Film Fests

Sundance 2014 Review: Hellion


Kat Candler’s feature Hellion, based on her 2012 short film of the same name, was one of the titles at this year’s Sundance that I was most looking forward to. The short, about three young boys being raised by a single father who’s not around or emotionally engaged enough to keep them from getting into trouble, had a naturalistic honesty to it that I found very intriguing; it left me wanting to know more about these people and their lives. Given a lot more room to explore this through a feature-length film, she tells this story from the perspective of her troubled 13-year-old protagonist, played by newcomer Josh Wiggins in a powerful breakout performance.

Wiggins plays Jacob, a kid growing up in a refinery town in Southeast Texas, struggling to overcome both his mother’s death in a tragic car accident a year earlier, and the emotional absence of his father, Hollis (Aaron Paul, who’s simply terrific here), who’s still reeling from the loss of his wife. Jacob acts out his own anger and grief through a series of delinquent shenanigans around town with his “crew” of buddies that kicks off with a stellar, heavy-metal infused opening sequence that kicks us straight into Jacob’s rage. When he ropes in his sweetly trusting younger brother Wes (Deke Garner) into the action, CPS gets involved and removes Wes to place him with the boys’ Aunt Pam (Juliette Lewis), Hollis and Jacob are forced to take a long, hard look at their own choices to find a way to move on despite the gaping hole tragedy has ripped out of their lives.

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SIFF Review: The Sound of Mumbai: A Musical

Last Sunday, I took my son Jaxon, aged 11, to see The Sound of Mumbai, which is screening at SIFF in their Films4Families section. Jaxon is on the Films4Families jury this year, which means that for the first time, he’s being asked to view movies as more than just pure entertainment. The Sound of Mumbai was his first real experience with a documentary (other than March of the Penguins, and I’m not sure how much he remembers of that), and I was curious to see how he’d respond to it.

“Is this a real story or a made up story?” he whispered about 20 minutes in, as on the screen we saw the deplorable conditions in which the cheerful main subject lives.
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At SIFF This Weekend — May 20-22

This weekend, the Seattle International Film Festival offers an array of interesting, good films to choose from, which you can view on the handy-dandy fest calendar. Not sure what to watch? You can try out The Siffter for suggestions!

If you’re looking for recommendations, my own picks for Friday would be Submarine (7PM, Egyptian) or 3 (7PM, Neptune), Takeshi Kitano’s Outrage (9:30PM, Egyptian), AND the midnight screening of Trollhunter (midnight, also at the Egyptian). For Saturday, consider checking out Nuummioq, the first feature film out Greenland, at 11AM. The afternoon offers How to Die in Oregon up against Silent Souls — either is recommended.

If you’re over in Renton, which is having its opening night tonight, you can catch SXSW standout Natural Selection and Touch, an terrific little film about the relationship between a manicurist and a mechanic. In some ways, it’s kind of a lighter, funnier version of The Off Hours. which screens later in the fest.

Tomorrow afternoon you could catch The Trip, the hilarious road trip film with Steve Coogan and Rob Brydon, and then check out Miranda July’s excellent, trippy flick The Future. Later tomorrow night, you won’t go wrong with either Perfect Sense or Jess + Moss, and midnight brings another offering: John Carpenter’s The Ward. Bring a friend.

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SIFF 2011: The Preview

Thursday evening, the 37th edition of the Seattle International Film Festival will kick off with a Gala opening screening of The First Grader, followed by a sure-to-be-packed opening party. Justin Chadwick’s charming drama about an 84-year-old Kenyan freedom fighter who decides to take advantage of the government’s free education program by enrolling in his village’s school is an interesting choice for a festival opener: There are no big stars to parade down the red carpet — but then Seattle’s never really been the kind of festival locals flock to because of the stars. It’s a rather innocuous, crowd-pleasing choice, not likely to offend any festival donors — but then, rebellious Seattle isn’t exactly the kind of town where not offending is the first priority.
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SFF Dispatch: Wrapping a Terrific Fest

