Posts
Here is the link to Episode# 2001 - "On the Set of the Film NO EXPERIENCE NECESSARY" Video Diary 2001
http://vimeo.com/14849927
Wednesday, September 15, 2010
Second Season Begins!
The Second Season of my online series DIARY OF A FILMMAKER has finally begun with the first episode (Episode #2001) spot lighting my work on the Blank Stage Production of the short film NO EXPERIENCE NECESSARY, which is directed by Brent Brooks.
The film NO EXPERIENCE NECESSARY is the story of a serial killer who uses the allure of acting auditions to bring in his victims. Some people are desperate to be a star not realizing that they're nothing more than lambs for the slaughter.
This epsiode is just one of several is the series depicting the video diary of the film but it's the start of the new season of which I hope to have 12 done before the end of the year.
The film NO EXPERIENCE NECESSARY is the story of a serial killer who uses the allure of acting auditions to bring in his victims. Some people are desperate to be a star not realizing that they're nothing more than lambs for the slaughter.
This epsiode is just one of several is the series depicting the video diary of the film but it's the start of the new season of which I hope to have 12 done before the end of the year.
MAN IN THE LAKE - Production Diary Day 7
DAY 7:
On Day 7 of filming on the Southlan-Films Friday the 13th fan film The Man in the Lake we return to on-location filming at the property of Roland Force to not only film the death of actor Chris Whitley but to also do reshoots of the death of the Sheriff (played by Jim Adams), among other things. The most interesting thing about today’s filming are the reshoots.
Writer/director/editor Ron McLellen had already put together a rough edit of many of the scenes and soon discovered that there were sequences within the scene in which the Sheriff comes upon the domain of Jason Voorhees (of which we all know what happens when someone comes upon Jason’s home). He wanted to make the whole sequence longer and he wanted to elaborate on Jason’s “shack” through the eyes of the Sheriff who is the first person to come upon it. This being the first sequence filmed on the production, McLellen soon realized that the sequence was far too short and needed more suspense before the Sheriff died, so, since we had to return to the location anyway it was decided to do some extensive reshoots to make the sequence really stand out early in the film.
Today is designed to be a very light day. I missed the previous day of filming (Day 6) which was the production’s return to the camp grounds to film the wrap around segment of the film which includes a group of kids who are at Camp Crystal Lake when they start telling the story of Jason Voorhees (the rest of the film which is presented as a story told by the children). I missed all of this day of filming which reunited McLellen with the stars of his previous fan film Return of the Sandman – actors Ashley Ballard, Hunter Ballard, and Callan Wilson.
Once the reshoots with actor Jim Adams are complete the rest of the day is waiting for the sun to go down to film Whitley’s death for the film. In the mean time we waited for the make-up artists of 9 Cop Productions (Ondie Daniel and Ace Talkingwolf) to put Adams in his “death” make-up and prep for the death of Whitley’s character who wanders into Jason’s home and finds the Sheriff’s body just before he dies at the hands of Jason. It’s no secret that he’s going to die but it is the way in which he dies that will have every Jason fan screaming in their seats. McLellen has crafted many death sequences that will not only pay homage to the Friday the 13th franchise but will all leave fans with a big smile on their faces. This is a Friday film and the bloodier the better!
Today is just a very laid back final day of filming on The Man in the Lake. I say this because all principal actors on the film will be wrapped but we still have 2nd Unit scenes to film which don’t require any of the main cast members. This happens to be just a very relaxed day of filming because everyone is excited to be at the end of the production (even though it was only 7 days).
For me, it’s a totally different story as I will be on hand throughout the post-production process on the film and up to its Friday, August 13th premiere both online and on the big screen (as we plan on screening the film for cast & crew and anyone else who want to see the film). Once this film is complete I won’t have any time to rest as McLellen is prepping a sequel to his Halloween fan film Return of the Sandman which is tentatively called Revenge of the Sandman.
For more info on the Southlan-Films production THE MAN IN THE LAKE you can follow the production on Facebook here - http://www.facebook.com/profile.php?id=592735751#!/pages/MAN-IN-THE-LAKE-Official-Fan-Page/278862841916?ref=ts
On Day 7 of filming on the Southlan-Films Friday the 13th fan film The Man in the Lake we return to on-location filming at the property of Roland Force to not only film the death of actor Chris Whitley but to also do reshoots of the death of the Sheriff (played by Jim Adams), among other things. The most interesting thing about today’s filming are the reshoots.
Writer/director/editor Ron McLellen had already put together a rough edit of many of the scenes and soon discovered that there were sequences within the scene in which the Sheriff comes upon the domain of Jason Voorhees (of which we all know what happens when someone comes upon Jason’s home). He wanted to make the whole sequence longer and he wanted to elaborate on Jason’s “shack” through the eyes of the Sheriff who is the first person to come upon it. This being the first sequence filmed on the production, McLellen soon realized that the sequence was far too short and needed more suspense before the Sheriff died, so, since we had to return to the location anyway it was decided to do some extensive reshoots to make the sequence really stand out early in the film.
Today is designed to be a very light day. I missed the previous day of filming (Day 6) which was the production’s return to the camp grounds to film the wrap around segment of the film which includes a group of kids who are at Camp Crystal Lake when they start telling the story of Jason Voorhees (the rest of the film which is presented as a story told by the children). I missed all of this day of filming which reunited McLellen with the stars of his previous fan film Return of the Sandman – actors Ashley Ballard, Hunter Ballard, and Callan Wilson.
Once the reshoots with actor Jim Adams are complete the rest of the day is waiting for the sun to go down to film Whitley’s death for the film. In the mean time we waited for the make-up artists of 9 Cop Productions (Ondie Daniel and Ace Talkingwolf) to put Adams in his “death” make-up and prep for the death of Whitley’s character who wanders into Jason’s home and finds the Sheriff’s body just before he dies at the hands of Jason. It’s no secret that he’s going to die but it is the way in which he dies that will have every Jason fan screaming in their seats. McLellen has crafted many death sequences that will not only pay homage to the Friday the 13th franchise but will all leave fans with a big smile on their faces. This is a Friday film and the bloodier the better!
Today is just a very laid back final day of filming on The Man in the Lake. I say this because all principal actors on the film will be wrapped but we still have 2nd Unit scenes to film which don’t require any of the main cast members. This happens to be just a very relaxed day of filming because everyone is excited to be at the end of the production (even though it was only 7 days).
For me, it’s a totally different story as I will be on hand throughout the post-production process on the film and up to its Friday, August 13th premiere both online and on the big screen (as we plan on screening the film for cast & crew and anyone else who want to see the film). Once this film is complete I won’t have any time to rest as McLellen is prepping a sequel to his Halloween fan film Return of the Sandman which is tentatively called Revenge of the Sandman.
For more info on the Southlan-Films production THE MAN IN THE LAKE you can follow the production on Facebook here - http://www.facebook.com/profile.php?id=592735751#!/pages/MAN-IN-THE-LAKE-Official-Fan-Page/278862841916?ref=ts
MAN IN THE LAKE - Production Diary Day 5
DAY 5:
This is the second day of on-location filming at the camp grounds of which the majority of the Southlan-Films Friday the 13th fan film The Man in the Lake will take place. I was unable to be there for the first day on filming due to my obligations at my 9-to-5 job but this is just as well as the production was rained out for most of the day and only a little was actually filmed (a minor setback that will require an additional day at the camp grounds which we had not originally scheduled).
Today is a tough day as we try and squeeze in a lot of scenes that we didn’t get filmed last night. All the day scenes need to be filmed in addition to many of the night scenes and all of the “kill scenes” of the entire cast (with the exception of the death of actor Chris Whitley which is scheduled at a different location). On tap to do the Special FX make-up for the film is 9 Cop Productions (on set today are chief make-up artists Ondie Daniel and Ace Talkingwolf) which will have their hands filled killing 3 people (when it’s a major achievement just to kill one person per day on the set of a horror film). In addition to the 3 deaths scenes that have to be orchestrated we also need to film the climax of the film which requires is reminiscent to that of the ending of the original Friday the 13th. Although the running time of the film is not expected to be longer than 45 minutes, it is very ambitious as per the request of writer/director Ron McLellen.
The film is trying to make its release date of Friday, August 13 of this year. This seems like an impossible tasks but the production is filled with a talented cast and crew that work very hard to accomplish the impossible task of filming a lot of pages today despite the on-location problems. It does continue to rain today but not enough to cripple the production like the previous day and everyone works hard to finish filming all of the days pages and scenes.
Our make-up department also goes above and beyond the call of duty as they push themselves to complete 3 major kill scenes in the film. We’ve lucked out that there are so many people out there who love and respect the Friday the 13th franchise that they are willing to come out and help on this production for free simply to work on the film for no pay. It’s important to remember that fan films are produced by people who love and respect the film/franchise for whom their production is based. These films are produced simply for the fun of it and for all the fans out there.
My job on this production has primarily been as still photographer and as the “background” producer allowing McLellen the freedom to produce the film that he wants to without and hang-ups or problems. This has been made easier from a cast and crew who are simply doing this film for the fun of it and not for a paycheck (although regardless of the fact that this is a fan film it would be nice to pay the cast and crew).
Everything does in fact go on as planned for today’s production even though we were filming into the wee hours of the next morning. We encountered a few problems in regards to policies at the camp grounds that we filming but despite this the filming was complete and we do, in fact, plan on returning for another day of filming to finish everything else that still needs to be filmed.
For more info on the Southlan-Films production THE MAN IN THE LAKE you can follow the production on Facebook here - http://www.facebook.com/profile.php?id=592735751#!/pages/MAN-IN-THE-LAKE-Official-Fan-Page/278862841916?ref=ts
This is the second day of on-location filming at the camp grounds of which the majority of the Southlan-Films Friday the 13th fan film The Man in the Lake will take place. I was unable to be there for the first day on filming due to my obligations at my 9-to-5 job but this is just as well as the production was rained out for most of the day and only a little was actually filmed (a minor setback that will require an additional day at the camp grounds which we had not originally scheduled).
