I am your host Artist PT Russell!

Listen in to my new unscripted podcast, Journaling with PT.

I share unfiltered dialogue between myself and a diverse collective of creative guests.

The main objectives of the podcast is to highlight creative voices and to showcase the progress of emerging artists from all over the world.

For the foreseeable future all show episodes will be recorded with the use of an iPhone 11.

Episodes uploaded from previously recorded audio journal entries are available for download as well.

Listen Everywhere


It was an honor to speak with the dynamite Daniel Roebuck about faith, film and his non-profit, A Channel of Peace.


Arron Lloyd is an Actor, International Public Speaker and a Neuro-Encoding Specialist.


Filmmaker Sam Borowski joined me and together we shared our predictions for the 96th Academy Awards.


Mrs. Sandy Mackenzie spoke about her favorite mediums, painting process, art instruction and photography.


Film Historian and Filmmaker Steven Jay Rubin joined me as C0-Host in a conversation all about James Bond in the Bahamas.


Pro wrestler and comedian Cory Kastle of -Evolving w/Cory Kastle stopped by to chat.


British author Stefanie Parks shared a preview of her book, The Butterflies of Meadow Hill Manor.


Independent Filmmaker Paul Osborne shared a wealth of information, and talked about his latest film, Fluorescent Beast.


Evan Falk of Moose Motion Studios and I discussed our top 5 stop motion movies.


An interview with innovative artist and dedicated empowerment impact coach, Marking!


Zendo de Melo is a Multi -Disciplinary Artist from Salvador, Bahia, Brazil who lives in Italy.


A journal entry created on my commute via GO Train August 30, 2023.


JahMakesMusic is a musician, content creator and beautiful person.


Caribbean Comedian and content creator Latoya Dean gave a testimony.


An interview with Canadian Artist Avery Gibbes.


Bahamian Artist Jenn Stack shared her love for painting and establishing the Eleuthera Art Gallery.


Independent Filmmaker Sam Borowski gave a broad retrospective of his career.


An Interview with Stop Motion Artist Evan Falk.

Presently, the podcast is available wherever you listen to Podcast

Also Available on YOUTUBE



cover Art by PT Russell

Episode 4: Does the Heart Have a Mind of its own, is a journal entry recorded April 26, 2023.

In the entry I regale an incident that left me reeling with pangs of regret.


When prompted to engage in an act of kindness do not hesitate if it’s in your power to do in that moment.

Tomorrow is promised to absolutely no one.

“Decompression” (Acrylic/Posca Pens on 16×20 Gallery Canvas Pad) Created by, artist PT Russell and is available for collecting.


Journaling With PT Podcast

Please email below for price.

Contact journalingwithpt@gmail.com for inquiries.

©PT Russell 2023 All Rights Reserved


Cover Art by PT Russell

From the Inside, Thoughts on Therapy, a Story Idea and Mental Fortitude, is the third episode and features a raw, unscripted journal entry recorded April, 20, 2023.

In the entry I took pause to express the numerous thoughts I had experienced at that particular time.

Like our physical health and wellness, our mental health is equally as important, and should be championed to the nth degree.

I hope the episode helps you to formulate your own self assessments to ostensibly evaluate your own mental state at convenient intervals.

It is necessary to protect it at all cause and to remember above all else to be kind to yourself always.

The Show’s FULL Transcript is Available Below:

“Thursday, April 20, 2023.

It ‘s still 2023. Well I don’ have to say the year, do I have to say the year? It ‘s 2023. It’s not gonna suddenly be 2024 or go back in time to 2022 or 2021 or…

Wouldn’t that be something? That’s another- I guess that would be an idea for a short story or something. I’m sure it’s been done before by Steven Spielberg or Stephen King or one of the Stevens.

Yeah so… A story about time that shifts from day to day. You don’t know where you’ll end up, Kind of like Quantum Leap. Quantum Leap had a whole intricate, I guess premise in addition to the time travelling bit. But , with this device and there’s always something to solve and you know, but just something different that you, you don’t know what’s going to happen. It could be like a Twilight Zone episode right where you wake up it’s one day in a certain year and then and then it happens that you’re somewhere else. But then it can be gradual right? Like it’s like a dream at first. You think you’re dreaming but what’s happening is that you’re actually shifting until you’re in this place or that; or the person is in this place or that until they can actually realize that can actually stay. And not in a Back to the Future thing where there’s a DeLorean or there’s some time device or what not. This is just, it’s just happening, because time is collapsing…upon itself… in such a way…that it’s affecting those who are not clairvoyant but it’s something that’s happening in the spirit realm.

The Spirit World, the spirit world is causing a shift where it wants to manifest itself into the physical or something, Yes! I’m on to something here. I think it would be beautiful. I think it would be most beautiful.

But anyway, it’s a new day, I just came back from the therapist. I won’t say the therapist because it seems so impersonal, she’s a beautiful woman. When I hear that I’m going to her, I immediately feel a sense of calm. And I think, I think she’s a wonderful person. I feel an ease when I hear her name, when I hear her voice. You know, it’s mellifluous. She has that voice, she has a voice for what she does, she has a face for what she does, she embodies what she does. And so. I’m in a good place whenever I leave her office, I’m always in a good place. My heart is alight, there’s a light that shines, that wasn’t there before. And if it was there, if it was slightly dimmed, then it’s illuminated even more, when I leave her office. When I leave her office I feel like a new person. It feels like one person goes in and then another comes out. I don’t know why I feel this way, I can’t understand it, all of the physiology and the psychology behind it but I just know that- and it’s not- I don’t know. Maybe she’ll figure it out. Maybe she’ll help me figure it out one day. Maybe I’ll figure it out. Maybe I’ll get- maybe something epiphanous happens and then all of a sudden I’ll just know okay, this is what happened then.

The only thing I can say in this moment while I’m sitting here- I went to the – I’m at the Visual Arts Centre, you know at her recommendation, and I decided to walk down here, and I said you know what, it’s a nice day, I’ll walk back to the hotel. I have my walking shoes on just in case I wanted to do that and I totally feel like doing it. I feel empowered today. My feet feel strong, my legs are sturdy and ready. I’m ready for whatever the day brings, you know, I feel strong in my legs and strong in my mind. My body is a unit that works together like a machine; a nicely oiled machine, it’s oiled in all the right places

So, yeah, just a couple- it feels like maybe my circuit board needs some dusting, but besides that everything’s working, circuit board- you know, just something’s a little, you know a little dusting here and there- it causes a trip of a circuit here and there. It may switch off when it should be on- but for the most part I’m working.

The Visual Arts Centre, there’s some interesting exhibits there, something different where nature’s involved. It’s called Anoxic (Memory), something or other her, I have to double check. And, it’s an incorporation of materials from nature, trees and soil, and mosses, and fermentation going on there. I’ve never seen anything like it. At first I was taken aback, I said, Okay what’s this? But I went to the… I didn’t take a picture of the one upstairs, but the display upstairs it’s like a representation of a swamp or – but I saw it as something instead of like a dark swamp because of fermentation and decomposition, and all of these other things that are happening simultaneously; there’s this dark water and the place is surrounded by, dirt, and limbs, and stems, and leaves and flies and the whole bit.

