Jared Dunne speaks with M.I.T.N.G. about 22Tape’s latest EP, Firefly Bulletshots, and his screenwriting journal, Three Lines or Less

Award winning screenwriter and musician, Jared Dunne, a.k.a. 22tape, has been quietly honing his skills and promoting the projects of others for years, and now M.I.T.N.G. has been fortunate enough to catch up with Jared on some Q & A to discuss his latest EP and screenwriting journal, Three Lines or Less.   As a fan of both sound and film, I find no greater pleasure than introducing artists such as this to, hopefully, a deservedly larger audience.  I felt we needed to know more about a man who creates such unique sonic landscapes while simultaneously injecting Hollywood with fresh writing and ideas.

22tape’s Firefly Bulletshots has just been recently released on Neferiu Records.  Give it a listen while you read the interview.

SS: How would you describe your music?  Is it in the realm of obvious distinction?

JD: I wouldn’t say that my music is in the realm of obvious distinction, that would sound arrogant. I am pretty awesome though. No, seriously, I hope there might be a bit of originality to my tunes since I pull from so many different influences. In brief, I guess I’d describe my last two EP’s as left-field instrumental hip hop. My upcoming Dischordance EP is more ambient/glitch…more experimental, cerebral and, hopefully, cinematic. How’s that for pretentious adjectives?

SS: What are the obstacles you are finding in getting your music to the public if any?

JD: That I’m not making straight dubstep. I heard a dubstep track on a dog food commercial the other day. If dubstep is selling pet products, I should probably get on the gravy train.. Not making straight hip hop tracks doesn’t help either. Same old story, really– you’re either with the trend, or you’re not. And if you’re not, you’re not hot.

SS: Tell me about your writing process.

JD: For my last two EP’s I really focused on song structure. I’m heavily influenced by classic rock, and I love how Zepplin, Floyd, and many others, crafted the structures of their songs–between the fantastic verses and chorus’ they incorporated emotive instrumental brigdes/sections that always led back into the main themes of the track. Yes, classic rock is full of “drops”. For the Dischordance EP, I focused more on experimental instrumentation and rhythmic elements and strayed away from a rigid time-line, yet I still tried to maintain a bit of pop sensibilities as far as arrangement and over-all track structure.

SS: What instrumentation and/or software do you use?

JD: I like the idea of taking samples of different instruments from different records, pitching them to match, and pasting them together to create new melodic lines. It can sometimes sound disparate (desperate) at first, but after a few listens hopefully it’ll make more sense. Sort of think about it as instruments talking back and forth to each other, each providing a phrase of a couple bars each. After listening to this back and forth a few times, hopefully your ear will latch on to the melodic line itself and forget the fact that it’s being played by different instruments from different records. I’m partial to layered drums with lots of swing, and a nice subby bass to hold it all together. Software-wise, I’m a total Renoise head.

SS: Give us some of your inspirations, musically or otherwise.

JD: There’s so many. Led Zepplin, Herbie Hancock, Prefuse 73, Bjork, Miles Davis, El-P, Radiohead, Pink Floyd, Flying Lotus, Beck, tons of Motown Soul, Delta Blues and Dixieland Jazz. And silence.

SS: What are you listening to now?  Does it differ from the past?

JD: To be completely honest, I don’t listen to as much new music as I should, especially of the electronic variety. And, as you can tell from my list above, it doesn’t really differ from the past that much. Though I really dig Mumford and Sons <ducks tomatoes>. It’s a tough thing to be able to deliver simple lyrics that come off as meaningful instead of cheesy. I love their instrumentation and the highs and lows that are contained within a single song.

SS: Moving into Three Lines or Less, has the creative process in your music influenced the origins of this project or no?

JD: As an independent musician you really learn to be creative in promoting and marketing your work, and that has translated well in getting TLL off the ground. There’s a fine line between effective and annoying marketing, and I think that learning how to be politely persistent in promoting my music has definitely benefited TLL.

SS: What is Three Lines or Less?

JD: TLL is a screenwriting journal/blog that provides original articles and aggregated content on the craft, business and satire of screenwriting. I also operate a bi-montly logline contest.

SS: What has the response been like thus far?  On the writer and production sides.

JD: The response has been fantastic. In the first year, over $12,000 in prizes were handed out, and finalists of the contest received 71 requests from development execs to read their screenplays. And traffic to the site has picked up significantly since I began publishing original articles from freelance/screenwriters.

SS: What makes for a good log line?

JD: A good logline usually consists of a protagonist, antagonist and a strong conflict between the two. The tricky thing is to take these three elements and write them in such a way that it doesn’t sound like a million other stories, or a general description of the genre itself. And to do this in three sentences or less is easier said than done. That said, sometimes I have to throw all of that out the window. I’ve read loglines that don’t adhere to specific guidelines and they are still effective and intriguing enough to want to read the script.

SS: When did you come up with and advance on the idea for TLL?

JD: When I was unemployed. Funny what that does for motivation. There weren’t any existing logline contest on the screenplay competition circuit, so I decided to create one that was truly affordable ($10 entry fee) and that gave screenwriters a real chance to have their work read, along with some very useful and practical prizes, not to mention, I had a ton of contacts from my previous work in screenplay development that I didn’t want to keep stashed away.

SS: Which successes are you most proud of that has come of all of this?

JD: I don’t have any trophies or anything, so I guess I’m most proud of the fact that I’m building a rewarding business, all the while staying creative.

SS: What is in the works currently for both of your projects?  Any dates we need to know of?

JD: The logline contest’s next deadline is September 30th. I’m always looking for original articles about the business, craft and satire of screenwriting to be published on TLL. Musically, I released the Firefly Bulletshots EP on Neferiu Records earlier this hear. My next EP, Dischordance, will be released on CS² Recordings this Fall.

SS: Where can we find you?  How can we contact you?

22tape (music) http://22tape.tumblr.com http://twitter.com/22tape http://www.facebook.com/twentytwotape

TLL: http://threelinesorless.tumblr.com http://twitter.com/3linesorless http://www.facebook.com/3linesorless

Jared also has a freelance comedy writing page: HairyKrishmas (Freelance Comedy Writing): http://hairykrishmas.tumblr.com

Thank you, Jared!  Best of luck on all your endeavors and keep in touch!

If you liked this post, check out my other articles here.  Follow me on Twitter @HugoSchoen

Published by Samien Schoen

A fan, and promoter, of the graphic novel artform. A lover of life and song. A dreamer of incredible and alternate realities. A witness to the dedication of an open mind.

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