What a great film festival Sarasota has. Gorgeous city to get to hang out in, enthusiastic audiences, sunshine, beautiful beaches, fabulous parties, and most importantly, a really solid slate of films, curated by Artistic Director Tom Hall and Director of Programming Holly Herrick, who, in addition to having excellent taste in film, are two of the nicest people in the indie film world.
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Dallas IFF Dispatch: Murder Songs and Warlords

After a long day of travel, I finally made it to Dallas this afternoon for a couple days at the Dallas International Film Festival, just in time to check into my hotel room (replete with round bed and zebra rug), change into something more appropriate for the warmer Dallas weather (the sun! my eyes!) and hit the ground running with a couple screenings.

First up was Small Town Murder Songs, a Canadian film directed by Ed Gass-Donnelly. The film stars vet Swedish actor Peter Stomare (sporting a ‘stache that would be right at home on a 1970s porn set) as Walter, a cop in a small Mennonite town in Ontario. A murdered stripper (the first murder the town’s police force has ever had to deal with) is the catalyst for the story, as Walter almost immediately targets Steve (Stephen Eric McIntyre), the seedy white-trash lover of his ex-mistress Rita (Jill Hennessy, terrific here). Martha Plimpton is quietly powerful in a less showy role as Walter’s current girlfriend (or maybe wife? This isn’t made explicitly clear).
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Pay No Attention to What’s Behind the Curtain …

How should a journalist handle reporting information that a film festival might prefer not be written about?
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On Regional Film Fests as Agents of Change

I wrote a little while back about the Sarasota Film Festival and their kick-ass education and outreach program, which I’m looking forward to seeing up close when I’m at that fest next month.

I’m also going back to Dallas IFF this year — I’ve been going to that fest every year since it started, and I’m continually impressed with how this fest has grown and shifted and survived in spite ending their co-branding with AFI and losing some sponsors and gaining others. Somehow, they always pull off a hell of a fest for the Dallas-Fort Worth area.
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AOL/Moviefone Editor Asks TechCrunch to Tone Down the Snark?

So there was an interesting little editorial kerfuffle over at TechCrunch, which you might recall from our handy-dandy AOL timeline of acquisitions and cannings, was acquired by AOL back in September 2010 (actually, it was more late September).

The scuffling started when TechCrunch writer Alexia Tsotsis interviewed Jake Gyllenhaal and Duncan Jones about the film The Source Code at SXSW. She posted the video interview along with a piece she wrote up about called “Jake Gyllenhaal Movie ‘The Source Code’ Markets Itself To Techies.”

Now really, it was pretty clever of Alexia to take advantage of being at SXSW for the Interactive element, seeing a relevant movie tie-in with a film playing over at the Film side of the fest, and finding an angle for a cross-platform interview, right? Now, pop on over there and watch the video interviews with Jake Gyllenhaal and Duncan Jones (they’re short-ish), and while you’re there read over the accompanying text. I’ll wait right here and watch some more earthquake/exploding nuclear power plant coverage on CNN while you’re away …

… Okay, back? Now, maybe it’s just me, but I didn’t find anything in either the videos or the accompanying post that I would view as overly snarky or in any way detrimental to the film — at least insofar as it’s no more snarky than anything else Alexia writes for TechCrunch. Certainly, I don’t see anything that would have prompted the AOL Overlords Alexia’s connnection at Moviefone to email her this:

Hey Alexia,

Hope you’re having a good time at SxSW and that it’s not been too crazy busy for you!

First wanted to thank you for covering Source Code/attending the party, etc. But also wanted to raise a concern that Summit had about the piece that ran. They felt it was a little snarky and wondered if any of the snark can be toned down? I wasn’t able to view the video interviews but I think their issue is just with some of the text. Let me know if you’re able to take another look at it and make any edits. I know of course that TechCrunch has its own voice and editorial standards, so if you have good reasons not to change anything that’s fine, I just need to get back to Summit with some sort of information. Let me know.


