Shiloh Richter, Director of Road to El Paso
This weekend The Club at ConCan is celebrating its 1st Anniversary. This is the new ad campaign by Texas Ranch Productions for Golfer’s Guide and Texas Golfer Magazines. Creative Design Shiloh Richter. Photography by Carlton Wade.
Photo is an advertising campaign for Frio Country Weddings at Frio Country Resort in ConCan.
If you haven’t seen photographer Carlton Wade’s work, you should visit his website.
While his golf photography is already well-known, I was delighted when he agreed to come back to The Club at ConCan and work on other advertising projects for Frio Country Resorts.
For two days Carlton, Debbie French and I worked together on a photoshoot in a cabin built in the 1800s and on the banks of the Frio River, the restaurant and entertainment venue House Pasture Cattle Company, at the old Frio Country Store, and at The Club at ConCan’s spa.
Spend some time with him and you’ll start seeing beauty from completely different angles. I’m impressed.
Photograph by Carlton Wade. Art Design Shiloh Richter. Copyright Shiloh Richter 2007. All rights reserved. Gown by Anne Barge.
We premiered Road to El Paso in March to a full house at the House Pasture Cattle Company in Concan, Texas, and since have been working on marketing, learning paths of distribution, putting together new projects–slowly and meticulously. Road to El Paso is now entered in a series of film festivals. One beautiful thing is what has happened with the movie The Notebook. While it did not make a huge splash at the box office when it opened in the summer of 2004, here it is in the Summer of 2007 and it is the number 5 movie of all rentals on Netflix. My mother and I went to the theater probably seven or eight times to experience that movie over and over again. That summer was the summer of The Notebook–it became reflected in our lives in a myriad of ways. And I think Road to El Paso will find its audience. It is an independent film. It doesn’t compete with blockbuster budgets. We kept it as natural and as close to grassroots as we could and still get it made. But it contains story. And what happens within the story I think is vastly important. It does not tell the same old story with the same old ending, making our society to feel as if all that we do is good and should continue. Actually, it is a rejection of all that we’ve been coerced to say we believe. I don’t think it is OK to be a “throw-away” society. But then, art that has to be explained isn’t art. I deeply believe that the entertainment of storytelling should stand on its own, not as a lesson (how insulting!) but as something that hits to the deep heart’s core.
Bussende Magdalena Art Print
Batoni, Pompeo
15.25 in. x 7.75 in.
Buy at AllPosters.com
Check out the latest commercial, the movie trailer, and check back for our road trip documentary–the making of “To My Burning Sand” video on our YouTube Channel.
Have you heard Rawlyn’s new song download “Crawl Inside“? One day of being available and it was playing on the air in Poland! You can listen to the Polish podcast here: Podsafe Music Network. The DJ is speaking Hebrew.
“The most valuable currencies in the digital age are mobility and time.”
Timothy Ferris, Author of The Four-Hour Work Week
“In a portrait I am looking for the silence in somebody.”
Henri Cartier-Bresson, Photographer
“A thing of beauty is a joy forever: Its loveliness increases; it will never pass into nothingness; but will will keep a bower quiet for us, and a sleep full of sweet dreams, and health, and quiet breathing.” John Keats
A Very Warm Thank You to the following individuals and businesses who have contributed to the making of Road to El Paso in the past eighteen months:
Catherine Austin for supporting us and the Uvalde Film Society every step of the way with wonderful coverage in the Uvalde Leader-News
John Graves and Associates for allowing us to transform one of their downtown buildings into a western saloon
Marlowe Downing and the late Gordon Downing for the Mexican import furniture that made the saloon, horse barn, and ranch house be authentic
Laura Polcek and the Tanning Hut for the electricity and keys to the bathroom during filming at the saloon
Neil’s Cafe for opening during their off-season and letting us have the run of the kitchen and dining room for filming
Edward Poole and Park Chalk Bluff for the many hours of filming we were allowed to do along the river
Katie Mitchell and the Staff of Katie’s Amber Sky for allowing us to film a scene
Becky Kingston for the authentic saloon bar, furniture, and props
Esther Trevino for her unending dedication to the Arts in Uvalde and lending us costumes
Dorothy Winston and Jordan Mahmalji and Julien’s Country Peddler for the beautiful dresses for our photo shoot
Jeanette Garcia and Alley Cat Alley provided many dresses for the 1800s saloon scenes and extras work
Priss and Roger Yeager for opening up Ruby’s Lounge early several days
City Manager’s Office with John Harrell and Joe Cardenas for last minute filming permits
Jerry French for the many days of moving sets and props and even dish washing
Russell and Rebekah James for opening up their ranch and lodge for us many times for filming
The New Mexican Horse Project for not only their dedication to the well-being of the horses, but to visiting filmmakers
Karen McLaughlin for the many phone calls, casting, and pictures
James Ham (although he has credit in the movie) we’d like to thank him for all the help with props and costumes
Michael Doss for allowing us to use his horse barn and horses for a scene
Butch and the Morain River Ranch for providing the badlands for the 1800s
The many people who sat the long hours as extras.
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