Jake the Cinephile Is Coming Soon To Theaters... To Tell You To Shut The Hell Up

As I pack for my early Thanksgiving flight back to Austin tomorrow morning, I realize that it's been a considerable amount of time since I last updated this blog, and I can attribute a large part of that to my fairly rough start to the school year. The death of my aunt, Nancy Neff, still hasn't fully sunk in, but after a very sad week in Austin in early September, I returned back to New York for the first day of my senior year (after missing the first week of classes). Luckily, I have had truly extraordinary courses this semester to keep me motivated.

My first class, Modern American Drama, is a terrific course that encompasses many of the major American plays of the twentieth century and their depiction of the American Dream. We started with Eugene O'Neill, reading both The Hairy Ape and his masterpiece Long Day's Journey Into Night (soon after reading the play, I watched the film version starring Katherine Hepburn, Jason Robards and directed by Sidney Lumet, which was every bit as devastating and powerful as the play). From there, we studied works by Clifford Odets (Waiting for Lefty, Awake and Sing!), Lillian Hellman (The Little Foxes), Tennessee Williams (A Streetcar Named Desire), Arthur Miller (Death of a Salesman), Lorraine Hansberrry (A Raisin in the Sun), Edward Albee (The American Dream, Who's Afraid of Virginia Woolf?), August Wilson (Fences) and David Mamet (Glengarry Glen Ross).

Speaking of Glengarry Glen Ross - which has been a favorite of mine for years now (there's one particular expletive-filled monologue that I very much enjoyed using for many auditions in high school) - Al Pacino is currently starring in the revival of the play on Broadway. Pacino was masterful in the film version of Glengarry Glen Ross as Richard Roma, but in the current revival he is playing Shelley Levine, a brilliant casting decision. On Sunday, November 4th, I saw Pacino in the Broadway revival, and it was very likely the second-best performance I've ever seen on Broadway (just behind Mike Nichols's production of Death of a Salesman earlier this year). To see Pacino, one of my lifelong heroes, perform in The Merchant of Venice on Broadway two years ago was a dream come true. But to see him again, in this particular play, was something else entirely. Bobby Cannavale, John C. McGinley, Richard Schiff and David Harbour are also amazing in the play, and it was fascinating to see Pacino play Levine. During intermission, I talked with Tisch Dean Mary Schmidt Campbell, who was also in the audience for the performance. Everyone comes out for Pacino. How extraordinary is it that you can go to New York and see one of the world's finest actors perform live any night of the week?

I'll return to my classes this semester. I am also taking Advanced Editing Workshop, where I am editing my film Jake the Cinephile that I shot this past summer. My professor is Ray Hubley, the outstanding editor of films such as Dead Man Walking (a personal favorite of mine), and it has been so valuable to screen dailies and rough cuts of my film to the class and receive supportive feedback. Our first class was overseen by the legendary film editor and filmmaker Sam Pollard, who I had as a professor last fall. When I screened dailies from Jake the Cinephile in class, Mr. Pollard became the film's first vocal fan, making some wonderful suggestions. If Spike Lee's editor enjoyed the dailies so much, I am very much looking forward to where the film goes from here.

The most important class of the semester, of course, is my Advanced Production Workshop course, where students make their senior thesis films. My professor is the incredible Yemane Demissie, who has been my academic advisor (as part of the Dean's Scholars program) for some time. The nineteen students in the class - all of whom are remarkable and visionary filmmakers - spend the semester workshopping and critiquing each other's scripts in class.

The professor can only give film allotments to twelve students (meaning that seven students will not receive the allotment to shoot their film in the spring), so both the pitch process and the script workshop element play a large role in who ultimately receives the allotment. My advanced film is titled You Can't Put Your Arms Around A Memory, and I think it will work well as an expansion on many of the themes I've been exploring in my other films (I will write about this film more in the future, particularly since it is my senior thesis picture). The process of refining the screenplay with my professor has been extraordinary, and Yemane's class is full of such a supportive and talented group of people. Though in the end the class has a competitive nature to it by design, I've never had such an effective writing class with so many passionate students and great friends. It reminds me that I'm getting closer and closer to the end of this whole thing, and I need to cherish every moment.

My fourth class is my Directing the Camera course, and it is also taught by Yemane. In this class, every student shoots three exercises or scenes in the class over the semester, and it is highly suggested that you use material from your own Advanced Production screenplay. I have already filmed three of the most important scenes from my script in class, each time using different actors and trying to approach the scene in a new way. This class has been valuable as both a workshop for my senior thesis script, as well as an opportunity for me to audition different actors for the lead roles in the film. More than anything, the class places an equal emphasis on camera and performance.

