This is the completed storyboard based on the sure-to-be-changing screenplay TTIF. I drew the illustrations over the last four weekends and am pretty sure that I don’t want to see a digital tablet for a long while. That said: I just added an opening scene to replace a couple that were not working that well. Another scene came to me last night — that could be interesting. Did I just say that it would be a while before I used the digital tablet again? What a liar…
We began adding in dialogue to the storyboard after fits and starts in the recording process — one thing led to twenty — but all solved now. Well, sort of. It’s interesting — after you’ve made several goes at getting the written page recorded — you begin to, because of ¿boredom? — to muck about with dialogue. It is producing some very interesting results that will feed neatly into the next re-write. The things we do for love.
Follow six distance runners from Nairobi, Kenya as they prepare for the US marathon season by training in Santa Fe, NM. The altitude and climate are similar to the runners native homeland. They work in teams, helping runners with weaker skill sets so that they can race more effectively. The money won through marathon racing is repatriated to Kenya. Rather than buying sports cars and bling, these athletes spend their marathon winnings in their hometowns — developing apartments that create local jobs or buying agricultural land to help the local economy and their neighbors improve their quality of life.
I directed and produced this film in late 2009. It was accepted into 10 domestic and International Film Festivals. It was given to President and Michelle Obama by US Senator Jeff Bingaman last June.
I brought Mr Nasher to Austin in 2006 to speak to the burgeoning arts community about ‘Collecting & Philanthropy’. This is an excerpt of the film that I made on 12 November 2006. It remains a great treasure of mine. Guys like Ray Nasher are a rarity in today’s world. They are, unfortunately, being replaced by cheaper, less humanistic and less visionary models. And that is a downstroke for the future of all things cultural.