WELCOME TO JOURNALING WITH PT!

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

SEASON ONE

ENTRY 29: ARTIST / WRITER – DANIEL MALUKA

Daniel Maluka is an emerging visual artist, Poet and graduate of the Toronto Metropolitan University. Daniel’s debut book of Poetry “Unwashed” is now available.

ENTRY 28: A CONVERSATION WITH SCREENWRITER AND ACTOR – BOB SAENZ

Screenwriter, Actor and Producer, Bob Saenz has 20 films and counting under his belt. Please listen to this very informative entry in its entirety.

ENTRY 27: SPECIAL MAKEUP EFFECTS ARTIST – MICHAEL DINETZ

Michael Dinetz is a professional Special Makeup Effects Artist who has worked on projects such as Avengers: Infinity War (2018)The unNatural Order (2020) and The Control Group (2014). To name a few.

ENTRY 26: NETWORKING IN THE FILM INDUSTRY – WITH ACTOR/WRITER -VINNIE VELEZ

Please check out the IMDB page of talented actor/writer Vinnie Velez and listen in to this informative entry.

ENTRY 25: ROSARIES – PRAYER AND SAVING THE WORLD – WITH ENTREPRENEUR – JOHN BAINE

John Baine is a charismatic entrepreneur who crafts customized rosaries and Prayer Beads. Order From Olvera Street Rosary.

ENTRY 24: TOP 5 MEDIA SNACKS WITH CO-HOST – ED

Artist Ed and Host PT discussed their Top 5 media delights consumed so far for 2024.

ENTRY 23: A CHAT WITH STOP MOTION ARTIST DIEGO SANCHEZ

Please listen in to a cheerful chat with claymation artist Diego Sanchez of Artlike_Productions

ENTRY 22: A CONVERSATION WITH SPECIAL GUEST DANIEL ROEBUCK

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

ENTRY 21: ACTOR – ARRON LLOYD

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

ENTRY 20: 2024 OSCAR PREDICTIONS WITH CO-HOST SAM BOROWSKI

Filmmaker Sam Borowski joined PT and together they shared their predictions for the 96th Academy Awards.

ENTRY 19: FINE ARTIST – SANDY MACKENZIE

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

ENTRY 18: JAMES BOND IN THE BAHAMAS -WITH CO-HOST STEVEN JAY RUBIN

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

ENTRY 17: PRO WRESTLER – CORY KASTLE

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

ENTRY 16: CHILDREN’S FANTASY AUTHOR – STEFANIE PARKS

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



ENTRY 15: FILMMAKER PAUL OSBORNE

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

ENTRY 14: TOP 5 STOP MOTION MOVIES – WITH EVAN FALK

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

ENTRY 13: LIFE COACH AND ARTIST- MARKING

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

ENTRY 12: BRAZILIAN ARTIST – ZENDO de MELO

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

ENTRY 11: ART – WRITING- RAMBLE

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

ENTRY 10: MUSICIAN – JAHMAKESMUSIC

JahMakesMusic is a musician, content creator and beautiful person.

ENTRY 9: COMEDIAN LATOYA DEAN

Caribbean Comedian and content creator Latoya Dean gave a testimony.

ENTRY 8: PAINTINGS OF ANOTHER UNIVERSE WITH ARTIST – AVERY GIBBES

An interview with Canadian Artist Avery Gibbes.

ENTRY 7: BAHAMIAN ARTIST JENN STACK

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

ENTRY 6: FILMMAKER – SAM BOROWSKI

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









ENTRY 5: EVAN FALK OF MOOSE MOTION STUDIOS

An Interview with Stop Motion Artist Evan Falk.

Presently, the podcast is available wherever you listen to Podcast

Also Available on YOUTUBE


SEE MORE BELOW

ENTRY 4: DOES THE HEART HAVE A MIND OF ITS OWN?

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.

LESSON:

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.

YouTube:

Journaling With PT Podcast

Please email below for price.

Contact journalingwithpt@gmail.com for inquiries.

©PT Russell 2023 All Rights Reserved


ENTRY 3: FROM THE INSIDE- THOUGHTS ON THERAPY- A STORY IDEA AND MENTAL FORTITUDE


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.

YouTube:

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

AN INTERVIEW WITH FILMMAKER SAM BOROWSKI

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

A GOOD SAM-ARITAN

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!

THE TRAVOLTA FACTOR

 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. 

THE MANDALA MAKER

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.  

NIGHT CLUB

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.

MANIAC

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.

CREATURE FEATURE 60 YEARS OF THE GILL-MAN

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.

A GROWING LEGACY

 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.”

IN THE PIPELINE

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.

IN CONCLUSION

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!

Addendum:

*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

STOP MOTION WITH MOOSE MOTION

By PT Russell / October 2023

EPISODE 5: STOP MOTION WITH EVAN FALK OF MOOSE MOTION

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!


FULL SHOW TRANSCRIPT BELOW

“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.

THE INCEPTION OF MOOSE MOTION STUDIOS

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.

STOP MOTION!

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.

ENTER THE DINOSAURS

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.

THE NITTY GRITTY

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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