Posts Tagged ‘j.l. carrozza’

GoT YouR NosE

February 8, 2008

So about two weeks ago I filmed my newest project entitled “Got Your Nose.” I came up with the idea after I saw good’ol Spencer Hensel playing the leading role of Winnie The Pooh in a play here at Emmanuel of the same name. Or it might have been called The Merry Adventures of Winnie The Pooh, which is coincidentally the same as the alternate title to the project, which I made up while writing the credits. That decision had a purpose; the alternate title must be one that included the element of Winnie The Pooh without giving away any jokes; otherwise people searching desperately for pseudo-sexual Winnie the pooh films would never find mine except through the tags, and tags are never as good as titles for searches man.

The mechanic of the story by which my character suffers from a mental snap came about for no other reason than my girlfriend and I continually kept getting one another’s noses around the time I saw the play as children often do. One does this by placing the middle and index finger approximately 1.5 inches apart and reaching in a claw-like fashion for the other’s nose, it can hurt if done with skill.
I filmed everything in one day in the basement of Kate Noyes’ and Jake Quilty-Dunn’s apartment in Mission Hill. Jake played the character of the white rabbit who deus ex machina style shows up at the end and rescues the heroine, reinforcing the hetero-normative patriarchal need for all women to be rescued and need the help of men. Jake also plays all of the music in the video, including a cover of Tom Waits’ Innocent When You Dream on Neil Cicierega’s little chord organ, George Harrison’s My Sweet Lord on his own mandolin, and a very creepy original piece I have since titled Blood Rape on my own banjolin. Just to clarify, a banjolin is a legitimate instrument in its own right; it is a hybrid of a mandolin neck with a small drum base like a banjo, but it is not simply a hack and glue mishap of the two. And just to clarify once more, I know that Jake doesn’t actually live at Kate Noyes’ apartment, but he’s almost always there when I’m there, and they’re going out so they don’t really mind when I call it that, and saying Jake and Kate’s place just has a better ring to it than simply Kate’s. But that’s just my opinion.
The most important contributor to the project I have yet to mention so far is that of Jules, aka, J.L. Carrozza, writer, director, editor, and producer of his own low budget studio, Gen-Y Films. Jules shot and directed the entire project with only minimal help from me, for I was in a cumbersome bear suit and trying to focus as much energy as possible into getting into character. That is a lie, it wasn’t really hard to get into that character, but it was really fun to give the camera over to someone else who I trusted so I didn’t have to do everything myself. Filming went smoothly, Jake and Kate were a lot of fun all night, Jules had a lot of clever filming ideas that would have never come to me if I was filming by myself, and our lead heroine, Emily Grace, didn’t even mind being chaffed by the ropes we used to tie her up.
The project was originally going to be Kate as the heroine, Jake as the rabbit, and myself as the white rabbit, but once I got to the apartment, Jake took one look at the suit and refused to wear it. In the meantime Kate read through the script quickly and agree to do it, but so then it would be myself as Pooh and Kate still as the victim. Then we talked some more about the project and decided that if the reason I was having Kate play the female protagonist was because she was dating Jake so it would be more comfortable. Then we decided that even though Kate was willing to play the role, Emily Grace was too and so we decided to have her tied up so that I still had the comfort of a couple working together. Then I silently questioned why we had dragged three people and a bunch of heavy stuff from Emmanuel when I didn’t actually use any of the people who lived there. Then I figured that the basement of Kate and Jake’s place was creepier than anywhere I had access to at Emmanuel, and I justified my own flawed logic.

Jules came over the next Wednesday and we started editing the raw footage after dinner. He brought his portable hard drive and laptop so that we could transfer the footage onto his computer and work from there, but after about an hour and a half of trying to re-compress and chop up many gigs worth of stuff, I decided that we should just chop it up on my computer. Jules agreed.
Jules and I had decided while filming that the project really belonged to both of us now with him shooting it, me writing it, and both of us editing together. We also weren’t sure whose youtube channel to upload the project onto, but there was a pretty unanimous vote between us (all both of us) that it would get more viewers on mine. However, there were artistic choices that Jules wanted to make on the final cut that I didn’t agree with, especially when it came to the use of copyright protected music. Jules wanted to score the entire project with music that he didn’t own; I did not. The songs he chose were appropriate to the story, including one my favorites from Neon Genesis Evangelion, but I have been trying to maintain a strict no-copyright rule on my work. Jules also wanted to do a lot of heavy color correction, which I had no problem with but we ran out of time that night before Jules had to get back to the train. We decided that we’d make a rough cut of the video and he’d upload one version and I’d upload my own, each to our channels and each with our own little quirks. If you look, Jules’ is converted into a completely different format for wide screen than mine, and his color corrected is radically different.

The end result was pretty good. I got a couple of honors in “comedy” for the first day and people really appreciated the differences between Jules’ and mine. As of now I’m pretty sure it’s one of the biggest hits on Jules’ channel. I’m also pleased to see that a lot of people prefer Jules’ cut to mine, which I think is reflective of the fact that we both had equal hands in so much of the work before we even got to editing that a lot of the decisions Jules made while filming reflected well of and ran smoothly with the decisions he made in the final touches. Our two styles merged well and seemingly seamlessly, and so far it’s been a success for everyone involved.
One a side not, I just recently recorded a few songs, including a lot of original material, with Jake the other day. Also, Spencer went home twice this week and recorded some very promising recordings that will make their way into one of the next 1-3 projects. That’s all for now, I’ll update when there’s a new video.