Me again. Okay, I have a couple thoughts on this. First, back in October, when TechCrunch sold themselves to AOL, Michael Arrington reassured the site’s loyal user base that AOL (which would include Moviefone) would keep their grubby corporate paws off editorial. From Arrington’s post dated September 28, 2010:

So at that point we were basically sold. But AOL was very aggressive about one last important issue that really sealed the deal – editorial.

Tim told me that he doesn’t want whatever makes TechCrunch special to go away. He also said it was important that we feel free to criticize AOL when we think they deserve it. And the agreement we signed with AOL fully reflects this.

Okay, so. Moviefone sends Alexia a passive-aggressive note to tone down the snark (note that the tone of the note is carefully crafted to make it seem like “Hiya! Whoops, hey! No! We’re not dipping our toes in your editorial wading pool! Just touching base about this one teensy little thing …”

Now, in all fairness, since Alexia works in tech journalism and probably hasn’t dealt with movie business people a whole lot, I do have to say this: The movie industry is a different world than tech. And probably
it came down something like this:

Some higher up at the studio didn’t like something, bitched about it until it traveled down the food chain to someone who was told to look into it, who sent a note or made a phone call to their contact at Moviefone to say, hey, can you look into this? Maybe do me a solid and smooth it over? And that person sent Alexia an email, being careful because of the “hands-off” editorial policy to say, hey, if you have an editorial reason for being snarky, cool, just tell me that so I can pass that back up the food chain, and by the time it works its way back up to the source, hopefully everyone will have downed a bunch of beer at SXSW parties and forgotten all about it.”

That, realistically, is about how it works.

Now, honestly, I don’t find anything about either the video or the original post all that snarky. Maybe Summit isn’t grokking the techie angle, or whoever got in a tiff there to begin with just doesn’t know who this Alexia chick is and why a tech blog was approved for a video interview with their talent or something. Who the hell knows. Weirder things have happened around publicity for a film at a fest.

If Summit or Moviefone thought the original post was “too snarky,” I can imagine the blood pressure points that shot up over Alexia’s response, in which she says, in part, “Apparently, the post was not enough of a blowjob for Summit, and they let it be known to the AOL person at Moviefone who hooked us up with them in the first place.

As an aside, I love how some of the commenters are taking her to task for using the word “blowjob.” Sorry, but if the word “blowjob” as it applies to the ethical precipice on which the relationship among studios, publicists and press delicately balances is offensive to you, you’re either pretty thin-skinned or you haven’t been around this industry much. Blowjobs, back-scratches, reach-arounds and “solids” are the currency that oils the gear of this business, however much we all try to avoid crossing that boundary between PR and press.

The headline about AOL asking Alexia to “tone down the snark” is maybe bordering on hyperbole, but just barely. They did send the email, they did ask if she could tone it down. They didn’t count on her publishing it, but tough cookies. So it goes. Alexia might not get another invite to a movie party, at least not through her Moviefone contact, but whatever … it’s not every day that there’s a cross-over like that for her to find an angle on anyhow.

So what do you think? Is TechCrunch making a bigger deal of the perceived heavy-handedness of its overlords than is merited by the actual email? Or did Moviefone cross the line and deserve a smackdown for it?


… More coming very shortly on TechCrunch’s Paul Carr calling for Moviefone Editor-in-Chief Patricia Chui’s head on a freaking platter.

Dallas IFF Announces Stellar Lineup

SXSW may be rocking Austin right now, but the Dallas International Film Festival, which runs March 31-April 10, is just a few short weeks away, and the fest, under the leadership of Artistic Director James Faust and Senior Programmer Sarah Harris has just announced an impressive slate.

