Temescal Works Member Profiles: Bradley Furnish

We’re all in this together. But not all of us are acquainted yet. In the interest of making casual introductions among those of us working under the same roof, we at Temescal Works will be posting periodic snapshot profiles of our members. Read below for our first get-to-know-your-neighbor Q&A.

Name: Bradley Furnish  

Age: 36

Where he sits: Mezzanine level, toward the back

What he does for a living: Film editor, specializing in animated shorts and feature films as well as animated virtual reality.

Born and raised in Louisiana, Furnish attended college at LSU and moved to the Bay Area in 2004, getting his start as a film editor, location scout and production assistant,—a freelance film and television jack-of-all-trades. In 2007, he landed a job at Pixar, the famed Emeryville animation studio, beginning his tenure, he says, “at the bottom rung and gradually working my way up.” He wound up earning credits on a range of well-known films, including Toy Story 3 and Brave. In 2017, Furnish lit out on his own as an independent film editor, but not before collaborating with this Pixar colleagues on “The Dam Keeper,” an animated short that was nominated for an Academy Award. We caught up with Furnish to ask about his work experiences, past and present, and to find out what projects have him most excited now.

Temescal Works: Were you one of those kids who started making films as soon as you were big enough to hold a camera?

Furnish: I pretty much got my start in college. At the time, LSU didn’t have a film program, so I majored in graphic design. I started making short films with some friends at school. They weren’t great films, but we were learning on the fly.

TW: What were some of your first projects?

Furnish: A trio of friends and I did a video for a New Orleans rapper. It was about him coming up in a tough neighborhood in New Orleans and having parents who were always fighting and eventually divorcing. It was an intense shoot. We were just walking around with him trying to get shots and he was telling us stories. “Oh, and here’s where I saw my first dead body when I was 8.”

TW: Did he become a well-known rapper?

Furnish: His name was Governor Reese. I don’t think he’s rapping anymore.

TW: Any other notable early works?

Furnish: The first short feature was also in college. A dark thriller called Beautiful. It was about a serial killer stalking someone on campus, shot at night at LSU. It was one of those first-attempt college films, and we made tons of mistakes. More importantly, it was the first project where we took on many different roles, and I discovered a love of editing.

TW: What kind of problems do you notice when you watch some of your more youthful work?

Furnish: A lot of new editors are drawn to noticeable, highly stylized editing when they first start out. It’s much harder to cut a narrative scene that flows so naturally that you don’t even notice the editing. When I look at my past work, I see a lot of mistimed edits, depending too much on music to the save the cut, and lumpy pacing. It’s hard not to watch it and want to recut all of it.

TW: After college, San Francisco. Was it hard to get a start out here?

Furnish: I did pretty much anything and everything I was offered. Location scout. Production assistant. I worked on some bad reality TV shows.

TW: Anything we might have seen?

Furnish: One of them was a dating show. The conceit was that were four women who were perma-single and in their late 20s and ready to get into relationships, and they’d bring love coaches to help them through these dates. It had two working titles—Single Minded and How to Get the Guy. I don’t remember what it got released under.

TW: For someone interested in animation, Pixar seems like it would be a dream job. Was it?

Furnish: It was a great experience. I came in pretty much at the bottom rung and worked my way up. A lot of what I did early on involved going to the recording sessions and making sure we were getting the audio we needed. I remember sitting in on some sessions with Tom Hanks. I was thinking, this is a big deal because, you know, he is. But then he gets in the session and he’s reading the script cold and he delivers a line three ways and says, ‘No. That’s not good.’ And he’d do it again. Here’s a guy who is a megastar and could have just been complacent and said, ‘What I did was fine.’ But he continued to push himself. It was an eye-opening experience. Not so much about editing, but about how things get made.

TW: Of all your time at Pixar, was there any one project that left the deepest impression on you?

A schoolhouse scene from “The Dam Keeper,” an animated short that Furnish worked on with Pixar colleagues. It was nominated for an Academy Award

Furnish: The one that I’m most proud of is an animated short called The Dam Keeper. It came out of a program called “the co-op.” Pixar provides the resources and employees get to create projects on the side. It was gratifying because it was a smaller, more encapsulated project with a lot of people doing roles for the first time. It was very collaborative, so whenever there was a problem, it was all hands on deck. And at the end, there was a lot of sense of ownership. When it was done, we produced it not thinking anything was going to happen. But we had a great indie festival run, and it eventually secured an Oscar nomination.

TW: So you got to go to the ceremony in Hollywood?

Furnish: Yes. We were in the animated short film ghetto. No lights. They don’t put the cameras on you. But it was still thrilling and surreal. As much as the Oscar nomination was a bright point, the impact of the film was bigger. It’s a film that deals with school bullying through anthropomorphized characters. We showed it at tons of festivals and to see the reactions from audiences was amazing.

TW: As a filmmaker, when you’ve got a coveted gig at a place like Pixar—-well, was it hard to leave?

Furnish: It’s definitely the apex of animated filmmaking. But after being there for around 11 years, and doing some of these smaller projects, I wanted to keeping working on some of those—smaller projects, independent filmmakers. At the same time, there were two or three studios cropping up around the Bay Area, and I thought, you know, it’s possible to work on smaller projects and make a go of it.

TW: We pretty much all know what it’s like to watch a film. Not all of us know what it’s like to edit one. What’s one of the common misconceptions the general public tends to have about the work?

Furnish: With animation in particular, people don’t often realize that the process works a little in reverse, meaning: we’re editing the film way before it’s actually been animated. We’re editing off storyboards. We still have dialog and music and other things that make a film, but not the animation. The artists create the storyboards, and then we go in and string them together and time things out and make sure it’s all playing like a film.

