Author Archives: Simon Fraser

On Official Dream Business

Freddy had a dream that woke him at 5:30 in the morning. He was in a restroom – the type you would find in a restaurant or small office – a shitter against one wall, a urinal against another, a sink against a third, no stall or dividers, one door.

Freddy (or “Dream Freddy”) was sitting on the toilet having finished his business a moment before. He noticed that the door was slightly ajar; not the best scenario in which to begin a dream.

Of course, as soon as Dream Freddy realized the door was open a sliver, it opened wide and another man entered the restroom. He was tall, perhaps 6’4″, thin, black shirt, black pants, black suit jacket, middle-aged and entirely rude. His entry caught Dream Freddy by surprise.

“Uh, occupied,” Dream Freddy said. But the stranger ignored him, went to the urinal and started to take a piss. “Excuse me!” exclaimed Dream Freddy sitting on the pot, “Occupied!”

The stranger ignored him and continued pissing, his back to the dreamer. Dream Freddy got to his feet, pulled up his pants, flushed. Noticing that the stranger was finishing his business at the urinal, Dream Freddy quickly moved to the sink, hoping to cut the jerk off, force him to atleast wait for the splash of water that would clean his hands.

Dream Freddy turned on the cold water and had his hands under the stream but for a moment before he was shoved aside by the stranger. He was stunned – what had he ever done to this stranger? Was the guy paid to be an asshole? Whose payroll was he on? And what had Freddy ever done to warrant such insult?

The stranger finished washing up as Dream Freddy stood there flabbergasted, then he stepped out as unaware of the first occupant as he’d been stepping in. “Excuse me?” Dream Freddy said as the man exited. The door closed behind him.

“What the fuck?”

And a little voice inside Dream Freddy’s head which was inside sleeping Freddy’s head said, “What are you gonna do about it, boy?” Like a slavemaster or white-hooded motherfucker telling a black man, “I defy you to defy me, nigger!” Like a gob of spit landing in the eye of his spirit. A castration of the authority of oneself. The non-existence of the self. That’s how it felt to Dream Freddy. “Fuck it,” he said and didn’t bother washing his hands. He went after the dream stranger.

As soon as he went through the doorway, he was in a wide open office area, like a bank or library. Without money or books. He was in a university or college of some sort. Cheap mustard-hued industrial carpet, desks and chairs and small filing cabinets scattered geometrically around the vast room. Not a computer or modern office device to be found; no dividers, no interior walls; he’d stepped into the past (or a severely underfunded institution).

Clerks and administrators sitting at their desks sifting through papers that had no meaning, typing words without thought on old oversized Olympic typewriters, transcribing, affixing, posting, wasting their most valuable resource – time to live.

Dream Freddy spotted the stranger making his way through the nostalgic maze of vintage office furniture to the glass doors (reinforced with wire mesh) which led outside.

Dream Freddy turned to a clerk, a pasty white woman in a frilly white blouse with gray hair dyed far too blond for someone of her pallor. A large pair of glasses rested upon the bridge of her nose, their cheap faux-gold chain slung around her neck. Her eyes never left the original copy of whatever it was she was transcribing; her fingers never left the keys – she was a “A-S-D-F-J-K-L-colon” girl all the way. She typed away, something so unimportant that she forgot each word as soon as it had been typed. Sentences meant nothing to her, paragraphs even less. Her life was measured in words per minute. And every word was an average of five letters.

Dream Freddy broke into her world, “Excuse me?”

She stopped; her wrinkled face, plastered with foundation and blush, looked up at him.

“Do you know that gentleman?” he asked her, pointing at the stranger. She shook her head. “I was going to the toilet and he walked in, refused to leave and shoved me away from the sink.” Dream Freddy still could not believe the unmitigated gall.

“What do you want me to do about it?” the old crag asked.

And the little voice in Dream Freddy’s head spoke once again: “What?! What do I want you to ‘do’?! Holy fuck, lady! Does anyone here know what good manners are?! Keep taking orders, bitch! Have a blind/bland life!”

