Scarecrow Video: 30 Years of Bringing People & Film Together

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Scarecrow Video: 30 Years of Bringing People & Film Together

1988: Die Hard premieres in theaters. Nirvana plays their first show. Sub Pop Records forms, and a few hundred video tapes are offered for rental in the back of a record store where George Latsios greets customers with his familiar call of, “Hello, my friend!”

2018: Scarecrow Video celebrates 30 years of being one of the most important film and television resources in the country! The original stock of 600 tapes has grown to over 131,000 titles and isone of the largest publicly available video collections in the world.

This beloved Seattle institution is currently positioning itself to be the leader of making videos relevant in our digital age. Scarecrow established its world-renowned reputation during the video revolution, and is continuing to reinvent itself by undertaking the challenge of how we think about videos.

With a staggering collection of titles nearly three times the number offered by major streaming services that puts them in league with the likes of The American Film Institute and The UCLA Film and Television Archive – they are well positioned to do so.

In honor of their landmark annivesary, Scarecrow is launching a 30th Anniversary 30 Years of Scarecrow Fund Drive. Gifts to this campaign with sow the seeds for Scarecrow’s next 30 years … and beyond.

    In the past, our understanding of videos has been a commerce-based one – videos equal rental or sales. Video stores were the place you went on Friday night to get your entertainment for the weekend. While in some areas that may still be true, for significant collections like ours, a new perspective is needed. We don’t view our movie and television assets as what was historically thought of as cheap, disposable entertainment, but rather as significant documents of our cultural history. We cannot sacrifice the richness and diversity of over 125 years of human history from all over the world just for the sake of ease. Ever.
    — Kate Barr, Scarecrow Video's President

    DID YOU KNOW?

    • Major streaming services have a combined total of ~35,000 titles compared to Scarecrow’s 131,000+ titles. The internet, and video-on-demand may offer greater access to all forms of entertainment -- but you still can't find everything on streaming or even close to everything.  Not only that, but Scarecrow continues to grow its collection by 3,000- 5,000 titles each year, while many streaming collections are shrinking.
    • 80% of Scarecrow’s rarest movies are not held by the Library of Congress.Scarecrow’s collection represents the deep wells of our cultural history spanning over 125 years, and includes many rare, out-of-print, foreign and independent films. Scarecrow is proud to hold films not just about marginalized storytellers, but by them as well, and they hold these works to be of equal importance as Hollywood blockbusters. Unique to Scarecrow is an expansive foreign section – including region coded titles - which represents 129 countries and over 126 languages other than English.
    • With over a quarter of US households without internet access, the digital divide persists.  This means that physical media, like DVD & Blu-rays, will continue to be produced by most distributors.  Scarecrow anticipates that its collection will continue to grow with both new and historical content for the foreseeable future. Further, Scarecrow offers a solution that gives viewers complete control of their experience and the freedom to fully explore their curiosity.
    • Scarecrow Video is now a non-profit. By 2014, the collection had grown to become so significant that a non-profit was formed to continue its stewardship. This change in model has allowed Scarecrow to not just remain a Seattle icon, but also to develop unique outreach programs to connect more people with film. Foremost in their mission is that these cultural assets remain accessible for current and future generations.

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    TAMP Episode 18: Sam Berliner

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    TAMP Episode 18: Sam Berliner

    Episode 18: Sam Berliner

    Sam Berliner (www.donutfilms.org) is a Seattle-based filmmaker and animator best known for his engaging and accessible films about gender non-conformity. His award-winning short films, Dating Sucks: A Genderqueer Misadventure, Genderbusters, Perception and Float have screened at over 200 film festivals around the world and are distributed by CFMDC. When not actively making films, Sam is the festival director of Translations: Seattle Transgender Film Festival, as well as a Senior Programmer at Three Dollar Bill Cinema. He leads workshops and gives presentations about gender at various organizations and schools. He is in pre-production on Episode 2 of the Dating Sucks webseries and is the founder of Queer Scouts Bay Area and Queer Scouts Seattle, hosting monthly skill-shares for LGBTQA adults. Sam graduated in 2005 from Smith College with a BA in Film & Theatre and earned an MFA in Cinema from San Francisco State University in 2013.