And I think for me it was like it represented where I was. This is how I read into what I was seeing. As I came face to face with my emotions. The emotions that I had. It’s like the darkness of the water represents all of the stuff that I excreted in the last season. It’s excrement, that’s all that is. It’s things I want far away from me. People, toxicity, all of it is in that bog, in that water. And it’s sinking, it’s shifting and changing, it’s coalescing with whatever’s around that area, and it’s being eaten by itself. It’s decomposing into nothingness. And so this is what I saw. I had a very emotional experience with that exhibit; and I’m happy I came in here.

I came in here for copies of the magazine but I’m leaving here with, I won’t say a new sense of purpose, it’s not that deep… but what’s happened is that it’s opened something else inside of me. Between the session with my wonderful therapist, whose name I won’t just in case. I don’t know where this particular journal entry is going to end up so for anonymity, for her sake I will not mention her name.

But, between that wonderful session – there’s something just so cathartic about having someone who understands and they’re helping you through . They can see from the outside in, right? And they have all of the tools that you need . So when I’m away from her I feel like I have the toolbox, and it’s not locked any more, because before it was locked. It was locked and I had keys, but I couldn’t figure out which key opened the toolbox. But with her and this wonderful counselor from another society/foundation and, same thing, it’s another toolbox, or it’s apart of it. I have these keys but I couldn’t get in.

Which one was it?

Sometimes I’ll fumble, sometimes I- thought it was this one – shake around the lock- nothing – and then – and then it ‘s gone. But anyways, now the toolbox is open. I know which key opens the box, right? I know which key opens the box. The box is open and then I can see all of the tools. — Okay, for this one I need a screwdriver, Phillips or flathead– okay for this one I need that–this one I need that. It could be — I said a toolbox , because I was thinking , oh, my painting, I could use that as an illustration but I prefer to use a toolbox because tools get things done. If you have the right tool you can work more efficiently.

Let ‘s say you needed to secure something to a wall or something like that. I guess you can use pegs or something. Sometimes you need a nail. Where are the nails? Where are the screws?

Sometimes it’s better to use a screw than a nail. Anyway…

I’m just enjoying this brook right here, it’s very soothing. I’m renewed and refreshed. Reinvigorated. Invigorated, Reinvigorated. Replenished. We need more replienshable people in the world. People who help to restore rather than deplete.

We need to delete the depleters. Delete them from our lives. Delete the things that deplete.

I think I’ll end there, I think I’ll end there because this entry has nothing to do with everything else but has everything to do with everything else all at once.

It’s a good day.”

If you are in a place where you may need to speak with someone, please call a local hospital, they have many resources available.

Stay Safe.

ANOXIC MEMORY was an exhibition created by artist Maria Simmons.


Journaling With PT Podcast

Purple Poses” (Oil on 9×12 Linen Pad) created by artist PT Russell and available for collecting.

Please email below for price.

Contact journalingwithpt@gmail.com for inquiries.

©PT Russell 2024 All Rights Reserved


By PT Russell / January 1, 2024

Be Good Like a Tree – by Jenn Stack


What a joy it was to host my first Bahamian guest on the Journaling With PT Podcast .

Jenn Stack is a tenacious self-taught artist, whose hallmark is to capture cultural nostalgia through colourful island scenery.

She is also the proud founder of the Eleuthera Art Gallery.

Read The full transcript below.

PT: Welcome to the podcast Jenn.

JENN: Good morning. Thank you.

PT:  It is so lovely to have you  here, and it was it’s an honour to just  have  

a conversation with you. 

How are you doing today? 

JENN: I’m good thank you. And it’s an honour to be here  chatting with you. Thank you. 

PT: Thank you very much,  and how is the lovely weather where you are? 

JENN:Yeah, in Eleuthera, Gregory Town, the weather today is lovely.

We got a breeze, we had a bit of a cold front so  it’s not  so hot, and the sun is shining so I  would say it’s pretty good. 

PT: That’s wonderful! And  I’m going to ask you something about what’s in season  now. I know there’s lots of pineapples in Eleuthera. 

JENN: Yeah. No, it’s not pineapple season that’s done.  Yeah, pineapple season is usually from May, June, July; sometimes you can get them in August. 

So  but I think they’re trying to do it where they can have them  all year round but that hasn’t  happened yet. So, oh now we got avocados, pears,  and mango seasons on its way out. We always  got papaya, bananas. 

PT: Good Stuff.

Any guineps? 

JENN: Oh  guineps. No. No, no guineps. No guineps, no Tamarind.

I  wonder did I miss Guinep season?

 Anyway no I don’t  see any around town. 

PT: What about Dilly? 

JENN: Always Dilly.  I don’t think there is a season for Dilly. Dilly does  

its own thing it seems to be there or it’s not  that makes sense.

PT: For those ones who are  listening are creatives or, other artists  people who are interested in art. People who  are art professionals, it doesn’t matter because  there’s so many styles of art. 

There’s  so much to see, art is very vast in  its form and one thing that caught my attention  with your art is just the energy that’s just  bursting out of it. 

Whenever I look at your art it is just so happy, it makes me so happy.

 What is it  that inspires your art?

JENN: Well I think what inspires my art is just, you  know growing up being a Bahamian and just you know living here. I’m inspired by my country and  my Countrymen and all that it is and its culture.  And you know everything about it.  I just  love  and it makes me happy and I’m so glad that you see happiness in my art.

PT: Absolutely!  Every piece! I haven’t seen a piece that has made me melancholic or anything. It’s very nostalgic.  A lot of the pieces, it takes me back to my own  

childhood. Just certain things that you paint, and  I you know it’s just like I said. It’s not just paint on a canvas or whatever material you’re  using.

 It’s the whole aesthetic. It’s the feeling. It’s the spirit of the painting that comes   to life in such a way I find it fascinating.  

JENN: Well. I mean so  most of mine is  from also, you know my memories of growing up.  

I grew up in Nassau  and that was, you know, a happy time. 

That was 300 years ago.  

I mean the Bahamas is a happy place  to me, so I don’t know if I could  find anything too sad to paint.

Do you know what  I mean? I don’t know if that makes any sense. But  

yeah so most of my paintings are also memories  of my childhood so that’s where all of what I paint comes from. Or of like you know like  all the animals and stuff that are around here. you  know that all comes from more, you know fantasy.  I don’t know, whimsy whatever the word is – yeah. 

You know because like that one that I sent you is  that’s more fantasy.

Amen – Jenn Stack

PT: So how would you describe… 

If you were to give a description how  would you describe your art?

JENN: Well the first word,  and I don’t know anything about art because you  know I only just started painting like two and a  half years ago. 

But I’ve looked it up and I would  say my art is naive, obviously because you  know I’m new to it so I would say  Naive.

 Some of  it is whimsical I guess and yeah. I’ve been looking  up art to see what mine is. And I guess it  might be a little folky folk art I don’t know.   yeah I there’s so much art out there that I really  don’t know the  label for you know what needs a  label. 

PT: That’s just why I wanted to ask you to describe  it for yourself. 

JENN: And yeah right. I don’t want to  label it, and I don’t know maybe the word but it  makes me happy.

