1 00:00:00,200 --> 00:00:03,300 Hello everyone and welcome to Beyond The Arc powered by the 2 00:00:03,300 --> 00:00:07,400 tundra. We are happen happy to have Jarred mizoguchi. 3 00:00:07,400 --> 00:00:11,100 Am I saying that correctly Musashi, but that's pretty close 4 00:00:11,300 --> 00:00:12,500 better than most. 5 00:00:13,200 --> 00:00:13,800 All right, right. 6 00:00:13,800 --> 00:00:15,600 Well, thank you so much for being with us today. 7 00:00:16,600 --> 00:00:17,000 No problem. 8 00:00:17,000 --> 00:00:21,600 So kind of get us started to get us started. 9 00:00:21,800 --> 00:00:24,600 Tell us a little bit about yourself and kind of you as an 10 00:00:24,600 --> 00:00:25,800 artist. Sure. 11 00:00:25,800 --> 00:00:27,300 So yeah, my name is Jared Musashi. 12 00:00:27,300 --> 00:00:29,900 I'm a multimedia director and designer. 13 00:00:30,000 --> 00:00:34,300 Honor as a freelance artist working in multimedia predominately 14 00:00:34,300 --> 00:00:39,500 in theater as a projections designer or as a director working 15 00:00:39,500 --> 00:00:43,000 on things that have a lot of multimedia and Technology involved 16 00:00:43,000 --> 00:00:43,500 in it. 17 00:00:44,100 --> 00:00:47,600 I'm also the producing artistic director at Andy summer Playhouse, 18 00:00:47,600 --> 00:00:51,000 which is a children's theater set in Southern New Hampshire 19 00:00:51,000 --> 00:00:56,400 that is working with children ages 8 to 18 alongside professional 20 00:00:56,400 --> 00:00:59,500 artists from all over the country and World playwrights directors 21 00:00:59,500 --> 00:01:02,900 designers. There's who are entirely working on brand new 22 00:01:02,900 --> 00:01:08,800 work and the mission of the space is to work to put professionals 23 00:01:08,800 --> 00:01:11,900 and young emerging artists together in a room to work eye-to-eye 24 00:01:11,900 --> 00:01:13,600 on brand new ideas. 25 00:01:14,600 --> 00:01:15,400 So that's really exciting. 26 00:01:15,400 --> 00:01:20,000 And then lastly I'm also an associate professor at University 27 00:01:20,000 --> 00:01:23,600 of Maryland where I created the MFA program in projection 28 00:01:23,600 --> 00:01:24,900 and multimedia design there. 29 00:01:26,700 --> 00:01:27,400 - that's great. 30 00:01:27,400 --> 00:01:32,300 It's I also have a background with working with children 31 00:01:32,300 --> 00:01:32,900 and Children's Theater. 32 00:01:32,900 --> 00:01:35,300 So it's great to hear those worlds coming together with oh, 33 00:01:35,300 --> 00:01:39,600 yeah, she knows in that so it's always exciting to you know, 34 00:01:40,700 --> 00:01:42,300 see other do that work as well. 35 00:01:42,800 --> 00:01:46,900 So how did you kind of get started and the arts and design 36 00:01:46,900 --> 00:01:49,700 and kind of how did you get where you are today? 37 00:01:49,900 --> 00:01:55,600 Yeah, so I grew up wanting to be an actor my whole life I 38 00:01:55,600 --> 00:02:00,000 saw. Self as an actor and was performing straight through 39 00:02:00,000 --> 00:02:04,300 college. I double majored at Fairfield University in theater 40 00:02:04,300 --> 00:02:05,000 and film. 41 00:02:05,300 --> 00:02:08,699 I also really loved film was thinking of being a film actor 42 00:02:09,500 --> 00:02:13,400 but all of the classes at Fairfield were editing writing 43 00:02:13,800 --> 00:02:16,400 and directing and then in theater I was doing acting but 44 00:02:16,400 --> 00:02:19,300 also directing class and during that time. 45 00:02:19,300 --> 00:02:22,400 I just started tinkering in this like blend between the two 46 00:02:22,400 --> 00:02:26,700 majors of what does it mean to be putting movies on stage. 47 00:02:26,700 --> 00:02:33,900 What does it mean to I did a one shot short film that used 48 00:02:33,900 --> 00:02:37,100 a Steadicam and was a seven and a half minute kind of tracking 49 00:02:37,100 --> 00:02:39,300 of script that I wrote. 50 00:02:39,300 --> 00:02:42,400 So I was trying to bring theater to film bring film to theater 51 00:02:43,700 --> 00:02:47,300 and my sophomore year my dad passed away very unexpectedly 52 00:02:47,300 --> 00:02:52,700 and my eulogy inspired both faculty of the film and theater 53 00:02:52,700 --> 00:02:55,100 Department to say you should make that into a play or you 54 00:02:55,100 --> 00:02:55,900 should make that into a fish. 55 00:02:56,300 --> 00:02:59,700 And for whatever reason at that moment I said well, maybe 56 00:02:59,700 --> 00:03:02,600 this is the opportunity to make a thing that blends that 57 00:03:02,600 --> 00:03:05,700 actually Blends the two and so I wrote a show and directed 58 00:03:05,700 --> 00:03:08,800 it. I got a Humanities Grant at the school to pay for New 59 00:03:08,800 --> 00:03:13,000 York actors to come up and I did a two-week run of a show 60 00:03:13,000 --> 00:03:16,700 my senior year and that got me into Brooklyn College and 61 00:03:16,700 --> 00:03:20,700 their MFA program for performance and interactive media art. 62 00:03:21,500 --> 00:03:22,400 I was 21. 63 00:03:22,400 --> 00:03:25,800 I had no idea like the big city moving from Connecticut into 64 00:03:26,600 --> 00:03:31,500 into Brooklyn College introduced me to a group called Big 65 00:03:31,500 --> 00:03:35,100 art group Builders Association as well and both of them took 66 00:03:35,100 --> 00:03:38,700 me under their wing specifically Big R Group for years and 67 00:03:38,700 --> 00:03:41,800 I toured with them through Europe and learned programming 68 00:03:41,800 --> 00:03:46,000 design live camera operations that sort of thing on a very 69 00:03:46,000 --> 00:03:53,400 quick pace and and right after that I started to find my 70 00:03:53,400 --> 00:03:58,900 way through to Job opportunities as an actor, but they also 71 00:03:58,900 --> 00:04:00,700 wanted some projections in the show. 72 00:04:00,700 --> 00:04:04,700 And so could you do both and I was doing that and and then 73 00:04:04,700 --> 00:04:07,400 I was like this is totally insane to do both at the same 74 00:04:07,400 --> 00:04:10,400 time as the you know, I'm crying on stage and like hold Jared 75 00:04:10,400 --> 00:04:12,300 in the booth and it have to like run up and do programming 76 00:04:12,300 --> 00:04:15,700 and then Rebecca and I was like, this is not not the way 77 00:04:15,700 --> 00:04:18,200 forward and I was just getting a lot more opportunities at 78 00:04:18,200 --> 00:04:24,300 the time in 2008 9 there was a huge emergence of multimedia 79 00:04:24,800 --> 00:04:28,700 Productions. Mainly because Apple the iPhone like all these 80 00:04:28,700 --> 00:04:31,600 things started happening and it became much more of a consumer-based 81 00:04:31,900 --> 00:04:32,900 art form. 82 00:04:33,200 --> 00:04:37,400 And so I just kind of ran with it. 83 00:04:37,400 --> 00:04:41,700 I constantly was doing work outside of theater. 84 00:04:41,700 --> 00:04:47,900 I was I was a VJ a visual DJ at a club in downtown. 85 00:04:47,900 --> 00:04:52,400 So and Soho and Manhattan for three years doing two concerts 86 00:04:52,400 --> 00:04:55,900 and two to four concerts and night designing. 87 00:04:56,000 --> 00:05:00,600 628 projectors and really no one looking over my shoulder. 