Dream Freddy followed the stranger, pursued him, moving swiftly through the mindless quagmire of typists and obedience.

Then he was outside in the open air. Dream Freddy was walking along a wide concrete corridor adjacent to another building on campus. The building’s shaded glass windows concealed the activities within. On the other side of the corridor that ran the length of the building was a grassy slope with flowers and shrubs, an occasional set of perhaps ten steps which led down to an even wider pedestrian walkway of interlocking brick. An iron railing prevented anyone from trodding upon the grass, flowers and shrubs. Hundreds of students were coming and going or socializing in small groups, eager faces, happy voices, graded.

Dream Freddy followed the stranger, ten feet behind.

“Hey asshole! Hey fucko!” he taunted the stranger. A few students glanced at him – presumably those which had been called assholes and fuckos before.

The stranger kept walking.

“Hey cocksucker, didn’t anybody teach you it’s rude to intrude on someone in the crapper?!” The stranger’s head perked a little – as it occurred to him he might be the one being addressed. “Yeah that’s right, I’m talking to you, fuckface.”

The stranger stopped and turned. Some of the students turned their heads too; most kept moving though. Dream Freddy approached the stranger.

“Are you going to apologize or are you a complete asshole?” The stranger did not respond. He stood there with a small fire kindling in his eyes – a bully or a coward. The same shallow face of the high school senior who had shoved Freddy in the ninth grade, saying “Get outta my way, weasel,” for no other reason than the illusion of superiority. It had taken Freddy another fifteen years to have this dream, a decade-and-a-half of having to put up with these undeveloped problem children, these pathetic creatures buried to their noses in self-pity and delusions of otherness. Poor sods all.

“Are you listening to me, motherfucker?” Dream Freddy asked the stranger, every slur and curse another broken link in a chain. Students moved past them, unconcerned with their argument.

“Are you fucking deaf?! You fuck! I was using the restroom, fucknuts. You come in, you take a piss, you shove me away from the sink and you leave. Are you some kind of fucking moron?!”

The stranger didn’t say anything; he turned and started to walk away.

“Where d’you think you’re going? Hey!”

The stranger continued to walk away, as if Dream Freddy had merely been a dying mosquito buzzing around inside his dew-moistened tent.

“Hey!!!” yelled Dream Freddy, pushing the stranger hard from behind. The stranger stumbled forward a few steps then turned to face his attacker and finally spoke, “Don’t push me.”

“Don’t push you?… Don’t push you?!… Don’t!… Push!… You?!!”

Almost all the students in the corridor had heard him. He had everyone’s attention. But all Dream Freddy saw was this son of a bitch standing in front of him with his fists clenched and ready; his voice silent with power. Goliath.

“Fuck you!” screamed Dream Freddy in absolute rage as his right foot swung up quickly and he fucking hoofed the bastard hard in the gonads.

Whoomp! Time stood still as every student and pedestrian in the plaza who had stopped and watched could hear the sound and feel the force reverberate in their own sex organs. When the stranger crumpled to the concrete, a little part of everyone went down with him.

But even as he lay on the ground in what must have been complete and utter pain, the stranger still managed to conceal any emotion; he was that ignorant. A few students came to his aid; they said nothing to Dream Freddy who stood there wishing the stranger would rise to take a second kick in the nuts, and a third, a fourth, a fifth.

But the stranger did not stand. He had a look on his face that seemed to ask the question, “What am I doing here on the ground?” Pretty much everyone else in the plaza continued on, going about their business, off to lessons, off to learn only those things which can be taught, not those things that must be experienced.

And Freddy, the real Freddy, slowly floated up to the surface of the world, opened his eyes, stilled shrink-wrapped in crusty salt, and saw the dull blue Los Angelean pre-dawn light coming in through a window.

He looked at the clock, jerked off, took a shower, brushed his teeth and walked to the donut shop for a coffee. 6AM and he felt wonderful, magnificent, alive, and most of all, polite.