    Smarthouse Creative's Brad Wilke sits down with Sam Berliner, director of Three Dollar Bill Cienma's Translations: Seattle Transgender Film Festival, to talk about Berliner's work at the festival, his own filmmaking career, how he connects with his audience, and what to see at this year's Translations (May 3-12 in Seattle). They also cover Berliner's efforts building an IRL community at Translations and the importance of trans education & allyship via partnerships, panels, workshops and screenings.

    You can check out Sam's Facebook page here:
    smrths.com/SB_FB

    You can check out the Translations Film Festival website here:
    translationsfilmfest.org/

    Visit Sam’s current projects on his website here:
    www.donutfilms.com

    TAMP music by Dude York.

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    TAMP Episode 17: Heather Brown

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    TAMP Episode 17: Heather Brown

    Episode 17: Heather Brown

    Heather Brown (www.mindthebirdmedia.com) is a PR and events professional currently providing publicity, production, and communication services to individuals and literary and cultural organizations from her home base in Portland, OR. She activates her extensive network, her background in public education, and a master’s degree in creative writing to approach each job with inclusivity, rhetorical sensitivity and service-oriented, trust-based leadership.

    In this TAMP episode Smarthouse Creative talks with PR and events professional Heather Brown about her work as an editor & social media manager at YesYes Books and launching her own communication and events company, Mind The Bird Media. Brown has extensive experience with audience building for artists & authors with a focus on creating authentic connections, which she'll discuss, in addition to describing her approach to building buzz for her new company.

    You can check out Heather's Facebook page here, www.facebook.com/mindbirdmedia/

    Visit Heather’s current project "Mind The Bird Media" at this site;
    www.mindthebirdmedia.com/

    TAMP music by Dude York.

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    TAMP Episode 16: Alexandra Billings

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    TAMP Episode 16: Alexandra Billings

    Episode 16: Alexandra Billings

    Alexandra Billings (www.alexandrabillings.com) is an actress, singer, author, teacher and activist. Currently, Ms Billings plays Davina on Amazon's Emmy and Golden Globe Award winning hit TV show Transparent. In 2005, Ms. Billings played Donna, opposite Katherine Heigel, in the ABC film Romy and Michelle: A New Beginning. It was the second time a transgender actress played a transgender character in the history of television. She's had guest starring roles on How To Get Away With Murder, Grey's Anatomy, Eli StoneE.R., Karen SiscoNurses opposite Lynn Redgrave, and playing opposite Dot Jones in the Ryan Murphy pilot Pretty/Handsome, co-starring Blythe Danner and Robert Wagner. She finished her first feature film role as a non Trans character in Valley of Bones in the spring of 2016. She is the recipient of five After Dark Awards and one Joseph Jefferson Award. 

    Ms. Billings' activism stretches across the continent. She has won the TPA Award and the Rainbow Spirit Award, and she was inducted into the Gay and Lesbian Hall of Fame in Chicago in 2007. Living with AIDS since 1995. Her life story “From Schoolboy to Showgirl, produced by Alex Silets for PBS television, was nominated for an Emmy for Best Documentary.

    In this TAMP episode, Smarthouse Creative's Brad Wilke talks to actress Alexandra Billings about her role on Transparent and her experience communicating with her growing audience. Alexandra discusses how she navigates her personal vs. public persona, how living publicly as a trans actor has informed her career, and what she believes her responsibility is being a part of the Transparent cast. Alexandra’s work is inspired by, “allowing more people to be heard, bringing more people in.”

    You can check out Alexandra's Facebook page here, bit.ly/AlexandraBillings_Facebook.

