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“When you are married to someone famous, people know you, but they are not really seeing you.” – Patti Scialfa

This is a story about women involved with successful musicians.
From the outside looking in, we can only imagine how difficult it might be to hold on to any sense of your own identity, while walking beside some of the most relevant artists of our time.
We examine who these women are in their own right – why they are remarkable and what they would tell other women who dream to walk in their shoes.
Tackling the realities of these relationships and how they make it work together – while doing their own thing.
Today is the time of the woman – we want to celebrate autonomy, freedom and self determination as seen through the eyes of these ‘women strong.’

Directed by: Kim Laureen

We are seeking subjects for interviews and seeking funding. Please contact us with interest and suggestions.

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Demolition Walks You Through the Darkness of Self Turmoil

Jake Gyllenhaal steps out on a limb to do another unconventional role. His character Davis says about his wife ‘She always said I didn’t pay attention.’  Now forced to look at everything and discovering that sometimes a heart must be disassembled in order to put it back together again.  Great script from Bryan Sipe, awesome vision of direction by Jean Marc Vallée and once again beautifully shot by Yves Bélanger (Brooklyn). Heartfelt performances from Naomi Watts, Judah Lewis, Chris Cooper and nice to see Polly Draper again (Thirtysomething). 

Jake’s perspective with Bruce Fretts

What drew you to Demolition’s script initially?

The unconventional quality of the whole thing. It’s a movie about loss, but it’s not. The movie starts in a very conventional way, and all of a sudden you just you have no idea where you’re headed. It knocked something in me like it does with my character, Davis. It’s not this huge epiphany or massive catharsis. And three quarters of the way through the movie you realize how unconventional it is, but in a very palatable way. A couple people have said to me, “Oh, he’s like Tyler Durden,” and I was like, “What?” [laughs] That’s the darkest movie ever made, and there is hope in the end of this movie.

You’ve never lost a spouse, and both your parents are still alive. What do you draw when you play a character in this situation?

I’ve lost people that I love and am very close to. It’s sort of easy to generalize loss, but it’s all different. [Director] Jean-Marc [Vallée] wanted there to be an awkwardness to the way you felt about my character. He struggles between apathy and numbness. I constantly struggle with my own feelings, like “What do I actually feel if I’m feeling anything?” I’m spending a lot of my time trying to exist within convention, and it was very easily relatable to me.

Do you feel like you’re at a stage where you can pick and choose projects now?

Well, there are still filmmakers who don’t want to work with me.

Really?

Yeah, [laughs] so many of them, but there are also filmmakers who do and as long as there are a few, then I hopefully will continue to keep working. But in terms of picking and choosing I try now to create stories that I really love and want to tell. I think storytelling is the most important part of movie-making over performance.

Yet Jean-Marc Vallée’s films are distinctive for the performances, like Matthew McConaughey’s in Dallas Buyers Club and Reese Witherspoon’s in Wild. Do you consider him an actor’s director?

Absolutely. He’s eliminated all that Hollywood vanity and the kind of bloated moving blob that a movie set can become. Simplicity is the key. Within simplicity we can get into the mess of human behavior. He comes at it from an editor’s point of view, so generally he’s always looking for truthful moments. He is an actor’s director, but he is truly a filmmaker, and the visuals are extraordinarily important to him. It’s a balance. He’s just an all-around wonderful director.

Davis reacts to his wife’s loss by literally and figuratively trying to destroy his world. Did you have a favorite thing to break?

I really loved taking a sledgehammer to that marble tabletop. That was fun. There’s something satisfying about cracking something and breaking it into pieces. I still have a piece of that marble as a paperweight that Jean-Marc gave to me as a wrap gift.

Did it feel dangerous? Did you ever think you might get hurt?

I feel like I’ve been asked that question on a lot of movies I’ve made recently. [Laughs] Yes, and that’s probably why I wanted to do it.

So are you an adrenaline junkie?

No. I mean demolishing a house is not an adrenaline junkie’s job, but there’s no success unless there’s a level of risk. And obviously in risk there is possible injury in the physical world, but also in the figurative. I always try and stay safe and thoughtful, but yeah.

In terms of what the demolition represents, I’ve seen you say you’ve always thought it was easier to destroy something than to create something. Do you feel like that’s a trend going on in the culture now, whether we’re talking about art or politics?

