Friday, December 21, 2007
But, OK, whatever. That's not the thing. The thing...the real thing...the thing that gets up my butt is that the films specializing in independent films...the festivals that are filled with the independent spirit (whatever the fuck that means) charge outrageous fees. I just came accross one that is charging $110. And, that's the early bird deadline...AND, it's a European film festival. For shame! You greedy bastards. European film festivals are subsidized by tax euro...your's and mine. Outrageous!
P.S. The picture above is not my ass. Would that it were.
Tuesday, December 18, 2007
Wednesday, December 12, 2007
Friday, December 07, 2007
Today, we watched the cut, yet again. It's clocking in at 83 minutes without credits. Patrick has got a last minute inspiration and wants to cut in a 30 second sequence that brings Daneeta the character back into the film. I'm not sold on the idea, but I'm going with it. Patrick's ideas are usually pretty much on the money. I think my luke-warm reaction to the idea might have more to do with the fact that I'm really tired of the cut, and I just want it to be over. Is that bad to say?
Other than that, I've been dealing with clearances all day, which is the worst possible thing you can do with a hang over.
Jesus save me from myself!
Friday, November 30, 2007
Also put in a request to Universal for "Wherever you will Go." They also own the rights to "I'm just a Girl," which we requested earlier and are still waiting to hear back on. "Wherever you will Go basically ends the film as Aki sings it in Karaoke (hope I'm not giving away the ending here).
Doing all of these clearances sucks. Next time, it will be different.
Monday, November 26, 2007
I really f*@ked up on Rotterdam and missed the festival deadline, so now I'm all paranoid and have to check all my lists on, like, a daily basis. this can take hours.
Anyway, packaged and posted three festival entries and realized I missed the one in Montana. This sucks.
Wednesday, November 21, 2007
Been working at the day job yesterday, today and tomorrow, so haven't had much time to do much, but I have gotten info back on three sets of clearances we are after. So, on Friday, I will make the calls.
Also sending to Festivals on Friday as well. Two well-known "women's" festivals and a few others. As an aside, "Liza" was accepted to the 21st Stuttgart Film Festival in competition. This is an experimental documentary that Patrick directed in February. I Exec. Produced it, and it is an Elektrik Zoo production, so we're quite chuffed.
Tuesday, November 20, 2007
Monday, November 19, 2007
Thursday night...9 p.m. Central London...Robert Rodriguez's "Planet Terror"...10 people in the cinema.
Big trouble in the cinemas, and the online world is taking over. In an article in this week's "Screen International" ("Film's New World Order") producer Ira Deutchman suggests that studios are struggling to adapt to the online explosion and that this is a good opportunity for independents.
I know he's right I just have no idea what to do...how to exploit the markets and audience streams on the Internet. The thing is that I'm not really interested in that part of filmmaking. I just want to make the films and have someone else exploit those markets. But, it's still the frontier.
Sunday, November 18, 2007
"Satisfying...Gripping...There is something about Mark that is darkly sexy. I think he's on his way to becoming a gay icon."
"Engaging...the Cowboys are fascinating characters. I actually missed them when the film was over."
"A tremendous work that precisely captures the reality of the post-modern world of cowboys in Japan."
I'll post more as they come in.
Wednesday, October 31, 2007
In the meantime, Katsura has been working hard on her end to get clearances for all of the Karaoke songs. She's cleared "Ue o Muite," which is the song we plan to use at the end of the film. You can see it performed below by the wonderful Ningyoko. She's also got tentative agreements with some of the other rights holders.
Katsura kicks ass. She was a few years below me at The London Film School and is a director/writer as well as doing fab camera work. Her film Zekuu has been quite successful on the festival circuit. So melancholic and so beautiful...it's very skillfully directed. Check it out if you get a chance.
Sunday, October 28, 2007
Even with sites like WAB and ReelPort, it's bloody hard work. Waaaaaah!
Saturday, October 27, 2007
Thursday, October 25, 2007
We've inter-cut all of the characters, and Patrick had a huge epiphany last night about how to slice and dice them more. He's like one of those Japanese jujitsu knives that they used to sell on late night TV in America. He slices, he dices, he can even cut through corn on the cob. He's finishing off cut 7.3 to hand over to two viewers tomorrow. We're supposed to have the film as close to picture lock as possible by Wednesday. That's when it goes to Simon, our composer. Then it's off to Sweden for 11 days.