88 00:05:00,600 --> 00:05:03,800 So I was really experimenting and that's kind of my jam as 89 00:05:03,800 --> 00:05:07,300 an artist is like I bring the paint I teach you how to paint 90 00:05:07,300 --> 00:05:10,000 with me and then we finger pain and figure it out and like 91 00:05:10,000 --> 00:05:14,200 work together as a collaborative team to use the skills that 92 00:05:14,200 --> 00:05:17,000 I have be inspired by the things that I'm bringing to the 93 00:05:17,000 --> 00:05:19,400 table and then and then put it together and I operate that 94 00:05:19,400 --> 00:05:23,800 way as a director and as a and as a designer and as an artistic 95 00:05:23,800 --> 00:05:27,500 director, I let's make the Fa and then let's all eat kind 96 00:05:27,500 --> 00:05:27,900 of thing. 97 00:05:28,200 --> 00:05:28,700 So. 98 00:05:30,500 --> 00:05:31,100 That's amazing. 99 00:05:31,100 --> 00:05:33,500 Yeah, I love collaboration. 100 00:05:33,500 --> 00:05:37,100 And I think the Arts really benefit from that when you have 101 00:05:37,100 --> 00:05:41,700 more voices and more people that are part of the conversation. 102 00:05:41,700 --> 00:05:42,800 So that's great. 103 00:05:42,900 --> 00:05:46,300 And I feel like a lot of different artists can relate to 104 00:05:46,300 --> 00:05:49,500 kind of your journey of where you kind of started and how 105 00:05:49,500 --> 00:05:54,100 you kind of figured out where you were going and where you 106 00:05:54,100 --> 00:05:57,300 eventually ended up because of, you know, life experiences 107 00:05:57,300 --> 00:06:00,300 and being able to Draw from notes. 108 00:06:00,300 --> 00:06:05,300 So that's very interesting to hear and I think I also I also 109 00:06:05,300 --> 00:06:07,100 still very much use. 110 00:06:07,100 --> 00:06:09,200 I make all my students redacting books. 111 00:06:09,600 --> 00:06:12,600 I use technique, you know, I studied Meisner technique and 112 00:06:12,600 --> 00:06:16,800 stanislofsky technique as an actor and I'm using them daily 113 00:06:16,800 --> 00:06:19,900 as a designer and a director like how does design list in 114 00:06:19,900 --> 00:06:21,600 response to the actors? 115 00:06:22,100 --> 00:06:25,000 I just finished a virtual production called Russian troll 116 00:06:25,000 --> 00:06:30,900 Farm in which there's a 15-minute section and of one a monologue 117 00:06:31,000 --> 00:06:33,800 alongside all these visuals that are being controlled by 118 00:06:33,800 --> 00:06:38,700 her and she sent me an email after Mia and was like, I really 119 00:06:38,700 --> 00:06:42,500 felt like there was a duet happening and I was like brings 120 00:06:42,500 --> 00:06:45,700 warmth to me because I feel like design is a scene partner 121 00:06:45,700 --> 00:06:49,800 and I think at its worst it's just lipstick over something 122 00:06:49,800 --> 00:06:53,500 and at its best it's helping the dramaturgy and helping tell 123 00:06:53,500 --> 00:06:54,200 this story. 124 00:06:54,200 --> 00:06:57,700 And so yeah the, you know, I still bring a lot of that to 125 00:06:57,700 --> 00:06:58,900 the table as an actor. 126 00:07:00,500 --> 00:07:01,300 Absolutely. 127 00:07:02,300 --> 00:07:05,000 So as we're kind of diving in here, what's maybe like a fun 128 00:07:05,000 --> 00:07:09,800 fact about you whether it's personal or professional that 129 00:07:09,800 --> 00:07:10,800 you want to share. 130 00:07:11,900 --> 00:07:18,100 Let's see a fun fact about me is my favorite hobby is karaoke. 131 00:07:19,300 --> 00:07:23,900 I love that kind of social outlet and so karaokes like my 132 00:07:23,900 --> 00:07:27,500 huge Jam so, you know opening nights usually end with me 133 00:07:27,500 --> 00:07:29,000 convincing a whole group of people to go. 134 00:07:29,200 --> 00:07:33,100 Go sing karaoke somewhere and and I'm known for that. 135 00:07:33,100 --> 00:07:34,400 So that's a little fun fact. 136 00:07:34,400 --> 00:07:38,300 I love I love just belting and getting a room to just start 137 00:07:38,300 --> 00:07:40,400 singing a very unexpected song. 138 00:07:40,600 --> 00:07:41,700 That's my favorite thing. 139 00:07:44,500 --> 00:07:45,200 Absolutely. 140 00:07:45,300 --> 00:07:48,300 Sorry my mic Peter was not cooperating with me for a moment 141 00:07:48,300 --> 00:07:50,100 to technology. 142 00:07:50,700 --> 00:07:55,500 So as we know are in the pandemic is a big topic right now 143 00:07:55,500 --> 00:07:58,800 and it's kind of ever changing and shifting as we you know, 144 00:07:58,800 --> 00:08:01,200 go day by day and see what's happening. 145 00:08:01,200 --> 00:08:03,400 So, what are you doing? 146 00:08:03,400 --> 00:08:06,200 And how are you approaching performance and collaboration 147 00:08:06,200 --> 00:08:09,900 during this time period yeah, I'm doing a lot. 148 00:08:09,900 --> 00:08:15,400 I'm actually more more busy than I Been before the pandemic 149 00:08:15,800 --> 00:08:18,900 and one of the one of the aspects that I bring to the table 150 00:08:18,900 --> 00:08:20,700 with all of these and talking with theaters. 151 00:08:20,700 --> 00:08:25,400 I'm talking with corporations doing Industrials. 152 00:08:25,400 --> 00:08:29,200 I'm talking to dancers and talking to filmmakers and basically 153 00:08:29,200 --> 00:08:34,000 I'm operating from the space of it being a site specific 154 00:08:34,000 --> 00:08:37,500 performance moment and the site specific performance mode 155 00:08:37,500 --> 00:08:43,000 is the internet and you know, if all of a sudden the pandemic 156 00:08:43,000 --> 00:08:46,000 forced us to go into empty warehouses because we couldn't 157 00:08:46,000 --> 00:08:50,500 be in a theater any more creative people creative teams would 158 00:08:50,500 --> 00:08:52,300 go into that warehouse and be like, all right, where are 159 00:08:52,300 --> 00:08:54,200 the outlets There's No Light Grid. 160 00:08:54,200 --> 00:08:57,100 Where could we can we Gaff some stuff to this and you start 161 00:08:57,100 --> 00:09:00,100 to get really creative with that because you are basically 162 00:09:00,100 --> 00:09:03,400 creating a diagnostic of that space and saying what can we 163 00:09:03,400 --> 00:09:07,500 do with what we are given and I at the very beginning of 164 00:09:07,500 --> 00:09:10,400 the pandemic felt as though everyone was saying what can 165 00:09:10,400 --> 00:09:14,300 we not do now that we cannot be in the spaces that we And 166 00:09:15,100 --> 00:09:18,600 and somewhere along the way site specific performance bubbled 167 00:09:18,600 --> 00:09:20,700 up in a bunch of conversations that were happening. 168 00:09:20,700 --> 00:09:22,700 I was like, that's something I can hang my hat on. 169 00:09:22,700 --> 00:09:24,400 I've done a lot of site specific things. 170 00:09:24,400 --> 00:09:27,500 So let's take that process and bring it to the table and 171 00:09:27,500 --> 00:09:29,700 it suddenly becomes an additive process. 172 00:09:29,700 --> 00:09:31,400 It's not a subtractive price. 173 00:09:31,400 --> 00:09:32,500 Not what we cannot do. 174 00:09:32,500 --> 00:09:34,700 It's a based on the scenario. 175 00:09:34,700 --> 00:09:37,400 What how can we take advantage of the tools that we have 176 00:09:37,400 --> 00:09:39,600 and being a multimedia artist? 177 00:09:39,600 --> 00:09:43,100 I'm on a computer all the time and instead of being putting 178 00:09:43,300 --> 00:09:43,600 the technology. 