I see it everywhere. I see it in bullying. It’s a pre-adolescent behavior. Kids at a certain age build up blocks and a second later, they’ll kick them all down, and there’s this satisfaction. I see that when we talk shit about each other, when we criticize each other about things that are obvious projections, but hurt. People should be held accountable for that. Even in the political spectrum at this moment, I feel there’s an engagement of that preadolescent piece in all of us. I feel like Trump seems to be engaging that preadolescent part, but we need an adult as a leader, and we need an adult who ignites the adult in us. I only speak that way because I act in an adolescent way, so I need someone who’s my leader to show me how to act.

How do you act in an adolescent way?
Well, I’m an actor. [Laughs]

So you pretend for a living?

I actually don’t think I do, but I do think there is some sort of absurdity to the job. Kids should be allowed to have a tantrum. They’re in a world way bigger than they are. Their feelings are huge, and they’re very small. But you can’t do that when you’re an adult. Sometimes I get overwhelmed because I see the state the world is in. Sometimes I can shut it off, and apathy is ever present. But finding how we really feel — no matter how hard it is — I think that’s the journey.

Cut to our favorite scene!

This is the third film you’ve made with Chris Cooper, who plays your father-in-law in Demolition. You did 1999’s October Sky and 2005’s Jarhead with him. How did it feel different each time?

When I did October Sky with him, I had no tools on my belt, very few. I was flying by the seat of my pants. I tried to use as much talent fuel as I could, and I ran out halfway through. Chris had this massive tool belt of choices and techniques, and I didn’t understand him. He was cold to me the whole shoot. I was confused, but also I could feel his heart, very much like my character would feel about his character in that movie. When the movie ended, his heart totally opened up to me. He took all his tools and put them away into a shed, and we became friends. Then when we did Jarhead, I was obviously still continuing to learn. But when we did this movie, I came to it with my own tool belt, and I could see him really for the first time saying, “Oh I love that, I use that choice.” We laughed a lot and enjoyed each other in a way I didn’t know how to when I was young. It’s been a wonderful evolution with somebody who’s a legend and somebody whom I actually love.

You also work well with Judah Lewis, the young actor who plays the son of your quasi-love interest, Naomi Watts. Did the fact that you started out as an actor in movies around the same age he is now help you relate to him better?

Yeah, it’s tough being a kid in this business. It is an adult’s business, and he’s incredibly talented, sharp, and charismatic. And he believes in himself, which is really important. He has a family that’s supporting him, which is fantastic. At the risk of sounding totally cliché I definitely did see a lot of myself in him, and that was also really wonderful.

You made your film debut as Billy Crystal’s son in 1991’s City Slickers. What do you remember most about making that movie?

I remember a cow shitting all over a minivan [laughs] and watching 14 people from a movie crew try and clean it up and frantically stress about it like they never should. That’s my favorite thing about a movie set, when somebody runs up in a total panic like, “Oh my God, this is the most important thing in the world!” And in two days this moment is gonna mean nothing. [Laughs] That was the feeling I got from the memory of watching a cow shit in a minivan.

Great interview with the cast of Demolition

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Eddie the Eagle & the Power of the Human Spirit

Inspiring Review with Brian Dodd

Many leaders can make money, increase shareholder value, or meet a monthly number. But few leaders can bring people joy. And I sense what the world needs right now is joy.

Eddie The Eagle is a wonderful movie!!! Absolutely delightful!!! Take your whole family to see this true story of Eddie Edwards, the British ski-jumper who participated in the 1988 Olympic games in Calgary. You will have a joyous time.

Searching for meaning and significance his entire life, Eddie overcame all odds, obstacles, physical limitations, doubters and the British establishment to become the most beloved athlete in the ’88 games.

This movie is for anyone who feels unimportant, marginalized and invisible. With enough determination and creative thought, you too can have your own shining moment.

The following are 22 Leadership Quotes And Principles From Eddie The Eagle:

1. Great Books Inspire People – Charlie Tremendous Jones once said, “You will be the same person in five years as you are today except for the people you meet and the books you read.” As a young boy, Eddie of inspired by a book entitled Moments Of Glory. He wanted his own moment of glory.

2. Leaders Give People A Sense Of Direction And Purpose – Eddie’s father Terry said, “Name me one British ski jumper.” To which Eddie answered, “Me.”

3. Great Leaders Tell The Story Of Others And Give Them A Platform – Terry, trying to realistic but certainly not supportive, said, “It’s a world that doesn’t want to know you.”

4. Leadership Is Marked By Your Courage – As Eddie would look up at the height of the ski jumps and then at the distance below, his drive for significance eclipsed his fear of failure…and death.

5. If You’re Not Dead You’re Not Done – Most Olympic ski jumpers began when they were 6 years old. Eddie began at 22 years old.

6. Everyone Gets Better With Coaching – Eddie told his potential coach Bronson Peary, played by Hugh Jackman, “I’ve plateaued. Without your help I’m not going to get any better.”

7. Leaders Never Have To Recover From A Good Start – Peary told him, “The foundation of any jump is the takeoff.”

8. The Life Cycle Of A Ski-Jumper – Love – Bruises – Breaking Bones – Coffin. I just found this interesting from a leadership perspective.

9. Great Leaders Never Quit – Peary’s former coach, Warren Sharp played by Christopher Walken, wrote in his book, “A true Olympian is not a God-given skill set. It is never giving up.”

10. Smart Leaders Develop A Funding Strategy – Dreams die because of a lack of funding. Sponsorships often make the financial difference between the success and failure of an Olympic athlete.

11. Parents Make An Incredible Financial Investment In The Future Success Of Their Child(ren) – Edwards’s wonderful mother Janette was a continual source of encouragement and often sold everything for Eddie to pursue his dream of making the Olympic team.

12. Great Leaders Always Have Something To Prove – Eddie said, “I needed my own moment. A moment to prove them all wrong.”

13. Great Leaders Pay A Price Others Are Unwilling To Pay – Peary said, “I can get you you’re moment but it’s going to hurt.”

14. The Comparison Game Is One You Will Never Win – In defiance to the fellow jumpers and their coaches, Peary shouted after a jump of over 40 meters, “Personal best and we’re a disgrace.”

15. Great Leaders Have Proper Focus – Peary taught Eddie to remain “focused, not tense.”

16. Smart Leaders Make Good Choices – Eddie told his doubting coach, “I’d rather be a sober fool than a drunken coward.”

17.Leaders Worth Remembering Bring People Joy – After completing his first jump, Eddie’s impromptu celebration won over the crowd. Many leaders can make money, increase shareholder value, or meet a monthly number. Few bring people joy.

18. There Is A Difference Between Sensing Opportunity And Seizing It – The stodgy British Olympic Association wanted to squash the media frenzy surrounding Eddie The Eagle. Meanwhile, their press secretary had enough sense to capitalize on it.

19. Don’t Be Fooled. Great Leaders Have A Chip On Their Shoulder – Eddie said, “I love jumping nearly as much as I love proving people wrong.”

20. There Is A Difference Between Activity And Accomplishment – Eddie told the media, “I did not come here as a novelty act and I will not be going home as one.”

21. Smart Leaders Always Maintain A Healthy Sense Of Respect – Sharp said, “You’re never bigger than the hill.”

22. Leaders Get The Job Done – A British announcer concluded his broadcast of Eddie’s final jump by proclaiming, “The Eagle has landed.”

Once again, Eddie The Eagle is a wonderfully, inspirational movie. Go see it with your whole family this weekend.

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Escondido prepare for February Release: Walking With A Stranger

Up and coming music blog New Interstice recently released an article and video on Escondido that is too good not to share.

Escondido is Nashville, TN based artists Jessica Maros and Tyler James.  Recorded live in a single day, their debut album, The Ghost of Escondido, was self-released in 2013 to critical acclaim.  Their David Lynch approved desert rock was described by Vogue as “One of the rare alt-country crossover acts with highbrow cred” and led to appearances on Conan and ABC’s “Nashville.”  Following the release, the band toured North America and Europe with the likes of Lord Huron and Wild Cub while spending their down time composing music for TV & Film.  Most recently, they wrote a song with Lena Dunham for characters Marnie & Desi in the upcoming season of HBO’s “Girls.”  The duo recently completed their follow-up album, Walking With A Stranger.

The pair met while James was recording their mutual friend at his home studio.  “Jess was quietly strumming this song Rodeo Queen on the couch while everyone else was making drinks in the kitchen.  I pushed record and added a little groove before folks got back in the room.  Later that night we listened to it and both said ‘You wanna make a record?’”  They spent the next two months crafting the songs and bonding over a shared love of spaghetti westerns and songwriters from the 70’s.  “We’d put on Ennio Morricone every morning,” says Maros.  “It’s an easy process when you both love the same stuff.”

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