Power of the Press

When Robert Ito saw something worthwhile in Halfland and crafted a story about those of us who are crazy enough to love building tiny worlds, via a tedious photographic process's known as Stop Motion, he showed me the power of the mighty pen. Even in our Internet universe, the Greg Lady packs a punch to a huge volume of eyes. People who barely knew my last name came up to me at ballet and asked whether I was the Shelley Noble mentioned in that Sunday's NYTimes edition. Tons of people saw it and heard about the project that wouldn't have otherwise. There's something about that power of large numbers.

Since then, I moved to an entirely different sort of space, in many senses. No longer in a huge loft, the whole production is shoehorned awkwardly into a standard-sized room. And what was once an intention to make the film like any other animation for entertainment has now been further defined as hoping to be something else altogether.

It's now about pure art. Art that is admittedly an overindulgent pleasure of creation. But I'm learning to reign in the impulses to execute the ideas that flow out in favor of greater direction of my energies and time in order to get the film made.

At this point, it's all about getting scenes in the can. To get any sort of footage, with what's built as it is, with some things unfinished fully, get the clips into After Effects and get to cutting, enhancing, finessing, etc. There's a danger that all that's been made to date could be lost and it's my ferocious focus to get what ever possible on film. If this were a major test at school, my current state would been known as, "pencils down. Hand in by paper "

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