    Visit Alexandra’s current projects Transparent and Valley of Bones at these sites;
    bit.ly/TransparentTVSeries
    bit.ly/Valley_of_Bones_Movie

    TAMP music by Dude York.

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    Movies You Should Watch (& Fund) This International Women's Day

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    Movies You Should Watch (& Fund) This International Women's Day

    Wondering how to best curate your watch queue tonight, to give some love to, and get some inspiration from, female-powered films? We got your covered: 

    The Goddess Project
    This documentary comes out TODAY on Amazon and iTunes (or you can order yourself a DVD)! What better day to watch it?!  Determined to empower the feminine voice, two filmmakers packed their lives into a school bus and hit the road for what became the most transformative adventure of their lives. Through powerful conversations with over 100 women from different walks of life, The Goddess Project gives an intimate look into the collective experience that women in the United States face today.

    Arcadia Flats
    Arcadia Flats is a cinematic 360 horror experience that follows Alice (Jessica Martin) as she attempts to outrun supernatural forces. Ivan (Evan Mosher) comes across her car on a dark, deserted road. Will either of them survive the night? It's directed by the new VR company Electric Dream Factory, co-headed by the Lacey Leavitt. 

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    Personhood
    Today's a perfect day to support this in-production documentary exploring the criminalization of pregnant women, as seen through the eyes of a young mother swept up in dangerous new laws. They currently have a match on campaign donations up to $5000, so it's the perfect time to donate to help them reach their goal! Personhood is directed by Joanne Arranger and produced by Rosalie Miller. 


    America Rise
    What better day than International Women's Day to support this feature documentary, that will explore the phenomenon of the Women’s March on Washington, which became the largest one-day protest in U.S. history. The film will examine why and how millions came together in solidarity to march through small towns and big cities nationwide. The spirit of the movement began with a single march and quickly swelled into hundreds across seven continents. The story will concentrate on the United States while keeping viewers aware of the global significance.

    Smarthouse is lucky to work with many talented female filmmakers! If you're looking for even more great docs to watch this week, check out this recent list. 

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    A Colorful Celebration: Seattle Jewish Film Festival March 10-18 & April 14-15

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    A Colorful Celebration: Seattle Jewish Film Festival March 10-18 & April 14-15

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    Team Smarthouse client Seattle Jewish Film Festivalpresented by the Stroum Jewish Community Center, is an important part of Seattle’s cultural mosaic, offering a diverse spectrum of films that celebrate Jewish and Israeli life, culture, history, and cinema. 

    This year, SJFF salutes Israel's 70th birthday. Almost half of this year’s “isREEL Life”-themed festival showcases a prismatic variety of Israeli films, from student productions to award-winning, internationally acclaimed directors like Eran Riklis. 

    Over 21 special guests are slated to attend the screenings, including directors, actors, producers, musicians, and expert speakers that will introduce films and lead post-film discussions. 

    The Festival takes place March 10-18 at venues around Seattle and on Mercer Island. SJFF is also extending its reach to the Eastside, April 14-15, at Regal's Cinebarre Issaquah 8, showcasing four additional films.

    Seattle’s Opening Night will feature the funny and touching mob caper Maktub by Israeli Director Oded Raz, followed by a delicious Tom Douglas dessert party. Sunday’s Matzoh Momma Brunch Film features Jewish comfort food, klezmer music, the film Land of Milk and Funny, and film subject and comedian Dwight Slade will do a stand-up set.

    At the Closing Night Centerpiece on Mercer Island, Emmy-nominated filmmaker and internet pioneer Tiffany Shlain will be honored with SJFF's REEL Difference Award before she presents “Spoken Cinema”—a new, interactive, documentary art form, featuring live narration of her acclaimed films on stage—followed by a closing reception. 

    SJFF's new Eastside Opening Night kicks off with the illuminating and entertaining documentary Shalom Bollywood, about Indian-Jewish screen legends, and includes a free popcorn and a beverage for ticketholders. The final Eastside film will be Across the Waters: a gripping story of survival and rescue. 