179 00:09:43,700 --> 00:09:47,900 Technology onto a stage it is the stage and we have to bring 180 00:09:47,900 --> 00:09:50,900 the people to the table and so it's a little inverted. 181 00:09:50,900 --> 00:09:54,400 But but I feel like when you can flip that switch and all 182 00:09:54,400 --> 00:09:59,300 of your collaborators, then everyone's asking positive questions 183 00:09:59,300 --> 00:10:05,500 as opposed to negative restrictive statements, and I'm also 184 00:10:05,700 --> 00:10:10,900 University of Maryland is a research one school and up until 185 00:10:10,900 --> 00:10:11,800 the pandemic. 186 00:10:11,800 --> 00:10:14,900 I was like, oh, I'm in the theater Department we Plays and 187 00:10:14,900 --> 00:10:20,300 when the pandemic it I changed my tone to and started using 188 00:10:20,600 --> 00:10:22,900 the vocabulary of a scientific researcher. 189 00:10:22,900 --> 00:10:25,700 And so I was like, okay, here's my research can liveness 190 00:10:25,700 --> 00:10:26,900 exist online. 191 00:10:27,400 --> 00:10:32,300 Can you build community over digital platforms can there 192 00:10:32,300 --> 00:10:36,700 be a call and response between audience and actor can the 193 00:10:36,700 --> 00:10:40,700 actor received the same feedback from audience? 194 00:10:40,900 --> 00:10:43,600 If not what other modalities are there? 195 00:10:43,700 --> 00:10:46,200 R for feedback, you know starting to ask those questions 196 00:10:46,200 --> 00:10:49,900 and then go at every production as if it is an experiment 197 00:10:50,200 --> 00:10:53,600 in which case falling on your face and making a really bad 198 00:10:53,600 --> 00:10:57,800 product is still a success story because we are researching 199 00:10:57,800 --> 00:11:02,000 strategies towards a new platform and I say platform because 200 00:11:02,000 --> 00:11:05,100 it's not a new future because I can't wait to get back into 201 00:11:05,100 --> 00:11:09,100 a space but I do think if we look at it from that angle. 202 00:11:09,300 --> 00:11:12,600 There are things that we will discover unexpectedly here 203 00:11:12,600 --> 00:11:13,600 that we can certainly bring. 204 00:11:13,700 --> 00:11:16,600 Back and also establish another way of communicating. 205 00:11:16,600 --> 00:11:21,400 I know a lot of theaters right now that are celebrating their 206 00:11:21,400 --> 00:11:25,100 online audiences being people who have never been able to 207 00:11:25,100 --> 00:11:26,100 get to their theater. 208 00:11:26,600 --> 00:11:28,200 Andy's Playhouse the children's theater. 209 00:11:28,200 --> 00:11:32,100 We did a digital it was called digital Renaissance project 210 00:11:32,100 --> 00:11:33,500 the summer it was an online platform. 211 00:11:33,500 --> 00:11:37,100 That was like an Etsy meets Facebook of like professional 212 00:11:37,100 --> 00:11:38,400 artists being like I have this idea. 213 00:11:38,400 --> 00:11:39,600 Do you want to buy into it? 214 00:11:39,700 --> 00:11:42,600 And the more people that would vote up on it like read it. 215 00:11:43,700 --> 00:11:46,200 Would call our attention as administrators to them fund that 216 00:11:46,200 --> 00:11:47,600 project and then let them do it. 217 00:11:47,600 --> 00:11:50,100 And so it's kind of this Democratic way of being like what 218 00:11:50,100 --> 00:11:54,200 are people interested in the children who signed up for this 219 00:11:55,600 --> 00:11:58,900 80% have never stepped foot into any of these were all people 220 00:11:58,900 --> 00:12:01,500 were like we've loved and he's and we've never been able 221 00:12:01,500 --> 00:12:05,700 to be a part of it those who usually do and he's were not 222 00:12:05,700 --> 00:12:08,600 really participating and I asked why and I follow it. 223 00:12:09,000 --> 00:12:11,800 We just can't wait to get back into the we it's not the same 224 00:12:11,800 --> 00:12:15,900 so I was like, okay instead of being Traded by that this 225 00:12:15,900 --> 00:12:19,700 is us in a totally different Outreach and I'm and I can't 226 00:12:19,700 --> 00:12:21,400 wait to get back to the space because then we can have the 227 00:12:21,400 --> 00:12:22,200 best of both worlds. 228 00:12:22,200 --> 00:12:25,300 We have our literal space and our digital space and then 229 00:12:25,300 --> 00:12:29,500 the question of like how can we build new ideas that way 230 00:12:29,500 --> 00:12:30,700 is really thrilling. 231 00:12:30,700 --> 00:12:36,500 So, you know, all of those things are basic like how do we 232 00:12:36,500 --> 00:12:38,200 stay proactive? 233 00:12:39,700 --> 00:12:43,500 You know, my my mom to go back to my Dad's passing my mom. 234 00:12:43,600 --> 00:12:47,600 Mom at that moment changed my life by just shaking me one 235 00:12:47,600 --> 00:12:49,600 day I was really depressed and she was like, you know as 236 00:12:49,600 --> 00:12:55,100 a parent I thought that being a good parent meant making 237 00:12:55,100 --> 00:12:58,500 sure that your child avoid suffering at all costs and she 238 00:12:58,500 --> 00:13:02,100 was like and I've grown to realize that as a parent suffering 239 00:13:02,100 --> 00:13:05,800 is inevitable and so it's not about avoiding suffering. 240 00:13:05,800 --> 00:13:08,800 It's about embracing the fact that suffering is unavoidable 241 00:13:09,100 --> 00:13:12,800 and teaching your children how to suffer creatively take 242 00:13:12,800 --> 00:13:16,500 what you've got and Turn it into something and that has been 243 00:13:16,500 --> 00:13:20,200 my Mantra ever since I was 19 and that all happened and I 244 00:13:20,500 --> 00:13:23,100 immediately use my Dad's passing to write that play. 245 00:13:23,100 --> 00:13:24,300 It got me into grad school. 246 00:13:24,300 --> 00:13:29,600 Like I've seen the product of that and it has been very inspiring 247 00:13:29,600 --> 00:13:34,300 and so I see this moment in the pandemic as a really crappy 248 00:13:34,300 --> 00:13:38,200 time for the industry and a really sad time for the industry 249 00:13:38,200 --> 00:13:44,000 and frustrating time, but also If it is inevitable that we 250 00:13:44,000 --> 00:13:47,100 have to go through this and Purge through some of these reckonings 251 00:13:47,100 --> 00:13:48,400 inside our industry. 252 00:13:48,700 --> 00:13:49,600 How can we do that? 253 00:13:49,600 --> 00:13:54,000 Creatively still and and so that's kind of I'm getting that 254 00:13:54,000 --> 00:13:56,900 from an artistic director standpoint and from a freelance 255 00:13:56,900 --> 00:14:02,300 standpoint and it's the yes Aunt mentality, so Great. 256 00:14:03,300 --> 00:14:05,200 It's really fascinating to hear you. 257 00:14:05,200 --> 00:14:10,000 Talk about can lightness existing line and connecting from 258 00:14:10,000 --> 00:14:12,600 afar because I think that's one of the biggest things especially 259 00:14:12,600 --> 00:14:14,400 with the Performing Arts in theater. 260 00:14:14,600 --> 00:14:17,400 Is that connection is a lot of times what it's about. 261 00:14:17,400 --> 00:14:22,800 It's not stagnant art its living breathing and so hearing 262 00:14:22,800 --> 00:14:25,300 you talk about that in your as research and figuring out 263 00:14:25,300 --> 00:14:27,600 how to make that work is really interesting. 