Posts filed under Filmmaking

Lullatone: the Artists Who Create Music out of Everything

A combination of imaginative and minimalist approach, Lullatone’s music masters the playful melody — their style of producing and recording music is just as interesting and forward thinking as the results.

With their latest release “Acorns” out today and now available for music licensing on the Marmoset catalog, we proudly present a special spotlight short film on Lullatone. Directed by filmmaker Josh Brine, Lullatone members, Shawn James Seymour and Yoshimi Tomida welcome viewers (and listeners) into their charming creative space located in Nagoya, Japan.

Watch to learn more about their story — from what inspires them, their unique and inspiring approach to music production and the a behind the scenes look at the making of “Acorns.”

In case you missed our special interview with Lullatone, click here to learn more about Lullatone.

The Music Behind Givenchy's Spring Summer Campaign


Givenchy’s Spring + Summer 2019 Campaign is a blend of avant-garde and retro culture — a crisp black and white landscape, where the characters look as though they were plucked out of Andy Warhol’s studio, the Factory.

Alongside the androgynous collective, Givenchy features Marmoset artist, Damon Boucher’sK I N” as its musical backdrop. Electronic synth beats, the music ensures the seasonal campaign reaches full circle. To learn more about Boucher’s musical journey, the fashion undercurrent of his LP — N K I and where he’s headed, we connected with the artist earlier this month.


Marmoset: Could you tell us a little bit how you first got into making music?

Boucher: I grew up taking classical lessons, and performing contemporary music in a Pentecostal Christian church. In church, I learned to improvise pop music, although church also kept me closeted. But, I’ve been writing music since that time. I played and wrote music all throughout college; then began to produce music after I graduated in 2008.

M: Listening through NKI, your music has such a dreamy kind of presence along with an energetic pulse to it. How would you describe your music to listeners? What kind of visuals come to mind?

B: I try to make it watery, but clean. Clean can sometimes mean dry and airy which plays off the watery thing. Visually, I always think of clean, stark contrasts; light and dark meeting in balance. I think of an ocean horizon, fashion runways or queer nightlife culture.

M: Do you collaborate with your work or do you tend to flourish more as a solo creator? Yes! Most of my work is collaborative. My main project for the past few years has been producing music for Chanti Darling. I’ve also worked with The Last Artful, Dodgr, Maarquii, Natasha Kmeto, Nafisaria, The Portland Cello Project, Ripley Snell, Neill Von Tally, DJ Sappho, Pocket Rock-it and many more. (Click here to listen).

I’ve also had a chance to teach and collaborate with several of my students over the years. I’ve taught piano and composition at School of Rock since 2010 and have directed over 40 shows there; and since they let me keep my studio inside their building, all of my projects are made out of there. I call that studio Zip Zap Studios.

I’m super proud of the work I’ve done with others. However, even though I’m often in collaborative environments, I find that I work best alone. When producing music with others, I oftentimes meet to record, then polish the songs when I’m by myself. There’s less pressure when I’m alone so I find those times to be more experimental and fruitful.

M: Who are some artists you've been listening to this year?

Current new stuff from: The Internet, Roisin Murphy, Against All Logic, Travis Scott.

Older stuff from: Missy Elliott, Gary Numan, Four Tet

M: What went through your head when you heard your music being featured on the Givenchy Spring/Summer campaign?

I sincerely wanted that music to be used for fashion so I was excited to see it used in that capacity! A lot of the track names on N K I have fashion related titles, all for the reason that I imagined this record being used just as you now see it.

M: What inspires you about the Portland music scene?

Someone once described Portland to me as a great “incubator” for creative ideas, which I think is both bizarre and accurate. It rains forever so I want to stay inside and work on music until the weather’s good. I am completely privileged to be able to work on music with the setup I have in Portland and I am forever grateful for that. I would not be able to do that in a variety of other places or lives.


The Spring Summer 2019 Campaign

Talking Death, Music and More with Sundance Filmmaker, Stefanie Horowitz


Filmmaker, Stefanie Abel Horowitz ran her theatre company, Tiny Little Band for six years before pivoting artistic mediums and directing her first short film, sometimes I think about dying.

With its premier at Sundance Film Festival, Marmoset caught up with Horowitz to explore her fascination with death, music and getting into one of the most reputable film festivals.

After embracing a brief hiatus from being an artist, Horowitz began questioning what it really was that she wanted to do, prompting her to ditch the concrete jungle of New York to relocate to sunny Los Angeles.

Filmed in a small coastal town of Maine, sometimes i think about dying is a dark comedy of a young woman who’s headspace lingers in deathly thoughts. The audience is let in on the main character’s musings as a voice-over dialogue; the character is surrounded by others who have little to no awareness of the grim intricacies beyond an otherwise timid shell. Exteriorly, she blends into a washed out palette of muted colors, invisible in plain sight, adding to the layers of her shyness.

While the story follows the beginning of a newly founded relationship, Horowitz never forfeits the struggles and complexes that define the film’s main character, regardless or not if infatuated with a love interest. It’s this kind of narrative, about women who exist beyond tropes and simple molds, that Horowitz proves is possible in filmmaking.


