MONDAY, FEBRUARY 4TH 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

-- Green Day Film project - in the works ----
American Idiot is a planned film based on a punk rock album by Green Day of the same name. Almost immediately after the release of Green Day's album, American Idiot, there were rumors of a movie to be created. In a September 2004 interview with MTV, Green Day discussed the matter of a movie. Lead singer Billie Joe Armstrong said, "We've definitely been talking about someone writing a script for it, and there's been a few different names that have been thrown at us."

Unlike The Who's Tommy rock opera turned movie, Green Day has said they have no plans of making American Idiot into a musical on Broadway, however, there have been rumored plans for a documentary of the making of the movie, the story of which follows the character Jesus of Suburbia through the ups and downs of his everyday life.

The music video Jesus of Suburbia is a supposed prequel to the movie, developing its plot and getting people ready. No word if any part of this music video will be included in the actual movie to bring people up to speed.

On June 1, 2006 Billie Joe Armstrong announced on an interview held with MTV.com that "[the movie] it's definitely unfolding" and that "every single week there's (sic) more ideas about doing a film for American Idiot, and it's definitely going to happen."

Vmedia picked up The Matches - 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.

RAYMOND WEIR is a shut in computer genius surviving in the post dot com era. Disabled as a result of a home invasion that took the life of his late wife, SARAH, Raymond sits in his makeshift apartment above a run down bar, overmedicated, mourning her loss and contemplating suicide. His only contact with the world, besides his close friend PAUL are the three computer screens that blink emotionlessly at him twenty four hours a day, through sleepless nights. As Raymond listens, he begins to realize that not only may she know the key to the death of Sarah, but that she herself may be in danger, and that it is up to him to save her before she too becomes a victim.

-Matt?- Peter? - Joe Elliot? ---

the music is -- broken machines that repeat really amazing words, some clicks and bleeps, and also some blops, clanks, taps, sosososo, soosoosoo, ticks/tocks, wah's, de-do, rips, squishiez, souiez, and... jumping. -- Jan 27th, 2007 Sheena
opens for www.ofmontreal.net,
at famous "Avalon Hollywood" club,
1735 Vine Street
Hollywood, CA 90028,
phone: 323 462.8900 for tickets.

--- Vmedia is their current A and R...

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.