Most everything will be here:

cinemanovel.com MAIN PORTAL SITE

tkmiles.com MORE PERSONAL BLOG STUFF

anightfordyingtigers.com BLOG FOR THE NEW FILM

Remember, everything is happening over at cinemanovel.com

AdMuse EPISODE 104

AdMuse EPISODE 104

Also, this!

CINEMANOVEL


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AdMuse - Episode 102

AdMuse is an original episodic comedy web series by Terry Miles for filmaka. The series stars Kristine Cofsky, Casey Manderson, Michelle Miazga, Ryan Haneman and more.

admuse, terry miles, web series, web, series, webisode, comedy, internet series, podcast, video podcast, viral video, independent film, film, kristine cofsky, risque, office comedy, politically incorrect, scathing, dark comedy, advertising, ads, mockumentary

NEW PODCAST IS AT cinemanovel.com

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When Life Was Good - Video Podcast EPISODE ONE

DEAD MAC PRO

My computer died in the middle of editing the Red Rooster. It's a Mac Pro, and I have to say, Apple is not the best when it comes to caring about the customer. They make the coolest shit, but they don't really care once it leaves their store.

Hopefully it will be fixed in time to get The Red Rooster rough cut where it needs to be by August 18th.

UPDATED

A while back I posted a 2008 "To do" list: Here's the update:

1. visit my family.
STILL TRYING TO GET HOME FOR A HOLIDAY
2. screen "When Life Was Good" at a film festival.
TORONTO INTERNATIONAL FILM FESTIVAL in Sept. NOUVEAU CINEMA IN MONTREAL in Oct.
3. complete 2 feature films (hopefully at least one with a budget).
FINISHED THE RED ROOSTER (no budget but great times!)
4. find the money for a decent HD camera.
PICKED UP THE HVX200 THANKS TO MY MOM AND SELLING SOME MUSIC EQUIPMENT. Red One next.
5. find inner peace (or at least visit it once or twice).
NOPE
6. rent an office.
STILL LOOKING FOR OFFICE SPACE TO SHARE IN VANCOUVER
7. find more time to read.
NOT AT ALL
8. find more time to walk the dogs and watch movies.
SADLY MUCH LESS TIME
9. launch some webisodic entertainment.
ADMUSE ON FILMAKA.COM
10. shoot the Strawberry Splits pilot.
MAYBE SOON?
11. more trips to Tofino with Kelly and the doggies.
I HOPE SO, MAYBE OCT
12. spend more time hanging out with friends.
A BIT, MOSTLY MAKING MOVIES.

When Life Was Good trailer

you can't resist heading out to the movie theatre for this one.

New Teaser for When Life Was Good

The greatest cast in the universe.






We're getting close...

New shots from yesterday's marathon shoot.

WLWG

We're moving right along. Shot some great stuff today. Shot a short film called "Danny?" yesterday with Tijana, Dan, Kristine, and Casey. It's pretty funny, I think.

Thanks to rob for this link: Wow. I love Zach and Will. Nice.

Kanye done up proper

Great article on "Story"

Check out Rob's blog. He has some kind words about When Life Was Good, but more importantly he talks about his new projects and some other film stuff you need to know about.

Narcissistic Fibrosis

"Our films have so many imitation emotions that if a real one ever intruded, it would shock us or make us laugh. Mike Leigh tells the story of the time a table collapsed on stage and, as the actors scurried to keep the dishes from tumbling, the sudden honesty of their performance revealed the falsity of the entire preceding play."

-Just one more quick point from Ray Carney.

SOME ESSENTIAL WISDOM FROM RAY CARNEY

We have a mistaken notion that you make a movie after you've decided what you want to say. It's actually the reverse. You learn what you want to say by making the movie–like conversation, which would not only be more boring, but stupider, if we tried to plan it out in advance. Use film to learn.

* * *

Consciousness cannot precede expression. If you can storyboard your film in advance, if you know what's going to happen, how your characters are going to react and feel at every moment, save yourself a lot of time and trouble, skip the shoot and publish the storyboard. As Robert Frost said: No surprise in the writer, no surprise in the reader.Knowingness is the curse of our art. The director knows what his characters are; the characters know what they themselves are; and the viewer knows what everyone else knows. Watch your mind at moments when you don't know something: when you meet a new person; when you hear a loud sound at night but don't know what it is; when you're running out and looking for your wallet or keys. How does your mind function differently from when it is on autopilot? Most of the important parts of life are lived not in the state of knowing, but of not-knowing. Get that into your work. Let your characters experience it, let your viewer experience it. Look at the scene in Tarkovsky's The Sacrifice in which a loud sound is heard off-screen and a pitcher of milk spills. Why is it more powerful than if the cause of the sound were shown or explained? Don't explain more than life does.

* * *

If you don't change your mind about your characters and their situations several times as you make your movie, you aren't holding yourself open enough. You aren't allowing yourself to learn. Cassavetes re-edited his films over and over again, as his understandings of the things he had filmed changed.
The solution most movies urge is a continuation of the sickness they depict. They give characters problems to solve and then show them going about solving them. Their narratives are an extension of the business ethos that causes most of the problems in our culture in the first place. These movies never question the belief that we are what we do, what we control, what we own. We live in a capitalist culture addicted to the virtues of doing. But life is less about doing anything, than being something. If your film hinges on a figure's doing or accomplishing something, you are part of the sickness. You are making feature-length commercials for IBM.

* * *

Ever notice how much more interesting a movie is when you channel surf into it ten minutes after it has begun? Or how fascinating even a dumb movie is for at least a few minutes before the idiot plot kicks in? It gets boring the minute you figure it out, or as soon as the characters are given a road map to follow. How can you keep that openness in your movie, that state of uncertainty in the viewer (without, of course, relying on Hitchcockian tricks to stoke up fake dramatic interest)?

* * *

Why do we think film should be easier, purer, more idealized than life? Don't spoon-feed the viewer. Don't give him or her predigested bits of knowledge. The experience of a good film should be as demanding and raw and unassimilated as the experience of life.

MORE ESSENTIAL READING HERE