Four Walls is a home and garden based hunt, encompassing everything needed to decorate your home, from textures to plants, and furniture to decor!
◦ From September 1st to September 15th
◦ Hunt items will be valued at 250L or more, but cost only 10L for the duration of the event
◦ Items may be exclusive and never seen again!
◦ Because this is a paid hunt, LMs will NOT be given out; store SLURLs are on the website!
◦ Hints, previews, and store SLURLs are available at: itsbyblue.wordpress.com
◦ A hunter group is also available! Just search: Four Walls – Hunters

From L&K prefabs you will find a smaller version of the In the woods house released last week!

Our hint is : “Waiter! One cupcake please!”

L&K prefabs

Couch – LISP – Hodgepodge sofa
Chairs – LISP – Hodgepodge chair
Rug – Zigana – yastik
Table – {What next} – Charlotte end table
Candles – EarthDwellings – Autumn leaves floating candles
Wall art – by Piedra Lubitsch – Rainy days
Vase – {What next} – Asian daydream decoration
Record player – LISP – Groovy lispette
Clock – LISP – Paper falling clock
Lamp – enLightened – Soda can pendant lamp
Guitar – {u.f.o} – Accoustic collabo
Table – {What next} – Milan table
Chairs – {What next} – Milan chair
Plates – {What next} – Taste of the orient place setting
Magazine – Glitterati
Glasses – Ladies Who Lunch – Goggle glasses
Bag – *COCO* -  ClearToteBag (group gift)
Sideboard – {What next} – Milan sideboard
Radio – /artilleri/ – Lolopolito radio
Wall art – {What next} – Asian daydream wall hanging
Bulbs – *Art Dummy! – acedia
Clock – LISP – Vine “Vite” Bistro clock
Bed – *cheap cheap* – GrandMa Bed
Posters – *cheap cheap* – Posters 1
Lamp – Kyoot Home – Notes Chandelier
Dummy – *Art Dummy! – once.
Bag – Insight Designs – Carpet bag
Hat – LISP – Boudoir hat Celeste
Hatboxes – {What next} – Sweetdreams Hatboxes
Trunk – {What next} – Sweetdreams suitcase
Boots – Haute Monde – Uproar boots
Scarf – (Milk Motion) – Floral scarf
Pumps – |Aleida| – Malene pumps
Boots – *COCO* – Leather&Canvas Flat boots
Scarf – {Zeery} – Skinny Scarf
Shoes – RedGrave – British Loafers

(Note: some of the items may no longer be available. Check our LINKS page for SlUrls)

In cleaning out my garage I came across an old magazine that that brought back some memories.

I wrote a handball article on the Four-Wall Nationals tournament at Los Caballeros in Fountain Valley. The issue came out a week before the event in the short-lived SqueezeOC, which was published by my former employer, The Orange County Register.

Since there was nothing to link to and the pages I scanned are tough to read, I retyped the entire thing. This was the last time the Four-Wall Nationals was in Orange County and I lost in the quarters to Egin Jensen, who went on to (narrowly) win the Men’s 35 Singles crown. I decided to retype this article as I’ve committed to rejoining Los Cab and I find myself in a similar position of training for the same event at the same venue. I’m planning on a different outcome this time around though I’m not sure if I’m going to enter both the 35s and 40s (that would be a lot of singles) or the 40s in singles and doubles. We’ll see. In the meantime, give this a read. I hope you enjoy it. The article isn’t long but it featured some call-outs to some local players.

Enjoy.

SqueezeOC article

June 22, 2006

Cover Story:

It takes Balls…To Play the Physically – and mentally – challenging sport of Handball.

Page 10 under Do It – Handball

Headline:

Intensity at-hand

Handball doesn’t have the star-studded roster and million-dollar payouts, but few sports can match it ability to challenge both the body and mind.

Screeching sneakers. The echo of a ball caroming off walls. Loud grunts.

Handball got in my blood 10 years ago when I got schooled by a much older- and heavier – player.

I found I had a lot to learn. About positioning. About angles. And shot selection.

And anticipation.

I lost then because he knew where to be on the court and how to make me run around.