Last year was the first year that the fest took off under its own steam, after three years of partnering with AFI, and this year from the looks of it Faust, Harris, who set out with the goal of bringing films from a wide array of cultures to Dallas audiences, certainly seem to be aiming for that goal. I’ll be in Dallas myself a few days toward the end of the fest, so I’ll be keeping you apprised of all the cool happenings at this year’s fest. In the meantime, you can check out the press announcement with the full line-up right here.

Spotlight: Outreach and Education at the Sarasota Film Festival

I’ve been meaning to check out the Sarasota Film Festival for a long time now, and it looks like this year I’ll finally be heading to Florida (my first time ever to set foot in that state, believe it or not) to check it out and serve on a jury for the fest.

One of the things that intrigued me the most about SFF as a regional fest is that it has one of the most expansive and impressive Outreach and Education efforts I’ve seen at a fest of this size. Since I’m particularly interested right now in the role of regional fests in reaching young people and exposing them to a world of cinematic experiences broader than what they’d likely be exposed to in mainstream theaters, this seemed an important fest to take a closer look at.

Allison Koehler, SFF’s director of Outreach and Education, very kindly agreed to take some time out of a very busy schedule prepping for the fest to allow me to pester her with a few questions. I’ll be checking out some of the fest’s education programs myself while I’m there, too, so there will be more to come on this later. In the meantime, here’s our interview, conducted via email:

KV: What was the impetus for Sarasota to develop such a strong O&E program?

AK: Sarasota is widely known for being a community passionate about the arts. Between the Sarasota Opera, Sarasota Ballet, Sarasota Symphony Orchestra, Ringling Museum of Art and the College of Art and Design, the Historic Asolo Theatre, the Van Wezel Performing Arts Hall and many, many other arts organizations and venues, Sarasota is truly a hub for intelligent, enthusiastic, and media-literate art supporters and consumers. The Sarasota Film Festival very naturally fills the role of offering the very best in film. As a non-profit organization, we have an obligation to our community to provide outreach and education opportunities that would otherwise not be available.

The school systems in Sarasota and in neighboring Manatee and Charlotte counties put a very strong emphasis on arts education. There are a great deal of Visual and Performing Arts (VPA) programs and a high number of television and video production courses available at all grade levels. Again, very naturally, SFF is able to support the innovative education that is already happening here in Sarasota by providing additional opportunities for the area’s promising young media-makers.

We also do outreach in the community through extensive partnerships. Over the past few years, we’ve partnered in programming with the Jewish Federation of Sarasota-Manatee, GCC UN Women, the Sarasota Opera, and Sarasota’s LGBTQ Fabulous Independent Film Festival by offering film sidebars, networking opportunities, workshops and panel discussions, and conversation series within our festival to strengthen the fabric of the area’s arts community and introduce visiting artists, industry, and press to each other and to our local constituency.

KV: You do O&E both in and out of classrooms. In what way do you coordinate with school districts to reach students in the classroom? Do you partner with other educational not-for-profits in outreach?

AK: We work closely with the Board of Education, school principals and other administrators, and more often than not, directly with individual educators who are looking to integrate film studies into their curriculum. We also partner with local community and not-for-profit organizations to collaborate on film and event programming, promotional support, and outreach opportunities to strengthen and unite our community as a whole.

The festival’s community partnerships have included: ALSO Gay Youth Services, Community Foundation of Sarasota County, First Step of Sarasota, Florida Film Commission, Florida Studio Theatre Improv Troupe, Florida West Coast Symphony, Film School of Florida State University, FSU/Asolo Acting Conservatory, Girls Inc., John and Mable Ringling Museum of Art, Manatee Community College, Manatee County Arts Council, Museum of Asian Art, Ringling School of Art and Design, Rowlett Magnet School for the Performing Arts, Sarasota County Arts Council, School Board of Sarasota County, The Kennedy Center for the Performing Arts, United Nations Development Fund for Women, Van Wezel Performing Arts Hall, YMCA Community Coalition for Children, Young Professionals Group of the Sarasota Chamber of Commerce among others.
Kim Voynar: Has your fest developed an actual written curriculum in some format, a template that you follow year to year? Or do you develop a new curriculum each year depending on the interests of the students?

