Pj Perez on LinkedIn: Excited to share that this little 3-minute doc I made about the story… (2024)

March 21, 2024 | 6-8PM | FREE eventDanceFilm & Meredith Rainey present: "The Body" by Alexander DiazDiscussion after the film with Q&A.Register on eventbrite: https://lnkd.in/ejb_xGvyIn The Body, we embark on a journey where the body works as the canvas to illustrate the evolution of identity over time. This film is an intimate reflection on the societal influences that shape perception and self-worth. Guided by the central mantra “the body is not an apology,” found in Sonya Renee Taylor’s book The Body is Not an Apology, The Power of Radical Self-Love, the film unfolds as a multifaceted exploration, weaving together elements of satire, realism, drag, and dance.The Body is a space of liberation. Where the artist says “yes” to themselves, their ideas, and their creative impulses. In stepping away from the relentless pursuit of financial stability and security, the artist seizes this film as an opportunity to focus on their creative practice, push the boundaries of their art, and invest deeply in the process. This film is not made to be a polished, finished product. Instead, it is a deliberate choice to embrace the journey, fall without fear, and learn from the process.Through this exploration, The Body becomes a celebration of artistic passion, a rediscovery of self, and a profound source of inspiration for future creations. It is an unapologetic affirmation of the artist's identity, an ode to the body as a vessel for expression, and a testament to the boundless possibilities that arise when one embraces the transformative power of one’s art and life.#dancefilm #dancephiladelphia #dancemovie

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Sunday 11 Feb @ GFT this Event will be Epic Steve McQueen’s monumental film is a vast survey-meditation on the wartime history and psychogeography of his adopted city: Amsterdam, based on his wife Bianca Stigter’s Dutch-language book Atlas of an Occupied City, Amsterdam 1940-1945.With a calm and undemonstrative narrative voiceover from Melanie Hyams, the film tracks day-to-day life in Amsterdam under Nazi rule. It spans the invasion in 1940; the establishment of the NSB, the collaborationist Dutch Nazi party; the increasingly brutal repression and deportation of Jewish populations to the death camps; and then the “hunger winter” of 1944 to 1945 as food and fuel became scarce in the city and the Nazis displayed a gruesome mix of panic and fanaticism as the allies closed in.What McQueen does is effectively represent the maps and figure legends of the book on screen: the camera shows us the modern-day indoor and outdoor scenes on individual streets, canals, squares, buildings and jetties where the barbarity unfolded – but shows them as they are now, with 21st-century people going about their business while Hyams’ narration coolly summarises what happened in each particular spot, sometimes adding that the original building has been “demolished”. A prison yard where Jews were forced to parade around chanting: “I am a Jew, beat me to death, it’s my own fault” is now an open space overlooked by the Hard Rock Cafe. The headquarters of the secret police was on the site of what is now a school.Occupied City lasts a little more than four hours, with an intermission, and the effect is something like an huge cinematic frieze or tapestry, or perhaps an installation. But it is also like an old fashioned “city symphony” movie, and, in its approach, perhaps bears the influence of Claude Lanzmann’s Shoah. It asks hard questions of what we think about the gulf between past and present. When we think about Nazi rule in Amsterdam, we think of … what? Flickering black-and-white newsreel footage, semi-familiar landmarks in monochrome, images of swastikas, an alien display of history, vacuum-sealed in the past. But McQueen shows us the modern world, in 4K resolution and there is a gradual realisation that for those involved in 1940, the Nazi occupation of Amsterdam happened just like this: in living colour in the here-and-now, with modern hairstyles and clothes.https://lnkd.in/eyShvYTM

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A nugget about me: I listen to the interstellar movie soundtrack every day, it brings me inspiration and focus, yet it's also intimate and expansive - What I love about this video is the connection that the director Christopher Nolan and composer Hans Zimmer have - They are the best in the world at what they do - and they know how to inspire each other to greatness.You see, this video isn’t just about filmmaking; it’s about the alchemy of trust and creative freedom.Nolan, instead of briefing Zimmer on a movie's specifics, sends him an emotional letter about fatherhood. And Zimmer, in response, composes a piece not about space or sci-fi, but about the delicate nuances of being a parent.This video also reveals something about process, about briefing incredible talent, Nolan doesn't mention the movie, he doesn't mention the theme, he doesn't ask for anything, just Zimmers perspective and his imagination.This exchange resonates profoundly with me. It’s a testament to the power of minimalist briefs in unleashing the creativity of great talentNolan starts with a short story, a metaphor, an emotional letter about what it means to be a parent, an open brief; and Zimmer gives him something incredible. Zimmer gives Nolan the heart of the story and the direction of his epic.Does this resonate? Let me know in the comments!

