THE SKIN I’M IN is my first solo feature documentary. It’s the latest in a series of unflinching autobiographical works I call “embodied media,” in which I use my personal stories and my body to challenge cultural assumptions and norms around sex, gender, and sexuality and to break the often-strangling silence of shame.
Autobiography has long been an act of privilege for powerful or famous men with access to the means to document and distribute their stories—stories structured around superlative acts and accomplishments, not shame, doubt, or failure.
In our social media moment we’re all suddenly autobiographers and media makers. Opining, ranting, confessing, and exposing have become daily rituals. So why do so many of us still feel so alone, unheard, ashamed, and ambivalent? I want to restore a sense of political urgency, critical reflection, artistry and play to acts of digital autobiography.
- Is digital democracy a pipe dream or a real possibility?
- Are you a part of any online communities that are using the tools of our moment (YouTube, Facebook, WordPress, etc.) to start real conversations or exchanges about culture and identity? Share them with us.
Do you feel documentary can really incite or foster social change? If so, share some examples with us.
Share your thoughts and comments in the “making media” blog feed below, and I’ll keep posting mine as well.
Fox Awarded 2014 Artistic Innovation Grant
We’re pleased to announce that director Broderick Fox is one of 12 California artists awarded a 2014 Artistic Innovation Grant from the Center for Cultural Innovation. Fox will put the finds towards sound design on his next documentary ZEN & THE ART OF DYING.
Click here for a full press release about CCI, the grant, and Fox’s new film!
THE SKIN I’M IN: Original Score Available on iTunes
The soundtrack for THE SKIN I’M IN is now available on iTunes, featuring the incredible original score by Ronit Kirchman, and Fox’s musical contribution (track 25) which garnered the album an “explicit” Parental Advisory Rating. Ha!
The music in this big little film is the product of much extraordinary collaboration:
Music Orchestrated and Conducted by
Orchestra Recorded at Rotosonic Sound, Salt Lake City, UT
by Michael Greene
Rachael Bower Karr
Janice B. Vincent
Mario E. Ortiz
Alexander C. Willey
Violin for “Man with the Movie Camera” sequence, guitars, synthesizers and all other instruments performed and programmed by Ronit Kirchman
Zen & the Art of Dying Production Updates from Australia
We’re having an extraordinary time filming in easternmost Australia, exploring how Zenith Virago and the communities of Byron Shire, Australia do death differently. To follow our progress and see photos of the people and events we’re covering, visit our ZEN & THE ART OF DYING website.
Treatment for Fox’s Next Film Zen & the Art of Dying Wins a 2012 Chris Award
The treatment for our next documentary project Zen & the Art of Dying has won a 2012 Chris Award from the 2012 Columbus International Film & Video Festival.
CIF+VF is the longest-running film festival in the United States, celebrating its 60th anniversary this year.
The festival describes its mission as “honoring and screening the work of makers whose creations of vision, beauty and power help us understand the complexities of our world by using their committed artistry to touch our minds and hearts.”
The CIF +FV treatment competition is open to both fiction and documentary project treatments and is intended to generate exposure and support for awarded projects.
More information about this year’s festival ca be found at http://www.chrisawards.org
Website for Our New Project Zen & the Art of Dying Now Live
I’m excited to announce my next documentary project DEATHWALKER which is a documentary on Australian Natural Death Center founder Zenith Virago. We’ll also be producing a Natural Death Web Initiative to provide a space for personal stories, practical support materials, and global conversation about natural death care.
Not sure what natural death care is? Check out the project Website:
For those of you in Byron Shire, Australia, we’ll be there all of November and December filming. Check out the “Get Involved/Tell Your Story” page, and let me know if you wish to participate!
Fox interviewed on ABC Radio’s CONVERSATIONS WITH RICHARD FIDLER
Broderick Fox interviewed on ABC Radio’s CONVERSATIONS WITH RICHARD FIDLER 3/8/12
While in Australia for the world premiere of THE SKIN I’M IN at the 2012 Byron Bay International Film Festival, director Broderick Fox was a guest on the national ABC radio program CONVERSATIONS WITH RICHARD FIDLER.
Listen to an abridged version of that hour-long program here:
Final Sound Mix Completed!
I’m pleased to report that just before the holidays, we completed the final sound mix for THE SKIN I’M IN! Sound designer Scott Johnson, composer Ronit Kirchman, executive producer Lee Biolos, and I had the pleasure of collaborating with amazing rerecording engineer Wade Chamberlain on the Rick Chace Theatre stage at Chace Audio.
Scott worked so hard on the sound design to get it to this day, and Ronit’s music sounds incredible in the mix. Also amazing to finally see Zulu and Rande Cook on the big screen!
I hope to report the film’s premiere venue in a forthcoming update. For now, a very happy New Year to all and here are some photos from the big day.
Color Correction Underway
We’re deep into color correction with the amazing Sean Stack at Alphadogs, and the film is looking incredible.
THE SKIN I’M IN records original score with 30+ live musicians
Our scoring session in Salt Lake City was incredible.
Supported by a grant from the Sundance Institute Film Music Program with additional support from the Sundance Institute/Time Warner Foundation, Inc. Fellowship Program, we recorded over 40 minutes of original score by composer Ronit Kirchman.
The scoring session took place over the course of two days at Michael Greene’s Rotosonic Sound, a magical space with incredible acoustics and a great atmosphere.
Special thanks to music contractor Ted Hinckley and the 30+ musicians that shared their talents on the soundtrack.
If composing the score and playing a number of instruments herself wasn’t enough Ronit also conducted the scoring session. Sound designer and music editor Scott Johnson kept us on track for an incredibly tight two days of recording, after which he and Ronit launched directly into four days of music editing and mixing with the amazing Mike Roskelley.
After six years of working on this project as a largely solo endeavor, it was wild to have so many people come together to record the music. Ronit’s work adds such a powerful dimension to the film; I can’t wait to share it with all of you.
Until then, here are some images from our two-day session.