264 00:14:27,800 --> 00:14:31,200 So from this and from your work that you're doing. 265 00:14:31,500 --> 00:14:36,100 I'm sure there's some like difficulties and challenges that 266 00:14:36,100 --> 00:14:39,000 come up with that like what kind of things have you encountered 267 00:14:39,000 --> 00:14:42,800 or have to go to work through as a professional? 268 00:14:42,800 --> 00:14:43,600 Yeah. 269 00:14:43,600 --> 00:14:49,200 I think we can't assume we that we can do anything easy. 270 00:14:49,200 --> 00:14:56,600 Like Step One is can we even walk in and say hello correctly, 271 00:14:56,600 --> 00:14:59,100 right like what I think groups are still trying to figure 272 00:14:59,100 --> 00:15:01,500 out like do we do a check-in which lasts an hour? 273 00:15:01,500 --> 00:15:04,400 And a half if the group is large enough and then we only 274 00:15:04,400 --> 00:15:06,100 have a half hour to do everything and then we're actually 275 00:15:06,100 --> 00:15:09,700 more stressed do we like how do we check in with each other? 276 00:15:09,700 --> 00:15:11,000 How do we enter a space? 277 00:15:11,000 --> 00:15:16,800 What is space right and and even a like, how do I take notes 278 00:15:16,800 --> 00:15:17,900 on my script? 279 00:15:18,000 --> 00:15:19,600 How do I deal with script changes? 280 00:15:20,300 --> 00:15:22,900 What is a PDF do I print it out every day. 281 00:15:22,900 --> 00:15:24,000 Do I have a printer? 282 00:15:24,000 --> 00:15:27,700 You know, like like I mean, these are like very big questions 283 00:15:27,700 --> 00:15:31,300 that in a normal circumstance would look. 284 00:15:31,400 --> 00:15:32,900 As though you are slacking. 285 00:15:33,100 --> 00:15:36,600 So Step One is like we have to rid ourselves of Shame and 286 00:15:36,600 --> 00:15:40,100 rid ourselves of the idea of failure because everything is 287 00:15:40,100 --> 00:15:41,900 helpful to strategize. 288 00:15:41,900 --> 00:15:47,700 So that's been the big thing is like redefining process and 289 00:15:47,700 --> 00:15:50,700 not taking anything for granted which actually has made me 290 00:15:50,700 --> 00:15:53,600 excited to get back into a normal space because I have now 291 00:15:53,600 --> 00:15:55,300 realized how much I take for granted. 292 00:15:55,900 --> 00:15:59,900 And so so trying to figure out like what is process, how 293 00:15:59,900 --> 00:16:05,200 do we Spike out our space, you know, like how do we understand 294 00:16:05,200 --> 00:16:09,300 what our spaces so the first bits of rehearsal now are us 295 00:16:09,700 --> 00:16:13,800 learning Zoom or Skype or whatever like learning how to walk 296 00:16:13,800 --> 00:16:17,100 and learning how to communicate and like walking the actors 297 00:16:17,100 --> 00:16:21,600 through script changes and how we could best do that opening 298 00:16:21,600 --> 00:16:24,700 up the space for them to suggest their own strategies. 299 00:16:24,700 --> 00:16:28,100 What is their desktop look like we're if everything is digital 300 00:16:28,100 --> 00:16:32,700 is the PDF right up top next to the camera is Is the you 301 00:16:32,700 --> 00:16:34,900 know, like how are we organizing our space? 302 00:16:34,900 --> 00:16:38,400 Where is the video conference call so that when I look at 303 00:16:38,400 --> 00:16:39,400 it, you know that kind of thing. 304 00:16:39,500 --> 00:16:42,100 Do we have spiked a Pall over our space so that when I look 305 00:16:42,100 --> 00:16:45,100 at you over here and look at you right here and look that 306 00:16:45,100 --> 00:16:48,100 I know that and I have names all over my wall of like who 307 00:16:48,100 --> 00:16:49,300 to look at it, right? 308 00:16:50,700 --> 00:16:55,000 So and that's just that's before table work, right and and 309 00:16:55,000 --> 00:16:58,500 usually in a rehearsal process table work is like step one. 310 00:16:58,500 --> 00:17:01,100 All right, let's read the script and then let's likes it 311 00:17:01,100 --> 00:17:06,099 here. Talk about it and dream about it and and without knowing 312 00:17:06,099 --> 00:17:08,300 the construct of the performance space. 313 00:17:08,400 --> 00:17:10,700 It's really hard to dream, you know, and all of a sudden 314 00:17:10,700 --> 00:17:13,300 you're dreaming about something that's actually impossible 315 00:17:13,300 --> 00:17:17,000 here. So so for me, I realized that like actually it's a 316 00:17:17,000 --> 00:17:20,500 there's two Tech processes one is the like spike out the 317 00:17:20,500 --> 00:17:21,800 space. Let's tape it out. 318 00:17:21,800 --> 00:17:22,400 Let's figure it out. 319 00:17:22,400 --> 00:17:23,900 Let's understand our space. 320 00:17:23,900 --> 00:17:25,400 Let's not talk designer aesthetic. 321 00:17:25,400 --> 00:17:26,599 But let's talk form. 322 00:17:26,599 --> 00:17:28,000 This is how we're going to communicate. 323 00:17:28,000 --> 00:17:31,800 This is how we're going to tell our story then We can get 324 00:17:31,800 --> 00:17:34,600 into some character development and then we can get into 325 00:17:34,600 --> 00:17:35,600 Tech proper. 326 00:17:36,000 --> 00:17:39,100 But Tech is always a part of it now because I can't actually 327 00:17:39,400 --> 00:17:41,900 answer your questions in this interview without technology 328 00:17:41,900 --> 00:17:44,700 between us whereas that would have been different in the 329 00:17:44,700 --> 00:17:45,300 real world. 330 00:17:45,300 --> 00:17:50,500 So so that's that's been a big thing and I am actually, you 331 00:17:50,500 --> 00:17:53,000 know, there are some shows I'm doing a show called bacchanal 332 00:17:53,000 --> 00:17:53,500 right now. 333 00:17:53,500 --> 00:17:57,300 That is a like sleep no more style where audience come into 334 00:17:57,300 --> 00:18:01,200 a zoom meeting and there's all these breakout rooms and we 335 00:18:01,400 --> 00:18:07,400 I have nine actors that are asynchronously delivering monologues 336 00:18:07,400 --> 00:18:11,100 and seen work and we have people we have stage managers on 337 00:18:11,100 --> 00:18:14,000 a Google doc that everyone else is for all the actors never 338 00:18:14,000 --> 00:18:17,100 break our rooms following and so that we can be like enter, 339 00:18:17,100 --> 00:18:19,700 you know, like go we have all these cue lights and people 340 00:18:19,700 --> 00:18:22,200 enter into different breakout rooms at the exact line that 341 00:18:22,200 --> 00:18:25,400 they need to to interrupt something and so it becomes a like 342 00:18:25,400 --> 00:18:29,500 digital warehouse space that audience can then they don't 343 00:18:29,500 --> 00:18:31,200 need to go sequentially they can just hop. 344 00:18:31,400 --> 00:18:35,800 Around and catch that like overall storyline that's happening 345 00:18:35,800 --> 00:18:36,800 about this house. 346 00:18:37,900 --> 00:18:42,800 So that's pretty cool and like the audience are totally engaged 347 00:18:42,800 --> 00:18:45,700 and give feedback immediately to the ought to the actor because 348 00:18:45,700 --> 00:18:51,000 they are a part of it Russian troll Farm was a everybody 349 00:18:51,000 --> 00:18:52,000 on Zoom. 350 00:18:52,300 --> 00:18:56,400 I'm live editing it and then we push it to livestream and 351 00:18:56,400 --> 00:19:00,200 the actors cannot see the audience the audience cannot respond 352 00:19:00,200 --> 00:19:01,100 to the actors. 