Five years after that “lesson,” in 2001, I won my first national singles title in the Mens B division, when the United States Handball Association (USHA) last held the Four-Wall Nationals in Fountain Valley.

But a national title didn’t happen overnight. There were many losses, many hours on the court, and lots of sweat.

Handball, which is depicted in Egyptian hieroglyphics, might be one of the world’s oldest games. It was brought to this country in the 1880s by Irish immigrants. It is an unforgiving sport that is physically and mentally demanding.

Perhaps that’s why retired pro athletes like Rodney Gaspar of Mission Viejo, and people who work in physical jobs, like John Libby Jr. of Huntington Beach, play handball religiously. It keeps you in real shape.

Gaspar, who played with the 1969 world champion New York Mets, has continued to reap the benefits of playing a sport that combines aerobic and anaerobic elements.

“I retired from baseball and took up handball to stay in shape,” Gaspar said. It was easy for me to pick up, sine many of the techniques of swinging and hitting the ball are similar to baseball.”

Similarly, Libby, a Los Angeles city firefighter, has found handball to be physically rewarding: “It’s the perfect game for a firefighter. It combines strength, balance and stamina.”

The game appears simple – players smack a small rubber ball with either hand against a wall. But it requires speed, agility and hand-eye coordination.

The sport sometimes is referred to as “court chess,” because your moves affect what your opponent does. A sharp mental game separates top players from the rest of the pack.

That constant commitment of your entire body can scare off new-comers.

The USHA estimates the number of people who play four-wall handball at about 40,000 nationwide (200,000 if you include one-wall and three-wall).

Because their numbers are relatively small, handball players enjoy an instant bonding and immediate mutual respect when they meet other players – especially in Southern California.

Yet handball does enjoy certain popularity in Orange County because of the number of East Coast transplants and the number of racquetball courts at health clubs, as well as numerous outdoor three-wall courts at parks and schools.

The game also has its professional players. It’s a long road to the top, filled with many hungry and talented players. It’s not glamorous and has no big cash payoff. The top player in the world makes less than $50,000 a year in prize money from the sport, so don’t quit your day job – he hasn’t.

You’ll get the chance to see some of the best in the game starting this weekend when the Four-Wall Nationals return to Fountain Valley.

Champion amateur players like Libby, Gaspar and Michael Bock of Fountain Valley will be looking to add to their trophy cases.

At the professional level, players to watch include Naty Alvarado Jr., 32, of Srping Valley Lake, the No 1-ranked player in the country; Paul Brady, 26, of Ireland, defending national champion who last year (2005) became the first Irish native to win the title; fellow Irishman, Tony Healy, 28, who made it to the finals three years ago; and Emmett Peixoto, 23, of Watsonville, and up-and-coming player ranked fourth in the tournament.

In the meantime, meet some local players and get a primer on the game.

TAKING THE SPORT TO PRIME TIME

John Libby Jr., 38

Huntington Beach

As a firefighter, Libby must be confident in his training. Built like a football player, he oozes that confidence on and off the handball court.

When did you start playing?

I would play for lunch money in junior high and I’ve been playing ever since.

Who got you into handball?

My dad, who learned the game in the Marine Corps.

Why do you play?

It fuels my competitiveness, now that I don’t play football anymore. Also, camaraderie is big and I can still play doubles tournaments with my dad.

Talk about your biggest win.

Winning the 1998 Open Singles National title. Also, the 35 national singles division, which I’m entering again.

How do you think you’ll do in the 35s?

Looking to win it, of course.

Where does handball rank in importance in your life?

Five F’s – Family, Friends, Faith, Fire Department, football, fingers (for handball).

How often do you play?

Sometimes I play at work, once to twice a week. I work at Station 3 in downtown, high-rise district. My station has a full-size court.

What do you want to accomplish in handball?

I’m the LAFD Handball Association Commissioner. I have 250 firefighters playing in the tournament I organize, and there are about 500 players (in all). I want to get them all playing in the tournament.

I’d like to help make handball an X-sport and get it on TV, like beach volleyball. I want to market the perfect game to media outlets.

