DOCSLIB.ORG

Resource Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resource Guide Resource Guide To be a working actor includes working hard to get the audition. Not simply to be hired and then working. Listed below are some basic tools to use to seek out auditions and ways to stay in action, even when the auditions may not be flowing forth. But, know that it will require a strong commitment and resilience to any one of the following categories. I recommend focusing on the medium that you most want to make headway on as a starting point. THE THOUGHTS EXPRESSED HERE ARE SIMPLY MY OPINIONS BASED ON MY EXPERIENCES. THERE IS NO GOLDEN RULE ON HOW TO BE HIRED Please note that all Resources that are listed here are really the tip of the iceberg. Other actors have suggested many of these websites and many new website resources are being launched constantly. You can add to this list by maintaining your own ear to the ground. Social Media (Facebook, Twitter) is an excellent place to hear about new site launches and recommendations. There are many endless possibilities! The most important thing is to see the resources as endless opportunities and not limitations imposed. May the force be with you as you create your opportunities. Your fan, Heidi Resource Guide CHASING THE BREAKDOWN First Steps to getting auditions: 1. Live by this maxim that I break down in detail in my classes: TELL THEM HOW TO CAST YOU. Tell the casting director which role(s) you are right for. Casting Directors do not know you as well as you know yourself. You have to tell everyone what to do with you. Very specifically. Being mushy wishy washy about this will get you mushy results. Don’t live in the gray on your marketability. 2. If you have not gotten some clarity, start by thinking about the medium(s) that you really want to target and then you will naturally start to figure out how to focus on it. Choose a medium of focus to spend your time researching and honing. In time, you can be focusing on multiple mediums. Once you establish the connections in one it is easier. (I’m assuming everyone in this class is focusing on Film/TV right now.) 3. Research current castings. From your research (breakdowns), find specific projects and roles that you are right for. 4. Submit electronically. 5. Not able to submit electronically? You have 3 options to pursue. a. Find someone to refer you to the CD, Director, Producer, Actor attached to project, etc. A personal referral is always helpful! b. Find the CD email address online. Email them with the header line “PROJECT TILE + ROLE TITLE”. Include a one-sentence description of why you are perfect for this role and something friendly. Then include your website link. In my opinion, don’t include attachments because it may end up in Spam or just be too overwhelming to the CD. c. Find the CD mailing address online. Go the old-fashioned route. Believer it or not, people don’t submit hard copy headshots any more so that means you have a chance that yours might stand out! Mail your resume and headshot to the casting office and mark on the outside of the envelope: “Attention RENT/Maureen”. And if you are right for more than one role, mail again in a separate envelope with the other role title on the envelope. Each project, and sometimes each role in the project, have separate submission piles. You want to get into that specific pile! Resource Guide ELECTRONIC SUBMISSIONS The Electronic Submission process has evolved to accommodate the immediacy and urgency of the casting process. HOW CASTING DIRECTORS POST BREAKDOWNS When a CD posts a casting project to any one of the multiple sites, they get the chance to select WHO the breakdown is sent to. Ie, Chicago, NYC, Miami, LA, London, etc. On Breakdowns Express, which is then released on Actors Access, they also get to select if it goes to All Actors or only to Agents/Managers. This is why you can’t see all breakdowns – the CD opted out of sharing it with the larger mass of Actors. As you can imagine, there are thousands of actors following breakdowns and their offices (1-2 person team) can’t possibly sort through all of the submissions. So, they limit who they send them to at the start, or which sites they post it on. If I am looking for a body builder who is Indian and 6 feet tall, I may even post only on specific sites that will target that actor audience. SO, WHY WOULD A CD OPEN THE CASTING CALL TO EVERYONE? 