Directed by
David Koff (second listing at IMDB.com "David Koff II" plot keyword(s): government agent )
Produced by
Day, Swing, Grave Productions [?] (Amie Williams' company)
Libby Horne
Amie Williams
Director of "Photography"
Amie Williams (Director of movies promoting unions such as based-in-Minneapolis "Out Of The Shadows" in 2001 - yet is it explained how Amie got all the footage in all this movie? She must be the "photographer" at the beginning. No other credits?)
SoundIn the fall of 2001, Amie Williams of Bal Maiden Films lent her resources to a new non-profit, partnering with Elizabeth Horne, a former McNeil Lehrer reporter and television producer to form Day, Swing, Grave Productions (DSG).
Joan Mandell
Lighting and "Second Camera"
Rich Wieske
Music
Kimera Koff
Dwight Caroll
Pandingo Studios (owner: Dwight Caroll - always gotta "fluff up" the credits, right?)
Sound Mix
Matia Lanzi
Framework Editorial
Still more special thanks
Dan Carson
Ground Zero [???]
Director of Safety, International Union of Operating Engineers
Michael Katz (Ne "James Smith" or "Joe Q. Public" ?)
Clea Koff
The Lambs Theater (an ["off-"]Broadway stage - just guess who owns the theater district)
Esperanza Ross (backstopped here: http://www.strategicadvocates.com/staff.html )
Alright, just for posterity, there are the credits.
The point is, to me it looks like these people have fat, slow-moving digital masks and CGI lighting with little hints of puppetry - the second man peering one eye through a "pyramid" he makes with his hands at 3:48 when he says "top of the building".
The first woman looks like a man has a fleshy "woman mask" on with what could be a voice modulator to make him a woman. He pushes his what could be a digitally blended-wig back in a rather unfeminine way, if you forgive the idea that this could be a poorly acted behavioral stereotype.
Second guy: fist pump on "pay phone" as if it make it more real - terrible unbelievable scripting made all the more embarrassing by its fake-looking people pasted on ambiguous black backgrounds. With second guy again, you have a zoom in on a hand interacting with a face only to reveal the thumb is offered no resistance and floats vaguely through holographic fat. The second dude has something weird going on with his cheeks. And he has what looks like a cloned macro animation of "raised eyebrows" that fades poorly exactly as it did on "Peter Joseph" and "Dylan Avery" and others. The third (a girl) with her near-nose faded, trailing on-and-off "mole" as if a digital hypnotist were trying to draw attention to the middle of the face. The sixth person's neck is attached "funny", especially its interaction with the collar - blending with it like a polygonal optimization when his head whips about at 6:00 but maybe it's all just the aesthetic of the whole charade? The woman who speaks while shaking her head constantly. Carmen Mejia looks really patchwork and overacts the entire time - thanking the cosmos for this interview, etc. etc. Tearworks at the finale ... Huh?! At 12:40, a woman's scarf compresses funny without wrinkling. Looks like Weta Workshop stuff on Gollum. Amanda Ream is just hilarious. The necks are always a give away something is not right. Their mannerisms are all "off" in some way, I feel like this is some digitally enhanced multicultural "lie porn". Not only bad actors but bad post-production create an artificial veneer to the act. Just like so many other interviews that looked "simmy" and turn out to be connected to widescale, big-budget hoaxes.
The scene on the 17th minute with the christmas tree couldn't really look more staged. The end with the soft piano music can only be described as propaganda.
Can we start acknowledging the bizarreness of these digital concoctions yet or what? Are we just going to ignore it - and ten years later when the augmented reality technology has advanced so far?
full link: http://www.youtube.com/watch?v=quGhaggn3cQ