These are the screenplays I’ve written solo or with a writing partner to date.
Lucid – (The Feature Film) Sci-Fi / Horror with Marion Kerr
A Falling Rock Mystery / Crime / Thriller
Warm and Confused Adult Comedy with Patrick Meighan
White Knuckles (Produced at The Sabi Company) Psychological Drama
Chasing Tail (A.K.A. Beast) Action / Adventure / Creature with Richard Shepherd
Shadows African-American, Music, Drama with Peter Murray
Lone Tree Hill (My ‘honors’ M.F.A. Thesis from USC) Turn of the Century Survival Story
A Sort of Homecoming (Winner of the IMHI Award) Family Drama
Call it a Night College Dramedy
Snowblind Smuggler / Drama Based of the book by Robert Sabaag with Zak Forsman
Features: Janina Fahrenflucht Music by: Deklun Voice by: Stephanie Strobel Story by: Janina Fahrenflucht & Kevin K. Shah
About this Video & Janina:
I don’t know Janina’s last-name. She only gave me her name and her favorite band (Fahrenflucht). She had no other information, no email, no facebook, no cell. I met Janina for about 15 minutes while in Stuttgart, Germany for a screening of my film Dust Request at the Bollywood Film Festival. She was asking for change along-side the road in a shopping district. She asked me where I was from, and I told her California and why I was there. She told me that if she could ever make a movie, it would be about a young girl that doesn’t want to come home, “but wants her mum to understand she’s going though changes.”
I had a few minutes before I had to catch the bus back so I asked her if I could shoot her, and then later add a voice over about just that. I’m not sure she completely understood that this would be the result, but she was a natural in front of the camera and didn’t seem bothered by it at all. She felt like she had something genuine she wanted me to capture, and I hope I was able to.
We shot for about 2 minutes and the only direction I gave her was: “You are looking for your mother — and you think you keep seeing her everywhere.”
When I got back to the states and edited the video several months later – I passed it to Deklun to see what he could do in terms of music, tone, feeling. Then we passed it back and forth a few times where I revised picture (and slowed things down) based on what Deklun was doing. The music brought everything together for me.
Then another few months passed and I wrote the verses for the images and music. Afterwards, I had a good friend I met on the same trip in Germany (Stephanie Strobel) translate it, and record the voice over herself in Garage Band.
It’s in the form of an answering machine message, which Janina is leaving for her ‘mum’. Based on the story Janina gave me. I thought it’s better out there than on a drive – if you know her, let her know this video exists?
Note: This is the second in the “Mother of” series, and follows the short I made with Kunuk Groenwald in Illulisat Greenland called Mother of Infinite Dreams.
If your daily life seems poor, do not blame it, but yourself, for not being poet enough to call forth its riches.
The wisest poet keeps something of the vision of a child. Though he may think a thousand things a child could not understand, he is always a beginner, close to the original meanings of life.
To live intelligently, man must have that buoyancy of spirit, call it courage, and willingness to accept any and every state that may confront him, which alone will enable him to live without burdens, a free man in the true sense of the term.
[We are all spiritually immature.]
If you find a man [or woman] that is constant, awake to the inner light, learned, long-suffering, endowed with devotion, a noble man [or woman], follow this good and great being even as the moon follows the path of the stars.
On working with John T. Woods on Down and Dangerous – a film by sabi
Rarely on independent films do producers get to work with actors that bring an immense amount of respect, trust, heart, faith and belief in the project that you are producing from the beginning — and it is even harder to find an actor whose professionalism and enthusiasm rubs off on each member of the cast and crew throughout the life of the production experience. On Down and Dangerous – a film by sabi, I had the opportunity to work on a 39 day production at Sabi Company with John T. Woods as Paul Boxer. Directed by Zak Forsman, the tagline of the film reads “A smuggler bleeds like anyone else. He just gets more chances to prove it.” So too was the case with production on this film, and a few times specifically: John’s blood.
ON WORKING WITH JOHN T. WOODS: OUR STAR
This was the most ambitious micro-budget project I’ve produced to date. The first of many challenges was breaking down the script and creating a production schedule for every scene in the project in such a way that John’s experience would be consistent. Although John made himself completely available for the film (often turning down other projects to stay open for ours) several scheduling conflicts with other actors prevented us from shooting in order, as we’ve done for the most part in the past. Both Zak and John were able to go with this, and to be prepared enough to keep the character arc consistent despite the complex shooting schedule. This was a task in itself — but again, John’s enthusiasm at the start of each day set the trend despite the challenges and obstacles of our schedule. We also made sure to accommodate John with the best food and rooms at each location possible because his emotional journey along with the director’s would be hard and would require attention. Every day was different and we were shooting in dozens of locations, and John had his finger on the pulse of the mood and atmosphere of the set — which was instrumental in shaping the experience to the best of my ability for all of the cast and crew over the course of the immense schedule.
A PERFECT SQUARE
On any project be it a studio film or an independent endeavor – you want your actors to give 100% every day of the week – and you want them to feel safe in doing so. You want to create an atmosphere of full trust in an effort to foster a creative environment where real magic can happen. As a producer, you have the director as the quarterback and you have your team to make it happen — and you want to coach the project in a way that it can quickly function on it’s feet and move along with it’s own inertia. It’s not unlike football in that it takes collaboration and patience in the first few weeks — but when it takes hold, it’s because of the collective effort and push & it can move on its own with relative ease. With Down and Dangerous, John came at this film full tilt — prepared and ready to think on his feet. This helped to quickly create a strong creative environment that was charged with energy and investment for all. Often times a producer wishes for a) him/herself b) the A.D. and c) the director to provide a triangle of investment in which the production experience of the film can be successful. But in the case of Down and Dangerous, John T. Woods gave us a perfect square. If the production of this ambitious film was a profound success, than it is in no small part because of John’s relentless commitment to this film.
THE BLOOD This is an action film, and John performed all of his own stunts without hesitation. It was in these instances in particular that his collaboration with director Zak Forsman was often something to behold (and again, the quarterback-running back analogy is fitting). There was an extremely dangerous fight scene on several sections of a roof-top which brought with it an added challenge of a ‘hard-out’ time at the location. With John and Ross Marquand and Zak at the helm, we were able to shoot the fight scene and all the stunts in a day (what would take a typical production a week). Additionally, John was able to watch his performance between takes, huddle with Zak on where to go – and make adjustments on the fly. Often you hear directors talk of a short-hand with actors — what we witnessed was more akin to telepathy. One thing was certain, if there was going to be a stunt, John was going to go for it 150% — and be prepared to bleed like anyone else. If he was to run up the stairs, he would run as if his life depended on it. If he was to fight off guns with his bare hands, he would risk scraped knuckles, cuts, and bloody fingers – like the smuggler character he plays. I have at least a dozen new grey hairs from the instances on this set my heart stopped (while trying to protect John during a stunt). The best analogy I can offer in watching John bounce back from a jaw-dropping stunt (or likewise an emotional scene) is: it’s like watching old films of Walter Payton of the Chicago Bears. It’s the most elegant analogy I can think of. No one else but these two guys can take a smash hit in the face, take the bloody knuckles from a bad scrape, or play the whole game on a broken bone – and bounce back from it like nothing happened. There was one particular fight scene where John fends off two thugs at once — in between takes we were wiping real blood off floors and I was bandaging scraped hands and limbs and sending the actors back in to the Game. It was because of John the everyone went for it. At some point you have to step back, try to get the pad under him to break the fall, and just pray he makes it every time — because you can’t stop him.
NO REGRETS John gave everything for this film – and he told me on more than one occasion that he just doesn’t want to look back on a scene next year and think: I should have given more. I should have went for it. He will definitely not suffer from that feeling after watching his work on Down and Dangerous. As the lead actor of our 4th feature film, I would confidently say that John T. Woods was born to do this. He is a producer’s dream actor. He sets the bar for the rest of the talent, and he is a consummate professional — watching him on set invited new comers that have not worked with Sabi before to treat this small production like it’s this year’s Cannes contender. His inner drive and his passion for Sabi, and his commitment to this film made every single day on this set a pleasure. I know it wasn’t easy, but like Sweetness, John made it look that way. If you are a producer, director, or casting director and you are thinking about bringing in John T. Woods for a starring role for your project, let the words above convince you to give him a call. And be sure to see what I’m talking about when Down and Dangerous is released.