Today is a tough day as we try and squeeze in a lot of scenes that we didn’t get filmed last night. All the day scenes need to be filmed in addition to many of the night scenes and all of the “kill scenes” of the entire cast (with the exception of the death of actor Chris Whitley which is scheduled at a different location). On tap to do the Special FX make-up for the film is 9 Cop Productions (on set today are chief make-up artists Ondie Daniel and Ace Talkingwolf) which will have their hands filled killing 3 people (when it’s a major achievement just to kill one person per day on the set of a horror film). In addition to the 3 deaths scenes that have to be orchestrated we also need to film the climax of the film which requires is reminiscent to that of the ending of the original Friday the 13th. Although the running time of the film is not expected to be longer than 45 minutes, it is very ambitious as per the request of writer/director Ron McLellen.
The film is trying to make its release date of Friday, August 13 of this year. This seems like an impossible tasks but the production is filled with a talented cast and crew that work very hard to accomplish the impossible task of filming a lot of pages today despite the on-location problems. It does continue to rain today but not enough to cripple the production like the previous day and everyone works hard to finish filming all of the days pages and scenes.
Our make-up department also goes above and beyond the call of duty as they push themselves to complete 3 major kill scenes in the film. We’ve lucked out that there are so many people out there who love and respect the Friday the 13th franchise that they are willing to come out and help on this production for free simply to work on the film for no pay. It’s important to remember that fan films are produced by people who love and respect the film/franchise for whom their production is based. These films are produced simply for the fun of it and for all the fans out there.
My job on this production has primarily been as still photographer and as the “background” producer allowing McLellen the freedom to produce the film that he wants to without and hang-ups or problems. This has been made easier from a cast and crew who are simply doing this film for the fun of it and not for a paycheck (although regardless of the fact that this is a fan film it would be nice to pay the cast and crew).
Everything does in fact go on as planned for today’s production even though we were filming into the wee hours of the next morning. We encountered a few problems in regards to policies at the camp grounds that we filming but despite this the filming was complete and we do, in fact, plan on returning for another day of filming to finish everything else that still needs to be filmed.
For more info on the Southlan-Films production THE MAN IN THE LAKE you can follow the production on Facebook here - http://www.facebook.com/profile.php?id=592735751#!/pages/MAN-IN-THE-LAKE-Official-Fan-Page/278862841916?ref=ts
Saturday, May 29, 2010
MAN IN THE LAKE - Production Diary DAY 3
DAY 3: Monday, May 24, 2010
By the time we get to the third day of filming on the Southlan-Films production of the Friday the 13th fan film The Man in the Lake, writer/director Ron McLellen has already put together a preliminary edit of all the scenes thus far filmed. This is not unusual considering the amazing turnaround time we had when we filmed the Halloween fan film Return of the Sandman last year. It was interesting to be able to view these scenes prior to going out and filming scenes that linked to the scenes thus far filmed.
Today is planned to be a light day as we are going out to Roland Force’s property once again to film the scenes where the Sheriff (played by Jim Adams) encounters Ralph (Dave R. Watkins) on the side of the road and Jason Voorhees (this time played by Kyle Thrasher) drags Ralph into the woods and kills him. The scenes where the Sheriff chases after Voorhees and is himself killed were filmed on Day 1 but now we will be filming everything that leads up to his death. We are also scheduled to go back to the Pop Stop (from Day 2) and film the exterior filler scenes of Ralph riding away on his bicycle (which we didn’t have on the original day of filming). By the end of today we should have two whole sequences of the film done.
Adding Thrasher to the film is a big coup for the production. After having played the iconic Michael Myers in McLellen’s Return of the Sandman, Thrasher is even more adequately cast as Voorhees. There is a slight difference in body type between Thrasher and Nathan Standridge (who is also playing Voorhees). Standridge is taller but Thrasher has the bigger and more muscular body frame giving him the Voorhees look of Parts 6 & 7 of the original series. Despite two actors playing the role I doubt that the regular audience members will even be able to tell that the role was played by two separate people. For Thrasher, this role is also preparation for his return as Myers in the proposed sequel to Return of the Sandman tentatively called Revenge of the Sandman which will film later this year before McLellen takes a break from his fan film trilogy of terror.
The location of filming on the Force property should be familiar to fans of the Southlan-Films production Bad Land as we filmed on the same spots used in that film. It was a great bit of homage that made filming that much more fun. It was an extremely hot day and we were plagued by the presence of ants and various other insects but that didn’t stop us from having a good time killing Watkins’ character Ralph, in fact, killing him was more exciting than killing the Sheriff (shoot me, I like to see people die in a horror film).
Although today was a short shoot it was a very eventful one as should be on the set of a horror film. Now that some of the easier scenes are done we will be able to more on to the real “meat & potatoes” of the film, which is killing everyone else!
By the time we get to the third day of filming on the Southlan-Films production of the Friday the 13th fan film The Man in the Lake, writer/director Ron McLellen has already put together a preliminary edit of all the scenes thus far filmed. This is not unusual considering the amazing turnaround time we had when we filmed the Halloween fan film Return of the Sandman last year. It was interesting to be able to view these scenes prior to going out and filming scenes that linked to the scenes thus far filmed.
Today is planned to be a light day as we are going out to Roland Force’s property once again to film the scenes where the Sheriff (played by Jim Adams) encounters Ralph (Dave R. Watkins) on the side of the road and Jason Voorhees (this time played by Kyle Thrasher) drags Ralph into the woods and kills him. The scenes where the Sheriff chases after Voorhees and is himself killed were filmed on Day 1 but now we will be filming everything that leads up to his death. We are also scheduled to go back to the Pop Stop (from Day 2) and film the exterior filler scenes of Ralph riding away on his bicycle (which we didn’t have on the original day of filming). By the end of today we should have two whole sequences of the film done.
Adding Thrasher to the film is a big coup for the production. After having played the iconic Michael Myers in McLellen’s Return of the Sandman, Thrasher is even more adequately cast as Voorhees. There is a slight difference in body type between Thrasher and Nathan Standridge (who is also playing Voorhees). Standridge is taller but Thrasher has the bigger and more muscular body frame giving him the Voorhees look of Parts 6 & 7 of the original series. Despite two actors playing the role I doubt that the regular audience members will even be able to tell that the role was played by two separate people. For Thrasher, this role is also preparation for his return as Myers in the proposed sequel to Return of the Sandman tentatively called Revenge of the Sandman which will film later this year before McLellen takes a break from his fan film trilogy of terror.
The location of filming on the Force property should be familiar to fans of the Southlan-Films production Bad Land as we filmed on the same spots used in that film. It was a great bit of homage that made filming that much more fun. It was an extremely hot day and we were plagued by the presence of ants and various other insects but that didn’t stop us from having a good time killing Watkins’ character Ralph, in fact, killing him was more exciting than killing the Sheriff (shoot me, I like to see people die in a horror film).
Although today was a short shoot it was a very eventful one as should be on the set of a horror film. Now that some of the easier scenes are done we will be able to more on to the real “meat & potatoes” of the film, which is killing everyone else!
MAN IN THE LAKE - Production Diary DAY 2
DAY 2: Tuesday, May 18, 2010
The second day of filming on the Southlan-Films production of the Friday the 13th fan-film The Man In The Lake is also the first day that the whole cast will get together for the very first time. Unlike most writer/director Ron McLellen’s previous films, there was no script read-through with the cast, so, today is the first day that McLellen has even met some of his cast members. I cast several of the actors on this film having worked with them on previous films but during the course of time between the first draft of the screenplay (which I wrote) and the final shooting draft (which McLellen wrote) there were a lot of cast changes and a lot of roles that were cut from the final shooting script. Although I am not 100% satisfied with the final shooting script, I was well aware of many of the changes that would eventually happen due to the fact that I wrote and over ambitious film that probably would’ve been more a feature and less a short film like what the director wanted. I also wrote my script with no regards to budget or limitations, which is a big factor when you’re doing a film in which you will never recoup any costs, so, I’m not surprised of the changes to my original script.
I also was writing the script based on what I would want to see in a Friday the 13th film mixed with the fact that I was bridging my script with McLellen’s previous film Return of the Sandman creating what would ultimately end in a “what if?” Jason fought Michael Myers type film. Over ambitious is probably putting it mildly.
The scenes we are filming today introduce all the characters as they stop at a gas station to fill up on supplies prior to going to the camp grounds. In the scenes are the actors – Lynn McArthur, Cesar Aguirre, JM Finnel, Andrew McClure, Chris Whitley, Jim Adams, Dave R. Watkins, Josephine B. Lawson, and several extras. We had the luck of finding a location perfect for the film. It was an old “Pop Shop” that had the look of having been built in the ‘50s and was still operational. McLellen found this location due to the fact that he knew the owners and they were very accommodating to the film’s needs. This location is rich with character and even though the scene, as written in the script, is only a few minutes long I wished that we could have spent more time at the excellent location to really use it in the film.
I’m really glad I was able to get McClure and Finnel on board this film as they had such great chemistry in the Blank Stage production No Experience Necessary, which is where I first met both of them. Today was the first time that either had ever met the director McLellen so I was a little nervous on how the day would play out. All the other actors in the production McLellen had already worked with before so I knew they would be fine with McLellen’s filmmaking style, whereas McLellen’s style is very different than director Brent (No Experience Necessary) Brooks mainly because McLellen edits his own films and therefore only films the shots he’ll need to make the film look good. McLellen is very lax with clap boards and shooting “masters” and frequently shoots handheld to put the audience directly in the action of the film. Although there were a few shots done handheld a lot of what was filmed was done of the dolly because McLellen is using this scene as the intro to all the characters of the film and is building up to the impending chaos of the film later to come. All the actors did a wonderful job and elevate the film above the typical “teenagers in the woods” horror film (although that is still the type of film that this is).
Today is great for me as I get to see all the actors together and to get a cast & crew photo (the first one of hopefully many) which is something we’ve so rarely been able to do on a Southlan-Films production. Today just went 100% according to plan not to mention that we actually finished filming early despite having to endure noise problems when we shifted production to the exterior scenes of the location (something you just have to get used to on a low budget production).
The second day of filming on the Southlan-Films production of the Friday the 13th fan-film The Man In The Lake is also the first day that the whole cast will get together for the very first time. Unlike most writer/director Ron McLellen’s previous films, there was no script read-through with the cast, so, today is the first day that McLellen has even met some of his cast members. I cast several of the actors on this film having worked with them on previous films but during the course of time between the first draft of the screenplay (which I wrote) and the final shooting draft (which McLellen wrote) there were a lot of cast changes and a lot of roles that were cut from the final shooting script. Although I am not 100% satisfied with the final shooting script, I was well aware of many of the changes that would eventually happen due to the fact that I wrote and over ambitious film that probably would’ve been more a feature and less a short film like what the director wanted. I also wrote my script with no regards to budget or limitations, which is a big factor when you’re doing a film in which you will never recoup any costs, so, I’m not surprised of the changes to my original script.
I also was writing the script based on what I would want to see in a Friday the 13th film mixed with the fact that I was bridging my script with McLellen’s previous film Return of the Sandman creating what would ultimately end in a “what if?” Jason fought Michael Myers type film. Over ambitious is probably putting it mildly.
The scenes we are filming today introduce all the characters as they stop at a gas station to fill up on supplies prior to going to the camp grounds. In the scenes are the actors – Lynn McArthur, Cesar Aguirre, JM Finnel, Andrew McClure, Chris Whitley, Jim Adams, Dave R. Watkins, Josephine B. Lawson, and several extras. We had the luck of finding a location perfect for the film. It was an old “Pop Shop” that had the look of having been built in the ‘50s and was still operational. McLellen found this location due to the fact that he knew the owners and they were very accommodating to the film’s needs. This location is rich with character and even though the scene, as written in the script, is only a few minutes long I wished that we could have spent more time at the excellent location to really use it in the film.
I’m really glad I was able to get McClure and Finnel on board this film as they had such great chemistry in the Blank Stage production No Experience Necessary, which is where I first met both of them. Today was the first time that either had ever met the director McLellen so I was a little nervous on how the day would play out. All the other actors in the production McLellen had already worked with before so I knew they would be fine with McLellen’s filmmaking style, whereas McLellen’s style is very different than director Brent (No Experience Necessary) Brooks mainly because McLellen edits his own films and therefore only films the shots he’ll need to make the film look good. McLellen is very lax with clap boards and shooting “masters” and frequently shoots handheld to put the audience directly in the action of the film. Although there were a few shots done handheld a lot of what was filmed was done of the dolly because McLellen is using this scene as the intro to all the characters of the film and is building up to the impending chaos of the film later to come. All the actors did a wonderful job and elevate the film above the typical “teenagers in the woods” horror film (although that is still the type of film that this is).
Today is great for me as I get to see all the actors together and to get a cast & crew photo (the first one of hopefully many) which is something we’ve so rarely been able to do on a Southlan-Films production. Today just went 100% according to plan not to mention that we actually finished filming early despite having to endure noise problems when we shifted production to the exterior scenes of the location (something you just have to get used to on a low budget production).
MAN IN THE LAKE - Production Diary DAY 1
DAY 1: Saturday, May 15, 2010
Discounting all the preproduction work, the teaser trailer, and the pre-visual photos, today is the first day of filming on the Southlan-Films production of the Friday the 13th fan-film The Man In The Lake. The original story is by Ron McLellen and me with the final screenplay by McLellen, who is also producing and directing, among other jobs. The film is designed to be a short film the same as McLellen’s previous fan-film Return of the Sandman (based on Halloween) and the shooting schedule is only suppose to be just south of ten days.
The first day of filming McLellen decided to start things off right by killing one of our main actors. Of the actors on set today are Jim Adams (as the Sheriff) and Nathan Standridge (as Jason, although two people will play the iconic character throughout the film because of scheduling). The Sheriff is in much of the beginning of the film but it’s always good to start production on a horror film right by killing someone. Adams is in good spirits as today’s scenes require him to run through the woods, a lot, before being dispatched by a train spike through the head by Jason. It’s as good a way to go as any in a Friday the 13th movie.
We are once again filming at the home of Roland Force, an actor frequent in McLellen’s films (Jack O’Lantern, Hell’s End, Bad Land, Return of the Sandman) but his home has also been used in many of McLellen’s films including Bad Land, Jack O’Lantern, Return of the Sandman, and now this film. Force’s land is so vast that we could probably never see any of the same spots in any of McLellen’s films no matter how many times we return.
We are light on crew today as this first day of filming was meant to be fairly easy on all of us not to mention the production itself. In addition to McLellen and me, Eric Forest Burton is also on hand. He came aboard on the Southlan-Films team during the production of Return of the Sandman (not only as crew but as an actor as well) and returns on this film as well. On this production I am the production manager and still photographer (and generally anything else that needs to be done).
One of the reasons why we are keeping cast and crew down to a minimum is the fact that this is a “fan-film” which means we can never sale, distribute, or otherwise make a single penny on the production because the characters and rights all belong to someone (or some company) else. It would be against the law for us to ever make a dime off this production. We are making this film simply because McLellen has a need to produce this film not only for him but for all the other Friday the 13th film fans out there. It is also a good way to advertise the talents of all the people involved as well as meet other people who are enthusiastic about the same subject matter.
I’m not a Friday the 13th film fan. In fact, I don’t really care for many of them but I do understand why the franchise has so many devoted fans. I’m a huge fan of the original Night of the Living Dead (1968) and I have a huge collection of related memorabilia. The same can be said of McLellen and several of the people involved in this production. My number one reason for doing this film is because there is such a huge following for this franchise that doing a film based on it just seemed like a lot of fun and 80% of why I do low budget (or no budget as this film suggests) is because it’s a whole lot of fun.
That’s what this first day of filming was like – a whole lot of fun and it wasn’t just me that had a lot of fun it was everyone from Burton to Adams to Standridge and most of all from McLellen who was like a kid in a candy shop and wouldn’t you be if you got to kill off someone on the first day of filming? Every film production should be so lucky as to have as productive a first day as this day was.
Discounting all the preproduction work, the teaser trailer, and the pre-visual photos, today is the first day of filming on the Southlan-Films production of the Friday the 13th fan-film The Man In The Lake. The original story is by Ron McLellen and me with the final screenplay by McLellen, who is also producing and directing, among other jobs. The film is designed to be a short film the same as McLellen’s previous fan-film Return of the Sandman (based on Halloween) and the shooting schedule is only suppose to be just south of ten days.
The first day of filming McLellen decided to start things off right by killing one of our main actors. Of the actors on set today are Jim Adams (as the Sheriff) and Nathan Standridge (as Jason, although two people will play the iconic character throughout the film because of scheduling). The Sheriff is in much of the beginning of the film but it’s always good to start production on a horror film right by killing someone. Adams is in good spirits as today’s scenes require him to run through the woods, a lot, before being dispatched by a train spike through the head by Jason. It’s as good a way to go as any in a Friday the 13th movie.
We are once again filming at the home of Roland Force, an actor frequent in McLellen’s films (Jack O’Lantern, Hell’s End, Bad Land, Return of the Sandman) but his home has also been used in many of McLellen’s films including Bad Land, Jack O’Lantern, Return of the Sandman, and now this film. Force’s land is so vast that we could probably never see any of the same spots in any of McLellen’s films no matter how many times we return.
We are light on crew today as this first day of filming was meant to be fairly easy on all of us not to mention the production itself. In addition to McLellen and me, Eric Forest Burton is also on hand. He came aboard on the Southlan-Films team during the production of Return of the Sandman (not only as crew but as an actor as well) and returns on this film as well. On this production I am the production manager and still photographer (and generally anything else that needs to be done).
One of the reasons why we are keeping cast and crew down to a minimum is the fact that this is a “fan-film” which means we can never sale, distribute, or otherwise make a single penny on the production because the characters and rights all belong to someone (or some company) else. It would be against the law for us to ever make a dime off this production. We are making this film simply because McLellen has a need to produce this film not only for him but for all the other Friday the 13th film fans out there. It is also a good way to advertise the talents of all the people involved as well as meet other people who are enthusiastic about the same subject matter.
I’m not a Friday the 13th film fan. In fact, I don’t really care for many of them but I do understand why the franchise has so many devoted fans. I’m a huge fan of the original Night of the Living Dead (1968) and I have a huge collection of related memorabilia. The same can be said of McLellen and several of the people involved in this production. My number one reason for doing this film is because there is such a huge following for this franchise that doing a film based on it just seemed like a lot of fun and 80% of why I do low budget (or no budget as this film suggests) is because it’s a whole lot of fun.
That’s what this first day of filming was like – a whole lot of fun and it wasn’t just me that had a lot of fun it was everyone from Burton to Adams to Standridge and most of all from McLellen who was like a kid in a candy shop and wouldn’t you be if you got to kill off someone on the first day of filming? Every film production should be so lucky as to have as productive a first day as this day was.
Saturday, May 22, 2010
My Review of the (as yet unreleased in the USA) [REC] 2!
Watching the sequel [REC] 2 just this past week reminds me of how timid and inept modern American horror has become. The original [REC] was an amazing camera-POV film most closely resembling the films MAN BITES DOG, THE BLAIR WITCH PROJECT, and more recently PARANORMAL ACTIVITY and DIARY OF THE DEAD. [REC] is the story of television reporter Angela Vidal (Manuela Velasco) and her cameraman who follow two firemen on what should have been a routine call to a tenement building. The situation goes to hell fast when they realize that they’ve been quarantined from the outside world and they now find themselves trapped in a building not only with the building’s residents but with a highly contagious disease that may become the death of them all.
Most American audiences were unable to see the original [REC] until its American remake QUARANTINE had gone through its theatrical run and DVD release. The two films are virtually identical except the origin of the outbreak/disease (QUARANTINE decided it was easier to make the disease a highly contagious form of rabies).
I was lucky enough to get a hold of a Region 0 version of [REC] (from ebay no less) prior to the theatrical release of QUARANTINE and I was immediately taken back by the sheer terror and vitality of the film. The film was a fast paced tour de force of suspense and terror. This was a feeling I thought was missing from the current slate of American horror films. Although I enjoyed the American remake QUARANTINE, its biggest flaw was having familiar actors in the film. [REC] was more suspenseful and terrifying because I was unfamiliar with any of the actors, whereas, QUARANTINE was littered with actors and character actors familiar from both television and film. This is the biggest problem of all modern day American horror films. They are always cast with rising stars and television actors rather than “unknowns” like horror films of the ‘70s to mid- ‘90s.
