It’s All in the Timing

There’s a certain sense of timing in being an editor.

The saying goes: ‘if you don’t see the editing, it is good editing.’

If you’ve ever watched something and were jarred by a sense of timing, or thrown off for a second, or just simply noticed something looked ‘wonky’, then you’ve probably watched bad editing. Bad editing can ruin a film. But good editing can save a film.

Besides the director, the editor is the storyteller.

My spouse once saw footage of a short film I was editing and was horrified at what he saw. Then, at the final product, he said the film was unrecognizable from what it had started out as. Editing can cover a lot of bad things, including bad performances.

I first started editing when I was sitting around with too much time on my hands backstage in a Broadway show. As fellow cast members were playing video games, or watching Netflix, I decided to learn a new skill (yeah, I’m one of those guys). As many baby editors begin, I started fiddling around with iMovie, the training wheels of editing software. When you finish your first editing project (probably some form of photos you’ve linked together with music), you think you’re a magician. Of course, that was 14 years ago and now in the age of Tik-Tok, complete boobs can edit videos together (no offense to boobs).

Editing Tik-Toks are not the same thing as telling stories. And that’s what I like to do best.

When I decided I wanted to do this ‘for real,’ I started putting myself out there to do some edit-projects people needed (like actors’ reels). Soon, a buddy of mine who did wedding photography asked me if I wanted to film and edit together a wedding video. My fee was dirt cheap. And the engaged couple didn’t want to spend much on a wedding video. But after a couple of mind-numbing experiences watching endless footage of drunk people slopping themselves around on the dance floor, I decided, even by charging higher fees, wedding videography wasn’t for me.

At some point, I realized the rudimentary built-in transitions and graphics of iMovie screamed amateur. You can spot a video edited on iMovie from a mile away. The next obvious step was the grown-up version of iMovie - Final Cut Pro X. While this sufficed for a while, it had the same “sameness” that iMovie had, just in fancier formats. I should just say it wasn’t for me. There are FCPX’ers out there who love their software and do amazing things with it. Instead, I took a rather big leap over to Adobe’s editing software. It’s a fairly big learning curve, but it makes sense to me and allows for greater flexibility and nuance.

As I was editing more and more, a buddy of mine, who came from the headshot photographer world, was transitioning into cinematography. A few friends were getting together to shoot a short film (mainly so they could get on-camera footage for acting). So I agreed to edit it together for free, to learn. And I did learn a lot, made a lot of mistakes, and I loved it. From there, the entry into film work was born. Word spread and more and more work came to me. And the true fact was: I was good at it. I attribute this to the fact that I came from an acting background. I have an innate sense of timing and storytelling that adds to my skillset as an editor.

Honing editing techniques is never-ending. It’s like reaching a plateau on a mountain only to find there’s another higher mountain to climb.

After 14 years, I know a lot. And yet I’ll see what some editors do and am in awe.

It seems like with every editing project (especially films), there is a new hurdle or a new thing that I’ve never done before, and I teach myself (there’s a YouTube tutorial on just about anything you need to learn). Those are all new skills in your toolbox. I do edit commercials and corporate videos as well (there’s good money there), but it’s not the thing I love most.

When I started out, I’d proudly send a client my final project. And sometimes I got pages of notes back. It was hard not to take it personally. You make all these artistic choices, and then you feel like they are criticizing your work.

Maybe that’s the artist in me. I know in the corporate world, going back to the drawing board on a project is normal.

Just like I did with acting, I had to develop a thick skin.

They aren’t criticizing my work. They have a vision, and they’ve hired me to make it happen, even if it’s not what I, myself, would do. The absolute best feeling is when I edit something together, and the director loves it, and only wants to build off of what I’ve already done. It feels like real collaboration. I will insert my opinion when needed. They can take it or leave it. The absolute worst is when a client insists on dictating every little thing until I basically become a button-pusher. There is no artistry in that. When I feel like my voice isn’t heard, I’ll shut down, and deliver the product as requested, even if I think it’s crap.

For Greg’s ACTUAL price list, please contact him through his website here.

With any small-business owner, finding your price point is not easy. Especially because your services are not a physical ‘widget’ that you can set the price of, and people can buy it or not. With editing, you are really selling your labor costs. Early on, I’d have a needy client that demanded going over and over a project. And I realized that my already meager fee had reduced to nothing as the labor hours dragged on with the umpteenth cut. You learn to set an editing threshold. You can offer a certain amount of cuts for the fee you’ve agreed on. And then after that threshold, you can offer a set fee for additional cuts, or go hourly. Hourly is more beneficial to the client, because you can usually accomplish quite a few secondary notes in an hour. The “per cut” fee, of course, benefits you because you might have half an hour of fixes, but you’ve charged for an entire new cut. Either way, it’s remarkable how quickly a client will be finished with a project if they know every cut will cost them more money. It’s better that it comes out of their pocket, rather than out of yours by endlessly working on it for a picky client.

If you are a beginning editor, over time, you’ll get comfortable raising your rates. But make sure you are ready to deliver on that rate. There have been a few times I’ve overshot with my price, and the potential client passed.

That’s business.

I never went to film school. I was self-taught. It was a slow road. I’m a fast learner, and even then, it’s not easy. You must have patience, be in it for the long haul, and really love it. As I said, there’s always something new, even for veteran editors. Film school is great for teaching you terminology and what buttons to push. But the finesse of storytelling (even for commercials) is learned by doing. Just like pretty much every other facet of the film industry, you can only learn so much from books.

Editing actually is a honed skill. I look at things I did 10 years ago, and I cringe. I’ve come a long way. But the road ahead will always contain more exciting challenges. If I’m lucky.

Greg Roderick

has been a resident of New York City for over 30 years. He has appeared on Broadway, and films, and currently works as a director of film & theatre, producer, actor, singer, and editor.

www.gregroderick.com

G&E In Motion does not necessarily agree with the opinions of our guest bloggers. That would be boring and counterproductive. We have simply found the author’s thoughts to be interesting, intelligent, unique, insightful, and/or important. We may not agree on the words but we surely agree on their right to express them and proudly present this platform as a means to do so.

The Poet’s Purpose

My relationship to poetry is much like my relationship to any art, and when I say any art I mean first and foremost “kung fu,” which many of you will think of as “martial arts.” However, in reality “kung fu” simply means “hard work, over time.” Or, my favorite one word definition, “Cultivation.” And that’s what we do through art and poetry, we cultivate the self. We don’t do it with a “flash-in-the-pan” experience. No, we do it day in and day out - living, breathing, doing art, the hard work of being authentic every day in order to create authentically, when the time arrives. It is something that takes discipline and persistence, but perhaps not quite what you might think of when you think of discipline and persistence. Disciplined how? Persisting in what?

I like to say, “It takes a lot of nothing to create a little something.”

And by that I mean, we need leisure time, time to do nothing, because when artists are doing nothing, something is happening. And not just artists. We ALL need “nothing time,” aka leisure time, but the artist especially. Because we never know when “it,” inspiration, or the muse will arrive. And so we must be disciplined in our “nothing time,” jealous of it even, guarding it as precious and important, because it is. This is how we capture lightning in a bottle, by being ready for when it strikes.

And persistence? Well, we chase inspiration, follow it, down every deadend and wrong turn. We let mistakes happen. We allow ourselves to get lost. Because poetry isn’t a direct line. It’s a meander, a saunter, a “holy pilgrimage.” One where we are ever on the heels of our muses. And we must chase with great tenacity and persistence, catching up to the hare of inspiration with our tortoise minds.

And what do we do with it once caught? We come back to the responsibility of the author, the artist, the poet… AUTHENTICITY. That is what we must do, must be. We are the ones that lead the way. We are the bushwackers, making a path. We are the torch-bearers, Prometheus bringing fire down from the gods.

No one needs poetry or art until they NEED poetry and art, until they’re lost in the darkness.

And so, with our authentic selves, we light up the world, we create in the likeness of Creation, mimic the Universe, copy the Cosmos. All to Inspire! That is the desired outcome, Inspiration. To “breathe into,” to give life, new life, to those stuck in the unending throes of existence; to desire, to create themselves, to cultivate themselves, to find their expression, their art.

Because it is not just the artist that must be authentic, it is just the artist’s authenticity that inspires the populace to pursue it. And authenticity breeds empathy. When you are fully and unapologetically yourself, you accept others fully and unapologetically.

So the artist both creates and lives art, in a constant flux of birth, and rebirth, redefining reality, reconciling relations, reinventing revival. And how do we do that? We FEEL! We open ourselves up to the process, let it take hold of us, guide us, move us. And we must be moved, we must be moved first. If we aren’t moved, no one will be.

No tears in the author, no tears in the audience.

So live, live authentically, and feel, feel fully, then the writing will just happen. And remember, that much like many things, writing, art, creating, comes in seasons. Do not be discouraged by a season without writing. That just means you are in a season of living, and that you have some living to do, so you have something to write about.

Maybe try kung fu.

M.T. Pariti

is a poet, writer, and performer based on Long Island, NY.  He is also the co-founder and editor-in-chief of the hyper-local Art & Poetry magazine The Scene.  He lives in Bay Shore with his two cats Jupiter and Juno.  His daughter Raquel lives in Northern New Jersey. Writing is very much a compulsion for him, something he has been involved in since he was a teenager.  He believes poetry is a unique art in that it can be experienced both on the page and on the stage, and wants to give as many poets as possible a chance to engage with their communities at open mics and hold their published work in their hands. Having moved around a lot in his early years, he really appreciates what the entire Island has to offer, and hopes to see a cross-county transference of art and poetry. M.T.’s own work focuses on living a neurodivergent life. In it he processes the many years he went undiagnosed. His lyrical and rhythmic style, combined with his tumbling and musical verse entertains as much as it disarms as he tackles topics like trauma and mental illness.

G&E In Motion does not necessarily agree with the opinions of our guest bloggers. That would be boring and counterproductive. We have simply found the author’s thoughts to be interesting, intelligent, unique, insightful, and/or important. We may not agree on the words but we surely agree on their right to express them and proudly present this platform as a means to do so.

The Life of The So-Called Artist

“It is cowardice to be someone other than yourself.”

- Some Stoic Philosopher Probably

Like a true procrastinating writer with low self- esteem and analysis paralysis, this took me forever to write. I’ve been staring at the blank page, trying to set the right mood by putting on “Millennial Doomer Jazz” while lighting a candle. And then I burst into laughter. I never do this in the first place when I write things just for myself, so why should I change now? Listen, all I can do is share with you how I see the world in the most honest way I can. Remember that these aren’t commandments so save yourself the time from writing me all of your angry misspelled emails.

I’m going to dedicate this essay to telling you why I hate being a writer and what I love about it. I will generally refer to ‘The Writer’ but this applies to every discipline in the art world. I can’t promise you this is going to be a balanced position. Hemingway said, “There is nothing to writing. All you do is sit down at a typewriter and bleed”. That’s a bunch of horseshit when you have the devil on your shoulder constantly telling you what you’re putting down sucks.

Well, here goes nothing.

GOD’S LONELY MAN

The loneliness in New York is correlated to the loneliness of being a writer. There’s something seriously abnormal about being surrounded by thousands of people everyday and not saying a word to them. And what about the eyes? Nobody looks up anymore. The phones are the new gods and the wifi is our life support. It explains why New Yorkers still hold the title of ‘Best J-Walkers’, not only are we always in a hurry but we need to get to the other side of the street to avoid eye contact with people as fast as possible and get back to our phones!

I realized however, our love of social media is tied to our love of stories. It’s not as simple as it being a useful time waster while you’re taking a shit. Why do you think people used to read books between queues? We have an innate curiosity to see the way other people live their lives. I mean, why else do people watch a twelve hour stream of someone doing their Sunday chores? Entertainment? Yes. Boobs? Yes. It’s also the same reason we still love going to the Movie Theater. It’s not an accident that old Theater Palaces resemble 15th century Roman Churches. The screen is an altar, where a mysterious light is projected from the heavens and shows us moving stills of people’s lives. Watching John Wayne, Humphrey Bogart, or Mark Hamill go on a journey and take on challenges has the possibility of teaching me how to handle my own life. Then you walk out feeling a little more hopeful than when you first sat down and you believe you might actually make it! This is the actual power of Cinema. The power of good art. But God is a comedian. We’ve been given this outlet to feel less lonely. Yet it is one of the most isolating activities we can do. What kind of a sick joke is that?!

Deep down, we are all like Travis Bickle in Taxi Driver, walking through New York looking for meaning. Although this time it’s a phone instead of a porn theater. Though I suppose nowadays they can be one in the same.

To be a writer there is a part of you that has to be irrational. I’m avoiding using the word *imbalanced* because it’s already been proven that you can be a successful artist without drinking yourself to death and becoming corrupted. In fact, I would dare say that using substances and starving yourself will pollute the natural currency that allows you to speak honestly and make true art. It is said that author Charles Bukowski, towards the end of his life, got sober and admitted that he never needed the alcohol in the first place.

DO NOT QUIT YOUR JOB

The demands of life knock at your door everyday while death hangs the ticking clock over your head. Your job is to find a way to balance that, allowing part of you to remain like Peter Pan and explore the imaginative world on the page. You must be willing to have this duality in you and it takes tremendous sacrifice. It is almost a certain path to poverty. ALMOST. Don’t fall for all the stories you hear about musicians in the 80’s quitting their job to pursue their dreams and suddenly they’re on tour with Kiss. It’s bullshit. That kind of world doesn’t exist anymore. The rent everywhere has quadrupled, gas prices are never going to stay down, and the government will never forgive your student loans! Money matters. Money improves your life. Don’t. Quit. Your. Job.

GOOD ART IS OBJECTIVE

When Caravaggio paints Judith Beheading Holofernes, nobody tries to interpret the meaning behind the head coming off of his body. If you do, you’re probably the same type of person that tells people you’ve read a certain book just to be part of the conversation…

Look, good art is beauty. But that’s become a dangerous thing to say because beauty is an ideal which now becomes part of a hierarchy. Somewhere in our history we were convinced to not create art that represents an ideal, that beautiful people were boring to look at and are evil. Don’t believe me? Just look at who’s playing the villain in the new Cinderella.

When we look at beauty, there’s an unspoken agreement that we are looking at our potential, and that can make people reflect on their own inadequacies and feel like they’re never going to reach that. I’m completely empathetic to that. I’m a 5’6 bald man, but I would be LYING if I told you that the David of Michaelangelo is ugly.

So the next time someone tries to convince you Margot Robbie is ugly just remember that they actually mean something else.

ARE YOU ACTUALLY AN ARTIST OR DO YOU WANT TO APPEAR TO BE ONE?

Stop telling people that you create because their next question is : what are you working on now? I love that because the fake ones get exposed. Seriously. Is there anything more depressing than seeing a 35 year old man sitting at a Starbucks pretending to write his screenplay? The attention, the business dinners, the awards etc--these are a small part of creating art. No one talks about staring at the blank screen for one hour or about the day you finally do get something written on the page and it just sucks and you realize you should just stick to being a construction worker.

This is hard. It’s painful. It’s lonely if you’re trying to do this only for money and fame. Hell, I think it’s lonely either way. Writing became more enjoyable when I stopped pedestalizing it. I truly fell in love with the process and I know hearing that is annoying. But it IS the way. Make it for yourself first. Then see how it can become digestible for the world. If you have a statement to make, it is a sin to keep it to yourself. Perhaps your words can save someone, or you can save yourself.

“If you can dream--and not make dreams your master”

-Ruyard Kipling

Rafael Paulino

is a New York based freelance editor and screenwriter, originally aspiring to be a film historian, now immersed in crafting captivating narratives.

Rafael is currently writing a debut feature film, merging a love for cinema with expertise in script analysis and editing.

G&E In Motion does not necessarily agree with the opinions of our guest bloggers. That would be boring and counterproductive. We have simply found the author’s thoughts to be interesting, intelligent, unique, insightful, and/or important. We may not agree on the words but we surely agree on their right to express them and proudly present this platform as a means to do so.

When and Why It’s Appropriate to Work for Free

While I’m thoroughly a believer that everyone should get paid, and certainly you should get paid what you’re worth, there are situations where working for free is the thing to do. Here are some of those reasons.

To Learn

The independent film community is thriving on Long Island, but the budgets are not. A person on an indie set who does not understand the workings of it can often be more of a detriment than helpful. If you can talk yourself onto a well-run indie set, keep your eyes and ears open, observe, help where you can and don’t get in the way. The experience can be more valuable than certain classes in film school.

I did not get paid for my first few casting jobs. I didn’t expect to. I was learning, and I didn’t want to charge for something that I was unsure I knew how to do. I do know how to ask questions and research. I got through those jobs, and through those experiences, and it brought a lot of work to my door. Although I mainly write and direct these days, I will take the occasional casting job, which supplements my artist’s income. Now I feel comfortable charging because I know what’s involved, and I know what I’m doing.

If you are going to work for free though, hopefully the production will feed you well, teach you, and not give you monstrous working hours.

When I wanted to do my feature film, The Only Woman in the World, I knew we didn’t have the budget to do it. The only way we could pull it off was with free locations (and I wrote for the locations we would be able to get), a bunch of actor friends who wanted leading roles and believed in the project, and we trained 95% of our crew as we went along. We trained our ADs, second ADs, grips, scripty and sound person. We did pay our hair and make-up person and the occasional gaffer. For the positions we did not pay, we made sure we provided a lot of value for them. Lessons they could transfer to other jobs. IMDb credits. We fed everyone well and paid a stipend for transportation. We kept our days short. Several of the people we trained, went on to use the knowledge we gave them to procure work after the feature. We’ve also hired some of these people after the feature or referred them for other higher paying jobs. Completing The Only Women in the World and getting it onto Tubi, Prime Video and several other platforms gave me entry into the Film Fatales, an organization that only takes women directors and offers opportunities, workwise and financial, to its members.

To Procure Future Jobs

I’m known for hiring great cast and crew members. There may have been a couple of mistakes along the way (people you thought were helping, and they turned out to be less than honorable), but for the most part, we work with incredible people. I have had other directors contact me and say, “I called everyone you used for that movie, and they’re all busy, who else do you have?” I’ve had this happen several times. I take it as a compliment. If you’re a talented worker with a great work ethic and are a good person, we’re going to refer you. A lot.

To Pay Back

I’m big on paying back. If you’ve helped me, and you’re effective, I’m going to refer the heck out of you.

And if you’ve helped by working for less than you would normally get, you’ll be the first person I’ll refer when the bigger jobs come in.

If you’ve done anything for me, and you call me saying you have a low-budgeted project and need my assistance, time permitting, I’m going to help you with it.

To Make a Name for Yourself

This is a small community. Everyone knows each other. If you do a great job, people are going to hear about it. If you make a mistake and don’t take responsibility for your actions, people will hear about that also. Get yourself known, but for the right reasons.

To Make Connections with Great People

I rarely work for free anymore, but if someone has helped me, I will certainly try. Or if there’s a name attached (perhaps an iconic figure, an academy or Emmy winning director, other notable crew member or famous actor), I may do it. If you’re looking for work, people will notice the other people you work with. We’re an industry of illusion, but usually, the work and connections speak for themselves.

You’ve Assembled a Team of People Who Help Each Other

I work with a few teams of talented people. We help each other out with our projects. That’s pretty much the only way true independent projects get done. When you find those people, value them.

This doesn’t mean you work for free forever. That’s not the point of this. The point is learning, getting value, and being of value.

Debra Markowitz 

created and served as the Director of the Nassau County Film Commission. Serving four administrations during her 33-year tenure, Ms. Markowitz had steadily increased production of movies, television programs and commercials that were shot in Nassau County. Ms. Markowitz also serves as President of the Long Island Film-TV Foundation, Long Island’s most established and largest not-for-profit agency dedicated to the support and promotion of independent filmmaking. The LIFTF runs the LIIFE, the Long Island International Film Expo, which is headed into its 27th year in July 2024.

Debra is also a novelist (the Karmic Wind Trilogy: Naked in the Rain, Sarah and Caleb and Karmic Wind), award winning screenwriter and director of shorts, features and TV pilots, film consultant, casting director and teaches director to actor workshops. Debra was a judge for potential incoming drama students at the LaGuardia Arts High School (The FAME school) for several years. Several of Debra’s films have screened at Academy Award Qualifying Film Festivals: Chosen (Director/Producer) screened at LA Shorts, The Last Taxi Driver (Writer/Director/Producer) screened at the HollyShorts Monthly Screening Series, Shoot Me Nicely (Casting Director/Producer) screened at HollyShorts and Won Best TV Pilot, was a Winner of the Diamond Award at LA Shorts, and My Cross to Bear (Producer/Casting Director) screened at Flickers Rhode Island International Film Festival.  Debra’s screenplay, Just Look Into My Eyes, was a semifinalist in both Flickers and HollyShorts and has won several other screenplay competitions. The screenplay of The Only Woman in the World won Best Screenplay at several international Film Festivals.  The Only Woman in the World feature film is screening on Prime Video, Tubi, The Alice Channel of Xumo, Momentu and several other platforms.  Debra is filming the 10 episode LGBTQIA+ limited series, Couple of Guys, and the fourth episode is currently being edited. Debra is filming the 10 episode LGBTQIA+ limited series, Couple of Guys, and the fourth episode is currently being scored. Debra’s company is currently shooting feature film, Wait List: A Love-ish Story, is in production on a pilot, is developing feature film, Yule Tides, and continues to write. Her work can be found at  www.IntentionFilmsandMedia.com

