being proud and also perhaps wishing there had been more time.

“All The Way” focuses mostly on LBJ’s struggles and successes as President and the societal and political injustices that were happening in The United States of America. Many problems we are still struggling with today. The movie doesn’t spend too much time in his family life, even if the audience gets to see very intimate dialogue behind closed doors and his ranch in Texas. During the film, we learn (or are reminded) about how LBJ became so passionate about civil rights, beginning his career as a teacher to minority children. The love in former President Lyndon B. Johnson’s heart is undeniable and the film does a perfect job of capturing this innate trait. LBJ’s fiery passion almost seems to come out of the screen and pour into your heart. Every scene in this film evokes something from within. The audience feels the struggle of it all and we are reminded of the horrors that were going on during the 1960’s to African Americans and other minorities. Ultimately, we witness a humanized version of LBJ: his flaws and imperfections, as well as the deep love in his heart and the powerhouse that he was. The power he had to make changes for the highest good of all. “All The Way” should make all Texans even more proud to be a Texan knowing that LBJ (a man from Texas) brought the Civil Rights Act into legal effect because he knew in his heart it was the right thing to do.

“All The Way” will make its grand debut on HBO this weekend on Sat. May 21, 2016 at 7:00 PM CST. For more information about the cast, crew and synopsis: please visit their official website on HBO at www.hbo.com/movies/all-the-way. 

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

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“The stars at night, are big and bright. Deep in the heart of Texas.”

SXSW interview with Director of ‘A Song For You: The Austin City Limits Story’

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BECK. Imagery provided by Go-Valley Films.

Directed by Keith Maitland, “A Song For You: The Austin City Limits Story” held its world premiere at The Paramount Theatre in Austin, Texas during SXSW on Mar. 17, 2016. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year. And this year Keith Maitland and his teammates debuted two films for the first time at SXSW 2016. “A Song For You: The Austin City Limits Story” is a vibrant, intimate and engaging documentary covering 40 years and four decades of live music filmed for the beloved television show Austin City Limits (ACL). It’s a playful and raw story—an immaculate collection of great artists and their bands that took the stage at Austin City Limits. Director Keith Maitland shares the unique story of how ACL began with ‘janky’ sound equipment and soon morphed into the longest running music show in television history.

Artists that appear within the documentary include the following: Willie Nelson, Townes Van Zandt, Steve Ray Vaughan, Beck, Johnny Cash, Bonnie Raitt, Ray Charles, Emmylou Harris, Buddy Guy, Jeff Bridges, Matthew McConaughey, Lyle Lovett, Sheryl Crow, Dolly Parton, Radiohead, B.B. King, Lighting Hopkins, The Avett Brothers, Talking Heads, Garth Brooks, Thao Nguyen and more. “Long-time producer of Austin City Limits, Terry Lickona, also transcends the TV show and gives audiences a front-row seat and backstage pass to the greatest performances of the longest running music show in television history.”

One prime reason “A Song For You” is described as the ‘ultimate backstage pass’ to Austin City Limits is because it entails endless video clippings from numerous performances filmed live at ACL alongside annotations of those who were there first-hand to experience the performances. The audience is granted the inside track regarding many ACL shows, off-stage and-onstage. Watching the artists and the production team work their magic. Feeling as if we were there, too. Hearing about the highs-and-lows of the non-stop adventure—’the flood of memories’—it’s an adrenaline rush to the heart and soul. Listening to the music, hearing the interviews and seeing it all unfold and come to life at once makes the documentary unforgettable.

Director Keith Maitland did an immaculate job of intertwining 40 years of history into 96 minutes. “A Song For You” opens with Dale Watson solely because he was the featured artist on the final episode filmed for Season 39 by Austin City Limits. Once Maitland sets the scene in present day, the Director takes us all the way back to the beginning when Willie Nelson played for ACL in 1974 and tells the story in a retrospective way. Obviously, music is the core of Austin City Limits: their universal love of music and their never-ending desire to showcase musical masters and the up-and-coming talent. The title of the film is also befitting because without the audience, Austin City Limits wouldn’t have thrived. The show needs the audience as much as we need the show. You won’t want this film to end it’s that exciting, but when it does. As the credits come to a close, there is a video of Ray Charles singing “Deep In The Heart of Texas”. Which is where it all began, deep in the hearts of Texans. Or at least those living in Texans even if born elsewhere… Many of the artists in the film are still living, others have died and passed on. But the story of Austin City Limits will live on forever.

asfyou_acl__final_Hi copy

Imagery provided by Go-Valley Films.