The reasons why I like [REC] are why such films like THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY work so well (and even the similarly executed film CLOVERFIELD). When I heard that a [REC] 2 had been produced I was a little apprehensive (kind of like hearing about THE DESCENT 2 and DOG SOLDIERS 2 and CABIN FEVER 2). The first film was so good that I didn’t think there could ever be a way a sequel could match the original. Boy was I wrong. When I heard reviews from advance previews and festival screenings that the film was actually really well received.
[REC] 2 takes the simple concept of the first film and turns it on its head. The sequel takes place just moments after the events of the first film in which a SWAT team enter the building with a medical official for the purpose of recording and documenting what happened in the building and how to prevent the disease from spreading. The situation gets more complicated when the SWAT team encounters the infected and realize that the medical official knows more than what he is revealing. To reveal the medical official’s purpose in the building is to reveal the true nature of the outbreak/disease and it really needs to be seen to be believed. Writers Jaume Balaguero & Manu Diez have crafted a smart new chapter in this horror saga that is far from predictable. Balaguero and Paco
Plaza, as co-directors, also change the style of the film as the camera-POV goes from one SWAT team member to the next creating an even more suspenseful film especially when the story starts to unfold.
Like the first film, I got a hold of [REC] 2 as a Region 0 version from ebay (which means you should all go out there and find a copy) mainly because I believe American distributors are slow when it comes to foreign films. I’ve picked up the following films as Region 0 from ebay prior to any American release – RED CLIFF PART 1 & 2, THE HOST, 4BIA, DEATH BELL, DEAD SNO, [REC], MULAN, Jet Li’s WARLORDS, and numerous others. I normally wouldn’t recommend this as I’m a huge supporter of watching films theatrically but the sad fact is that fewer and fewer foreign horror films are going theatrical and the lag time between when I hear about these films and when they actually get an American release has been way too long for me to actually continue to wait. If I had waited to see the original [REC] until its American DVD release it would have been almost two years after its original International release and almost eight months after the release of the QUARANTINE remake.
[REC] 2 is set for a limited American theatrical release this July 9 before eventually getting a DVD release and I’ve been hearing about this film for almost a year now. I just couldn’t wait, especially considering I bought the film for only $14.99 on ebay which will be about the amount of a movie ticket. When the film is released theatrically, I’ll probably still go see it (if it plays near me) since this is one of the few horror films I’ve seen in the last year that is actually worth seeing theatrically. I just hope that amid all the other dredge of American sequels and remakes that this film does not get lost or buried.
Most American audiences were unable to see the original [REC] until its American remake QUARANTINE had gone through its theatrical run and DVD release. The two films are virtually identical except the origin of the outbreak/disease (QUARANTINE decided it was easier to make the disease a highly contagious form of rabies).
I was lucky enough to get a hold of a Region 0 version of [REC] (from ebay no less) prior to the theatrical release of QUARANTINE and I was immediately taken back by the sheer terror and vitality of the film. The film was a fast paced tour de force of suspense and terror. This was a feeling I thought was missing from the current slate of American horror films. Although I enjoyed the American remake QUARANTINE, its biggest flaw was having familiar actors in the film. [REC] was more suspenseful and terrifying because I was unfamiliar with any of the actors, whereas, QUARANTINE was littered with actors and character actors familiar from both television and film. This is the biggest problem of all modern day American horror films. They are always cast with rising stars and television actors rather than “unknowns” like horror films of the ‘70s to mid- ‘90s.
The reasons why I like [REC] are why such films like THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY work so well (and even the similarly executed film CLOVERFIELD). When I heard that a [REC] 2 had been produced I was a little apprehensive (kind of like hearing about THE DESCENT 2 and DOG SOLDIERS 2 and CABIN FEVER 2). The first film was so good that I didn’t think there could ever be a way a sequel could match the original. Boy was I wrong. When I heard reviews from advance previews and festival screenings that the film was actually really well received.
[REC] 2 takes the simple concept of the first film and turns it on its head. The sequel takes place just moments after the events of the first film in which a SWAT team enter the building with a medical official for the purpose of recording and documenting what happened in the building and how to prevent the disease from spreading. The situation gets more complicated when the SWAT team encounters the infected and realize that the medical official knows more than what he is revealing. To reveal the medical official’s purpose in the building is to reveal the true nature of the outbreak/disease and it really needs to be seen to be believed. Writers Jaume Balaguero & Manu Diez have crafted a smart new chapter in this horror saga that is far from predictable. Balaguero and Paco
Plaza, as co-directors, also change the style of the film as the camera-POV goes from one SWAT team member to the next creating an even more suspenseful film especially when the story starts to unfold.
Like the first film, I got a hold of [REC] 2 as a Region 0 version from ebay (which means you should all go out there and find a copy) mainly because I believe American distributors are slow when it comes to foreign films. I’ve picked up the following films as Region 0 from ebay prior to any American release – RED CLIFF PART 1 & 2, THE HOST, 4BIA, DEATH BELL, DEAD SNO, [REC], MULAN, Jet Li’s WARLORDS, and numerous others. I normally wouldn’t recommend this as I’m a huge supporter of watching films theatrically but the sad fact is that fewer and fewer foreign horror films are going theatrical and the lag time between when I hear about these films and when they actually get an American release has been way too long for me to actually continue to wait. If I had waited to see the original [REC] until its American DVD release it would have been almost two years after its original International release and almost eight months after the release of the QUARANTINE remake.
[REC] 2 is set for a limited American theatrical release this July 9 before eventually getting a DVD release and I’ve been hearing about this film for almost a year now. I just couldn’t wait, especially considering I bought the film for only $14.99 on ebay which will be about the amount of a movie ticket. When the film is released theatrically, I’ll probably still go see it (if it plays near me) since this is one of the few horror films I’ve seen in the last year that is actually worth seeing theatrically. I just hope that amid all the other dredge of American sequels and remakes that this film does not get lost or buried.
Saturday, April 17, 2010
3-D TAKES OVER THE BOX OFFICE IN A BIG WAY!
The film going experience has changed in a huge way. All you have to do is look at the current highest grossing film of all time Avatar and you’ll come to realize that the way in which we view films on the big screen will forever be changed. 3-D technology is nothing new, in fact, in the ‘80s (and even in several films prior) anaglyph 3-D technology (the use of the red and blue gels in glasses) was very prevalent but it was only a gimmick to get audiences in the doors. Due to the growing popularity of the home VHS boom less people were going to the theater and so Hollywood unburied the 3-D technology as a way to get people to go back to the theaters. This worked then and it’s working now.
Such films as Alfred Hitchcock’s Dial “M” For Murder, Amityville 3-D, Friday the 13th Part 3-D, Jaws 3-D, The Creature From the Black Lagoon, and many others used the anaglyph process but today this process has all but been abandoned (the last film to be released theatrically through this process was the remake Night of the Living Dead 3-D in 2006) but over the years many filmmakers have been using and developing a digital 3-D process that would better integrate with the digital media (as opposed to actual film). Director Robert Rodriguez experimented with this with his early films Spy Kids 3-D: Game Over and The Adventures of Shark Boy & Lava Girl, but there have been many animated films that were released simultaneously in both 2-D and 3-D formats (such as Fly Me To The Moon, Ice Age 3: Dawn of the Dinosaurs, Cloudy With A Chance of Meatballs, Coraline, and Up, to name a few. Like in the ‘80s the horror genre has also taken a stab at the new 3-D digital process with My Bloody Valentine 3-D and The Final Destination, to name a few, but even though these films did great business it wasn’t until director James Cameron’s Avatar was unleashed on audiences in December of last year that a multitude of people were able to experience the new digital 3-D technology first hand. The huge Box Office returns of this film worldwide have ensured movie studios that audiences have embraced this new technology and it is here to stay! With over 20 films being prepped to be released simultaneously in both 2-D and 3-D formats (and Disney claiming that all of their future animated releases will do this as well) it does not appear that we will be seeing less films over the next few years.
Following are the highest grossing 3-D films of all time, both standard anaglyph and digital 3-D.
1. AVATAR ($600 million and counting)
2. UP ($293 million)
3. MONSTERS VS. ALIENS (198.4 million)
4. ICE AGE: DAWN OF THE DINOSAURS ($196.6 million)
5. CLOUDY WITH A CHANCE OF MEATBALLS ($122.7 million)
6. G-FORCE ($119.4 million)
7. BOLT ($114.1 million)
8. SPY KIDS 3-D: GAME OVER ($111.8 million)
9. JOURNEY TO THE CENTER OF THE EARTH in 3-D ($101.8 million)
10. MEET THE ROBINSONS ($97.8 million)
11. BEOWULF ($82.3 million)
12. CORALINE ($75.3 million)
13. THE NIGHTMARE BEFORE CHRISTMAS ($75.1 million)
14. THE FINAL DESTINATION ($66.5 million)
15. HANNAH MONTANA/MILEY CYRUS: BEST OF BOTH WORLDS CONCERT ($65.3)
Such films as Alfred Hitchcock’s Dial “M” For Murder, Amityville 3-D, Friday the 13th Part 3-D, Jaws 3-D, The Creature From the Black Lagoon, and many others used the anaglyph process but today this process has all but been abandoned (the last film to be released theatrically through this process was the remake Night of the Living Dead 3-D in 2006) but over the years many filmmakers have been using and developing a digital 3-D process that would better integrate with the digital media (as opposed to actual film). Director Robert Rodriguez experimented with this with his early films Spy Kids 3-D: Game Over and The Adventures of Shark Boy & Lava Girl, but there have been many animated films that were released simultaneously in both 2-D and 3-D formats (such as Fly Me To The Moon, Ice Age 3: Dawn of the Dinosaurs, Cloudy With A Chance of Meatballs, Coraline, and Up, to name a few. Like in the ‘80s the horror genre has also taken a stab at the new 3-D digital process with My Bloody Valentine 3-D and The Final Destination, to name a few, but even though these films did great business it wasn’t until director James Cameron’s Avatar was unleashed on audiences in December of last year that a multitude of people were able to experience the new digital 3-D technology first hand. The huge Box Office returns of this film worldwide have ensured movie studios that audiences have embraced this new technology and it is here to stay! With over 20 films being prepped to be released simultaneously in both 2-D and 3-D formats (and Disney claiming that all of their future animated releases will do this as well) it does not appear that we will be seeing less films over the next few years.