Silvia was asking me to think about which bits people will remember when they leave the film. For her, it was Ken...the Jewish boy from New York performing Christmas Mass in his role as rent-a-priest. But, it's funny. Each person that watches the film picks their own stand-out scene. One person said it was Christmas morning with Ken, Aki and the newborn Taiga. The family celebrated a hybrid of Christmas and Hanukkah. Another said it was Hiromi changing Dave's diaper after his butt operation...her devotion to him almost fanatical. And yet another said it was Cloudy, after performing in one of his shows, dropping a tiny girl off his lap. She squealed with laughter even after hitting the ground with a thud.
Of course I like all of the scenes in the film. But, I have to say that I am partial to the pauses...those sort of in between scenes that show Tokyo...complex, ineffable, dense...hiding secrets right on the surface of everything. Shhhh...
Wednesday, October 03, 2007
We are well in the middle of inter-cutting the characters. It is a head f@ck. Patrick will have cut 7.0 done sometime tonight. He says he only has 3 notes. I'm holding my breath. We are so close.
Now, if we can just get around this damn postal strike, we might even make the Slamdance deadline.
Tuesday, September 25, 2007
In the meantime, our composer Simon is working on some ideas for the film. Before getting Jaime's feedback, I went through the film with him to show him music Q's. I seems a bit premature now. I know we are close, but I had hoped that we were closer.
Friday, August 17, 2007
This is the first time we've watched the whole film through without the voice over, and, my God, it's working. There is still loads of work to be done, but it is really coming together. We both made more notes, and PJ is incorporating them into the cut.
We also compared the order of the scenes to the chronological order. PJ was expecting some kind of revelation, but nothing was forthcoming. We're swapping a few scenes around to see what happens.
The ending is still eluding us.
Got asked the question the other day "Sooooooo...what's happening with Tokyo Cowboys." Normally I don't mind this question, but I detected a hint of pity in the questioners voice. Like we've been effing about this whole time and why is it taking us so long and the like. I just want to set the record straight now...neither of us gets paid for any of our work on Tokyo Cowboys. I'm not saying this to bitch about things. It's my fault for not budgeting properly in the first place. It's just that sometimes things move slowly because we actually have to stop occasionally and earn a living. And, as all of you know, earning a living takes a lot of creative energy. No matter how much you love your labor of love, it is difficult to get your ass to the editing suite when you've just worked at 16 hour day. That's pretty much why we are taking so long.
Monday, August 13, 2007
Actually, it's coming along wonderfully. The new direction devoid of personal voice over is like a fresh new start. But, there is that nagging feeling in the back of my mind that if I've spent this long on the film, I should really pull off a masterpiece. The pressure is tremendous. I try to release some of it by thinking that I've done other things in the mean time...I've produced a few shorts, published a few things, worked on a couple of features, etc.
Must not let any of this negativity get in the way of finishing this thing.
So...off to writing, and off to re-visiting interviews, which, by the way, make me very home sick for Tokyo and how easy it is to get by there. I'm a bit fed up with the whole money situation. It's not funny anymore, and I'm getting too old to be living hand to mouth. Enough all ready.
Tuesday, August 07, 2007
Getting criticism is difficult...especially when you think that you are almost at the end. But, all of this has been good for us...not just with regards to Tokyo Cowboys, but as writers/directors in general. It's good to be able to take criticism and use it for all its worth...for the betterment of your art. And, we've been lucky so far. None of our critics have been mean. They've just told it like it is.
Patrick says that, in a sense, we are going back to some original concepts that sort of got lost during the long cutting process. So, we are stripping out all of the voice over, which was problematic anyway, and going back to basics. MG says "Trust the footage," and that was genius. Let the guys tell their own stories. We are not getting rid of the voice over entirely, though. From very early on, we had these sort of post card style voice over bits...bits about Tokyo and her relationship with gaijin. Those will stay and serve as breaths in the film. But there will be only about six of them and probably recorded by a professional voice over artist. My first choice, of course, would be Alexandra Stewart...the most sublime voice of Sans Soleil. But, that might be just too much to ask for...
Wednesday, July 25, 2007
Saw "Running Stumbled" last night at LFS. It was made by a native Louisianian...a documentary about his fucked up family. He was there to give a Q&A, and I had a brief chat with him. But, I was so tired that I couldn't do proper networking.
I am certain that if guys had periods, weed would be legal.
Saturday, July 21, 2007
I think I mentioned before that, after the last feedback session with Martin, Francois, Claire, Barney and Val, we cut out all of the V.O. to see if we really needed so much. It turns out that we hardly need any of it at all. This prompted Patrick to ask the question that's been on both of our minds: Do we need voice over at all? I kind of think we do. But, I'm thinking maybe we don't need it for exposition. We need it for the poetry. That tells a story as well.
Friday, July 20, 2007
Tuesday, July 17, 2007
Today was better. Went to the day job and chilled out. It's funny. Most people get stressed when they go to their day job. But mine is like a vacation. I don't have to think too hard, the people are cool, and there's usually lots of free biscuits and coffee. Sometimes they give us liquor. Where was I?
Oh, yes....the edit. So, Patrick calls me up at the day job and says: "I have an idea." He luanches into it, and, yes, it is the most brilliant idea on how to re-cut Cloudy. He's the one that our test viewers are having the most trouble with. They like him, but he doesn't have an story arc. It makes people wonder why they are watching him. Patrick's brilliant idea gives him an arc.
The beginning is still problematic, but we've left it for now. I like what Patrick has cut for it, but I need to re-work the Voice Over a bit. It's a more personal beginning, and that is making me a bit uncomfortable. It's not that I have a problem with laying my life out for everyone to see. That's what I do with my filmmaking and with my writing. I just have a problem if it's stupid and self-indulgent. But, I guess that's what the test viewers are there for. Trusted people who will tell you if you are being stupid or not.
Sunday, July 15, 2007
Gagan says he saw my post on Fucked Gaijin.
In the background, Patrick is recording my memories off the TV screen.
My voice is so annoying.
Note to self: get rid of some of the voice over.
Saturday, July 14, 2007
It's a bit freaky and sad watching the footage...especially the stuff with Mark and myself. This was all before we knew things were going to break down between us. On an interesting note, there's a bit of Mark and me in Kansas city. I was talking about making films...Mark would make porno videos and fund my more "legitimate" films.
Friday, July 13, 2007
Wednesday, July 11, 2007
There's also way too much narration, so we did an experiment and took all of it out. Patrick is trimming now, and we are going to watch the whole thing without VO tomorrow. It's quite exciting. We had a peek at the first 5 minutes without VO, and it was startling how little you can get away with. I think this shakes things up a lot, and it's infusing us both with excitement.
Monday, July 02, 2007
Daneeta & Patrick
1) HOW DID I GET ON THIS LIST, and WHAT THE HECK IS TOKYO COWBOYS?
2) CUT 4.0
1) HOW DID I GET ON THIS LIST, and WHAT THE HECK IS TOKYO COWBOYS?
"Tokyo Cowboys" is a wholly independent feature-length documentary shot over a two year period. The film provides a fascinating insight into the lives of ambitious Westerners trying to make it "big in Japan." The film was written and directed by Daneeta Loretta Saft. It was photographed and edited by Patrick Jackson. And it was co-produced by Saft and Jackson.
I (Daneeta) have consolidated all of my email addresses from various accounts to compile this master list of interested parties. If you still do not know how you got on this mail out and want to get off this ride, please let us know. Or, perhaps, you'd like to know more. If so, then email me or visit our website at www.tokyocowboys.com or our blog at www.tokyocowboys.blogspot.com, and read on brothers and sisters, read on.
2) CUT 4.0
It's hard to believe, but we have made it to cut 4.0. We are presently distributing this cut to our merry band of test viewers for feedback. Our random sampling of viewers includes fellow filmmakers, film technicians, professional critics, keen cinema goers, and a couple of Joe's off the street.
As you might have guessed, after we lock the picture, we will be turning our ears to sorting the sound. Sound is extremely important in a low budget documentary. It can make or break the sale. We are therefore looking for a super talented Sound Editor to come on board. We have our sources, of course, but if any of you would like to nominate a friend or colleague (or yourself, even), please email me with details.
For those of you reading the blog, you know that obtaining clearances has become the focus of my life. We have issues ranging from people singing Karaoke to music playing in the background at a party...from TV footage to home video footage. There are 67 separate issues to deal with.
As all of you know, we are wholly independent. That means we were funded by investors, angels and lay people, most of whom are not in the film industry (a big thanks to all of them). We are not attached to a production company or a broadcaster. Because of this we are free. We are also responsible for our own marketing. Online marketing will be key to our strategy to get the word out, and we hope that we can count on you all to publicize the film on your blogs, websites and through the power of email when the time comes. We need you to create a buzz. Your voices are our biggest asset!
We will be sending the film out to the first festival in September. For Tokyo Cowboys, the festival year will kick off in January of 2008.
Thank you all for your generous support over these past 5 (count 'em 5) years. We are almost at the end of our journey, and we are so happy that you have all elected to come along. Please don't hesitate to get in touch if you have any questions. And, as always, you can visit us at the blog for day to day updates. We have been blogging since this whole thing began in March of 2002.
Daneeta & Patrick
Wednesday, June 27, 2007
Imagine: Tokyo...Early 21st Century
The city is flooded with gaijin...
foreign men seeking their fortunes
in the wild, wild east.
Most will crash out or cash out within three or four years
Tokyo Cowboys is about those who stayed.
That's the best I've come up with so far.
Emailed the music rights company to get advice.
Continued to build the TC network (this is my secret marketing weapon to be revealed later)
Worked the day job.
Rice and beans...
Tuesday, June 26, 2007
Friday, June 22, 2007
I'm just getting so frustrated. We finished the 4th cut on Wednesday and were going to burn the DVDs on Thursday. After spending hours exporting the Quicktime file and importing into DVD Studio Pro, we find out that the film won't fit on one disc. Not, we have to figure out how to compress (read picture quality suffers) or burn it onto two DVDs (really inconvenient for the viewers) or burn it onto a dual layer disc, which is about 5 times the price of a regular DVD. I won't even go into the nightmare it has been to try to source these discs. Give me an effing break!
The glass is half full:
Hurrah! We've finished the 4th cut. It will take us a few days to iron out the technical issues of burning it onto DVDs (we are becoming tech wizards!), and then we can send it off to our viewers. We are so so close to a picture lock.
Sunday, June 17, 2007
The rights could be an absolute nightmare. Coppe and Terminal11 have been so cool. They have given me permission to use "Bird's Midair Heatstroke" at the beginning of the film, so that's one down and 67 more to go. Been doing a lot of research on Fair Use and have found some good stuff at Center for Social Media. Also went to Borders today and read a bit of the The Documentary Film Makers Handbook: A Guerilla Guide, which clarified a few points...mostly that I should have raised more money and hired a music supervisor. Live and learn.
But, still...there are some things that I have no idea about. For example:
Home video Mark took years ago at EWC (permission was verbally granted at the time)
Video of a live Sumo event that we shot
Video of a Baptist revival that we shot
Well, onwards anyway...haven't gotten a paid gig in ages so back on the rice and beans:
"rice and beans, rice and beans, we love rice and beans!"
which means some wicked farts are coming out of my butt.
Sunday, June 10, 2007
I've been tweaking the voice over, researching rights, and trying not to get overly excited. I have a festival wheel on my fridge. Sometimes I just look at it and dream of that future...that very near future.
We've been showing a few people cut 3.2. And, we are getting extremely good feedback. We showed it to MK the other day. He's Japanese, so I was very keen to get his take on the film. He really liked it, and he thinks that it will have a market in Japan amongst the Japanese. That is fab. I just hope the cowboys are ready for that eventuality.
After this cut, we are going to show it to some really hard critics...just to see if the film and the two of us can stand up to it.
Friday, June 01, 2007
Spoke to DJ a few days ago. He watched cut 3.1, and he really liked it. He biggest criticism was that the film seemed to end too abruptly. He wanted to see a "where are you now" bit for each cowoby. Actually S & M mentioned that when they watched it as well. So, I've written all of the cowboys to see where they are now, and I've got the scoop. So, we'll cut that in to 4.0 as well.
Rights are giving me a headache. Where do I start? There's all of Ken's TV stuff, the Patrick Harlan TV & Radio stuff, "I'm just a Girl" (I've heard that Gwen Stefani never gives rights). And, I would need them given as I don't have any money.
Wednesday, May 30, 2007
Tuesday, May 08, 2007
Before that, got up early and worked on a short story about Tokyo, which I'm entering into a contest in June. The prize is £5000. Imagine wild success and just a little bit of partying if I won that. Then went into LFS and worked. Came home and watched Sans Soliel again. I just love that film, and it inspired me again. That was Patrick's suggestion. He's also put all of the Tokyo footage onto two DVDs (3 hours worth) for more inspiration, so that's my remit for tomorrow.
Gave the film to Alan for a crit. Thursday is the day. Hopefully.
I have so much to be thankful for, and sometimes I forget it.
Joe is in hospital, and I am thankful that he is getting better.
Thanks to the universe and to "the man upstairs" for looking after us all.
Tuesday, April 24, 2007
Tired, but happy.
Wednesday, April 18, 2007
Monday, April 16, 2007
In any case, we're doing our first screening to investors on Friday. I'm shitting myself. We still have a few bits and bobs to sort out before then. After the screening, the next step will be to cut in the Japanese sequences, so we'll be watching some Japanese footage over the weekend.
I think we must be about 3 weeks behind schedule, but I can't really tell anymore. Just plug on through until we are finished. That's the way to go.
Friday, March 23, 2007
Monday, March 19, 2007
And here they are:
Thank you for your Continued Efforts
Bad Ass Yellow Boy
I have never been to the moon.
Unauthorized entry punishable by law
We can Know various truths
No one has ever seen the future
You have to totally love the Japanese to pieces!
Saturday, March 17, 2007
Worked on Nice Guyjin all day today including writing the introductory DVO. This is a very tricky bit, but Patrick and I outlined a plan of attack today. So, it's more voice over writing and recording for me and more editing for Patrick.
It's midnight on a Friday night. I'm still working. Patrick says we need to push it harder. OK. A little more yoga...a little more stretching...a little more massage.
I feel like a Japanese Salaliman.
Tuesday, March 13, 2007
On an aside, JA emailed today that he'd seen the first two minutes of Tokyo Cowboys in a prono. We suspect that it's been ripped off from the Youtube site. JA is investigating and will get back to us with more details soon.
Monday, March 12, 2007
Well, it wasn't actually the whole project. It was only that the whole project got made "offline." For those of you in the know, you know that our life has been a living hell. For those of you who don't know what offline is, just trust me that our lives have been a living hell. But, PJ and I decided to try to do the "glass is half full thing." Spending days digitizing has allowed PJ some much needed time for writing, and I've been writing and working from the paper cut. It's all coming together, but we're now nearly 2 weeks behind schedule for our May 31st completion. Bummer, but at least we're not dead.
Wednesday, February 28, 2007
Spent the day writing Voice Over for Mark's bit, and I think it is in really good shape. Now working on Act 2 where Aki gets pregnant, Ken quits headhunting and we meet the weird and wonderful Cloudy B. Bongwater.
Monday, February 26, 2007
Wednesday, February 21, 2007
And then please forward this email.
Monday, February 19, 2007
I feel the most comfortable with the writing bit because I've been doing that longer, however, I've started to use my writing editing method as a map for editing the film. I think it's working. This was another good suggestion from my mentor.
Saturday, February 17, 2007
Watched the whole thing again and took notes. Sometimes I think it's gonna work, and sometimes I think the whole thing is shit. Today I think it's shit. But I'm sure that this will pass.
In the afternoon I did some marketing exercises from the marketing book. I was supposed to brainstorm all of the words that describe the film. Then I was supposed to watch the film again, but I just couldn't manage it.
Friday, February 16, 2007
Actually, watching the cut was good. I saw where it could be improved. Still, there is no ending, and this is worrying me. I want to have a cut we can show to people by the end of this month, and still no ending. I can't show a cut to people if it has no ending.
My mentor says to meditate upon it and the ending will come to me. So, here I am...meditating and dreaming and thinking.
Thursday, February 15, 2007
As Gören drove us back to Askersund,
we all sat mostly in silence, and I let my mind wander into a dream about Tokyo Cowboys. It was the first "quite time" I've had in I-don't-know-when, and this is good.
Today, I went out with Patrick while he shot. Mostly I just held the extra camera for him and thought some more. It is so quiet here...I've forgotton how quiet.
Monday, February 12, 2007
Today, I was working at the day job so didn't get much done on TC. That always depresses me a bit...not because it's a bad gig, it's just not what I want to be doing with my days. Patrick ripped a copy of the whole cut for me to take to Sweden. Awesome.
Saturday, February 10, 2007
From here we cross the length of the city three times to chase up our characters, stopping on the way to shoot impressions of Tokyo. No lunch. It's genki drinks and a.m./p.m. onigiri with a side of ebi flavored crisps.
Emerging from the smoke-filled bar, I realize that it is past last train. It is Friday night in Azabujuuban. Getting a taxi is difficult enough for the locals, but, for foreigners like us, it is impossible. Well-dressed Japanese couples line the street, waving their hands in the air. Mr. Taxi-man is not stopping.
"Let's walk a ways," I say to Patrick. "After we clear the crowd, maybe we'll get lucky."
We walk up Gaien Nishi Dori...all the way to the Haagen Dazs shop. Couples still line the streets, and it is 1 a.m. We stop off at a favorite izakaya of mine on Aoyama Dori. It is shit. I realize this is the first time I've been here sober. Food has a different quality when you've been drinking.