Fortunately, this week the Director Keith Maitland met with Austin Examiner, Nicolette Mallow, at The Driskill Hotel to talk about “A Song For You: The Austin City Limits Story” and how this delightful documentary came to fruition. Maitland also touched briefly on his other film, “Tower” that screened at the SXSW 2016 festival, too. [“Tower” is about the sniper in August of 1966 who rode the elevator to the top and held people hostage from The University of Texas Tower for 96 minutes, and at the end of his tyranny he’d taken 16 lives and wounded over three dozen.]

Nicolette Mallow: What compelled you to make a film about Austin City Limits? Do you simply love the show and what it stands for? Or do you have a strong affiliation with the city of Austin, too? I noticed both of your films pertained to Austin, Texas.

Keith Maitland: I attended The University of Texas at Austin from 1994 to 1998. Then I lived in NYC for ten years. About ten years ago, I moved back to Austin. And yes, live music is something I’ve always loved … In the 1990’s, I saw a few ACL tapings. I even sneaked backstage a few times. Once I snuck onto Willie Nelson’s tour bus in 1998. I had a knack for sneaking backstage. And that’s really what I wanted this documentary to capture: the energy and excitement of a wide-eyed fan… How this project came about is that I used to work at KLRU. And then a few years ago, a PBS Executive in DC called me about Austin City Limits and their 40th anniversary.

NM: How were you able to pick and choose a specific list of videos from an endless supply of ACL performances?

KM: That was no easy task and there was simply no way to honor all of the artistic talent that has premiered on the show. Austin City Limits has showcased around 800 performers and their bands. That’s a rough estimate and not an exact number, but my point is that it was impossible to include everyone in 96 minutes. I asked the production crew for a list of their favorites, and that was hard for them as well. So rather than pick out favorites, together, we oriented the set list around pivotal moments of the show.

NM: I noticed the documentary focused a great deal on Beck, Willie Nelson, and Stevie Ray Vaughan. All very big artists that are loved by Austin and around the globe… Personally I loved the footage in your film of Beck’s performance at ACL. And I actually went to middle school and high school with Willie’s nephew, Trevor. Any reason you chose those three to focus on?

KM: Beck is one of my absolute favorite artists and his presence in the film portrays the musical energy of present day. It was so cool to book an interview with him and quite rare for us to get the chance. Beck is very exclusive about interviews. I think it had been about ten years since Beck had consented to an on-camera documentary interview. So that was a huge honor and I know the only reason we were able to book it is because of Beck’s love for Austin City Limits… In regards to the other two artists. There are two statues of musicians in downtown Austin: Willie Nelson and Stevie Ray Vaughan. Their names were paramount to the story because they have each cast a shadow over the legacy of this town… Plus, Willie Nelson is the first artist to perform for the show and he’s from Austin. Also, the producers of ACL absolutely adore those two. And I can tell they had a very personal friendship with Stevie Ray Vaughan and that the absence of his presence still stings the ACL family.

NM: Did you enjoy interviewing the production crew, and specifically (the producer) Terry Lickona, from the ACL crew?

KM: Yes. I did. One of my favorite parts of the film is at the end when we are asking all the employees at ACL about what lead them to their job and what their role in the company is… Terry Lickona is just a great person in addition to being a fantastic producer. He is also a live music devourer. And he is always looking to the future and ‘what’s next’ which keeps the show fresh and exciting. He is a people’s people and is constantly out there absorbing the latest news pertaining to music. Terry’s loyalty to the show— and the loyalty of the entire ACL crew—it’s astounding. They’re an amazing team. And come on, it’s a pretty sweet gig to work.

NM: My last question is about your other film “Tower”. The other day I saw “A Song For You” at the Violet Crown and I adore it. But I’ve yet to see this one. My question is, many people have made movies or written stories about the 1966 sniper that murdered people from the UT Tower on the UT campus. What defines your story from all the rest and makes it so unique?

KM: Yes a lot of people have covered this story. What makes my take on it unique is that I don’t focus on the sniper. I focus on the witnesses, the heroes and the survivors of the story. The sniper is obviously mentioned and he’s part of the story. But he’s almost like the shark in the movie “Jaws” and how we don’t really see him until the end. We just hear the music and know what’s coming. “Tower” is a story of humanity at its best and worst. We get to see the people who put their lives at risk to save another. We also get to hear accounts from those who were frozen in fear, unable to help, and the shame they felt for being paralyzed with fear. But it’s very touching to hear the stories. A lot of people risked their lives to come to the rescue of those bloodied, bleeding and wounded… There is a little bit of us all in these characters and I wanted people to be able to relate to the story. Not the sniper.