Following are the highest grossing 3-D films of all time, both standard anaglyph and digital 3-D.
1. AVATAR ($600 million and counting)
2. UP ($293 million)
3. MONSTERS VS. ALIENS (198.4 million)
4. ICE AGE: DAWN OF THE DINOSAURS ($196.6 million)
5. CLOUDY WITH A CHANCE OF MEATBALLS ($122.7 million)
6. G-FORCE ($119.4 million)
7. BOLT ($114.1 million)
8. SPY KIDS 3-D: GAME OVER ($111.8 million)
9. JOURNEY TO THE CENTER OF THE EARTH in 3-D ($101.8 million)
10. MEET THE ROBINSONS ($97.8 million)
11. BEOWULF ($82.3 million)
12. CORALINE ($75.3 million)
13. THE NIGHTMARE BEFORE CHRISTMAS ($75.1 million)
14. THE FINAL DESTINATION ($66.5 million)
15. HANNAH MONTANA/MILEY CYRUS: BEST OF BOTH WORLDS CONCERT ($65.3)
5 Elements To Producing A Good Independent Film
Producing a low budget (or in some cases no-budget) independent film is a lot of work especially when you consider all the creative and technical people needed to make it a reality. Making a “good” film is even harder because so many individuals need to be brought together in order to craft a single cohesive product – a singular vision of which usually starts from the imagination of the producer. This vision is than passed down to the rest of the production crew, so, in order to produce a good film you need to be aware of some of the elements of being a good producer.
Although I’ve learned many of these techniques having produced the Southland-Films productions Bad Land and the Halloween fan-film Halloween: Return of the Sandman (not to mention the By The Lake Productions short film A Gift and my own short films Alone and Miss Kitty & Me, among others), these techniques and elements will be of benefit to producers of all types of film & video productions of all budgetary ranges.
ELEMENT #1: “Have a good screenplay & vision.”
All films start from a screenplay or an idea that is developed into a screenplay. Since the screenplay is commonly referred to as the “blueprint” for the final film it is important to start off the film making process on a good note and having a good screenplay and vision goes a very long way.
I’ve worked on many first time film makers’ production. I was a co-producer on the film A Gift, which was directed by a first time writer/director (who also produced the film) and even though the screenplay was not in the proper script format we got through production of the film simply because the director was so focused that his vision translated to film despite the differences on the script pages.
On my short film Miss Kitty & Me, there was very little on-set dialogue (most of the dialogue was voice over for this film) but so much is described in the screenplay that the actor – Paige Ireland, had no problems translating or bringing the main character to life despite the lack of dialogue. As the producer/writer/director of this film I was able to confer with Ireland (who came on board the production because of the screenplay) and ease her concerns about the challenges of this type of film (which is about a 13 year old who finds out she’s pregnant).
ELEMENT #2: “Be a good communicator.”
As a producer, you are in charge of a large group of people who are trying to help get a singular vision to the screen. If you can’t communicate a clean, clear, and concise vision to all the members of your cast and crew then you won’t have a film that truly represents the vision you have in your head. This happens more often than not with productions and it shows on the screen and sometimes behind the scenes as well.
On the Southlan-Films production Creatures of the Night (of which I was production manager) there was constant conflict between the producer/director and the special fx artist due to lack of good communication. Many of the SFX were late and many more were added to the production at the last minute due to the producer not communicating all the details needed to execute the film. The film was ultimately never finished and currently sits on the Executive Producer’s shelf.
As one of the producers on the music video production for musician Chris DeMarco’s “I’m Calling You,” I had to make sure all the cast and crew were made 100% aware of the director’s vision for the look and feel of the production from the cast and all members of the crew and picking locations that would best help solidify the vision of the director (who was also a co-producer on the project) and DeMarco, who wanted a music video that would bring his story to life.
ELEMENT #3: “You must be organized.”
Organization is key to being a good producer. There are just too many people involved in film production not to be and if you want a singular vision up on screen than you have to be extremely organized and concise in order to communicate that vision to other members of the production staff.
From the make-up department to the art direction to the costumes & props departments to the casting department, there are a lot of people that need to be on the same page in regards to any given production and being organized will go a long way in making that happen.
ELEMENT #4: “Be a good leader.”
A lot is required of a producer on a film production and there is a lot that a producer must require from others and being able to communicate is a skill. It’s a skill that all great leaders must have and this goes double for a producer. The producer is the “head” of all film productions. They are ultimately the one responsible for the final product and therefore they must make sure that all production staff and personnel are on the same page and being a good leader means being able to make quick decisions when need be and make the production run smoothly from beginning to end amongst all personnel.
On the set of the Cake Baby Films production The Tedious Existence of Terrell B. Howell (of which I was still photographer, among other things) producer Kelly Silverman exhibited leadership abilities that far exceeded most other producers that I’ve worked with. Both cast and crew were always on the same page and the production ran smoothly from beginning to end. When problems did arise she conferred with the director and the problems were addressed and solved quickly and efficiently. She displayed exceptional skills as a leader and producer.
ELEMENT #5: “You should remember to have fun!”
In addition to being a director, being a producer is the most stressful job on a film set. Because the producer is responsible for so many different aspects of the production their job can be very stressful. A producer is on the production from the very beginning until the very end when the film is available to the public (and sometimes even long after that), so, they must remember to always have fun.
Having fun is one of the reasons why so many of us get into film making. None of us are making a fortune on independent film productions, so, we must remember that we are doing this because we love making films. If a producer is having fun than it will become apparent to the cast and crew and everyone will have fun on set and a happy cast and crew will be a happy production and this, in a sense, is what we are all wanting on a film set.
Producing an indie film is never easy but if you remember these five simply elements than you will be that much closer to producing not just a good, but a great film in the end that everyone can be proud to have been a part of.
Although I’ve learned many of these techniques having produced the Southland-Films productions Bad Land and the Halloween fan-film Halloween: Return of the Sandman (not to mention the By The Lake Productions short film A Gift and my own short films Alone and Miss Kitty & Me, among others), these techniques and elements will be of benefit to producers of all types of film & video productions of all budgetary ranges.
ELEMENT #1: “Have a good screenplay & vision.”
All films start from a screenplay or an idea that is developed into a screenplay. Since the screenplay is commonly referred to as the “blueprint” for the final film it is important to start off the film making process on a good note and having a good screenplay and vision goes a very long way.
I’ve worked on many first time film makers’ production. I was a co-producer on the film A Gift, which was directed by a first time writer/director (who also produced the film) and even though the screenplay was not in the proper script format we got through production of the film simply because the director was so focused that his vision translated to film despite the differences on the script pages.
On my short film Miss Kitty & Me, there was very little on-set dialogue (most of the dialogue was voice over for this film) but so much is described in the screenplay that the actor – Paige Ireland, had no problems translating or bringing the main character to life despite the lack of dialogue. As the producer/writer/director of this film I was able to confer with Ireland (who came on board the production because of the screenplay) and ease her concerns about the challenges of this type of film (which is about a 13 year old who finds out she’s pregnant).
ELEMENT #2: “Be a good communicator.”
As a producer, you are in charge of a large group of people who are trying to help get a singular vision to the screen. If you can’t communicate a clean, clear, and concise vision to all the members of your cast and crew then you won’t have a film that truly represents the vision you have in your head. This happens more often than not with productions and it shows on the screen and sometimes behind the scenes as well.
On the Southlan-Films production Creatures of the Night (of which I was production manager) there was constant conflict between the producer/director and the special fx artist due to lack of good communication. Many of the SFX were late and many more were added to the production at the last minute due to the producer not communicating all the details needed to execute the film. The film was ultimately never finished and currently sits on the Executive Producer’s shelf.
As one of the producers on the music video production for musician Chris DeMarco’s “I’m Calling You,” I had to make sure all the cast and crew were made 100% aware of the director’s vision for the look and feel of the production from the cast and all members of the crew and picking locations that would best help solidify the vision of the director (who was also a co-producer on the project) and DeMarco, who wanted a music video that would bring his story to life.
ELEMENT #3: “You must be organized.”
Organization is key to being a good producer. There are just too many people involved in film production not to be and if you want a singular vision up on screen than you have to be extremely organized and concise in order to communicate that vision to other members of the production staff.
From the make-up department to the art direction to the costumes & props departments to the casting department, there are a lot of people that need to be on the same page in regards to any given production and being organized will go a long way in making that happen.
ELEMENT #4: “Be a good leader.”
A lot is required of a producer on a film production and there is a lot that a producer must require from others and being able to communicate is a skill. It’s a skill that all great leaders must have and this goes double for a producer. The producer is the “head” of all film productions. They are ultimately the one responsible for the final product and therefore they must make sure that all production staff and personnel are on the same page and being a good leader means being able to make quick decisions when need be and make the production run smoothly from beginning to end amongst all personnel.
On the set of the Cake Baby Films production The Tedious Existence of Terrell B. Howell (of which I was still photographer, among other things) producer Kelly Silverman exhibited leadership abilities that far exceeded most other producers that I’ve worked with. Both cast and crew were always on the same page and the production ran smoothly from beginning to end. When problems did arise she conferred with the director and the problems were addressed and solved quickly and efficiently. She displayed exceptional skills as a leader and producer.
ELEMENT #5: “You should remember to have fun!”
In addition to being a director, being a producer is the most stressful job on a film set. Because the producer is responsible for so many different aspects of the production their job can be very stressful. A producer is on the production from the very beginning until the very end when the film is available to the public (and sometimes even long after that), so, they must remember to always have fun.
Having fun is one of the reasons why so many of us get into film making. None of us are making a fortune on independent film productions, so, we must remember that we are doing this because we love making films. If a producer is having fun than it will become apparent to the cast and crew and everyone will have fun on set and a happy cast and crew will be a happy production and this, in a sense, is what we are all wanting on a film set.
Producing an indie film is never easy but if you remember these five simply elements than you will be that much closer to producing not just a good, but a great film in the end that everyone can be proud to have been a part of.
5 Elements to Look For in an Actor When Casting Your Independent Film
Producing an independent film is hard and nothing is harder or more important than the casting process. Although I’ve hired a casting agency and/or casting director for about 80% of my films, I’ve always casted all of my productions based on my own instinct and criteria despite listening to the advice of my casting director.