1) The casting is happening immediately and the hunt is urgent 2) The talent the project needs is very specific and tougher to find and is often an actor who may not be represented I KNOW ABOUT A CASTING, BUT I CAN’T SUBMIT MYSELF ELECTRONICALLY Solution: how to submit yourself when you see that a project is ONLY accepting Electronic Submissions… Start by doing every possible google search on the CD person or office and seek out an email. You can submit via email but I suggest only including a one sentence intro and friendly Hello plus a website link. Attachments could cause you to end up in spam. Note that you might be at risk of annoying a CD if you do it too often. But, if it is a specific role that seems hard to cast, they might really welcome your submission! Alternatively, CDs never refuse receipt of a paper hard copy submission. And very few people are submitting hard copies anymore. So it might actually get read! Just mail, or drop off, your submission immediately at their office. It might get opened by the right person and put into the right pile at the right moment. It does still happen! Resource Guide WHERE TO FIND CASTING DIRECTOR CONTACTS (mailing labels, addresses, numbers, names of assistants, maybe emails) 1) Here is an awesome APP! It is called ACTOR GENIE. (you have to pay a fee but actors tell me that it is always updated) 2) www.castingabout.com – you can purchase an updated list here as well. and other suggestions: Google www.playersdirectory.com www.actorslife.com www.Actorsresource.biz www.Variety.org Ross Reports www.redbirdstudio.com/AWOL/cdinfo.html www.exploretalent.com Resource Guide Where to MEET agents and casting directors 1. SEMINARS/NETWORK EVENTS If you haven’t done it already, it is worth a few attempts at least. Yes, one on one “seminars” with casting directors or assistants is a bit of an industry scam that is now booming as a resource for actors. However, it is a guaranteed moment of someone’s time who could help you land auditions and hires. Look at it this way: it is about establishing familiarity with the industry people, so putting your face in front of them will begin that relationship. They are typically more relaxed at these seminars because they are not at work and under other pressures (deadlines, producers, etc). Sometimes they will be moody and impatient – but they are simply coming from a long day of work, so do not bother to take that personally. I have heard many times from actors that it requires more than one meet and greet to get them familiar enough with you to recall you for auditions. Some actors have returned to the exact same CDs every few months. I know for me while I was CD, out of sight out of my mind. So, stay in their sights. Also, do not be scared off by only meeting casting assistants… they are the ones doing the scheduling and are more likely to slip you in if there are open audition slots. The assistants become the agents or casting directors! Top ones: Also: www.theNetworkNYC.com www.Breakthroughstudios.com www.theactorsgreenroomnyc.com www.actorsconnection.com www.oneononenyc.com www.Tvistudios.com The Actors’ Center www.auditions.com www.actorsinsite.com www.Stagelighter.com 2. OPEN CALLS or EPA’s Open calls. If you seek an audition for a musical, they often have larger open call scenarios which are definitely worth your time because they are seriously looking! They will always need replacements or understudies or ensemble. EPAs. Again, there are always understudies and ensemble parts that they will need to fill. At the very least, you become a familiar face to the auditors who may be Casting Directors or their Equity-approved Assistants/Associates. The ones that are not Equity required are particularly great because it truly means that the office is looking for actors. Overall: you get to practice auditioning, you meet another casting director or casting assistant, you become a familiar face, and you might be called in for another project by that auditor. Relax while you wait and don’t expect anything… then you can have fun with it. Resource Guide 3. OPENING NIGHTS Yup. Agents and Managers proudly attend. The only glitch is spotting them! 4. FILM FESTIVALS – Especially Opening Nights. For example, check out Tribeca Film Festival and events. Resource Guide INDEPENDENT FILM auditions The nature of indie films evolves from their budgets. It is small. Everything is made by hand. Actors are often cast by either word of mouth or by a hired casting director who may not yet have a huge amount of experience and limited knowledge of actors. In this area in particular, casting directors audition who they know! So, get to know them. Track the indie films you like, that were made in your city, and send a letter (yes, letter, think “indie personal”) to their casting directors.
Load more

Recommended publications
  • Northeasthistoricfilmcarlson 39
    NortheastHistoricFilmCarlson 1/29 Please review the Application Guidelines for details about the information requested in this proposal. Fields marked with an asterisk are required. Eligibility To be eligible for a Digitizing Hidden Collections grant in 2016, applicant projects must meet the following requirements: Minimum allowable request for 2016: $50,000 Maximum allowable request for 2016: single-institution projects: $250,000 / collaborative projects: $500,000 Minimum allowable project term: 12 months Maximum allowable project term: single-institution projects: 24 months / collaborative projects: 36 months Projects must begin between January 1 and June 1, 2017 Single-institution projects must be completed by May 31, 2019 Collaborative projects must be completed by May 31, 2020 Is this a collaborative project? Yes/No Yes What is the size of the request? NOTE: The minimum acceptable request in this program, for all projects, is $50,000. Single-institution projects can request no more than $250,000. Collaborative projects can request no more than $500,000. Amount Requested $322,092 Provide the proposed project length in whole months, and list the project start and end dates. NOTE: All projects must begin between January 1 and June 1, 2017. The minimum project length, for all projects, is 12 months. Single-institution projects can last up to 24 months and must end by May 31, 2019. Collaborative projects can last up to 36 months and must end by May 31, 2020. Project length (months) 18 Project Start Date 01/01/2017 Project End Date 06/30/2018 NortheastHistoricFilmCarlson 2/29 A note regarding principal investigators: An individual may not be named as a principal investigator (PI) on more than one proposal, and may not serve as PI on two funded projects simultaneously.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Videotape and Home Movie Day
    Videotape and Home Movie Day Incorporating video into a Home Movie Day event presents a host with technological and curatorial challenges. You’ll need to bring even more equipment including numerous decks, cables galore, and something to show tapes on, either a video projector or a large enough monitor. Since videotapes can go on for hours, you’ll need to set time limits in advance so no one person takes up more time than other attendees. But with a little planning you can easily be showing families’ histories recorded on tape alongside those on good ol’ small gauge film. Equipment Needs There is a daunting number of consumer-level videotape and optical video formats. But just as you can't expect to have a projector for every film format, you shouldn't expect to support every video format. In our experience, the most popular formats are VHS and Video8. DVD is also common format for people bringing in already-transferred home movies. You’ll need to balance your expectations of what video formats your particular audience will be bringing in with how much effort it will be to bring in a particular format. Other video formats to consider include, but are not limited to, Hi8, Digital8, Betamax, DV, SHS, and VHS-C. And don’t forget the difference between PAL, NTSC, and SECAM. Also, don’t forget to have enough cords and adapters to connect video decks to the monitor/projector. Depending on how many decks you are bringing to your HMD event, you might want to consider getting a video switcher.
    [Show full text]
  • How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content
    Everything I Need To Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content ABSTRACT With the growing popularity of YouTube and other platforms for user-generated content, such as blogs and wikis, copyright holders are increasingly concerned about potential infringing uses of their content. However, when enforcing their copyrights, owners often do not distinguish between direct piracy, such as uploading an entire episode of a television show, and transformative works, such as a fan-made video that incorporates clips from a television show. The line can be a difficult one to draw. However, there is at least one source of user- generated content that has existed for decades and that clearly differentiates itself from piracy: fandom and “fan fiction” writers. This note traces the history of fan communities and the copyright issues associated with fiction that borrows characters and settings that the fan-author did not create. The author discusses established social norms within these communities that developed to deal with copyright issues, such as requirements for non-commercial use and attribution, and how these norms track to Creative Commons licenses. The author argues that widespread use of these licenses, granting copyrighted works “some rights reserved” instead of “all rights reserved,” would allow copyright holders to give their consumers some creative freedom in creating transformative works, while maintaining the control needed to combat piracy. However, the author also suggests a more immediate solution: copyright holders, in making decisions concerning copyright enforcement, should consider using the norms associated with established user-generated content communities as a framework for drawing a line between transformative work and piracy.
    [Show full text]
  • The Music (And More) 2019 Quarter 3 Report
    The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat.
    [Show full text]
  • The Family Video Archive: an Annotation and Browsing Environment for Home Movies Gregory D
    The Family Video Archive: An annotation and browsing environment for home movies Gregory D. Abowd Matthias Gauger & Andreas Lachenmann College of Computing & GVU Center Computer Science Department Georgia Institute of Technology University of Stuttgart 801 Atlantic Drive Universitaetsstr. 38 Atlanta, GA USA 30332-0280 D-70569 Stuttgart, Germany +1-404-894-7512 {Matthias.Gauger, Andreas.Lachenmann} [email protected] @studi.informatik.uni-stuttgart.de ABSTRACT digitized home movies. We present the Family Video Archive as a tool to give consumers There is much work in the area of video annotation and browsing. the ability to annotate and browse large collections of informal What makes this work significant is its focus on the informal family movies. The informal nature of home movies makes it nature of home movies. This has several implications for the difficult to use fully-automated techniques for scene detection and research contribution of our work. annotation. Our system explores the symbiosis between • Home movies record informal activities and are usually of automated and manual techniques for annotation. We also explore relatively low production quality, containing little, if any, the use of a zooming interaction paradigm for browsing and relevant metadata concerning the content of the video. As a filtering large collections of video scenes. result, we have focussed on interaction techniques that provide full manual annotation capabilities but also leverage off Keywords automation. This symbiosis between fully manual and fully Video annotation, Zooming user interfaces, home movies. automated annotation is an important research topic. • Home movies are meaningful to a community of family, friends 1. INTRODUCTION and relatives.