PT: That’s the important part you have  fun when you’re creating. Yes and obviously  your collectors because you have art all over the world  are enjoying your wonderful art. Isn’t  that beautiful?

JENN: That is so unexpected and lovely.  

PT: Yes. What are some of your first influences when  it comes to Art? Like is there a particular  artist that you enjoyed their art or their work?

JENN:  Oh.  So, I don’t have much exposure to Art  per se, but locally yes.

 Bahamian  Amos Ferguson  one of the greats. let’s see who. I love

 Eddie  Minnis, I mean he lives at Eleuthera,  so FYI, and Brent Malone also a goodie.  

And there so those are the old guys that I can  think of, I can’t think of any women isn’t that sad?  

Do you know any Bahamian women artists?

PT:  You know  what I mean for nowadays, the modern artists, but  I mean like before…

JENN: Yeah right, I meant old  like you know me. But no yeah I mean there are  

lots of  young Bahamian artists which are female. 

PT: I know of crafters and what not. that their names elude  me but I’ve seen their work like you know in the  Bahamas archive.

JENN:  Oh you mean like older ones.  

I know like Netty I mean she was more… I’m okay now  it’s coming to me right Netty Symonette. That’s one.

PT: Yes. But they haven’t been as well you know – it’s  coming from a time when women were suppressed in a way right? And that  might have something to do with it. They were in the home.  

JENN: Yeah, they were too busy at home trying to do  all the other things they had to do. 

PT: That is something too that some of the things that they did, you know our predecessors the women. They did so we have  this opportunity that we can be a little  more free. And I think that in itself  is beautiful indeed.

And yeah so your art is is  all over how does that make you feel that you have  

art all in all corners of the earth?

JENN I mean I  don’t know about all corners, but I mean just  knowing that people  you know want to buy it is  still kind of shocking to me. Which I love and I appreciate no end. And yeah no it it makes me  feel grateful and and shocked. But you know  

it makes me feel very good, and then that way I can continue you know painting. Because I have a small house and we only got you  know so much space, and the walls are already kind of full.

PT: Well you’re making it work and and  the world would not be the same without your art.  

JENN: I don’t know about that, but that’s  nice of you to say. Anything that the world  if it makes it happier that’s always good  the world could use a little more happiness. 

A Giving Tree – Jenn Stack

PT: I think your collectors will agree as well that your art brings them joy and they love having it in their homes or offices, wherever they are. It’s a blessing either way to  create and also to receive, and have the art in  your space.

But I noticed that in a lot of  your your pieces there is this cute little girl,  she’s like a recurring theme.  Is there -is she  someone – who – what’s what’s the inspiration behind  her? What is she all about this cute little girl?

JENN: So you know I’ve never actually thought about   her like that so I’m thinking now that you asked  me that. Maybe she could be me or  there’s   a young girl here that everyone says she looks  like here in Eleuthera right and  they’re  just like oh that looks like Antonia and I’m  like oh okay. So maybe I don’t know that could be  just a a subconscious thing that I maybe need to  

dig into and I have not really, but she cute aye?

PT: My  goodness she is so cute and and she has this her  

own personality. She’s  taken on her own life and just like separate from  whatever you’re doing and whenever I see her it’s  like okay what’s she up to now? 

JENN: Well I mean and and  the most. I mean usually what she’s up to is  usually something that you know you would do back  in the 60s and 70s so there’s a a little bit of  nost Nostalgia thrown in there with her.  

Like my last little, one well I don’t know did  you see the one where she’s sitting on the  bent coconut tree?

PT: I might have.

JENN: Anyway. Whatever.  So because there’s lots of those you know from hurricanes where the coconut tree ends up just  sort of like being a bench but still thriving.  Anyways and so that always reminded me of  that  the that story The Giving Tree was it called The  Giving Tree? 

PT: Oh I don’t know was it I do you know  that I have to I have to double check that.  

JENN: Oh it’s about a tree that  this little boy and  yeah I think it’s called. The Giving Tree.  Anyway so I just thought of that and she’s blowing  bubbles. You don’t see that bubble stuff anymore do  you? Maybe I don’t get out enough.

PT: No, very rarely. 

I’m telling you internet’s taken over everything and it’s not the way it used to be for sure.  It’s, they’ve kind of sidelined the bubble gum  blowing and the Hopscotch and the jump ropes for  their phones Etc. 

JENN: Oh shame. yeah yeah see that’s the other thing is that  yeah maybe. When I’m  dead and gone and you know that people look back and look and say well what’s she doing? Because  they might not even know about blowing bubbles  right?

I mean that liquid bubbles not bubble  gum, hopefully they’ll still know that. But you  know I mean yeah it’s kind of sad in a way that  technology it’s you know it’s a Love Hate Thing.  You love it but then the children don’t go out and  play and do you know so much imagination, and fun  things anymore, I don’t mean to  bring the subject down.

PT: No, no. No, this is it’s true.  

It’s you know it’s it’s unfortunate but there are  others out there there are some who may be  listening. And thinking, like you know what I do  that and they can keep art alive in a way where,  like by creating Nostalgia creating  you know their memories or dreams. whatever it is instead of the outdoors.

JENN: Yeah,  that well the good thing about living in one of  the family islands is you know there’s still a  lot of outdoor play activities

PT: You know what? I  mean oh I said instead of the outdoors, what am  I  thinking? I said and for the outdoors instead of  the phones is what I meant.

 JENN: Yeah I knew what  you meant, that’s okay.

Up High in Banana Tree – Jenn Stack

The Eleuthera Art Gallery

PT: That is, it’s beautiful. And one of the things that I wanted to just slip into would be. I’d be remiss if I didn’t mention the Eleuthera Art Gallery and you founding, the Eleuthera Art Gallery. because you kind of gave me a slingshot with my art sales by having my works there. And not just my works, you have the works of so many other emerging artists, specifically from the out Islands. Tell us a little bit more about that.  

JENN: Well, so well I would  I have to go and do  therapy for my… Anyway I was swimming with my  friend doing my exercises slash therapy, and  I had only just started painting. And she’s oh and  it was during the pandemic so everyone was locked  down we probably shouldn’t have been swimming  but whatever. And we, she said everybody’s got  everything on Instagram, why don’t you do a an  Eleuthera art Gallery on Instagram? And so it was  really my friend  Pam’s idea.

And so, and then  there’s Nassau you know the capital it’s got a  lot of,  you know venues for different Bahamian  artists, but mostly it seems like Nassau. So and  there’s so many family Islands, so I figured well  I’ll call it Eleuthera  since that’s where I  am. But we got other  islands like we got well  we got you (referring to Grand Bahama), we got Exuma we got  Eleuthera, Abaco. 

  I mean I wish, the thing is that most  of the  younger artists they all have other jobs. You know so for it’s not it was during the   pandemic because everybody well couldn’t go  to their jobs. So everyone was very prolific in  their painting or creatives whatever.

But now you  know back to reality.  So it’s a little less but  that’s basicall. I wanted to give a platform for  the family Island artists that don’t, you know  that don’t have what Nassau has. That was that  and then I got to put a couple of mine on there  too.

