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Playlist: Alex Kime's Portfolio

Alex Kime Credit:
Alex Kime

Live interviews recorded on location and later edited by Alex Kime

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Andy Tarlow, Restauranteur

From Alex Kime | Part of the Alex Kime - Chicago series | 17:31

We invited Brooklyn-based restaurateur Andrew Tarlow in to chat with Chicago-based entrepreneur Ed Marszewski. Alex Kime edited this piece.

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We invited Brooklyn-based restaurateur Andrew Tarlow (Diner, Marlow & Sons, Reynard, Wythe Hotel, and more) in to chat with Chicago-based entrepreneur Ed Marszewski (Maria’s Packaged Goods, Kimski, Marz Community Brewing, and more).  Andrew was also joined by co-author Anna Dunn (editor of Diner Journal, Tarlow’s quarterly culinary publication).

Edited By: Alex Kime

Nick Waterhouse interview and performance.

From Alex Kime | 34:09

Nick Waterhouse, known for his soul influenced songs, got his start in the same scene as Ty Segall. Edited: Alex Kime.

Alexander-kime-audio_small Nick Waterhouse is known for his soul influenced song writing, but he got his start in the same scene as garage rockers like Ty Segall. Hear him describe his influences, and evolving appraoch to music as he works to fight against his reputation of a revivalist. Stay tuned for a musical performance after the interview.


Produced By: Alexander Coleman Kime

Author Keegan Jennings Goodman

From Alex Kime | 22:19

In the first half of this conversation with writer Keegan Jennings Goodman reads an excerpt of his most recent book. Edited by Alex Kime.

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In the first half of a conversation led by publisher Tim Kinsella, writer Keegan Jennings Goodman reads an excerpt of his most recent book “The Tennessee Highway Death Chant,” and then talks in depth about his specific writing style, especially related to the esoteric-nature of his book.


Goodman grew up in the Ozark Mountains, lived out west in Southern California, went to college in Harlem, then art school in Chicago, and now lives in Toronto, where he’s working on a dissertation about the French philosopher Georges Bataille.


Produced By: Alexander Coleman Kime

Alex Kime and Chicago Artist Stephen E.

From Alex Kime | 14:30

Edited by Alex Kime: Stephen E. and curator Austin R. discuss Stephen's practice and current exhibition.

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As Disney/Fox keeps on gobbling up now in excess of 50 percent of the movies, as organizations like Sony Pictures and Lionsgate prime themselves for securing, as littler wholesalers like Open Road, Annapurna, Neon and STX keep on bleeding cash and go to pieces, and as computerized merchants and stages start to effectively get associated with the creation and generation of stories, (See Netflix, Apple's Netflix clone, and so on) it's winding up clear to me that autonomous film is in threat. Good fortunes getting Netflix or YouTube to advance your little motion picture when they have Originals to raise. A24 is by all accounts one of the main little merchants keeping itself above water, principally because of the poaching of the Weinstein Co's executives pre-Harvey emergency. 
On the off chance that you live in Los Angeles as I do, you've most likely seen the disintegrating of our restoration theater scene. Right now, the city of Hollywood has one performance center that shows old films. One. In Hollywood! I would have never envisioned this could occur here. 
In any case, it's not bad, but at the same time not enough to blow anyone's mind: I was at Sundance this year and couldn't locate a solitary article about any of the jury prize winning movies on the first page of Reddit or a solitary slanting story on Facebook or Twitter. Attempt as they may, the Film Festival circuit is unequipped for making footing on the web. Huge numbers of the honor winning movies were discharged and covered in a Netflix heap. A large portion of the participants were in their 50s-70s. In any case, that is not the primary warning I've taken note. I completely anticipate that Disney will kill Fox Searchlight one year from now and for AT&Ts new Time Warner to kill Filmstruck. 
Since Hollywood has no adaptation of Steam, it's still staggeringly troublesome for non mainstream movie producers without corporate support to get their work out. YouTube and Vimeo assumed democratize the web for movie producers and craftsman, yet that unmistakably didn't wind up happening. 
So what are we to do? On the off chance that the channels of dissemination, both physical and computerized, are controlled by organizations that need to deliver content, and most of the movies is kept in an iron grasp by one uber organization, at that point it's impossible the up and coming age of producers will get their opportunity to have their voices heard.

Alexander Coleman Kime