For my Advanced Production pitch, I prepared a short trailer for Jake the Cinephile to screen briefly during my forty-five minute pitch. I'll take this opportunity to post the first trailer for Jake the Cinephile.  Since our final evening of pick-up shots in early August, I have been slowly editing the film this semester, and I'm incredibly excited to show it to everyone. I was very lucky to get to work with so many talented individuals who made the movie possible. (By the way, I think Jake the Cinephile would wholeheartedly share the sentiments expressed in this recent blog post).

Jake the Cinephile Trailer from Jack Kyser on Vimeo.

I've also been very lucky to continue interning at Sikelia Productions this semester, as the greatest filmmaker in the world and my hero, Martin Scorsese, shoots his new film The Wolf of Wall Street. Scorsese recently celebrated his 70th birthday, and needless to say, it is such an honor to be associated with him in any way.

I want to stray from writing in great length about specific films (my next post will be devoted entirely to Paul Thomas Anderson's The Master, which has come to play a large role in my semester). But on Tuesday, November 13th, I was lucky enough to attend a private Tisch School of the Arts screening of Ang Lee's Life of Pi, an overwhelmingly moving adaptation of Yann Martel's great book. The screening was followed by a wonderful Q&A with the extraordinary Ang Lee (who is a Tisch alumnus) and the film's stars, Suraj Sharma and Irrfan Khan, moderated by Academy Award-winning Tisch professor John Canemaker. As Dean Mary Schmidt Campbell pointed out in her opening remarks after the film concluded, both Lee and Canemaker won Oscars at the 2006 Academy Awards, with Lee winning Best Director for Brokeback Mountain and Canemaker winning Best Animated Short Film for The Moon and The Son: An Imagined Conversation. Many Tisch students and faculty members eagerly attended the screening, and we were treated not only to one of the year's best pictures (the use of 3D in Life of Pi is every bit as outstanding as in Martin Scorsese's Hugo), but an incredible conversation with one of our finest filmmakers. I was speechless as I shook hands with Mr. Lee after the screening.

Of course, one of the defining events of this semester will always be Hurricane Sandy, the furious storm that took away power from Lower Manhattan for a full week and resulted in the cancellation of a full week of classes at NYU. At our apartment on Broome Street, Adam, Bobb and I lost power on Monday night. We started living in the dark, trying to decide who should sacrifice their laptop's battery life so we could watch Die Hard. (Why Die Hard? Because it's the finest action film ever made, and Bobb had never seen it). Instead, we lit some candles and painted a collaborative piece of art we call Hurricane Art (the piece now hangs proudly above our living room television, and you can see our masterpiece in the picture to the right).

Going outside during the hurricane seemed like an excellent idea, but after a few seconds walking outside of our apartment during the height of the storm, we went running back inside - it was truly terrifying. By the next morning, all of Lower Manhattan was without power. The now-famous dangling crane on 57th Street meant I couldn't go to my internship for safety reasons, even though power was back above 34th Street not too long after the storm ended (the hanging crane disrupted more than just my internship, though - read here).

New York University really came through during the hurricane. Adam, Bobb and I walked to NYU's Kimmel Center and Weinstein Dining Hall the day after the storm, which - thanks to back-up power generators - provided food, shelter and power not just for NYU students, but for many Greenwich Village residents (Alec Baldwin even came to have lunch at Kimmel). We were served delicious free food and were able to charge our laptop and phone batteries. In the eerie darkness of Lower Manhattan, Kimmel was the lone beacon of light. I've never felt more proud or more protected than I did after the hurricane thanks to NYU's relief efforts - the university truly provided for everyone during this time. Later that night, Adam, Bobb and I took shelter at our friend Mo Faramawy's apartment in Brooklyn, where power and hot water were in full force (and yes, we finally watched Die Hard that evening).

The next day, Bobb and I traveled back across the Williamsburg Bridge to powerless Manhattan, and we spent the evening at Mike Cheslik's apartment with a large group of friends, playing card games, eating canned chili (thanks to Mike's gas stove) and having late-night conversations by candlelight during the blackout with a joyous group of film students. If it sounds rather romantic, that's because it was, in a sense. We spent the night at Mike's apartment, and then our group reconvened the next morning, eating our free lunch and charging our phones and laptops at Kimmel. When then walked up to Times Square (which at this point had regained electricity) and had a movie day at the AMC Empire Times Square. We split up and saw several films in a row, some of us seeing Pitch Perfect while others saw Seven Psychopaths. Then, we joined together to catch an hour of Cloud Atlas (which most of us had already seen) before ending the day by seeing the wonderful and moving The Perks of Being A Wallflower. Afterward, we walked back into pitch-black lower Manhattan and reconvened at another person's apartment.

