Performance artist Kelly Hargraves discusses her background in dance and her involvement in film-making. Hargrave's film 'Cargo'—a short dance film that 'explores one man's pit stop on the road of life'— will be screened at the V Lounge. RSVP to see this short at the next Santa Monica showcase on Thursday, March 4th! 

How did you first get started as such a varied artist? 
I started dancing while already in college and attended a school that was very interested in cross-discipline work, so we were encouraged to take art classes, music classes and use digital media.

From where do you draw inspiration for your work?
I really honor and cherish the work of Bertolt Brecht. I really like character studies, something not common in American modern dance.

Do you engage in, or draw inspiration from, any other forms of art? 
I am a music fiend. I think I dance because I can’t sing or play an instrument, I was a DJ for a long time even before I danced.

From start to finish, explain your film-making process.  
I take years to work a piece out in my head, so when I actually get to shooting, it’s pretty quick. Because I make works for stage, they are set as one long sequence so we can do it over and over and shoot from many angles. Of course, film also allows us to stop and add anything we discover throughout the shooting process.

When you are not filming, how do you like to spend your time? 
I take dance classes, yoga and train as a boxer.

All time favorite film?
Hmm ... I am most influenced by things like Koyanasquatsi and the Gods Must Be Crazy.

What sort of film techniques/styles do you most like working with? 
I like old cameras that are heavier and can be used as hand-held, but still have a steadiness to them. Plus, I like a grittier image than what all the new digital HD cameras provide. I guess it would be called “cinema verite.”

Are there any specific reoccurring themes or subjects that you explore and deal with most in your work? 
Yeah, I am really into solos. And the psychological journey a person goes through alone. I have been reading a lot of Buddhist writing and it seems to really align with how I make the characters I create.

Any previous films/collaborations that you are most proud of? 
Actually, I am pretty proud of my “day job” and all the films and filmmakers our company (First Run Features) represents. We release social issue documentaries by people who are really helping decipher our culture and “fighting the good fight.”

Any current rising stars within the genre that you would recommend we look out for?
Most of the work I admire in dance film is European, based in places like Holland, Spain and Belgium ...

'A tiny robot is given the gift of life with only one limitation, the length of his power cable...'

FROM SUPER8 FILMS TO PORK BUNS, FILM DIRECTOR LANLIN WONG, ACCOMPANIED BY PRODUCER CHARLES AGRON, TALK TO RAW ABOUT HIS JOURNEY THROUGH FILM-MAKING. SEE THEIR LATEST FILM, 'THE CHARLES AGRON SHOW,' IN A LIVE SCREENING AT THE NEXT RAW SHOWCASE IN SANTA MONICA ON THURSDAY, FEBRUARY 4TH! 

When did you start working in film? 

LANLIN WONG: I guess you could say my passion for film first started when I was a teenager.  I used to go to lots of punk rock and hardcore shows, and I would use my dad's Sony Hi8 camera to film all the bands for myself. After a while, I got creative and would put a camera in the back of the room and have another camera in my hand as I was being tossed around in the pit at the front of the stage. Then, I would attempt to edit all the footage together, which, to be honest, never turned out that well.  I think I still have a collection of tapes in a box somewhere ... When I got to college I majored in Film and Media Studies, though our program didn't have a heavy emphasis on production.  I helped work on a few student films that were shot on DV or super8, but my first real film production experience was when one of my college friends got funding for his first feature "Under the Gaydar." It was shot during summer break, and I came on as a production assistant and slept on his floor for five weeks in Los Angeles. I learned a ton from that experience.

CHARLES AGRON: Actually, I did not set out to become involved in entertainment.  I had studied both pre-law and pre-med and was torn between becoming a doctor or an attorney.  I ended up working in Washington DC for a lobbyist group that represented doctor's rights.  While I was in DC, I auditioned for and got a spot in an acting program at 20th Century Fox.  I flew back and forth between LA and DC.  I eventually landed a leading role in a feature film.  It was there that I realized my political background, along with my knowledge of entertainment became the perfect start for my production company.   

From where do you draw inspiration for your work?

WONG: I think my early experiences with filming bands has made pairing music and film a big passion of mine.  I have directed and produced a handful of music videos, which for me is probably my favorite form to work on. I also have some pretty interesting life experiences to draw from, mostly from the eclectic group of friends I have had my whole life.  I have always found the humorous side of almost any situation or experience; so, I am never afraid to laugh or make light of anything. Hopefully that translates in my films.

AGRON: I have two main genres that I work in: Horror and Comedy.  My feature film 'Haunted' was inspired by greats such as Stephen King, Alfred Hitchcock, and Stanley Kubrick.  'The Shining' really inspired me; it did such an amazing job of making the audience uncomfortable.  I fully believe that less is more when it comes to scary movies.  In the comedy genre, I have been influenced by Jerry Lewis and Lucille Ball, as well as, the modern legends like Larry David.  I believe in exploiting uncomfortable circumstances so that the audience can feel the embarrassment and drama that the character is feeling.   

From start to finish, explain your process.

WONG: Every day is different, obviously. I suppose to condense the whole process, most of my ideas start with poking fun at something stupid and ludicrous in our culture.  Then I begin to obsess over that idea, and realize that if I am that interested in it, perhaps others will be too. The idea gets constructed and built upon. Next thing I know, I have a script and am making phone calls to see who wants to come on board. Then, we see what resources we have, how much money/time we need and, before we know it, we are filming.  I have a handful of friends who I usually work with, but for the most part I am involved directly in the whole process, from start to finish. At the end of it all, we celebrate and go drinking.

AGRON: Unfortunately for me, a typical film-making day for me is not what one thinks.  There is a lot of business involved and lots of logistics.  It's funny because one of the most peaceful times that I can have is after the Director yells 'action.'  Nothing else is in my mind except for trying to create a great scene.   

My job entails that I am involved in the idea-making, putting together a top-notch crew, performing, and then, overseeing the edit. It is a lot of work, but if you just imagine the crowd going wild over the piece of art that you have created, it makes it all worth it. 

What sort of techniques/styles do you most like working with?

WONG: I love camera movements; the more a camera can move, the more freedom I feel like I have to best create a scene.  I recently got to do a lot of my own steady camera work with "The Charles Agron Show," and I felt like I had absolute full control to direct the scene.

Are there any filmmakers, past or present, who strongly inform and influence your work?

WONG: I think Michel Gondry was the first director who really wowed me with how playful and innovative he could be with his music videos.  I definitely try to be playful with my characters and situations as often as I can.

Are there any specific reoccurring themes or subjects that you explore and deal with most in your films?

WONG: None so far that I have intentionally expressed at this point. Now, you got me thinking though...

Any previous films/collaborations that you are most proud of?

WONG: I produced a music video spoofing BoA, a huge Asian pop star.  We redid the entire song to be about an obsession with pork buns. It was ridiculous and tons of fun!

Any current rising stars within the genre that you would recommend we look out for?

WONG: I would recommend ALL our actors in "The Charles Agron Show"! It was fantastic working with everyone; I have never laughed so hard during production as I did in this one.

RSVP for the RAW Santa Monica Showcase to see a screening of "The Charles Agron Show" on Thursday, February 4th! 

1. PLACEMENT IN THE DEL REY FILM FESTIVAL & SUBMISSION TO FILM FESTIVALS WORLD WIDE
   Compliments of Jules Works
   
   
2. $100 GRANT
   Compliments of RAW:natural born artists
   
   
3. HAND PAINTED STATUETTE
   Compliments of Color Me Mine and the Boys & Girls Club of Burbank
   
   
4. PRESS COVERAGE
   Compliments of Flavor Pill Online Magazine, KCRW & RAW Press Team