Love real-life particle physics generators but with ducks.

Nothing’s very the same for very long, isn’t it? Keeps us on our toes. With November coming in like a freight train, I find autumn in Vancouver a rather short, wet affair followed by many months of a humid, low cloud ceiling sort of vibe.

The past couple months have put me on to new projects with new people, have reintroduced me to some peers I haven’t seen in a while, and have had me working with old friends. It’s been a nice seasonal transition, folded in a warm blanket of community and passion projects.

With the narrowly called-off IATSE strike south of the border and, very recently, the accidental death of Halyna Hutchins, it’s hard not to take time to talk about set safety, work boundaries, and equity in film and TV. I’ve always found the immense time and energy expenditure required by the “lifestyle” of working in film perplexing. Even on the indie level, where producers have the option to break away from the unsafe standards of long days, we’re left with day-to-day expectations that leave people overworked, very tired, stressed, and meant to feel that this is the only way to work. I don’t think it is. For the system to work, literally hundreds of skilled people have to come together at the behest of a studio (or streaming service 😐) to make something together that is such a cruel combination of art, technology, and the blinding greed of big money business. Advocate for safe sets – cut corners cause accidents. Crews need sleep, crews need safety, and crews need to be treated and compensated fairly.

Lundbom Lake, BC

Lee Rosevere

🎷 Oh Dear, I’ve Gone Numb – Hola Papi

🎷 Support your local independent theatre

🎷 Polypores of British Columbia

🎷 Alex Colville’s paintings from the 50s to the 70s look like 90s computer graphics

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