Kevin K. Shah from producer’s journal
Note: Because John’s sacrifices and his commitment to Sabi, and because he was instrumental in the making of this picture (as described above) as well as the funding of it via our kickstarter campaign; Zak and I brought on John T. Woods as an executive producer of our film mid-way through production. It is a well deserved credit that extends far beyond star, and it is reflective of how we feel about his continued contributions to this project.
Update: the campaign was successful, and production is nearly complete.
DOWN AND DANGEROUS – a crime thriller by sabi
The Sabi Company is embarking on a new project written and directed by Zak Forsman (Heart of Now) and is raising the funds for the film from friends, family, fans & new supporters on Kickstarter. Down and Dangerous contains aspects of a smuggler’s life that director Zak Forsman understands first hand from his experiences with his late father*. It is a straight up crime-thriller that promises to keep you on the edge of your seat with an action-packed story. What is unique about this film for The Sabi Company is that it brings together our brand values of authenticity, originality and collaboration with a genre endeavor.
As this project is a labor of love for everyone involved and a personal passion project for Zak, it feels appropriate that the film will look toward our audience for the green-light. It is the first project that The Sabi Company has turned to Kickstarter for – and although it is a nano-budget endeavor, there will be no compromise on story or production values. Aside from rewards for donations & transparency with the process — we really want to give back by using the funds to create a worthwhile story for our fans and a beautiful film with wide appeal.
I’ve known Zak personally for over two decades, and I also know that your money will be going toward making this project the best it can be. Every cent will be valued accordingly by Zak and everyone involved at Sabi. And your support will be genuinely appreciated and we are deeply grateful for any amount. Please help make Down and Dangerous happen by donating to our Kickstarter campaign. You can find a link below with more information on the film and Zak’s personal thoughts on Down and Dangerous.
http://www.kickstarter.com/projects/1077901252/down-and-dangerous-a-crime-thriller-by-sabi?ref=live *(Charles T. Forsman; who is also the central character of Robert Sabaag’s bestselling crime novel Snowblind)
THE ART OF FAN-RAISING: Treating Fans Like Donors By Kevin K. Shah
Become well-versed in your field in terms of information, publications and resources that would be useful to the prospective Fan – and share.
Cut out all short-term thinking including the hard-sell approach. Instead, focus on developing a relationship with the Fan: (e.g. learning about them without asking for anything initially).
Change “Marketing” tactics to “Communication” concepts and make this communication with Fans a dialogue rather than a monologue. No one likes being sold to, and there’s no better way to approach our Fans.
Be unique in your proposition. They’ve heard almost everything before. What is unique about your idea? Highlight it and go from there.
Give Fans genuinely interesting and worthwhile opportunities. Make them active participants. Invite them to see you work, to be more than just ‘participants’ of your cause.
Invite Fans to ask questions and make it easy for them submit. A dissatisfied customer that doesn’t complain to you — will tell several others his thoughts about you and will no longer be a Fan. Go to great lengths to solicit feedback.
Focus on the major motivations of Fans and above all — give Fans choice in what they buy based on these motivations.
Eight primary reasons by why Fans GIVE to you. To be recognized and valued for my contribution. To feel good about giving. To know how my money will be used and what difference it will make. Desire to be inspired. To feel involved, a part of something. To be impressed so I can tell others, recruit them to support. To be asked for my opinion. Desire to know you are listening to me.
Make sure Fan emails are addressed to an actual person — and not a mass email list or a general greeting. Yes, it takes time. Always write personal thank you’s to all Fans/buyers.
CRM – Customer Relations Management. What is your strategy?
3 devastating words for Fans or prospective buyers: Changed My Mind. What are you doing to prevent this (you can’t always prevent it)?