    [Show full text]
  • Unearthing African American History & Culture Through Home Movies
    Unearthing African American History & Culture Through Home Movies by Jasmyn R. Castro A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2015 1! Introduction African American home movie collections across the United States can, and should, play a larger role in the depiction of African American history and culture. As a historical resource, home movies provide a direct and personal look into the lives of African Americans. Culturally, these home movies document their way of life through everyday personal experiences and social interactions. Since the introduction of film in the United States, home movie recording was one of the first opportunities for self-documentation. Before the invention of the 8mm film gauge, only an elite few were fortunate enough to find themselves in a position to record their experiences through photography, and an even smaller group (practically non-existent) were able to record on 16mm; the first amateur motion picture film format. A small percentage of African Americans took part in such leisure activities, however, economic and social conditions in the United States played an important role in who and what was documented. During the early 1900s, African Americans found themselves in the midst of a new chapter in their history as a newly formed ethnic group in the United States. Early attempts at capturing the African American experience were, for the majority, conducted as part of government projects such as “Voices from the Days of Slavery”, a collection of audio interviews between former slaves and employees of the Work Progress Administration’s (WPA) Federal Writers’ Project.1 The WPA was an American New Deal agency that employed millions of unemployed Americans to conduct public works assignments like the Federal Writers’ Project “Slave Narratives”, in which twenty-three interviewees, born during the time of slavery in the 1 Kniffel, Leonard.
    [Show full text]
  • Download 2007 Annual Report
    THE CENTER FOR HOME MOVIES 2007 ANNUAL REPORT TABLE OF CONTENTS 2 A Message from the Founders 3 CHM and the Library of Congress Living Room Cinema 4 Home Movie Day Rediscovery 5 HMD in the New Yorker 6 Home Movie Day 2007 9 The Home Movies of Helen Hill Presentations and Other Activities 11 Sponsors Looking Ahead 1 A Message from the Center for Home Movies Founders 2007 was another banner year for the Center for Home Movies and Home Movie Day. Highlights included the release of Living Room Cinema , the first Home Movie Day DVD compilation; the finalization of a collaborative agreement with the Library of Congress; the naming of a second consecutive Home Movie Day rediscovery to the U.S. National Film Registry; and the celebration of the fifth annual Home Movie Day, held in a record number of cities and countries. The Board of the Center for Home Movies thanks all of its friends and sponsors, and looks forward to an even more fruitful and productive year in 2008. Photo: Center for Home Movies Board Katie Trainor, Brian Graney, Snowden Becker, Chad Hunter, Dwight Swanson (l. to r.) 2 The Center for Home Movies 2007 Annual Report CHM and THE LIBRARY OF CONGRESS In the spring of 2005, the CHM board was invited to meet with David Francis, Greg Lukow and Mike Mashon to begin discussions regarding an official relationship between the Library of Congress and CHM. The Library’s Motion Picture, Broadcasting and Recorded Sound Division offered CHM workspace and collections storage in the new National Audio-Visual Conservation Center in Culpeper, Virginia.
    [Show full text]
  • Home Movies Is the Moving Back- Will Not Come Off and If Used Will Rele- Ground Title
    'AktlkPM Scanned from the collections of The Library of Congress Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record It’s easy to make good movies with CINE- KODAK K Tins amazingly ingenious home you can “make bright, sparkling, movie camera is easier to operate fall-e6lp> movies even on dull most popular ol than many “still” cameras. Right days. interchangeable lenses, from the start it gives you out- ranging from wide angle to a 6- 1 6 mm. Home standingly good movies. As you inch telephoto, are available, Movie Cameras progress, its finger-tip versatility further widening the scope of the keeps pace. Which is undoubtedly Cine-Kodak K. why the “K” is the most widely Features of the “K” include: used 16 mm. camera in the world. built-in exposure guide; perma- The “K,” with/. 1.9 or/.3.5 lens, nently attached winding crank; If it is complete equipment for all half-speed device; two finders isn't an ordinary ... and many extraordi- (eye-level and waist-high); auto- Eastman. nary. .home movie requirements. matic footage indicator. Price, it isn*t a Kodak With the/.1.9 lens, a Kodacolor $112.50 with /. 3.5 lens; $152.50 Adjustable Filter and Cine-Kodak with /. 1.9 lens, complete with Super-sensitive Kodacolor Film carrying case. At your dealer’s. CODE 7 Eastman Kodak Company, Rochester, N. I S OCT -8 1934 ©Cl B 24652 H O M MO VI Published monthly by the Homovie Publishing Co., 6362 Hollywood Blvd., Hollywood, Calif.