For more information regarding “A Song For You: The Austin City Limits Story” please visit the official website at www.asongforyoufilm.com. To learn more about Austin City Limits (ACL) and to search upcoming performances: please check out their web page at www.acl-live.com.

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

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Composer Kerry Muzzey talks about writing the score for ‘The Seer’ at SXSW

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Kerry Muzzey. Photography by Simon Whiteside.

World-renowned modern and classical composer, Kerry Muzzey, wrote the musical score for “The Seer: A Portrait of Wendell Berry”, a documentary directed by Laura Dunn and executive produced by Oscar winner Robert Redford and Oscar nominee Terrence Malick. “The Seer” held its world premiere on Mar. 12, 2016 at SXSW in Austin, Texas. Composer Kerry Muzzey and the crew of “The Seer” hit the red carpet several times to promote their newly released, award-winning documentary. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year. And this year “The Seer” was awarded the ‘Special Jury Recognition for Cinematography’ for SXSW 2016.

Music is a key element within the world of cinema and Kerry Muzzey knows how to set the scene, musically, with his innate gifts of sound and music. The score for “The Seer” is absolutely lovely and befitting to the story without dominating or overpowering the documentary. On Mar. 15, 2016, Kerry Muzzey consented to a phone interview with Austin Examiner, Nicolette Mallow, to talk more about creating the score of “The Seer” and his musical background that lead him to Hollywood and SXSW.

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A little more about the synopsis of the film in preface to the interview: “The story of ‘The Seer’ revolves around the divergent stories of several residents of Henry County, Kentucky who each face difficult choices that will dramatically reshape their relationship with the land and their community… Henry County, Kentucky, like many rural landscapes across America, has become a place of quiet ideological struggle. In the span of a generation, virtues of simplicity, land stewardship, local economies and rootedness to place have been supplanted by a capital-intensive model of industrial agriculture characterized by machine labor, chemical fertilizers, soil erosion and debt—all of which have frayed the fabric of communities. Writing from a long wooden desk beneath a forty-paned window, Wendell Berry has watched this struggle unfold, becoming one the most passionate and eloquent voices in defense of agrarian life… Filmed across four seasons in the farming cycle, ‘The Seer’ blends observational scenes of farming life, interviews with farmers and community members with evocative, carefully framed shots of the surrounding landscape. Thus, in the spirit of Berry’s agrarian philosophy, Henry County itself will emerge as a character in the film – a place and a landscape that is deeply interdependent with the people that inhabit it.”

Nicolette Mallow: When did you begin playing music? Would you mind telling me a little bit about your artistic background?

Kerry Muzzey: When I was 10 years old I started learning on classical organ. By the age of 11, I began writing music. But really it goes back even further than that because when I was 6 or 7 years old, I recall going to see “Star Wars”. Sitting there in the theater as a kid, when the film started rolling and the music came out of the speakers: it gave me goose bumps. I’ll never forget the feeling, even now. The music blew me away and all I could think about the rest of the day was “Star Wars” and its musical score. I have extreme reverence for John Williams. And I believe many composers can say that John Williams’ music was and is a true inspiration. Right after that movie I went out and bought the soundtrack on vinyl and listened to it on those giant headphones from the 1970’s. The music sounded like classical but it was more specific and inspiring. It was very intense and evocative for a child because it was focused and in conjunction with the picture… As a child I wanted to be a composer, a spy and an airline pilot. I dreamt of becoming many professions just like any little kid would. Yet I always kept coming back to music. My mother raised me entirely on classical and she told me that when I was in her womb: she played classical music for me and held the headphones next to her belly for 30 minutes a day for nine months.

NM: It seems as if you were destined to be a composer.

KM: Yes, and even though I started writing at the age of 11. It wasn’t until I turned 16 that my mother’s friend moved away and gave us their piano. I remember getting that piano and my family could not pull me away from it… Just the sound of a piano allured me. Complex piano compositions resonated with me so deeply even then. Because when you are playing a physical instrument: you can feel the hammers and strings inside its giant wooden case. It resonates in your heart and your hands. You can literally feel the sound as you’re playing music. It’s very powerful. That is around the time I began writing solo piano stuff. Playing the orchestra I heard inside my head. At the time, technology for music was not yet available to create an orchestra inside of a computer. So, it was a little different back then.

NM: I listened to the score you composed for “The Seer” in its entirety, twice. You wrote such beautiful music that compelled my mind to travel through time and feel nostalgic. The song “Daughter” struck a chord with me, in a good way… Was the music meant to be evocative? What is the biggest difference between writing music for a narrative feature versus writing a score for a documentary film?