STATS:

Family: Married with one daughter, age 4 ½

Occupation: Engineer for Los Angeles City Fire Department

Handball Highlights: 1998 Open National Singles Champion, four-time California state singles champion, six-time Los Angeles Fire Department tournament singles champion, four-time Southern California Handball Association Singles Champion.

STILL IN THE GAME

Rodney Gaspar, 60

Mission Viejo

People who know Rodney Gaspar know him to be a man of faith, family and compassion. On the handball court he’s as aggressive and competitive as they come. Gaspar also played professional baseball for almost 10 years and was on the world champion 1969 New York Mets team.

When did you start playing handball?

My friend Dick Pohlmann introduced me to the sport in 1982.

What do you enjoy about handball?

I’ve played every sport you can imagine, and there is no other sport like handball. It’s fun, it’s social, good for the body, you get a workout and I love to compete.

Tell me about your first significant win.

My first national doubles title with Jim Barnett.

What do you have yet to accomplish?

I just want to win. I don’t worship the game but if the situation is right, I’ll play.

What bracket are you entering this year?

I’ll be competing in the 60s with Skip McDowell.

Where does handball fit into your life?

It’s not a priority in my life. I’m a jock by nature. I’m actually more competitive now than when I played ball. I wasn’t a Christian when I was a baseball player. Because of my relationship with Christ, I feel like I can never give up. Christ never quit on us – how could I ever quit?

STATS:

Family: Married 36 years; five children, seven grandchildren

Profession: “Helping people”

Handball Highlights: Has won eight National Doubles titles with Jim Barnett and Skip McDowell.

SERIOUS ABOUT THE SPORT

Michael Bock, 53

Fountain Valley

You might take Michael Bock for a reserved, soft-spoken guy. But on a handball court, the lefty is all business. The Chicago transplant is known for his “hook” serves and says he is his own worst critic.

When did you start playing?

At age 16 in Chicago. My dad was a player. He brought me along now and then to play his buddies.

Why handball?

It’s the main way I stay in shape and release my competitive side. I hate to lose. But it’s such a great game…that it’s hard to stop. The guys that play, you have to respect anyone that keeps at it and refuses to play racquetball, which I call “handball made easy.”

What was your first significant win?

I won at tournament at Eastern Illinois University. A few years later, my partner and I won the Illinois State Doubles Tournament. My greatest success has been in doubles. It fits my style better, and it’s easier on my body.

What do you have yet to accomplish?

My goal is to win 10 national titles, if my body can hold up and I can keep playing with two great partners that have helped me win these tournaments, Kelly Russell and Tom Fitzwater.

Any obstacles in preparing for nationals?

I tore my Achilles tendon playing last year. I haven’t even played two days in a row since the injury

Any predictions?

The defending champs are Glen Carden and his partner Jim Spencer will get the NO. 1 seed. Before the injury, my partner Tom Fitzwater and I were two-time defending champs (in the 50s bracket). If I’m able to play, I’ll give it everything I’ve got.

STATS:

Family: Single

Profession: Computer programmer

Handball Highlights: Six National Double titles and two World’s Doubles titles.

Where to play (or watch)

There are plenty of spots across Orange County where you can watch a handball game, or, if your courageous, play pickup.

Here’s a sampling of clubs and parks that either have four-wall (indoor) or three-wall (outdoor) courts.

Indoor Courts

Los Caballeros Racquet & Sports Club

17272 Newhope St., Fountain Valley

loscab.com

University Athletic Club

1701 Quail St., Newport Beach

(949) 752-7903

LA Fitness (next to the Outlets at Orange)

3901 W. Metropolitan Drive, Orange

Local parks with three-wall courts

El Camino Real Park (six courts)

400 N. Main St., Orange

Mile Square regional Park (three courts)

16801 Euclid St., Fountain Valley

At the Little Rock Film Festival there was an excellent panel on independent film distribution (Friday, June 3, 2011). Tim Basham from Paste magazine moderated the discussion with Diana Sperrazza (Executive Producer for Investigation Discovery), Harry Thomason (Director of the festival’s featured film The Last Ride, and Erik Jambor (Director of Indie Memphis Film Festival).

