Nothing Lasts Forever (1984)


An unreleased film starring Bill Murray with Dan Akroyd and directed by SNL alum Tom Schiller is available for free viewing via vie YouTube. A series of recent articles have brought attention to the film’s mysterious upload to YouTube and as a result of this flood of attention it’s likely to be taken down at some point soon, so check it out before it’s too late. The film has never been theatrically released, ‘nor released on home video and at this point there are no plans for it.

The story line (via IMDB) reads as follows: An artist fails a test and is required to direct traffic in New York City’s Holland Tunnel. He winds up falling in love with a beautiful woman, who takes him to the moon on a Lunar Cruiser.

According to sources, all screenings of the film have been at the insistence of Murray and other participants of the project, including a screening at BAM Cinematek in Brooklyn in 2004. Additionally, MGM has dug in its heels in an attempt to keep the film under lockdown, even denying special requests from the Cannes Film Festival, to screen the film at the internationally recognized event.

Further reading:


Teal & Orange: The Blockbuster Look


I have stumbled across a couple of articles that I’d like to reblog here, as I feel they pertain to an important trend in mainstream cinema right now and that trend has made its way into the indie film sector. As a program adviser for several film festivals and because I write about the current and future state of film for several publications, I end up receiving a lot of films, often sent to my by filmmakers or press agents. More than sixty percent of the indie films I’ve seen since January are “guilty” of the color grade practice discussed in these articles. Please give them a gander and then let me know your thoughts.

Into The Abyss: Teal & Orange – Hollywood, Please Stop the Madness

Those of you who watch a lot of Hollywood movies may have noticed a certain trend that has consumed the industry in the last few years.  It is one of the most insidious and heinous practices that has ever overwhelmed the industry.  Am I talking about the lack of good scripts?  Do I speak of the dependency of a few mega-blockbuster hits to save the studios each year, or of the endless sequels and television retreads?  No, I am talking about something much more dangerous, much deadlier to the health of cinema.   [read more at Blogspot]


Digital Cinema Foundry: Why the So-Called “Blockbuster” Look (Color Grading Explained)

Note: This article provides a tutorial on how to achieve the “Teal & Orange” look.

It seems that artists are beginning to notice the trend of the so called “Blockbuster” look that’s becoming more and more popular in feature films and in personal projects with the advent of plugins like Red Giants Magic Bullet Looks & Mojo. For those who are just discovering the look, are plastering it all over their creative projects and those discovering the trend in feature films are beginning to bemoan its overuse. But nobody (to my knowledge) has explained yet why the look is popular. [read more at Digital Cinema Foundry]


An Introduction To OBJECTS

Objects Frame

More info:

Crowd Funding Video for OBJECTS, a new feature indie film I plan on shooting in October 2014. Please be a gem and donate and spread the word about this film and the funding campaign. Check out the links below for deets.

IndieGoGo Funding:

Eric Norcross: /

Also check out our cast:

Mary Ashley:

Film Crash Series Reboots With NYC Event

Film Crash Still

[reblogged from Renegade Cinema]

In one of the biggest festival reboots in the history of independent cinema, the Film Crash Series is returning to the indie film scene with an all new screening event to take place in Brooklyn, New York in September. Reworked as an annual film festival that will showcase original and unusual films, the programming staff will select one feature and five shorts, to screen in one evening. In addition to participating in an incredible networking opportunity, awards and prizes will be presented to select filmmakers, recognizing achievements in feature film directing, short film production, student and new media projects.

Past Tix

Founded by filmmakers Matt Harrison, Scott Saunders and Karl Nussbaum, the series was born out of the creative tempest of Manhattan’s East Village and Lower East Side during the Roaring 80′s and early 90′s. Known for creating a vibrant gathering place for a forever burgeoning independent film community, Film Crash grew and eventually broke free of its downtown roots and the event ventured abroad. Returning to NYC after many years on hiatus, I am looking forward to seeing the series shake up the indie film community as it did when it originally launched.

