Posts in category "Random"

clever people and grocers, they weigh everything

It’s been hard to write, though not from a lack of inspi­ra­tion. Far from it; it seems like there’s a smile or tear hid­den in every lit­tle detail of an Autumn day. The prob­lem is I don’t have the time. I don’t reflect on an emo­tion­al rush until I have a chance to write by a win­dow in the dark, and those oppor­tu­ni­ties are get­ting more and more rare.

That means I’m get­ting bet­ter at putting my feel­ings on hold, though no bet­ter at fig­ur­ing out whether that kind of dis­trac­tion is a good idea. I imag­ine it’ll all catch up to me at some point, and I’ll find out soon enough.

girl in doorway

It’s a sure sign that the Cipralex is out of my sys­tem. I’ve decid­ed that being able to feel is bet­ter than being numb, even if that means not know­ing which way things are going to go. Right now, I’m just appre­cia­tive of fru­gal forms of hap­pi­ness again, my lat­est dis­cov­ery being the feel­ing of a healthy lath­er rins­ing clean from your hair.

Maybe my time away did me some good. I lost a week, but I’m feel­ing recharged. I’ve been pro­duc­tive. I’ve been social. I’ve even been exer­cis­ing.

Now I’m ready to begin again.

Matteo Carcassi: Study in A Minor (Etude No.7)

While study­ing this Carcassi étude — and ana­lyz­ing as many ver­sion as pos­si­ble in aid of that — I real­ized that clas­si­cal music is like wine. They’re both based on a cen­tral theme or taste, and it’s the sub­tle dif­fer­ences between the inter­pre­ta­tion of each per­former or wine mak­er that make them unique and inter­est­ing. That’s why you need to lis­ten to a lot clas­si­cal music (or drink a lot of wine) to devel­op a palate. I bet two dif­fer­ent musi­cians (or even the same musi­cian at two dif­fer­ent points in their career) play­ing the same piece would sound the same to some peo­ple for the same rea­son that two dif­fer­ent mer­lots would taste the same to oth­ers.

This is sup­posed to be played alle­gro, but I’ve yet to hear a ver­sion above 105 bpm that did­n’t feel rushed to me, so I pre­fer to play it andante1. Luckily, I enjoy clas­si­cal music, and I can tell the time I’ve invest­ed in devel­op­ing that foun­da­tion trans­lates over to non-clas­si­cal songs, not only in the extra fin­ger pre­ci­sion but in prac­tic­ing tech­niques too.

I’m still using elec­tric strings2, which I’ve had on longer than any oth­er set, cause I love how crisp and brassy the tone is through­out the range. For a piece like this where the melody switch­es between bass and tre­ble, that becomes real­ly impor­tant.

  1. Also cause I’m not good enough to play it that quick­ly yet. [↩]
  2. XL Chromes, warm/mellow, flat-wound, extra light gauge. [↩]

thanks for the trouble you took from her eyes

That lit­tle fur­row was there because you weren’t. That’s why you nev­er saw it, of course. You must think I hate you cause it was the only thing I could­n’t help her with myself. But I could nev­er hate you. You gave her what she want­ed. In the end, that’s all I real­ly want­ed too.

I knew it was seri­ous when I saw your umbrel­la under her bed, back when she hid those kinds of things for my sake. You nev­er real­ized she only took it as an excuse to see you again (not because she was par­tic­u­lar­ly scared of get­ting her meri­no socks wet), the same way you nev­er real­ized how easy it all was for you. That was a sign that you were the right one. I knew it before she did.

If only there was a bit of mys­tery left in you. Instead, I had you pegged by the sec­ond night, and all I can tell peo­ple is that you’re a nice guy, when I want to say you’re an artist, a lover, a fight­er, a wor­thy rival, a slay­er of inse­cu­ri­ties, a break­er of bar­ri­ers, a tes­ta­ment to testos­terone, a hero among men. She deserves more than the painful­ly pedes­tri­an life you’ve giv­en her, but I know she’s had enough of heart­break to think that nor­mal is hard enough to come by. And so I’ve learned that a per­son­’s hap­pi­ness is all that mat­ters, not the dreams you have for them. I guess it’s hard to give up those dreams when you’re part of them your­self.