    Tickets and passes are on sale now! Get yours, and join us for colorful celebration of Jewish and Israeli life, culture, and history. 

    General admission tickets: $12-$15  |  Special events: $20-$25 | 8-packs of discount tickets: $100-$125  |  Full passes: $200-$225 | Senior tickets available  |  SJFF accepts TeenTix

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    THREE SMARTHOUSE TIPS FOR BUILDING YOUR SOCIAL AUDIENCE

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    THREE SMARTHOUSE TIPS FOR BUILDING YOUR SOCIAL AUDIENCE

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    At this point you probably feel like you’ve heard it ALL when it comes to advice on how to build your brand’s social media audience, but since we do things a little differently at Team Smarthouse, I wanted to share three quick tips that cut through all the “growth-hacking” jargon and “guru wisdom” out there.

    1) DON’T WORRY ABOUT THE NUMBERS
    This is the very first thing I like to tell Smarthouse clients. The goal of building an audience for your brand vs. the goal of reaching “at least 1 million followers” are two very different things. Setting a goal to build a huge following is a recipe for madness and despair -- and buying followers is not an option I’d ever recommend to ANYONE. In short, it’s better to build a small and loyal audience of fans who will help you spread the word and grow your audience slowly than it is to have thousands of random followers paying zero attention to your message.

    2) USE YOUR AUTHENTIC VOICE
    Just like IRL, people are going to know if you’re faking it or trying too hard on social media. Finding your authentic voice for social is about your brand -- but it’s also about you. Your brand should reflect the passion of your project, and the core of what it means to you. Use the same voice in your online social posts that you use when talking to friends in person; more followers will connect and engage when they can identify with the personality behind the brand.

    3) ENGAGE WITH YOUR FOLLOWERS
    Think of every post you make as a conversation with your followers. That doesn’t mean you have to actually include “comment below” in every post, but create posts that will prompt a reaction, whether it’s commenting, liking, or sharing -- and then remember to actually reply and engage with any audience comments, reactions, and shares. Even just a simple “thank you” goes a long way, letting your audience know you’re paying attention and that they’re important to you.

    That’s it! Loyalty + Authenticity + Engagement = a strong social audience that will help spread the word about your brand, create buzz for your project or product, and contribute to your success.

    Looking to learn more? Drop us a message and we’ll send you a free quote!

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    MOVING AND FUNNY “AMERICAN HWANGAP” AT WEST OF LENIN FEBRUARY 1-25

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    MOVING AND FUNNY “AMERICAN HWANGAP” AT WEST OF LENIN FEBRUARY 1-25

    What happens when the patriarch of an immigrant family returns to his west Texas home after spending the last 15 years in his native Korea? Find out when you get tickets to Lloyd Suh's critically-acclaimed AMERICAN HWANGAP, at West of Lenin February 1-25! 

    Directed by AJ Epstein and featuring a talented cast of local favorites including Michael Cercado, Kathy Hsieh, Mara Palma, Stephen Sumida & Moses Yim, AMERICAN HWANGAP is the funny and moving story of a Korean-American family and their uneasy reunion with the father who left them 15 years ago.

     AMERICAN HWANGAP CAST [Photo credit: Michelle Bates]

    AMERICAN HWANGAP CAST [Photo credit: Michelle Bates]

    This engaging play tells the story of Min Suk Chun, who some 15 years earlier left his family in a West Texas suburb to return to his native Korea. On the occasion of his 60th birthday (hwangap), a milestone signifying the completion of the Eastern Zodiac and a type of rebirth, he returns to his ex-wife and now adult children as they struggle to reconcile their broken past with the mercurial, verbose and often exasperating patriarch now back at the head of the table. Through a tense birthday weekend filled with humor, heartbreak and half-filled expectations, this American hwangap and its aftermath bears a family not quite whole but still somehow transformed, and not quite happy but still somehow beautiful.