The period of time following the hurricane, in short, became a lot of fun. There's something to be said for losing all electricity and traveling around this great, dark city for a few days with an incredible group of people. I was scheduled to pitch for my Advanced Production class that Friday, and I had been rapidly preparing for the pitch the week before the hurricane. But once the hurricane hit Manhattan and everything was put on standby for an entire week, it was an initially frustrating but ultimately remarkable week that will remain one of the most memorable times of my college experience. It felt like summer camp with all of the people I love, or at the very least a side of college to which I'm unaccustomed.

Once classes and my internship resumed (and my attention back toward my pitch for Advanced Production Workshop), there was also the ever-important 2012 Presidential Election. My aunt Nancy Neff would have been overjoyed with the outcome. She was endlessly passionate, well-informed and articulate about her political beliefs, and the election felt a little more personal this year than it might have had she been here to vote and speak. I emailed many of her friends and reminded them to vote on Nancy's behalf, and it was a magnificent victory. At the end of the night, I went up to the roof of my apartment building to look at the Empire State Building, which had turned fully blue to commemorate President Obama's re-election. I know Nancy was smiling. (I joked, however, that as amazing as election night was, it still didn't make up for the injustice of Martin Scorsese losing this year's Best Director Oscar for Hugo).

Just before I traveled home to Austin in early September, I learned that my film The Wheels was an Official Selection of the 2012 Coney Island Film Festival. The film had a wonderful screening on Sunday, September 23rd at Sideshows by the Seashore, as part of Program 16 - Coney Island Films. This particular screening closed the festival, and the awards ceremony immediately followed the screening at El Dorado Bumper Cars. Here's a link to their website, where they have a great write-up on The Wheels. Here is a link to the full list of 2012 Official Selections at the festival.

It was truly unlike any film festival where I've had the privilege to show my work - particularly considering the amount of press the festival brought to my film. The popular blog Amusing the Zillion selected The Wheels as one of the five "Must-Sees" at the Coney Island Film Festival - here is the link to that article. Bad Lit, the Journal of Underground Film, mentioned The Wheels in their article on the Official Lineup for the festival. In addition, Deno's Wonder Wheel kindly promoted The Wheels and mentioned me on their Facebook and Twitter pages, encouraging their many fans to attend the festival and see The Wheels.

Other prominent articles on the festival included pieces from the New York Post and Time Out New York. The Coney Island Film Festival website also has a great page of Filmmaker Feedback, where you can read quotes from all of this year's directors.

As for the actual festival itself, it was a incredible experience. I attended the screening with my friend and Assistant Director of both The Wheels and Jake the Cinephile, Mike Cheslik, as well as Tom Corbisiero, the lead actor in The Wheels (he also has a small role in Jake the Cinephile). Michael Blankenburg, one of the best and most influential teachers in my life (he was my junior-year English professor at Austin High School), met us at the festival with his partner Brandon, and I was overjoyed to have a small support group present for the film. After The Wheels screened with the other shorts in the program, the directors were called onto the stage and participated in a Q&A with the audience before the awards ceremony started.

When I learned the news of my aunt's passing, I was serving as Assistant Director on an outstanding film project in Bushwick. After finishing principal photography on Jake the Cinephile in late July, much of August was spent doing pre-production for the paranormal rom-com Limbos, produced by and starring the incredibly talented Freddi Scheib and David Rysdahl, and directed by Mike Cheslik.

As part of our effort to fundraise for the film in a short amount of time, our Kickstarter campaign became a Staff Pick on Kickstarter, and we raised nearly $10,000 in a little less than two weeks. Here is the link to the Kickstarter campaign, where you can learn more about the film. Unfortunately, I needed to leave the set a day before our wrap because of the tragedy. I'm very proud of all of the effort put into Limbos - you can watch our Kickstarter video below, in which I make a brief appearance.

There's much more to report (including Tisch New Theatre's recent Fall 2012 Staged Readings), but alas, it is Thanksgiving Day, and I want to spend time with my small family. Time hurries on - there are still many experiences which occurred over the summer that I want to share, so my next few posts may recede into the past a little bit. I left New York with a smile, as there's nothing like a good heart-to-heart talk with Thelma Schoonmaker about our respective Thanksgiving plans at my internship.

Nancy Neff, In Loving Memory: 1951 - 2012

My beloved aunt, Nancy Neff, passed away on Sunday. This is an extended version of what I read today at her funeral. Please read her obituary, which only hints at her extraordinary life and work, here. I hope this is the first of many pieces where I write about my love for her.

I began calling my aunt Nancy Neff “Sis” when I was very young, and I think I only stopped doing that the past few years out of embarrassment, or something. I sure wish I had kept calling her that, though, because it was a form of affection that seemed appropriate given my lifelong closeness to her. I have such strong memories of spending the night over at her house when I was very young, oftentimes having sleepovers there with Nancy, or walking her dogs with her on a weekend afternoon. I’m an only child, and I suppose she was a kind of sister, in a way – the creative, funny aunt who I rushed to sit next to at any family function.

