Computers and technology have been described as the potential "great equalizer" of the 21st century, but it’s more than mere access that matters. It’s about control. The founding fathers of Inglewood-based independent film company Pstola.com share how technology control is key to their unexpected success.
Upon first glance, one would hardly confuse this three-man crew for their stereotypical pocket protector-wearing, jargon-speaking, computer savvy peers. The mere fact that they are young, African-American, and based in the inner city would be enough to convince most observers that these men are NOT what one would picture when thinking of "computer wizards." By their own admission, Andre Brooks, Deon Johnson, and Jason VanVeen see themselves as only "tinkering" with technology, but anyone who knows what these three have accomplished with their tinkering would have to concede that they definitely possess the genius.
|
VanVeen says,"I see the computer as independence."
|
Together, Brooks, Johnson, and VanVeen make up Pstola.com, a self-described "guerrilla filmmaking" company. Unlike its Hollywood counterparts, Pstola.com produces and distributes its films with little more than a high-end digital video camera, a desktop computer, and a web address. Headquartered in a modest home in Inglewood, CA, Pstola.com shines forth as a testimony to the unprecedented possibilities that have emerged as a result of the increasing accessibility of technology. VanVeen says, "I see the computer as independence." Indeed, all of the members agree that were it not for technology, their collective dream of filmmaking would have remained just that: a dream.
In fact, it was the promise of what could be accomplished through technology that finally reunited these longtime friends to establish Pstola.com.
Brooks and VanVeen met as youngsters in California’s Bay Area. Neither of them had ever had significant exposure to computers nor did they ever imagine that computers would play much of a role in their adult futures.
As a teen, VanVeen relocated to Inglewood and attended Westchester High School in Los Angeles. Again, he found himself on the margins of the emerging Computer Age with very little exposure to computers in his high school courses and no home computer. However, it was at this time that VanVeen discovered his desire to pursue filmmaking.
|
"Each one teach one" became their de facto motto, as each man tutored the others in his area of expertise until they gained the momentum they need to bring the dream to fruition.
|
Inspired by the works of Spike Lee and Robert Townsend, VanVeen decided that filmmaking was an art that could and should be successfully navigated by African-Americans and other underrepresented minorities. Although the prohibitive cost of producing films and the largely unchallenged exclusivity of Hollywood’s professional networks stood as very real barriers to the likelihood of VanVeen’s success, he enrolled in a college program majoring in TV and Film Production.
VanVeen learned some valuable skills in terms of shooting and editing, but he notes that most of them were learned on expensive, cumbersome and archaic machinery. He was inspired by the future of film production using innovative technology that he learned of while attending the 1993 SMPTE Convention (Society of Motion Picture and Television Engineers), but still perceived this largely computer-based technology as well beyond his scope, both financially and intellectually. VanVeen also landed a few scattered internships, which ended up being menial gopher work. He was exposed to the "ugly" side of Hollywood, enough to discourage anyone in his position. Together, these experiences only stiffened his resolve, however. He decided that he would pursue independent filmmaking even if he’d have to sink his life savings to do it.
|
|
"Each one teach one" became their de facto motto as each man tutored the others in his area of expertise until they gained the momentum they needed to bring the dream to fruition.
|
Meanwhile, Brooks began to pursue a more "stable" career goal majoring in business at Washington D.C.’s Howard University. There he gained skills in management, finance, and marketing that would later prove invaluable to independent Pstola.com’s success. However, at the time, Brooks recalls that his training at the university pushed "getting a good job" versus inspiring students towards entrepreneurship. Brooks graduated into a successful position in corporate America, but was still not completely satisfied.
During the interim, VanVeen became acquainted with Johnson. At the time, Johnson was a graphic design and computer animation student as the Art Institute of LA in Santa Monica. During his studies at the institute, Johnson had been introduced to Adobe Premiere, one of the cutting-edge software programs used in digital editing and production. Ironically, this program was similar to one of the software tools VanVeen had seen years earlier at the SMPTE Convention. He was excited and eager to learn it for himself. Johnson was happy to oblige.
As fate would have it, Brooks transitioned into another corporate position in one of LA’s major film studios and began to become increasingly intrigued and interested in the industry. He was also fascinated by the new prospects for low cost advertising and distribution afforded by the Internet.
Little by little, the three friends began to see that they shared some common goals and a range of talents among them that could be channeled into a promising enterprise.
"Each one teach one" became their de facto motto, as each man tutored the others in his area of expertise until they gained the momentum they needed to bring the dream to fruition. All the while, the members kept the goal of independence at the center. For them, this meant owning the means ofproduction. Much to their surprise and delight, this was much more feasible than they had imagined because of the lowering cost of computers and related software and supplies. Brooks notes that they are able to produce digital films at 1% of the cost of even a low budget movie shot on traditional film with comparable resolution.
With little formal technological training and loads of curiosity and drive, Brooks, Johnson, and VanVeen taught themselves how to shoot, edit, and distribute professional quality films through the use of a household computer. In January of 2000, www.Pstola.com was established on the Internet for the world to see, critique, and enjoy.
Since then, Pstola.com has enjoyed considerable attention both on and off of the Internet. Their colorful, witty, and raw brand of storytelling in film has captured the eyes and interest of a diverse and, often, influential audience. Despite it all, these gentlemen remain modest with the simple wish to continue to determine their own course while inspiring others to do the same. They don’t like to preach but they hope that their example will encourage other youth that may believe that technology is something that they can access or use to their advantage to see the many possibilities that exist.
Pstola.com’s story is particularly intriguing in that their use of technology has allowed them to break through the barriers of finance and elite professional networks that would have traditionally excluded them from serious filmmaking. In essence, by crossing the "Digital Divide, the group’s members positioned themselves to cross the numerous other "divides" which have barred independently produced and distributed films from enjoying the exposure and success of Hollywood’s mainstream. For now, Pstola.com can bask in the glow of artists’ most prized possession: creative control.
|
Creative Control: Inglewood’s Pstola.Com Uses Technology as a Power Tool
