The Documentary Director

Filmmaker Tommy Sowards does not do soft and cuddly. As a graduate film student at UCLA he directed music videos in the emerging gangster rap genre. Tommy became friends with renowned rapper Kurtis Blow who introduced him to several members of the "Rollin' 20's" Bloods gang.  Tommy spent the next decade documenting the underbelly of Los Angeles gang life. The resulting film Slippin: Ten Years With the Bloods offers a rare glimpse inside LA's gang culture.

Tommy first met the gang in 1992, the same year as the LA Riots.  After an introductory phone conversation, Tommy was told to wait at the corner of 56th & Western, a rough LA neighborhood.  A rickety limousine pulled up and Tommy got into the backseat.  Five gang members were "all flamed up" in red clothes and bandannas.  Within seconds, several guns were pointed at Tommy's head.  The young men wanted to know why Tommy was interested in them.  Was he a cop? Was he some sort of informant?

Tommy kept his cool.  He calmly rolled a joint, took a long hit and passed it around the back seat.  The gang members put away their guns and joined Tommy in a ceremonial smoking of "the peace pipe."

Over the next six months, Tommy hung out with the gang.  They played basketball, drank 40's, had barbecues and played cards.  Tommy met the gang members' girlfriends, their grandmothers, their babies.  A trust developed and Tommy was given a crash course in "the hood."  He learned the meaning of gang signs and how to discern between rival gang "tags" (graffiti).  He learned the cryptic slang unique to the Bloods.

Tommy told the gang of his desire to document their life on video in a non-judgmental fashion.  The gang members agreed.  Tommy traveled to Germany to obtain a small amount of funding.  He put together a six-person German crew and by the middle of 1993 they were ready to begin shooting.

On Day 1 of production, a German still photographer quit on the spot.  He wasn't ready for the real-world intensity of the South LA streets.  Tommy manned the main camera himself.  He wanted to capture something real, something deeper than the after-school special sensibility of Boyz N' The Hood.

The first part of the film covers the years 1993-1996.  We get to know the lives of Dig Dug, Jumbo, KK, Low Down and Twerk.  We watch as the men deal drugs out of their homes, explain their use of rap music and exhibit their fascination and knowledge of a wide array of weapons.  We see their preoccupation with killing and being killed.  We also see funny moments as when Low Down takes a job as a "court summons deliverer."

The men have no education, no structure, no functional family guidance.  Their lives are insulated and hopeless.  At one point, Dig Dug takes some of his gang money and hires a tutor to teach him to read.  But this is a rare moment.  Unlike Hollywood, there is little redemption or glory.

The emotional heart of the film occurs in April, 1993 when CK ("Crip Killer") Lil' Mike is killed by a rival gang.  After Lil' Mike's death, the gang members begin questioning themselves.  They pour 40's over Lil' Mike's grave wondering why they kill their own people, why they keep themselves down.

Tommy completed production in 2003.  He approached Christopher Koefoed, the editor of Menace 2 Society.  The two men cut 180 hours of footage down to a taut 84 minutes.  The resulting documentary won Best Film at the Montenegro Film Festival.  It played to packed audiences at the Tribeca Film Festival and ultimately screened on Showtime.

Some critics were offended that a white filmmaker had the nerve to make a first-person movie about black America.  But Executive Producer Kurtis Blow and editor Koefoed (who is black) helped give the film street-cred among gangs.  As Tommy said, "I'm just the white wall on a black tire."

Slippin' has since been shown at colleges, prisons, inner-city churches, police departments and army bases.  Tommy went on to make documentaries about prison rehabilitation efforts for Latino gang members and the world of extreme martial art fighting. His new film is about Wallid Ismail, a legendary martial artist who pioneered competitive MMA fighting in Brazil.  (5" x 7", black ink print)

Buscemi

When I first started carving woodcuts, every portrait oddly seemed to resemble Steve Buscemi. With that in mind, I decided to carve the actual Steve Buscemi. A favorite of edgy filmmakers like Jim Jarmusch, Quentin Tarantino and the Coen Brothers, Buscemi is infamous for his large number of screen deaths. Ironically, he was the only character who survived in "Reservoir Dogs." He often plays sleazy, fast talking criminals and outcasts. One critic called him the cinematic equivalent to junk mail (I completely disagree). He is the lead character in my favorite indie comedy "Living In Oblivion." Before acting, Buscemi worked as a bartender, an ice cream man and a New York City fireman. In 2001, Buscemi and actor Vince Vaughan got into a barroom brawl in North Carolina. Buscemi was stabbed in the face, arm and throat and he still bears a scar on his cheek. He has become a fantastic film director and his directorial episode in the pine forest remains my favorite Sopranos episode of all time. These days he's busy playing Enoch "Nucky" Sullivan in HBO's amazing series Boardwalk Empire. (5" x 7", black ink print)

The Reality TV Producer

Javier Winnik is a veteran in the reality tv world. His producer credits include "Last Comic Standing," "Weakest Link" & "Dog Eat Dog." We've been friends since high school and during college we often videotaped private events to help pay our bills. One such event was Nathan Spiegel's barmitzvah at the Beverly Wilshire Hotel. For us, the night was an epic disaster. Among the evening's lowlights: we stepped on a $20,000 violin while crossing the stage for a better camera angle; we set a large photo of the barmitzvah boy on fire with a hot camera light; we accidentally unplugged the PA system while Nathan was reciting his thank you speech; and worst of all, we mistook the boy's uncle for his father and spent the evening videotaping Uncle Shlomo in extreme closeup as he danced, socialized and nibbled on chopped liver. The only footage we captured of the "real Mr. Spiegel" was a blurry pan across the dance floor which we had to reference over and over while editing the video in order to get Mr. Spiegel to pay us. Though not quite reality tv, I'm certain the Spiegel barmitzvah remains the most "surreal" video Javier has ever worked on. (5" x 7", black ink print)

Derek Fisher

I was 10 years old when my dad took me to my first Lakers game (1973 Finals: Lakers vs Knicks at the Fabulous Forum.) I've been a huge Lakers fan ever since. As a boy, my favorite player was Gail Goodrich. Today my man is Derek Fisher. Derek is what the NBA calls a "character guy." Well spoken and humble, Derek exemplifies hard work and tenacity. He was drafted in 1997 in the same draft as Kobe Bryant but where Kobe was a prodigy, Derek had to toil for everything he's achieved. Lakers fans know him for his "0.4" miracle shot against San Antonio in 2004 but he's assembled a career of great basketball moments. He saved Game 4 in the 2010 Finals against Orlando with two amazing end of game 3-pointers. In Game 3 of the 2011 Finals, he helped defeat the hated Boston Celtics with an amazing 4th quarter scoring spree. Derek nearly gave up his basketball career in 2007 to devote himself to his 1-year old daughter Tatum who was diagnosed with a rare form of eye cancer. His daughter survived and Derek and his wife became spokespeople in the battle against retinoblastoma. Derek is so respected by his peers he was voted as president of the NBA Players Association. He helped end the owners lockout against players which saved the 2012 basketball season. (5" x 6", black ink print)

Hands Of Time

2013 marks the 90th Anniversary of the silent film masterpiece Safety Last.  The film offers arguably the most iconic image from the silent film era: Harold Lloyd clinging from a building clock over downtown Los Angeles.

Known as the "Third Genius" (behind Chaplin & Keaton), Harold Lloyd played a prototypical "everyman" character.  In Safety Last, Lloyd is a small-town country boy striving for success in the big city.  He finds a job as a department store clerk and comes up with the idea to climb the building edifice as a publicity stunt.  Lloyd was inspired a year earlier by seeing a stuntman climb a towering building in Downtown Los Angeles.

During production, a fake building structure was constructed over another building's rooftop.  The camera was positioned across the street at an angle to make it look as if Lloyd were hundreds of feet in the air.  In truth, he was only seven stories high.

When Lloyd first tested the safety precautions for the stunt, he dropped a dummy onto the mattress below the clock.  The dummy bounced off the mattress and plummeted to the downtown street.  When writer and producer Hal Roach saw this happen, he urged Lloyd to use a stuntman.  Like Chaplin and Keaton, Lloyd insisted on doing most of how own stunts.  What made the Clock Stunt more amazing was the fact that Lloyd only had 8 fingers.  He'd lost a thumb and a forefinger on the short film Haunted Spooks four years earlier when a prop bomb exploded in his hand.  Lloyd subsequently wore a light glove with prosthetic fingers and performed his stunt work with only one complete hand.

Lloyd called his special brand of films "thrill comedies."  Safety Last broke box office records upon it's release in 1923.  Years later, actor Jackie Chan acknowledged a creative debt to Harold Lloyd in his own action comedies which perfected the "thrill comedy" format.

Lloyd married his on-screen co-star Mildred Davis in 1923.  A year later he started his own production company at a location that now houses the Los Angeles Mormon Temple in Westwood.  Like Buster Keaton, Harold Lloyd's popularity waned with the advent of talkies.

In 1947, Lloyd tried to recreate his "thrill comedy" magic in the film The Sin Of Harold Diddleback. Directed by Preston Sturges and produced by Howard Hughes, the film includes a scene where Lloyd is stranded on a building ledge with a full-grown lion.  The film received negative reviews and did poorly at the box office.  This would be Harold Lloyd's last film.

After retiring, Lloyd became known for his nude photos of models & strippers. His subjects included Bettie Page and Marilyn Monroe. (6" x 7", black ink print)

The Liquor Store Proprietor

Tommy Bina is owner of the legendary Canyon Country Store.  Located halfway up Laurel Canyon, the store was immortalized by Jim Morrison in the song Love Street as the "store where the creatures meet." Originally built in 1908 as a lodge for local hunters, the Country Store was the center of the Los Angeles counter-culture hippie movement in the 1960's.

Tommy bought the store in 1982 and quickly became a staple of Laurel Canyon life.  He loves to tell the story about the time a stylishly-dressed man came in asking for "Flakes," a British candy bar. When Tommy realized the man was David Bowie he began stocking the chocolate.  He added "English Kit Kats" for Mick Jagger and specialty French wines for actress Christina Applegate.  Before being accused of murdering his wife, Robert Blake, in an effort to quit smoking, kept an open pack of cigarettes behind the front counter.  He asked the staff to dole them out to him, one per visit.  Though overpriced, the store is a place where music & film celebrities do their local shopping.  I once inquired of Tommy, "Why is your milk is so expensive?"  He responded, "Don't ask me, I don't shop here."

Every year, Tommy gathers locals in front of the store for the annual "Canyon Photo day."  Tommy can also be seen on Sunday mornings with a garbage bag in hand cleaning trash from the Canyon streets.  The store remains much like it was in the 60's and Tommy is the eclectic steward of Laurel Canyon history. (6" x 6", black ink print)

Buster Keaton

Joseph "Buster" Keaton was one of the three great silent film comedians (along with Charlie Chaplin and Harold Lloyd).  Born into a performing family, Keaton's father Joe owned a traveling vaudeville show with Harry Houdini called the Mohawk Indian Medicine Company.  At the age of 18 months, Keaton fell down a flight of stairs without injury.  Houdini observed the event and said, "That was a real buster."  The nickname stuck.

Keaton began performing with his parents at age 3 in a comedy act called "The Three Keatons."  As part of the act, he was manhandled and tossed around stage by his father while his mother played saxophone on the side.  A suitcase handle was sewn into Keaton's clothing to make him easier to toss. Father Joe was arrested for child abuse on stage but after the boy showed authorities he had no bruises or broken bones, the elder Keaton was released. Keaton became known as "the little boy who can't be damaged."

Keaton learned early on how to take a pratfall.  "The secret is landing limp and breaking the fall with a foot or a hand.  Several times I'd have been killed if I hadn't been able to land like a cat."  Keaton also  learned that smiling on stage drew fewer laughs than a deadpan expression.  This is how he acquired his famous "stoneface" demeanor that became his signature.

Keaton served in France with the 40th Infantry during World War I.  He suffered an ear infection that permanently damaged his hearing.  After the war, he began working at the Talmadge Studios in New York.  He befriended Roscoe "Fatty" Arbuckle who hired Keaton as a co-star and gag writer. Keaton's first film appearance came in The Butcher Boy in 1917.  Soon, Keaton was directing Arbuckle's films.  (When Arbuckle was falsely accused of raping actress Virginia Rappe in 1921, Keaton was one of the few people to defend Arbuckle's character.)

Keaton's golden period of two-reel comedies and full length features was 1920-29. The films included the classics The General, The Navigator and The Cameraman. He became known for creating brilliant gags and dangerous stunts.  In Sherlock, Jr., Keaton broke his neck when a torrent of water from a railroad water tank fell on his head.  During Steamboat Bill, Jr., Keaton stood motionless as the facade of a two-story building toppled onto him.  He emerged unscathed thanks to a single open window.  The house weighed two tons and provided just a few inches of clearance around his body.  Throughout the stunts, Keaton maintained a stoic, emotionless expression.

Keaton appealed to audiences as an everyman who refused to succumb to life's difficulties.  He became known for his large eyes, solemn stare and his ever-present porkpie hat.  He made the hats himself.  "I knew straw was too fragile for my kind of antics so I took a good Stetson and cut it down, then I stiffened the brim with sugar water."

When movies turned to sound in 1927, Keaton signed with MGM, a decision he later called the worst of his life.  MGM limited Keaton's creative input and cast him in dialogue-heavy scripts with few gags. They forced him to use a stunt double despite Keaton's concern that "stuntmen don't get laughs."  The studio teamed the quiet Keaton with the obnoxious Jimmy Durante, a decision that yielded box office success but less than memorable films.  Keaton complained so much that MGM fired him after production of the 1933 film What! No Beer?

Keaton was demoralized by the state of his career.  He was also stuck in a loveless marriage to Natalie Talmadge, sister-in-law of studio head Joseph Schenck.  They had two children but Talmadge sued Keaton for divorce in 1932 and took his entire fortune.  She also refused her sons any contact with their father.  Keaton turned to alcohol.  At one point, he was briefly institutionalized.  He escaped his straitjacket with tricks he learned from his vaudeville days.

In 1933, Keaton married his nurse during an alcoholic binge.  He later claimed no memory of the event calling those years his "alcoholic blackout" period. They divorced in 1936, again at great financial cost to Keaton.

After making a few films in Europe, Keaton became a gag writer for the Marx Brothers and Red Skelton.  He also mentored Lucille Ball advising her to eschew dramatic films for comedy.  In 1939, Keaton made ten short films for Jules White (who later directed the Three Stooges).  Audiences enjoyed the films but Keaton was simply rehashing his early silent work.  He swore he would never "make another crummy two-reeler."

In 1940, Keaton married Eleanor Norris, a woman 23 years his junior.  They would remain married the rest of his life.  She was credited for saving Keaton's life by stopping his heavy drinking.  Keaton's last starring role came in the 1946 Mexican science fiction film Boom In The Moon.  He appeared in cameos in big budget studio films like Sunset Boulevard, Around the World in 80 Days and It's a Mad, Mad, Mad, Mad World.  He also appeared with Charlie Chaplin in the vaudeville tribute film Limelight.  This was the only time Chaplin and Keaton appeared together on film.

Keaton turned to television in the 1950's.  He hosted the Buster Keaton Show and appeared often on the Ed Wynn Variety Show.  During one appearance with Wynn, the 55-year old Keaton recreated a stunt from his youth where he propped a foot on a table then swung up the other foot only to crash to the ground.  Wynn asked Keaton how he did his falls.  Keaton opened his shirt and revealed bruises all over his body.

In 1954, Keaton sold his beloved Beverly Hills home to actor James Mason. Mason found several cans of Keaton's silent films including the lost 1921 classic The Boat. Keaton continued his television work into the 60's including appearances on The Lucy Show, Candid Camera and The Twilight Zone.  He also appeared in the teen beach movies Pajama Party and Beach Blanket Bingo.  His last film role came in 1966 in A Funny Thing Happened On the Way to the Forum.  Despite ill health, he insisted on doing his own stunts. Keaton died of lung cancer in 1966 at age 71.  He had no idea he was terminally ill.  He thought he was recovering from bronchitis. He died shortly after playing cards with his wife Eleanor.  (5" x 6", black ink print)