Have “packages/offerings” available for “Regularly Giving” Fans, “High-Value Fans”, and ‘Legacy’ products — for ‘lifetime fans’ that want to contribute more over time.
Make sure that any ‘copy’ you write seeking anything — is emotional. Hearken back to a memory, make it poetic and accessible, use descriptive words that stick – and make it personal.
Step into the shoes of the Fan is perhaps the most important thing we can do on a daily basis. Take this mental shift and see what you’re thinking from a Fan’s perspective.
3 sentences of wisdom: a. When a customer buys a hammer & nail – what he really wants could be to hang a picture. What is the greater need? b. It doesn’t matter what you sell – the only thing that matters is what Fans want to buy. c. People don’t read advertisements, they read what interests them. Sometimes, this includes an ad.
Building a Fan community is about meeting needs and interacting — and not about celebrating achievements. Always state any achievements with a continued need. And the best time to recognize and state a need: while celebrating an achievement.
If you have a proposition you want to make then be as direct and impacting as possible: Fund an Art Film: $20.00.
The story you have to tell best — and the one to ‘practice’ until perfect — is the pitch/story of your organization’s core mission — why it was created and what it does.
If you can become facilitators of your supporter’s relationships to each other — you will survive. Find a way to connect everyone that is your Fan — and you will grow.
On average, people are exposed to a thousand promotional messages or advertisements a day. Don’t be promotional, be pertinent.
There are 3 R’s in Loyalty: Retention, Repeat Business, Referrals.
Let Fans know you received their information / money in a nice thank-you to their name shortly after. Also assure their gift (if a donation) will be used for the specific purpose they requested or tell them what you will do with their gift. Show progress.
Smile and Dial when picking up the phone with a Fan. Always.
Understanding Fans: Understand their Passion and their Inspiration. Seek first to understand — then be understood. Open hearts, open minds, and then if appropriate ask them to open their checkbooks. First and foremost, relationships should be lifelong and develop over time.
Footnote: Credit is due. A great deal of the above was inspired by what I was reading in Ken Burnett’s book “The Zen of Fundraising” which is an excellent book for anyone wishing to venture into fundraising (whether it’s for a feature film or a non-profit). It’s a very simple and quick read, and as I was devouring it, I discovered that in certain areas Ken’s keen advice on how manage relationships with donors could just as easily apply to fans of Independent Filmmakers. With this in mind I scribbled down notes in the margins as I was reading. A great deal of this list was born out of Ken’s book filtered through the considerations we’re currently having as we re-design the web experience for The Sabi Company (with our fans in mind.) Buy Ken’s book:
As I just finished a solid first draft of A Falling Rock – a thriller by SABI (my latest screenplay) I was surprised when I realized (after thinking back) just how many feature scripts I’ve written over the years. This led to an article I called “The No-Discipline Screenwriter (Almost)” written for The Script Lab — which is a very useful resource for new and upcoming writers with several topics around screenwriting. They tweeted “Writing is a Lifestyle, not a Diet” not too long after my post, which is certainly valid for writers of all kinds & I totally agree. For my circumstance, I would amend it to ‘Storytelling is a lifestyle, not a Diet’ to make room for directors and producers (or all 3) as well. The full article I wrote called “The No-Discipline Screenwriter” can be found here, and it’s not really screenwriting on a diet, but it is a very unconventional approach to an art which does certainly require discipline.
Re: No-Discipline — I have offered the caveat: *I should preface the above with the notion that ‘discipline’ of some degree is needed when writing an outline and a script. Even if it was one word every 2 months, writing that one word, thought or idea down – would still require the slightest discipline. (i.e. there is no such thing as a no-discipline screenwriter…;)
Somehow, one way or another — one must continue pushing forward. Below is just a quick roll call of the feature film scripts I’ve written over the years: including genre & collaborators, some with discipline — some without. If you have a list, I’d be interested in seeing yours too. I’m proud of them all except for Call it a Night which was grossly underdeveloped. A Sort of Homecoming won the Institute of Mental Health Initiatives Scholarship at USC, and Lone Tree Hill got me honors and a Master’s Degree from there and a film I would love to make if I had around 60 Million… Richard, Patrick and Peter are all terrific writers that I met in the Graduate Screenwriting Program and our collaborations yielded highly original stories. Snowblind, written with Zak Forsman was my first feature screenplay — which we adapted from an incredible book by Robert Sabbag with the same name.
