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http://www.youtube.com/user/filmtv101

The event is not web cast live - but taped or captured
Read more information on the lastest features This Month

The film was honored with many awards from The Golden Globes to Oscars. It was on many 10 ten lists for 2008.

The film was highlighted here in 2008 as we help pitch the many 100's of people that created the crowd scenes in the films. And recreated 1970's in the SF Castro
BE IN A MAJOR MOTION PICTURE AND HELP RE-CREATE A PART OF SAN FRANCISCO HISTORY.

MONDAY, FEBRUARY 4TH 2008 INFORMATION:

* If you signed-up for the screening of THE TIMES OF HARVEY MILK, please be at the Castro Theater on Monday, February 4th by 4:15 pm.
* If you signed-up for the March on Monday Night, February 4th, but not to attend the screening, please be at the Castro Theater at 6:30 pm.

We would like everyone to come in 70's wardrobe. Don't worry if you don't have the exact right stuff or a full 70's outfit-- we still want you to come anyway!-- but do the best you can to follow the instructions below.

It could, of course, be cold and or rainy, so bring warm clothes and rain gear to wear on top of your 70's clothes for when the camera's aren't rolling.

Unfortunately, we cannot provide parking, so encourage you to take public transportation, if possible.

We will be Marching until Midnight, but may not need everyone to stay that late.

We will be providing water and snacks, but not a full meal, so please bring a bag dinner.
FRIDAY, FEBRUARY 8th - CANDLE-LIGHT MARCH INFORMATION:

* If you signed-up for the Candle-light March on Friday Night, February 8th, please check back on the Website on Wednesday, February 6th for exact time and location. AND REMEMBER, PLEASE BRING YOUR OWN CANDLE!

FEBRUARY 6th and 12th INFORMATION:

* If you signed-up for the March on Wenesday Night, February 6th or Tuesday Night, February 12th, please check back on the Website on Monday, February 4th for exact time and location.

Thank you! We look forward to having you be a part of re-creating history.

By agreeing to participate in this re-creation, you hereby grant Milk Productions, LLC the right, but not the obligation, to photograph you and exploit your likeness, voice and other sound effects in and in connection with the production, exhibition, distribution, promotion, exploitation, publicity and advertising of a motion picture without compensation in all media throughout the universe in perpetuity.
WARDROBE SUGGESTIONS
Items that are ENCOURAGED:

* Blue Jeans for Men and Women: Traditional brands and simple blue coloring preferred: Levi's, Lee, Wrangler, etc. Tight fitting with straight leg or flare is preferred.
* Corduroy pants, khakis, other simple pants.
* Denim Jackets, Army jackets, Trench coats, corduroy jackets, brown and black Leather jackets, suede jackets, wool jackets.
* Women's skirts: Knee length, denim, suede; worn with higher leather boots.
* Tops: Wool or cotton sweaters, Henley shirts, solid sweatshirts, solid T-shirts, flannel shirts in solids and plaids such as Pendelton-style wool tops
* Shoes: Canvas sneakers such as converse, leather boots such as Frye, clogs; simple rugged shoes with basic materials such as canvas and leather.
* Hats: Wool knit hats, newsboy hats, bandannas for longer hair, etc.

Items that are DISCOURAGED:

* NO trendy designer jeans with overt modern finishes; extremely faded legs, wiskering, embroidery, large logos, etc.
* NO clothing with branding such as Abercrombie, Nike, Gap, etc; NO overt phrases or logos.
* NO clothing items that are made from identifiable modern materials such as Polar Fleece, Velcro, gore tex, etc.
* NO modern-looking sneakers that appear to be made with advanced materials, air pumps, clear rubbers, etc.
* NO Garish bright colors such as BRIGHT white or red, or "Wacky" disco-themed 70's "Halloween Costumes"

CONTACT 415 346 3278 #2 for more casting information

THE  MATCHES ENDED THEIR AMAZING 10 YEAR BAY AREA RUN .. WITH A SOLD OUT PERFORMANCE AT SF FILMORE VENUE

Vmedia  - and promoted them to Hell Cat Records and Epitpah records.

their new CD DECOMPOSER dropped 9/9/2006

With Decomposer, the Matches stretch the boundaries of what a rock & roll album can be. Perfecting thirteen tracks with nine producers, the Oakland bands ambitious, brilliantly-plotted sophomore disc doesnt just move the goalposts with an assortment of loud rock, communicable pop and traces of techno, it enigmatically manages to keep listeners guessing while incorporating a unified feel.

Launched with Salty Eyes, an adventurous, chamber rock song that owes as much to The Cures Head On The Door or Ben Folds as it does Queen and The Beatles, the string-savvy tune is as flamboyant as it is heart-wrenching. Putting that first was definitely a conscious decision, says frontman/guitarist Shawn Harris. It's an invitation for people to raise a brow and cock an ear.

And as much as that song shocks anyone with a preconceived notion about who the Matches were based on their explosive, delightful debut E. Von Dahl Killed the Locals and their Warped Tour history further change-ups bring Decomposer to life. Its second tune, the hard charging, techno-infused, modern rock opus Drive, again veers noticeably from what the foursome also consisting of Justin SanSouci (bass/ vocals), Jon Devoto (lead guitar/vocals) and Matt Whalen (drums) has done before.

We had very much talked about doing a record that didnt have a singular direction, Harris says of the idea to give each song its own respective identity. We had a fistful of new songs with different feels: some in-your-face pop, some slower and more emotionally raw, and some heavier stuff - influenced by those heavy bands we played with on Warped Tour. So a multi-producer approach fed our vision.

Counting producer visionaries like Rancids Tim Armstrong (Transplants, Pink), Goldfingers John Feldmann (The Used, Story of the Year), blink-182s Mark Hoppus (Motion City Soundtrack), 311s Nick Hexum, and Epitaph founder Brett Gurewitz, among others, the Matches' collaborative-driven second album breaks with production traditions for the rock genre. Harris says the resulting nine-producer album which boasts the full throttle anthem Little Maggots and the edgy, melodic, Bowie-esque My Soft and Deep among its thirteen aural pleasures borrows the multiple-producer approach of many modern day hip-hop records.

Weve always been a very do-it-yourself kind of band. We thrive on risk all the way down to our self-made, secondhand store-lurker, cut-sew-and-paint clothes, the singer/guitarist insists. We started off with so many good options for producers, and we just decided to take control of the record ourselves and run with that. Motion City Soundtrack who are good friends of ours had just finished working with Mark Hoppus, who was interested in doing a couple of songs with us. And Feldmann was flatteringly insistent about recording with us. Then, while on Warped Tour, Tim from Rancid heard that Hoppus and Feldy and Brett [Gurewitz] were each doing tracks, and he offered, Man, let me get in on that. Spend the weekend with me, and well write and lay down some stuff. And with Hexum, it was kind of the same story, all arranged through connections and friends.

Nothing that weve ever done has been by the book, Whalen interjects with a chuckle. Thats not just record company bio bullshit, either. Hyped by their own Commotion Promotion efforts early on their habit of accosting potential fans exiting concerts and clubs, student unions, dorms, high schools, malls and fast food joints with brief acoustic attack sets the groups self-produced 2003 debut and relentless touring earned the band the attention of numerous major and indie labels.

The following year E. Von Dahl Killed the Locals was reissued through a one-off deal with Epitaph. When it came time to start work on what would become Decomposer, the band confused (and complimented) by continuing label offers opted to operate as free agents. Against the urging of everyone they knew in the business, and with little budget, the group hatched an ingenious albeit affordable way to finance the project.

Its amazing, all of the producers were willing to work for only points [royalties] on the record, waiving their usual fees Harris marveled. We paid the engineers, but since most of the producers have their own studios, we weren't burdened with the usual outlandish studio rates. Wed work at Hoppus place or the Hive where 311 records, and we used a bunch of their gear, too! I think we might have even blown a speaker on P-Nuts bass cab.

In terms of logistics, Whalen says, I dont know if we could ever pull it off again, but I will say our manager, Miles, has a huge amount of organizational prowess. To which Harris adds, Hes absolutely insane in the best way possible. Hes our fifth member. Most managers might steer you toward a safer idea, but not him. Somehow, he always knows what works. Look no further for evidence of Miles Hurwitz vision than his own production offering for Decomposer, the wide-eyed and buoyant pop nugget Clumsy Heart.