PT: Well you were from the family islands, and you’re  an artist, so…

JENN: Yeah, so, that all worked out.  And I’m glad and you and I even got a couple  of yours. I’m looking at them now.

Anyway yeah so that that was fun and and like  I said it’s not as  busy as it was back in 2021,  whatever 2020. But that’s okay they they still you know slowly and then a lot of them you know  created their own platforms so it was great. 

It’s  just wonderful and that’s the whole idea, is to you  know get the creatives out there so that people  can see how Wonderful all their work is.

PT: Absolutely!  And speaking of the creatives and the artists  many of them who you showcase, one is one artist is  he’s extremely gifted artist his name is Chauncey. 

I Love his work.

JENN: Oh my yeah. and Chauncey, he’s  from Bannerman town south Eleuthera and  he’s self taught but my word is he good. yeah yeah if anyone wants to check him out that’s  artbychance Instagram @artbychance yeah he’s

PT: He has an  amazing a painting of Amos Ferguson. I mean that was breathtaking.

JENN: And that’s  in a resort in Andros. Which is kind of also  really nice when your artwork and kind of stays at  home too. Yes but is in like a resort because then  lots of you know people from  different  countries get to see it right?

So yeah that’s  at Kamalamie Key in Andros.

Beautiful yeah so  cool he’s actually having a show in January over  in Harbor Island. Yeah. I know  he’s young that’s that’s what young people do.

 PT: And  then there’s a –  I love the the work of Tiffany  lightbourn 

JENN: Yeah Tiffany right she’s another artist there. 

PT: Danielle 

JENN: Yeah Danielle’s right here  in Gregory Town. Yes and there are a few others  

I if you can remind me I know that they that  contribute well yeah  well there there used  to be more.

But well there’s  Monique who does  the quilts which are beautiful. I love those, I love  quilts even though I seldom get to use a quilt  because it’s so hot, but they are pretty.  And  oh now I’ve got – I can’t think Emmanuel from Exuma,  but he does his own thing and they’ve now got the Exuma Art Network. Is that what it is they’ve  got their own page now and they’ve got an actual  building  where they do art classes and and  that’s  Emmanuel and Sunsam.

PT: Yeah I’ve seen  his work, he’s a very distinctive style. It’s very representative of the Topography  of of Exuma, and I haven’t been there yet. But I  could you know get a lot of vibes from his art and  look.

JENN: Yeah. I think it’s very cool it’s very it,  it kind of I mean it’s sort of vanghooy isn’t  it.

PT: To me it is. Lots of swirls going on there. 

JENN: yeah and like it’s almost like a vibration if  you will.

PT: Style I’m not sure. I think he uses acrylic, I’m not 100% sure but it looked like acrylic. I haven’t seen a his piece I don’t think they’re oil but they’re very –

JENN:  Yeah, he does both.  

And  then  he also uses a spray paint yes so yeah he’s very another young very you know good artist yes I 

PT: I love that though a lot of women are becoming  

involved in art and especially Bahamian wome. One that is an artist I can’t remember  her name right now she’s from Abaco she she paints  abstract art I don’t know if you would remember  her name. 

Jenn: Abaco. yeah oh. Ashley Russell possibly that  she uses photography like old photographs and  then kind of does. She just had a show, I don’t  know if that’s her if that’s who you’re talking  about but she’s amazing and then Dee Dee Brown. Do  you follow Dee Brown? She lives right in Spanish  Wells, okay she’s amazing too yeah   yeah there it’s it’s exciting. Exciting times yes  

PT: And so what is next for for Jenn Stack Art?

Will you  name your character?

JENN: I don’t know if I  I’m gonna have a new character, but  right now  right now  I’m painting on  a piece of wood. Oh so yeah I did and it’s  heavy which is hard for me just saying okay . But  that’s okay they wanted it on wood I did  something on wood that was a small piece of wood  and then somebody wanted the same thing which  to me is weird but okay I can try my best to do  

it again but on a bigger piece of wood so that’s  what I’m doing right now did you see the one it  was called Up high in banana tree I’m sure I did  oh well it was just a man and a and a young boy  standing under a banana tree um looking up at the  yellow bird that was singing in the banana tree  up on the top of it.

PT: But you are because you you  find these names that are so quirky. 

JENN: Well that’s  from the song.

PT:  I know but I’m just saying in general  your the titles for your paintings are – 

JENN: That is the most fun doing that, I just love  a good title. Some of them crack me up.

PT: Because you can tell that you’re really involved  in every part of everything that about what  you’re creating  and  yeah so just a full  experience right you’re like kind of really  

immersing whomever that the collector is into  this world that you’ve created. 

JENN: Yeah, I guess you  could say that, fun and strange my favorite title  can I tell you my favorite? title super wait Super  

Bubble Bubble Gum bubble oh right you remember,  Super Bubble it’s a brand of

PT: Bubble gum.  

JENN: That was a little girl blowing a super  bubble bubble gum bubble I just think that to me  that just it just cracks me up.  

PT: Before we  close, what advice what you give for someone who  has never done art before, is thinking about  it?

What would you tell them? 

JENN: Oh. I would just  say you know,just go ahead and put whatever  it is to whatever it is whether like even  it  doesn’t. You don’t have to buy a canvas just you  know peep cardboard that’s what Amos Ferguson  

used to paint on did you know that?

 PT: Yes 

JENN: Yeah, pizza  box cardboard so get yourself a old pizza box and  

put some paint on it, and whatever I’m sure it  will be magical because apparently everybody’s  an artist. Yes I know isn’t that wonderful?

It is  that’s the best news I’ve heard all week, no joke  maybe the last five years I don’t know everybody’s  an artist that’s all I can say. 

PT: And where can the  lovely folks find you?

JENN:  @EleutheraArtGallery 

PT: Wonderful! All right, thank you so much. I really  

appreciate you sharing your time and space with  me, with us today and it was lovely having you.  

JENN: And well I really appreciate you asking me that’s  so cool I thank you very much. that was fun.

PT: There we go. That’s what it’s all about. Art equals fun, there you go 

Contact Jenn Stack:

EMAIL – jennstackgt46@gmail.com

Instagram – @eleutheraartgallery

Listen Below.

Journaling With PT Podcast

To appear on the Podcast or for other inquiries.

Contact journalingwithpt@gmail.com

©PT Russell 2024 All Rights Reserved


By PT Russell / November 25, 2023

Photo Credit Sam Borowski

I started my  podcast driven solely by an unction and a passion to freely give voice to expression.

 It was definitely a labor of love in the beginning. 

I say that truthfully because the very act of starting a podcast seemed daunting and intimidating in the beginning.

Initially, I considered it completely out of the realm of what I would have deemed a comfortable fit for myself as an artist


After the first podcast episode of Journaling With PT  went smashingly well for a novice, in my opinion at least.

 I decided to reach out to a gentleman who had been most accommodating  to me in the past. 

More specifically, back in 2018 when I went through the  great challenge of writing a screenplay about my brother’s murder.

Why a screenplay? 

Well that’s  just the way my brother’s story demanded to be  told and perhaps, should be told.

Sam Borowski and I are members of  the same online screenwriting community, and he  contributed  script advice quite frequently in our group.

He appeared to be approachable and brimming with knowledge.