First Night in New York

Cities are very much like the universe. Someone pitches a tent with a big bang, then another beside, and more until there is a camp; the construction rolls out in all directions on the compass, like ripples in the water after the stone was dropped. The tents become shacks and cabins, mud to log to stone to brick to steel; some dilapidate like stars imploding their masses, evacuated of the life that once sprang from the gaseous innards.

When the forebearers emigrated from their inner city haunts, from their ramshackle flats and condensed milk-fed lifestyles, they took to the outskirts of the city, their dreams and resorts. Broad clean streats, smooth as silk under the radial tires, lush green lawns, fresh and trim, each with a tree that only recently had begun to grow, two-car, three-car, four-car garage, aluminum siding on two-storey homes to protect the family from the elements and 6′ high wooden fences and shrubs to protect the families from each other, doors and window trims awash in the dullest beige, canary, tan and olive hues. Heading for a white picket fence but never quite getting there. Water sprinklers hissing in staccato and air conditioners gurgling in low torque.

They had fled the rush of the city for the illusive antiquity of new country. And they were short-sighted. It’s the people that make the city and when they left, they brought the city with them.

The suburbs is where Freddy grew up. But that is not where he grew.

New York is a great human cycle. This can best be noticed at night, in bed, with the covers across you, with the window opened wide enough to allow the perpetual din entrance to your sanctum, from the cumbersome air sparkling with floating ash, through the blackened mesh of the window screen and into the dark and barely decorated room; the hum of humanity rolls over the body.

First comes the rumble of a garbage truck as it winds around potholes and late-night jaywalkers, grinding to a pressing stop before a line of garbage five yards long, the hollers of the filthy men and the stretching of plastic being grappled by large mitted hands; the nadir of its existence, of garbage’s existence, is in mid-air, as it flies without wings, propelled only by the strength of a unionized worker. It graces an arc off the curb until gravity finds the bag and drags it down into the mouth of the compactor, cracking and smashing amidst its neighboring contents. A button is pressed (or lever pulled) and the hydraulic hiss covers up the abduction of the garbage into the mechanical belly of the truck, taken for granted.

After the garbage truck departs, there is a calm that replaces it. The emptiness in the air is palpable, like a door opening between two temperatures. It is quiet…

Until another city vehicle arrives on the scene of the missing refuse, this time a street cleaner, smashing its hard brushes against concrete and asphalt, spraying a painfully forced mist of water, or chemicals mixed with that great soluble, upon its victimized landscape; the driver weaves his cleaner around parked cars, hugs the tightest corners, spinning on the edge of a right angle with more ease than a Democrat has cheating on his wife, or a Republican has stealing an election.

As quickly as it happened upon the spot, it is gone, and the barometric pressure wavers as the spray it left behind begins to evaporate into the air and drip down into the gutters of the city. And it is quiet again.

The street cleaner is only an interlude, though, between the first act of the garbage truck and the much louder, more climactic second act of the siren. Not the siren of Greek myth; this siren is in no way attractive. But like those nautical temptresses, this siren is first heard through a weary fog. And it is inescapable.

It bounds down the darkened corridors of late-night traffic, reflecting off the city’s many structures of brick and glass, refracting through the screens of open windows and quickly filling the air of the sleeper’s den. The noise bullies through anything that would stand before it; there is no way to contain Pandora’s screams.

The eyes have lids to blind the seer from a vision but the ears cannot be closed; they have no defense from the punch and rising wail of an emergency vehicle. Yes, even the deaf can be envied. As the ambulance or police cruiser or fire engine passes and the crescendo peaks, no other sound can be heard; the only thoughts one may have are “Someone is in trouble” or “I hope my ears don’t start bleeding.”

As the insufferable noise departs the immediate vicinity, it takes all decibels of attention along for the ride, leaving only their memory (which too will eventually fade into the subconscious).

