ATLRetro

by Gretchen Jacobsen
Contributing Writer

Yoon Nam, Korean-American DJ and queen of vinyl, gets retro and internationally bizarre, supplying our hungry ears since 2006, with all things ’60s and ’70s international psych, prog and outsider folk rock, spinning us into the trippy, psychedelic vintage air-waves of Georgia State University’s WRAS Album 88.5’s Jet Lag! Tune in and catch a unique show filled to the brim with vinyl recordings of the weird, obscure and enticingly strange, on air every Sunday night from 8 to 10 pm! She also delivers an all-classic jazz show, The Blue Note, exclusively using vinyl recordings, every Sunday afternoon from noon till 2 pm!

There is a ritual most Sunday nights at my house. I sit on the floor in a corner of my kitchen and chat with my husband while he makes dinner. We also listen to the radio, always WRAS Album 88.5.  It took us a while to wrap our minds around the trippy, jazzy international sounds that comprise the vast Jet Lag” sonic-sphere, but once we finally “got it,” we were hooked. I wanted to learn more about Yoon, her tastes and her vinyl, so I thought I would just go ahead and ask her!

ATLRetro agreed that she’d make a perfect Kool Kat of the Week, so I caught up with Yoon Nam for a quick interview about her love of ‘60s and ‘70s psychedelic tunes and her adoration of the vintage-ly weird!

ATLRetro: What is “Jet Lag”?

Yoon Nam: The show features psychedelic music from around the world, focusing on the ‘60s and ‘70s and almost always played from vinyl. I especially enjoy featuring music that isn’t very common or heard on the radio much. When I started doing the show, I was taking over an earlier international music show on WRAS. I knew that I wanted to play a lot of prog, psych, strange folk and other music like that, so I eventually settled on the name Jet Lag. It is the name of an album from one of my favorite bands, PMF (Premiata Forneria Marconi). The name, of course, has to do with tripping, and the topos of travel since the show features music from all over the globe.

How did you become interested in this type of music?

I grew up in South Korea, and over there a lot of ‘70s prog and psych bands were actually famous. I was surprised when I came to the U.S. and found out that the general public often didn’t know about bands like PFM or Banco (Banco del Mutuo Soccorso). Italian prog is widely admired in Korea. Also, as I try to let people know through the show, there were a lot of amazing Korean psych and folk artists in the ‘70s, and they were still popular in the ‘80s when I was growing up.

There was a little record store called Wooden Horse Records near where I grew up in Seoul that I liked to hang out in, even when I was quite young. I heard a lot of European and American jazz and other stuff there. That’s where I spent my first allowance money from my parents. There were also clubs called “Dah Bang,” where DJs would play records while they served tea and coffee. They were just quiet tea and coffee rooms, but they had DJs playing records. While the DJs would play some of their own records, these “Dah Bang” would always have a large built-in collection of records, and so the customers could also pick and request the music from the library. The big collections of vinyl always impressed me a great deal. I would sneak in with my father sometimes and listen. My father was friends with a DJ, and he inherited a lot of records from that DJ when one of the clubs closed down. The whole retro-vintage culture movement in Seoul has brought “Dah Bang” back—all vinyl records, even—which is awesome.

Why does the Jet Lag sound appeal to you?

Although the show started in 2006 with me playing both CDs and records, three or four years ago I started playing almost all records. It’s about texture and sound. I love listening to records! I don’t play much, if any, newer stuff because it just doesn’t sound right or mix in well. There’s just something about the way they started recording music in the ‘80s. I’m also not particularly into information or sharing information; it’s mostly about sound – not necessarily about the rarity, though I do play a lot of obscure records on the show. When a person walks into the room and hears the music and wonders, “Where am I?” That’s what I like. Jet Lag is about travel and trips, both in terms of distance and culture.

How do you discover new sounds for Jet Lag?

Luckily, I did grow up with a lot of the music I play on the show. Sometimes it is simply a matter of something I’m really into showing up to be added to my collection (since I never, ever play computer files on the show). In truth, a lot of the records I buy these days come from overseas, but I often find cool stuff in Atlanta’s awesome used record stores, too. I also like a lot of ‘60s and ‘70s international movies. When I hear things I like, I track them down. Whenever my husband and I visit Korea, we always go to the underground arcades and record stores in Seoul and find fantastic records. I listen to stuff all the time, and I’m always on the lookout for records that I haven’t heard before or that might contain awesome music. The Internet is a really crazy resource, but it goes without saying that if I don’t like something enough to track down a real copy of it—a vinyl copy, that is—I don’t share it on the show. The show is personal. I have to really like something to play it on the air.

Are you a musician?

No, unfortunately. But I can hum and I love Karaoke!

Where do you go to see live music in Atlanta?

Atlanta is a great city for live music. I love 529, The Earl, Eyedrum and a lot more places. I try to catch jazz and classical music at Cobb Energy, Symphony Hall and Spivey Hall down at Clayton State, too.

What are you currently listening to that you’re not playing on the radio?

