Screening Schedule for Phnom Pehn International Film Festival


PPIFF has announced the screening schedule for this years film festival and I’m ecstatic to announce that Caroline of Virginia will be receiving two screenings – that’s right TWO screenings at the event this year! The screening will take place at the Flicks on Sunday the 14th in the 4PM slot and again on Thursday the 18th in the 6:30 slot.

These are two excellent time slots and I’m excited to be a part of this film festival. If you’re in Phnom Pehn this month, please stop by the Flicks and check it out.


PPIFF Schedule

Ten Years A New Yorker

SS Title Page

This Labor Day weekend marks the completion of my first ten years living and working in New York City. When I originally conceived the idea of moving to New York it was to immerse myself into the indie film community and gain experiences I wouldn’t have otherwise had while living in my home state of Maine. At the time I left, I was miserable and although I had some level of support for what I wanted to do, I had gotten a taste of life in a world class city and wanted more. My year living in Vancouver was enough for me to know that operating out of a large city was where I wanted and needed to be.

Dubbed “The Project”, I began putting together an elaborate plan of money saving, back and forth trips to the city and networking, all of which would make my transition as smooth as possible. Ultimately my goal was to spend a decade acquiring knowledge and experiences that would improve my writing and storytelling abilities. Obviously I was putting a romantic twist on the whole thing (and have since realized how naive I was for thinking it would be anything but smooth). The fact of the matter is that the transition from Maine to New York was incredibly painful and chock full of back stabbery of all sorts but that’s okay, because it was all part of the gamut of experiences I had been seeking. Experiences to seed my work. Many of the naysayers didn’t understand this and most still don’t. The support sector was always smaller than the group with apathy and seems to shrink as I grow older. But that’s okay too. I made it and am continuing forward with the next phase of my plan.

In 2011 I began working on a project with the intention of debuting it just in time for my ten year anniversary and that project, which was picture locked this past spring, is finally finished with a score from the talented David Obaniyi. It’s called Steinway Street and it’s the autobiographical telling of my first year as a New Yorker, including the moments leading up to my move. The film is largely told with still photographs and the central character is simply known as “The Photographer”. In the film, life isn’t easy for the Photographer and the central character is put through many trials to test his resolve. Will he stay in the great world city or go back to his safe hometown with his tail between his legs? Of course we know what happened here – I lasted as long as I vowed to and have no plans of moving off anytime soon. In fact, I’ve got many projects lined up that will keep me operating in the Big Apple for many more years to come.

I have no plans yet for Steinway Street, but in the meantime you can check out this trailer. It’s an art house film through and through. Hope you dig and WOO HOO!!! to ten years! May the naysayers bugger off. :)

Eric M. Norcross / Writer/Filmmaker – “The Photographer”

JFK (1991) – Oliver Stone (Eric Norcross)

JFK Primary Image

JFK (1991) – Oliver Stone (Eric Norcross).

Although the themes of this movie are incredibly sinister, it’s an absolute must-see for any film aficionado and a must-study for any student of the medium. Regardless of your personal politics or opinion on the real world event, the film is an amazing achievement of nearly every aspect of the filmmaking craft. Anytime I get around to watching JFK, I tend to develop a sympathy for the filmmaker because of the dark place that working on this film must have sent him. This is not easy material to handle, not for anyone, and for achieving what he did with this project, I kindly ask that all of you have an open and appreciative mind when indulging in it. This is a work that deserves our utmost respect, from a man of great character and an impressive catalog of work to boot. [read more at A World of Film


Box Head Revolution


BOX HEAD REVOLUTION is an avant-garde science fiction film that I had the pleasure of seeing recently. Largely shot in a Hollywood back alley, this experimental endeavor peaked my curiosity when it was given to me in 2012 during a visit to Los Angeles. I haven’t had a chance to check it out until recently. Any aficionado of avant-garde cinema should give Box Head Revolution a viewing.

In 1973 The US launches the space probe Voyager into space.


Placed upon the space probe is a golden record: SOUNDS OF PLANET EARTH.


The record is discovered by an alien race. The must incites a revolution.

A Box Head Revolution.




Box Head Revolution was directed by Mark Christensen.









What Craigslist Producers Say

CL Producer

When I first launched Film Anthropology, one of the primary goals I set for myself, was to have articles oriented towards the art and craft of film, but more so to plant the seeds for an eventual pursuit that transcends the current social status films have in North America. FA, essentially, has been designed to explore the place in our society where film can succeed as an art form for human expression and not so much as a commercial endeavor to produce disposable entertainment. One of my favorite quotes that I always go back to, when explaining how I see film and the production of film, comes from Jonas Mekas, one of the founders of the Anthology Film Archives in New York. He explained in his Anti-100 Years of Cinema Manifesto that films should be about “friends getting together, doing the thing they love”. This is what I have in mind every time I start a project and pursue collaborators, but being in New York, it’s not always what you get, especially with a rather vicious freelance workforce.

Some time ago, a self-proclaimed “comedy troupe”., who I assume are also freelance videographers in their day jobs, put up a video on YouTube and began promoting it on the Craigslist gigs forum in New York. The video is called “Shit Craigslist Producers Say” and it has received an enormous amount of likes and positive comments, largely from the workforce. I recognized immediately the bitter undertone of the video, which was largely designed to be humorous. With little forethought as to the can of worms I was about to open, I quickly commented that the core of the video is “Mean Spirited” and then I moved on. Some weeks later I started receiving one vicious response after another and then another. Sometimes the response was posted on the video, most of the time it came by e-mail. This past week some cat from Nashville had the audacity to accuse me of “vying for slavery”. After a brief argument it was clear to me that he had little knowledge of what slavery consists of and that in his mind, volunteerism is essentially the same thing. I ended the argument as peacefully as I could. The entire thread has since disappeared from the video, as well as my original comment.

My films are incredibly personal to me and when I go into production I do no want to surround myself with people who’s dedication is only commensurate to the capacity of their paychecks. It doesn’t work out. It NEVER works out. Not unless you have a bottomless bank account. In my experience, once you start spending money, the people around you won’t let you stop. Invention takes a backseat to ease and your film becomes much less personal and the final cut typically winds up far less interesting. This Craigslist video and its subsequent comments are a prime example of the kind of people who should not be engaging in the production of independent film, in my eyes. They don’t have the spirit and aren’t in it for the right reasons. These are people who are certainly hungry, but acting thirsty. You should always be hungry, but never act thirsty. Some of the most successful independent films were created by people working on the project because they believed in it, because they had a stake in its success. Today, crews and even actors, are not approaching projects with the thought that they have a stake in them, but are measuring its potential based on the budget and earnings potential. Because of this, the quality of work has suffered immensely. Good storytellers are being ignored because their call for collaborators are being flagged for deletion by the thirsty workforce.

With indie film, EVERYONE on board needs to have a stake in its success and the only way to achieve this is to approach the production as equal partners, not the typical employer-employee relationship. Everyone has to be understanding to the needs of the storyteller and not respond venomously when they’re incapable of raising what some of these cats would consider “proper” funds. In the grand scheme of things, there isn’t all that much information the filmmaker needs to squeeze into that tiny frame, but for some reason it has become more complicated and more expensive than ever before. If we’re going to be successful at this, we need to take a step back and look at where we’re going as collaborative artists, otherwise we cannot improve the quality of our work or our economic conditions. It’s really easy to demand pay without care of where the pay might come from. Instead, offer up solutions that are a little more “outside the box” and actually make a difference. We can all mutually benefit from a community of understanding people, but only a select few benefit from the current set-up.

Desperation yields contempt for those who do not deserve it. Storytellers are generally, incredibly idealistic and there is nothing wrong with that. When I come across content like this video, I feel like my goal to elevate indie film to the next level sits in a constant state of triage. We all need to move onto the next stage and we’re not going to move on if we’re all treating one-another like garbage. There is no below the line, it’s just us. All of us.


Through Baby Steps, We Make Progress…

Featured Image -- 2073

Film Anthropology:

I am reblogging this from my Production Diary for THE SPACESHIP – a sci-fi feature I directed which is currently in post-production. I thought that this might be helpful to any struggling artists who might be dealing with incredibly unreasonable circumstances with their work – I certainly believe no filmmaker should ever be in the situation I’ve been in with this project so it’s an important addition to the Film Anthropology catalog of experiences.

Originally posted on THE SPACESHIP - Production Diary:

I’m one to admit that there is always a benefit to things crashing down on you. People skeeving out on their agreements and things just flat out not going as planned does open some doors, even if you don’t see them right away. It’s easy to be blinded by the anger that comes with being betrayed by those you trusted. But when the smoke clears, and it will clear, if your eyes are open, you’ll make some amazing moves. Invention out of necessity is often key to creating a work that transcends expectation and after a year of dealing with some of the worst kind of faux pas on the part of those whom I shall never collaborate with again, there is alas progress being made with a film I had thought seriously about walking away from.

As some of you might already know, I have a volunteer from Toronto…

View original 419 more words

Caroline of Virginia at Phnom Penh 2014


Caroline of Virginia has been officially announced as an official selection of the 2014 Phnom Penh International Film Festival. This is a landmark event for me as a filmmaker as it is the first time my work will be seen outside of North America. I’m happy it was this particular film to make such an important achievement as it was the first film I made to get into a film festival to begin with and to be recognized with an award. It makes sense that it would continue to further my accolades.

Although I know the festival will be in September, I have not yet received the screening schedule so I do not know the exact date that COV will screen. I’m to understand the staffers there are working really hard on getting the scheduled locked and live, so stay tuned!

Please check out the film’s listing on the festival website at: and connect with them on Facebook:

COV-Still-BUS-STOP COV-Still-FINAL-SHOTWatch the production trailer on the festival’s YouTube Channel: