Buy my printer!


I’m selling my lightly-used Epson printer to get a new one that’s exactly like it except it uses archival inks. ‘Cause I’m gonna make a bunch of art prints and if the ink fades in 100 years, I’ll feel bad. Actually I’ll be dead by then, and probably civilization as we know it will have collapsed even sooner, but someday when alien archeologists pick through the remains of our decadent and self-destructive society, I’d like them to see crisp, clear, brilliant colors on those “Sita” prints. So, to make room for the new printer, the old one (which I bought a year ago) must GO!

Prints up to 13×19!
Color prints are beautiful, but supposedly lightfastness is only guaranteed 25 years
Mac and PC
Comes with paper roll feeder and other crap I don’t use
Shiny silver!
4 extra “genuine Epson” (overpriced retail) ink cartridges included: 2 color, 2 black

All this for just $200! The inks retail for $100 alone, which sucks but they do last a while. The printer also does plain ol’ letter size and is a fine home or office printer. Buyer must pick up from mid-town Manhattan (Hell’s Kitchen, convenient to all Times Square trains). You can use the box from my new printer to carry it, since my apartment is too small to store boxes. Act now while supplies last!nospam1.jpg


Second NY screening added!

By popular demand, we’re adding a 9pm* sneak preview screening of Sita in New York on November 17. Please RSVP with “Sita NY 9pm” in the subject. You can also just show up; if we run out of room at 7 (and we probably will) we’ll put you on the list for 9, which should be less crowded. If you’ve already RSVP’ed, you’re in, no worries.

*The 9pm show may be DVD only, as we might not have time to show “Battle of Lanka” on 35mm.


Eats for Endorsement

An ongoing feature in which I recommend the work and websites of people who buy me dinner. Today’s entry: Ross Kiester!


I met Ross Kiester at the Platform Animation Festival in Portland, OR, where his two brilliant and charming teenage daughters impressed me with their impeccable taste (they’re fans of the Stork). Last week Ross was in New York doing…well, all kinds of things. For not only is he a mathematician into discreet global grids, but he’s also a turtle conservationist. The latter is how he knows Eric Goode of the Maritime Hotel – turns out he’s a turtle conservationist too. Those turtle conservationists form a tight community, which is why fellow turtle conservationist Maurice Rodrigues is the manager of the Maritime’s various enterprises, including Matsuri, where we enjoyed a lavish and delicious Japanese meal followed by French fusion pastries. My oh my that was tasty. Also joining were Ross’ niece and her husband, both accomplished graphic designers. Conversation focused on Basque cuisine, Japanese cuisine, alcohol (for once I wasn’t the only person at the table who just doesn’t like the taste), West vs. East Coasts, and of course, turtles. On that subject I was surely the most ignorant person there, but I did suggest a three-word name for their organization – the Global Turtle Initiative.

These cheesy flash photos don’t do anyone justice, alas.

Maurice: yes to turtles, no to booze.

Would YOU like to be featured in Eats for Endorsement? Then buy me dinner. My email address is at the bottom of the middle column, the one with the pictures linking to my movies and cartoons and stuff.


Why Film?

Ms. Laaw-yuhr asks a good question: why go through the trouble and expense of putting Sita Sings the Blues on 35mm film?

1. The most prestigious and important film festivals still show only film, not video. The next deadline for the first of these is Berlin, November 1st. If Sita is accepted, she’ll have to be on film by the end of January.

There’s been a huge proliferation of film festivals in recent years, and many do screen video and DVD. But the “big five” (Berlin, Cannes, Venice, Toronto and Sundance) retain a strong preference – if not outright requirement – for film.

2. Professional distributors prefer film, and I hope to attract a distributor.

3. The digital projectors in mainstream theaters use a proprietary codec, as deigned by the Motion Picture Association. Obtaining the license for that codec is expensive.

4. Art houses, the likeliest theatrical destination for “Sita,” seldom have the fancy new digital systems anyway, relying instead on inferior tape and DVD projectors, or good ol’ gorgeous film.

5. Film looks great. And I have designed the entire production with film in mind as the final destination. Everything is 24 frames per second, at a film-worthy resolution.

6. Film is a universal platform that works around the world. Video standards differ from region to region, and digital projection technologies are ephemeral. Since “Sita” is likely to be seen overseas in a variety of countries, including many places that can’t afford the latest digital systems, film is the best vehicle for her.

7. Add your own reason in the comments.