 One day in 2018, I  sought Sam out and sent him a private message on Facebook about a rather elementary inquiry. 

In retrospect, Sam wasn’t at all phased by my badgering. Instead he reached back  out to me and most generously acquiesced all of the information  I required. 

Because of Sam’s generosity I was finally able to begin the  vomit draft of my script. 

His willingness to assist me couldn’t have come at a better time.

 During our chats at that particular  juncture, never once did Sam ever ask for anything in return ,  he always made  himself accessible. 

I remember him  telling me that if I ever needed him  that he would be there. 

 Of course, shortly thereafter my life veered into an entirely different direction,  and as a result we lost communication. 

Quantum leap to October 11, 2023, I decided to reach out to Sam Borowski once again, but this time to invite him to be a guest on my new podcast.  I knew that Sam was well versed in all things film and would speak candidly about his experience in the industry. On that  day I contacted Sam but I didn’t expect a response because it had been awhile since we last connected. I wasn’t  sure if  he even remembered our conversations.

 Like a trooper Sam responded quite enthusiastically and was excited  about recording the podcast episode.

We had many conversations after that about upcoming projects, the strikes and film. 

On the day we decided to do a  test run there were some technical difficulties causing our line of communication to be broken multiple times. 

There seemed to be a personal vendetta levied against us or the podcast. 

Sam and I plodded on despite continued interruptions even on the day of recording.

 Though the interview was riddled with sound interference, we were steadfast  in completing our session successfully.

The end result was a fantastically fulfilling memoir, punctuated by Sam’s cinematic ingenuity!


 Sam retold a story of his life as a child growing up on Staten Island, New York with a view of   the Verrazano Bridge.

It was just a few blocks away from the epochal Corleone home from  Francis Ford Coppola’s classic, The Godfather. 

He reminisced about  the walks past the landmark as a child with his family, and how it informed his interest in movies and film .

He also spoke of his maternal relation to Oscar nominated actor Danny Aiello who was also instrumental in shaping Sam’s career.

Another memory Sam shared was of   his desire to see the 1977 disco classic,  Saturday Night Fever that starred 70’s icon, John Travolta.

Below is a short excerpt from the interview in medias res.

PT: “That’s awesome!

The Corleone home, the whole deal, it sounds like a good time.”

SAM: “I always say the reason I became a writer, director. Producer  you  know, filmmaker, was actually John Travolta, because I grew up wanting to be him.

I was too young to see Saturday Night Fever in a theater, my mom wouldn’t take me, you know, it was rated R. It was a different world back then. We didn’ have the internet like we do today.

In the same way like we have an internet today where everything but they had a lot of commercials.  You  would buy the record album for a movie and we would listen to the songs and I saw the pictures , and they had commercials left and right  about the movie…” 

 So there’s no surprise that Sam’s favorite film is John Travolta’s Get Shorty, a film he dubs a ‘New Age Classic.’

Not only is it his favorite Travolta role but it’s also his most favorite film of all time, and one that influenced his interest in starting a career in film. 


Photo Credit IMBD

Sam’s short film, Mandala Maker was submitted for Academy Award consideration in the live action short category and helped to give his career a significant boost.

 Mandala Maker stars Courtney Hogan, Daniel Roebuck and  Terrence Mann.

PT: “…Speaking of accomplishments, we were talking about accomplishments earlier. your accomplishment with your short film, Mandala Maker…”

SAM: “Oh, yeah, we qualified  for the Oscars with that. that help break me out in the industry. It’s a very special memory and I really enjoyed making  that. 

It was not an easy film to make on our budget…”

Sam has directed, produced and written a number of independent short films and also full  features.  


Photo Credit IMBD

Nightclub a 2011 comedy written and produced  by Sam,  stars Academy Award  winner,  Ernest Borgnine, Zachary Abel and Natasha Lyonne. Paul Sorvino also stars as himself.

 As an independent filmmaker, Sam’s  filmography on IMBD is quite extensive.

He has filmed both shorts and features including, Rex, a film  shot on location in Georgia which stars Daniel Roebuck.


Photo Credit IMBD


Sam served as director and producer on Maniac.

 The short film is about a disturbed citizen who takes the law into his own hands, after a tragedy pushes him over the edge.

Maniac stars Paul Sorvino, David Harris and Joseph D’Onofrio.


Photo Credit IMBD

 Sam lent his talents as writer and producer to the 2014 documentary, Creature Feature 60 years of the Gill-Man.

The film chronicles the marketing, distribution and creation of 1954 monster flick, Creature From the Black Lagoon, and its subsequent sequels.

The movie is narrated by actor Keith David, and actor Benicio del Toro  also makes appearances.


 Sam continues his mentorship in the  tutelage of several  emerging actors. 

 For those willing to commit to the craft, he offers acting classes and workshops. 

SAM Borowski’s ‘So you Want to Be an Actor’ is available virtually and online.

Sam gave us a little insight into the criterion he considers for recruiting potential acting talent. See excerpt below. 

PT: “Is there something specific that you look for when you’re scouting talent?”

SAM: “You know it’s hard to pinpoint. 

I look for several things like passion for the craft. Sometimes they show you and sometimes you could just see inside someone. The eyes are the window to the soul. And you’re like  this person cares, they care about the backstory. 

That happened like with Alex. 

Kevin was so exuberant, I met him at a movie  theater. He was managing  a movie theater the Cranford theater  at the time  and a great theater by the way.  

We did a premiere for Lucky Louie the New  Jersey Premiere there and I went to go see the  last James Bond movie  with Daniel Craig. If you  haven’t seen it, it’s an incredible movie  and   you know what they did with it. It was great  No Time to Die.

So  I went in and I had a t-shirt  with like all the different Bonds on it, a black  T-shirt. It was September and shorts. And he’s like  I was dressed down and he’s like let me  guess you’re a James Bond fan. when I went to get  popcorn and we’re talking and he’s like, are you a  filmmaker and then he said I want to talk to you  more. 

I said after the movie I’ll come the… theater  was closing. I stayed in the lobby for an hour and   talked to Kevin. And he said to me I’ll lose my job. I don’t care, I want to talk to you right now cuz. I said I don’t want to get you in trouble. And right  when he said that I was like this guy is the kind of guy I would work with you know.

 Alex, I saw  her Talent immediately, but there was a passion  there you know.

In a movie when something’s not  mentioned but you have to read into it, it’s called   beneath the subtext. And I believe and this is not  nonsense that beneath the subtext of her, there was  a passion for the craft.

 You know Danny Roebuck, I  mean he’s much bigger than me I mean he helped me  

when I was younger.

He was like an older brother  to me but yeah he was a bigger name I was not  a name at that time at all, not even in the Indie  world. But you know he’s a collector of like horror  movie props and memorabilia and when you have that  kind of it’s like these are the people I want to  work with. 

Mary Dimino, she you know, she’ll ask to  go over pronunciations of things in her standup act. She’s been the host at several Film Festival  Awards and she’ll go over every name with  you, even the obvious ones.

Because she doesn’t  want to make a mistake.

She’s professional.  

I’ve often said Mary Dimino was one of  the three funniest women on the planet along with  Aubrey Plaza and Aquafina, three very funny women.