Allison Koehler: Our Outreach and Education Department designs curriculum based on the program offerings for the year. We have a general outline for each program and then tailor the curriculum specific to the year’s focus.

For example, our Reel Life Studio program at its most basic is a hands-on filmmaking program for high school students. Each year, we place special emphasis on a niche area of filmmaking in an attempt to introduce areas that students may not have exposure to in their school media arts classrooms. In 2009 we focused on documentary filmmaking. Last year we chose Dogme 95 and this year we’re taking a closer look at the audio/visual relationship by having students create a short film around a piece of instrumental music. The structure of the program remains the same. Generally, the program starts a little over a month before the festival and we meet as a large group two or three times where we outline the program and its guidelines, teach the history and theory behind the program’s focus, and hold workshops that include screenings, writing and pitching sessions, and review.

Other programs like our Junior Jury and Classroom Critic programs also keep the same basic structure and curriculum but have changing content relevant to the year. Both programs focus on film review and our goal is to expand the curriculum in each program each year as our department continues to grow.

Traditionally, the Junior Jury is responsible for screening all of the youthFEST short films programmed for the year’s festival and charged with determining the winner of the official Best Family Short Film Award presented each year at our Filmmaker Tribute. Over the years, we’ve developed and continued to modify screening review forms specific to the program and add elements that further increases student participation. For example, this year, the Junior Jury members are also responsible for writing written reviews, conducting interviews with filmmakers, screening and reviewing feature films, assisting in curating the youthFEST short film programs, and blogging about the process.

Classroom Critic was developed as a supplement to Junior Jury so we could reach more students. For this program, we design a film review curriculum and distribute it to participating middle school educators who incorporate our materials into their existing teaching format. This began with a simple guide to film review and now has the original guide plus additions like a screening review form, film analysis question prompts, film review suggestions and tips, and a glossary of film terms.

KV: You also do a lot of O&E that seems to be year-round — the young filmmakers and screenwriting programs, for instance. Are these programs entirely run by Sarasota staff? Volunteers? How do you manage such a large O&E program?

AK: The majority of our educational programming runs from December through the end of the festival month (April). Our goal has always been to expand into full-time, year-round operation, but with the way the economic climate has been over the past few years, as I’m sure is the case for many arts organizations, our dream has not been able to be fully realized yet. However, things are looking up! This year we were able to bring back our popular Moonlight Movies series which provides the tri-county area with evenings of free family-friendly film programming. We had a fall/winter line-up at the end of last year, a full spring schedule, and are working on finalizing the summer series now.

Many of our programs and much of our curriculum has been integrated into area classrooms which, of course, operate outside of the festival timeline. Phoenix Academy, for example, has created a screenwriting mentor group within their school to continue supporting the student writers who have participated in our programs and those who have a general interest in the subject. Booker Middle School educators are using parts of our curriculum throughout the year as a way to merge film and media studies with the english, literature, and language arts curricula they already have in place.

Our programs are created, designed, managed, and taught entirely by our Outreach and Education Department staff which currently includes two full-time staff members– myself as Director of Outreach and Education and our Production Manager George Denison– with support from part-time Program Coordinators Lacey Sigmon and Datev Gallagher, and Production Assistant Mohamed Younes who work for either intern credit or stipends. Volunteers are also essential to the successful operation of our department as they provide valuable support with distributing curriculum, organizing outreach efforts, event staffing, and more. How do we manage such a large list of programs? We put in a lot of hours!

KV: Your fest offers a really broad scope of educational programming at no cost to students. Is your program entirely funded by AMPAS grants? Do you have a staff person(s) dedicated to researching and writing grants to fund your O&E program?

