This philm is the revised (2nd) version of "écorché," which I consider my debut as a filmmaker, after officially hanging out my shingle as such last summer. At this moment the film is pending acceptance (or not) at three festivals, and I intend to enter more as time goes on. Wish me luck. I consider "écorché" to be something of a companion piece to "Four Seasons" (also on YouTube)--not because they are alike, but because they are deliberately contrasting in tone and style. With Light there is always Shadow and each mode has its own particular beauty. I want to participate in both. I invite you to, as well. Just give your eyes a chance to adjust in moving from one to the other.

In my own mind, the approach to each short was distinctly different: In "Four Seasons" I imagined my role as director to be as entrepreneur, in which I had product to deliver, and in "écorché" as auteur, in which I had something to say-- something to aver--as a storyteller.

Many thanks to the legendary Simone and the great João Bosco for their generous permissions in using their music, as well as the consent of Cristina Oritz, whose artistry could make a marble statue cry.
Four seasons
JULY 2009
adapted and directed by Todd Conner
Columbia University Summer Session Film Directors' Workshop, 2009

The preamble philm of my filmmaking career.  There are obvious blemishes here, but I hope you just enjoy the assay. And now, since every film nowadays must have supporing material, below is the exercise text, verbatim, how we received it in our workshop at Columbia (There were a couple other short texts to choose from as well). But here it is, friends, warts and all:  "Four Seasons," or "I Know What You Did Last Summer--The Musical"

A: Hi.
B: Hi.
A: We're both in World Cinema
B: Yeah.
A: I find it very interesting.
B: Really.
A: Well, pretty interesting.
B: You have firm convictions.
A: Actually, I do have firm convictions about a lot of things. The Iraq War, gender equality--
B: You're not good at taking hints.
A: I'm bothering you, right?
B: Right.
A: Sorry... I see you're reading "Snow." Pamuk rocks... Could we have a coffee or something?
B: No. We will never have a coffee. Or anything.
A: Have you read Murakami? The Wind-up Bird Chronicles? Or his short stories--
B: Damn it!
A: I've got two tickets for Midori at Carnegie Hall tomorrow night.
B: What's the program?
A: All Mozart.
B: Where are the seats?
A: Prime Parquet, fifth row center.
B: I meet you in the lobby and I go home alone.
A: Great! Seven-forty-five in the Lobby.
B: Why didn't you start with Midori?
A: I was going to take my mother for her birthday.
B: You're going to dump your mother on her birthday?
A: She wants me to be happy.
B: Creep!
A: What about Midori?

And the rest of the film is artistic license at the hands of yours truly.
august 2009
Call waiting 
(working title)
script In development
Scheduled to have a first draft of this feature length script available before summer.  Potential investors, please note the significance of the link above.  Until I commit to a producer/movie finance sherpa, that’s about as sophisticated as it gets.
(working title)
script In development
A Sri Lankan adoptee from a white American family is injured and left without memory in the aftermath of the 2004 Boxing Day Tsunami.