    About the Playwright
    Lloyd Suh is the author of Charles Francis Chan Jr's Exotic Oriental Murder Mystery, The Wong Kids in the Secret of the Space Chupacabra Go!, Jesus in India, Great Wall Story and others, produced with Ma-Yi, Magic Theatre, Ensemble Studio Theatre, The Play Company, La Mama, Denver Center Theatre Company, ArtsEmerson, The Guthrie Theatre with Mu Performing Arts, East West Players, and internationally at the Cultural Center of the Philippines in Manila, and with PCPA in Seoul, Korea.

    CAST: Michael Cercado (Ralph Chun), Kathy Hsieh (Mary Chun), Mara Palma (Esther Chun), Stephen Sumida (Min Suk Chun), and Moses Yim (David Chun)

    Directed by AJ Epstein || Produced by West of Lenin || Fremont's Venue for Live Theatre

    Dates, showtimes, and advance tickets available here: http://bit.ly/AmericanHwangap 

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    Driving iTunes Movie Pre-Orders with Facebook Ads

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    Driving iTunes Movie Pre-Orders with Facebook Ads

    If you’re an independent filmmaker with a feature film that’s currently on the festival circuit, you’re probably already planning the marketing campaign for your VOD release. And if you’re not, you should be because hundreds of new movies hit platforms each week, and it’s easy to get lost in the shuffle. 

    If you’re serious about making a splash, you need to be serious about your marketing campaign. But, that doesn’t mean you have to spend a fortune on your ads in order to make it work. You do, however, need to be smart about your platforms and your audience targeting.

    Each film has a unique set of attributes, which means that each film requires a creative approach to reach its best-fit audience. The following case study (the first in a series) will help illustrate, in practical terms, how an independent filmmaker might approach this data-intensive process.

    Case Study #1 — Adele and Everything After

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    Adele and Everything After is an award-winning, feature-length documentary from director Melissa Dowler. Following a successful festival run, the film was picked up for distribution by Gravitas Ventures and will make its VOD debut on January 30, 2018. 

    Smarthouse Creative was hired to manage the strategy and execution of the marketing campaign for the film’s digital release with a focus on driving iTunes pre-orders. With a limited budget, our goal was to position the film alongside major studio releases (and well-funded “indies”) on the iTunes pre-order charts to increase its visibility and overall title awareness among potential customers. Success during this phase of the campaign would be measured by the film’s rank on the pre-order charts.

    Drawing from both the filmmaking team’s audience data and our own understanding of the film’s themes and potential audience affinities, we built a primary audience profile within Facebook’s ad manager and developed ad creative that would likely resonate within this group. 

    Step One — Top-Level Demo and Geo-Targeting

    After considering a number of factors, including festival screening locations, demonstrated and/or historical interest in independent film (especially documentaries), and relative size of various metropolitan areas, we arrived at the following top-level audience attributes:

    ADELE - Demo targeting 1 - Case study.png

    Step Two — Granular Audience Interest Targeting

    Once we had determined the general characteristics of our audience, it was time to dive deep into the “interest” categories that would help us precisely target Facebook and Instagram users likely to pre-order the film based on its themes and subject matter.

    ADELE - Interest targeting - Case study.jpg

    Step Three — Creative and Copy

    With our audience targeting set, it was time to build our ads. For this pre-order campaign, we wanted to A/B test a pair of film stills that were already performing well in organic Facebook posts, as well as a teaser trailer. The following screenshots are representative of the ads as they ran on both Facebook and Instagram.

    ADELE - FB ad - Case study.jpg

    Step Four — Ad Metrics

    Again, with a limited budget, there wasn’t much room for error, especially when it came to audience targeting (and subsequent revisions). What follows is the complete first phase ad metrics as viewed in Facebook’s ad manager.