There is a serenity here as the eardrums re-accustom themselves to the vacuum the siren left behind; the sound of traffic over there, a car horn on a perpendicular avenue, the featherweight waves of pedestrian conversations, click-clack in high heel shoes, laughter; a car door closing, the ignition of its engine, last year’s model humming under last year’s hood; gentlemen exiting a gentlemen’s club, clip-clop stepping down the sidewalk; a wetback struggling to finish his day and return to his family in a different borough, hauling an over-sized trash bag to the curb, returning inside for the second, the third, another and another, until he can finally “call it a night.”

But it already is a night and, in the distance, a few blocks away, comes the night cycle anew, another garbage truck rumbling down the street with a belly full of waste and a goal of civil sanitation.

On the occasion of Freddy’s first night in New York, at the age of eighteen, he whipped the bed cover’s away, leapt from his slumber, closed the window and crawled back towards the sleep that was the gift of his tolling day of travel.

He was more akin to suburban crickets and rustling A-C’s.

The Death of Alain

A few times during Freddy’s interview of his parents, his father coughed viciously.

“Geez, Dad,” Freddy said to him, “you’re going to hack up a lung.”

Little did he know.

Alain’s cough continued over the holidays, into January, through the month, and finally, in February, when the cancer he didn’t know he had was becoming more and more painful, Alain went to the doctor to find out he would soon be dead, within a year according to contemporary medicine. Little did they know.

Test after test after “goddamn uncomfortable” test confirmed Alain’s condition. Over the next six months, it spread like wildfire, from his lungs, to his liver, to his stomach, to his bones, to his brain. Melting, literally melting him from the inside. Shutting him down, like a rackety old boat being put to sea permanently. He didn’t tell his children exactly how serious it was, nor his wife for she wouldn’t understand. He never said how soon he would be gone until it was practically upon him.

Gordon found out early though, overhearing a doctor’s conversation with a nurse. He asked Freddy over the phone, “Did you know that the cancer spread to his brain?”

“No.”

“Well, Dad knows.”

“Why wouldn’t he tell us?”

“I guess cause he knows he’s about to go and he doesn’t want us burdened with it.”

“Burdened with it? Burdened with it? Burdened with it?! Burdened with it!!! How can we not be burdened with it?!”

“I don’t know,” was Gordon’s only answer. “But don’t ask him about it because we aren’t supposed to know and I don’t want him burdened with it.”

“Burdened with it? How can he not be burdened with it?!”

“I mean I don’t want him burdened with the knowledge that we’re burdened with the knowledge.” Like father, like son.

“Fine… Too much burden already.”

“Yeah I know.” But little did he know.

Six months in, Alain had lost 85 pounds, down from his extra-large 230 to 145. He’d eaten his own fat, not to mention other tissue.

Freddy was back in the flat, preparing some words for a poetry slam in Chicago, his first slam in Chicago. It was 10:38PM when the phone rang.

“Freddy, you’d better get back home,” Gordon said. “The hospital called a minute ago. He’s taken a turn for the worse.”

“I’m on my way.”

“I’ll call you from the –”

But Freddy had already hung up and his mind was scrambling for options. He didn’t have money for airfare. He called an airline anyways and explained his situation. They could give him a break on the cost – the terminal-illness-in-the-family discount.

He called his ride to Chicago to say he would find alternate means to get to the slam; his mind was elsewhere, his heart was beating overtime; racing. Beat the clock, beat the clock. He still needed the money – A to B, A to B, A to B. Who? First call, no one home, no answer. Second call, busy signal. Third call, answering machine. No one’s home on a Thursday night. Second call again, still busy. Time for someone to get call waiting.

He called his friend, the actress. The actress whom he’d calmed when the producers had asked her to get fake tits. He’d made her laugh with the question, “Well did they want silicone or saline? Cause y’know there’s a big difference.” She was home, shocked by Freddy’s confusion, frustration, fear. She didn’t have the money to lend him but she could get it – someone owed her.

For some reason, when he talked to her, Freddy couldn’t remember the her name, the actress. His dear friend’s name had been overrun by some brazen doom; thought, sudden, mixed, tenuous, rushed. “Thank you, thank you, call me back.”

He hung up.

He took a deep breath. He was sweating; his hands were shaking. He went to the bathroom and splashed some water in his face. “C’mon Dad, hold on.” The phone rang; he rushed to it.

It was Tammy, his friend, the actress, her name remembered in the brief respite. She was screaming, “I got you points! I got you points!”

“What? What’re you — whaddaya mean?”

“Frequent flier points! I got you enough for a ticket.”

“Oh God, thank you.” And Freddy felt the weight of a feather removed from his shoulders.

“Call the airline and book your ticket; where’s that… here it is. Here’s the information. Got a pen?”

“Yeah,” he said, picking up the cheap Bic with which he’d been planning words for Chicago, “go!”

Tammy gave him the numbers and concluded with, “Lemme know if you need anything else, okay?”

“Okay. I love you.”

It was the most he could say and, for the first time in his life, it didn’t mean “I want to screw your brains out” (though he always had wanted to screw Tammy’s brains out). This time, it meant, “Thank you, eternally.”

“You’re welcome, Freddy,” she said.

He hung up and called the airline back – he was booked, 5:45AM out of Kennedy. He looked at the clock; he had three hours. He put on the most soothing music he could find – slow ethereal trip hop and dub instrumentals. He rolled a small joint and smoked it, listening to the tunes.

“Relax. Calm down. He’s gonna make it,” he told himself.

Stoned, he began packing his clothes, grabbed his toothbrush and anti-perspirant, packed some papers, stopped, stood still for five or ten minutes, stood, thought, crawled away from the pit, stoned, continued, packed a book, two books, his favorite book, meaningful words, stopped, stood, thought, stoned, packed to the music. The Exodus Quartet came on, the last song on side two. An Eastern rhythm, a crying violin, crying, crying, crying to the mysterious beat. Disturbed by a noise. By the ring of the phone.

GOD HOLDS NO BREATH. Waits for no one.

“Hello?” It was time, no time.

“Freddy…?”

Brother, dear brother, why would you call? There is no now, only now. The emptiness was all around the voice. And the voice struggled with all the might in the heart that moved it to break through the silence which was already speaking on its behalf.

“He’s gone…”

And it broke, the Earth broke through the Heavens, the Heavens broke through the space beyond. There was no past, no future and, without either, no present to record or comprehend. Shudder, snorts and tears shot quietly from inside the receiver that had suddenly become glued to the side of Freddy’s head.

“Okay,” Freddy said. And a gush of oil suddenly began to rise from his core up the flute to the surface of his life. “Okay, okay,” then suddenly… OVERLOAD. Insanity. “Holy emotion, Batman,” he sputtered as the oil spewed from his heart and covered everything around him.

Gordon couldn’t fathom the death either and all he said was, “You better get here quick.”

“I will. I’m already there.”

They both hung up and collapsed to the floor where they’d been standing – Freddy in his room with the crying violin, Gordon at the nurse’s station with the beeping mechanics of medicine. Two piles of weeping blood with only miles between them.

Whenever Freddy had flown on an airplane before, he always feared coming down the hard way. Now, he feared coming down at all.

Q&A: Randal Kleiser

Q AND A with director Randal Kleiser on the death of film and the rise of digital format technology on the Internet and in other media, including its use in George Lucas’ “Star Wars Episode 2: Attack of the Clones” and virtual reality entertainment.

Since graduating from USC in 1968, Randal Kleiser has directed films for the such companies as ABC, Paramount, Columbia-Tristar, CBS, MGM-UA, Universal and Disney. His 1995 theme park film, “Honey, I Shrunk the Audience” is playing Disney pavillions on three continents. In 1999, he segued into made-for-Internet narrative, directing 7 webisodes for an early-blooming DEN (Digital Entertainment Network). In 2000, Kleiser began consulting for USC’s immersive training simulation (virtual reality) R&D shop, Institute for Creative Technologies. His first theatrically-released film was “Grease”.

This Q AND A was conducted on 06.09.01 by Simon Fraser.