I want to say I’m leav­ing for some noble rea­son of great impor­tance, but it’s real­ly because there’s noth­ing left for me in this lit­tle town. I used to believe I could escape; even­tu­al­ly I real­ized you can’t out­run your mem­o­ries. Now I’m just try­ing to fig­ure out where I belong. She was all I knew for so long, and now that life is gone.

And so I must tread care­ful­ly with new lovers; it’s impos­si­ble for me to tell my sto­ry with­out that part of my past. That’s why I won­der what she told you about me, about us. About los­ing feel­ing in her face and let­ters you would­n’t know how to write. If she inten­tion­al­ly left any­thing out, or whether our time was even worth men­tion­ing. But the past is still the past, and that’s the only rea­son I can write a let­ter now to the man who saved her with­out ever know­ing it.

Singhouse Studios — Sparkle

Singhouse Studios is a voice and per­for­mance school for peo­ple of all ages, and one night every year the stu­dents per­form in a big show. This year, the show — titled Sparkle — was celebri­ty-themed, com­plete with a melange of hits from the last five decades, a red car­pet run­way for all the stars, and even Ottawa’s local pop heart­throb, Alex Lacasse1.

Music by Five Stripe Studios. Adrian and I worked close­ly to make sure the music had the right kind of play­ful ener­gy to focus on the school’s main demo­graph­ic.

I was asked to cre­ate a pro­mo­tion­al video for the stu­dio, so I fol­lowed the per­form­ers to tell the sto­ry of their day, from the back­stage to the main stage. I felt it was as impor­tant to see all the prepa­ra­tion as much as the per­for­mances them­selves, which is why I includ­ed footage of warm-up rou­tines, prac­tice rit­u­als, and dress rehearsals. I love to see the focus so many of the young per­form­ers have, and much of that comes out before they even step into the spot­light.

  1. Who’s been a stu­dent at the stu­dio for years now. [↩]

collab

I’m very pleased to say that I’m now work­ing with Five Stripe Studios, a tal­ent­ed bou­tique music com­po­si­tion stu­dio, to score my films. Music is one of the most impor­tant parts of any film, and the right music can make great footage look even bet­ter.

Choosing the right music also hap­pens to be one of the most dif­fi­cult parts of the sto­ry­telling process. For one wed­ding, I spent a week look­ing for the per­fect song. When I dis­cov­ered it had an inap­pro­pri­ate line (noth­ing vul­gar, just very unfit­ting for a wed­ding), I spent anoth­er week try­ing to find a replace­ment, but even­tu­al­ly went with my orig­i­nal choice, using audio soft­ware to take the line out.

Kyden’s First was a small project we worked on to make sure we were able to com­mu­ni­cate effec­tive­ly at dif­fer­ent stages of the scor­ing process.

It made sense to find a more capa­ble per­son to han­dle this respon­si­bil­i­ty, and I just hap­pened to come in con­tact with the right per­son at the right time. Adrian is the cre­ative direc­tor of Five Stripe Studios, and not only does he write the music, he sings, plays, and records it as well. I met him in Australia when we were much younger1, and he con­tact­ed me after com­ing across my work many years lat­er.

This not only gives me total con­trol over the music, allow­ing me to choose the right instru­ments, tone, pace, and mood, but I have more options with the footage as well, as I some­times found myself leav­ing out a great scene out to match anoth­er scene with a cer­tain part of a song. Adrian is also a very dynam­ic com­pos­er, and can give me wide­ly vary­ing styles and gen­res; exact­ly what I need when work­ing with all the dif­fer­ent things I film.

  1. I still remem­ber us play­ing NHL Hockey on the NES, which would have meant I was in my ear­ly teens. [↩]