I’m a big Aubrey Plaza fan but Mary’s right there.  

…she calls me the Pitbull Buddha because she said  on set, what she says you’re like a pitbull. You’re tough you know, you’re like the toughest  director like David O Russell, but then you’re  wise in ways that a pitbull wouldn’t be. Like in  ways that the Buddha would be, you’re the Pitbull.”


Sam is a consummate professional, diligent in his trade, and his ever expanding  filmography knows no boundaries.

An excerpt from the  transcript continues below.

 PT : “So What’s in the pipeline for Sam?”

SAM: “All right so I am in development on a feature  called Stay Fresh.

I have been for a number of  years, the pandemic slowed us down and then  this injury which was real bad. 

I almost lost  my foot.

I couldn’t walk for seven months, but  I’m walking again which is great.  But between  those two things it slowed me down, but it did not  stop me. And I’m getting closer from moving from  in development to pre-production on Stay Fresh.

In the words of Chili Palmer, John Travolta, that’s  all I can say about that for now.

I am going to be doing a short called,  After the  Rain with Kevin Brodie the aforementioned Kevin  Brodie,  the aforementioned Alexander Dogette. We  have a lot of people in that one, Danny Roebuck was attached. I gotta work out of scheduling…”

In addition to his classes Sam also does script rewrites and consults on Independent films.


My experience interviewing Sam Borowski has proven to be a truly enriching one.

As an artist exploration and discovery is as intrinsic as breathing, and the medium of podcasting is another artform I’m relishing. 

It was an absolute honour to have been a student of Sam’s for an hour. 

I Look Forward to speaking with him once again on Journaling With PT after the release of his new film.

We have every faith that Sam’s wonderful gifts will continue to make room for him!


*Stanley Tucci is the name of the actor in the Devil Wears Prada, referenced by Sam in the interview.

Please  contact  Sam Borowski:

Email – cinematicheroes@aol.com 

Facebook – Sam Borowski

Instagram – @borowskisam

Interview with Sam Borowski in its entirety.

Journaling With PT Podcast

Please excuse the occasional sound interference in the recording.

To appear on the Podcast or for other inquiries. Contact journalingwithpt@gmail.com

©PT Russell 2023 All Rights Reserved


By PT Russell / October 2023


Episode 5: My first interview with video creator and artist extraordinaire, Evan Falk of Moose Motion Studios.

Evan’s dedication to the arduous art of stop Motion absolutely amazes me.

It’s a marvel the way he animates entire scenes with the clay characters all by himself.

Please Support the podcast by listening and sharing.

Thank You!


“You’re listening to Journaling with PT.

I am your host artist, PT Russell.

Welcome back.

If you’ve been listening then you would be a part of the journey so far. And so far I’ve been sharing journal entries that were pre recorded.

But today marks the first time that I actually have a guest I’m interviewing.

A guest by the name of Evan Falk who happens to be just an extraordinary creator and artist in his own right.

He is a very successful claymation/stop motion animator from Moose Motion Studios.

I’ll have to introduce you to Evan Falk of Moose Motion Studios: my very first guest.

Another thing that I wanted to add was that in this whole process for me of journaling and to have a listening audience whomever you are. Know that you’re doing a tremendous amount just by lending an ear, being a part of something very important  to me. For my growth as a person, as an artist, as a human being. And to have experiences with documenting my life, however it might have looked in the past.

Whether that was in the form of writing, writing short stories, writing poetry. Just words coming out through the fingers, typed out on a computer or written in a book. And there’s the act of actually painting. All of these thoughts come out; ideas, feelings, through splatters of paint, through the fingertips on a canvas, on a piece of paper. Sometimes on the thigh. Sometimes on a sidewalk. It doesn’t matter. Just feelings- where those things that are internalized are expressed.

And everyone needs to find expression.

So however you find your expression, just go with it. Whatever you’re comfortable with, whatever you enjoy – do it. Do it without judgment. Don’t allow yourself to be limited by whatever is in your mind or what other people’s misconceptions or prejudgments are of you.

It’s important to do what is best for you as a creative. And we all are creative in our own ways.

I just wanted to share that, just a little bit today, a little bit of my process, of the journaling.

Because having my guests included as a part of my journey, is a part of my journey.

The journaling includes my guests. And my podcast is in essence an opened book into my life; at least a part of my life that I’m sharing with the general public.

And that is the part that processes  my experiences  somewhat through the art of journaling. It is an art form and one that I’m learning and enjoying along the way.

Without further ado, I present to you my first guest.


Video by Evan Falk

PT: Today is a special day, because it’s a major achievement this week. There’s a major achievement this week!  

This makes a month, a whole month since the podcast started, can you believe that?

It’s unbelievable how fast time flies.

And another milestone. Major.

This is the day that I have my first guest.

My guest happens to be an extraordinarily, extraordinarily talented artist and video creator, Evan Falk of Moose Motion…

EVAN: …Studios

PT: Welcome.

EVAN: Thank you for having me, it’s a pleasure to be here.

PT: That is wonderful so I’m, I’m so happy to have you here as well. And Evan can you tell us a little bit about Moose Motion and what it’s all about?

EVAN: We’ll, it’s gone through a lot of changes throughout the years, I must say. Mainly stop motion I might say, and claymation modeling.

I’ve been a sculptor for about 25 years plus at this point, and I’ve been doing stop motion kind of off and on between those time frames. And about four years solid I’ve been basically doing stop motion animation cartoons.

From cars to monsters. There’s a little bit of everything for you know, everyone there I’d say.

PT: Yes, I think that’s how I first came across your video. It had to have been two years ago, correct me if I’m wrong. On Facebook, I just saw this video with a car and this little guy kind of waving. I said this is so freaking’ cool! What is this, what’s happening here? And I started following you, and then I would comment and we started a little connection right there. And it’s been great.

I listened to your video that you sent about the makings of Moose Motion, but I’d like for you to share with our listening audience…

EVAN: The happy accident as it were.

PT: All right,and can you go into more detail about that without recanting everything, all of the…

EVAN: Yeah, without getting too graphic about it, yeah sure.

Well it all kind of like started. The time I bought my house, I was literally moving the last load of moving towards I think it was at 7:30 at night- and unfortunately I got into a car accident that day with a moose of course. And I was in a 2004 Cavalier and it’s not exactly a very large car. If I were to take an estimate, he was maybe- I was maybe 300 lbs more than the moose, so not a lot of weight distribution between us. Unfortunately I was coming straight up the hill- all I could see were these big long legs. I immediately knew it was a moose and I’m like you gotta be kidding me. Like really ,of all days it has to be today, okay.

So unfortunately I had literally just like seconds to  basically react to what was gonna happen. It’s like I’m gonna hit this moose head on and there’s a truck coming in the oncoming lane so I can’t go that way or hit the ditch. So I immediately started trying to hit the ditch, which was you   know a smart reaction. It’s gonna hurt and it’s gonna suck and it’s gonna right off my car probably but it’s a lot better than getting your head taken off by a moose.