We start our walk again, turning right on Omotesando Dori. We are carrying all of our equipment, lights, camera, tripod. It starts to snow. We walk all the way up Omotesando Dori...pass Harajuku Eki, pass Yoyogi Koen...to the corner at the top of the park (is it Komazawa Kosaten?).
Finally we make it to Sandra's house. It is 2 a.m. when we stumble in. And, even though she needs to be up for work in 4 hours, she makes us tea and asks us how shooting has gone.
As I drink my tea, and warm my toes, I think about filmmaking. It is my absolute favorite thing to do, and I can't, for the life of me, figure out why.
Friday, February 09, 2007
The structure is coming together. It all hinges on Ken's story arc inter cut with a collage of other cowboy stories. It seems to work, but we are just so close to it now. We're pushing to have a first cut before we leave for Sweden on Wednesday. Then, I'll hand it out to a group of viewers and see what they think.
Thursday, February 08, 2007
Wednesday, February 07, 2007
We watched the whole thing, which clocks in at 1 hour 38 minutes. I've made a list of the next steps:
Write Voice Over about English Teaching
Write Voice Over introducing Mark
Review Nice Guyjin Interviews
Review the Securities company bits (Ken)
Then PJ cuts it all in, and presto, a first cut.
We are very, very close. I'm hoping to get it done before going to Sweden on the 14th (which was our goal!).
Tuesday, February 06, 2007
Monday, February 05, 2007
As an aside, Jason Ayers called today. It was good to talk to him. I am so grateful to him. He was one of the people who was instrumental in helping us get this project off the ground from the very beginning. Jason is doing freelance stuff and trying to get his own film career off the ground. He's also still got his hand in Head Hunting, and as always, he's in with the creatives.
Saturday, February 03, 2007
Friday, February 02, 2007
Here's PJ's new work space:
Our bed is actually on top of this workspace. We call it the "Treehouse." You can see Hot Rod under the keyboard on the left.
Here you can see all of the hard drives and the bang up job I've done with the cableing. I predict that it will all be smooth sailing from here on out. At least that's what my mentor has been telling me.
Thursday, February 01, 2007
When I think about the success of the film, I visualize a person coming out of the cinema into the sunlight, disoriented and thinking "what a strange trip...what a dream I had." I want Tokyo and the Cowboys to stay with them so that, at odd moments and for a very long time, they might feel nostalgic and think "I miss this and that about Tokyo or Ken or Mark" even though they've never physically been to that place or met those people. I guess that's as good as it gets in terms of success. But I will try to also think about the awards and clapping and contracts. A girl's gotta eat.
Wednesday, January 31, 2007
Monday, January 29, 2007
Monday, January 22, 2007
Saturday, January 20, 2007
Called Apple. They were all very nice, and I managed to convince someone to help me...plead my case to the powers that be who can give me a free upgrade. I'm supposed to hear back from them on Monday. Until then, I have to re-connect Bambi so that Patrick can get on with the editing.
Anyway, got the modem set up, downloaded all of the updates and got myself ready to install Final Cut Pro 4.0. It didn't work. Hot Rod does not support 4.0 I was told by the tech dude at Apple. I was very upset because my sales agent had promised me that the computer would indeed support my version of Final Cut Pro when I purchased this £1700 hot rockin' computer. By this time, however, all of the sales agents had gone home, so three was no one to complain to.
I'm calling Apple tomorrow to throw myself upon the mercy of anyone who will listen to my woeful story.
*I was reminded of buying my first computer in Buzen, Japan in 1993. We had to get the computer on an American base. Got home, set everything up only to discover that the printer cable was not included. We had to travel 20 minutes to the next town to order one.
Friday, January 19, 2007
The new computer arrived today...a MacPro Xeon with two, count 'em, two Intel dual processors. We've decided to christen the new Machine "Hot Rod." He's come to us just at the right time, as Bambi (a first generation single processor G4) is really straining under the pressure of all of the hard drives. Sometimes we have to restart her two and three times to get her going.
Bambi is not obsolete, however. She will move to my little office in the kitchen, and Hot Rod will take over in our bedroom/editing suite.
Thursday, January 18, 2007
PJ and I are doing the old one-two punch technique of editing. When I feel like I'm not doing enough on Tokyo Cowboys, I have to remember that he's cutting. And, when he's not cutting, I'm looking at the footage, thinking and figuring out where to go to next. I think we are well on the way of having the first cut by mid February.