The garoffice came together today. It is more or less complete. Hoorah!

It features two music spaces. The first is for my Arp Odyssey and X-Station. The X-Station will run Live, as it has for the past couple years. The laptop will fit on the upper shelf between the mixer and Kaoss pad. So awesome. This will probably be my primary composition and rehearsal space. This is where I will work on the SPP and oRSo and My Special Porpoise and SleepWalks and FW? and Kenton Camerata stuff.

The second music station is more focused on My Daddy Ate My Eyes and Copy Lake, bands wherein I don’t use the computer. That station is super old school, with equipment that goes back to my early 90s music days in Carnival De Carnitas and Meow (and Suplex and Pale Ghost and DragKing and oRSo.) It’s all motors and toys and contact mics and bent tape players etc. I really look forward to playing with all that awesome goodness again. And working it into my other rig.

While on the topic ogf music, I worked on SPP4 a bit more today. Remixing Wich-i-tai-to twice. The way Nobu and I mix the SPP records (living on opposite coasts as we do) is a little bizarre. I mix and upload. He listens and calls. We debate, discuss and argue. I make a new mix based on our conversation. And upload it. And then he calls…

About the only other newsworthy 23E/MVM news is that the primary video editing computer, my desktop, was booted up today. It is imperfect. It was a great machine for many years. But ever since I was evicted in November 2007 from the Green Door Studio, it has been unreliable. It won’t run two monitors. It drops external drives. One of the RAID sets has disappeared now (but not one with any valuable data, fortunately.) This makes me sad as I obvs can’t replace this machine and have to log and edit Disembody on it.
Tomorrow, troubleshooting the dual monitors and RAID issues!

But now it’s time for more Vile Dead research. Buffy season 3, a zombie episode entitled, the Zeppo.

Last night I made dinner for a few crew members: Marcella, Alex and Keturah. We were joined by Carol-Anne McChrystal and her boyfriend Andy.
I had been wondering how best to take advantage of Alex’s and Keturah’s involvement. They’re both so multi-talented, and were so instrumental in so many different ways in helping The MVM complete Une Fleuve Maudit, that I really wanted to be sure I had them both in positions where they could cover as many areas as possible. To that end Alex is actually going to serve as Assistant Producer. He’s ideal for this role because of the breadth of his knowledge of film production and post-production. He is a master of Final Cut, DVD Studio Pro and ProTools. He is faboo with any computer. And he is highly skilled with sound and video gear of all sorts. Having him on hand to assist with the filmmaking as well as the theater’s sound and video installation will be invaluable.

Keturah will be working with Carol to create a classic movie palace ceiling for the theater. Individually Carol and Keturah are incredible makers with broad and fabulous visions. Together I am certain they will be able to create a tableau for the ceiling that will be as stupendous as any in theater history. We are discussing casting embossed ceiling panels with a space theme. These will be painted and hung with a variety of crystals, stars and other magnificent decorations to transform the ceiling into as phenomenal a vision as the seats and film itself.
I had been toying with different ways to get Carol onto the project. The idea of her and Keturah creating a ceiling is, I think, ideal for their fabulous skills.

As well, The MVM’s good friend, and incredible filmmaker, Skye Thorstenson will be back from his NYC sojourn in time to join the crew. Skye is a master of FCP and AfterEffects. He wrote and directed the amazing film The Elk Hotel. Having Skye onboard to handle special effects is going to make Disembody a fabulously watchable film.

This morning I sent my lawyer and my copy editor a second draft of the proposal for the two distribution houses. They should get back to me tomorrow. Then on Monday we can get that sent off and see what happens.

As well, another company I can’t talk about openly yet, is a mobile sound producer who may let us use their mobile sound studio to produce the soundtrack. If they come onboard, well that will be pretty fabulous. We’ll get a very high end soundtrack CD produced and ready for the film by opening night for certain with their co-operation.

That’s all for today. I got a lead on a set designer who may be able to put together the architectural elevations and 3D renderings. I’ll follow that up later today.