But unfortunately the moose panicked and he decided that he was gonna go back into the ditch where I was going so a last split second decision I made-grab the wheel as hard as I could-ripped it back onto the road-ducked beneath my dashboard and just hoped for the best. I remember opening my eyes for like a split second and I could see was just metal and glass crashing down and I’m like nope, closing my eyes again. I don’t want to see what’s happening until it’s all over. And yeah, the longest five seconds of my life I would say.

I’m kind of getting goosebumps just talking about it a bit. But luckily for the most part I was okay, my dogs were with me too, unfortunately in the car. And of course my immediate reaction was oh my God, I hope they’re okay.

My little pug comes crawling up to me, broken glass everywhere so I immediately pick her up, check her, she’s fine. My German Shepherd in the back is okay, a little agitated obviously , she’s a little upset someone messed up her car.

So she gets out and immediately wants to confront the guy who messed it up., and I’m like no don’t do that , come back sweetie please. This is already a bad situation let’s not make it worse , but luckily everyone was okay for the most part except the moose obviously.

The guy who was coming the other way stopped and was like are you okay. I was like I just hit a moose was the only thing I could basically say.

I sat in his car for a bit and made a few phone calls. It was kind of in a pitiful moment where I just about died. And after that I kind of just remembered  having a train of thought, that was really close and unexpected, anything could happen at any point, so maybe it’s time to start doing these things you want to do. And starting a YouTube channel for stop motion was one of them so after that I started doing stop motion cartoons essentially one handed. And ever since then I’ve been doing it.

A lot of fun, quite an adventure.


PT: So you said you started stop motion. Why stop motion specifically?

EVAN: I’ve always had a big passion for it personally. Probably my biggest influence growing up would have been Wallace and Gromit in particular. I remember being young and just watching,  like because I played with clay too obviously, right? And just seeing what this person was able to do and create an entire world on his own with just his own sculptures.

I just found it fascinating,that’s something I want to do. So Wallace and Gromit for sure and Pingu. Pingu is probably another one I remember watching quite a bit.

PT: Was he the one with the chicken, I forget what it’s called.

EVAN: He was a claymation penguin.

PT: But there’s Chicken Run as well is there not? Chicken Run is claymation?

EVAN: That one’s called Chicken Run. I could go into a bit of a spiel about that one because I’m a bit of a movie freak too. There is a new one coming out for that but I’m guessing- because there was a big rights problem between Aardman Animation and Universal Studios which is why it took so long to make a sequel for that. Everybody knows Chicken Run I’ve noticed

PT: Yes, I have a copy of it myself so I’m not ashamed to say it.

EVAN: It’s a great movie, I love that one too. It’s just kind of one of those deals, that kind of went sour and this is why we unfortunately haven’t gotten a sequel until recently so. I’m kind of excited to see that too personally. So I’m guessing Aardman probably purchased the rights to it, because they’re  making money off that, I guarantee it.


PT: And so which project are you working on?

I know there was something with dinosaurs for sure, Godzilla. You started with the cars. I remember way back, there were the  cars but now there are dinosaurs.

And how’s that going?

EVAN: Well pretty good. I know it’s kind of a big switch from where things started, obviously because it was mainly doing drafting competitions. *Little races with play cars and burnouts and stuff like that, using cotton from my dogs old de-stuffed stuffy toys actually.

So it works quite well for smoke.

That’s a little tip for any stop motion artists who may be listening.*

Any rate. I was going over my analytics , I had done a couple Dinosaur things in the past, you know, I’ve always been kind of a bit of a dinosaur enthusiast. Going over between the dinosaur projects and car projects, the dinosaur stuff was just reaching far more people  and getting much more clout. I was reaching a bigger audience . So this year I was like basically, this is where the numbers are going so this year I’m basically going to basically start focusing my content basis.And it’s really paid off ever since.

PT: Are you enjoying it though?

EVAN: Oh,Yeah

PT: Because I watched-I binged a lot of your videos, it’s such a meticulous process. I was flabbergasted, I’ve never really delved in the world of stop motion, I just kind of admired it from afar. Watching your videos, you just bring everyone right front and center, such an immersive experience .

How do you go about documenting your process? Besides video, is there another process? I know you storyboard , but is there another process that you do?

EVAN: A lot of homework and watching other creators  I would say is a good thing. It’s almost a bit of a flaw at this point because you can’t  just sit and watch anything and enjoy it anymore because you’re  like sitting there critiquing it, and taking notes about how you can apply other methods to what you’re doing.

Is another big one I like to use essentially for that, just watching other  creators and kind of figuring out what the tricks of the trade are.

And the big one is frame rate.

So probably like two years ago when you first started watching things. I started doing a lot of research on big studios too and that’s a good thing because there’s a lot of information out there for that kind of stuff. It all depends on what you’re doing too as style, frame rate will change too depending on what you’re doing too but the majority of the time I use 2 and 24. But at the beginning I was using 3 and 30. And with that one you can still kind of see a little bit of choppiness, but I find the 2 and 24 is a lot better. But I find  that it takes a painstaking more time, so that’s the downside. Because you are essentially working with 1 and 12, so you’re dealing with single frames. So if you do make a mistake it does show up a lot more, and it is a little harder to correct at that point.

Basically just take a lot of homework from a variety of studios, there’s a lot of how to stuff out there. And myself obviously  included, has a decent amount of tutorials on how to do stop motion as well.

Just gather as much knowledge as you can from any source,that’s what the internet is there for right.

PT: I was surprised at how many videos you have amassed over such a short time. And they’re so organized! I was saying oh my goodness, this guy is the real deal!

If they go onto your YouTube channel. Your YouTube channel again is?

EVAN: Moose Motion

PT: You have these playlists…

Go into Moose Motion and you can see all of these wonderful videos and the dinosaurs. And if you go back into the history you can see the cars and there are so many other things there. It’s really fascinating this wonderful world that you’ve created and it’s completely and totally understated as well.

EVAN: That’s one of the downfalls too. Stick to a certain niche I find. That’s how I’ve gotten a lot more momentum recently, sticking to  that audience to a degree.

Before it was I was kind of figuring out where I belonged and I think that’s obviously going to be a part of the process too.

PT: As I was looking through the videos I noticed that your hands are very tidy and you are a very good artist. I saw the renderings you did of-

EVAN: You have to keep your hands really clean or the clay will literally absorb anything inside your pores which is unfortunately a bit of a challenge for me sometimes because I work trades for the most part so. Usually when I get home my hands are pretty dirty. I’m always the guy who’s wearing gloves. Unfortunately I do get bugged for that sometimes.I’m like nah,I’m an artist, my hands are much too valuable for that.

PT: I can attest to that as well.

The drawings caught my attention ,how well you can render them- the vehicles.

One of my favorite drawings that I saw was of  the Skin Walker.

What inspired that skinwalker?

EVAN: I just think they’re cool.

A lot of my inspiration comes from folklore and stuff like that, and obviously I like monsters so. That was one is honestly, probably the coolest piece of Canadian folklore that we have. So I was like I have to kind of do something with it.

For one, it’s fairly popular on  YouTube, but it’s just something pretty cool and it’s  a little underrated. I just wanted to give it a little more notoriety, and hopefully offer a little bit of inspiration to people. I mean the only issue with that doll-when you’re doing things more skeletal, building the frame you know certain parts are going to be visible, you do have to take more time and attention to detail at that point because the skeleton’s a part of the piece.which is semi-relaxing  for the monsters and dinosaurs  in comparison.Because you make a mistake on the skeleton  it’s okay, it’s going to be covered up, but not in that case. It’s  going to be seen.