I’m really enjoying pre-1975 Vietnamese pop 7-inch records. It’s so wonderful; a collision of jazz and pop and traditional Vietnamese music. I listen to jazz constantly, but mostly stuff from the ‘70s and before. Again, something about the recordings sounds better to my ears.

How is the WRAS takeover affecting you and the staff at Album 88?

What happened was really unfortunate because it robbed Atlanta of something fantastic. It’s more than just losing music during the daytime hours on the radio to a duplicate of what already existed. It’s a symbolic loss. I still do The Blue Note—all classic jazz and vocals played exclusively from vinyl—every Sunday from noon till 2 pm on WRAS, but Jet Lag is no longer broadcast on FM after the takeover. We are still working hard at the station and really, really appreciate the outpouring of local support for us!

What are your plans after GSU?

Wow, plans? I’m writing my Ph.D. dissertation now (16th and 17th Century British Literature). I want to keep sharing music and making art after I graduate. Exactly how? Let me think about that after I am done with my dissertation!

Is there anything else we should know about Yoon?

I don’t actually know what to say about myself. I am a product of two different cultures—Korean and American—and music is something that connects them both for me. Even though I love music, I try not to be that person who shows up at a party and starts talking about nothing but music. Some people seem to be so competitive about what they know. I do DJ around Atlanta occasionally. Also, I enjoy making art about my female calico cat, Reginald.

*Due to the “daytime” takeover of WRAS airwaves, Album 88 programming, Jet Lag is still on air but The Blue Note can now only be heard via the WRAS HD2 stream or online through places like Tunein (Search for WRAS-HD2). There is also a free WRAS streaming app for Apple users that was created by a loyal WRAS listener.

*The fight for the return of 24 hour student run radio to WRAS is not over. Visit the Save WRAS page on Facebook for updates or to lend your support.

All photos courtesy of Yoon Nam and used with permission.

Jeff Clark, Editor/Publisher of Stomp and Stammer, costumed as Alice Cooper for the 2012 L5P Halloween Parade.

Happy Birthday, Stomp and Stammer! There’s no way we’re missing your badass two-day party this weekend at The Earl including Prince Rama headlining on Friday Nov. 22 and legendary soul man Swamp Dogg at the helm on Saturday Nov. 23. Here’s why:

Maybe ATLRetro ought to think of Stomp and Stammer as the competition–and yeah, we’ve been known to sneak more than a peek at their calendar when putting together This Week in Retro Atlanta. But I’d much rather call Atlanta’s independent rock music tabloid an inspiration and Publisher/Editor Jeff Clark a good friend and a kickass music journalist with a no-holds-barred attitude for telling it as he hears it. Sometimes that pisses off folks, sure, but with Jeff’s encyclopedic knowledge of rock from its roots to the present, we think he’s earned the right to call out some pretenders. I’ve joked a few times that I gave Jeff his first big break when I was editing Tuesday Magazine, what the features and entertainment section of Georgia State University‘s student newspaper The Signal was called way back in the 1980s. But I think it was actually my predecessor Brad Hundt. In any case, while I was lucky to have many fine writers back in the day, I stand by the assertion that Jeff was and still is the best.

In any case, Atlanta is damned lucky to have a great free music print tabloid like Stomp and Stammer, especially in this online era. While Jeff has assembled a mighty swell staff over the years, it takes the right pilot and a hefty dose of passion to keep something this awesome going for so many years. If that doesn’t make Jeff a Kool Kat, we don’t know what does, and we’re mighty excited to have the chance to ask him about his own musical roots, how he got into writing, the origin story of Stomp and Stammer, the killer line-up he has booked for The Earl this weekend, and when he plans to throw another of his famous yard sales.

ATLRetro: With your musical knowledge, we wonder if you were listening to a stereo in the womb. Seriously where do your musical roots start? What age and what did you listen to?

Jeff Clark: Hard to remember any specific moment or time, truthfully. I do recall having a little red transistor radio when I was a kid. It was pretty small, about the size of a juice box, and I think it only played AM stations. Back then there was a lot more music on AM than there is today, and I was significantly enthralled by the sounds that were coming out of that thing. I used to carry it around with me all sorts of places, and I think at some point I somehow attached it to my bicycle, probably with tape or rubber bands, so that I would have a radio to listen to while I was zippin’ through the neighborhood doing wheelies.

I used to crudely record songs from the radio onto cassette tapes, and make my own mix tapes that way. Keep in mind that this was early/mid ’70s AM radio, WQXI and stuff, so a good deal of the songs were from cheesy one-hit wonders and such, but to me it was the epitome of cool. I also remember listening to that little radio late one night, in bed, with the volume very low so my parents wouldn’t know I had it on, and you know how on the AM band, especially at night, storms, even at a great distance away, cause interference with muffled crackles and electric frizzle? So “Dreams” by Fleetwood Mac came on, and with all the soft crackly static bursts punctuating the verses intermittently, in the dead of night, alone in my room, it was probably the spookiest song I’d ever heard. “Thunder only happens when it’s raining…” To this day, it’s one of my favorite songs.