353 00:19:01,900 --> 00:19:02,900 And that's a weird thing. 354 00:19:02,900 --> 00:19:06,900 But we also that process was very live Cinema. 355 00:19:06,900 --> 00:19:10,000 So we were really digging deep into our cinematic processes 356 00:19:10,000 --> 00:19:12,400 there and where you're not assuming there's an audience on 357 00:19:12,400 --> 00:19:16,000 the other end, but the show was run live from start to finish. 358 00:19:16,000 --> 00:19:20,600 So our our theatrical Tendencies were like our expertise 359 00:19:20,600 --> 00:19:24,200 in beginning middle and ends without stopping and so putting 360 00:19:24,200 --> 00:19:26,800 those two together was a Thrill Ride for all of us. 361 00:19:27,600 --> 00:19:29,900 So I think it's a big question like the biggest challenge 362 00:19:29,900 --> 00:19:34,200 for me is Audience actor engagement are we focusing so much 363 00:19:34,200 --> 00:19:36,700 on the audience engagement that were compromising the actors 364 00:19:36,700 --> 00:19:38,600 experience and process. 365 00:19:39,600 --> 00:19:42,800 I think every process needs to start by defining what is 366 00:19:42,800 --> 00:19:46,300 process and what is our space and then moving from there 367 00:19:46,300 --> 00:19:48,800 as opposed to walking backwards from where's our audience 368 00:19:48,800 --> 00:19:51,800 sitting? It's like literally, how are we working together? 369 00:19:53,400 --> 00:19:57,100 And it's a lot of slowing down like, you know, a lot of the 370 00:19:57,100 --> 00:20:00,100 challenges that I've faced were when I wanted to Leap Forward 371 00:20:00,100 --> 00:20:01,200 as quickly as I would. 372 00:20:01,400 --> 00:20:04,700 Making a piece of theater and realizing that if we take two 373 00:20:04,700 --> 00:20:08,000 or three days to get everyone confident in their technology, 374 00:20:08,300 --> 00:20:12,400 then everybody is a total artist and we can now collaborate 375 00:20:12,400 --> 00:20:15,400 together. So taking that time ends up being inevitably more 376 00:20:15,400 --> 00:20:16,900 efficient in the long run. 377 00:20:17,900 --> 00:20:20,300 It's a long-winded way of answering all of those questions, 378 00:20:20,300 --> 00:20:25,800 but it's hard and I think that lowering anxiety is like goal. 379 00:20:25,800 --> 00:20:26,600 Number one. 380 00:20:26,700 --> 00:20:28,800 I love technology technology. 381 00:20:28,800 --> 00:20:31,200 Sometimes fails us actor sometimes forget. 382 00:20:31,300 --> 00:20:33,500 Lines, we don't freak out at that actor. 383 00:20:33,500 --> 00:20:36,300 We say well, let's figure out how to get that line to not 384 00:20:36,300 --> 00:20:37,500 be forgotten, right? 385 00:20:37,600 --> 00:20:42,900 So, how do we set up a low anxiety space to be able to Fine 386 00:20:42,900 --> 00:20:45,000 playfulness enjoy, you know. 387 00:20:46,700 --> 00:20:47,600 Yeah technology. 388 00:20:47,600 --> 00:20:49,400 I think it's crazy. 389 00:20:49,400 --> 00:20:51,900 I think it's great that we have it and were able to connect 390 00:20:51,900 --> 00:20:53,200 especially during this time. 391 00:20:53,900 --> 00:20:57,800 So with there's a lot of different companies and artists 392 00:20:57,800 --> 00:21:01,000 that are doing Zoom or video work out there. 393 00:21:01,000 --> 00:21:03,800 How is what exactly are you doing? 394 00:21:04,100 --> 00:21:06,600 That's maybe a little bit different than just a normal like 395 00:21:06,600 --> 00:21:09,800 Zoom call or a someone tuning and something like that. 396 00:21:09,800 --> 00:21:10,100 Yeah. 397 00:21:10,100 --> 00:21:13,300 So I'm using Zoom as a television studio in which all of 398 00:21:13,300 --> 00:21:16,300 my actors stay on gallery mode and then I'm pulling them. 399 00:21:16,500 --> 00:21:20,700 And to my main feed and through a software called Isadora, 400 00:21:20,700 --> 00:21:24,800 I'm basically creating layers and a road map from beginning 401 00:21:24,800 --> 00:21:28,600 middle to end of the show that basically is alive queued 402 00:21:28,700 --> 00:21:34,900 operation pulling their live feeds into it at times I do 403 00:21:35,100 --> 00:21:36,600 am I able to show something. 404 00:21:36,800 --> 00:21:40,200 Could I could I show a little clip for sure. 405 00:21:40,200 --> 00:21:42,600 I you should be able to school. 406 00:21:42,900 --> 00:21:43,100 Yeah. 407 00:21:43,100 --> 00:21:45,800 Let me just pull up Russian troll farm for a second here 408 00:21:45,800 --> 00:21:52,600 and I'll just Just pull up a and I'll talk over it so that 409 00:21:52,600 --> 00:21:56,800 okay so that I can explain to you what you're looking at 410 00:21:56,800 --> 00:22:03,900 Ya, so so what I will do is take host disabled participant, 411 00:22:03,900 --> 00:22:04,800 can I be a co-host? 412 00:22:04,800 --> 00:22:26,500 I think that's You should be able to now right cool. 413 00:22:27,600 --> 00:22:29,100 Yes, here we are. 414 00:22:29,400 --> 00:22:36,400 So so this is a before we started recording on your and orchids. 415 00:22:36,400 --> 00:22:37,300 Which hold on. 416 00:22:37,700 --> 00:22:38,800 Oh, I think it remains. 417 00:22:41,100 --> 00:22:41,400 Okay. 418 00:22:41,400 --> 00:22:43,800 Just wanted to make sure we're going technology cool. 419 00:22:44,800 --> 00:22:48,100 So here's the scene in in it where they're at a bar and they're 420 00:22:48,100 --> 00:22:51,400 talking and actually all three of them are in completely 421 00:22:51,400 --> 00:22:55,500 different Zoom frames, but I've placed them together in here. 422 00:22:55,500 --> 00:22:56,600 They have black backdrop. 423 00:22:56,600 --> 00:23:00,000 So I'm able to blend them all together and we have LED lights, 424 00:23:00,000 --> 00:23:03,300 but I'm also colorizing there and doing a fluctuation of 425 00:23:03,300 --> 00:23:08,000 red to blue to make it look as though they're all at a bar 426 00:23:08,000 --> 00:23:09,500 together and having this conversation. 427 00:23:09,600 --> 00:23:17,000 Ation, and and this is all these cutaways Army on my keyboard 428 00:23:17,200 --> 00:23:20,600 not doing a sequence of cuts, but basically the numbers 1 429 00:23:20,600 --> 00:23:25,300 2 3 4 and 5 are all different shots so I can play that live 430 00:23:25,300 --> 00:23:29,200 and I'm watching their gallery view as individual feeds and 431 00:23:29,200 --> 00:23:30,800 I'm seeing like, oh he's about to talk. 432 00:23:30,800 --> 00:23:33,000 So I'm going to cut to him and really feel as though. 433 00:23:33,000 --> 00:23:35,700 I'm a TV director, you know, and being able to just cut to 434 00:23:35,700 --> 00:23:39,000 close-up cut back to three shot cut back to close up to shot 435 00:23:39,300 --> 00:23:43,000 and Memorize my keyboard so that I can I'm literally playing 436 00:23:43,000 --> 00:23:44,100 it live with them. 437 00:23:44,200 --> 00:23:45,200 Does that make sense? 438 00:23:47,100 --> 00:23:51,500 Yeah, and so yeah, and you know, this is a basic cutaway 439 00:23:51,500 --> 00:23:56,300 scene. But later on I will skip ahead. 440 00:23:56,300 --> 00:24:01,100 We do a mission impossible sequence that basically this is 441 00:24:01,100 --> 00:24:05,200 all and there, you know, I'm spotlit on their screen so that 442 00:24:05,200 --> 00:24:07,400 they can see that these are two people on two different. 