Tim asked whether it was harder to get indie films distributed now than it was five years ago.

Diana said that it’s harder, because money is tighter and there is less risk‑taking by networks. However, if there is “buzz on the web” about a film, it’s more likely to get a look.

Harry said that a good following on the internet does help. He’s been using Facebook in his internet campaign for his new movie, The Last Ride. He said that it is easier to book theaters, because they don’t look down on independent films. Five years ago, fifty percent of distribution was digital; fifty percent actual film. Now it’s closer to 70 percent digital.

Someone in the audience said that one film had been released for free, but its makers then concentrated on merchandizing. They even took contributions “for a cab ride home.” (A character in the film tries to get money for cab fare.)

Erik said that some festivals allow filmmakers to set up merchandizing tables. The sales help to pay for gas money.

An audience member asked what were the dynamics of approaching a large network with a documentary.

Diana said that most accepted ideas are pitched first. The development executive gives approval conditionally, saying he first needs see A, B, or C. The filmmaker must incorporate the development executive’s requirements to get the film made. She aid it also helps to know what the channel actually does. “Commerical television is not that inventive [and doesn't] change very quickly.” About twenty percent of the time, the station will look at a completed film. If the film “stretches a little what that channel does, but [everyone is] so blown away,” then there’s a chance the project will go ahead. There are times when “the forces align and you can get what you want.”

Tim asked whether it was helpful to do the film festival circuit before trying to market a movie.

Erik said, “Yes, big markets care about indie premiers.

Harry said that the “bigger festivals are getting more like studios. They want something just like you see anywhere else.” Self‑promotion is important. With his movie Legend of Boggy Creek, he hit the airways on radio two weeks out, targeting a single market area. Soon, other opportunities developed from this and free spots were offered. “But,” he added, “ask me in October [after the release of The Last Ride. I may have to eat all of these words.”

Erik reiterated that awards still build credibility for a film.

Tim asked if there was a time when one shouldn’t put a movie on YouTube?

Erik said it wasn’t advisable if the film was being submitted to some of the bigger festivals. He said that Sundance didn’t seem to care, but Tribeca did.

Harry said that they “four‑walled” for Boggy Creek. Four‑walling means renting a theater for a few days to a week. He sent high school kids out to advertise the movie. “They’d bring back paper bags filled with money.” He thought there might still be theaters willing to four‑wall.

An audience member asked, “What is the festival process?”

Erik said it was important to know your film, and then research which festival it would be most appropriate for. He said it’s a longshot, even if you do fit the category, because slots are so limited. There’s a better chance of having a short accepted, since there are more openings for those. A short, he added, should be under twelve minutes. Thirty is too long. He said that if the filmmaker made something unique and distinctive, the festival “will want to find a place for it.”

Tim said it’s amazing how much power filmmakers attribute to tweet remarks. He said that filmmakers should remember to ignore the chatter, and concentrate on getting the film to distributors. And, he added, journalists might be tired of seeing the same type of film over and over, and be willing to give something new a chance.

Erik said that, when submitting to festivals, that “cheesy art can hurt you.” It’s better to hand‑write the label, or print a simple one.

The audience asked what the difference was between traditional distribution and self‑distribution?

Harry said that some of the major theater chains say that they accept self‑distributors, but they actually go through one of four large companies. The four companies bring more films to the major theater chains than the big studios. But, the filmmaker has to pay for the advertising—an upfront fee plus five percent to handle getting the film out.

Tim asked if there were any good books on entering film festivals.

Erik recommended The Film Festival Survival Guide by Chris Gore. Also, The Indie Film Rule Book by Heidi Van Lier. He said that it isn’t necessary to know anyone in the festivals or to volunteer.

Tim asked whether a filmmaker should think about marketing before making a film.

Erik said that if he had two ideas, he’d select the one he’d be excited to talk about. He said old B actors don’t help.

Diana disagreed. She thought they might help with a TV movie.

An audience member asked whether one was more likely to win an award at a festival if the movie was promoted first.

Erik said that it didn’t matter with the jury. However, promotion does drive an audience to a screening. He thought an interesting postcard or poster might make people want to see the film.

Another question came from the audience—”When do you give up?”