PT: I’m telling you that’s a whole world you’ve created. It would be interesting to see the dinosaurs and the people from the previous video and that come together like some kind of mashup

EVAN: That’ll be  coming together actually pretty soon with the Godzillas in particular. I don’t want to give too much away.

I have some not so friendly plans for my Lego city.

PT: I’ll have to have you back on when that comes about.

EVAN: I’ll definitely enjoy coming back. That’ll be a lot of fun.

PT: Well we’re almost out of time and I’m gonna let you go because, I know you’re a very busy man. As you mentioned, you get up very early for your job, and you have your studio and you have the pets.

EVAN: Small petting zoo, yes. My house is basically set up as a studio at this point. I’m actually using my sound proof room for this recording as well. It’s where I do all of my recordings and like sound effects for my stop motion stuff as well. So I was like okay cool, opportunity to use this again.

Although that’s probably my least favorite  part about stop motion, honestly doing sound recordings. Because that’s the part where it really comes to life but it’s really meticulous and you’re just kind of sitting in a dark room by yourself all day going Oh God, is this going to end soon.

PT: But you get satisfaction out of the results right?

EVAN: Yeah, that’s true. It’s just the part-it’s hard because you have to be very patient right. You’re sitting there. If you so much as cough or make a sneeze you have to start over. So you’re like ahhh, don’t move. So if anything, I still say the sound work is probably my least favorite out of it all. It’s where it comes to life so it’s a very important step.


PT: One thing I was very curious about and I had no other opportunity to ask any other stop motion specialist. That is, how long does it take to film 60 seconds or a minute?

EVAN: That’s a good question.

I’ve broken it down to a different ratio, not necessarily a minute long film. It really depends on what you’re doing right? It’s really hard to give you a definitive answer. I would say- like I’ve broken it down to an average of say I’m working for an hour to an hour and a half or 45 minutes on a not so complicated scene. I get about one second of footage. So yeah, it adds up pretty quickly. So if you want say 2 seconds to 3 seconds that’s about 2 to 4 hours worth of work and that’s not including any of the sound work, that’s just straight taking photos and moving things very very slowly meticulously. And not to mention there’s the set up too. That’s one thing that you really need to nail down before getting things. You really need to get a couple test shots before getting into the animation, because if you make a mistake during the process and you’re really far in, you’re stuck with it. You either have to accept it or you’ve got to start over.

Set up is very important  and take your time, that’s the best thing. It takes me about a week or so to do an entire minute, maybe a little bit better. But it really depends on what you’re doing. If it’s more complicated then it’s going to take longer obviously . If you have multiple characters in a scene then you can expect that ratio to almost double right ? Because then you have to work with not only the character itself,whatever’s going on in the story as well as the camera if that is in motion if not too. And then there’s the whole aspect of making things talk. That’s an entire other nightmare on its own. I don’t even know the ratio for that. I’ve done that occasionally, that’s like not impossible. For that you basically write down your script ahead of time, break it down syllable by syllable and word for word. And you’re gonna be sitting there for hours.

To make my Wendigo talk for example like I did a little- obviously this was a little more gruesome than what I normally do for my content, so I was like okay I should probably do just a little bit of , hey this may be a little more graphic for more of my sensitive viewers. So I gave a warning for it and I wanted him to do it but have  a unique spiel on the entire so it isn’t nearly as boring right. Instead of me just going hey, yeah be careful, shocking content blah blah blah but making him do it. That took me about say 16 or so hours and that was about 22 seconds. So yeah, it’s very meticulous it all depends on what you’re doing. But a good average for 2 and 24 frames per second is about 1 hour per 1 second of footage to get something of pretty decent quality.

PT: Or somewhere thereabouts.

The video that I really  liked. I can’t remember what it’s called right now. But it’s the Godzilla and he kind of  either barfs or something.So if anyone wants to see that it’s really fun.

Anyway I won’t give it all a way you’ll have to go and see it.

EVAN: It was practical effects with the atomic blasting. Essentially what that stuff is, is just long strips of clay hey. All I had to do for that is- being productively lazy so you find little short cuts if you can. So I basically have a bunch of extension pieces that will come out through the mouth frame by frame and once it gets to the point that it’s hitting the ground you only need that one piece of fire or atomic breath in this case. You basically sit there and rotate in between the frames and as long as you’re moving everything else  a long as it’s jarring, moving everywhere that’s normally what fire is supposed to look like right so you can kind of basically be productively lazy with your animations is what I like to call it at that point. Because it looks just as good.

PT: And how long did that take? That particular video?

EVAN: That animation took me about a little over two weeks. I think about ten days. About a minute and 20 seconds.

PT: It goes by super fast.!

EVAN: Yeah very fast. Unfortunately, with the YouTube algorithm too I have to always make sure I have  a certain amount of pack log in order to do those projects cause I know okay, this is going to take a long time.

In order to keep things active I need to do you know x number of back up videos before I can dive into one of those projects just because the algorithms are fairly unforgiving in that stature. Which is why I do a lot of the how to stuff, but in retrospect I think that’s just as good. Because it’s motivated a lot of the younger kids especially to start their own stop motion animation cartoons. And honestly that’s probably been the most rewarding experience for me personally. Especially in 2020 when like when I was   in the early days of starting this I remember there was a kid from the Czech Republic who  made a replica Spinosaurus of mine and that just made my entire year. So a shout out to that kid, I still think about that to this day.

PT: Hey

That is great. This is something else, I can talk to you forever because it’s such a fascinating industry and I wish you all the best. We’ll definitely stay in touch.

It was a pleasure speaking with you again. So much fun, it’s always fun hearing your voice and talking about the dinosaurs.

Thank you so much.

EVAN: I look forward to doing this again.

That’s another topic we can entirely go for. I’m fairly fluent in Greek and Latin at this point with the dinosaur content. I remember our phone call before the podcast. I remember throwing a couple(dinosaur names) and you were like what.

PT: Well that sounds like a lot of fun, I’m definitely looking forward to it.

And where can folks find you, Evan and Moose Motion Studios?

EVAN: I have like obviously several social media platforms. I’m surprised you found me from Facebook because that’s probably one of the weaker platforms unfortunately so it would be good to get a little extra push on that one in particular. Instagram as well both are Moose  Motion the only difference is there’s an underscore between the moose and motion on Instagram. And just capitalized M’s on Moose Motion on YouTube.

PT: Awesome!

See you at Moose Motion. Take care.

EVAN: Have a great day.

Journaling With PT Podcast

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Favourite Art Supplies

Recently, I had the fine pleasure of sharing my three favourite art supplies on the Art Supply Posse Podcast.

I’ve done a fair amount of exploration with various mediums and continue to do so unapologetically.

Despite my affinity for stockpiling crafty appurtenances there are a few handy staples always on rotation in my studio.

If you are an artist, an art aficionado or just curious about art in general take a few minutes to listen in.

Email: ptrussellwrites@gmail.com for inquiries or additional information.