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Music Music Blog

Director Seeks Dancers/Singers for Music Video for John Kilzer’s “It”

Almost exactly a year after John Kilzer’s death at 62 last March, award-winning Memphis director/producer/editor Laura Jean Hocking is seeking friends and fans of Kilzer to appear in a music video for his song “It” from 2019’s Scars — all from the safety of their own homes.

Kilzer, the former University of Memphis basketball player who later created a music career and a beloved ministry at St. John’s United Methodist Church, died Tuesday, March 12th, 2019, before Hocking could finish a series of music videos they had discussed.

“This will be my fourth Kilzer video I have directed,” Hocking says. “This was actually one of the first songs I wanted to do a video for off of Scars. After ‘Hello Heart,’ I had come up with a concept for the ‘It’ video that Kilzer had liked, but we obviously never got to make it.”

John Kilzer

For the video, Hocking is recruiting dancers, singers, and Memphis musicians and artists who, she hopes, will film themselves dancing or singing along to “It.”

The method of music video-making is particularly suitable to life in the midst of the soft quarantine to help slow the spread of the novel coronavirus, COVID-19. Dancers can safely participate while observing social distancing guidelines — and still manage to come together via the connectivity offered by music.

“I like the idea of a bunch of different people contributing to the whole piece, creating some connection especially now when we are all so separated,” Hocking explains.

Laura Jean Hocking

“Love is light, love is strong, love is right here in this song,” Kilzer sings on “It.” The song is warmly optimistic, a balm in these uncertain times.

Though minor chords and a progression that walks the melody down the scale give the song a gravitas that seems to acknowledge the challenges inherent in embracing love, Kilzer’s lyrics are an affirmation of love’s power.

That spirit is lifted up by simple, elegant instrumentation, lighthearted piano runs, and even, at one point, a whistled melody. Life can be challenging, the song seems to say, but love gives us the strength to face those challenges with courage and grace.

“I’ve often said that Kilzer sounds great whether unaccompanied or with a full band backing him,” says Ward Archer, founder of Archer Records and Music+Arts Studio, where Scars was recorded. “In this instance, ‘It’ arrived fully formed via his iPhone with just John playing the ukulele, which I didn’t know he played. It’s classic Kilzer. Less is more.”

Ward Archer

“It all goes back to love,” Hocking adds. “I hope if people don’t want to lip-sync, they can dance with their kids or their cat or just by themselves and express some love for life. The world is upside down right now; it’s hard to conceptualize what the other side of this might look like, and it’s scary. Hopefully, the opportunity to ham it up and dance around will be good medicine.”

Scars

“I also want to add that if there are any local musicians/artists who would like to participate, we’d love to link to their website/Bandcamp/etc. in the credits,” Hocking says. “It’s really important to me that we all lift each other up right now.”

Hocking has some helpful suggestions for those ready to dance or sing along for the video.

“Set up your phone in landscape mode (that’s sideways, or horizontal),” she says. “Open your camera app and record video. Rehearse it a couple times. Lip-sync to part or all of the song. Dance by yourself, dance with your kids, dance with your pet!” Her last piece of advice is perhaps the most vital: “These are difficult times; let loose and have some fun!”

Submissions should be uploaded to musicartsstudio.com/it-video-release

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Top Ten Music Videos of 2019

Music Video Monday is counting down the hits!

The Memphis Flyer is proud to feature music videos from Memphis artists on Music Video Monday. Judging from the mind-bending difficulty of putting together this top ten list, 2019 was a good year. I scored the year’s videos on concept, song, look, and performance. Then, I shook my head at all the ties and did it all over again. It was so close, it was an honor just to be in the top ten, and I had to include three honorable mentions. Congratulations to all our winners!

HONORABLE MENTIONS:

A. Frog Squad’s live space jazz epic “Solar System in Peabody”, directed by Brett Hanover, earns an honorable mention as one of the most incredible pieces of music that came across our threshold this year.

B. Stephen Chopek’s cover of the Pogues “Yeah Yeah Yeah Yeah Yeah” came with one of the DIY video auteur’s cleverest videos yet.

C. Louise Page’s “Future Runaway Bride,” directed by Joshua Cannon and Barrett Kutas, will get you to the church on time, but what happens then is on you.

TOP TEN:

10. PreauXX – “Steak and Shake ft. AWFM”

The Unapologetic crew gets behind the counter of a sandwich joint in this video from director 35 Miles. This is one of those videos where you can just tell that everybody had a great time making it, and the fun is infectious. 

Music Video Monday: Top Ten Music Videos of 2019

9. Uriah Mitchell – “Might Be”

Everything is wound up tight in Waheed AlQawasami’s video of a surreal night at the club with Uriah and his friends.

Music Video Monday: Top Ten Music Videos of 2019 (2)

8. Heels – “King Drunk”

Director Nathan Parten transforms Midtown into a D&D fantasia in this incredible animated video for Memphis’ hardest rocking duo.

Music Video Monday: Top Ten Music Videos of 2019 (3)

7. Talibah Safiya – “Healing Creek”

Director Kevin Brooks brought out Talibah Safiya’s beauty and charisma in this spiritual video, which won the Hometowner Music Video award at Indie Memphis 2019.

Music Video Monday: Top Ten Music Videos of 2019 (4)

6. Sweet Knives – “I Don’t Wanna Die”

Shannon Walton is outstanding as a stranded aviator in this video by director Laura Jean Hocking for the reunited veterans of the Lost Sounds, led by Alijca Trout.

Music Video Monday: Top Ten Music Videos of 2019 (5)

5. The Poet Havi – “Shea Butter (Heart of Darkness)”

Director Joshua Cannon and cinematographer Nate Packard took inspiration from Raging Bull for this banger from The Poet Havi, who clearly has more and better dancers than Martin Scorsese ever did.

Music Video Monday: Top Ten Music Videos of 2019 (6)

4. Impala – “Double Indemnity”

Director Edward Valibus and actress Rosalyn Ross created a heist movie in miniature for the kings of Memphis surf’s comeback record.

Music Video Monday: Top Ten Music Videos of 2019 (7)

3. John Kilzer – Hello Heart

Memphis lost an elder statesman of music this year when John Kilzer tragically passed away in January. Director Laura Jean Hocking created this tone poem in blue for his final single.

Music Video Monday: Top Ten Music Videos of 2019 (8)

2. Al Kapone – “Al Kapeezy Oh Boy”

Director Sean Winfrey knows how large Al Kapone looms in Memphis music, and he finally blew the rapper up to Godzilla size in this video for one of Kapone’s best jams since “Whoop That Trick”.

Music Video Monday: Top Ten Music Videos of 2019 (9)

1. Louise Page – “Harpy”

When this one dropped in October, MVM called it “an instant classic.” Animator Nathan Parten transformed Louise Page into a mythological monster and sending her off to wreak havoc on Greek heroes. Don’t feel sorry for Odysseus. He got what he deserved. Memphis, look upon your best music video of 2019: 

Music Video Monday: Top Ten Music Videos of 2019 (10)

If you would like to see you music video on Music Video Monday, and maybe in the top ten of 2020, email cmccoy@memphisflyer.com. Happy New Year! 

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Film/TV Film/TV/Etc. Blog

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway

Shannon Walton in Sweet Knives video for ‘I Don’t Wanna Die’

You’re going to be hard pressed to see everything great on Indie Memphis Sunday, so some triage is in order. We’re here to help.

First thing in the morning is the Hometowner Rising Filmmaker Shorts bloc (11:00 a.m., Ballet Memphis), where you can see the latest in new Memphis talent, including “Ritual” by Juliet Mace and Maddie Dean, which features perhaps the most brutal audition process ever.

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway

The retrospective of producer/director Sara Driver’s work continues with her new documentary Boom For Real: The Late Teenage Years of Jean-Micheal Basquiat (1:30 p.m., Studio on the Square). Driver was there in the early 80s when Basquiat was a rising star in the New York art scene, and she’s produced this look at the kid on his way to becoming a legend.

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (2)

The companion piece to Driver’s latest is Downtown 81 (4:00 p.m., Hattiloo Theatre). Edo Bertoglio’s documentary gives a real-time look at the art and music scene built from the ashes of 70s New York that would go on to conquer the world. Look for a cameo from Memphis punk legend Tav Falco.