I spent many days with Nancy at her office at the University of Texas, taking trips to the LBJ Library with her, and it became clear early on what a brilliant journalist and writer she was. In fact, I used to send movie reviews, as I recall, to Nancy every once and a while, and she came up with the idea to set up an interview for me at the West Austin News, to see if they’d be interested in hiring an eleven year-old film critic. And she was entirely responsible for me getting that job, really. She was there with me at the interview.

She was unique in so many ways. Her artistry with making pins, some of which are going to be on display later at the reception and which were sold all around Austin in various stores, inspired me to start making my own pins and laminated magnets, a bunch of which are still on her refrigerator at her house, along with many of my drawings – of Sis with her two dogs Skeeter and Biscuit, who have also passed on now (the past few years, her dogs Forrest and Tag have given her so much joy); of the New York City skyline, where I had been with her and my family many times; and many others.

To say that she encouraged my engagement with the arts would be an understatement. You only have to walk through her beautiful West Austin house and observe the framed posters of Broadway plays, the incredible paintings and pieces of folk art, the spinning racks of New Yorker magazines, the organized collection of films and CDs that numbers well into the thousands, to get a sense of how she influenced me. As a child, that house was my playground. Walking into it now, I feel an overwhelming sadness, knowing that it will have to go.

Like many memories in my life, some of my strongest memories of Nancy are tied to trips out to the theater. She introduced me to more Broadway musicals than I can recall, and she took me to see countless movies over the years. I remember we saw Mars Attacks (1996) in theaters – we both laughed hysterically throughout that one. Yikes! says Jack Nicholson, as the aliens start attacking. They’re scattered throughout my memory – Christmas Eve of 1998, Nancy, my mom and I went to see You’ve Got Mail. She also snuck me into the last thirty minutes of Austin Powers: The Spy Who Shagged Me (1999) after we saw another movie – she knew how much I wanted to see that picture, and against the wishes of my parents, she took me into the theater to watch the end of the movie. My mom and dad were not happy about that.

I frequently borrowed her VHS tapes to watch at home – she was directly responsible for convincing my mom that I needed to see The Godfather when I was ten (I remember the three of us had a discussion about it at Rudy’s Bar-BBQ), and boy, was she right. And then a few months later after watching The Godfather (1972), she lent me her VHS of The Godfather Part II (1974). Of course, long discussions about both films ensued immediately after watching them.

At some point, it became clear to me that Nancy was of a different political persuasion than most of the others in the Neff family. Nancy was a lifelong, very passionate supporter of the Democratic party, and if she was outspoken about it, it was only because she was outnumbered in her family. So she was very happy when I joined the club at some point during my high school years. I think she was always proud to know that she had a fellow Democrat in the family. And, you know, I can only hope that, this November, a member of the Neff family is willing to give their vote to the Democratic candidate for president as a way of honoring Nancy and making sure she gets a vote, because God knows nothing would please her more.

For years, she’s been exactly like my mom and grandma – someone I could call and talk to over the phone for hours at a time – about the arts, politics, my experiences at school, the most recent film purchases she had made. There are very few people in my life who have been so invested and so interested in everything I do, from the books I wrote as a child, to the plays in which I performed in high school, to my time at New York University and my experiences there.

There aren’t many people left on my mom’s side of the family. She, Nancy and John lost both of their parents many years ago, and now there’s really just my uncle John and my mom Gretchen left to survive the original Neff family, and that makes me very sad. I know there’s comfort to be found in imagining that Nancy, and her mother and father, Jack and Lou Neff – as well as my father John – are all together up above watching down on us, and perhaps one day we’ll join them again. But I encourage those of you who knew her and grew up with her to sift through those old boxes of pictures from the past, any letters of correspondence you had with her, any articles she wrote, and display them proudly. Because right now, that’s what we have left of her, our memories and those pictures, pins, articles, letters, awards – and I believe in preserving that.

After my dad passed away ten years ago, I assumed that I had experienced my share of loss – surely the other people who love me will always be here. The thought that Nancy would someday not be a part of my life had never crossed my mind. If I had known that I would never see my aunt again, oh, the things I would have said, the time I would have spent. To quote The Godfather, “There just wasn’t enough time.” Goodbye, Sis. I love you.