To Find Out More About Debra Markowitz:

IG: @debramarkowitzfilm

FB: www.facebook.com/DebraMarkowitzWriterDirector

IMDB: https://www.imdb.com/name/nm0548713

Linked In: https://www.linkedin.com/in/debra-markowitz/

G&E In Motion does not necessarily agree with the opinions of our guest bloggers. That would be boring and counterproductive. We have simply found the author’s thoughts to be interesting, intelligent, unique, insightful, and/or important. We may not agree on the words but we surely agree on their right to express them and proudly present this platform as a means to do so.

A Thought On Digital Art

In terms of the current trends of the art world, digital art has been growing and developing for some time now. As an artist myself, I have observed how the ease of access of digitial art is resulting in aspiring artists only pursuing the digital medium. But this hasn’t always been the case.

When I was younger, art was more traditional and had to be done by buying materials to create whatever came into your mind. The first time I really saw a program was in the early 2000s. Adobe was making software that allowed you to create work in a digital space but it was far more expensive and was really only seen in professional and school settings. I recall my high school had a class that filled up pretty quickly. An Adobe program also ran pretty expensive in price.

By the time I got to college, Adobe was still pretty costly and had expanded to video, flash, and photo editing as well. The art world was expanding as well due to other programs that were coming out, though Adobe was still the standard for digital art jobs. In terms of Digital vs.Traditional art, things were still pretty balanced and artist were trying to do both.

The common misconception with digital art is that it takes less skill to do. To be honest, it requires extensive practice and passion. I have also observed the difficulty levels to create in the digital space evolve over time. At one time, to do digital art, there was a need for an attachment like a drawing tablet and stylus. Before that a mouse was used to draw, which was certianly harder. With a drawing tablet, however, a person could draw on the surface and what the person drew would translate to the program.

With all the programs that were out, prices had also begun to come down, making it easier for anyone to learn this new craft. Digital art had finally fixed the one issue that made it hard for everyone…price. A Program was now a bit cheaper, there were more options than Adobe, and people were now used to seeing “computerized” images used on websites and social media.

Then came the point where digital art had taken over and more people were seemingly doing digital art over traditional. Some were even just doing the digital, with no history or exploraion of traditional.

Tablets were now also getting art programs where all you needed was that stylus or pen. Most of these programs had mobile versions or free versions as well as the trial version. I myself have gone through four different of these programs.

I feel art has always been kinda downplayed in society, and some of these programs have not adjusted to the demand. Adobe for example charges a monthly fee through the Cloud. Others offer alternative versions to accommodate what you need them for.

As a customer, you can already copy anything digital these days, thus making producing something easier in the digital world and harder for traditional art.

Personally, I don’t see the hype in following a trend and feel that an artist’s journey is found when you explore and not copy. It’s easy to get lost in asking others what they did. Like I said before, I have been through four of these programs myself (both paid and free) and each offers something different. I can understand how a person can be overwhelmed by the options, especially when there are so many opinions about them out there.

I think that as time goes on, these programs will become easier to use and the “it’s too hard to understand” complaint will fade away. The thought then really becomes what other crazy new features can they add to draw in new people? That pun was intended.

In terms of longevity, digital art has made a place and claim in the art space. Each new advancement in the programs allow more people to understand their place in art and allows people to be creative in new ways. Regarding my personal growth, I can say that digital art has been key to my self exploration. Using the new skills in digital art transfers back to traditional art, giving me new ideas for projects and designs. No matter if you’re experienced as a digital artist or a complete beginner, stock (liscensng artwork that was previously created) is only getting better for digital art. Chances are this is a style of art that will stay and adapt with the times.

Court Hospedales is an artist based out of Long Island, New York. His art comes from many different inspirations - from television to current events. In terms of style, Court uses many different mediums to create projects or pieces. The main objective for Court as an artist is to learn something he didn’t previously know and add it to his toolbox of skills. He has many goals but the main one is to show people that art is something anyone can do.

G&E In Motion does not necessarily agree with the opinions of our guest bloggers. That would be boring and counterproductive. We have simply found the author’s thoughts to be interesting, intelligent, unique, insightful, and/or important. We may not agree on the words but we surely agree on their right to express them and proudly present this platform as a means to do so.