Q: As a director who has primarily worked in a celluloid medium, how have digital formats altered your relationship with the camera?

A: Well, you can experiment a lot easier with digital formats. I just got this VX-1000 and I think differently; like in the car, I was driving along, thinking about doing a film, a short, like in a half-hour, where I would put the camera on a tripod and play both parts and do something about some twins who are thinking about killing someone. Just to see what that would be like. The idea that you could just — knowing everything I know about screen direction and acting and directing and photography — to be able to put it all together in a couple of hours, do a little short and do everything without anybody else and have it make sense.

You know, like the reason I’m interested in Flash is just being able to do something without having to ask anybody or get approvals or have them tell you how to do it. All the freedom that most directors would like to have is now becoming something that we can have.

Q: How has made-for-Internet and other forms of digital content affected how 24fps feature film content is produced?

A: The digital stuff has really made it possible for many people to do things they could never have gotten off the ground before. Such as “The Anniversary Party” which I’m going to see tonight. Jennifer Jason Leigh is an actress I’ve worked with and she’s very intense. She, I think, got the idea for this by doing “The King is Alive” by the Dogme people over there and witnessed how it’s done and said, “Well shit, I could do this myself.” And she did. I can’t wait to see it.

John Bailey shot it. I went to school with John and I visited the set when they were shooting. It reminded me very much of film school, especially with John shooting it. But everybody was kind of like — it was the size of a film school project and had that vibe of everybody just doing it cause they wanted to. Rather than, you know, “Where’s the catering truck and I can’t wait to go for the weekend in my Winnebago, water skiing.”

Q: What are some of the challenges you have faced in made-for-Internet filmmaking?

A: It’s really a primitive form of filmmaking. But I must say that AOL has a very good streaming system and that looks almost like regular television. When we did “The Royal Standard”, I think maybe we had three people out there who could see it. This was in ’99. And even today, there are very few people who get really good reception. Although I did see BMW’s films, with John Frankenheimer, who broke all the rules that are taught in terms of shooting for the Internet. You know, you’re not supposed to move the camera or have fast motion. He broke everything and it all worked, at least with my DSL.

It has to be like a commercial. It has to be short, sweet, fast, pack a lot of stuff into the frame in a short amount of time. I think that’s probably, you know, MTV started the short attention span, and commercials, and the Internet is perfect for it cause people don’t have a lot of time to sit around and watch the screen anyhow. I mean it’s not designed — you’re not comfortable when you’re sitting in front of a computer. Y’know, you don’t lay back and watch a three-hour movie.

Q: What cinematic differences exist between a digital format for a theatrical market and a celluloid format for a theatrical market?

A: I don’t think there’s a difference, when you’re working with HiDef 24. I’ve done some experiments in that and it’s just like a movie. I went up to ILM and saw some of “Star Wars 2” projected. And it looks just like a feature film. There’s no difference. The scene I saw was a couple standing in sunlight against a lake in Italy and the sun is bouncing off the lake and silhouetting them. And it looked totally like a 70mm film. It was just amazing; so I don’t think there’s a difference there.

In terms of the Internet, well, based on what I saw with John Frankenheimer’s work, I don’t think there’s a difference there either now.

Q: What are some of the pre-, during and post-production pitfalls of digital layering of subject matter?

A: You have to work with story boards so you know what the final result is that you need and you work in whichever layer you’re working on. It’s very very much like working in PhotoShop; you can work your layers there. I’m just learning that now and I’m fascinated by it.

In terms of shooting digitally, working with green-screen or blue-screen, you can do the same thing you can do in PhotoShop. I was up with George Lucas, watching him edit “Star Wars 2” and he’s done the whole movie that way. I’d say 80% of the all the shots in the movie are done with just a floor and actors and a blue-screen, with dots on the blue-screen for tracking purposes. And then he just layers, layers, layers, all of them together. He showed me how he did it; it was just amazing.

And it’s the type of shooting that will become more and more useful in the future. It’s perfect for a sci-fi movie but I just think those elements are going to be used more and more in the future.

Q: With the introduction of Sony’s HiDef 24p digital camera, the frame rate between film and video has been balanced. What is the next major challenge in the convergence of these two media?

A: It seems to me that celluloid is a doomed medium. There doesn’t seem to be enough reason to hang on to it when the end result is as good or better than using that expensive medium. Digital projection doesn’t have any weave, it doesn’t have any scratches, it doesn’t have any splices. And it looks rock steady and sharp. Digital shooting is very very inexpensive. You can get 80 minutes for $50 or something. I don’t remember the numbers, but even that will come down. You don’t have to wait for the developing. I mean, it’s all pointing towards the death of film and it just seems like it makes sense.

One would think that IMAX would be the savior of celluloid. However, I saw a demo at Universal’s IMAX of HiDef 24-frame projected on to an IMAX screen. And it wasn’t great but it wasn’t bad. And this is 2001. I can see in 2010 that it’ll be as good as 70mm or IMAX. Cause it’s just a matter of getting more information, more bytes, projected digitally on to the screen, it’ll look just like film. So I don’t think there’s a chance that film will continue.

Q: How does a virtual reality medium affect the film making process from conception to delivery?

A: Virtual reality. Basically, you’re trying to create an environment that seems real so you’re dealing with smells and sights and sounds and feelings and wind and all that stuff. Story is not usually the primary goal of that here at the early part of virtual reality. It’s more like trying to create something that’s real and believable, as the main thrust. And then figuring out ways to use it.

Because right now, the technical stuff is so complex to make that happen. The studies that are going on at USC’s Institute for Creative Technology are really in depth. They have people working on sound, where they can, with two speakers, they can place a sounds behind you or above you using all kinds of algorithms.

Picture-wise, they are working on Cinerama-type projections where there’s no peripheral. It’s all completely covering your eyes from all directions. And they’re working on some flat-screen kind of, projections on to flats so that you have a physical shape and then the texture is projected on to it.

So all these different ways are ways that are not headsets but they are — you walk around and see and feel and experience these environments. And then, the primary goal is for training soldiers so they don’t have to have giant sets, basically. They have those right now where they put on test exercises where the soldiers have to go in and take over a village. And they’ve built the village and they have guys playing one part and vice versa. And they set off live ammunition and they blow things up and they have helicopters coming in.

All those things are expensive and they can only do it once every so often. But with virtual reality, you could do it all the time or whenever you want. So that’s why they’re funding this research.

An interesting part about it is because they are funding the research, the research is being done. And then it can be adapted for educational use or entertainment use. Theme parks or education.

One of the things that I’ve done that’s sort of in this virtual reality field is the attraction that’s playing at all four Disney parks, called “Honey, I Shrunk the Audience” where the audience is seated in like, maybe 500 seats that are all on one platform that moves together in sync with the screen. There’s things that tickle the audience and spray them and winds that blow and all that kind of stuff. It’s kind of like George Orwell’s ‘Feelies’ from “1984”, the book. And that’s sort of like a primitive form of virtual reality. But all this technology is going to make it very very real now.

My brother, Jeff, just finished a ride film for Busch Gardens which is one of these virtual reality experiences for like 60 people at once. It feels like they are shrunken into a little box and these regular-size people are huge and everybody’s wearing 3D glasses. The motion base moves as they carry the box around and show it to people. These big giants come and look in and they’re carried up a hill on a horse. And then a griffin flies them around. It’s opening in a few weeks at Busch Gardens and it’s all digital, all done in the computer, no film, no actors, sort of like “Shrek” in 3D. And this is a really good example of trying to create that.

Also, at California Adventure, there’s a new thing that they’ve been working on which is where you sit in a chair and you fly — it feels like your hand gliding and you’re really in front of a big screen that envelopes you so you can’t see the sides. And they have things like when you fly over the orange groves, they pipe in the smell of oranges and things like that.

These are the beginnings of that whole field that will get more and more sophisticated.