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (4)

You can see another Memphis legend in action in William Friedkin’s 1994 Blue Chips (4:00 p.m., Studio on the Square). Penny Hardaway, then a star recruit for the Memphis Tigers, appears as a star recruit for volatile college basketball coach Pete Bell, played by Nick Nolte. It’s the current University of Memphis Tigers basketball coach’s only big screen appearance to date, until someone makes a documentary about this hometown hero’s eventful life.

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (5)

The Ballet Memphis venue hosts two selections of Memphis filmmakers screening out of the competition at 1:50 and 7:00 p.m., continuing the unprecedentedly awesome run of Hometowner shorts this year. There are a lot of gems to be found here, such as Clint Till’s nursing home comedy “Hangry” and Garrett Atkinson and Dalton Sides’ “Interview With A Dead Man.” To give you a taste of the good stuff, here’s Munirah Safiyah Jones’ instant classic viral hit “Fuckboy Defense 101.”

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (3)

At 9:00 p.m., the festivities move over to Black Lodge in Crosstown for the Music Video Party. 44 music videos from all over the world will be featured on the Lodge’s three screens, including works by Memphis groups KadyRoxz, A Weirdo From Memphis, Al Kapone, Nick Black, Uriah Mitchell, Louise Page, Joe Restivo, Jana Jana, Javi, NOTS, Mark Edgar Stuart, Jeff Hulett, Stephen Chopek, and Impala. Director and editor Laura Jean Hocking has the most videos in the festival this year, with works for John Kilzer, Bruce Newman, and this one for Sweet Knives.

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (6)

If experimental horror and sci fi is more your speed, check out the Hometowner After Dark Shorts (9:30 p.m., Playhouse on the Square), which features Isaac M. Erickson’s paranoid thriller “Home Video 1997.”

Indie Memphis Day 5: High Art, Music Videos, and Penny Hardaway (7)

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News News Blog

John Kilzer Dies

“Some say time’s a riddle/I say time’s a freight train, shimmering in the rain.” — John Kilzer

John Kilzer, the former University of Memphis basketball player who went on to create a decades-long music career and, later, a beloved ministry at St. John’s United Methodist Church, died Tuesday night. 

His death was announced by the church: “It is with tremendous sadness that we (St John’s UMC) announce the sudden death of John Kilzer, our associate pastor of recovery ministries and our friend. May love and peace be poured over John’s loved ones and this community as we grieve the incredible loss of this beloved member of the St. John’s Family.”

Kilzer was 62 and had just released a new album, Scars, in January. Here is Alex Greene’s interview with Kilzer on that occasion.

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Music Music Features

“Scars” — John Kilzer’s New Record is Homespun and Philosophical

I first encountered singer/songwriter John Kilzer’s name while recording at Ardent Studios over 30 years ago. He had just released a record on Geffen Records, Memory in the Making, produced by the late, great John Hampton. But I knew of him because a tiny plaque had been mounted above the couch in Studio B, with the words “Kilzer’s Spot.” When I mention it to Kilzer today, the air fills with his hearty laughter. “Yeah, it’s still there!” he says. “That’s so funny. I’m sure that little plaque has plenty of verdigris on it by now. It’s probably more green than copper.”

Since then, much more has changed than the plaque’s patina. After releasing another record on Geffen in 1991, Kilzer’s musical career took a 20-year hiatus, as he wrestled with deeper questions of faith and personal growth. “I was going through the ordination process and getting my Masters of Divinity at Memphis Theological Seminary. And then I went straight into the Ph.D program at Middlesex University in England. During that time, I didn’t have time to do much music. But when I got back here and was appointed to the recovery ministry [at St. John’s United Methodist Church], I realized that music was going to be a foundation of that. Resuming that interest naturally prompted me writing. And so the songs came out, and I did the one album, Seven, with Madjack Records.”

John Kilzer

That 2011 release, recorded with Hi Rhythm’s Hodges brothers (Teenie, Charles, and Leroy) came out just a year after Kilzer had begun The Way, a Friday evening ministry at St. John’s that carries on today, featuring some of the city’s best musicians. “Our premise is that everybody’s in recovery. Everybody has experienced trauma, and there’s something about music that just calls out of each person’s spirit, whatever it is that’s keeping them bound. Music is kind of the language of heaven. But we don’t do church music. We do a lot of my material and some gospel standards, but it’s not contemporary Christian music. It’s just good music. And if, say, Jim Spake’s gonna be there, naturally, I’m gonna pick something that would suit him, but it doesn’t matter. They’re all so good, they can play anything from Bach to Chuck Berry.”

A similar appreciation for quality musicianship permeates his discussion of his latest work, Scars, just released on Archer Records. “When you know you’re gonna have Steve Potts, Steve Selvidge, Rick Steff, Dave Smith, George Sluppick, and Matt Ross-Spang, you feel more comfortable. You trust yourself, and you trust those guys.”

Kilzer, who was a college literature instructor before his Geffen days, brings an expansive melodic and lyrical imagination to these songs, which could be about himself or any number of the souls attending The Way, driven more by character and circumstance than any obvious theology. “Some say time’s a riddle/I say time’s a freight train shimmering in the rain,” he sings, before describing scenes in Lawrence, Kansas. And the new songs, effortlessly blending the homespun with the philosophical, are given plenty of space to breathe.

“It’s so understated, and I think a lot of that is because we were cutting live. When you know that you’re live and that’s gonna be it, you don’t try to say so much. It’s like you honor the spaces between the notes. On Scars, I think there’s a lot of creative space in it. It’s not filled with any unneeded stuff.

“Another thing that’s different about it is, I wrote on different instruments. I wrote a couple on a mandolin, a couple on ukulele, and several on the piano. I would have never, ever considered doing that earlier in my career. So that kind of creative tension manifests in the songs. To be real nervous and have all these conflicting emotions, but knowing you’ve got sort of a protective shield around you in these musicians, I think that’s why there’s something on Scars that I can’t quite articulate. You can hear it, but you just don’t know what it is.”

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Film/TV Film/TV/Etc. Blog

Music Video Monday: John Kilzer

Get moony over Music Video Monday.

Last Saturday night, John Kilzer played a sold-out show at the new Crosstown Arts Theater to celebrate the release of his new album Scars. The show opened with the Memphis debut of the video for “Hello Heart”.

“I wanted to do something abstract and dreamlike rather than a narrative piece,” says director Laura Jean Hocking, who has created three videos for Kilzer.

The star of the video is Shannon Walton, who can soon be seen in Theater Memphis’ production of Little Women. Plans to have Walton dive into the pool for the video were canceled after a thermometer reading of 45 degrees F.

“I dig the video ,” says Kilzer. “I think it is visually ambiguous in a way that allows one to fill in the creative spaces of both shadow and translucence. In a way it invites one to enter the song and dream out loud.”

Music Video Monday: John Kilzer

If you would like to see your music video appear on Music Video Monday, email cmccoy@memphisflyer.com. 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: John Kilzer

Today’s Music Video Monday world premiere is ready to take our country back!

Longtime ambassador of Memphis music John Kilzer is prepping a new album for 2019. Scars was recorded with Grammy-winning producer Matt Ross-Spang and a band of Memphis all-stars that included Steve Selvidge, Rick Steff, Steve Potts, George Suffolk, and Dave Smith.

The album is set for release in January 2019 on Archer Records, and the first single “American Blues” will drop on November 23rd. Kilzer says the protest song is “Jangly, happy, almost languid. It hides the stringency of the lyric.”

He believes musicians must make political songs that both speak to the moment and to eternity. “I hope it has enough polyvalence to last. I think the prototype of the protest song is ‘For What It’s Worth’. It’s germane in any time period.”

The video is directed by Laura Jean Hocking, who has previously done award-winning work for Kilzer. “I was inspired by the courage of the survivors of the Parkland, Florida, shooting, and the wave of activism they inspired in young people.” says Hocking. “I was excited to work with Janay Kelley. I saw her short film ‘The Death of Hip Hop’ at the Indie Memphis Youth Festival and thought she was very dynamic onscreen. I needed that energy for this video.”

Here’s world premiere of “The American Blues”:

Music Video Monday: John Kilzer

Vote on Tuesday, November 6! 

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2)

Dr. James Gholson leads Craig Brewer’s ‘Our Conductor – Artists Only Remix’

 Let’s do this.

10. Kphonix “When It’s Tasty”
Director: Mitch Martin

What goes with disco better than lasers? Nothing.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2)

9. Hormonal Imbalance “That Chick’s Boyfriend”
Director: Jamie Hall
Rising Fyre Productions gives Susan Mayfield and Ivy Miller’s gross-out punk the no-holds-barred video they deserve. Not safe for work. Or life.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (2)

8. “Our Conductor – Artists’ Only Remix”
Director: Craig Brewer
When the Memphis Grizzlies hired Craig Brewer to make a promotional video to help persuade Mike Connelly to stay, he gathered an A team of Memphis talent, including producers Morgan Jon Fox and Erin Freeman, cinematographer Ryan Earl Parker, assistant director Sarah Fleming, Brandon Bell, and Firefly Grip and Electric. Prolific composer Jonathan Kirkscey was tapped to write an inspiring score, which would be performed by musicians from the Stax Music Academy and members of local orchestras, and the Grizzline drummers. Dancers from Collage Dance Collective, joined jookers from the Grit N’ Grind Squad.

After a shoot at the FedEx Forum, Editor Edward Valibus cut together a b-roll bed to lay the interviews on. His rough cut turned out to be one of the best music videos of the year.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (3)


7. Brennan Villines “Crazy Train”
Director: Andrew Trent Fleming
This unexpectedly poignant Ozzy cover was the second music video Villines and Fleming collaborated on this year, after the stark “Free”. Where that one was simple, this one goes big.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (4)


6. Lisa Mac “Mr. Mystery”

Director: Melissa Anderson Sweazy
There’s no secret to making a great music video. Just take a great song, a great dancer, a great location, and some crackerjack editing. All the elements came together brilliantly for Sweazy’s second entry in the countdown.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (5)

5. Marco Pavé “Cake”
Director GB Shannon

Shannon used the WREC building as the main setting in his short film “Broke Dick Dog”, and he returns with a cadre of dancers and a stone cold banger from Pavé. Go get that cake.

Marco Pavé "Cake" Music Video from VIA on Vimeo.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (6)

4. Chackerine “Memphis Beach”
Director: Ben Siler

This three minute epic keeps switching gears as it accelerates to a Jurassic punchline. Its sense of chaotic fun took the prize at the revived Indie Memphis music video category.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (7)


3. Yo Gotti “Down In The DM”
Director: Yo Gotti

It was Yo Gotti’s year. The Memphis MC racked up a staggering 101 million views with this video, which features cameos from Cee-Lo Green, Machine Gun Kelley, YG, and DJ Khalid. The video must have worked, because the song peaked at number 13 on the Billboard Hot 100.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (8)

2. John Kilzer & Kirk Whalum “Until We’re All Free”
Dir: Laura Jean Hocking

Two things brought “Until We’re All Free” to the list’s penultimate slot. First, it’s a perfect example of synergy between music and image, where both elements elevate each other. Second is the subtle narrative arc; Amurica photobooth owner Jamie Harmon selling false freedom seems suddenly prophetic. The social justice anthem struck a chord with viewers when it ran with the trailers at some Malco theaters this spring. The parade of cute kids helped, too.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (9)

1. Don Lifted “Harbor Hall”
Director Lawrence Matthew
s
Matthews is a multi-tasker, combining visual art with hip hop in his live performances and controlling his videos. His two videos from his album Alero feature his beaten up domestic sedan as a character. Its the total artistic unity that puts “Harbor Hall” at the pinnacle of 2016 videos. Because my rules limited each musical artist to one video, Matthews’ 11-minute collaboration with filmmaker Kevin Brooks “It’s Your World” doesn’t appear on the list. I chose “Harbor Hall” because of its concision, but “It’s Your World” would have probably topped the list, too.
Here it is, Memphis, your Best Music Video of 2016:

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (10)

Keep those videos coming, artists and filmmakers! Tip me off about your upcoming music video with an email to cmccoy@memphisflyer.com.

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Film/TV Film/TV/Etc. Blog

Indie Memphis Wednesday: Filmmaker Laura Jean Hocking’s Prolific Year

There are several Memphis filmmakers with multiple projects appearing in this year’s Indie Memphis Film Festival. One of the most prolific local filmmakers is Laura Jean Hocking, who boasts involvement in eight different projects screening during the weeklong festival. She co-directed the short narrative film “How To Skin A Cat” and the short documentary film “A.J.”; and created music videos for John Kilzer and Alex Da Ponte. As an editor, she cut the music documentary Verge and the narrative feature Bad, Bad Men. Melissa Anderson Sweazy’s music video “Bluebird”, and did initial assembly on frequent collaborator Sarah Fleming’s “Carbike”. Oddly enough, it all started because of her culinary prowess.

Jamie Harmon

Filmmaker Laura Jean Hocking

It was early 2000s and Laura Jean Hocking was doing craft services and props for her friend’s films. While helping out with her husband C. Scott McCoy’s film Automusik Can Do No Wrong, Hocking wound up peering over the shoulder of The Invaders director Prichard Smith. “I watched Prichard edit, and it just clicked. It was an epiphany,” said Hocking. “And I knew right then and there that I wanted to do this for a living.”

Hocking’s epiphany sparked an insatiable thirst for editing jobs. After she purchased an instruction book for Final Cut Pro, and completed every lesson in it, Hocking set out to edit a feature film she had just finished writing with McCoy. “It was 52 speaking parts, and everyone thought I was out of my mind to tackle that as my first editing project,” recalls Hocking. “After that, I wanted to edit any and every thing.”

Solomon Phillips in Laura Jean Hocking’s video for John Kilzer and Kirk Whalem’s song ‘Until We’re All Free’

More than 15 years later, Hocking pretty much has. She’s also produced, directed, or written countless other films. Two of her Indie Memphis projects in particular showcase Hocking’s ability to tackle subjects that can elicit a wide range of emotional responses.

In “A.J.” a short documentary that introduces audiences to the delicate work of the Kemmons Wilson Center for Good Grief, Hocking, fellow producer/director Melissa Anderson Sweazy, and producer/cinematographer Sarah Fleming decided to focus on an element of grief underexplored in documentaries — recovery. “We see the dark side represented in film plenty,” said Hocking. “We wanted to show how people get out of grief and how they get to the other side of it.”

‘A.J.’

On the flip side, the short film “How to Skin A Cat” demonstrates of Hocking’s ability to transition from the somber to the asinine within a single production year. And if you pressure Hocking enough, she’ll tell you it’s the film that she might love just a tiny bit more than her other film-children this festival, due largely to the ability to pay the actors and crew, thanks to the $7,500 in IndieGrant funds the project received. “Do you know how big that was? To be able to pay our actors?”Hocking asks.

In spite of a rapidly expanding filmography, Hocking has her sights set on the Memphis horizon and the future of Bluff City filmmaking. When people ask if she ever would consider moving to L.A., Hocking’s answer is a flat no.“Why would I want to move to L.A.? Here, I can make a difference,” Hocking notes. “It’s here that I have artistic freedom that isn’t usually given to you by way of a big studio.”

With a location of choice and the support of a close-knit film community, Hocking is poised to continue her constant self-challenge to try all things new in the world of filmmaking. And because her personal belief is to never cease trying new things, we are likely in store for watching a filmmaker whose list of works will continue to push norms. “After all,” Hocking added, “If you’re not learning, you’re dying.”

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Film/TV Film/TV/Etc. Blog

Music Video Monday: John Kilzer and Kirk Whalum

Today’s Music Video Monday has a message. 

Solly Phillips

“Until We’re All Free (Ain’t Nobody Free)” is a collaboration between Memphis folk rocker John Kilzer and saxophonist Kirk Whalum. Archer Records tapped director Laura Jean Hocking to bring its egalitarian message to life. “Ward Archer and I went through several ideas before settling on this one,” Hocking says. “When we got Amurica photography owner Jamie Harmon and director of photography Sarah Fleming on board, they helped flesh out the concept. Jamie’s kind of like the Wizard of Oz, promising these children things that are supposed to be their inalienable rights, but which are not available to a lot of Americans. I didn’t have much experience working with children before this, so I had a little trepidation going in. But I was so fortunate to get a great cast. They made my life easy. Our hero kid Solly Philips was a dream. He took direction better than a lot of grown ups do.” 

Music Video Monday: John Kilzer and Kirk Whalum

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com