Anthony Miranda Talks What Goes Up

Probably the most common question I've been asked since our first public showing at The Buffalo Niagara Film Festival was "if you could do anything over again, what would you do?" I never have an answer, because I do not believe in doing anything over.

We learn from every event in our life and everything happens for a reason. To do over any one thing would change the series of events that have occurred and would affect this wonderful journey we are traveling.

I mean, why would I want to miss out on the amazing experience at The Buffalo Niagara Film Festival? It far exceeded my expectations to say the least. I never expected a proclamation from Buffalo Mayor Byron Brown that declared May 8 as Anthony Miranda Day. But he did. And it was overwhelming.

The best way I can describe it is to say “you really had to be there." Yeah, I know it's cliche, but because of all the support from Buffalo we not only sold out one screen — but two screens!!! When that happened, all of the local news channels covered the event. We had a VIP list that ran up well into the hundreds. The positive energy in the lobby was evident to everyone. And what was really hours, felt like mere minutes. I will remember it for the rest of my life and that's not easily said.

I've been a professional musician my entire life and taught percussion on the college level since 1980. I was 22 years old when I first taught college, and taught privately before that. I've had many unforgettable moments in my life, performing with Gladys Knight, Johnny Mathis, Robert Goulet, Milton Berle, Natalie Cole, and Madonna. Add to that several hundreds of recordings for television and film over the past 25 years.

The difference between being an executive producer and a musician or composer is tremendous. When in the recording studio working on music for film, you are one component in the entire movie.

The music in any film is clearly very important but is just one piece in this complex movie structure. As executive producer, you have to deal with every component from beginning to end. We’re lucky to have had James Hoke on board. He made it easy!

Of course, I had the opportunity to enjoy the best of both worlds. The music selection was mainly chosen by Jonathan Glatzer. However, when composing, for example, the rooftop cue, I had some ideas in mind. So I recorded them in the studio and sent the wav files over to Jonathan.

We fine tuned the tracks based on what he was looking for and then repeated this process with the marching drum cadences as well. Of course, composer Roddy Bottum did the underscore for the film. Working with him was amazing. He is such a great talent and a wonderful person. Things just flowed and happened.

One of my other favorite moments, working on the film, was the feeling of the final wrap of the production. It happened on a Saturday morning, after a very long, cold night of shooting.

I was able to enjoy the moment with my partners James Hoke and Joe Nahas; my daughter Lindsay Maureen was there too. For the soundtrack, there was another one.

It was when “I heard the news” (pun intended) that Hilary Duff made the commitment to record “Any Other Day” for the film and soundtrack. David Parker and Lenny Silver of Amherst Records worked so hard in making the entire soundtrack a successful reality. I am very grateful for them believing so strongly in What Goes Up.

I am also grateful for those talks I enjoyed with Molly Shannon on set and that warm smile Hilary always seems to carry around with her. And, I’m also grateful that I had an opportunity to use my Fingerstix invention for the soundtrack. They really create a whole new dimension in sound and creative expression, which was important for a film like this. I included a link to an old clip in this post to give you an idea of what can be done with them. Enjoy it!

All in all, the entire event has been like riding one of the highest, fastest roller coasters around. There are some amazingly fast ups and downs, thrusts left and right. You really cannot predict any of it, but you always want to get back in line and do it again!

We’re lucky, I suppose, because even though it felt like a down a couple days ago, we’re racing back up again. For that, I credit the genius of James Hoke. He keeps the challenges to the minimum and solutions to the maximum. On any independent film, you really need that to keep it together. He keeps it together. Him, and the fans.

I’m grateful to be able be able to share a little slice of my experience with the film and soundtrack with all the people who visit the production. Thank you all for jumping on the roller coaster with us. To me, you are the best!