A Falling Rock – Thriller White Knuckles – Psychological Drama Chasing Tail – Action/Adventure – with Richard Shepherd Cheryl, Otis & Guy – Comedy – with Patrick Meighan Shadows – Drama – with Peter Murray Lone Tree Hill – Period Survival story A Sort of Homecoming – Family Drama Call it a Night – College Dramedy Snowblind – Smuggler, Action/Drama – with Zak Forsman
This weekend White Knuckles – a film by sabi will be playing at the Derby City Film Festival in Louisville, Kentucky on Sunday at 1:00pm Eastern. Both Larry Strauss and Martie Ashworth have been nominated for best actor and best actress respectively for their portrayal of William and Julie in the film, directed by yours truly. It was a labor of love for all involved, and I’m excited to also share with you a wonderful review from industry veteran Carol Green on White Knuckles.
“WHITE KNUCKLES took me by surprise and has stayed with me ever since I visited the home of Julie (Martie Ashworth) and William (Larry Strauss) to see how they were doing. At least the way it feels in the aftermath of viewing a film by Sabi that takes us into the world of an older married couple whose time together could have, should have, maybe would have brought them closer after all these years. Instead, they are walking on egg shells, sitting on pins and needles, and closing their fists until their knuckles turn white with the frustration of a marriage gone awry. They are in pain.
Like visiting old friends or neighbors we’ve known for years, WHITE KNUCKLES invites us into a home filled with plants cared for by a wife who tenderly removes each aphid and a husband who could care less. As visitor/moviegoers, we are allowed an intimacy far greater than what is shared between Julie and William. And yet, by our witness, we come to explore the moments, the misses, the what-could-have-beens of theirs and our own lives.
WHITE KNUCKLES resonates deep within us. We become lost in our own reverie, falling in and out of the story as our emotions take us to places we often leave boarded up. And yet, we return to revel in Julie’s luminous smile, to support her in her quandary, to rejoice when her friend Dora (Sue Gaetzman) arrives for coffee and a little levity. Dora has no idea that her casual conversation has provided her friend with a DIY scheme that Julie can easily create right there in her kitchen to manifest a relatively quick and dirty resolution to the marriage. Oh, what evil lurks behind the gingham curtains…
Kevin Shah and his collective known as Sabi no doubt created an environment of such trust that actors were comfortable enough to reveal the essence of their characters with brutal honesty. I know these people. I knew these people. We all do. They are our mirrors.
Days after seeing WHITE KNUCKLES, I remember my late mother, my former husband, the road taken and the road not taken. How did I end up here at this chapter of my life? It must have been the kind of little, incremental events and their effect on my path that lead me here. And like, Julie and William, what’s next?
If film is art, what is its purpose? To look at a painting and walk away or to feel something, to remember that feeling long after that moment is gone? With the experience of WHITE KNUCKLES, it is to see powerful actors commit to their characters and their audience, to enjoy beautiful cinematography and music and intimate direction rare in mainstream offerings, and to suffer with these people whose lives reflect our own.
Carol Green Producer, Publicist
A Short Film About Letting Go: World Premiere – a sabi pictures memoir
A Short Film About Letting Go world premiered at the Dances With Films 2010 festival in Los Angeles to a crowded audience gathered for the Fusion Shorts program at Laemmle’s Sunset 5 theater in Hollywood. This film has achieved beyond our expectations financially & creatively, and the life-long relationships forged by taking a chance on this art film has expanded the Sabi family and our brand of films in immeasurable ways.
All of us at Sabi Pictures are proud of this film and the talent behind it & in the coming weeks we will continue to get the word out there about this work of art. A Short Film About Letting Go recently played at the Hollyshorts Film Festival on Sunset in Hollywood, as well as at the Sacramento Film Festival. Letting Go is also on DVD with 40+ minutes of bonus content at cinefist.com
This sabi pictures memoir features J. Erik Reese, Daniel Carmody, Joshua Nitschke, Mark Ridley, Christopher Sowers & Aqua Yost. Narration is by J. Erik Reese. Music is by Deklun and what you hear was composed for the film.
