On the Set of Surrealmageddon

How could we say no?  We were dealing with a subliminal suggestion to film a stop motion "interpretation" of  Bienvenido Bones Bañez Jr's  Surrealmageddon Art World Manifesto.

Ahem. Was it to be?

First, we needed a set.  Here's the back of the sound stage:

Surrealmageddon on Location

The view from the parking lot :

Surrealmageddon: the Scene is Set!

A couple of actors out on the patio with a Brooklyn Wild Hound dining on pickled pterodactyl.  Looks like Terrnace Lindall, elder statesman of Williamsburg surreal consciousness, and Brooklyn sharpshooter Brittany Natale, contributing writer to Bushwick Daily, and special assistant to Yuko Nii, Williamsburg philanthropist, international ambassador of good will, and patroness of the arts. Yes!  Precisely the kind of talent producer Bañez is looking for:

Brooklyn thespians looking for a part in low budget art film

While Ms. Natale works the Brownie, producers Dr. Highbrow and Professor Lindall hammer out the deal:

"Yeah, but how do we write off the biz jet?!!"

A "Brownie"

Places everyone!  Get the Wild Hound inside, and let's cook up a script!

Testing the script on the focus group:

Good: Pastoral with Heroic Subtext

Better: A Sentimental Apostrophe

Best: Religious Epic

 It all begins with a fashion statement:

"Don't worry, Brit, I  got that pterodactyl under my hat!"

Actors preparing for the "Big Meeting with the Technical Advisor" scene:

"Jeesh, memorizing this literary dialogues stuff is moydah!"

A snappy script requires good, sound research, and a knowledgeable script consultant

Professor Lindall as the "Technical Advisor"

Filming the "Big Telephone" scene:

"I said, 'telephone' not 'flugelhorn!'"

In true highbrow art there is never any resolution, but there can be charisma masquerading as profound insight:

Another day at the office, or something else entirely?