KM: That is an awesome question. Writing music for a documentary was a challenge that took me quite a few tries to overcome. A narrative film is a completely different process than composing music for a documentary. Writing music for a documentary has to be subtle. The music cannot overpower the picture and it has to stay out of the way of the picture. The score cannot be traditional. For instance, a narrative feature film has a soundtrack of very specifically engineered music. It is written to make the audience feel something at that moment, so when the hero saves the world or the couple finally gets their big kiss: you expect the soaring strings. When making music for a documentary, if you’re too on the nose, or if you’re trying to punch it up too much, it can become a distraction. The audience that attends documentaries and is loyal to documentaries is also a highly intelligent crew. And you cannot use music to try and manipulate the audience into feeling a certain way. The music is simply there to beautify and assist the story as it unfolds in its own natural state.

NM: If you had to pick one song from the soundtrack of “The Seer”, which track encapsulates the spirit of the film? I’m curious to know which song is the beating heart of your composition.

KM: Yes, I can pick one. I believe it’s the sixth track and it’s a song called “Forty Panes”. It’s also the Director’s favorite (Laura Dunn). It’s a song about Wendell Barry and it has piano and cellos in the melody. It was magical to write and it kind of came out of nowhere. I was so in love with it that I actually got my cellist to record it before I even played it for Laura. Which is kind of dangerous because I am paying the cellist for his time. But I loved this cue so much. The way it resonates with the picture and how it struck a perfect balance… It’s the crux of everything and it’s beautiful… I sent the piece out to the Director and I was stalking my email waiting for Laura’s response. Two hours passed by and I feared the worst. And then her email arrived with a response, “I keep watching it over and over—and I kept crying every time I felt the music—and I don’t know why.” Right then, I knew that I got it right… The Director of “The Seer” is not only a good person, but she’s extremely smart and talented. She’s amazing and cool and I wanted her to love the soundtrack. Talking to her the other day, we spoke of that piece in particular as it being the high point in the films soundtrack: simple and quiet, but against the picture it can’t be anything else but exactly that… This wasn’t my first project with Laura Dunn, either. About eight years ago, Laura made a film, “The Unforeseen” about over development in-and-around Austin. The core of it predicted the housing crash a year prior to the fact. At the time she had licensed a few pieces of mine to use. Years later we reconnected and in this case she wanted me to score the entire film. Obviously I said yes and it’s been an amazing project. Laura and her team are so great at what they do.

NM: Do you have any upcoming projects that we can look forward to?

KM: Yes, I do have future projects. Presently I cannot say much because it hasn’t been formally announced yet. What I can say is that I am writing a full-length ballet for a full orchestra. And it premieres in London next May of 2017. This job sort of came out of left field. It’s a very heavy lift for me, it’s a huge challenge, but I am so excited to work with this choreographer and their innovative team. I couldn’t say ‘yes’ fast enough.

For more information regarding Kerry Muzzey or the movie, “The Seer: A Portrait of Wendell Berry”: please visit www.kerrymuzzey.com or www.theseerfilm.com.

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

VNTANA and DJI create a hologram drone lounge at SXSW 2016

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DJI Phantom 4 drone and VNTANA hologram technology at SXSW 2016 in Austin, Texas. Photography provided by VNTANA and DJI.

In partnership with DJI, the world leader in aerial imaging—VNTANA, an interactive technology hologram company out of Los Angeles created the first ever interactive hologram drone experience at SXSW from Mar. 12-14, 2016. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year in Austin, Texas. And this year SXSW featured its first ever interactive hologram drone pilots between DJI and VNTANA.

“From fully-controllable life-size avatars to simultaneous global performances from the world’s top artists, VNTANA’s technology creates the most engaging and realistic holographic experiences in the world. With our technology people can truly be multiple places at once and bring products and characters to life in new interactive ways. VNTANA’s team of designers, engineers, business strategists, system integrators, and creative technologists is dedicated to bringing you the next generation of holographic technology.”

The interactive lounge was set up along Rainey Street close to SouthBites™. During this time SXSW attendees could see themselves projected as a hologram in real-time standing next to a hologram of the new DJI Phantom 4 Drone hovering next to them. The Phantom 4 is the first consumer quadcopter camera (or “drone”) to use highly advanced computer vision and sensing technology to make professional aerial imaging easier for everyone. Using gestures, attendees were able to control the hologram drone and even see the interiors of the drone. At the end of the experience, attendees received a hologram GIF via e-mail. To see video footage of attendees experiencing their lounge at SXSW, please visit Vimeo and watch “DJI Phantom 4 Interactive Hologram Drone Experience – Powered by VNTANA”.