443 00:24:07,400 --> 00:24:09,800 He's in kinetic ones in Connecticut ones in Brooklyn and 444 00:24:09,800 --> 00:24:13,400 it looks like they're sitting in the same room and then all 445 00:24:13,400 --> 00:24:16,000 of these effects they can see and I've animated them. 446 00:24:16,200 --> 00:24:19,400 The Dora and this is on my monitor spotlit to them. 447 00:24:19,700 --> 00:24:22,900 So they're able to see the final product as they're performing 448 00:24:22,900 --> 00:24:26,400 live. Their faces are live are there Zoom frames? 449 00:24:26,700 --> 00:24:29,900 So that's him and his Zoom frame but on my end I'm putting 450 00:24:30,500 --> 00:24:31,700 you know layers in there. 451 00:24:31,700 --> 00:24:35,300 So it's all shaped together and they're able to see that 452 00:24:35,300 --> 00:24:38,100 final product and have fun with that and be able to adjust 453 00:24:38,100 --> 00:24:38,500 to it. 454 00:24:38,500 --> 00:24:45,200 Right and so from my end like that's something that I'm working 455 00:24:45,200 --> 00:24:49,100 on is like what is like Live Cinema and how do we make how 456 00:24:49,100 --> 00:24:52,600 do we make work that like surely I could edit that later, 457 00:24:52,900 --> 00:24:56,300 but why is liveness more exciting and that's my question 458 00:24:56,300 --> 00:24:58,100 is like a scientist to go back to research. 459 00:24:58,100 --> 00:25:02,300 It's like what about liveness is electric like what and and 460 00:25:02,600 --> 00:25:04,600 even though everything you're seeing there. 461 00:25:04,600 --> 00:25:07,600 That is a pretty I've recorded that now so I can show it 462 00:25:08,100 --> 00:25:10,900 but what about when I watch it, there's still the sense of 463 00:25:10,900 --> 00:25:13,600 risk and it's because I know that nowhere along the way did 464 00:25:13,600 --> 00:25:14,300 we post at it? 465 00:25:14,300 --> 00:25:18,000 We never cut and you can feel Them like striving to walk 466 00:25:18,000 --> 00:25:21,900 through that Story in real time in a very different way than 467 00:25:22,500 --> 00:25:25,400 I'm working on a short film right now and I can feel the 468 00:25:25,400 --> 00:25:27,600 cuts, you know, like you can feel that and it's up to the 469 00:25:27,600 --> 00:25:30,200 editor to bring false liveness to it. 470 00:25:31,100 --> 00:25:35,400 It's really fun as a like live TV Editor to feel the authentic 471 00:25:35,400 --> 00:25:39,700 liveness that's happening inside these Zoom calls. 472 00:25:39,800 --> 00:25:41,800 So so it doesn't look like Zoom at all. 473 00:25:41,800 --> 00:25:45,100 You know, I mean, it looks like a movie and a certain regard 474 00:25:45,800 --> 00:25:48,300 and that's That's that's the world that I'm exploring right 475 00:25:48,300 --> 00:25:50,300 now the way that's amazing. 476 00:25:50,300 --> 00:25:55,200 Yeah, I'm guessing those those clips that you were sharing 477 00:25:55,200 --> 00:25:57,800 it. If you didn't know any better, you would think they're 478 00:25:57,800 --> 00:26:01,200 together, but it's I think an amazing thing that has come 479 00:26:01,200 --> 00:26:04,600 from all of this being able to create outside. 480 00:26:04,600 --> 00:26:08,700 The box is connecting people that what be able to necessarily 481 00:26:08,700 --> 00:26:11,000 work together because like you said one's a Brooklyn ones 482 00:26:11,000 --> 00:26:12,100 in Connecticut. 483 00:26:12,500 --> 00:26:14,500 It's really cool to see that come together and make it look 484 00:26:14,500 --> 00:26:15,400 so seamless. 485 00:26:15,500 --> 00:26:16,000 Yeah. 486 00:26:16,200 --> 00:26:21,400 I'm in DC as editor and the sound designer is running Q lab 487 00:26:21,400 --> 00:26:24,700 from a different place in Hartford, Connecticut and our lights. 488 00:26:24,900 --> 00:26:27,700 We actually had a light company come in and they invented 489 00:26:27,700 --> 00:26:31,200 a 3D printed six light fixtures that were sent to each of 490 00:26:31,200 --> 00:26:35,200 the Five actors the actors plug them in and worked for an 491 00:26:35,200 --> 00:26:39,700 hour with the it support to put them on tripods in exact 492 00:26:39,700 --> 00:26:42,900 spaces. They plug into a USB and then we have a lighting 493 00:26:42,900 --> 00:26:45,600 designer with a light board in Arkansas. 494 00:26:46,100 --> 00:26:48,500 Building cues from start to finish of a two-and-a-half hour 495 00:26:48,500 --> 00:26:51,700 show and they can be a lighting designer and everybody IE 496 00:26:51,700 --> 00:26:54,600 could see on the gallery view that different lights are happening 497 00:26:54,600 --> 00:26:57,300 at different times different colors, and it suddenly became 498 00:26:57,300 --> 00:27:02,800 an actual production and that all of those things are a lot 499 00:27:02,800 --> 00:27:05,100 of effort to put together something that looks just like 500 00:27:05,100 --> 00:27:07,300 a film but I'll tell you watching it. 501 00:27:07,300 --> 00:27:10,500 There's something different because of liveness and and I 502 00:27:10,500 --> 00:27:11,900 want to get to the bottom of that. 503 00:27:11,900 --> 00:27:15,700 You know, I don't know why some people disagree with me some 504 00:27:15,700 --> 00:27:18,800 people Totally agree with me that's fine. 505 00:27:18,800 --> 00:27:22,200 It's a part of the research and and trying to figure out 506 00:27:22,200 --> 00:27:25,900 what it is because that Discovery I think will bring us back 507 00:27:25,900 --> 00:27:29,900 into why we do Theater which is really exciting and I can't 508 00:27:29,900 --> 00:27:33,100 wait to be back in a theater with that seed of knowledge, 509 00:27:33,100 --> 00:27:38,700 you know, so yeah, but it's really it's definitely a question 510 00:27:38,700 --> 00:27:41,700 that I think it's needs to be explored and I'm glad that 511 00:27:41,700 --> 00:27:45,700 someone like you is doing that so you kind of briefly maybe 512 00:27:45,700 --> 00:27:49,100 or Ain't it at this but how do you think like theater and 513 00:27:49,100 --> 00:27:53,300 the Arts in general will morph or continue to change because 514 00:27:53,300 --> 00:27:57,800 of the pandemic and are hopeful that once they move out of 515 00:27:57,800 --> 00:28:00,600 it. How do you think those two will coincide iced? 516 00:28:01,100 --> 00:28:02,700 It's a really good question. 517 00:28:02,700 --> 00:28:05,500 That's really hard to answer when were inside the trenches. 518 00:28:05,500 --> 00:28:05,900 Right? 519 00:28:05,900 --> 00:28:10,800 And I actually think if we build work right now anticipating 520 00:28:10,800 --> 00:28:15,500 our return to theater, we will lose on an opportunity here 521 00:28:15,500 --> 00:28:18,700 to really Really innovate something that is necessary right 522 00:28:18,700 --> 00:28:22,800 now. So I'm actually you know, I know on the horizon is hybrid 523 00:28:22,800 --> 00:28:25,400 work and multimedia work back in the theater. 