    ADELE - FB ad metrics - Case study.PNG

    The still images were running for longer than the teaser trailer, but you’ll note that the overall cost-per-click (CPC) was just $0.20, a remarkable return on investment (ROI), especially for that budget. However, it’s not enough to just have a low CPC when you’re trying to sell movies. The real measure of success, if you’re being honest with yourself (and your clients) is how the film fares on the iTunes charts, where it will be competing with major studio releases and well-known indie films with much better title awareness.

    Step Five — Outcomes

    In this case, the low CPC (and high number of link clicks — 2486) allowed us to position Adele and Everything After at the #6 position (behind major studio releases, yet in front of titles with much larger title awareness) in the iTunes Movie store:

    ADELE - iTunes - Case study.png

    Due to the unique nature of each film, there are plenty of variables above that will need to be determined for your specific campaign, but, by following our basic approach, you’ll have the best chance of success (on average, of course).

    Click below to tell us about your latest project: http://www.smarthousecreative.com/free-quote/

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    Creating The Memory of Fish Soundtrack: The Sonic Worlds of Man, Memory, and Nature

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    Creating The Memory of Fish Soundtrack: The Sonic Worlds of Man, Memory, and Nature

    The Memory of Fish, narrated by Lili Taylor, is a documentary portrait of one man and his fight to free a river. It premiered at the Seattle International Film Festival in 2016 and is now available on Amazon Video and DVDiTunes, Google Play, and coming soon to other platforms. This feature documentary, six years in the making, follows the life story of mill worker-turned conservationist Dick Goin, who dedicated his life to restoring Washington State’s Elwha River by battling for the biggest dam removal project in U.S. history. His goal: bring the salmon home. 

    Producer/Director Jennifer Galvin, Film Composer Gil Talmi, and Sound Designer Gisela Fulla-Silvestra sat down to talk about their process of merging film, music, and sound for The Memory of Fish at Talmi’s music studio in the Brooklyn Navy Yard.

    PART 1: MEETING OF THE MINDS

    GIL TALMI: I moved my studio into the Brooklyn Navy Yard almost a decade ago. The space overlooks Manhattan and the East River. The East River is powerful and dirty and Kramer once had a swim in it, which I would personally never do, although the thought usually crosses my mind around mid-August when NY becomes a sweltering schwitz fest.

    JENNIFER GALVIN: After working with editor Erin Barnett for a year, who is one of the most talented editors I’ve worked with, getting to the music and sound phase of post-production was very exciting. Gil is a musical mad scientist, and I figured he must really like fish. I absolutely love being in a music studio and I was hopeful the camaraderie would be strong, which it was.

    TALMI: For the sound design, Gisela immediately jumped to mind as the natural candidate for the gig. An inspiring and innovative composer and recording artist, I knew she would understand the delicate musicality that the film required both on the music and sound design end. This is not a film where the two need to be in competition with each other, as in so many others films. For this film, all elements needed to share a symbiotic space, as in nature itself.

    GISELA FULLA-SILVESTRE: When Gil first approached me to work on this film, I was very excited to work with him. He’s a rare person, talented beyond limits, and generous and light hearted at the same time. And, to work on a story that takes us underwater was even more exciting. When I first talked to Jen, it was very clear how both the underwater world and Dick’s inner psychological reality were so connected, which, to me, made the film very special. So we decided to play a lot with that through sound, creating very sensorial universes. I wanted people to feel the movement of the salmon, their habitat, and create subjective soundscapes to understand Dick’s process, his fight, his ideals, his struggle, his memory.


    PART 2: THE MUSIC

    GALVIN: I remember that Bowie had just died. After our first spotting session, I offered Gil and Gisela a North Star word for the project: Create. That word perked up all of our ears. It felt like a rare charge and opened an interesting conversation: ‘Nobody ever says that anymore: Create. When do people truly ask us on a production job to just go for it, and give the license to do so openly and freely? Yeah, let's do THAT.’ Soon after, Gil and I also made a pact not to provide each other with any inspirational music sources for what this part fable, part biography, part nature film should sound like. Create!

