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Sheridan Cleland

filmmaker. autodidact. coffee drinker.

Blade Runner B&W

Note: This post is for educational purposes only.

When I first saw Steven Soderbergh’s version of Raiders of the Lost Ark in black-and-white, which he desaturated in order to better observe and dissect its staging, my mind immediately sprang to the question What filmmaking lessons could be gleaned from making other color films black-and-white as well? Almost as immediately as I asked myself that question, Blade Runner was my first answer.
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Transience Kickstarter

What if you wanted to travel back in time, but shifted through parallel universes instead?

Determined to stop the tragedy that destroyed her life, Avery Iamus possesses stolen government technology that she believes will allow her to travel to her own past, but it sends her shifting through parallel universes––always arriving near her doppelgänger––leaving chaos in her wake instead. Hot on her heels, Special Agent Creon and Dr. Langdon Themis must stop her before she wreaks havoc in yet another universe!

Check out the Transience Kickstarter Campaign here:


What is My Condition?

May 15
I am alone in my room. The room is small, and smells of stale sunlight. And the only furniture is the cot I sleep on, a cheap, yellow plywood dresser, and old rocker with burst springs, and a straight-backed chair. Continue Reading


The Conspiring Universe

“Do you have a day job?”
“Yeah, my multimedia company is my day job.”
“No, I mean, like, a real job?”
“That is a real job…”

I’ve had this conversation, or one similar, more than once since founding Gen11 Studios in 2011. It’s hard for people to fathom that it’s all I do: run my own multimedia company. Sometimes, it’s hard for me to fathom, too. Sometimes, I’m having so much fun that I forget all the hard work that got me to this point. Sometimes, I’m working so hard that I forget that I’m supposed to be having fun. And, sometimes, well, I just plain forget. Straight out, I will say that running your own company––any company––is not for the faint of heart, especially when you’re operating on a mostly freelance basis. Anyone who has ever worked freelance knows that when it rains it floods, but just as quickly the work, the contacts, the leads can dry up and disappear: businesses close, investors part ways, corporations dissolve. Even a contract with its seemingly mandatory force majeure clause is a guarantee that there is no guarantee. Worse still, sometimes, for any one of myriad reasons, you don’t get paid, and that––for the working freelancer and/or the young start-up––can be the most disheartening, devastating prospect of all. And yet, and yet … the work itself can be, and most generally is, wholly and extremely gratifying. To the artist, no matter profession or medium, creation is life: as long as we’re creating, we’re living. To the entrepreneur, no matter profession or medium, remuneration is longevity: as long as the cash flows, the business grows. So, how does an artist transition into being an entrepreneur––from amateur to professional––and how do they find balance on the tightrope between starving artist and successful business person? I have absolutely no idea, but I have a hunch––or six.

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Outfly Them

Lostness can be profoundly rejuvenating in a way – it’s a desperate time and full of despair and all that – but being really lost can start something that’s brand new. Now, there are different kinds of lostness – you can be lost and not know what street you’re on; you can be lost emotionally; you can be lost with other people; you can be lost in yourself. I think you continually turn around that circle – finding yourself lost and then getting relatively found. To me, writing is a way of bringing things back together a little bit. If I can at least write something, I start to feel that I’m gathering out of that lostness something that has some kind of structure and form and something that, one hopes, can be translated to others. I don’t know if you can ever get totally found…
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