Erik said he doesn’t take the first rejections personally, and he doesn’t judge his film harshly if it doesn’t get into a small festival. “Give it a good year to year‑and‑a‑half at least… Don’t break the bank with entry fees.” He said that some festivals are able to offer waivers if the filmmaker simply doesn’t have the money to enter.

Tim said that critics are a necessary evil. He said that it doesn’t matter who reviews the movie—a reviewer or an audience member. The feedback is still a gauge. If everyone trashes the film, then the maker might want to move on to the next project.

Diana said that it was important to solicit people’s opinions. She suggested persisting for a while, until you know how the movie’s being perceived.

Hi Russell, Thanks for the informative post here. Seeing that you are a distributor and broker my question to you is do you find it beneficial or productive in most cases for a documentary to speak to distributors while seeking funding? Does it lock you in to a deal in any way? I’ve been working on my film for some time now and I have been trying to find corporate sponsors, individual donations and a celebrity to come on board but the one thing I haven’t spent time on is contacting distributors at this stage. (The only exception is I’ve had a conversation with Fathom Entertainment about doing one of their one night digital screening engagements and they are very interested but won’t commit to anything until seeing a finished film.) Do you think I’m missing an important step here? I just have read so much about self distribution these days and have not decided which way I will go yet. Of course if I could get a good distribution deal that doesn’t include all inclusive rights, I’m sure that would help get my funding. I’m interested to hear your thoughts when you have some time.
Thank you.
Regards,
(removed)

This was my response:

Hi (removed)

Lets see if I can answer your question this way. Technically speaking, you should have been discussing your project with distributors before you began. This is a huge mistake indie filmmakers make. The studios have distribution in place before they begin making the film, so why not the indies? Just because they have it in their back pockets, why would we, as indie filmmakers, do it any differently? This is part of the packaging process and if this element is solidified prior to pre-production, the rest of your struggles would become easier…i.e. finding celebs, etc. People with name recognition do not usually gravitate toward a project that 1. Is not fully funded (meaning you can’t directly “hire” them) and 2. Does not have distribution. (even if you CAN pay them, they don’t really want to do something that nobody will see)

On self-distribution: Three words…don’t do it. If your forte (and best spent time) is in making the film, why would you wish to utilize your time to peddle your final product? You efforts will be trial and error, financially wasteful, and slow. (and most times a significant combination of all three) The only way this works is if you’re a distributor/broker that decides to make your own film. I did this a few times and simply hired those that could do what I could not do, or felt I was not proficient at and then I did my thing. I come from the production-side (mostly on the executive level) so hiring people is one of the things I do best. For me, it’s win-win, but what I tell filmmakers (who have no background in exhibition or distribution) is leave it up to those who do.

When you talk with any distributor/broker at any level, 99% of the time, you won’t be locked in to anything. Not because of you, but because they don’t want to be locked. (This is why they will always want to see at least the rough cut before you get paper)

Get a commitment for distro and you’ll find it easier to get corporate sponsors as well.

On Fathom: They’re in the business to make money. I would make very, very sure that if they receive money from you, that you’ll get a return. Personally, there are plenty of places you can screen for little or no cost in any given city, so again…tread lightly.

On the important step: That step is packaging. If you’ve seen my posts, I type this word probably more than my signature. A proper package will get you everything else you need. If that process is taking too long (the getting, I mean) then either your package is wrong, or you knocking on the wrong doors. Elementary my dear, (removed).

On “all inclusive”: If the right company wants your film, why would you not want an all-inclusive? Let them do their thing. That gets you back on to your next project. If you line itemized a paycheck for yourself, why would you not duplicate that very process again and again. Even if you don’t see six zeros on the back end, you’ll have a job for the rest of your life, probably doing what you love the most.

Before I can speculate on your project, I’d have to know more about it, the subject matter, the package you’ve created, etc. Then as part of pre-pro, I would have done some research to see if anyone even wanted to see what you intend to talk about. That might be why you can’t get a celeb to get on board. If they don’t dig it, what makes you think an audience will?

Hope this helps. Keep me posted on your progress.

Best regards,

Russell Hess