524 00:28:25,500 --> 00:28:28,400 That's something I've been doing for 15 years and like knocking 525 00:28:28,400 --> 00:28:30,500 on people's doors and there's no no we don't do that. 526 00:28:30,500 --> 00:28:34,200 And so I'm excited that it's going to like demand that theaters 527 00:28:34,200 --> 00:28:37,700 have to think about things technologically and I hope that 528 00:28:38,300 --> 00:28:42,100 for all of them that they're they are contacting the right 529 00:28:42,100 --> 00:28:45,300 really authentic like designers and directors out there who 530 00:28:45,300 --> 00:28:48,800 understand Technology as from a human point of view and a 531 00:28:48,800 --> 00:28:53,500 human Essence, but right now I'm just saying like look I'm 532 00:28:53,500 --> 00:28:56,100 assuming we're never getting back into the theater. 533 00:28:56,400 --> 00:28:59,300 I know we will but like right now putting my blinders on 534 00:28:59,300 --> 00:29:02,600 and being like if this is all I've got right now, how can 535 00:29:02,600 --> 00:29:08,100 I maximize my tools and then the next moment that comes along 536 00:29:08,100 --> 00:29:10,600 with their like you can do all of this but we give you a 537 00:29:10,600 --> 00:29:14,100 huge Studio space that has a hundred seats in it, you know, 538 00:29:14,100 --> 00:29:15,100 like, all right. 539 00:29:15,100 --> 00:29:17,900 Well with that In mind then here's how I will do it that 540 00:29:17,900 --> 00:29:21,300 way. You know, I've been thinking about an idea of a four-person 541 00:29:21,300 --> 00:29:25,200 show where each person is a one-person show in a theater 542 00:29:25,200 --> 00:29:28,300 in four different theaters across the country and an audience 543 00:29:28,300 --> 00:29:31,300 that are all social distance being five seats apart from 544 00:29:31,300 --> 00:29:34,600 each other because that's probably the first step back into 545 00:29:34,600 --> 00:29:35,300 the theater. 546 00:29:36,100 --> 00:29:41,700 They get a personalized unique experience with that 1/4 of 547 00:29:41,700 --> 00:29:46,300 The Ensemble so that when they're at their computers, Station 548 00:29:46,300 --> 00:29:49,200 or film station or whatever it is and they're you know, let's 549 00:29:49,200 --> 00:29:51,200 say it's a conference call and all four of them are on this 550 00:29:51,200 --> 00:29:53,800 conference call and you see the four up on a projection screen, 551 00:29:53,900 --> 00:29:57,500 but you have this one actor alone on a stage chiming in and 552 00:29:57,500 --> 00:29:59,700 then they're like I have to go the bathroom and they leave 553 00:29:59,700 --> 00:30:00,600 but they don't go the bathroom. 554 00:30:00,600 --> 00:30:04,000 They actually call their boss to like rat out one of the 555 00:30:04,000 --> 00:30:07,100 other co-workers and then they come back to the computer 556 00:30:07,100 --> 00:30:10,400 station that audience that fourth of an audience knows a 557 00:30:10,400 --> 00:30:14,500 secret that the 3/4 of the audience don't and like thinking 558 00:30:14,500 --> 00:30:18,100 about how we can give like Individualized experiences to 559 00:30:18,100 --> 00:30:22,300 a co-produced pieces like that kind of works really exciting 560 00:30:22,300 --> 00:30:25,700 to me and thinking about again site-specific and like using 561 00:30:25,700 --> 00:30:27,500 restrictions as opportunity. 562 00:30:28,400 --> 00:30:30,600 You know, I'm excited to think about how theaters can come 563 00:30:30,600 --> 00:30:33,800 together to create an audience of a hundred by having 50 564 00:30:33,800 --> 00:30:37,300 in one theater in California and the other 50 and another 565 00:30:37,300 --> 00:30:38,300 theater in Boston. 566 00:30:39,200 --> 00:30:39,900 What does that mean? 567 00:30:39,900 --> 00:30:41,700 And how can we create space like that? 568 00:30:41,700 --> 00:30:44,500 You know everyone thought it would be impossible to create, 569 00:30:44,900 --> 00:30:48,900 you know 5% Person shows where everyone doesn't leave their 570 00:30:48,900 --> 00:30:53,100 office in their house and we don't even have time to debate 571 00:30:53,100 --> 00:30:53,700 that right now. 572 00:30:53,700 --> 00:30:56,300 It's the only way we can make work. 573 00:30:56,500 --> 00:31:00,100 It changes the tenor and tempt, you know temperament of why 574 00:31:00,100 --> 00:31:00,900 we do what we do. 575 00:31:00,900 --> 00:31:03,500 So, you know, that's kind of where I'm at. 576 00:31:03,500 --> 00:31:04,600 I don't know where we're headed. 577 00:31:04,600 --> 00:31:08,400 But I do know that the best work out there right now is not 578 00:31:08,400 --> 00:31:13,000 preparing for something in the future and not morning something 579 00:31:13,000 --> 00:31:15,900 of the past like it's not a eulogy nor is it a hypothetical? 580 00:31:16,100 --> 00:31:18,900 Let's just right here and let's make something you know. 581 00:31:19,900 --> 00:31:20,500 No, I love it. 582 00:31:20,500 --> 00:31:20,800 I love it. 583 00:31:20,800 --> 00:31:23,500 All I think you know art is about being in the now and I 584 00:31:23,500 --> 00:31:24,700 think that's great. 585 00:31:25,700 --> 00:31:28,800 So there with everything that's happening in the world and 586 00:31:29,000 --> 00:31:32,500 the pandemic they're probably a lot of artists or companies 587 00:31:32,500 --> 00:31:35,800 and organizations out there that are maybe feeling discouraged 588 00:31:35,800 --> 00:31:42,100 or unsure of how to approach the art form and how to kind 589 00:31:42,100 --> 00:31:43,600 of move forward. 590 00:31:43,600 --> 00:31:47,300 Do you have any words of encouragement or wisdom to share 591 00:31:47,300 --> 00:31:47,900 with them? 592 00:31:49,700 --> 00:31:53,300 No, just a reminder that I have to remind myself every day 593 00:31:53,300 --> 00:31:57,300 that like as a kid some of the best stories that were told 594 00:31:57,300 --> 00:32:01,100 to me were at a campfire and like Shadow puppetry on the 595 00:32:01,100 --> 00:32:04,500 wall that my dad shined a flashlight onto like we can make 596 00:32:04,700 --> 00:32:08,000 really evocative work with very simple technology and simple 597 00:32:08,000 --> 00:32:12,800 systems and while digital technology and the internet is 598 00:32:12,800 --> 00:32:17,600 ever spreading and all-encompassing be simple about things 599 00:32:17,600 --> 00:32:19,500 and recognize that it's really hard. 600 00:32:19,600 --> 00:32:22,600 To take notes on a script right now, like very simple things. 601 00:32:22,600 --> 00:32:24,100 Very basic things are really difficult. 602 00:32:24,100 --> 00:32:26,900 So don't get ahead of yourself and actually some of the most 603 00:32:26,900 --> 00:32:29,800 Innovative work that I've seen are are the simplest right 604 00:32:29,800 --> 00:32:33,800 now and like a good reminder that with the tools we have 605 00:32:33,800 --> 00:32:39,200 we can tell really amazing Stories and it's very discouraging 606 00:32:39,200 --> 00:32:44,500 right now, but you know over the summer I set a goal for 607 00:32:44,500 --> 00:32:45,600 myself that every day. 608 00:32:45,600 --> 00:32:48,700 I was going to do a zoom experiment and no matter how crappy 609 00:32:48,700 --> 00:32:49,500 or how cool it was. 610 00:32:49,700 --> 00:32:52,800 As I was going to post it on my Instagram and on my Facebook 611 00:32:52,900 --> 00:32:57,500 and 15 experiments in all of a sudden I had theaters knocking 612 00:32:57,500 --> 00:32:59,500 on my door being like Hey, we're seeing you do that. 613 00:32:59,500 --> 00:33:01,700 Like we're interested in having a conversation. 