Search This Blog

Sunday, October 23, 2011

Make it a triple

Getting fresh press coverage for a no-budget, self-distributed film you made nearly six years ago isn't just lucky, it's weird. Having your two other films - one you made, another which you served as producer, editor, writer and archivist - also reviewed in the same week is downright spooky.

Having Variety reassign your sex is cool!

Full review here. All my CV needs to know: "Intriguing...entertaining...a valuable record." 



Full review here. All my press packet needs to know: "Fascinating...unique...Festa is investigating a key question about musical aesthetics, and he has invented a methodology to study it which provides very illuminating results. His brilliant use of editing, and his skill as an interviewer, allow the viewer to have many insights into the varieties of musical experience." (I love the sly reference to William James, underscoring one of the film's core preoccupations: music's kinship with divinity.)




Full review here. All Doris Duke needs to know: "Enormous visual and musical inventiveness and strong performances…entertaining, fun, and full of pleasure and joy….(Paul Festa) gives a bravura performance of the Tchaikovsky violin concerto."

Monday, October 17, 2011

Photo essay: David Boyer turns 40




We walked into the room and everyone was wearing orange.




































































































































About Me

My photo

Paul Festa’s first film, Apparition of the Eternal Church (2006, 51 min), captures the responses of 31 artists to the apocalyptic music of Olivier Messiaen (with Justin Bond, John Cameron Mitchell, Harold Bloom; screenings: Grace Cathedral, Barbican Centre, Library of Congress; “Remarkable”The New Yorker; “Stunning”Chicago Sun-Times; “Sublime”Globe & Mail; numerous awards). Festa performs the Tchaikovsky violin concerto, opposite members of the San Francisco Ballet and The Cockettes, in his award-winning second film, The Glitter Emergency (2010, 20 min), a silent-film drag ballet comedy (“Enormous visual and musical inventiveness…full of pleasure and joy...Festa gives a bravura performance."—Film Threat). He produced, wrote and edited, with director Austin Forbord, and was chief archivist, for the Emmy-nominated documentary Stage Left: A Story of Theater in San Francisco (2010, 80 min: with Robin Williams, Bill Irwin, Peter Coyote; screenings: Geary Theater, KQED; “Intriguing...entertaining...a valuable record”—Variety). Performances as violinist and actor: ODC Theater, Center for Performance Research, Kunst-Stoff, TheatreFIRST, North Bay Shakespeare, Albert Fuller's Helicon Ensemble (Merkin Hall, Weill Hall at Carnegie Hall, Alice Tully Hall). US, Boston, NYC, SF, LA and DC (Coolidge Auditorium at the Library of Congress on the “Betts” Stradivarius) premieres of Messiaen’s Fantaisie for violin and piano. He is the author of OH MY GOD: Messiaen in the Ear of the Unbeliever, based on Apparition of the Eternal Church, and several anthologized essays, and has written for The Daily Beast, Salon, Nerve, and The New York Times Book Review. Current projects include a novel and Tie It Into My Hand (2014, ca. 80 min), a documentary feature that has screened as a work in progress at the Cannes film market and at ODC Theater in San Francisco (with Alan Cumming, Gary Graffman, Peter Coyote, Mink Stole, Robert Pinsky; "A fascinating exploration of the artistic life, as rollickingly entertaining as it is insightful and stirring."San Francisco Bay Guardian). Education: Yale (B.A.; prizes, honors, distinction), Juilliard (Cert., Adv. Cert., scholarships). Residencies: Yaddo, MacDowell, ODC Theater, Centre des R├ęcollets.

Followers