A representative from VNTANA met with Austin Examiner, Nicolette Mallow, during the SXSW festival to briefly discuss how to operate the hologram and fly the drone. Mallow also got to experience the hologram first hand.

Nicolette Mallow: How exactly do guests pilot and fly the drone through the hologram?

VNTANA: The guests see themselves on the display as a life-size hologram standing next to the DJI drone. They are able to pilot the drone through gesture control. In this case, guests use vertical hand and arm gestures to fly the drone up and down along with lateral body movement to fly the drone left and right. If you clasp your hands together and then quickly split them apart, the drone also splits apart to show the separate mechanisms and motors inside.

For more information regarding VNTANA or DJI, please visit their websites at www.vntana.com and www.dji.com.

DJI Phantom 4 Interactive Hologram Drone Experience – Powered by VNTANA

VNTANA – Video: https://vimeo.com/158758465

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

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Salvador Dalí gallery at ART on 5th reaches its closing week

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“Mad Tea Party” by Salvador Dalí. Photography provided by ART on 5th gallery.

Prints by Salvador Dalí will be on display for only a few more days at ART on 5th in Austin, Texas. Also known as Ao5, evident within this art gallery are colorful butterflies, portraits, eroticism, symbolism and storytelling, as well as the notorious melting clocks that Salvador Dalí is well known for. All original copies, The Salvador Dalí art exhibition entails many printmaking pieces, too. Printmaking is a significant and unique form of art that launched in the 1400’s. And the last day to see this timeless exhibit of prints is Saturday, March 12, 2016.

Born in Spain the year of 1904, Salvador Dalí is an artist of the 20th century whom was talented in many art forms that included the following: painting, illustrations, sculpture, fashion, photography, writing, architecture and film. Known greatly for his work revolving around surrealism, Dalí’s artwork is captivating and haunting, unforgettable; a kaleidoscope of colors. A master of his craft, he tantalized, hypnotized and sometimes horrified the world with his powerful, one-of-a-kind artwork. After an extensive career of great publicity and artistic beauty: Salvador Dalí died of heart failure at the age of 84. Thankfully, the memory of his artistic legacy is immortal and will live on forever.

  • “Les Entre-Plats Sodamises” by Salvador Dalí. Photography provided by ART on 5th gallery.
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    Detail of elephant from “Roi, je t’Attends a Babylone” by Salvador Dalí. Photography provided by ART on 5th gallery.
  • Untitled etching on parchment from the series “Roi, je t’Attends a Babylone” by Salvador Dalí. Photography provided by ART on 5th gallery.
  • “The Eagle of Grace” by Salvador Dalí. Photography provided by ART on 5th gallery.
  • “Mark” by Salvador Dalí. Photography provided by ART on 5th gallery.

ART on 5th released a final promotion to inform locals in Austin, Texas that this is the last week to see the exhibition, “ART on 5th will be hosting a stunning exhibition of over 50 authenticated Salvador Dalí prints until March 12, 2016. The work spans three decades of the artist’s career, from the 1950’s – 1970’s, and includes a sampling of images from 6 different series by this artist. Owned by a private art collector in the northeast, this gallery is part of a larger collection of Dalí prints. Dalí worked in series and we have images from a wide variety of his series, including “Memories of Surrealism”, “Les Diners de Gala”, “Biblia Sacra”, “The Twelve Apostles”, “The Divine Comedy” and many others. One particularly interesting series is the 1973 “Les Caprices de Goya”, which Salvador Dalí created by printing over—adding color and new image details to the original series “Los Caprichos”, by 18th century Spanish artist Francisco Goya. As a result, each of these pieces bear the signature of both artists. There is a helpful description of “Les Caprices de Goya” online. Another interesting fact to note about the work: many of the pieces from the “Divine Comedy” series are deconstructions, which means they are sort of artists proofs that may have been used to test plates or colors before doing the entire edition. For instance, we have one on display called “Dante Purified” which only has the pink and the blue inks from the image are printed. It is an incomplete version of the image as it was released in the final publication of the edition.”

Located on 3005 South Lamar, admission to the gallery at ART on 5th is free of cost. For more information regarding ART on 5th and their hours of operation, please call 512-481-1111 or visit their website at www.arton5th.com. 

To explore more about this artist, please visit Artsy’s Salvador Dalí page which provides visitors with Dalí’s bio, over 1300 of his works, exclusive articles, and up-to-date Dalí exhibition listings. A current exhibition is featured at The Royal Academy of Arts in London from 7 October 2017 — 3 January 2018. 

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

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