    [Show full text]
  • The Electrical Transformation of the Public Sphere: Home Video, the Family, and the Limits of Privacy in the Digital Age
    THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY American Studies 2012 ABSTRACT THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio One of the constituent features of the digital age has been the redrawing of the line between private and public. Millions of social media users willingly discuss intimate behavior and post private photographs and videos on the internet. Meanwhile, state and corporate bodies routinely violate individual privacy in the name of security and sophisticated marketing techniques. While these occurrences represent something new and different, they are unsurprising given the history of home and amateur media. In this dissertation, I argue that contemporary shifts in the nature of the public/private divide have historical roots in the aesthetics and style found in home movies and videos. In other words, long before Facebook and YouTube enabled users to publicly document their private lives, home movies and videos generated patterns of representation that were already shifting the unstable constitution of the “private” and the “public” spheres. Using critical theory and archival research, I demonstrate how home moviemakers represented their families and experiences in communal and liminal spaces, expanding the meaning of “home.” When video become the predominant medium for domestic usage, home mode artifacts became imbricated with television, granting them a form of phantasmagoric publicity that found fulfillment in the digital era.
    [Show full text]
  • 1 Filling in the Cracks of Culture Film Preservation in Practice Really
    Madeline Fendley Politics of Preservation, Spring 2011 Filling in the Cracks of Culture Film preservation in practice really means duplicating films, whether it's for archives or commercial interests, and no one is going to spend that kind of money and time on a film that doesn't have commercial value. Most film archives can't really afford to recognize the cultural history embedded in these captured everyday moments. There's just not enough space in archives and there's not enough money in it.i –Diana Little, Cineric, Inc. Traditionally, film archives are institutions that preserve commercial motion picture films made for mainstream cinematic viewing and that hold commercial value. These films are preserved to protect the investments of studios and to preserve the history of cinematic art and technological development of the industry. As the field developed and film archives were formed, preservation work focused exclusively on these major motion pictures. In a field where preservation work is costly and public funding is limited, these commercial films were the ones deemed worthy of saving. While the films held at major, established film archives are certainly documents of cultural history, other moving image artifacts that document our cultural history are produced by amateurs, governments, corporations, and families, to name a few. It is this type of film to which Diana Little refers in the above quote, the films for which public funding is not widely available. Independent film collectors often discover and preserve the films that lie outside of the mainstream, films that document subcultures, forgotten 1 histories, and local regions.
    [Show full text]
  • A History of the Amiga by Jeremy Reimer
    A history of the Amiga By Jeremy Reimer 1 part 1: Genesis 3 part 2: The birth of Amiga 13 part 3: The first prototype 19 part 4: Enter Commodore 27 part 5: Postlaunch blues 39 part 6: Stopping the bleeding 48 part 7: Game on! 60 Shadow of the 16-bit Beast 71 2 A history of the Amiga, part 1: Genesis By Jeremy Reimer Prologue: the last day April 24, 1994 The flag was flying at half-mast when Dave Haynie drove up to the headquarters of Commodore International for what would be the last time. Dave had worked for Commodore at its West Chester, Pennsylvania, headquarters for eleven years as a hardware engineer. His job was to work on advanced products, like the revolutionary AAA chipset that would have again made the Amiga computer the fastest and most powerful multimedia machine available. But AAA, like most of the projects underway at Commodore, had been canceled in a series of cost-cutting measures, the most recent of which had reduced the staff of over one thousand people at the factory to less than thirty. "Bringing your camera on the last day, eh Dave?" the receptionist asked in a resigned voice."Yeah, well, they can't yell at me for spreading secrets any more, can they?" he replied. Dave took his camera on a tour of the factory, his low voice echoing through the empty hallways. "I just thought about it this morning," he said, referring to his idea to film the last moments of the company for which he had given so much of his life.
    [Show full text]