Crossing the 180 #41: Kevin Shahinian, Patrick Moreau and Joe Simon Part 2

You’ve waited patiently for a whole month. Now it’s the moment you’ve all been waiting for. The gripping conclusion to my provocative, educational and inspirational interview with the DSLR Three Amigos: Patrick Moreau of StillMotion, Kevin Shahinian of Pacific Pictures and Joe Simon of Joe Simon Films. This episode is a doozy!

When we last left our heroes in part 1, I had just asked Kevin his opinion of WEVA (the Wedding and Event Videographers Association). In this episode we discuss WEVA, the use of copyrighted music in event cinema, company sponsorships and if they represent a conflict of interest, what makes a filmmaker a true “professional,” working with spouses, and we learn once and for all if Kevin is an eligible bachelor. These three will be teaching at their Event Cinema workshop this fall starting in early October.

In order to get today’s episode, you have to subscribe to our iTunes link. Trust me. It’s worth it. Click here to get the goods.

Bumper music for this show is “Tater City” by Glenn Shambroom, part of the TRUE ROMANCE collection, courtesy of Triple Scoop Music.

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Next week on the show we have NoFilmSchool.com creator Koo. Don’t miss it.

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3 Responses to “Crossing the 180 #41: Kevin Shahinian, Patrick Moreau and Joe Simon Part 2”

  1. Just finished listening to the podcast – great job, everyone!! I think one point that may be overlooked in the debate over tools vs. creativity is that many, many great independent films (and even some low-budget studio films) would never have been made if they had waited for all the best tools – they did the best they could with the resources given. I think that fact answers the argument definitively. Yes, tools are important and the best tools are great, but part of being creative is creatively overcoming production limits and challenges by doing the absolute best with the tools you have access to. Some of the greatest R&B songs of the 20th century were recorded with less-than-the-best mics and recorders – but they are soaked in soul and feeling, which covers a multitude of technical sins. I would say the same for filmmaking and story.

    Thanks again, nice hour of commentary!

    • That’s a great point Bill. I was listening to my favorite podcast (besides this one of course) FilmSpotting. A month or so ago they did an interview with the writer director and co-writer of the indie film and Sundance award-winner “Another Earth” (http://www.youtube.com/watch?v=N8hEwMMDtFY). One of the things the director talked about was how the lack of budget forced them to make decisions in the movie that pushed their creativity. He argues that great art is always pushed by what is lacking.

      That being said, I think Patrick gave a very good (dare I say “great” :) ) reasoning for why they use the equipment they do. In the context of his answer, if one doesn’t have the resources to get the best gear, then one should make creative choices that accommodate for that and still allow you to tell a great story. If you can’t afford a steadicam or similar device, then don’t try to do walking shots and get a shaky look if it’s not called for. Change up the story to accommodate a static shot.

      Thanks for commenting.

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  1. What Makes a Person a True Filmmaker, Photographer or Professional | Dare Dreamer Magazine - September 9, 2011

    [...] etc.) This point was made clear to me again twice in just the past week. First, on the very hot episode of Crossing the 180 where I interview Patrick Moreau, Kevin Shahinian and Joe Simon,  we get into a lively discussion [...]

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