Filmmaking
Feature film, Faith of Our Fathers
Set during the Gulf War, Faith of Our Fathers follows Charles, a young man who brings his dreams to a decaying American city and falls prey to a derelict priest.
This dark and biting satire exposes the menace of corporate capitalism, religion, and the cult of the individual as Charles descends into the American nightmare.
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Faith of our Fathers DVD - $14.99
NTSC
Region 0
5.1 surround sound
76 minutes
New 2K widescreen transfer from 35mm blow-up Interpositive
Re-mastered in 5.1 sound
Faith of our Fathers Blu-ray - $14.99
NTSC
Region 0
5.1 surround sound
76 minutes
New 2K widescreen transfer from 35mm blow-up Interpositive
Presented in HD
Re-mastered in 5.1 sound
Jeff Hawk – arrival full of hope
Noel Webb – the dream maker and his wealth
Jeff Hawk – stranger in a strange land
George Gelernter, Jeff Hawk – the devil with the details
Individuals working – “full on infernal.”
George Gelernter – spreading the gospel to the dispossessed
Jeff Hawk, Cassondra Joy – appealing to the innocent
Jeff Hawk, Cassondra Joy – the promise of happiness
The hardware of faith
Overwhelming odds for the artist
The brutal enforcement of belief – “a boot stomping on a human face forever.”
James Geralden, Jeff Hawk – rejecting the disciple
Jeff Hawk, George Gelernter – disciple and master
George Gelernter, Jeff Hawk - history in hand, but adrift from conscience
James Geralden – the artist fights back
Jeff Hawk - the madness of belief
Directing Faith of our Fathers
16mm to 35mm optical printer used to blow-up Faith of Our Fathers to 35mm IP. Waiting for Guffman, Best in Show, and A Mighty Wind used this printer in Super 16mm to 35mm mode. The printer was also used on Zelig. This was the culmination of six years of labor — hence the smile.
Short films
Film beginnings…
Making Generations: a 54 minute Sci-Fi film that took three years to finance (playing bass) and make, ca 1977. Musician friends were the crew. Lewis Nash was a dolly grip, which wasn’t easy, as his scenes took place in the ASU music building, which has circular corridors. Generations actually found video distribution in Spain, though it never made back its production costs. I played many “casualties” to pay for it.
A Showcron 16mm flatbed at Thompson Productions, on which I edited a film about the Monorail system about to be built in Las Vegas: one picture head, two sound heads. Moviola, KEM, and Steenbeck also created 16mm flatbeds. The Steenbeck chewed less film.
My first professional work in film began in 1980 at Catalyst Productions in Berkeley, California. The company was run as a collective. On one day I might be directing a public service announcement about the Eureka Theater Company coming back to life — after it had been trashed and burned by agents of the former South African Apartheid regime — the next day placing lavaliere mics on men dying from asbestosis — to depose them as they fought a room full of insurance company lawyers. At Catalyst, I learned that what I felt about economic justice had a basis in political thought.
After moving to Los Angeles, I worked shooting 16mm film, picture editing and sound editing for the United Machinist’s Union, Honda, and various companies. I assisted on a documentary about jazz singer Ernie Andrews, and cut the sound effects on the documentary, Convict Cowboy (Texans letting prisoners be trampled by bulls for entertainment). I also edited sequences in Warren Miller ski films, once working a 110-hour week for $300.00! We had a cutting room above a falafel shop, and at the end of the week, I found myself in the emergency room with gastritis. I was very happy to join the Editor’s Guild.
Alan Rudolph’s Trouble In Mind was my first feature film. At the time, having never worked in 35mm, I rented an upright Moviola and spent a week practicing syncing and cutting 35mm magnetic film in the kitchen of our apartment.
All music © and ℗ 2013 by Hamilton Sterling, Helikon Sound, BMI and Jimmy Haslip, LaViera Music, BMI. All rights reserved.
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