TW: Any projects you’re especially excited about at the moment?

Furnish: There’s a VR piece called Crow: the Legend. It’s based on the Native American legend of the crow and how the crow got its raspy voice and its black feathers. The studio I’m working with is doing traditional animation, but in virtual reality. You put on goggles to watch it. It’s like being  immersed inside of a Pixar film.

Two Thumbs Up to Our Two Greens Thumbs

Two Thumbs Up to Our Two Greens Thumbs

Like all of you, we have lives outside of Temescal Works. We also had lives before Temescal Works. Take Ellen Kim, one of our team members. You probably recognize her. Warm smile. Sharp fashion sense. In her pre-co-working incarnation, Ellen was a floral designer who ran her own company, Gingerleaf Floral.

Then there’s Danny Fernandez, another lynchpin in our operation. Odds are you’ve met him, too. Dark hair. Outgoing. Endlessly amiable and energetic. In a prior life, Danny was a landscape architect. As we were busy getting Temescal Works off the ground, Ellen and Danny’s skills were invaluable, and their touch is evident throughout the building.

Among the many examples of their influence are the splashes of greenery that dot both floors, an eye-pleasing array of succulents that range from agapanthus and craspedia to palm leaves and husks. Danny and Ellen can give you all the names. The two of them teamed up to procure, design and lay out these potted arrangements.

We think they make a pleasing natural compliment to our modern industrial space. We hope you think so, too. As our business continues to grow and evolve, our indoor plants will likely change as well, and Danny and Ellen will no doubt have a hand in that transformation. We’re also hoping that the rest of us might get a chance to show off some of our hidden talents. Sara, for example, who works the front desk—she plays a pretty mean kazoo.

A Cameo in Film for Temescal Works

A Cameo in Film for Temescal Works

As you may have noticed, Oakland has been making its presence felt in film.

What started early this year with a cameo in Black Panther swelled by summer into a major role for the city in back-to-back releases. First came Sorry to Bother You, a made-in-Oakland movie about a resourceful telemarketer, followed, just weeks later, by Blindspotting, a story of race and class in gentrifying Oakland, starring homegrown hero, Daveed Diggs.

Big news, all.

But Oakland’s 15-minutes aren’t over yet.

On October 24, another film with ties to Oakland will have its first public screening, though this one wasn’t bankrolled by Hollywood bucks.

Written, produced and directed by local filmmaker, Darryl Jones, All of This!!! is a short film that was made in bootstrapping fashion, relying on a wealth of volunteer efforts, including a pro bono production crew. The end result is an artful outgrowth of Jones’ passion, which gets to the subject of the film itself.

All of This !!! focuses on the lives of artists. Specifically, the lives of artists in Oakland over the course of a single day, illuminating their struggles as they cope with rejection and failure. To one extent or another, the characters are all lost in their own heads, until a natural disaster jolts them back into the moment.

Sounds interesting, right?

Oh, and we should mention: part of it was shot right here at Temescal Works.

Though we won’t spoil the ending, we will supply you with some of the backstory.

Jones, who is 33 and lives in the Temescal, got his first look at Temescal Works a few months back when he dropped by for one of our open houses. At the event, he wound up speaking with Temescal Works team member, Ellen Kim.

One thing led to another, which led to another, which led to the evening of Aug. 14, when Jones and his crew spent around five hours filming in our building. The scene they shot was set in the large conference room.

In the final cut of the movie, the Temescal Works scene runs some two-and-half minutes and centers on a confrontation between two main characters, minutes before their world is quite literally shaken.

As for the consequences, we’ll let you watch the film.

The screening is slated to begin at around 7 p.m. (the schedule is slightly fluid) as part of the RAW Artists Showcase, at 1015 Folsom St, in San Francisco. You can purchase tickets here.  http://www.rawartists.org/darryljones.

It’s a great opportunity to support talented local artists like Jones, and others. And to get a glimpse of Temescal Works.

On last note: if you’d like to contribute to Jones’ crowdfunding campaign for the film, you can do so here  https://www.seedandspark.com/fund/all-of-this

The Mayor and Animal Welfare: An Interesting Night at Temescal Works

The Mayor and Animal Welfare: An Interesting Night at Temescal Works

As you were winding down your work day a few Thursdays ago, you might have noticed a familiar face arriving. Yep. That was her. Oakland Mayor Libby Schaaf, on an evening visit to Temescal Works. She’d dropped by for a conversation with members of the East Bay Animal PAC, a volunteer-run, nonprofit organization that does very much what its name suggests: it supports animal-friendly candidates and legislation while working to educate a range of public officials about issues related to animal welfare. One of our Temescal Works team members, Tim Anderson, is a co-founder of the group.

The Sept. 20 meeting was an opportunity for enlightening back-and-forth that focused on options for strengthening services and protections for Oakland’s vulnerable animal residents. PAC members submitted written questions. Mayor Schaaf responded. And the conversation progressed from there.

Among the notable bits of news to emerge is that the mayor is pushing to support the Oakland Animal shelter through a public-private partnership with a local non-profit. The goal is to beef up staffing while increasing a range of resources that the shelter relies on.

After the conversation with the mayor, PAC members stayed on to hold their 2018 endorsement meeting. Candidates in city council races from Berkeley, Oakland and Alameda gave presentations to the PAC, and the membership voted to endorse candidates based on those presentations.

You get the picture. It wasn’t just another night at Temescal Works. But it was indicative of our broader ambitions. In addition to being a neighborhood co-working space, we also want to be a community resource and gathering place for all kinds of events: book readings, wine tastings, corporate trainings, private parties and on. If you have an event you’d like to hold here, or thoughts on the kind of gatherings you’d like to see, please let us know. We’d love to hear your input.