“I hate how women are so often presented as cold,” says Horowitz. “If we’re not sort of these romanticized, soft maternal women, then we are cold workaholics who can't access our feeling whatever it is. She's definitely such a full character. And part of the reason we wanted to bring this back as a film is that she is so interesting and so millable to so many, and a complicated woman.”

And as an upcoming filmmaker Horowitz proves she’s comfortable forging ahead to tell these kind of authentic kind of stories—sometimes i think about dying normalizing the topic and presence of death.

“It's such a universal feeling, right? Whether it be sadness or actual death or whatever it is,” says Horowitz. “I mean we're all going to die and we all think about it at some point, but. So it's like how to let people not feel like somehow she's somehow other than them — or that we have an access to that part of ourselves. But she gets to say the things that we all kind of want to say or are all thinking. And so it sort of had to be that combination of smart, funny, bad woman.”

And much like the thoughtfully constructed nature of Horowitz’s main character, cinematography and sound design equally portray distinct presences. Horowitz worked with a composer, Savannah Wheeler and with Marmoset for music licensing — “Lonely Star” by Fred Martin and the Matadors and “I Wanna Know” by Pagents. When asked about her approach to music, Horowitz notes her evolving approach toward creating a soundtrack.

“There are directors who will make a playlist and are really engaged with the musicality side,” Horowitz says. “I actually find that to be one of the hardest parts because it is such an emotional medium. I mean people cry just listening to music. I really want to get better at that to be honest because I think it helps the film later on too when adding music in.”

With her first film wrapped and heading to Sundance, what’s next for Horowitz?

“Well, I'm excited to go to Sundance, I think that's gonna be fun. And then I'm just writing a lot more and I’m working on adapting another play that I worked on previously, called “Ghost Stories,” — it won’t be called that in the future. It's about ghosts, belief and faith and then I'm writing more stuff for TV as well.”

While audiences will have to wait to see the short film online, Sundance filmgoers can a screening of sometimes i think about dying at the festival — showtimes listed below:

Temple Theatre, Park City — Saturday, January 26, 6:00 p.m.

Redstone Cinema 2, Park City — Sunday, January 27, 10:00 p.m.

Broadway Centre Cinema 6, Salt Lake City — Monday, January 28, 3:00 p.m.

Egyptian Theatre, Park City — Thursday, January 31, 5:30 p.m.

Jumping Up and Down with Freedust's New Music Video

Jump Up and Down” by Freedust beams confidence with its hybrid of jazz, swing and pop and contagiously upbeat rhythmic qualities. If possible to visualize the music notes radiating beyond the beats, the music group delivers exactly what we were imagining — pulsating creativity, the music video packs a punch with colorful stop motion graphics, moving illustrations and of course a dance routine that makes us want to jump up, down, and all around.

Check out more of Freedust’s music here and get your Friday started by clicking play.

Music Video Credits: Director / Producer - Stefano Ottaviano, Lead Design - Animation Martina Savoldelli, Design - Aria Ngimbi, Giulia Flamini, Stop Motion Animator - Dele Nuga, Virginia Fonderico, Stop Motion Dop - Efe Onikinci, Live Action Dop - Vlad Jako, Color grade - Nicola Bruno

Posted on January 11, 2019 and filed under Marmoset, Music, Filmmaking, Artist Spotlights, Shared Work, Music Licensing.

Original Music and Filmmaking Come Together for A/VEC 5

Filmmaking and original musical composition are two creative worlds that intermix every day at Marmoset.


With every notable film throughout history in the accompaniment of an outstanding soundtrack (or even sound design), we recognize this creative friendship, coming together as a community to celebrate Marmoset’s fifth installment of A/VEC. This year we brought together two talented artists, filmmaker Claudia Meza and Luz Mendoza of Y La Bamba.

Meza’s background in documentary filmmaking, her roots rest firmly in music. It was in this medium where Meza found another calling and natural obsession for video production. After working alongside She Shreds magazine, Meza began shooting content on the fly, naturally falling in tune with documentary style filmmaking.

Gathered at Marmoset headquarters, the short film shines a light on the unseen, backbreaking physical labor performed by migrant workers every day in the United States. It's a poetic testimonial transcending the general outlook of immigration, presenting an experimental yet informative documentary that never compromises identities.

“Trabajo pesado, what that means is hard work, it means heavy work,” says Meza. “And whenever your parents tell you to study, or tell you what they're doing for you so you don’t have to do — Trabajo pesado.”

The audio heartbeat of the film is within Y La Bamba's original music created just for this special event and scored live on the night of the A/VEC community screening; the purple light that cascades over Mendoza and her band is emotively symbolic of America’s aching, turbulent grasp of its immigrant issue. It’s an evening that pays homage to lineage, history, roots, culture and art — click PLAY on the video above to experience it yourself.

Migrant workers depicted in Director Claudia Meza’s A/VEC short film — premiered at Marmoset Headquarters.

Migrant workers depicted in Director Claudia Meza’s A/VEC short film — premiered at Marmoset Headquarters.

Posted on December 12, 2018 and filed under Community, Marmoset, Music, Shared Work, Spotlight: Marmoset, Filmmaking.