A few years later, my older brother was going to Georgia Tech and ended up doing some work at WREK, the college station there. So I started listening to WREK simply because he worked there, even though he wasn’t one of the DJs. That was a major revelation, because that station’s always been so adventurously programmed. I heard all sorts of weird, wonderful music, some of which stuck with me and piqued my interest in the underground scene. I specifically remember hearing the Velvet Underground for the first time on WREK and loving it, although I’ve long forgotten which song it was.

Eye Candy, featuring Shonna Tucker (Drive-By Truckers).

Other memories stick out, like seeing bands on SATURDAY NIGHT LIVE in its early years, when they actually had cool, interesting musical guests. Watching the local TV coverage of the Sex Pistols‘ US debut at the Great Southeast Music Hall. Being introduced to the Ramones by a really cool girl I had a crush on in high school, I have no idea whatever happened to her. Laughing at CREEM magazine. Seeing PiL on AMERICAN BANDSTAND, still one of the weirdest, most anarchic TV appearances by a band I’ve ever seen. The first really big concert I went to was The Who at The Omni. That was 1980, I think. After that it was The Kinks, Dylan, Zappa, all at the Fox, I think. Got a job at Turtle’s Records not too long after high school, and that provided another great avenue to discover new music, and meet fellow fans. By that point I was going to shows at 688, the Agora, the Moonshadow Saloon, etc, all the time, and there ya go.

Did you ever consider being in a band yourself? If yes, what instrument did you play or would you have played?

When I was a kid, like a lot of kids I would fantasize about how cool it would be to be a big rock star in a band that toured the world playing to millions of fans. I had an electric guitar for a while, but never really learned to play it very well at all. I know I should’ve kept at it, but after a certain point I realized I was better suited to channel my deep interest in music in other ways. Besides, I’m pretty certain I would write terrible songs and I’d have to give myself a scathing review, and then I’d let a bitter grudge against myself fester for months upon months until I physically attacked myself in a drunken rage in public one evening. And that would just be embarrassing.

When did you do your band interview, who was the band and when/where was it published? How did it go?

My first band interview was probably not for a publication, but an on-air interview for WRAS when I was attending Georgia State University, late ’80s. But I did lots of interviews for them, and I can’t remember which was the first. My first published interview was for for The Signal, the GSU student newspaper. I started writing for it after I was temporarily canned from 88.5 at some juncture. So my first published interview for The Signal was either Dinosaur Jr (Lou Barlow) or Edie Brickell & New Bohemians (not Edie but their guitar player, can’t remember his name). I hope it was Dinosaur Jr, because that’s at least cool, but then the first band I ever saw play was Dr. Hook & the Medicine Show (a terrible, hokey ’70s act) at Six Flags, so I’ve never really had the cool factor in my favor. As an aside, I started both writing and doing radio while at GSU, and I’ve pretty much consistently done both ever since.

Legendary soul man Swamp Dogg headlines Stomp and Stammer 17th Birthday Weekend, Night Two.

Ha, I think the first rock band I ever saw live was Paul Revere and the Raiders at Carowinds. You’ve watched the Atlanta music scene for over two decades now. What local band are you saddest to say had the most potential but never made it out of here?

There have been lots of them! For a long time, no one paid much attention to Atlanta bands. Like, on a national scale. In the ’80s Atlanta was overlooked because there was so much attention paid to Athens, and in the 1990s, the rap/urban thing started getting huge with So So Def and LaFace and all their acts, so that sort of became known as “the Atlanta sound.” You had exceptions, for sure, like the Georgia Satellites and Indigo Girls and whatnot, but I tended to prefer the more offbeat ensembles. Things like Opal Foxx Quartet, Smoke, Dirt, Magic Bone, King-Kill/33, these were all amazing bands in their own way, but I wouldn’t say that any of them were really destined for mainstream acceptance. Interestingly, in some circles Benjamin (Smoke, OFQ) has posthumously become a small scale celebrity. I mean, there was a multimedia dance performance in New York recently based loosely on his life, featuring Smoke songs. That, to me, is rather bizarre.

These days, with the major label system barely a factor as far as signing new talent, especially in the rock realm, most bands aspire to getting attention from Merge or Vice Records or In the Red or other established indies, if they have any label aspirations at all. Often a band can cultivate a solid following by releasing music themselves, putting it online, using social networking, blogs and word of mouth and touring with other likeminded bands that already have a dedicated fan base. It seems like the potential rewards are far less than they once were, but the ability to make a living playing music is actually more acheivable if a band is good, smart and works hard.

Lee Bains III & the Glory Fires will be be backing up Swamp Dogg on Saturday Night. Photo credit: Barry Breicheisen.

Anyway, back to your question. In the past couple of years, I thought both Knaves Grave and Ghost Bikini were amazing bands that certainly had the talent and potential to break out of Atlanta, at least on the indie label, fill-a-small-club scale if not greater. Both of them broke up a few years after forming. That sort of thing happens everywhere in every city’s scene. It’s disappointing, but what can you do? Bands are often volatile, it’s like a three or four or five-way marriage, and in many cases the personalities aren’t the most mature.

Before Stomp and Stammer, you were writing for multiple news venues, including national outlets like Details? Why did you decide to devote your energies to creating a damned fine local music zine instead?

I think it’s probably because it gives me the freedom to do what I want. I wrote pieces for a few national publications – Details, Raygun, Alternative Press, a few others. That was cool, but I really get more personal satisfaction doing the stupid stuff I do with S&S. That’s probably crazy, I suppose. Also, there aren’t that many national magazines covering good music anymore (meaning, music that interests me) in the print world, and at this point I’d probably make less money doing that anyway. Having S&S gives me an anchor that I know will be there month to month, and I don’t have to keep pitching stories as a freelancer to editors that don’t give a shit about Kid Congo or whoever I’m inspired to write about that day.

Also, for the most part, I hate writing. I do it because I can, and I’m not bad at it, and I’m writing about things that interest me. But most times I’d rather just be able to enjoy music without having to think about it. On the other hand, I have a lot of strong opinions (who knew?) and writing certainly allows an outlet for them. And that’s another thing – I don’t know of a national publication that would let me say some of the things I say. Everyone’s so fucking afraid of offending somebody.

Prince Rama headlines Friday night of Stomp and Stammer's 17th Birthday Weekend.

How did Stomp and Stammer get started? It must have been challenging paying print costs in the beginning, but then you already had a long rolodex of contacts in the music industry and local scene to hit up for advertising.

My friend Steve Pilon started it with me in 1996. Both of us were working at 99X at the time, and we were sort of in charge of putting together this little free monthly music magazine they did for a while to promote the station and the music they played. In retrospect, from 99X’s perspective it was a mistake to put me in charge of such a thing. They did it because I’d been writing for Creative Loafing for several years; therefore, in their minds, I knew how to put together a free magazine. I had no idea what I was doing. Shortly after 99Xpress started in early 1995 I got Steve the job of doing the layout for it. He and his wife had a record label at the time called Long Play Records, they put out Smoke, Opal Foxx Quartet, Big Fish Ensemble, a few other acts, and Steve did the design work for the CDs. Anyway, basically we used that year to experiment and put all sorts of silly things in the 99X magazine, some of which included mocking some of the acts they were playing, which was clearly a mistake and I’m sure ultimately contributed to my dismissal from the station. But we learned how to plan issues, and layouts, and deal with advertisers, and PR people, distribution locations, etc. We learned how to make a magazine.

So it was Steve’s idea to start Stomp and Stammer. He was the publisher, I was the editor. At first it was just an online zine. This was, I think, April 1996. I guess it was sort of ahead of its time, in that respect, so ahead of its time that we found it incredibly difficult to find anyone willing to pay for advertising in an online-only music magazine. So in November ’96, the first print edition came out. I think it was a mix of Steve’s and my contacts in the local scene as well as national labels that allowed us to have a pretty solid advertising base from the get-go. Steve left the fold a few years later to focus on other, more lucrative endeavors. Delusionally, I opted to stick it out. And while everyone tends to treat me as if I AM Stomp and Stammer, we have many talented writers, designers, photographers, distributors, advertisers, etc contributing to every issue, and they deserve a huge chunk of the credit for keeping the operation going.

White Woods is on Stomp and Stammer's Friday night line-up.

Why do you still distribute printed copies of Stomp and Stammer versus going online only? And it’s free, too. Is it challenging staying print in an online world?

As far as getting advertising and paying printing costs, that’s always a challenge. I’ve gone through some extremely lean patches at times. Why do we still distribute printed copies? I guess I’m old fashioned. And I think there’s still a significant part of the population that enjoys picking up such things at the record store, or reading while they eat their burrito, or while they’re at the bar, or taking a crap or whatever. There are certain qualities that printed matter can provide that online cannot. Everyone and their mother has a blog nowadays, and I just don’t know if I’d want S&S to just be another one cluttering up the internets. Instead, we’re killing trees and cluttering up the window ledge at Eats. I’ve found it extremely hard to make any significant advertising profit online, then again printing costs are crazy and keep rising. Is one way better or worse? I don’t know.

You have some pretty killer and also diverse line-ups for both nights of Stomp and Stammer birthday shows. Did you have any particular goals in the kind of music/musicians you wanted to include?

I always want to put on a great show and showcase bands that we’re really digging, especially new local bands. If possible, I also like doing things that are a bit out of the ordinary, like people that have never played Atlanta or if they have, then not in a long time. So that usually entails bringing in acts from out of town. Some years I’ll just stick with local bands to keep costs lower, but this year I decided to go for broke and fly in a few headliners that wouldn’t have played here otherwise, and that I think really need to be seen and experienced. I also don’t like repeating myself, so every year I try to get bands that have never played our birthday shows before. And I like to mix up genres a little bit, not just do the same sort of thing.

Zoners play Friday night. Photo Credit: Bobb Lovett.

Can you tell our readers a bit about the different acts and what makes them special? Anything else you’d like to make sure they know in advance?

Well, as far as the first night (Friday, Nov. 22), Prince Rama are just one of the most creative, fun, strange, fascinating bands I’ve heard or seen in the past few years. They are two sisters in their 20s who grew up in rural Texas and in Florida in a Hare Krishna community, and now they are based in New York. They have really interesting, inventive ideas about music, art, film and fashion, and they combine all of it together with Prince Rama. Their current music is sort of an amalgmation of dance music, psychedelia, pop and various ethnic sounds from cultures the world over. And they are just really cool people.

Zoners are a fairly new Atlanta band on the scene that look like a bunch of misfits tossed together but have a really tight, punchy pop-punk sound. Catchy original songs, and they cover the Dickies and 999, and that works for me! White Woods is Julia Kugel of the Coathangers. She’s put out two White Woods singles on Suicide Squeeze but has never played a White Woods show ’til now. She’s put together a band including Matt from Zoners. I don’t know exactly what it will be like, but I’m certain it will be wonderful.

Sodajerk opens Saturday night of Stomp and Stammer's 17th Birthday Weekend.

The next night, Saturday, Nov. 23, we have Swamp Dogg playing what he says is his first show in Atlanta, even though he recorded and produced at studios in Macon, Muscle Shoals and elsewhere in the South throughout the ’70s. He’s a really great soul singer, but his material is a bit more off-the-wall than most of his peers. He’s a funny, wacky character who says “motherfucker” a lot, has tons of stories to tell about his life, and is enjoying a significant comeback this year with the re-release of much of his back catalog via Alive Naturalsound Records. His backing band will basically be Lee Bains III & the Glory Fires, a gritty, raw, powerful, working class outfit based mainly in Birmingham although Lee himself lives in Atlanta. The Glory Fires also recorded for Alive, but I found out Lee was a big Swamp Dogg fan after he and the Glory Fires recorded a version of “Total Destruction to Your Mind,” probably Swamp’s best known song. So a few issues back, I had Lee interview Swamp for S&S, and that turned out so well I thought it’d be cool to take it one step further and have his band and Swamp Dogg collaborate on some shows. They’re also playing together in Athens at the 40 Watt the night before our show.

Speaking of Athens, the Drive-By Truckers are certainly one of Athens’ more popular bands of the past decade-plus, and that’s where Shonna Tucker cut her chops for many years. Now she’s doing her own thing with her band Eye Candy, featuring fellow ex-DBTer John Neff and other longtime Athens players. They have a debut album just out called A TELL ALL, which to my ears combines the sound of prime Muscle Shoals, classic Nashville country and ’70s AM radio playlists. I’m very pleased to have them on our bill this night. Opening the show will be Sodajerk, an Atlanta four-piece who haven’t been playing much lately so I was happy to find out they could do the show. They specialize in loud, crunchy, concise redneck rock ‘n’ roll, perfect for fist-pumping and PBR-pounding.

Jeff Clark (center) channels SCARY MONSTERS era Bowie for the 2013 L5P Halloween Parade.

I honestly think these are really strong lineups, and even though they may not be household names, I stand behind every one of these bands and I guarantee these shows are gonna be a blast. I hope you and your readers come out and make party with us!

Finally, we’ve gotta ask, when is your next yard sale?

Next spring. April. Hopefully on one of the first beautiful Atlanta springtime Saturdays of the season.

Creative Loafing just ran a nice little piece on Jeff, too. Check it out here. 

All photos are courtesy of Stomp and Stammer and for promotional use only.

By Aleck Bennett
Contributing Writer

Atlanta native filmmaker and photographer Garrett DeHart is the mastermind behind one of the most inventive short films ATLRetro has seen in recent years: IF I AM YOUR MIRROR. An adaptation of Edgar Allan Poe’s short story, “The Tell-Tale Heart,” the film takes Poe’s lean exercise in mounting paranoia and expands it into a fractured document of Post-Traumatic Stress Disorder in the years following the Civil War. Beyond the narrative twists taken with Poe’s themes, the film dramatically stylizes the world its characters inhabit – presenting it as a living Victorian-era oil painting imbued with the blood, spit, dirt and murk both of the time and of its main character’s mind. The portrayal of that lead character by the late actor Larry Holden in one of his last roles, is a triumph: in turns fierce and fragile, proud and pitiable. Currently available for viewing online, this immersive 18-minute epic is well worth your time.

In honor of this horrific accomplishment, ATLRetro goes Really Retro with this week’s Kool Kat.  We spoke with Mr. DeHart about his experiences making the film, the techniques behind creating the images, his influences, his local ties and much more.

ATLRetro: IF I AM YOUR MIRROR has a remarkable visual style, resembling an oil painting come to life. Were there any particular artists that inspired the look of your film? Filmmaking-wise, who influenced you on this particular project?

Garrett DeHart: I’ve always loved Poe, and  I had been playing around with a process to make live action film look like an animated oil painting. I thought the color and composition of Romantic painting, the predominant painting style of Poe’s time, was very well-equipped to tell a story inspired by Poe’s voice. I added a bit more dirt, grim and blood, and I think, with that, it’s a style that lends itself well to my voice as well. I did research on Romantic painting as a whole, but was really drawn to the paintings of Eugène Delacroix, J. M. W. Turner and Thomas Wilmer Dewing.

As far as filmmakers, the process was, of course, inspired by Richard Linklater‘s WAKING LIFE.  I loved what he did, turning live action into animation, to create a world of dreams, and really loved the look of his Rotoshop films. But I really wanted something that had a bit more texture and grim to it, and also wanted something that I could do myself.  After I saw WAKING LIFE, I started working on the process and used it in my film THE PROBLEM WITH HAPPINESS (2004) a 70-minute film that was projected on three discrete screens and had an accompanying seven-piece live band playing the score. We had 300 people at Eyedrum for the premiere and then later played The Earl before the band broke up. It was a sci-fi film in which the protagonist’s world slowly turns into a moving oil painting. I was never really happy with the effect that I was able to produce for that film and so I kept playing around with the process. The narrative was inspired by the films of Terrence Malick and Lars von Trier.

Could you describe how you came to create MIRROR’s striking look? How long did it take to bring such a heavily-stylized project to fruition?

The actors were shot on green screen at a small studio at Georgia State University. Aside from a few chairs, luggage and miscellaneous props, everything else was added in post. I developed a process through Photoshop to stylize the actors’ frames and ran each frame of each element in a scene through Photoshop to add the effect. Many of the shots have multiple layers on each actor, and the layers were then rotoscoped in to create lighting effects, shadows and a greater depth of field with the paint effects. The backgrounds were developed from stills, paintings and created graphics. Those backgrounds were then layered and animated in After Effects. Some of the shots have hundreds of layers in them. The final shot of the film took over 30 hours to render. I pushed the capabilities of After Effects in working in a 2D for 3D world. I did all of the post for the film on my MacBook Pro. The computer was running full speed around the clock for over two years. I’m typing this now on the same machine. The whole process took a bit over two years.

You also directed DOGME #55: A PICNIC AND A STROLL. You’re obviously not frightened by taking on a wide variety of styles, as MIRROR is about as far away from the Dogme 95 philosophy as possible! Which turns out to be more difficult (or, alternately, more fulfilling) for you as a filmmaker: following the self-imposed restrictions of the Dogme 95 movement, or the technical demands of an effects-heavy film like MIRROR?

I was really inspired by the Dogme 95 manifesto. I really like the idea of using real people, instead of actors, when possible, and breaking down the spectacle of lighting and score, and using a handheld, cinéma vérité camera style to get to some truth. I think my tendency would be to lean more towards a Dogme esthetic, at least in the way in which I direct actors. Now that I think about it, It might be compelling to try and develop one of Poe’s stories as a Dogme style film.  But I don’t think even Von Trier or Vinterberg ever made a truly pure Dogme 95 film, and while I think there are some very important ideas in the Dogme 95 movement, I’m really most inspired by very stylized expression in films. I also love the graphics and effects and the spectacle of fantasy and horror films.

I did MIRROR for my graduate thesis and I really wanted to experiment with this effect that I had developed. They have a great studio at DAEL (Digital Arts Entertainment Laboratory), and I wanted to utilize the GSU facilities while I had the chance to access all of their equipment for free. We shot almost everything in the DAEL blue-screen studio at GSU and got to utilize all of the studio equipment.

I’m not sure which style is harder as a means of telling a story well. I know which takes longer.

How did you come to work with the late Larry Holden, and how was your experience working with him on MIRROR?

I met Larry on the set of another film a few years prior to my film. My friend had written him a letter, told him he was trying to make his first feature and asked if he’d be willing to be in the film. Larry drove across the country for that film, so when it came time to make my film, I thought he would be perfect for the role [and] I wrote him and asked if he would star in the film.

Larry was an amazing cast member to have on set. The experience and vitality he brought to the set really energized everyone working on the project. For most of us on set he was the biggest name we had worked with, but he was incredibly humble and was really dedicated to working with and teaching everyone on set. He had been in Christopher Nolan’s films and a lot of TV, but he was making his own films whenever he could, and when he had time he would travel across the country, for little more than expenses, to help and teach those who were trying to learn the craft. He stayed with some friends of mine up the street from my house during the shoot.

He was not only incredibly influential to all of the crew that he worked with for less than a week, but many folks in the neighborhood became very close with him in that time as well. My neighbors traveled across the country to go to his funeral. I was not able to make the trip at that time. It’s an incredible loss. He was an amazing artist and an amazing person, and we all feel very fortunate to have had the opportunity to spend some time with him.

Poe’s stories are known for how streamlined they are, which makes adapting them almost impossible without necessarily expanding on the source material, or deviating from it in some way. MIRROR provides a particularly novel take on Poe’s “The Tell-Tale Heart.” How did you decide on your approach to the source material?

Initially I had planned to shoot a straight version of “The Tell-Tale Heart” told through the lens of Romantic painting, with voiceover. I had all the pre-production done and was ready to shoot and make that film. As I got Larry Holden interested in and then brought him onto the project, he convinced me that “The Tell-Tale Heart” films had been done enough and that it might be more interesting to take Poe’s story and its themes and let those inspire a new story. After some research, I realized that while a modern “Tell-Tale” done well could be really compelling, he was right and that I needed to develop something new: something that would express my voice. So I dug in, and with the help of a couple of friends, developed a script that I thought respected Poe’s legacy but might expand on who his characters were and the world they may have inhabited.

Garrett DeHart on set of IF I AM YOUR MIRROR.

I had the blueprint of all that pre-production I had done for the Tell-Tale script, but I was convinced we were making something new now—something certainly more challenging for me. So it wasn’t really a difficult process in deciding what to add or subtract. Poe’s story works really well in its minimalism and focus. He excludes all details that don’t lend directly to the development of the protagonist’s obsession and insanity. I was working on a new project; a film inspired by Poe. I think that “inspired by” gave me the freedom to expand on Poe’s ideas and imagine circumstances that may have brought his characters to the situations they experience in his story, and in that imagining I was creating my own story, a story that explored some slightly different, maybe more contemporary themes.

My first edit of the film we shot was almost 50 minutes. It was really more about pacing than it was about cutting scenes. But many of those quick shots, that last only a few frames, were 5, 10 or even 30 seconds long in the first cut. I was really working from the inspiration of Malick and Von Trier in the pre-production process. I imagined the film as a very slow, melodic PTSD nightmare. But as I worked with the film more and more, I found something of a thriller in it, and it seemed a bit pretentious to let the scenes linger like they were. I loved the 30-second wide, static shot of the train driving across the horizon, or 30 seconds of his wife walking through a burning wheat field, or a 5-minute flashback of the Civil War, but as I lived with the film day and night for two years, I realized this was a short, not a feature. I felt the audience might find it a bit tiring, and I wasn’t sure the long shots and extra scenes were really helping to propel the narrative. I’m happy with the decisions I made in cutting the film down.

Being an Atlanta-centric website, I’m required by city ordinance to ask: what local talent should we be keeping our eyes peeled for in the film? Any notable locals toiling behind the scenes that we should be aware of?

We had an amazing turn-out for crew from GSU grad students and for extras from all over the Atlanta area.

Shane Morton (aka Professor Morte of the Silver Scream Spookshow) was incredibly helpful on set. He did a lot of makeup work on the actors in production to help the paint effect along when we got to post.  He’s always working on cool projects. He did some effects and stars in the TALES FROM MORNINGVIEW CEMETERY horror anthology. He’s always planning and working on Atlanta Zombie Apocalypse, and they are in development on FRANKENSTEIN CREATED BIKERS (The sequel to DEAR GOD NO!).

If you’ve seen any Atlanta independent film you probably know Barefoot Bill (aka Bill Pacer), the Old Man/Evil Eye. Bill is always auditioning in Atlanta when he is not working on his one-man Ben Franklin show. He”ll be doing the Ben Franklin show at AnachroCon this weekend and March 2 at Duluth Historical Museum.

Mari Elle, the wife in the film, is now in LA but comes back to Atlanta to audition for films. She’s in town this week auditioning so catch her while you can. She is fantastic.

Steven Swigart and Chris Escobar were a huge help during production as the anchors of the production team. Chris is now the director of the Atlanta Film Festival and recently made a documentary short, shot partially in Colombia, about the ripple effects of family choices. Steven is making mini-documentaries for a university.

Jeff Ballentine, who let us borrow his large Civil War re-enactor wardrobe, is working on post for his own Civil War film.

What led to your decision to release the film online, rather than pursue the typical festival route? What has the reaction been thus far?

There’s a misconception, I think, that filmmakers are giving their work away for free when they put it online. The truth is that most filmmakers don’t make any money from their films; in fact, most spend hundred or thousands of dollars just trying to get the film seen in festivals. I made IF I AM YOUR MIRROR as my graduate school thesis project, so I wasn’t expecting to make money on the film. I wanted to create a film that exemplified my capabilities at the time, and I feel this film does that. MIRROR, at 18 minutes, is long for a short film and does not easily fit into an established genre. Therefore, it would be difficult to place it in festivals.

The festival circuit, while important, seems to me, just another way to suck money out of the truly indie filmmaking market. At $20 to $50 per entry, it’s just so much time and money that could be spent on the next project. And while seeing a film on the big screen is, of course, a far better experience (I screened my film at the Plaza Theatre and the trailer at the High Museum as part of WonderRoot‘s Best of Generally Local, Mostly Independent Film Series), reaching an audience is really the most important thing, and the potential audience on the web is immense. Tapping that audience is, of course, the key, and that has been somewhat difficult, but I’m doing everything I can to self-promote the film through online media like ATLRetro. The critical response has been great and the film has gotten a lot of attention but, sadly, that has not really translated into as many viewers as I had hoped.

If you like the film, please support independent cinema, and pass it along to your friends and social networks.

This past October, I saw the 7 Stages production of DRACULA: THE ROCK OPERA, and when I saw your film later at the Plaza, there were a few effects shots in the video projection that looked familiar—primarily some shots of the train and the train station itself. Given the overlap in talent between these projects, I have to ask: were these your handiwork?

Yes. Rob Thompson was in MIRROR and asked, when they started to develop DRACULA, if they could use some of the footage for the backgrounds of the rock opera. I adjusted a few of the shots and gave them longer takes, and I’m very happy that MIRROR helped to fill in some of the space of the Dracula rock opera.  We’ve talked about the possibility of doing a music video/short with one of the songs on the soundtrack that will be released this month, but we haven’t had the time to work it out yet.

Are there any future projects on the horizon we should be looking out for?

I’m hoping that getting IF I AM YOUR MIRROR out into the world will facilitate connections with other writers and filmmakers and lead to new projects in the near future.  I’m in development on a Steampunk character study, short film with a style inspired by Wong Kar-wai and Gaspar Noé, that I hope, when complete, I can crowd-source into a TV series or web series. I’m looking for some writers to help in the expansion of that project. Again, if you like the film, please support independent cinema, and pass it along to your friends and social networks.

You can like IF I AM YOUR MIRROR on Facebook and check out the webpage; www.ifiamyourmirror.com.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

All artwork is courtesy of Garrett DeHart.

Mark Jacoby as the Wizard in WICKED. Photo © Joan Marcus.

From the original L. Frank Baum novel to the 1939 musical movie version of THE WIZARD OF OZ, the tale of Dorothy Gale, her dog Toto and three misfits who deemed themselves incomplete without a physical brain, heart and courage could easily be called the quintessential American fantasy epic. Like Middle Earth is England in simpler, more magical times, Oz is an expression of Retro-Americana Midwestern know-how and whimsy. And that spunky little girl from Kansas, like her prairie counterpart Laura Ingalls Wilder, is an uniquely all-American heroine.

That is, until Gregory Maguire turned that heroine’s journey on its head, gave the Wicked Witch of the West a name, Elphaba, and had the chutzpah to suggest that things went down considerably differently and were rewritten by a government-run, propagandist media, as it were. (Shades of contemporary media politics? Well, the original Oz may have had some circa 1990 political satire between its pages, too.) The Broadway version of Maguire’s novel WICKED is more a twist on the familiar movie than the book, and whether or not you approve of tampering with a classic, the imaginative sets and costumes look even more magical on the Fabulous Fox Theatre stage, where it opens today and will be playing through Oct. 9 as part of the Broadway Across America series.

WICKED focuses on who’s the real good witch and who’s the real bad witch. But actor Mark Jacoby, a Georgia State University alumnus, got to tackle the conundrum of an all-American carnie man who landed in Oz accidentally and found himself, thanks to his seemingly magical balloon-borne arrival, declared Wizard and ruler of the capitol Emerald City. Jacoby is no stranger to playing sympathetic villains, having donned the mask of the PHANTOM OF THE OPERA for three years on Broadway. He’s also stepped into the shoes of many of American musical theater’s most iconic characters including SHOWBOAT’s Gaylord Ravenal (Tony Award nomination for Harold Prince revival), FIDDLER ON THE ROOF’s Tevye (Barrymore Award) and Father in the original Broadway run of RAGTIME. ATLRetro caught up with Mark recently to find out how he approached America’s most famous humbug in this villain-friendly version of Oz.

How is the character of the Wizard different in WICKED than in the 1939 movie WIZARD OF OZ and even the book? Do you think it is different? One of the intriguing things about this piece is how it’s been overlaid on the story we’re all so familiar with, mostly from the movie WIZARD OF OZ. They are the same people theoretically in context. You’re just looking at them from a different angle. I suppose an actor doesn’t have to take that literally. He can do what he wants. But I tend to think and the powers that be also do, that I should approach him as the same character we encountered in THE WIZARD OF OZ.  You just find out different things, and different things are emphasized. He’s flushed out a bit more. There’s more explanation as to how he got there, why he’s there, and what makes him tick.

The Wizard's dramatic counterfeit persona from the original Broadway company of WICKED. Photo © Joan Marcus.

I think the Wizard of Oz was someone who was in the right place at at the right time or the wrong place at the wrong time, whichever way you look at it. He’s regarded by the people of Oz as somewhat supernatural. As he says, I never asked for this, I was just blown here by the wings of chance. One could take that literally or is he telling a story? I choose to think he is talking literally. He has wound up in this situation, but he wasn’t malevolent. He wasn’t planning to become a tyrant or anyone overbearing with the population, but now he’s stuck with it. I’m not saying he’s a perfect man. He got hooked with all the adulation and all the power and all he has to do to maintain it.

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