Kevin K. Shah www.sabipictures.com
Actor and Parkinson’s activist Larry Strauss recently invited me to say a few words at the Historical Society of Laguna Woods, where he was being honored by friends family and distinguished guests.
Below are some excerpts from my speech.
“Larry Strauss is a true friend and fellow artist whom I first met Larry at an audition for a film I was directing called White Knuckles. The film has subsequently played here at Laguna for audiences twice, thanks to Larry’s efforts in getting it screened for you. Larry came into the audition to play William — a character who was at a bad place in his life and his marriage and who was desperately in need of a change. As Larry’s director, I needed him to play a beautiful and tragic self-loathing character — that behind a rough and abrasive exterior was a man full of warmth and wisdom….”
“…I also wanted the actors to draw from their own lives and experiences to tap into the character through a process of guided improvisation, so when it came time to shoot — it was easier for me to get Larry to play the warm and wise-cracking fun part of the character (as we all know and love Larry) but harder to play the part of the man that is at a time in his life where everything is stagnant and not moving forward. And perhaps that’s because its not who larry is naturally — he’s a man that despite the circumstances has always seen the silver lining and always has time for a joke or a wise-crack to put a smile on everyone’s face…
“…I remember at the end of one of the first few dramatic scenes we shot — Larry asked me if he could sweep Martie (Julie in the film) off her feet and and dance with her to cheer her up — to bring joy and happiness to their lives. Though it was a perfectly good idea and would be a great scene, I told him that the story was about her poisoning him, and his being ‘joyful’ or ‘loving’ early-on might make Julie second-guess what she’s doing (too early). I knew where it was coming from, though — and what Larry’s intentions were: It was coming from the light that is Larry — in real life he’s a beacon (rather than a black hole).
“… In a couple weeks White Knuckles will play at the Derby City Film Festival where both Larry and Martie Ashworth have been nominated for Best Actor & Best Actress — and a few weeks after that the film continues to the Buffalo-Niagra Film Festival. As the film continues to get out there, I am indebted to Larry for the performance he gave and the friendship that was forged. Larry, I want to close by saying you are an amazing actor, and a fantastic human being, and I’m grateful that we created something wonderful together that will outlive us both. Congratulations on being Historical Society’s honoree, you deserve it and many more good things are yet to come.”
Kevin K. Shah Director White Knuckles
Below are some thoughts inspired by what I was hearing at the WHERE DO WE GO FROM HERE symposium hosted by Jerry Zucker at the Samual Goldwyn Theater (and presented by the Academy of Motion Picture Arts: Science and Technology Council).
Some are things I heard and scribbled down, some of what is below are just thoughts I’m having. The presenters were Alex McDowell, Science and Technology Council member and production designer (“Minority Report”), Ed Lantz, immersive art and entertainment expert – particularly with Digital Dome Movies, Eric Haseltine, neuroscientist and former NSA expert (among several other interesting occupations and the most riveting IMHO), and Jordan Weisman, transmedia storytelling expert who offered a lot of fresh ideas and enthusiasm. Many people left before it was all through (as this may have been a head-splitting evening for most) but if you missed it, here are some take-aways that I found valuable to think about:
The FUTURE of Transmedia Storytelling & Storytelling in general.
*We will see a mostly “3-D web” interactive environment (and even more games) all of which will be customizable by the user. I.e. stories generated by the user. *“Mixed Reality” can be a term to classify the varying degrees of innovation coming from Augmented Reality to Virtual Reality that will affect our “Real Reality” — if I can call it that. *Spatial immersion displays such as Digital Dome Movies will become the norm, and preferred until technology allows an immersive experience at home. This will also lead to new side-effects from watching more intense, realistic stories — on our brain chemistry and psyche. *Holographic Audio – an arrangement of speakers that delivers sound to all points of the room (imagine hearing the drop of water on screen right next to your ear) is coming shortly. *Screens themselves will become only one method of consuming content, and screens will also be an instrument of the past. Most images will be holographic. All the speakers nodded their heads when “Screens will become an instrument of the past” was said.
The kinds of Transmedia Stories we will see/could make: *There are at least 4 types of stories that can be told. Linear (as we know movies), Branching – like a tree of experiences and stories (as we know games), Audience Driven “Sandbox” stories (as we know a game like Second Life), and Virtual Worlds – where audience creates stories within the creator’s parameters. *Audience helping to tell the story is true Transmedia. *Story will and should become pervasive and happen at all times in the user’s experience. *Younger audiences will demand explorative/collaborative stories over traditional fare (like films. Sorry films.) *The big question is: how do you get audiences to tell stories to each other? *When it comes to gaming, or any interactive experience — we’re not in the technology business, or even story business — but the business of human behavior. *People are looking for: Intelligence, Ubiquity, Realism/Quality, a Social experience, and Novelty. People are really looking for: Simplicity / Simplification, New Experiences, Enhanced Relationships, Mastery. All this applies to Gaming, the Web, Interactive experiences, and Transmedia.
Technologies and Human Behavior
*Moore’s Law states that every 18 months in Technology — performance either doubles, or costs fall by a factor of 2. And most tech companies expect Moore’s law (which has been around for over 40 years) to be in effect for another 10 years. After that, no one knows. Can you imagine what technology we will see therefore in 2020? *The idea of brains being connected to technology – physically – is here. It is being used in stroke victims, but imagine the implications once medicine is through? *The creator of the web has stated that he expected that the largest companies on it will do the following 1) simplify (Google) 2) socially connect (Facebook) 3) satisfy sexual urges (Porn). Most of the internet would be dominated by these 3 factors – he predicted. *Monoculture loses, Diversity Wins. This is coming from an evolutionary biologist. For creatives this means that add diversity in what you are doing / can do — to survive. I.e. create many things at once, not just one. We are encouraged to spread ourselves thin, rather than focusing on only one thing. *Our children’s brain chemistries are/will be different than our own. Their cortex structure is different. They have the ability already to watch television, be on the computer, and text and talk on the phone at the same time. This is unthinkable for our grandparent’s generation – even when they were the same age as our children today. This is because their brains were not wired to allow it. Our children’s brains are being wired in a new way. Our children will be the first to come into a fully interconnected world. *When the phone arrived, it used to be “What happened to letter writing?” Now that text is here “What happened to talking on the phone?” and we’re writing again. Note this cycle. * Also note that so far, no new technology has completely replaced an old technology when it comes to art/entertainment.
December 2, 2010
Sabi Pictures Facebook Fans: Thank You!
We recently received this FB message to Sabi from Saatha, a very young and talented fan of ours based in Bangkok, Thailand. Saatha is an amazing artist and animator, and he’s having to put on hold several of his creative endeavors for his mandatory service in the Thai national army. However, he’s going to let us know when he’s out and we hope to collaborate with Saatha in the near future. If you have a moment, check out some of his work. An amazingly gifted artist at such an early age. Hope the Army treats him well.
Here was his message to Sabi on Facebook. I don’t know how he found us, but every time a fan like Saatha that reached out to us like this — it really fills the well. We’re grateful to know each one of you is out there pursuing your own dreams and never get tired of hearing it. Here’s what he wrote:
Hi kevin am a young artist in bangkok (Thailand) I just watching boss of me.
but that not a first movie of sabi I have seen I know your film only can watch on youtube six month ago. I can tell ‘ I love your film “ and love the way your like.
I not a rich man too but I have dream like sabi film this message is just some inspiration (if you feel like that) to your company.
Do you know your film makes me want to be a Director from young man in poverty country.
If you make movie from low budget but you not low I think you’re not the dead tree.
:D Sattha Saengton bankok Thailand.
The last line refers to an iconic moment from our web series Boss of Me where Bret Donovan is commenting on the Sabi Pictures logo, and suggests that we find something better than a dead tree. Saatha, like all of us, disagree with Bret…