Film Festivals - Screening With Love, Marty and The Wheels

Before the new semester starts, I want to write briefly about my experiences with a few film festivals over the past year. I have had the pleasure of screening my last two films - The Wheels and With Love, Marty - theatrically at festivals in New York. Earlier this summer, I received notice that my film The Wheels won the Best Student Film award at the 2012 Metropolitan Film Festival of New York City. The Wheels premiered at the festival on Saturday, July 14th at The Producer's Club Theater on West 44th Street, screening alongside two other films in the final block of the evening. I was very lucky to have some of my collaborators on The Wheels accompany me to the screening, including actor Tom Corbisiero (who played the father in the film), cinematographer Benjamin Dewey and sound designer and mixer Bobb Barito.

Together, we accepted the Best Student Film award, and I participated in a brief Q&A with the audience after the screening (along with the other filmmakers whose work screened with The Wheels). I was so honored to receive this award for the project, and it was fantastic being able to have a "premiere," of sorts, for the movie (although I showed The Wheels alongside a few other student films at a small screening in Tisch earlier this year). If you want to see the full list of winners from the 2012 Metropolitan Film Festival of New York, please click on this link to their official website. If you are interested in seeing the official pictures from the festival (including me accepting the award), please click on this link. I will include some of the pictures from the festival in this post (and other pictures in a later post).

At the same time, my film With Love, Marty was nominated for the Best Student Film Award at the World Music and Independent Film Festival in Washington, D.C. I will not be able to attend the festival, which takes place from August 19th to August 25th, but I am excited for a film I finished over one year ago to still be nominated somewhere! If you want to see the full list of nominees for the World Music and Independent Film Festival, please click on this link to their official website.

Last November, With Love, Marty first premiered as an Official Selection of The 2011 Big Apple Film Festival in New York City. The movie, which was nominated for Best Student Film, screened at Tribeca Cinemas on Thursday, November 3rd in Program 16, along with five other films. In fact, With, Love Marty screened back-to-back with my good friend and roommate Bobb Barito's film Lead Me To The Clouds, for which I served as Assistant Director (the movies were both shot around the same time in April of 2011). It was a bizarre coincidence that our films screened back-to-back, and we had a great time attending the festival together and participating in a brief Q&A after the screening with the audience.

With Love, Marty was a particularly fun festival premiere because not only did Benjamin Dewey and actress Karen McFarlane join me for the screening, but the lead actress, the wonderful Alexis Gay, brought a large group of her friends and family members to the screening, ensuring that With Love, Marty had a large support group in the audience. Before and after the screening, we took some pictures in the cinema alongside the posters for With Love, Marty (designed by the endlessly talented Mr. Dewey). After the festival, the Marty crowd went to Alexis' apartment for post-screening food and drinks. It was an incredibly fun evening, and a wonderful festival experience for both Bobb and me. To check out The Big Apple Film Festival's 2011 Program Guide (including information about With Love, Marty and Lead Me To The Clouds), please visit this link to their website.

With Love, Marty also screened as an Official Selection of the Emerging Filmmakers Series in Rochester, New York last December. Because I was in Austin at the time, I was unable to attend the screening, but I recently came across an online blogger who had some kind words for the film. Read what Jason Olshefsky had to say about the movie by following this link to his blog. Here's a brief quote from his review:

"Starting out was With Love, Marty by Jack Kyser in which Kyser plays the central character: a college-age man desperate for the affection of a specific woman. I found his presentation to be brutally honest from all angles - I know from experience how it is to desperately desire someone, and to resort to honest, direct means that work only to sabotage any possible relationship."

I want to thank all of the great people who made these two movies with me. I'm thrilled to work with so many talented people, many of whom also did outstanding work on Jake the Cinephile just recently. I'm hoping to hear back from some more festivals in the near future, but until then, I wanted to give you a brief rundown of my experience with New York film festivals thus far. Bobb and Ben are similarly sending out their Intermediate Narrative films, Max Ages and Quitting, to many film festivals currently, and I look forward to seeing their pictures premiere at festivals (I had the honor of working as Assistant Director on both of those films, as well as editing Quitting). It's really something else to screen your work for a live audience - unnerving, certainly, but also quite gratifying. Thank you so much to the festivals for screening my work. 

An Introduction to Jake the Cinephile

Note: This summer, I wrote, directed and starred in a new film titled Jake the Cinephile. In a series of new posts, I will describe in great detail the production process of this picture. On July 19th, my IndieGoGo campaign to finance Jake the Cinephile officially ended. Not only did my team and I reach our $3500.00 goal, but - thanks to the enormous generosity of our contributors - we exceeded our goal by more than $500.00! The following is an email I sent out to our extraordinary IndieGoGo contributors a few days after we wrapped shooting: 

Dear Contributors,

Last weekend, my crew and I successfully completed principal photography on Jake the Cinephile. Thanks to your incredible contributions, we were able to have the most wonderful film shoot possible.

Jake the Cinephile Promo Video from Jack Kyser on Vimeo.

After a long day of renting out film equipment from several equipment houses on Thursday, July 26th, we began shooting early Friday morning at Tavern on Jane, a terrific West Village restaurant owned by the wonderful Horton Foote, Jr., who very graciously let us shoot in his establishment. After shooting there for five hours, we moved to our cinematographer Benjamin Dewey’s apartment in Park Slope, Brooklyn to shoot one of the longer passages of the film, taking place on his apartment stoop and the sidewalk. The actress, the incredibly talented Bethany McHugh, and I shared one of our most important and poignant scenes, and this nighttime exterior accounts for some of the most beautiful footage in the film.

We shot Jake the Cinephile, by the way, on a Red Scarlet camera – one of the finest cameras available – thanks to the generosity of our 1st Assistant Cameraman, Justin Levine, who owns the camera. Ben and I decided to shoot the film with anamorphic lenses, which means the final film will have very wide frames.

On Saturday, one of our gaffers, Jon Annunziata, drove the crew and me up to Beacon, New York in a passenger van, where we were granted permission to shoot in the Beacon Theatre all day, under the supervision of its extraordinarily kind owner, Mr. Jim Brady. Our Assistant Director, Mike Cheslik, drove our equipment up separately with Ben, and we commenced shooting in the afternoon all the way into the late of night in the cinema. The footage from the theater shoot is quite fantastic – not only did the Beacon Theatre provide us with some outstanding production value, we were able to pull off some impressive camera movement in the space (and these scenes also allowed many of our crew members, including Mike, Jon, producer Erica Rose, gaffer Alexander Fofonoff and boom operator Charlie Rivera to make cameos in the movie as unruly cinema patrons). Also, actor Tom Corbisiero, who starred in my Intermediate Narrative film The Wheels, and actress Karen Mcfarlane, who starred in my film With Love, Marty, both joined us in Beacon for the shoot, and they did extraordinary work as even more obnoxious cinema patrons.

Because a large skylight overlooks the Beacon Theatre stage (and it is nearly impossible to block out the light with a tarp, as we did not have roof access), Ben and our G&E department ingeniously constructed a forty-foot tall, forty-foot wide silk on the stage with outrageously tall pipes that successfully blocked out the light for our entire day of shooting (until night set in) – you’d have to see this thing to believe it. After wrapping shooting for the day, the owner presented me with a souvenir from the theater – an original, large marquee letter (K, for Kyser) from when the Beacon first opened as a cinema in the 1930s (before then, it was an opera house that first began operating in the late 1800s).

After getting home late Saturday night, we set up early the next morning in my Lower East Side apartment for the most intense day of shooting yet – the ten-page climatic scene that ends the movie. This was a difficult performance day for both Bethany and me, as the scene gets fairly intense, and we had to run the oftentimes brutal and uncomfortable scene an endless number of times. Luckily, our art director, Madeline Wall, had already completed the outstanding production design in my apartment (including putting up wallpaper, re-decorating our bookshelves and kitchen area, and changing the look of the apartment entirely) the week before shooting began. This scene really makes the movie, and although it was a physically exhausting scene (I admit to losing my voice completely by the end of the shoot), it was an exhilarating thing to film, and I couldn’t be more proud of the work we did.

Throughout the shoot, producers Harry Tarre and Erica Rose (as well as Line Producer Liz DeBold) provided us with nourishing food and water at all times, and Mike ran our set with more energy and efficiency than I’ve ever seen from an Assistant Director (which was essential, given that I was both directing and acting in the film). It’s also worth mentioning that Mike drove our Budget Van with all of our equipment the entire weekend – I cannot thank him enough for that. Both Bethany and I received feedback and acting advice constantly from script supervisor Nicole Cobb, who accompanied me to many rehearsals and served as a back-up director and reinforcer of performance notes. And my roommate and good friend Bobb Barito was our sound mixer, and I feel so lucky to continue my collaboration with him (he’s well-known as one of the best sound designers at our school).

If you are friends with me on Facebook, be sure to check out some of our set photographs that I have posted in an album (taken by our set photographer and media manager Jeremy Keller, who backed up our camera cards of footage every day on several hard drives). This will give you an inside look behind-the-scenes of our massive shoot. In the coming weeks, I will post stills from the actual film. Ben and I are in the process of un-squeezing all of our footage at the Tisch School of the Arts Post-Production Center (which essentially means converting the footage to the right anamorphic settings). I hope you’ll find that the movie looks as extremely professional as I do – because of your generosity, we were able to shoot with state-of-the-art film equipment, obtain incredible locations, and provide for a crew that nearly exceeded twenty people at one time. In short, I have you to thank for the professionalism of this film.

I also want to thank the entire crew of Jake the Cinephile – I can’t begin to express my gratitude to Bethany and the outstanding crew of geniuses, including Ben, Mike, Erica, Harry, Bobb, Nicole, Justin, Madeline, Jon, Nicholas Giuricich, Tomson Tee, Alex, Jeremy, Liz, Dennis Dembeck, Tom and Karen. I’m so honored to work with these brilliant and talented individuals.

IndieGoGo will only let me post one image per update, and it’s incredibly tough to just show three pictures from our extraordinary shooting weekend. They don’t represent even one-eighteenth of the things you made possible with your contributions! I do not know how to begin thanking all of you for your enormous kindness and support in making this movie possible. I look forward to keeping you updated with the progress of Jake the Cinephile, as we finish shooting pick-up material this upcoming week and head into post-production on the film. Thank you so much for believing in me and this project.

Sincerely,

Jack Kyser

You Can't Put Your Arms Around A Memory

I had the most incredible spring semester interning at Sikelia Productions, and I am so excited to continue working there over the summer for my lifetime hero, Martin Scorsese - not to mention his legendary editor Thelma Schoonmaker, and the rest of the gracious and wonderful people at the office. After heading back to Austin for a few days in late May, I am now back in New York City and currently jumping into pre-production on my next film, which I am planning to shoot in late July.

Here's a quick wrap-up of my spring semester, leading into my plans for an exciting and productive summer. In mid-April, my roommate Bobb Barito and I signed a lease on our first-ever apartment in New York City, along with our friend Adam Boese. We are now the proud occupants of an excellent three-bedroom apartment in the Lower East Side - I have included a few pictures of my room throughout this post. Over the summer, in addition to working three days a week as an intern at Sikelia Productions, I will also continue working as a Technical Assistant at Tisch's Post-Production Center.

This past Spring Break, I was lucky enough to have two of my best friends from Austin High School - Cora Walters, who is currently attending Reed College in Portland, Oregon; and Bolton Eckert, who just recently started studying at the Art Institute of Los Angeles - visit me in New York City. It was excellent having them both as guests. Bolton, Bobb and I celebrated Saint Patrick's Day at Shades of Green Pub & Restaurant, where we somehow became fast friends with a very friendly Irish family, as well as members of the Irish rock band The Saw Doctors, who were just returning from a concert. It was great fun.

There are two movies that I've seen this year that I believe deserve extraordinary praise. Wes Anderson’s Moonrise Kingdom – the director’s first film since the should-have-been-Oscar-winning animated feature Fantastic Mr. Fox (2009) – is the movie event of the summer. This is a poignant and hilarious picture, and on a personal level, I haven’t been so deeply affected by one of Anderson’s films since The Royal Tenenbaums (2001), one of the last films I saw with my father before he passed away. In a New England community in the 1960s, twelve year-old outcasts Suzy (Kara Hayward) and Sam (Jared Gilman) run away from home together, convinced beyond any doubt that they are in love (once on the adventure, they are aided by Sam’s considerable skills as a Khaki Scout). Bruce Willis, Edward Norton, Bill Murray, Frances McDormand and Harvey Keitel are among the adults and parents leading a search-and-rescue mission to find Sam and Suzy. Willis and Norton, in particular, do some of their best work in years.

In this film, Anderson beautifully expresses both the joy and melancholy of first love. Even though Moonrise Kingdom does end on a positive note, there’s still a hint of a dissatisfied adulthood waiting for our protagonists by the end of their adventure. Whether Suzy and Sam end up together in the long run is irrelevant – their love will never feel as real and as powerful as it does in their memory. Their utopian ‘moonrise kingdom’ is something the adults have long since abandoned, and soon enough, it will exist only in Suzy and Sam’s memories. Moonrise Kingdom is the only movie I’ve seen this year where a packed audience erupted in applause when the film ended. I would have joined them, but I was busy wiping tears from my eyes. After seeing the film, I got a little wild at Regal Union Square's Rock of Ages booth - here's a link to a truly astonishing video.

On Saturday, April 28th, I saw Bernie, the new film from Austin's own Richard Linklater (Dazed and Confused, Before Sunset), at the Angelika Film Center. In this endlessly funny and sometimes achingly sad true story of small-town murder, actual locals from Carthage, Texas recount the tale of Bernie Tiede (Jack Black), a beloved small-town mortician on trial for murdering a disliked elderly woman (Shirley MacLaine). East Texas is an area that hasn't received much cinematic attention (and an area that I hold close to my heart, having spent quite a bit of my childhood in Hallsville and Longview), and it comes to vivid life as a loving and warped environment in Linklater’s film.

After the screening, Linklater held a Q&A with the audience. I had the opportunity to speak with Mr. Linklater both during the Q&A and after the screening, and he remains the quintessential Texas filmmaker. We talked briefly about East Texas, Martin Scorsese's Goodfellas, and when I first met him back in 2004 at the Criterion DVD signing of his film Slacker (1991) at Austin's Waterloo Video (see the comparison picture to the right, of Linklater and me through the years). He is such a nice person, and one of the best filmmakers out there. Bernie, which also features career-best performances from Black and Matthew McConaughey, is a testament to Linklater’s enduring genius.

Earlier in April, I served as Assistant Director for my friend Jordan Fein's Intermediate Narrative film White Carpet. It was one of the most ambitious film sets on which I've had the privilege of working - after four days of shooting in Sleepy Hollow, New York, the entire crew was exhausted, but we were proud to have worked so hard on a large-scale student film. In early May, I also served as Assistant Director for a music video directed by my friend Ben Dewey.

The Tisch Dean's Scholars program once again provided me with some extraordinary opportunities this semester. In addition to seeing the Broadway revival of Arthur Miller's Death of a Salesman (which I wrote about in my last blog entry), we toured the outstanding Harlem School of the Arts in late March, and for our final event of the semester, we went bowling at Bowlmor Lanes on University Place. As always, I was surrounded by incredible students and the most supportive professors and administrators at Tisch.

On Friday, June 1st, I was lucky enough to see Once on Broadway, the new musical based on the 2007 film. Once is nominated for eleven Tony Awards, and I'd say it deserves just about every one of them. The play manages to capture both the intimacy of the film (which is essentially a two-person movie) while effortlessly transitioning into rousing musical numbers by a talented ensemble of musicians-actors-dancers.

As far as classes are concerned, it was quite a whirlwind to finish everything by mid-May. For my last Developing the Screenplay class, I read the first fifty pages of my feature screenplay in class, and I wrote two final essays for my History of Modern Ireland and Introduction to Performance Studies courses. Finally, for my Intermediate Editing Workshop class, I finished editing my friend Ben Dewey's Intermediate Narrative film Quitting. Now, whether I like it or not, I have to start referring to myself as a senior.

I am very sad to report that the Tisch School of the Arts' Steenbeck Lab, where for decades film students have edited their 16MM Sight and Sound: Film projects by hand, has been dismantled, to be replaced by a computer lab for digital editing in the fall. As far as I know, Intermediate and Advanced Production students will still have access to film equipment for their projects, but all future sophomore classes will not have the opportunity to shoot on black-and-white 16MM film and then edit their pictures by hand, as students have done for over forty years. NYU was one of the last film schools to actively use Steenbecks, and it was only a matter of time before the powers-that-be decided that the machines be discontinued. Despite the fact that most of my larger projects have been shot digitally (mainly for cost reasons), I am a firm believer in the power and importance of film, and my heart sinks when I now pass that eerily empty Steenbeck room. Learning how to use that machine and edit five of my own black-and-white Sight and Sound: Film projects on the Steenbeck was one of the most valuable things I've learned in film school, and I feel fortunate to have been a part of the second-to-last class to take this extraordinary course in its purest form. In honor of the Steenbeck machines, here's my favorite of the five films I made in Sight and Sound: Film, Heart of Gold - shot on 16MM and edited by hand on a Steenbeck.


Heart of Gold from Jack Kyser on Vimeo.

Although Moonrise Kingdom and Bernie stand above the rest of this year's theatrical releases, there have been a few other excellent pictures. Terence Davies' The Deep Blue Sea has the sad power of a fading memory, with a rich, melancholic atmosphere and an extraordinary performance from Rachel Weisz. Mark and Jay Duplass' Jeff, Who Lives at Home doesn't have a cynical bone in its body - the performances are so engaging, the actors so likable and the writing so good, that it's hard to imagine the film not winning someone over. Joss Whedon's The Avengers is a summer superhero thrill-ride with outstanding performances from two of the best working actors, Mark Ruffalo and Robert Downey Jr. (there was a certain satisfaction in seeing a mini-reunion between the two actors, after their memorable pairing in David Fincher's masterpiece Zodiac). Nicholas Stoller's The Five-Year Engagement is a very honest and heartfelt romantic comedy, and another home-run for Stoller, Jason Segel and Judd Apatow (I particularly enjoyed the steady stream of Van Morrison tunes).

In addition, I saw the restoration of Jean Renoir's masterpiece Grand Illusion (1937) at Film Forum this week, and it was an absolutely astonishing print of the picture (as I was heading out of Film Forum, John Turturro and his family were heading in to see Django). And a recent viewing of Elia Kazan's devastatingly powerful and hauntingly beautiful East of Eden (1955) confirmed that, much like John Steinbeck's novel of the same name, the film is a kind of reflection of my values and beliefs as a person.