Recently, I've gained a very acute, salient awareness of this fault of mine when I sat down to begin laboring over the writing of a narrative for the experimental documentary short film in which I will be featured as part of The HIV Story Project. As soon as I put pencil to paper, I arrived at a major road block. As Daniel Cardone, the director of my documentary short, expressed in his proposal of narrative beats for the film; he said (I paraphrase, albeit only slightly!), "How 'bout you tame up on the emphatic use of alliteration?"
YUP!! Semantic syncopation of syllabic constructs seems superficially smart; although, aggressively assertive, obtuse alignments of the Anglican alphabet in alliteration are ever so much more unabashedly awkward and asinine than astute or impressive. Alliterations heavily harangue the human ear e'er so often in my hand's writing as to be yet another aspect of my aimlessly affected artistic arrogance. AWFUL! I am more than mindfully aware...
So, I have to harness the potency of my "emphatically alliterative" writing style to produce something coherent yet stylized enough to sound like spoken word when read aloud, when performed as narration. The challenge has proven ever so garishly gargantuan and heavy-weighted that I've been more apt to toss my text o'er my shoulder and shudder in exacerbated ennui than to scream excitedly in the act of forcing a fluid flow of whimsically written word on whatever pad of paper presents itself to me so pleasingly to be prettified by my elaborately eloquent enunciation.
YIKES!! There I go again! Can't you see? If crippling not be my self-criticisms then these confounded constructions of collected consonants ought clearly be called out as such: CRAP!!
Failing at first to find a friendly unfettered flow of thought from my fabulously and freakishly flamboyant frame of mind to a much more mellow, mundane manifestation or monstrance of my mind's majesty e'er writ in words of wistful wisdom, I set out alternately to ponder and play with possible themes, motifs and concepts that could in effect guide my writing away from excess and more toward realism, or at least toward naturalism.
After speaking at length with Nomy Lamm, the Artists In Residence (A.I.R.) Program Director for Sins Invalid, about my background, back story, and of the context in which arose the opportunity for my story to be featured as part of a compilation of short films commemorating the thirtieth year of acknowledgment of the Human Immunodeficiency Virus (HIV), I discovered my own overriding affinity for an idea that I had been incubating ever since said opportunity presented itself to me.
Today is a very important milestone for me. The Fourteenth of July (i.e., Bastille Day!) marks the anniversary of my sobriety (i.e., my CLEAN DATE!), and to celebrate, I'm a convening the production of my experimental docu-short, lead by a superbly talented team of queer film production professionals all associated pro bono with The HIV Story Project. In fact, there only remains a few more than thirty minutes before their arrival to my home to begin shooting.
As I celebrate today my one-year anniversary of sobriety, I have all but been able to ignore the crescendo'ed confluence of my creative energies and impulses around the progress of both my recovery and my reconstructions. All is explained in lucid detail by the video blog I posted to YouTube.com about ten days ago, entitled "Language Or A Kiss" after a beautiful acoustic ballad I discovered that morning, only after more than a decade of listening, on Indigo Girls' album 1200 Curfews (Live).
The ten minute home-made webcam movie features "yours' truly!" pontificating the plentiful platitudes and prettiness of a poignant, powerful idea: that of using the foreboding, intimidating, meaningful act of kissing (Romantically, that is!!) as the central motivating action of my docu-short film narrative. The YouTube.com video explains in detail the significance of this convergence of energies and ideas. The webcam movie monologue also describes the profound meaning behind this particularly challenging choice around which I hesitantly aspired to shape a cinematic sketch of my life. My aim would have been to create a piece that might have touched, moved and inspired an audience perhaps to live safer, healthier, more sane and sober lives be they suffering or not from either HIV/AIDS, drug dependency or disfigurement.
Language Or A Kiss: QHereKidSF (a.k.a Matthew Blanchard) contemplates the
convergence of his creative energies around his one-year anniversary of clean
time. With sobriety comes sanity and surety enough to explore either
"language or a kiss" both in experimental theater/film performance.
(i.e., http://sinsinvalid.org/; http://thehivstoryproject.org/; etc.)
[TIME ELAPSE] » As I type, my production team is shooting extreme closeups of the interior textures of my apartment. The cinematographer has just lifted himself from the crouched near-fetal position he took to "get lost in a bunny" rabbit knitted Christmas ornament that hangs from the cord of my venetian blinds, swaying ominously in a shadow of light just in front the sullied, dirtied retractable screen that props my window open. I'm not sure what they're filming now, as my back is toward them while they traipse around my studio capturing the phenomenally complex idiosyncrasies of my mundane, boring abode.
Turns out that my director, Daniel Cardone, hasn't yet had a chance to view the YouTube.com video I've posted above; so, in all likelihood, there will be no true central motivating action for this film narrative. We have no plans today to shoot me kissing anyone, and it is far too late in the game to go out on the street to find some random Polk Street callboy we could pay twenty dollars to try their damnedest at getting romantic while maneuvering their lips gently and with compassion onto my muddled monstrosity of a mouth. HAH! Could you imagine?
I've never simulcast the writing of a blog entry with live action. To be frank and forward, it's quite nerve-racking and unsettling. I wonder whether or not anyone in the room knows that I am writing about them as they toil around my studio on a voyage of cinematographic discovery
As I type, the warmhearted, bundled-up in a sweater and gloves, uber-zen sound technician is recording "room tone" with his boom microphone perched as ominously as my bunny rabbit just over my shoulder, so as to capture the sounds of my fingers tap, tap, tapping away on the keys of my laptop. I am terribly conscious of the fact that I tend to backspace a lot, which probably dashes his hopes at capturing a cohesive rhythm. Alas! Oh well...
"Alright! Stop. I've got another idea now...," says Daniel, the director, as our cinematographer completes a rack-zoomed extreme closeup of the grains of wood on my floor. Now, the production team is duplicate-framing a similar shot of the MUNI Metro & Busline map than hangs on the wall in the hall way next to my front door.
It is indeed a very good thing that as an artist, I've learned how not to be too utterly disappointed when one's vision is not wholly and fully adopted by every member of a production team. Blame the absence of a ironically romantic kiss between tweaked-out twink Polk Street callboy and my still quite sane and sober Skid Row mutant, monstrous, alien, Audrey II-like lips on the capricious whims of the film artist's mind. Although, unlike the sound technician's hopes which fizzled with the realization that I am not quite such a melodic typist, my dreams have not yet been dashed.
You see! I still have the theatrical medium with which to toy around salaciously and sexy-like. The kiss could still come to pass as I see it! I've got six long months to workshop scenes for Sins Invalid which perchance could center around this challenging, compelling, confrontational act of compassion and enduring, caring love. Those who follow me in the blogosphere must just wait patiently to hear word soon of the developments that unfold with my experimental ensemble performance work.
And in the meantime, both all of you and I must also patiently await the post-production work on and premier of my experimental documentary short film, entitled "(TBD)!" If the work we have completed already today is any testament to the quality and caliber of Daniel's artistic vision, then I'd have to say that we are surely heading in a "positive" direction (pun intended!). A thousand thanks to Daniel, Jörg, Josh, and Doug: my production team! It's been a real joy working with you all. And so the work continues... Who's a Movie Star? I'm a Movie Star!!
Respectfully Submitted,
Turns out that my director, Daniel Cardone, hasn't yet had a chance to view the YouTube.com video I've posted above; so, in all likelihood, there will be no true central motivating action for this film narrative. We have no plans today to shoot me kissing anyone, and it is far too late in the game to go out on the street to find some random Polk Street callboy we could pay twenty dollars to try their damnedest at getting romantic while maneuvering their lips gently and with compassion onto my muddled monstrosity of a mouth. HAH! Could you imagine?
I've never simulcast the writing of a blog entry with live action. To be frank and forward, it's quite nerve-racking and unsettling. I wonder whether or not anyone in the room knows that I am writing about them as they toil around my studio on a voyage of cinematographic discovery
As I type, the warmhearted, bundled-up in a sweater and gloves, uber-zen sound technician is recording "room tone" with his boom microphone perched as ominously as my bunny rabbit just over my shoulder, so as to capture the sounds of my fingers tap, tap, tapping away on the keys of my laptop. I am terribly conscious of the fact that I tend to backspace a lot, which probably dashes his hopes at capturing a cohesive rhythm. Alas! Oh well...
"Alright! Stop. I've got another idea now...," says Daniel, the director, as our cinematographer completes a rack-zoomed extreme closeup of the grains of wood on my floor. Now, the production team is duplicate-framing a similar shot of the MUNI Metro & Busline map than hangs on the wall in the hall way next to my front door.
It is indeed a very good thing that as an artist, I've learned how not to be too utterly disappointed when one's vision is not wholly and fully adopted by every member of a production team. Blame the absence of a ironically romantic kiss between tweaked-out twink Polk Street callboy and my still quite sane and sober Skid Row mutant, monstrous, alien, Audrey II-like lips on the capricious whims of the film artist's mind. Although, unlike the sound technician's hopes which fizzled with the realization that I am not quite such a melodic typist, my dreams have not yet been dashed.
You see! I still have the theatrical medium with which to toy around salaciously and sexy-like. The kiss could still come to pass as I see it! I've got six long months to workshop scenes for Sins Invalid which perchance could center around this challenging, compelling, confrontational act of compassion and enduring, caring love. Those who follow me in the blogosphere must just wait patiently to hear word soon of the developments that unfold with my experimental ensemble performance work.
And in the meantime, both all of you and I must also patiently await the post-production work on and premier of my experimental documentary short film, entitled "(TBD)!" If the work we have completed already today is any testament to the quality and caliber of Daniel's artistic vision, then I'd have to say that we are surely heading in a "positive" direction (pun intended!). A thousand thanks to Daniel, Jörg, Josh, and Doug: my production team! It's been a real joy working with you all. And so the work continues... Who's a Movie Star? I'm a Movie Star!!
Respectfully Submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[2010.07.14@15:03PST]
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