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I once had a mentor who declared, "I'm not a theatre guy." So I asked him what experiences in his life had moved him to tears. He knew immediately:1. Sitting courtside to watch the Lakers win the '87 championship2. Walking his daughter down the aisle3. Watching Jennifer Holliday sing "And I Am Telling You" in Dreamgirls on BroadwayI blinked. Hard."Isn't that theatre?"He truly hadn't connected the two. His revelation underscores a truth we often overlook: the profound impact art has on us if we invite it in. He crystallized the essence of TTG's purpose:To make art accessible for all, and to reintroduce it to a generation who might have forgotten its power..To actualize this, we are:- Pioneering a mobile-first user experience for tickets that takes 30 seconds or less- Democratizing the cost through transparency and trust- Teaching audiences that live experiences aren't "one size fits all." It's okay to love or loathe a show, so long as you invite yourself back to the theatre again. You never know when your Dreamgirls moment is waiting for you.When we get these factors right, we not only empower individuals to engage with art, but also furnish art execs, producers, and creators with the vital data they need to beckon audiences to join us, enriching lives, one show at a time.

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Jerry McGuire and "Have Them at Hello"!Here is the second in a series of clips from Syncopate Creative's program for the Association of Corporate Counsel's 2021 Global Conference.The program was titled, "Jazz Drumming & the Art of Creative Persuasion." Here, I suggest thinking like a film director when starting a presentation. Capture attention by employing evocative images, scene-setting music, intriguing characters, and provocative dialogue. For more on this, read the blog from the Syncopate website.https://lnkd.in/eTyWqemP

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A good, intellectual read for anyone who wishes to dig deeper!

This is interesting. What is the point in being able to smell virtual worlds? It is more immersive, but that can be a problem as people might spend more time with their headsets on. Maybe I just don't see the point.#virtualworld #empowerwithrcubed #rcubedventures #rcubedinnovation

Our 'History of Films' course consists of lectures that cover various cinema periods, topics and schools! Explore a rich history of art on the big screen during “Silent Era” (United States, 1920s-1930s), “Between Wars” (Germany and France, 1920s-1930s), “Hollywood Classics” (United States, 1940s-1950s)”, “Art Among Ruins” (Italy, 1940s‑1950s), “Surrealism” (Spain, 1960s-1970s), “Stagnation an Flourishing” (Soviet Union, 1970s-1980s), “Lost Illusions” (Eastern Europe, 1990s-2000s), “Films about Films”. Lectures are implemented as open for discussion multimedia presentations based on films fragments, stills, and charts.Register now - www.learn4life.ca

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New Post: This is the most confusing film ending, according to the public - https://lnkd.in/deqQgRUD - Warning: Spoilers aheadA new study has revealed the films which have left British viewers the most confused by their endings, with one director’s output dominating the list.Conducted by the group BonusFinder, the list has been compiled by aggregating the total number of UK-based Google searches related to explaining the endings of films, with Martin Scorsese’s 2010 psychological thriller Shutter Island coming out on top.In the film, Leonardo DiCaprio plays the US Marshall Teddy Daniels, who travels to a hospital for the criminally insane to investigate the disappearance of a patient. However, as the film progresses, it is revealed that Daniels is in fact a hallucinatory persona and that “Teddy” is in fact Andrew Laeddis, another US Marshall who had been imprisoned at the facility for murdering his wife after she had killed their three children.The film ends on a philosophical note, as DiCaprio’s character appears to simulate another psychological relapse in order to bring about a lobotomy procedure, as living with the knowledge of his reality has become too much to bear.Not taking the top spot, but with four different entries in the top ten are the films of Christopher Nolan. The British director, who this week picked up a BAFTA for his work helming Oppenheimer, dominates the list, with Inception coming in at fourth, Oppenheimer itself at fifth, Interstellar at sixth and Memento in eighth.The inclusion of Oppenheimer, as well as Barbie, which comes in at number seven, may simply point to their all-pervasive presence in the zeitgeist over the past 12 months, but it is no surprise to see Inception claiming such a high placement.The 2010 sci-fi action drama also stars DiCaprio as a professional heist thief who infiltrates the subconscious of his targets to steal or plant information. In the notoriously multi-layered narrative, the film ends on a moment of uncertainty, as DiCaprio’s Cobb character returns home after spending an extended time in limbo. He has the opportunity to use a spinning top to test whether he is in fact back in his ‘reality’, but the film ends before the top has a chance to land.Also appearing high in the list are the Coen Brothers’ 2007 neo-Western thriller No Country For Old Men and Mary Harron’s 2000 psychological horror American Psycho.See the full list below:1) Shutter Island (2010)2) No Country For Old Men (2007)3) American Psycho (2000)4) Inception (2010)5) Oppenheimer (2023)6) Interstellar (2014)7) Barbie (2023)8) Memento (2000)9) Fight Club (1999)=10) Glass Onion: A Knives Out Mystery (2022)=10) The Shining (1980)The post This is the most confusing film ending, according to the public appeared first on NME. - #news #business #world--------------------------------------------------Download: Stupid Simple CMS - https: