Foul Play Productions
Born in Sacramento, CA, in 1968, Sean Owens moved to San Francisco in 1986 to pursue training as an actor at San Francisco State University. There he met Cliff Mayotte, with whom he co-authored a set of noir parodies entitled The Saga of the Six Chick Dicks.
As a playwright in residence for Harvest Theatre Company, he penned two more plays, Getting To Know Your Mechanism: An Evening of Self-Help Vaudeville (as his producer rightly observed, "Even the title needs editing,") and Folie A Deux, a two-man farce based on the life of Freud.
Since that time, Sean has written over 35 short and full-length plays, ranging from the deliriously daft to the deliciously dark. The Big Drag, another noir-themed gender parody earned him the Bay Area Critic's Circle Award for Best Original Script in 1997.
In 2006, he was named "SF's Best Comic Playwright" by the SF Weekly, and has enjoyed a decade-long partnership with the EXIT Theatre, co-founders of the NY Frigid Festival. Naught But Pirates, his contribution to FRIGID's inaugural run earned him an Audience Choice Award in 2008.
Sean has also graced stages on both coasts with his solo show Girlesque (with longtime composer Don Seaver) and in Liz Duffy Adam's off-Broadway run of WET, as the Viscountess Marlene.
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| Jeremy Solterbeck of Canopus Projects |
Canopus Projects
Born in Scotland and raised in Alaska, Jeremy Solterbeck couldn’t have started out farther from California. As a kid he drew comics and dreamed of doing special effects and making movies. In high school he commandeered his neighbor’s video camera and experimented with making short films. He attended college at San Francisco State University on art scholarships and quickly figured out a way into the film department. Animation became a natural extension of his art background, and outside of college he began working on film sets and multimedia projects.
In 1996, Solterbeck began work on Moving Illustrations of Machines. A dark, surreal piece on the topic of cloning, it was created entirely with hand drawn ink artwork. It was assembled digitally and took nearly four years to complete. The film toured the world on the festival circuit and garnered many awards and much controversy.
After success at film festivals, he crewed in different positions on movies and music videos, got up to speed with the emerging field of 3D animation, and began specializing in combining live action with visual effects. Solterbeck set up a boutique post production house and honed his chops in the music video world working with artists such as Mike Patton and Dan the Automator.
Today, Jeremy’s broad client base includes everyone from alternative bands like Erase Errata and Scissors for Lefty, to ad clients like Converse and Miller Lite, to agencies like Butler, Shine & Stern and DiMassimoGoldstein. He strives to create highly original, conceptual work focusing on storytelling, humor, and the use of visual effects or animation to propel the narrative.
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