AK: To my knowledge, we have received an AMPAS grant every other year since the department was created. We also receive funding from the Famiglio Family Foundation, Amicus Foundation, Gulf Coast Community Foundation of Venice, Publix Charities, and the Woman’s Exchange, and part of our department’s budget is paid for by the Sarasota County Tourist Development Tax Revenues. Additionally, a portion of our funding comes from corporate and individual donors. Our festival staff works closely to research and write grants to fund the O&E Department.

KV: And finally, looking at regional fests generally, what do you see as the role of O&E in building and growing a solid regional film fest?

AK: Generally, hmm. I think the role of any Outreach and Education Department, generally, is being the roots– the foundation of the building and growing of a regional film festival into a solid one. Two of our overarching goals in the department are to promote and proliferate community involvement in the arts and, through our programs, cultivate media-literate individuals. As our lives and the lives of young people are surrounded by, saturated in, and oftentimes overwhelmed with media, being able to identify, understand, interpret, create, communicate, and compute becomes increasingly more essential. Being a media consumer is unavoidable. Media literacy makes the situation an empowering one for individuals of all ages. By offering all of our educational opportunities for free– keeping them accessible for all– and focusing outreach on integration, we’ve really done a nice job in Sarasota of building and growing a solid festival and supportive community.

The Outreach and Education Department is also important in building a strong film festival because it establishes relationships with talented filmmakers very early on and continues to be a role in their success far beyond the time young people spend within one program or another. We’ve had so many students come through our programs and then, years later, submit fantastic work to the festival. They are making films and coming back. Our festival is not only part of the foundation from which they came, but we’re also a big part of their future as successful filmmakers.

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Spotlight: Ann Arbor Film Festival

Much of the indie film world is gearing up for South by Southwest, which runs in Austin (the film part, anyhow) March 11-19. And they have a swell slate, and Austin’s a fun town, and SXSW is always a great party sandwiched around some interesting films, but you already know that. Love SXSW, love the folks who run it, but you already know about that fest, right? Probably you already have your digs set, your plane ticket purchased, your film-and-party slate lined up.

What you may be less aware of is the Ann Arbor Film Festival, which runs March 22-27 in lovely Ann Arbor, Michigan. When I went there a couple years ago, it was C-O-L-D! And it snowed during the fest. In March! But I didn’t care, because the films that Ann Arbor programs are so engaging, and their primary venue, the Michigan Theater, is just a lovely place to celebrate film.
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How (Not) to Fest

My good friend and documentaries whiz Basil Tsiokos, — whose blog What (Not) to Doc should be one of your bookmarked regular reads if you’re a filmmaker of any stripe or aspire to be one, or even if you’re just a big fan of watching films — has written an excellent three-parter for IFP offering his expert advice for all you indie filmmakers on making the most of your film festival experience. Whatever type of filmmaker you are, you should stop whatever you are doing and go read all three parts of this right now. Seriously. Go make yourself a cuppa tea, take a break, and read it.
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More on Hollywood as Brand

Clearly, David and I disagreed on the validity of the premise of Mark Harris’ GQ piece “The Day the Movies Died.” Over on the Hot Blog, David more or less tore Harris’ arguments to shreds in making his own points. But while I don’t agree with every argument Harris makes, and I don’t disagree, necessarily, that tonally his piece is a bit of a Chicken Little, look out the Hollywood sky falling melodrama… on the other hand, I agree with Harris that the sky is falling and has been for some time.
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Building the Indie “Brand” — If We Build It, Will the Audience Come?

I was just mulling over the importance of indie filmmakers and regional film fests in the afterglow of the Oxford Film Festival and the slew of upcoming regional fests, when lo! A trend (well, if you can call two articles a “trend”) arose this month on pieces about the whys and wherefores of Hollywood making shitty movies. Apparently I’m not the only one who’s been thinking about why this is so.
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Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon