This is a project proposal with the purpose of laying basic groundwork for a feature-length, grassroots, not-for-profit live action/CG adaptation of the animated film, “Akira.” It is a living document in that adjustments to the specific components of the plan will occur as the project progresses.

Project Summary
1.1. Rationale (why are we doing this?)

It’s being reported in the press that a Hollywood film adaptation of “Akira” is already beginning to assemble itself in pre-production with production set for “early 2012.” Rumors have turned into confirmations that the film will take place in the United States, instead of Japan, in a place called “Neo Manhattan.”

“Aeon Flux” should serve as a precedent of what happens when Hollywood — for all of it’s talent and resources — fails to make a film adaptation of an animated show or film of sufficient quality AND substance. Whereas “Aeon Flux”, in its television incarnation, was arguably brimming with substance and imaginative design elements, the feature film version effectively sterilized “Aeon Flux” as a story and arsenal of characters and ideas. They in turn created a “Matrix-esque” dog-and-pony show, dolling out tired visual effects in between uninspiring plot points.

There is no reason to believe that no worse a fate will befall “Akira” — not just a classic in manga literature, but also a late-80′s animated feature of unparalleled technical quality and full of important social themes now faced with the threat of Hollywood commercialization.

“Akira” is an important cultural document. The story examines prevalent and timeless themes of social unrest, the excesses of military and science, corrupt politicians, gang violence, youth disenfranchisement, economic woes, drug-use, and the very building blocks of the universe and all life in it. “Akira” is as philosophical as it is action-oriented, as humorous as it is grim, as contemplative as it is violent, and as important as ever.

1.2. Situation “as is” (what’s the current state?)

As of this moment, there is an official production underway for “Akira,” being directed by Jaume Collet-Serra (“House of Wax”, “Orphan”, and “Unknown”.) The cast includes Garrett Hedlund (“Tron: Legacy”) Helena Bonham Carter (“Fight Club”) and possibly Keira Knightly (“Atonement.”) These actors are great artists, and Collet-Serra’s successful films cannot be ignored — but neither should the fact that at this rate the cast will be entirely from the West (non-Japanese). Just as George Takei has noted here:

http://www.advocate.com/News/News_Features/Takei_to_WB_Do_The_Right_Thing/

“Akira” is a story — first and foremost — that resonates across cultures and generations. It is wrong to usurp it entirely and to repackage for an American audience, when a Japanese audience is far more invested in the implications of such an undertaking, from a cultural point-of-view. This is a Western reflection of part of Japanese culture, and the stakes are high. So much so, in fact, that the original creator and director of “Akira” — Katsuhiro Otomo — has refused to participate in a live-action remake of any kind. Whether that is a reflection of his feelings for this production or not, it’s clear that the remake will happen, and firmly in Hollywood’s control with no regard for Tokyo. The racial and cultural implications of how “Akira” is interpreted for a new generation and in this new era are massive when we consider this increasingly globalized world we live in. The involvement of Japanese artists is crucial for “Akira” to work and stand the test of time.

These concerns have directly led to the formation of this document. Until the action prescribed here or by the stakeholders involved is taken, there is no grassroots fan-film production underway. Not yet.

1.3. Situation “as it could be” (how would we like things to be?)

A fan-made, grassroots, not-for-profit feature film adaptation that is frame-for-frame and line-for-line faithful to the animated film version of “Akira.” The cast would be composed of both American and Japanese talent, the dialogue would be filmed in both Japanese and English — not dubbed or subtitled in post. Design elements of the original “Akira” would carry across as much as possible into CG implementation. Actors would also serve as pixel artists, and production would take place on a suitable green screen soundstage or inside of a ‘volume.’ All “stakeholders” would participate as volunteers. No money would be sought, used, or awarded to participants. The issue of fidelity will generate numerous creative challenges, including interpretation into live action. The film, once completed, will serve as a statement: the ‘people’ will make the movies that they want to see, and not settle for the sheepish offerings of Hollywood.

1.4. Required Changes (what will it take to bring us from “as is” to “as it could be”)

People will make this film, not money. It’s irritating, if not utterly insulting, to be asked to work on projects in exchange for nothing when the rent still needs to be paid, groceries put in the fridge, and fuel poured into the gas tank. A single person’s vision might be strong enough to draw other creative professionals to a project pro bono, but this is not typically the case.

The difference with this “Akira” project is that this project doesn’t belong to one person, and no one is promising any form of payment — and no one is being asked to do anything. Participants will volunteer out of love for the story, will be credited for their contributions, but there will be no other compensation for what is ostensibly a public work, for the common good. Whereas Hollywood is in the business of making money, this film will be in the business of preserving the artistic integrity of a cultural document. The value-proposition to those involved is that they can have the satisfaction of knowing that they have personally insured that there is not just one option for fans of “Akira” who are unhappy with Hollywood’s remake effort.

1.5. Potential Impact of Changes (Good and bad)

What’s the worst that could happen? Each individual who contributes in their own way will work alongside other concerned stakeholders in trying to achieve the absolute best results they can. Without knowing what the first day of production (much less preproduction) would look like, one can rest assured that the creative challenges will be numerous and constant. One could also argue, however, that that is precisely why creative professionals in the film business do what they do. The end-product of that labor will subsequently be unleashed free to the world wherever an outlet allows. People will want to see this film, even if they don’t care about “Akira,” because this is literally the Indie “David” versus the Hollywood “Goliath.” They have all the resources an Indie film production could want, but none of the creative or cultural sensitivity. While Hollywood is using this film to launch actors careers, we will use this film to preserve the true spirit of “Akira’s” story. Because of this distinction, the audiences of the world will finally have some measure of Hollywood’s true cultural value, and some measure of the potency of grassroots causes such as this one.

Obvious problems include the fact that this production will be ‘unauthorized,’ meaning this production does not have the rights to “Akira” or it’s characters. It will not seek those rights, either. If a traditional, commercial distribution model were to be used for the film upon completion, a number of legal barriers would stop this remake in its tracks. However, if the film were freely and widely distributed using websites like icefilms.info and thepiratebay.org — as well as a number of peer-to-peer file sharing services — these barriers could be circumnavigated. Indeed, this leads to a number of far more specific and complex legal issues, but because no single party or individual is profiting from this remake, there is — technically — no one to sue and no money to sue for.

1.6. Impacts that Need Special Attention (critical impacts)

It’s important that this grassroots “Akira” remake has a specific set of impacts. The first important impact it needs to have is a positive working experience for all participants. Each individual must know why they are engaging in this project, care about the work they do, and care about the end result — but these individuals need to be respected for their time and effort, and that means maintaining an environment built on positive criticism and undying support. In effect, each stakeholder must have faith in the others involved, empathy, and objectivity about their own work. This is not an ego-trip, it is a temporary community.

Another impact that needs to occur: this “Akira” must demonstrate an adherence to (or pay heavy homage to) the sonic, visual, musical, and narrative spirit of the “Akira” animated feature. This will require a thorough understanding of “Akira” for each participant in the context of how it relates to what that participant does. Luckily, the original “Akira” has a making-of documentary that is full of many of these technical details — from music to visual design. One of the reasons it is important to consider the fine details of “Akira” is because of cultural subtleties throughout the film. From graffiti to T.V. commercials — each piece has a small but inextricable impact on the authenticity of the film as a whole.

Project Guiding Statements
2.1. Vision Statement (broad-brush, pie-in-the-sky view of the project)

“Akira” will be a people-powered project: of the people, by the people, and for the people. It will serve as a symbol of grassroots ingenuity and dedication. It will also be a statement on cross-cultural partnership for creative projects of this scale and social significance.

2.2. Mission Statement (more down to earth view of how to achieve the vision)

Creative professionals of all fields will volunteer their time, expertise, and resources to the completion of a feature film, utilizing live actors and CG environments and elements. Roles in the production will be assigned according to experience in their field and dedication to the project. Those who contribute material resources instead of man-hours will receive credit as producers/sponsors of the film.

2.3. Goals Statement (specific, measurable tasks that will help fulfill the mission)

The following steps need to be taken:
n A thorough structuring of the production effort as a whole needs to be drafted by the current set of stakeholders.
n A pre-production, production, and post-production teams needs to be assembled.
n Existing resources need to be identified, as well as those resources that are missing.
n A “production bible” needs to be assembled, using as much material from the original “Akira” film as possible. This process will also begin the adjacent process of identifying which elements of the original film will be most challenging to implement, and which elements will be impossible.

2.4. Values and Guiding Principles Statement (what’s important to us and how does impact what we’re doing?)

In order or priority:
n Stakeholders will respect and appreciate one another and share in physical workplace safety.
n Stakeholders will have fun.
n The film will be completed.
n The film will demonstrate a commitment to the creative and narrative soul of the original “Akira.”
n Each stakeholder will be responsible for and given credit for contributions.
n Adjustments, in staff, process, or otherwise, will be determined as a group.
n No single participant will hold more “power” than another.
n The original “Akira” will direct this film — it is the yardstick against which work will be judged.

Stakeholders (who’s affected and who’s responsible)

An important first step, and first role in the process of making this project a reality, will be that of the production bible “analyst.” This is a person or team of people whose task it is to analyze the original “Akira” film to establish baseline metrics for production. These include the approximate length of ‘shots’ and scenes throughout the original film. Other important data to gather will include camera angles and movements, notes on sound, color and light specifics, etc.

The positions this project needs filled are many. The people who become involved in the making of this “Akira” will in fact ‘be’ the film. Given the visual effects component, the need for actors/pixel artists, and other aspects of production in practical elements like lighting, camera, wardrobe and make-up — it is reasonable to assume that the scope of participants needed will mirror that of a traditional film production, perhaps beyond that in some cases. For example, it is not feasible to assume that all of the talent in the film will be bilingual in both Japanese and English. Therefor, this production will require a language and dialect coach (or a team of such individuals) to assist the talent with their performances.

Because “Akira” is a visually intensive story, it will be necessary to design whole scenes before and during production. The CG visual effects department should consist of a number of individuals and a department head, competent in the area of shared workflows.

Critical Success Factors (what are non-negotiable elements of success)

It is imperative that Japanese cast and crew be included in this production as much as possible — which will require outreach. There is no way of knowing what population of Japanese-Americans would consider participating in this project, or what possible interest they might have. But second to the importance of reflecting the roots of “Akira”, it is equally important to distinguish this grassroots “Akira” from that of Hollywood’s by casting the film in a way that acknowledges the absence of talented Japanese and Japanese-Americans from leading roles in what should be international, cooperative, and culturally sensitive feature film productions.

Project Assumptions and Constraints (what can we assume about this project and what might hold us back from achieving our goals?)

The phrase “herding cats” comes to mind. It remains to be seen how — or if — it is possible to assemble an adequate production staff to take on a challenge such as this. No pay, no rights, no ownership, and all work. If the goal of this production were to make money, it would’ve been a failure from the moment the project plan was dreamt up. Some stance is needed in order to counter arguments that there’s no point to pursuing this effort. One might suggest that this is an “Occupy the Silver Screen,” a protest of money’s corrupting influence on stories and ideas. That isn’t to say money is evil, or that people shouldn’t be paid for doing what they do well. It is to say that big bucks spent in Hollywood on Hollywood ideas do not equal a quality film, and some people (fans, in this case) won’t settle for mediocre.

People may give up on this production while the work piles on. We need to have contingency plans for this — where the work that a departing stakeholder has completed isn’t lost when they’ve gone, or that we’ve engaged in tough casting decisions based on talent willingness to sacrifice a sufficient amount of time in order to fulfill their task. This is all encompassed in the process pre-planning, casting, and back-up planning.

Project Strategies
6.1. Development Strategy (How are we going to do this project?)

Outreach is key. “Early-adopters” will be responsible for spreading word about this project, fielding people they know, following leads to whatever degree. It is possible that a open casting call will be necessary, but that point in particular should be addressed democratically. One idea is to host “screening parties” where we individually or collectively host a party to view the original “Akira,” discuss it, and gather ideas.

Part of this outreach effort could include a Facebook page. It would also make sense to informally communicate the intent of this project to individuals like George Takei — not because he would be prepared or willing to provide assistance or moral support, but because he has already expressed concern with Hollywood’s remake, and because of his celebrity-activist power.

In the process of assembling a team of people to volunteer for the many and varied tasks required in this production, it should be made abundantly clear what the expectations are. If something needs to be completed by a certain date, there cannot be any confusion about this. That is why part of the ‘team’ must include infrastructure roles — individuals whose job it is to maintain lines of communication, to stay current with the project status and update others, as well as organize interdepartmental meetings and their agendas.

6.2. Funding and Resource Strategy (What do we need and what is it going to cost?)

Resources, like man-hours, will exist on a volunteer basis. From camera and post-production equipment down to craft services, this production will be a ‘potluck.’ During production, individuals who are so inclined or capable will be invited to bring snacks or refreshments. In terms of larger considerations, this movie will be shot on whatever camera and in whatever format possible. Obviously, shooting with two RED Epic cameras would be better than shooting on one HDSLR — but if that’s what the production is able to gather, than that is what we’ll use to make it work. Ideally, we would only use the best technology — but ideally, we common people wouldn’t have to make the film Hollywood appears to refuse to make.

6.3. Change Management Strategy (How are we going to get people on board with our project outcomes?)

There is no promise that people will accept, appreciate, or love the outcome of this project. Arguably, some people will applaud this attempt to faithfully remake “Akira” from the animated feature. Some people may applaud the penniless, grassroots nature of what this production has done. Still others will acknowledge the care put into what is ostensibly a fan film. And yet some, whatever the size of the demographic, will see this underground film as an alternative to what Hollywood has to offer and prefer it. That alone is a statement — a milestone in history — yet to be achieved in such a precise way.

6.4. Evaluation & Quality Assurance Strategy (How will we make sure that we’ve done what we said we wanted to do and did it up to expectations?)

The “Akira” team we constantly refer to the original animated film “Akira,” its making-of documentaries, the team-generated “production bible”, and each other for guidance in pre-production, production, and post-production. Decisions on design, performance, or post specifics will first rely on fidelity to the original before moving on to basing decisions on what is practically possible.

Project Structure, Tasks and Responsibilities (who is going to do what and when?)

The first wave of participants in this project will be responsible for ‘breaking down’ and analyzing as many aspects of the original animated film as possible. This will provide the production team with much needed specifics like a shot-list, visual effects considerations, dialogue and performance notes, props and wardrobe notes, scenery mapping and design, etc. Once all of these elements have been catalogued, the team will have to field outside professionals for potential partners in order to fulfill the needs of the production. Organizing that effort and assessing the personnel and resource needs of the production will follow or (hopefully) coincide with cast and crew finalization.

Stay tuned for updates relating to new videos, even more new music, and music reviews of other projects and bands I’ve discovered recently.

Peace!

LAZER KITTY

The video was shot on a consumer Sony AVCHD camcorder, converted using Voltaic HD, and edited in Final Cut Pro Studio 2. Ron Lipke performed in front of a green screen which was later removed and replaced with a mounted car-camera shot of Seattle at night through the rear windshield. Also, shots of foliage were gathered using a flashlight and the “Smith Slow Record” function on the camcorder. Lastly, footage of an industrial plant or mill in West Seattle, which shoots a ring of steam up into the air on regular intervals.

Crazy? Probably, but the fruits of our collective effort were bore last night at Nectar Lounge in Fremont – where we sold 9 copies! That might not sound like a lot, but considering that most of the buyers had yet to hear the music we considered 9 to be a massive success. In this day and age, a band will drop a grand on mass-produced, cellophane-wrapped, and barcoded CD’s. Then they turn around and find that they can’t even pay people to take them. Our approach, and one that I now believe in firmly, is personable, creative, and infused with the added value of being unique – no one else has your same artwork, it’s for you!

However, as of now we are not registered with ISRC or CDDB, we have yet to publish the current stock of “units” that have been sold or are still for sale, and while you can still hear us over at Reverbnation, you cannot currently purchase our mp3′s. We plan to remedy this very soon, but in the meantime – e-mail us at control.keys@gmail.com for information on how to obtain your own copy.

Spoiler alert! Keep your ears perked for bonus tracks on the CD…

BTW: our show with the uber-talented 5H1F7Y last night rocked. We were also very honored to share the stage with Fatal Lucciauno.

Read the full thing here.

Local opening act, The Control Keys played with the kind of enthusiasm a band would have played with to a crowd of 500. It didn’t seem to bother them in the least that hardly anyone had turned out to see them. There was a playful esprit-de-corps amongst them, enjoying their own music, enjoying the novelty of playing to such a miniscule crowd, and not appearing to be discouraged by the notion at all. After their set, band member Kyle Porter (vocals, air-synth, recording) said with a shy smile, “We would have been really awesome in 1998.” He made a point to clarify that they were not a goth/darkwave band when discussing their sound and influences: “People say they hear Nine Inch Nails and Marilyn Manson when they hear us, which is fine, but we consider ourselves electro-pop.” Though there are elements of darkness in their sound and lyrics, as live performers each member has such a bright, distinct persona on stage that they almost don’t seem to fit the type of music they play. Vocalist Kyle Porter has an element of the seasoned, elder statesman about him in comparison to his band mates, playing with swagger and bounce that seemed to indicate that he felt quite at home onstage. Scot Porter (beats, electronics, vocals) almost looked as though he was culled from a So-Cal thrash band, and spent most of the set glazed with sweat, hopping frenetically between beat machines with a giant grin, clearly loving what was happening around him. Vocalist Ron Lipke was the dark horse of the group, dressed in all black, with a writhing, aloof rock star presence, similar to that of someone like Jim Morrison. The range on his vocals was impressive from a low and throaty guttural growl to a high-pitched Pantera scream.

Their album release party is on 5/26/10 at Nectar, and they strongly encourage all fans, old, new, and future to come check them out.

Shot on HD and edited in FCP, “This Is Voicechanger” was created as a tribute to Scot’s sonic wizardry and energetic performances.

Check it out here.

I have to be honest with you all and say now that I’ve never formally sat down and written a review of an album. Undoubtedly, I’ve had many discussions about this record or that, but in an increasingly fragmented culture I find it hard to have these discussions about artists I actually like. So while everyone is discussing what Lady Gaga is wearing, it’s made the open contemplation of music a lonely business.

With this in mind, I’d like to talk about a band from Texas called Instrument of Karma – or IOK. I first ran into them on ReverbNation, a wonderful social networking site that is literally all about the music. They’ve made it easy for artists to connect with each other and to offer mutual support (and, point in fact, your visibility and rank is entirely dependent on what the website refers to as “Band Equity.” Quite a concept, huh?

As a user of ReverbNation, I began to seek out other users in the hopes of improving my standing within this given community. At first, the process seemed laborious – tedious, even – as I searched through page after page and became a fan of hundreds of different artists and bands. In the early days, I would not have expected to discover all the great music that I now enjoy. But paramount to all others, IOK is my absolute favorite.

Plenty of artists have been supportive and complimentary of my own work, but I have not felt the same appreciation for any other band than I do IOK. To be sure, IOK is perhaps my favorite band of the last decade – mainstream or otherwise. To illustrate why this is the case, I will discuss their album “Teleport.”

IOK is comprised of Jim Moon and Matt Spear. They don’t exactly have defined roles in the band, but Jim Moon is the principle lyricist. From what I’ve seen, they both play synthesizers, they both program, and both share the task of singing. Matt Spear incorporates guitars on certain songs – but we aren’t talking some industrial rock noise as though they were a throwback to 1996. Rather, I find them more akin to bands like Radiohead, T.V. on the Radio, and perhaps VNV Nation.

But to constrain any concept of what IOK sounds like based off the work of others is a disservice to both the band and to my reasons for appreciating them. As it happens, they really don’t sound like anyone I’ve ever heard – which is dangerously exhilarating.

I find that our culture is readily dismissive of electronic music – and why not, after years of trance/techno/house glut that have obscured the truly innovative and fearless artists who use electronic sound. Even intelligent dance music (IDM) has run its course, and used record bins in franchised book stores can be used to note the high-water mark of that particular genre. For artists like David Bowie or Peter Gabriel, the use of electronics were novelties – not inextricable elements of their art.

The current sound of IOK is different. It is steeped in electronically-produced environments, cascading with digital textures and flickering bursts of color. The digital warble of pitch and time effects, the wash of white noise, the drone and sizzle of electric guitar within impossible, cavernous spaces – each of these elements are only part of the world of IOK. The truth goes much further.

“Teleport,” the record in question, is a complete sonic experience. There is literally nothing missing, no lapse in judgment, no preclusion of structure or purpose. The record begins as though the record itself was aware that you were listening to the news not a few minutes before. As I experienced the record, it presupposes that you were leading your life normally beforehand, and an adjustment must be made gradually to swallow you up in the world of “Teleport.”

The first song, “Art, machine vs. Miliscary” opens with cyclic political sound bytes, echoing and drifting in the ether. Voices are pitched down, looped, broken. The content is obviously referencing Bush-era politics, and already the lacerating smugness of those times and those people rush back to fill you with dread, perhaps even a sense of self-righteous indignation. A stuttering, marching beat enters, punctuating the progress of sour ideals. But then a forwards/backwards guitar seeps into this mix, and it is as though you are watching the sunrise for the first time in a decade. Within no time, and I assure you, this song will provide you with the sensation of being free – in all senses of the word.

Jim Moon’s vocals are misleading. He calls out through immense reverbs and delays, cluttered with computer-generated harmonies, resonating within the music and not sitting on top of it. Some of his words appear to be lost, but closer listening reveals something I believe is integral about this band: they are highly literary and supremely thoughtful. And though his contemplations aren’t whispered directly into your ear, they do instill a sense of what is being said. Content and delivery are matched appropriately, and you learn to allow the sound of “Teleport” to consume the vocals as though swathed in an infinite blanket.

The use of drum machine-style loops is also misleading. Breaks and changes recur under the translucent skin of the synthesizer and guitar, but the surface repetition feels more like pulses of energy than dance-floor absurdity. This should not suggest that IOK’s music is without movement, or rising and falling energy. Just the opposite: “Teleport” is entirely about energy. It just so happens to also be about the coupling of sound with ideas – which is not a common trait of dance music.

After the first three songs you begin to understand the style with which IOK approaches the arrangement and choice of sounds. There are surprises even here, with your toe in the water. After “Leeches” – a bright, bristling song – the song “Deadly Aria” is perfectly juxtaposed. A piano ballad with bells and mounting layers, “Deadly Aria” visits a darkened and reflective space. It is, among the plentiful variety of “Teleport,” perhaps the song most likely to hit indie-rock radio waves. But the short echo and warble of the piano is unsettling – and although beautiful, it evokes despair.

Two songs will catch your attention in the midst of “Teleport” for the solitary reason that they are principally acoustic guitar songs. “Teleport Part One” is the first to occur, and although augmented within the fractal and digital world of IOK – it is beautiful and complete. The other is perhaps my favorite song off of this record. “Someone” is a burdened, somber piece that seems to drift through the real world in slow motion. For myself, it creates a deep impression of solitude and longing – but more so foreboding and distrust. Perhaps I am projecting these feelings from myself, but great music dictates nothing to the listener – great music provides the mental tools with which the listener can tangibly identify his own emotions.

“Teleport” runs the gamut of what I would describe as “implied competency.” Certain songs like “Info War” and “Plight of an Iraqi” strip away what the listener may or may not have understood about the album and drags them into repetitious spaces of an almost childlike familiarity. We are a generation of children who grow up playing with novelty toys (and even books) that made strange and bit-crushed sounds – as such, it was inevitable that we would grow up to address these childhood experiences in our adult music.

The motifs of marching beats, pulsing energy, and textural shifting remain in place throughout these songs, however. Especially on tracks like “Teleport Part Two” and “Windmills on Mars” – where undoubtedly the music places its full attention on the musical environment that the album creates as a whole. It allows the listener to drift and understand what they are hearing in the sense that they are listening to an augmented reality – just a little further beyond what they knew.

Lastly, “Energy” and “Books not Bombs” pull the listener’s head above water for a moment. “Energy” allows you to hear the vocal and lyrical content with some well-timed clarity in the middle of the record, whereas “Books not Bombs” demonstrates IOK’s enormous capacity for creating the sensation of luminescence and not just color or texture.

In closing, IOK has achieved the sense of overwhelming cacophony without having actually created it. Each element, given appropriate attention, can be distinguished from the rest. Every sound is discernable, but the music relies on you to do the detective work – to pay attention. The downside is that we live in a culture where listening to Lady Gaga requires absolutely no effort. The upside is that if you should learn to listen, this record will reward you for years to come.

Kyle Michael Porter