    TALMI: When we all started working together, there was something very inspiring about sitting right next to this vast city river, the East River, while scoring a film about the Elwha River. Both rivers are very different in nature, but it’s as if the water connected us directly to the source. Our creative process had a wonderful flow to it, building on each other’s ideas in a fun and sinuous dance. Jen is one of those courageous directors who really knows how to bring out the very best in everyone. She gently extracts collaborative ideas rather than impose predisposed ideals. I was excited that the Mother-32 came out just in time to be used as the main instrument in the score. I fell in love with it so completely that I had to buy another one (and am seriously contemplating a third). The Mother scoring Mother Nature… how appropriate is that? I love the richness and roundness of the tones it can produce. I was able to create these resonant atmospheres that don’t sound like they are coming from electronic circuits at all, but rather as if recorded down below on a dark and distant riverbed, or deep within the salmon roe, just as life begins to unfold.

    GALVIN: I affectionately named the two Mothers ‘The Magic Clam’; when the two are stacked, they look like a clam. Nature, man, and memory were the main compositional themes. Often times Gil constructed transformative solutions by playing tracks backwards and letting instruments reverberate. I just want to live in those lush, long reverbs.

    TALMI: For the juxtaposition of man versus nature, I decided to buy a Mandolin and record it alongside the textures of the analog synths. There is something haunting about the two sonic worlds flowing in and out of each other, sometimes clashing and colliding, and then coming back together again.

    PART 3: THE SOUND

    GALVIN: Gisela’s process was about water from the start, and she took it literally. She jumped into lakes and streams with condom-covered mics. She made recordings that would enhance the sensations of the Elwha River world and help the audience get inside Dick’s mind. Like an alchemist, she transformed basic natural elements into story gold. Wind blowing, fishing lines whirring, seagulls calling, clocks ticking, water rushing, rain falling, leaves blowing – these were the types of sounds used to bend time and re-imagine the river.

    FULLA-SILVESTRE: Yeah, I wanted the water to be all around the audience. I even recorded underwater movement in my tub to get the big salmon tail movements and deep bubble sounds to help you feel like you’re there with them. It was really important to keep the sound raw during the whole film. I didn’t want it to sound super stylized. I had to keep the intimacy because this is a story about the life of someone who lived to fight for a noble cause, but he did it without huge fireworks and big words, and mostly through small actions and persistence in his everyday life.

    TALMI: I agree. Both sound and music really had to be very gentle in order to not overshadow or drown out the film’s main character. Except for the opening scene, which is more cinematic, most of the music caters much more to the inner world than the outer, whether it’s Dick or the salmon. It’s a kind of gentle meditation on being.

    GALVIN: It’s hard to get people to really feel a river. I think the three of us worked hard to help people understand how and why rivers and fish matter through sound and music, just as much as the film does that through visuals. What does man versus nature sound like? What does memory sound like? And what does memory degradation sound like?

    FULLA-SILVESTRE: I feel very grateful to have been able to work with Jen and Gil on a film that lights a fire in people and maybe helps them connect to their own memories of being near water. It’s always a treat to be part of something that you actually believe in. And, to be honest, the three of us had a lot of fun in the process, learned how to meditate, ate way too much dark chocolate, and geeked the ungeekable at Gil’s synth temple.

    TALMI: The sound design is so beautifully done that I decided to include some of it on the soundtrack. Trying to determine where music ends and sound begins is like trying to decide whether a river’s mouth is its beginning or its end.

    MORE ABOUT THE ARTISTS
    Jennifer Galvin is producer-director at reelblue, LLC – her independent film production and media company based in New York. Learn more at: www.reelblue.net

    Gil Talmi is a film composer with a passion for socially conscious films (and modular synths). Learn more at: www.giltalmi.com

    Gisela Fulla-Silvestre is a sound designer and music composer, and now also the proud owner of a Mother-32. Lean more at: www.imdb.com/name/nm4965098/

    The Memory of Fish soundtrack is available on iTunes, Amazon, Spotify, and Pandora.

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