Filmmakers still have an opportunity to get in on the action. For submission and deadline information, please visit:

Filmmakers and film buffs far and wide should check out Film Crash on Facebook:

[reblogged from Renegade Cinema]



The Whale & the Wave – “The Unknown” Official Video


I have the pleasure of presenting all of you with a sneak peak at the official music video for “The Unknown” by the indie pop group The Whale and the Wave. I previously featured two of their songs in my short film Caroline of Virginia and I am happy to have directed the music video for their new single. The video and the single officially drops Friday May 02, 2014 – but for Film Anthropology subscribers you get to see it early!

Download “The Unknown” in MP3 format for free at:

Official Video Link:

Watch on Vimeo:

Upcoming Anthology Screenings


Hello everybody, there are quite a few “screenings of note” coming up at the Anthology Film Archives in the next few weeks so I thought I’d post some of their screening calendar.

Saturday May 10



In 2011, Independent Curators International (ICI) organized the sound exhibition WITH HIDDEN NOISE featuring artists Andrea Parkins, Jennie C. Jones, Pauline Oliveros, Steve Peters, Steve Roden, Taylor Deupree, Michael J. Schumacher, and the show’s guest curator, multi-media artist Stephen Vitiello. Having debuted at the Aspen Art Museum and subsequently traveled to Monash University in Victoria, Australia, the exhibition will be on view this spring and summer at New York’s Wave Hill, The University of Minnesota in Minneapolis, and The Henry Art Gallery in Seattle. On this occasion, a crucial moment for sound in art finally entering art institutions, ICI joins Anthology to present a one night event that explores the origins of experimental sound and the radical ways artists have worked outside the mainstream.

Curated by Stephen Vitiello and Alaina Claire Feldman, Exhibitions Manager at ICI, this program features Michael Blackwood’s ultra-rare documentary NEW MUSIC: SOUNDS AND VOICES FROM THE AVANT-GARDE, back-to-back with John Sanborn and Kit Fitzgerald’s re: SOUNDINGS. The evening concludes with a live conversation between Vitiello and special guest Alvin Lucier!

Michael Blackwood
1971, 51 min, 16mm-to-digital
Arts documentarian Michael Blackwood has made dozens of insightful portraits of artists since the mid-1960s, and this particular film was made for and only broadcast on West German television. Featuring a jaw-dropping array of notables (including John Cage, David Tudor, Gordon Mumma, David Behrman, Max Neuhaus, Alvin Lucier, Steve Reich, and Philip Glass, among many others) this piece is, in retrospect, an incredible time capsule from a seminal moment in the development of sound art and truly new music.

John Sanborn & Kit Fitzgerald
1983, 65 min, video
Sanborn and Fitzgerald were proto-MTV video artists who brought a visual new-wave energy to the frontiers of experimental music. Inspired by the exhibition SOUNDINGS at the Neuberger Museum located at Purchase College, re: SOUNDINGS is a highly energetic piece featuring appearances and sounds by John Cage, Alvin Lucier, David Tudor, Liz Phillips, John Driscoll, Max Neuhaus, Doug Hollis, Meredith Monk, Vito Acconci, and Laurie Anderson.

Sunday May 18th


by Jen Senko & Fiore DeRosa
2009, 55 min, digital video 

This screening is part of: FROM MAE WEST TO PUNK: THE BOWERY ON FILM

Film Notes


Told through the eyes of city planners, developers, politicians, small business owners, landlords, and tenants, this documentary exposes and explains the policies and economic philosophy behind New York’s finance-dominated economy, the concentration of wealth, and the process that has jeopardized the social fabric and neighborhoods that have always made New York unique.

Saturday June 14: Charlie Chaplin Program



A WOMAN (1915, 20 min, 16mm, b&w)
EASY STREET (1917, 19 min, 16mm, b&w)
A DOG’S LIFE (1918, 33 min, 35mm, b&w)
Total running time: ca. 75 min.



SHOULDER ARMS (1918, 37 min, 35mm, b&w)
SUNNYSIDE (1919, 30 min, 35mm, b&w)
A DAY’S PLEASURE (1919, 19 min, 35mm, b&w)
Total running time: ca. 90 min.



THE IDLE CLASS (1921, 32 min, 35mm, b&w)
THE PILGRIM (1923, 41 min, 35mm, b&w)
Total running time: ca. 80 min.

Sunday, June 15

4:30 PM

by Charles Chaplin
1925/1942, 72 min, 35mm, b&w

One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin’s own music and poetic narration, added for his 1942 reissue.

6:15 PM
by Charles Chaplin
1928, 72 min, 35mm, b&w, silent

“One of the loveliest screen experiences! Perhaps the quintessential Chaplin film!” –Vincent Canby, NEW YORK TIMES

When we first meet Chaplin’s Tramp in this comic gem, he’s in typical straits: broke, hungry, destined to fall in love and just as sure to lose the girl. Mistaken for a pickpocket and pursued by a peace officer into a circus tent, the Tramp becomes a star when delighted patrons think his escape from John Law is an act.

Sunday, June 22:

by Massimo Dallamano
1974, 96 min, 35mm

What-Have-They-Done-to-Your-Daughters-1This screening is part of: THE ITALIAN CONNECTION: POLIZIOTTESCHI AND OTHER ITALO-CRIME FILMS OF THE 1960s AND 70s

Film Notes

With Giovanna Ralli and Mario Adorf.

When a young girl is found dead by hanging, the police find themselves on the trail of a motorcycle killer. What they uncover is a truth far more sinister and inconvenient. A perfect blend of police procedural and suspenseful giallo, this is the second installment in the ‘school girls in peril’ trilogy by Dallamano (who was formerly Sergio Leone’s cinematographer). Released in the U.S. as COED MURDERS, this socially relevant thriller is graced by a terrifically catchy score by Stelvio Cipriani.

Visit the official Anthology Film Archives website for pertinent information.


Rhythm Thief Cast & Crew Reunite


[Reblogged from my article at Renegade Cinema]

This past evening I had the pleasure of attending a screening of the 1994 indie film Rhythm Thief, which as some of you might remember, I previously wrote about in an article calling on Criterion to pick the movie up for distribution. There is something about this film that has mystified me since I first saw it and even though I have had multiple opportunities to sit down with filmmaker Matt Harrison to discuss his work, it was starting to sink in that no amount of Q&A’ing was going to help me figure out what was going on with this movie.

Tonight, I’ve made some progress. The film screened as part of the Brooklyn Academy of Music’s “Cinématek Overdue” series. Along with a screening of an actual 35mm print (which I rarely see these days), the event included a wonderfully detailed and enthusiastic Q&A with Harrison and his cast and crew, including actors Jason Andrews, Kevin Corrigan and Kimberly Flynn.

Aside from the usual battle stories which I had already been familiar with, one of the key components I discovered that makes this film special is the obvious rapport the participants have with one-another. It’s clear to me now that Rhythm Thief works because it is a film made out of love, not just love for the craft, but love between the people involved and that love, which has lasted two decades, is exactly what has been translated onto the screen. This is an element that is so important to the creative process, but is often overlooked by young indie filmmakers today, many of whom would easily sacrifice a friendship or two in exchange for time on a Red Epic.

Experimental filmmaker Jonas Mekas wrote in his Anti-100 Years Manifesto, “The real history of cinema is invisible history: history of friends getting together, doing the thing they love.” I’ve used this quote before and will again because it’s important and absolutely true. Today I witnessed that same love,  between all of the people involved in the making of this 90’s classic and I realize too that I can see that love come alive every time I take a gander at the work they all created together. Thankfully, I have taken a major leap forward in demystifying this amazing work.

Thanks for putting up with my romanticism.


Rhythm Thief is available for streaming on YouTube, Amazon and on DVD through Netflix and Kino.

[Reblogged from my article at Renegade Cinema]