Elsewhere, the session with Armstrong, which resulted in his production and co-writing credit for the danceable, crossover-minded You (Dont) Know Me, was inspired by mutual London club experiences with the music of Kasabian and Arctic Monkeys. We started out from scratch, writing with him at his house. Tim already had a really big drum-and-bass loop-oriented thing in place. Tim and I were talking ahead of time about how awesome it is in London, that after you do a show over there, the DJs come right in, and the venue morphs into a dance club. And theyre not playing club beats and Top 40, like over here. Theyre playing rock music, and there are mosh pits and heavy dancing going on. So, working off of Tims loop, we kind of got a Transplants/Gorillaz-at-a-nuclear-beach-party vibe going.

Meanwhile, Feldmann offered up a mix CD of new wave and power pop for inspiration, Hexum doled out music by Van Halen and The Clash to push forth ideas, and Hoppus and the Matches mined the Postal Service and Queens of the Stoneage for sonic inspiration. Intentionally wearing their eclectic music collections on their sleeves, the Matches had no worries about burning off their devout, ever-growing fan base. Our fans are smart and expansive, Harris says succinctly.

With the disc fully realized, the band elected to forge ahead again with Epitaph, while Harris and his graphics partner the creators of album art for Matchbook Romance and Zebrahead finalized the CD packaging for Decomposer. From our days recording in our basements, we always wanted to be on Bretts label. And that still holds true for us now, Harris says. Epitaph is so nurturing. And being a young band, we're confident they'll portray us in a way that is authentic to who we are. We dont have to worry about being put in a compromising position with them. Theres not even a little bit of me right now that wishes we were doing anything different. Its a fucking awesome label.

As for the future of the band and the potential of Decomposer, Whalen says, We are not weighed down with goals. All of our goals around this record have already been met. With emphasis, Harris proclaims, I hope people love it, but our goals were in the creation. And, damn it, Im so proud of it. We did it.

For 29 years, Academy of Friends has been on
the front lines in the fight against HIV and AIDS.
Through our annual Academy Awards Gala and monthly events, we have raised over $7 million to support 61 HIV/AIDS service organizations within
the San Francisco Bay Area.

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"The funny part is that we kept on recording the number," she said. "It's not Trannyshack unless you get hit by bologna or a shoe."

But Tuesday nights in San Francisco are about to get much more boring. Trannyshack, the 12-year-old institution founded and hosted by drag queen Heklina, completed its run this month at the pint-size South of Market venue the Stud. There will be a larger kiss-off party Saturday at the Regency in San Francisco.

Every Tuesday starting at midnight, Tranny- shack turned the rules of traditional drag on its head. Put simply: There were no rules about who or what could be performed at the weekly show.

"We never set out to become legendary," said drag queen Peaches Christ, the founder of the Midnight Mass movie series. She, along with Heklina and fellow longtime Trannyshackers Putanesca and Juanita More, gathered recently to talk about Trannyshack's storied past.

"We never thought we'd be doing it for this long and it would become internationally renowned and change drag culture," Peaches Christ said. "Because it hasn't just changed drag culture in San Francisco, it's changed drag culture worldwide."

Drag meets punk
Trannyshack's great idea - in the words of San Francisco Supervisor Bevan Dufty, who appeared at the final night at the Stud to declare last Wednesday Trannyshack Day - was to marry drag and punk. For Heklina, though, Trannyshack began as a personal response to the state of gay culture in the mid-1990s. "Nineteen ninety-five was a very sad year for me. Everyone who had influenced me in San Francisco died during that year," she said.

"I just remember funerals, one after another that year. I remember what influenced me were the smaller clubs, like Klubstitute, and I thought I could do that. It was the punk aesthetic, the DIY thing. For me, 1996, when Trannyshack started, it was when new AIDS medications were coming out and it felt like a celebration."

Heklina had been working at the Stud as a bartender, and the owners approached her about trying to turn the deadest day of the week - Tuesdays - into something. Within a few months, it was a hit. Peaches Christ, who arrived in San Francisco that year and headed right for Trannyshack, remembers the first summer as "insane."

Trannyshack has stayed true to its messy, rebellious roots in part by remaining at a venue, that, by Heklina's admission, "is a dump."

"It was much more chaotic back in the day," she said of the Stud. "Every week, I'd take these empty Budweiser beer boxes, like 50 of them, and stack them up and staple fabric around it, and that was the stage."

Accidents happened. "I remember there was a gap between the boxes, and one night Martiny fell in between the gap. It looked like her legs were severed," Peaches remembered. "It was kind of normal at the time, but I remember it being shocking because we couldn't get her out.

A changing act
All four drag performers interviewed for this story, in their 30s and 40s, agree that as Trannyshack became increasingly popular, the performers had to tone down their acts. "You can get away with being bohemian, and couch-surfing and partying in your 20s. In your 30s, not so cute. In your 40s, no one wants to talk to you," Heklina said. "Bohemia does not age well if you don't move on."

Quickly after its inception, Heklina organized the event around themes (Grunge Night, Björk Night, Cuba Night) and, in 1996, the first Miss Trannyshack pageant was announced.

"It started out as a parody of a parody - the Imperial Court coronations - which was a parody of Miss America," Heklina said.

"All you have to do is look at the attendance that night," Peaches recalled. "I remember getting to the Stud, and I was running late and there was a huge line down the street. The marketing, the enthusiasm, the anticipation made it a real event. Also, it was only that year we had a performer who was just from another planet. ...What was her name?"

"Plenty Yente, a nice Jewish boy who was studying the flute," Heklina said. "That was his talent portion."

Going global
For years, Miss Trannyshack featured performers of all genders and sexual orientations, but when a biological female, Fauxnique, won in 2003, feathers were ruffled. Heklina said that she was summoned on National Public Radio to take questions from listeners. The general reaction among the Trannyshack faithful was a yawn, though. They had been breaking rules of taste and decorum for years.

"For some people it was a big deal, but a cool thing about Trannyshack is that everyone is accepted," said Felicia Fellatio. "Even when you're doing conventional drag, you don't have to put on traditional makeup or breasts."

Since 1999, Trannyshack has made yearly pilgrimages to Reno. In 2000, performers mounted a more rigorous tour schedule. For the past few years, Trannyshack has gone global; Iceland, London and Amsterdam have all seen San Francisco's finest in drag.

Heklina says she will continue to do Trannyshack road shows and occasional events, even if Tuesdays have gone dark at the Stud. "It was never my intention to become this drag thing, with this institution," she said. "When you are the establishment, and you realize that, then I think, for me, I need to quit."

It's up to a new generation of drag performers to continue the Trannyshack tradition. But, as Holy McGrail put it, finding the next Trannyshack "would be like trying to pick out who your step-father will be" right after your parents' divorce.

"It's too soon to talk about replacing Trannyshack," she said. "Someone should not try to fill these heels right away."

Vtheatre 2008
more details to FOLLOW!!

Palo Alto - the movie - a 2006 American Graffiti

http://www.paloaltothemovie.com/

PALO ALTO is the story of four college freshman on their last night of Thanksgiving Break, their first time back since leaving for school. We follow them as they come to realize that their small town, once seemingly boring and meaningless, has much more to offer then they ever expected.

The film opens with Alec, Nolan, Patrick and Ryan sneaking into an old classroom to retrieve an item confiscated by a freshman high school teacher. Their conversation is interrupted when campus security discovers them. The friends dart through the halls of the school and manage to avoid capture. Now in front of Palo Alto High, the friends say their goodbyes for the evening.

Alone and concerned that his night will end with no excitement, Alec befriends an older fraternity brother, Anthony. The two quickly bond through mutual initiation stories, and the admiration Alec has for the more experienced partier.

On a school bus, Morgan, in his twenty-fifth year as a bus driver, discovers his old passenger Nolan at a public bus stop. The two catch up and Morgan tries his luck as cupid by inviting a young girl on board.

Patrick is visiting Amy, his girl friend of four years. Patrick attempts to explain his vision of the future, which, of course, includes Amy. She quickly cuts him off to break his heart and destroy his neatly planned life.

When Ryan arrives at Audrey’s house, he expects to get some action and leave quickly. He is shocked to hear that she wants more than a physical relationship. Disgusted with his reaction, Audrey steals his car – leaving him stranded with her Grandma. The two hit the streets in her aging automobile looking for Audrey.

The four boy’s stories continue throughout the night, briefly intersecting, before the sun rises and they all leave home again.