614 00:33:01,700 --> 00:33:04,700 Some of them led to nothing other than a great relationship 615 00:33:04,700 --> 00:33:07,800 with that managing director or production manager and we 616 00:33:07,800 --> 00:33:10,800 keep tabs on each other and like, you know, it was really 617 00:33:10,800 --> 00:33:14,200 scary to put out my first three because everyone was expecting 618 00:33:14,200 --> 00:33:16,900 Perfection and I just tongue-in-cheek didn't was like this 619 00:33:16,900 --> 00:33:22,300 is really bad and but I'm having a lot of fun, you know, 620 00:33:22,300 --> 00:33:24,800 and you could see us laughing and in like figuring out how 621 00:33:24,800 --> 00:33:29,100 to reach through the frame simple basic dumb silly things 622 00:33:29,100 --> 00:33:34,100 that are playful and it felt very clown like being open and 623 00:33:34,100 --> 00:33:38,300 transparent about experimenting led to a lot of opportunities. 624 00:33:38,300 --> 00:33:42,700 And so for those out there who are feeling discouraged that 625 00:33:42,700 --> 00:33:45,400 they're not getting the phone call to do the work or there's 626 00:33:45,400 --> 00:33:49,400 nothing there's no opportunities out there pretend you woke 627 00:33:49,400 --> 00:33:52,600 up. And this was the world you were born into and ask yourself. 628 00:33:52,600 --> 00:33:53,800 What do I have around me? 629 00:33:53,800 --> 00:33:56,700 And what can I do with that and see where that takes you 630 00:33:56,800 --> 00:34:01,600 you know, and who knows be ready for the unexpected, you 631 00:34:01,600 --> 00:34:05,300 know? Absolutely, I agree. 632 00:34:05,800 --> 00:34:09,699 So after kind of wrap up here there anything else you want 633 00:34:09,699 --> 00:34:15,800 to share with us anything hurting questions words of wisdom 634 00:34:15,800 --> 00:34:19,100 anything. I don't know. 635 00:34:19,100 --> 00:34:24,400 I you know, I think I think we've covered all a lot of it. 636 00:34:24,400 --> 00:34:29,199 You know, I think I'll be sure to go outside don't be locked 637 00:34:29,199 --> 00:34:31,000 at your computer trying to make work all day. 638 00:34:31,000 --> 00:34:34,100 I think I've been encouraging that but also it's always a 639 00:34:34,100 --> 00:34:37,100 good reminder to like go for a walk find your space and find 640 00:34:37,100 --> 00:34:39,500 your balance and life because it's crazy out there. 641 00:34:39,500 --> 00:34:44,000 So, you know, that's where I've gotten some of my best ideas 642 00:34:44,000 --> 00:34:47,699 when I stepped away and we can lose ourselves in this technology 643 00:34:47,699 --> 00:34:48,900 and all of a sudden it's 2 a.m. 644 00:34:48,900 --> 00:34:52,600 So just be careful and make sure that the most important 645 00:34:52,600 --> 00:34:55,400 thing that you're doing is taking care of your human physical 646 00:34:55,400 --> 00:34:59,500 self. Even when you're brainstorming big technological ideas, 647 00:34:59,500 --> 00:35:02,400 make sure that human is first and that should take care of 648 00:35:02,400 --> 00:35:03,200 a lot of it. 649 00:35:03,400 --> 00:35:07,200 So, you know, it's a good reminder for everyone as we kind 650 00:35:07,200 --> 00:35:11,200 of try to navigate the world of technology and connection 651 00:35:11,300 --> 00:35:13,000 finding those moments. 652 00:35:13,300 --> 00:35:16,400 So if people want to keep up with you and your work and some 653 00:35:16,400 --> 00:35:20,600 of your projects work and they find you and do that quite 654 00:35:20,600 --> 00:35:24,400 honestly, I'm really not good right now in my website you 655 00:35:24,400 --> 00:35:27,700 could check out my website, but it's all Old Theater Works 656 00:35:28,000 --> 00:35:28,600 on there. 657 00:35:28,600 --> 00:35:30,400 It's Jared Musashi.com. 658 00:35:30,700 --> 00:35:34,500 I did start a company called virtual design Collective which 659 00:35:34,500 --> 00:35:39,600 is vid Co for short and our tagline is turning covid around 660 00:35:39,600 --> 00:35:45,100 literally because midco and that's vid code Tech and that 661 00:35:45,100 --> 00:35:47,700 too is behind because we once we launch that in September, 662 00:35:47,700 --> 00:35:51,500 we've been getting a lot of different job opportunities, 663 00:35:51,500 --> 00:35:54,900 but there's there's about 10 of us in the collective and 664 00:35:56,300 --> 00:36:00,500 and we're curating work that are Galas to theater Productions 665 00:36:00,500 --> 00:36:08,800 to readings to a funeral in December to films that are being 666 00:36:08,800 --> 00:36:11,900 produced online, you know, so you can check out vid code 667 00:36:12,100 --> 00:36:14,700 Tech and we'll be updating all of that. 668 00:36:14,700 --> 00:36:17,700 We're creating a real right now of all the stuff we've done 669 00:36:17,700 --> 00:36:18,800 since August. 670 00:36:19,200 --> 00:36:21,700 So that's all there you check that out and all of our experiments 671 00:36:21,700 --> 00:36:22,700 are on there as well. 672 00:36:23,500 --> 00:36:27,900 But most up-to-date is my Facebook and my Instagram and Jared 673 00:36:27,900 --> 00:36:31,400 Musashi is there's no other masaccio's out there if you spell 674 00:36:31,400 --> 00:36:35,500 it, right so you can search that and then Instagram is Ja 675 00:36:35,500 --> 00:36:39,200 why underscore man with four ends j-man. 676 00:36:39,500 --> 00:36:42,900 So those are the ways that you can keep up and I'm posting 677 00:36:42,900 --> 00:36:45,100 things all the time of all the experiments and things that 678 00:36:45,100 --> 00:36:47,900 we're doing so, Awesome. 679 00:36:47,900 --> 00:36:50,800 Well it definitely you are super busy. 680 00:36:50,800 --> 00:36:53,700 So I really appreciate you taking the time and having this 681 00:36:53,700 --> 00:36:56,700 chat. I think it'll be of interest to a lot of people just 682 00:36:56,700 --> 00:37:01,400 because it's so new and so unknown and it's good to have 683 00:37:01,400 --> 00:37:04,900 that Insight from an Insider like you well, thanks for having 684 00:37:04,900 --> 00:37:06,300 me. All right. 685 00:37:06,300 --> 00:37:07,300 Thank you so much. 686 00:37:07,400 --> 00:37:07,700 Yeah. 687 00:37:08,900 --> 00:37:09,300 Alright. 688 00:37:09,300 --> 00:37:10,000 Thanks so much. 689 00:37:10,100 --> 00:37:10,400 Cool. 690 00:37:10,400 --> 00:37:10,600 Yeah. 691 00:37:10,600 --> 00:37:11,200 Take care. 692 00:37:11,700 --> 00:37:12,300 All right, bye-bye. 693 00:37:15,700 --> 00:37:19,300 Alright, that was our chat with Jared Musashi. 694 00:37:20,000 --> 00:37:22,200 It was really great to talk with him and see everything he 695 00:37:22,200 --> 00:37:24,200 was doing and seeing some of that work life. 696 00:37:24,200 --> 00:37:27,100 So if you want to find out more and make sure you follow 697 00:37:27,100 --> 00:37:29,500 him on Instagram or Facebook or check out those websites. 698 00:37:29,500 --> 00:37:33,800 He mentioned thanks for tuning in for Beyond The Arc powered 699 00:37:33,800 --> 00:37:37,400 by the tundra make sure to check back daily for updates about 700 00:37:37,400 --> 00:37:40,000 news and videos and things are happening around us in the 701 00:37:40,000 --> 00:37:40,700 Arts.