- S. Kay was granted permission from Storm King Art Center to make the documentary
- After viewing a preliminary sample of the film, Al Perlmutter offered Fiscal Sponsor from the Independent Production Fund, Inc. (a 501(3) c) to support Sandra Kay as a selected new filmmaker.
- Initial financing came from a grass roots effort with donations from their friends, colleagues and former students.
- Declan Quinn offered his expertise as advisor, cinematographer, Director of Photography, and creative team member.
- Allyson Johnson agreed to be editor/consulting editor depending on her work schedule and a creative team member.
- Alexandra Lescaze joined team to arrange the rest of the film crew for the shoot.
- A $1500 seed grant from The Orange County Office of Tourism was received (thanks to Dawn Ansbro for suggesting the application).
- 2 Days of Filming: With insurance fees paid to protect the artwork during filming, the donation of time and museum fees by all the audience members, Wally donated two tours that were filmed on Monday October 10, 2010. Those tours and a day of beauty shots are “in the can” awaiting editing (thanks to Storm King’s administration and staff for their gracious help; Declan Quinn’s extreme efforts to make this happen as well as guide the filming process and be first camera and Director of Photography; a terrific film crew arranged by Alexandra Lescaze; donations by Hudson Street Café, the wonderful hosts (Declan and Aida Quinn and Nancy Peckenham and Mark Fleischman) who provided rooms and hospitality for the film crew overnight; and all of the audience members who signed releases. A special thanks to those members of the film crew who still await payment for those services!!
- Permission from all artists and artists’ representatives to include photos of their artwork in this educational documentary were requested.
- All living artists waived their fees for use of these images – a wonderful in-kind donation to help this film reach audiences.
- National audiences in art education, gifted education,and others interested in critical and creative thinking, field-tested the film for relevance across the country; ages; interests; and different perspectives to confirm relevance beyond the local audiences.
- Creation of a two-minute trailer to be used for fundraising made possible with first $10,000 pledge by an anonymous donor.
- Jaci Canning and Lee Murphy became the first two members of an Advisory Council for the project.
- With the wisdom and expertise of Bob, our wonderful lawyer, contracts were created to receive the anonymously donated funds, then protect the project from various other concerns that these two educators (Wally and Sandy) did not know about.
- Fifteen minutes of the rough cut professionally edited by Allyson for grant applications.
- Meeting with the amazing people at Jacob Burns Film Center to share 15 minutes of rough cut and they have offered to show the full rough cut in their stunning environment for feedback from audiences when we have it completed.
- Training sessions at Foundation Center, NYC and several grant applications submitted.
- Interviews with other editors to join forces to complete the rough cut with Allyson remaining consulting editor as she is working more than full time at the moment!
- This website was launched thanks to Tara Jacobsen, our Webmaster!
- Julie Ramos, director of ROCA (Rockland Center for the Arts) offered to hold a screening for their members when we are ready.
- The importance of artists’ and art professionals’ responses to the authenticity of the creative process as reflected by Wally’s methods was realized as a significant contribution to the purpose of this project. To that end, two interviews, one with the artist Roland Gebhardt and one with the dancer Tamara Pullman were filmed as they responded to Wally’s method and provided a glimpse of their profession for students.The interviews will be a special feature to go with the film and the interview done with Wally.
- Roland Gebhardt joined the Advisory Council, providing wise counsel and introductions to others interested in the purpose of the film as well as professional skills and encouragement.
- Valerie Wolzien joined the Advisory Council, introducing us to our current videographer/editor Tom Porpiglia.
- Laura Straus, photographer and owner of Piermont/Straus Gallery, joined our Advisory Council and offered to take the stills needed for PR shots for the film. A special tour with friends was arranged for the shoot this summer. With the hiring of Tom Porpiglia as editor, work on the rough cut began.
- Jaci Canning, a respected art advisor and Advisory Council member, was filmed responding to Wally’s techniques as well as briefly describing her role in matching art with collectors, completing the filming of the third interview for the series. This may be enough, although there are a few more possible perspectives whose exposure would benefit students.
- Additional photographs of sculptures were taken for the film (which included planning a trip to San Francisco to get a close-up of Mother Peace that is currently on loan for a year!)
- Several edited versions of the rough cut allowed us to reduce the filming of two 90-minute tours, down to a 44-minute arranged version of the film. The second version of that rough cut was piloted with select focus groups across the country who had never seen Wally present in person. His goal of making a heart connection was successful and participants felt empowered to have learned an exciting set of strategies for looking at abstract art. Constructive criticisms were addressed in the next version.
- The creative team as well as the Advisory Council will review the final revision of the rough cut for any needed changes before we arrange the preliminary screenings! (And celebrations)
- Wally’s interview is edited.
- First draft of a montage of 3 interviews by those responding to Wally’s method was created.
- A wish-list version of the film passed approvals by Wally, Advisory council members and editors.
- Archival research and copyright permissions (Pilobolus, and other images) were sought for final version.
- Funding committee continued annual research on multiple grants for a potential match.
- Send doc to lawyer for fair use review.
- Secure final copy permissions, pay fees for use of images where artists/agencies did not waive their fees, re-edit film for shorter version without, where possible, sculptures that went from no fee to a cost.
- Taped Interview of Sharon Vasky, Director of Educational Programs at Guggenheim Museum responding to rough-cut of proposed documentary
- Tom P created Music compositions for film background
- Began work on film credits that identify individual sculptures with thumbnail photo and details needed for further research (as website will include links to artists/foundation websites to encourage further investigations by students)
- Edit Sharon Vasky interview to be included as chapter addition to doc (as 4th interview).
- Searched for funds to continue.
- Created trailer of 4 interviews for website (as we are not permitted to use images of sculptures in advertising).
- Several meetings with Barbara DeFina providing fresh eyes on the film’s status and needs. Barbara joined the Advisory Council.
- Continued search for funds, researched many grants and organizations.
- Ryan Kakeh, came on board as editor through anonymous funding. Completed Beat sheet for ease of new editor’s work on final edits and locate hook idea.
- Voiceover for hook was done with Wally McGuire.
- Search for funding partners with same interests in order to pay for expertise needed for final edits and completion of film.
- Found professional editor interested in project who can begin in 2020.