Having participated in the process of casting on several productions I’ve devised a list of elements that I look for in a potential actor for any of my productions. Although there are multiple elements that any actor can do to sway my favor in their direction, these are the five basic elements that I use to cast each of my individual actors. These elements are imperative to casting an independent film production but can be used to cast any type of film at any budget.
ELEMENT #1: “Check their resume and previous experience.”
One of the first things an actor will hand you (or your casting director) will be their head shot and resume, which will list all of the actor’s previous experience, training, and productions (be it film, theatre, professional, community, print, or commercial, etc.). This will help you decide if the actor has the training and prior experience to take on the role that they are auditioning for. It will also contain contact info for other production companies and agents so that you can contact references for the actor.
A thorough resume can be the deciding factor between two potential actors that are equally qualified in all other areas.
ELEMENT #2: “The cold reading verses the monologue.”
The audition is the number one way in which actors are cast not only in films but theatre, video, corporate, and commercial productions. There are two types of ways to audition – the cold reading (in which actors are given sides of scenes from the production on the day of the audition with little or no time to prepare) and the monologue (which is a prepared scene reading from the actor’s own choice of material). More often than not actors will be given sides for a cold reading but I prefer to see and hear an actor perform their own monologue. Cold readings have their benefits. From a cold reading I can tell if an actor can take direction from a director, whether they will be able to incorporate changes in the script on the day of filming, and will they be able to improv at a moment’s notice, among other things.
From a prepared monologue I can tell whether or not the actor will come prepared to set with lines memorized, whether or not they will bring passion to the role, and whether or not they will be an actor who uses their body and movement to help tell a compelling story, among other things. These are the criteria I look for in an actor while casting a film.
For my feature House of Secrets (produced by BLH Films) I cast one of my leads – Chris Whitley (Paperboys) based on his monologue. He gave a great cold reading but so did three other actors but it was his monologue (which the others did not have) that broke the three way tie. In fact, I ended up calling him that evening and telling him the part was his.
ELEMENT #3: “An actor must be able to improve.”
Because the screenplay is only seen and viewed as a “blueprint” for the final film product, actors must be able to incorporate changes while on location filming and sometimes even in the post-production process. Being trained in the art of improvisation is not something to take lightly. It is one of the many skills that an actor uses to not only help them find and create their character but to also interact and react to other actors. It is used to perfection in sketch comedy (i.e. Monty Python and Saturday Night Live) but is also an invaluable tool when changes are made to the screenplay on set during filming. Actors who posses this skill are more likely to be able to incorporate these types of changes without too many problems.
Director Ron McLellen (Jack O’Lantern) is very prone to script changes when on set and is someone who uses improv all the time to make scenes “pop” off the page. On the set of his Evil in the Flesh, McLellen was forced to improv much of the climax of the film when the lead actress injured herself (thankfully, not while filming or on set) and was unable to do many of the stunts originally required of her. The focus of the end of the film shifted from the lead actress to another actor and all the actors had to have the ability to improv the new changes to the film. Luckily, the two actors whom the changes affected the most had training in improv and/or performed with an improv troop. Because the director knew he might improv during filming these actors were given a leg up when we cast them and it ended up working for the production in the end.
ELEMENT #4: “Be aware of scheduling conflicts.”
One of the biggest problems I’ve encountered on an independent film production is the conflicts that are faced with the production schedule in terms of actors’ availability. Many of the films I’ve worked on have had their production schedule stretched two, three, or five weeks due to actor unavailability (I’ve even been on some where filming stretched more than a year). It is imperative that the shooting/production schedule be set prior to auditions and that all potential cast members are well aware of when filming will be. The last thing any producer wants to do is retrofit a new shooting schedule due to the conflicts of multiple cast members. Many future problems can be avoided if this is first addressed at the start of the production.
Production on the indie feature Out of Season (of which I star in and do cinematography) had to be postponed for six months due to the lead actress’ schedule. We were several days into filming when he encountered actor conflicts with the schedule. Principal photography was halted but ultimately when production began again the actress was replaced and everything that had already been filmed had to be scrapped. This is one situation that could have been avoided if production had gotten the actress’ conflicts prior to filming.
ELEMENT #5: “The actor should have enthusiasm.”
This is the hardest criteria to judge because most actors when auditioning for a role do not have the luxury of having read the entire screenplay prior to the audition. On most occasions the actor has only read the synopsis of the screenplay and/or a few sides of the screenplay, in addition to possibly a character breakdown of the role(s) they are auditioning for.
You won’t know from an audition whether or not an actor will love your screenplay or character, but what you will know is whether or not an actor is enthusiastic about their craft and the possibility of getting a role in your film. If you can find an actor who is enthusiastic just from reading a synopsis and sides of your screenplay then that’s half the battle.
In reference to House of Secrets, again, actor Whitley (who performed the monologue) was so enthusiastic during both his cold reading and the monologue that I immediately took notice. He was an actor that I was not familiar with prior to his casting and he had twice more energy than any of the other actors that came in to read. The same can be said for actress Alicia Schulz (another actor I was not familiar with prior to casting) who exhibited so much more enthusiasm than any of the other actors that came in that she was immediately put at the top of my list (and who eventually was rewarded with the role).
There are a lot of criteria that must be taken into consideration when casting for a film and none of it should be taken lightly because the people you cast will be with you throughout production of the film (and if you’re lucky on subsequent films as well), so, remember to never take the casting process lightly and always consider the suggestions and recommendations of not only the casting directors and agencies as well as producers, writers, directors, and all other important personnel in order to craft a final product that everyone involved can be proud of.
Having participated in the process of casting on several productions I’ve devised a list of elements that I look for in a potential actor for any of my productions. Although there are multiple elements that any actor can do to sway my favor in their direction, these are the five basic elements that I use to cast each of my individual actors. These elements are imperative to casting an independent film production but can be used to cast any type of film at any budget.
ELEMENT #1: “Check their resume and previous experience.”
One of the first things an actor will hand you (or your casting director) will be their head shot and resume, which will list all of the actor’s previous experience, training, and productions (be it film, theatre, professional, community, print, or commercial, etc.). This will help you decide if the actor has the training and prior experience to take on the role that they are auditioning for. It will also contain contact info for other production companies and agents so that you can contact references for the actor.
A thorough resume can be the deciding factor between two potential actors that are equally qualified in all other areas.
ELEMENT #2: “The cold reading verses the monologue.”
The audition is the number one way in which actors are cast not only in films but theatre, video, corporate, and commercial productions. There are two types of ways to audition – the cold reading (in which actors are given sides of scenes from the production on the day of the audition with little or no time to prepare) and the monologue (which is a prepared scene reading from the actor’s own choice of material). More often than not actors will be given sides for a cold reading but I prefer to see and hear an actor perform their own monologue. Cold readings have their benefits. From a cold reading I can tell if an actor can take direction from a director, whether they will be able to incorporate changes in the script on the day of filming, and will they be able to improv at a moment’s notice, among other things.
From a prepared monologue I can tell whether or not the actor will come prepared to set with lines memorized, whether or not they will bring passion to the role, and whether or not they will be an actor who uses their body and movement to help tell a compelling story, among other things. These are the criteria I look for in an actor while casting a film.
For my feature House of Secrets (produced by BLH Films) I cast one of my leads – Chris Whitley (Paperboys) based on his monologue. He gave a great cold reading but so did three other actors but it was his monologue (which the others did not have) that broke the three way tie. In fact, I ended up calling him that evening and telling him the part was his.
ELEMENT #3: “An actor must be able to improve.”
Because the screenplay is only seen and viewed as a “blueprint” for the final film product, actors must be able to incorporate changes while on location filming and sometimes even in the post-production process. Being trained in the art of improvisation is not something to take lightly. It is one of the many skills that an actor uses to not only help them find and create their character but to also interact and react to other actors. It is used to perfection in sketch comedy (i.e. Monty Python and Saturday Night Live) but is also an invaluable tool when changes are made to the screenplay on set during filming. Actors who posses this skill are more likely to be able to incorporate these types of changes without too many problems.
Director Ron McLellen (Jack O’Lantern) is very prone to script changes when on set and is someone who uses improv all the time to make scenes “pop” off the page. On the set of his Evil in the Flesh, McLellen was forced to improv much of the climax of the film when the lead actress injured herself (thankfully, not while filming or on set) and was unable to do many of the stunts originally required of her. The focus of the end of the film shifted from the lead actress to another actor and all the actors had to have the ability to improv the new changes to the film. Luckily, the two actors whom the changes affected the most had training in improv and/or performed with an improv troop. Because the director knew he might improv during filming these actors were given a leg up when we cast them and it ended up working for the production in the end.
ELEMENT #4: “Be aware of scheduling conflicts.”
One of the biggest problems I’ve encountered on an independent film production is the conflicts that are faced with the production schedule in terms of actors’ availability. Many of the films I’ve worked on have had their production schedule stretched two, three, or five weeks due to actor unavailability (I’ve even been on some where filming stretched more than a year). It is imperative that the shooting/production schedule be set prior to auditions and that all potential cast members are well aware of when filming will be. The last thing any producer wants to do is retrofit a new shooting schedule due to the conflicts of multiple cast members. Many future problems can be avoided if this is first addressed at the start of the production.
Production on the indie feature Out of Season (of which I star in and do cinematography) had to be postponed for six months due to the lead actress’ schedule. We were several days into filming when he encountered actor conflicts with the schedule. Principal photography was halted but ultimately when production began again the actress was replaced and everything that had already been filmed had to be scrapped. This is one situation that could have been avoided if production had gotten the actress’ conflicts prior to filming.
ELEMENT #5: “The actor should have enthusiasm.”
This is the hardest criteria to judge because most actors when auditioning for a role do not have the luxury of having read the entire screenplay prior to the audition. On most occasions the actor has only read the synopsis of the screenplay and/or a few sides of the screenplay, in addition to possibly a character breakdown of the role(s) they are auditioning for.
You won’t know from an audition whether or not an actor will love your screenplay or character, but what you will know is whether or not an actor is enthusiastic about their craft and the possibility of getting a role in your film. If you can find an actor who is enthusiastic just from reading a synopsis and sides of your screenplay then that’s half the battle.
In reference to House of Secrets, again, actor Whitley (who performed the monologue) was so enthusiastic during both his cold reading and the monologue that I immediately took notice. He was an actor that I was not familiar with prior to his casting and he had twice more energy than any of the other actors that came in to read. The same can be said for actress Alicia Schulz (another actor I was not familiar with prior to casting) who exhibited so much more enthusiasm than any of the other actors that came in that she was immediately put at the top of my list (and who eventually was rewarded with the role).
There are a lot of criteria that must be taken into consideration when casting for a film and none of it should be taken lightly because the people you cast will be with you throughout production of the film (and if you’re lucky on subsequent films as well), so, remember to never take the casting process lightly and always consider the suggestions and recommendations of not only the casting directors and agencies as well as producers, writers, directors, and all other important personnel in order to craft a final product that everyone involved can be proud of.
Five “DON’TS” To Independent Filmmaking
As a production manager, producer, and a director of several independent films from various production companies, I’ve become aware of both things you should and should not do while on the set of an indie film. Although the info I will go over in this article is in relation to my experience on these low budget productions, they can nevertheless be used on film productions of any budgetary range. What is important is that whether you are a production manager, a producer, or a director, these are five “don’ts” that should be avoided in order to give your cast & crew a memorable and worthwhile experience on your production (in the hopes that they’ll all return to help you on subsequent productions).
“DON’T” #1: “Be on time.”
As a person in charge of an independent film production you should always make it a priority to be on time. This does not mean being on location at the Call time of 8:00a.m. As a person in charge of a film production you should be on location thirty minutes, if not more, prior to the rest of the cast & crew. This is not only to pre-set anything that needs to be pre-set but this is also to fix any on location problems or being available for cast & crew members whom may get lost. It is very common that when filming on a practical location to run into problems with store owners (or the personnel running the store that day) to have forgotten or have no knowledge of you and your crew having access to a location on a particular day. On the set of the Unique Production Between Love & A Hard Place, when we arrived at one of these such locations, the store owner was unaware or had forgotten we were suppose to film that day (even though it had been in the production schedule for weeks). Luckily, none of the cast was at the location and we were able to change locations at the last moment to accommodate the change. It was an easy transition to change locations at the last moment and very little time was lost at this location due to the abrupt change.
“DON’T” #2: “Don’t belittle your cast & crew.”
It is not uncommon for indie film productions to be populated by cast & crew whom are getting paid very little or may even be on deferred payment (or even working for free). It is very important to remember that many members of your cast & crew may be working on your film because that either want the experience, believe in the project, or need the screen credit, therefore don’t take advantage of their generosity. Respect your cast & crew whether they are a production assistant (PA), an extra, a camera operator, or a grip, etc. because film is a collaborative medium and it takes a community to build a complete house not an individual. On the Cake Baby Production short film The Tedious Existence of Terrell B. Howell, I was working in assistant catering capacity (instead of as a production manager or producer) but the producers afforded me the same respect as they did the cinematographer or any of the main actors. Since I was working on the production because of the writer and the director, I felt like any other crew member despite being in a crew position I was not familiar to. I felt just like any one of the other crew members.
“DON’T” #3: “Don’t forget to praise your cast & crew.”
Because film making is such a collaborative medium it is extremely important to remember that it takes many creative and technical people to put a film together and despite what naysayers may say, no one person’s job is more important than anyone else’s. Although this can be overlooked on a low budget film, everyone, whether they be a boom operator, a best boy, an extra, a supporting actor, the script supervisor, or a dolly grip, should be treated the same and praise should be doled out equally. As I will reiterate time and time again – many cast & crew members participate in an indie production for the love of it despite the low or no pay (or deferred), so, praise should be handed out to everyone and not just a few select individuals.
I try not only to do this at the end of each day but at the end of the production as well (this can be done at a cast & crew party as well as at the screening for the production personnel). It is very common, for me, to send out a mass email to the entire cast & crew of any production I work on a “Letter of Thanks” so that they know how much I appreciate working with them. This has not only helped me get onto subsequent film productions but has also helped me maintain and cultivate these relationships for my own production as well.
“DON’T” #4: “Don’t forget to feed your cast & crew.”
I have been on over fifty short films, commercials, and features of all budgetary constraints and I’m sorry to say that some of them have not provided and catering. It is my opinion that a well fed cast & crew is a happy cast & crew and therefore, I try to provide snacks and food and meals on all my film productions. Shooting days can sometimes stretch as long as fifteen or more hours and it is important that you have snacks and drinks on set at all times to not only prevent dehydration but to also provide cast & crew enough sugar and energy to get through the long day(s). Drinks should not only include both water and coffee but drinks with caffeine and juices but even energy or re-hydration sports drinks. Snacks should include fruits and vegetables in addition to snacks with sugar. On my film sets I usually provide fruit and cheese plates in addition to a variety of drinks and snack size candy and chips. This usually provides cast & crew with a wide variety of choices. I also remember at the beginning of film production to ask cast & crew to give me a list of suggestions for snacks.
Lunch should be provided as well but if it is not than an “off the clock” meal (of about 1 to 1 ½ hours) is also a very good idea.
“DON’T” #5: “Don’t forget to have fun!”
The #1 Rule of Indie Filmmaking is to never forget to have fun! If the people in charge of the production are not visibly having fun than neither is anyone else. Contrary to what you may believe, the cast & crew knows when the individuals who are in charge are on set and not enjoying the experience it can be seen and felt by other cast & crew members. This can bring down the moral on set (which every filmmaker tries to avoid).
These are only a few of the handful of “Don’ts” that should be remembered by production managers, producers, and directors, among others, because it will promote a healthy and productive film shoot from beginning to end.
“DON’T” #1: “Be on time.”
As a person in charge of an independent film production you should always make it a priority to be on time. This does not mean being on location at the Call time of 8:00a.m. As a person in charge of a film production you should be on location thirty minutes, if not more, prior to the rest of the cast & crew. This is not only to pre-set anything that needs to be pre-set but this is also to fix any on location problems or being available for cast & crew members whom may get lost. It is very common that when filming on a practical location to run into problems with store owners (or the personnel running the store that day) to have forgotten or have no knowledge of you and your crew having access to a location on a particular day. On the set of the Unique Production Between Love & A Hard Place, when we arrived at one of these such locations, the store owner was unaware or had forgotten we were suppose to film that day (even though it had been in the production schedule for weeks). Luckily, none of the cast was at the location and we were able to change locations at the last moment to accommodate the change. It was an easy transition to change locations at the last moment and very little time was lost at this location due to the abrupt change.
“DON’T” #2: “Don’t belittle your cast & crew.”
It is not uncommon for indie film productions to be populated by cast & crew whom are getting paid very little or may even be on deferred payment (or even working for free). It is very important to remember that many members of your cast & crew may be working on your film because that either want the experience, believe in the project, or need the screen credit, therefore don’t take advantage of their generosity. Respect your cast & crew whether they are a production assistant (PA), an extra, a camera operator, or a grip, etc. because film is a collaborative medium and it takes a community to build a complete house not an individual. On the Cake Baby Production short film The Tedious Existence of Terrell B. Howell, I was working in assistant catering capacity (instead of as a production manager or producer) but the producers afforded me the same respect as they did the cinematographer or any of the main actors. Since I was working on the production because of the writer and the director, I felt like any other crew member despite being in a crew position I was not familiar to. I felt just like any one of the other crew members.
“DON’T” #3: “Don’t forget to praise your cast & crew.”
Because film making is such a collaborative medium it is extremely important to remember that it takes many creative and technical people to put a film together and despite what naysayers may say, no one person’s job is more important than anyone else’s. Although this can be overlooked on a low budget film, everyone, whether they be a boom operator, a best boy, an extra, a supporting actor, the script supervisor, or a dolly grip, should be treated the same and praise should be doled out equally. As I will reiterate time and time again – many cast & crew members participate in an indie production for the love of it despite the low or no pay (or deferred), so, praise should be handed out to everyone and not just a few select individuals.
I try not only to do this at the end of each day but at the end of the production as well (this can be done at a cast & crew party as well as at the screening for the production personnel). It is very common, for me, to send out a mass email to the entire cast & crew of any production I work on a “Letter of Thanks” so that they know how much I appreciate working with them. This has not only helped me get onto subsequent film productions but has also helped me maintain and cultivate these relationships for my own production as well.
“DON’T” #4: “Don’t forget to feed your cast & crew.”
I have been on over fifty short films, commercials, and features of all budgetary constraints and I’m sorry to say that some of them have not provided and catering. It is my opinion that a well fed cast & crew is a happy cast & crew and therefore, I try to provide snacks and food and meals on all my film productions. Shooting days can sometimes stretch as long as fifteen or more hours and it is important that you have snacks and drinks on set at all times to not only prevent dehydration but to also provide cast & crew enough sugar and energy to get through the long day(s). Drinks should not only include both water and coffee but drinks with caffeine and juices but even energy or re-hydration sports drinks. Snacks should include fruits and vegetables in addition to snacks with sugar. On my film sets I usually provide fruit and cheese plates in addition to a variety of drinks and snack size candy and chips. This usually provides cast & crew with a wide variety of choices. I also remember at the beginning of film production to ask cast & crew to give me a list of suggestions for snacks.
Lunch should be provided as well but if it is not than an “off the clock” meal (of about 1 to 1 ½ hours) is also a very good idea.
“DON’T” #5: “Don’t forget to have fun!”
The #1 Rule of Indie Filmmaking is to never forget to have fun! If the people in charge of the production are not visibly having fun than neither is anyone else. Contrary to what you may believe, the cast & crew knows when the individuals who are in charge are on set and not enjoying the experience it can be seen and felt by other cast & crew members. This can bring down the moral on set (which every filmmaker tries to avoid).
These are only a few of the handful of “Don’ts” that should be remembered by production managers, producers, and directors, among others, because it will promote a healthy and productive film shoot from beginning to end.
Friday, February 5, 2010
PLAYING A ROLE IN INDEPENDENT FILM PRODUCTION: ON THE SET OF THE SHORT FILM NO EXPERIENCE NECESSARY
PART 1: “STILL PHOTOGRAPHY”
The following series of articles document my experience on the Blank Stage Studios production of the short film NO EXPERIENCE NECESSARY, which was written & directed by Brent Brooks. These series of articles will go into detail on the different aspects of production in which I participated. As such this first article I will touch upon still photography and how I contributed to the film.
A little background on the short film NO EXPERIENCE NECEASSARY. Brent Brooks (whose previous film was the art house feature ART OF SUICIDE) developed the screenplay through the screenwriting group The Blank Page and decided to make this his first post-ART OF SUICIDE production (and the third film from the writer’s group to go before the camera). The plot is fairly simple as it depicts a serial killer who uses the deception of a casting call for a movie to lure his next prey. Nothing new in terms of writing but Brooks wanted to production a high production value production in which to use as a potential calling card for future work. This could be such a production.
I came on board as production manager (which I will discuss in a future article) because much of my experience in film production stems in this area. Although I did not intend to do any still photography on the film (since Brooks had already hired a photographer to do just this thing), I have the habit of doing this on my own accord mainly for my own archival purposes. I’ve learned through the years that many indie productions still do not see the benefit of having good production stills taken on set. I do this not only for myself but for all the other cast & crew as well. I freely give the pictures away and post most of them online so that everyone has access to them. This allows everyone to have a record of the production.
On the set of NO EXPERIENCE NECESSARY I took approximately 3,000 pictures over the course of 4 days. This is actually not as many as you might think considering that only about 500 of them are usable which includes both production stills of scenes in the film and behind the scenes pictures. The actually photographer on set didn’t take nearly as many as I did. There are several reasons for this the chief being that because I can put my camera on “silent mode” I can use it while we were filming whereas he could not. This allowed me to get numerous photos from all different angles. I was able to get the photos he could not.
This means that I got a lot of scene accurate photos which is good for the film in terms of representing actual scenes. I also paid a lot of attention in terms of getting a lot of behind the scenes pictures with cast and crew, not only in actual scene set up shots but also in group shots and in the obligatory “fun” shots.
The sheer amount of pictures that I took on the set of the film would not go unnoticed as when I started to post them online both cast & crew were finally able to see everything that happened in front of the camera as well as behind it.
Sometimes the importance of still photography is not recognized until it is too late to do anything about it. Indie films use still photography not only to craft and create movie posters but also to help with production stills for the film and marketing as well. A lot of the advertisement and marketing for an indie film can be seen online and nothing can sell a film to an audience better than a photo (unless of course you have a trailer already crafted).
Although I’ve got about 500 photos that represent the film, it was to Brooks’ idea to slowly reveal them to both the cast & crew and the public in order to help promote the film through production and into the film’s future which I now believe was only one of the most ingenious ideas he’s had to market and promote the film and in really that’s exactly what still photography is intended to do.
TO BE CONTINUED.
The following series of articles document my experience on the Blank Stage Studios production of the short film NO EXPERIENCE NECESSARY, which was written & directed by Brent Brooks. These series of articles will go into detail on the different aspects of production in which I participated. As such this first article I will touch upon still photography and how I contributed to the film.
A little background on the short film NO EXPERIENCE NECEASSARY. Brent Brooks (whose previous film was the art house feature ART OF SUICIDE) developed the screenplay through the screenwriting group The Blank Page and decided to make this his first post-ART OF SUICIDE production (and the third film from the writer’s group to go before the camera). The plot is fairly simple as it depicts a serial killer who uses the deception of a casting call for a movie to lure his next prey. Nothing new in terms of writing but Brooks wanted to production a high production value production in which to use as a potential calling card for future work. This could be such a production.
I came on board as production manager (which I will discuss in a future article) because much of my experience in film production stems in this area. Although I did not intend to do any still photography on the film (since Brooks had already hired a photographer to do just this thing), I have the habit of doing this on my own accord mainly for my own archival purposes. I’ve learned through the years that many indie productions still do not see the benefit of having good production stills taken on set. I do this not only for myself but for all the other cast & crew as well. I freely give the pictures away and post most of them online so that everyone has access to them. This allows everyone to have a record of the production.
On the set of NO EXPERIENCE NECESSARY I took approximately 3,000 pictures over the course of 4 days. This is actually not as many as you might think considering that only about 500 of them are usable which includes both production stills of scenes in the film and behind the scenes pictures. The actually photographer on set didn’t take nearly as many as I did. There are several reasons for this the chief being that because I can put my camera on “silent mode” I can use it while we were filming whereas he could not. This allowed me to get numerous photos from all different angles. I was able to get the photos he could not.
This means that I got a lot of scene accurate photos which is good for the film in terms of representing actual scenes. I also paid a lot of attention in terms of getting a lot of behind the scenes pictures with cast and crew, not only in actual scene set up shots but also in group shots and in the obligatory “fun” shots.
The sheer amount of pictures that I took on the set of the film would not go unnoticed as when I started to post them online both cast & crew were finally able to see everything that happened in front of the camera as well as behind it.
Sometimes the importance of still photography is not recognized until it is too late to do anything about it. Indie films use still photography not only to craft and create movie posters but also to help with production stills for the film and marketing as well. A lot of the advertisement and marketing for an indie film can be seen online and nothing can sell a film to an audience better than a photo (unless of course you have a trailer already crafted).
Although I’ve got about 500 photos that represent the film, it was to Brooks’ idea to slowly reveal them to both the cast & crew and the public in order to help promote the film through production and into the film’s future which I now believe was only one of the most ingenious ideas he’s had to market and promote the film and in really that’s exactly what still photography is intended to do.
TO BE CONTINUED.
Friday, January 8, 2010
FRIDAY THE 13TH Fan-Film A Go!
After the success of the fan film HALLOWEEN: RETURN OF THE SANDMAN, director Ron McLellen and Southlan-Films are gearing up to take on Jason Voorhees in an all new fan film based on the FRIDAY THE 13TH franchise. Over the last week McLellen and company have been filming parts of a teaser trailer that are currently on You Tube at - http://www.youtube.com/watch?v=HX3Nh2Hd98Y
I am working on the film as production manager but I will also have a larger role in the film as an actor than my character in the previous film. It should be a blast and I'll keep you informed about the film as details are made available.
I am working on the film as production manager but I will also have a larger role in the film as an actor than my character in the previous film. It should be a blast and I'll keep you informed about the film as details are made available.
Thursday, January 7, 2010
Filming on BETWEEN LOVE & A HARD PLACE Comes To an End :(
As we all know, all good things come to an end and as such principal photography on the Unique Production BETWEEN LOVE AND A HARD PLACE. After 16 days of on location filming the indie production which was written by Regina Wells (based on her original stage play) closes its production offices as it enters the third and fourth phase of production which is post-production and marketing, respectfully. As production manager on the film I have very little else to do on the film now that the physical process is over.
Produced by Unique Be’Ans and co-directed by Wells and Brent Brooks (of Blank Stage Productions) BETWEEN LOVE AND A HARD PLACE was a tough production shoot but between the two directors they put together an amazing team of talented technicians and personnel that far exceeded my expectations. Despite the rushed shooting schedule and the long hours we were able to complete the film in the allotted schedule and come out with our sanity intact (which is the best thing that could have happened).
This being the first faith-based film I’ve ever worked on there were many challenges that I had to face as a filmmaker and story teller. The same can be same of any other type of film but with faith-based films, just like dramas on very sensitive material, a different aesthetic has to be applied than that of other genres (say comedies, horror, or action films). This is a drama with familial themes that warrants a more sensible eye tone. This is not a bad thing as there was much fun and hilarity had on the set between both cast and crew and since we were on location the cast and crew were able to bond in a way that surpasses simply being on set as “work horses.” One of the best things about this production was the fact everyone knew they were working on an independent film and each person did what they had to do to accomplish the end game which is to have a finished film that everyone can be proud of and this is what every young (and seasoned) filmmaker wants.
Filmmaking is a long process that takes many people (from many different walks of life and experience) from beginning to end and it’s always a miracle when one finishes principal photography (I’ve been on several that stopped in mid production and never even finished filming), so, it was with great satisfaction that I was happy to be on set on January 3, 2010 when BETWEEN LOVE shot its final “martini” shot. It was a monumental occasion for not only the cast and crew but for Wells and Brooks who completed their first (of hopefully many) collaborations. It was also the night that the crew was able to take their official crew picture for the film (which many times on indie films it never gets done).
We must all take a moment to congratulate director Regina Wells for writing the screenplay and opening her story up to the more judgmental medium of film. Unlike the theatre and stage arts (which can be re-imagined and re-interpreted with each subsequent production), film is a once in a lifetime opportunity for any story. It is a rare occasion when a film is remade, so, we hope we all got it right the first time. We must also bow our heads down to the remarkable cast that was assembled for the film – Bern Nadette Stanis, Irone Singleton, Canton Jones, Kaira Akita, and Nina Nicole, among many others, that dedicated their time and talent to the production. Although we worked with several seasoned professionals, this production gave many local actors the opportunity to star in the film (many of which starred in the original stage production). Another huge contribution to the production is the excellent technical crew assembled by Brent Brooks (and even more crew from Wells) many of which have worked before on other productions. The production crew was professional and exceeded expectations and managed to work as a cohesive whole to make the film look the best that it could be. Chief among the crew were Randy Stewart (director of photography) and Byron Erwin (art director and editor), among many others.
We should also thank the Executive Producers of the film who believed and had faith in Wells’ vision enough to put up the funds to produce the film. Without these people there may never have been a film and many of us would have never had the opportunity to come together and meet and work together.
Working on BETWEEN LOVE has been an extraordinary experience not only for me but other members of the production as well. It was one that as hard as it was at the beginning it was well worth the hard work because it reminded me that all hard journeys end in great achievement. Where would we be without the great accomplishments of Christopher Columbus, Martin Luther King, Jr., Geronimo, Queen Elizabeth, Joan of Arc, and most importantly Jesus of Nazareth? There is no great benefit if there is no great hardship and there is no greater hardship than filmmaking.
As we each go into our next endeavor, whether it be filmmaking or something else, let us take a few moments to bow our heads and give thanks for the work we’ve done and the work we’re bond to do.
EPISODE 1007 Is Now On Line!
The newest episode to the on line series is finally up on Vimeo! This episode spotlights an interview with actress Paige Ireland whom I first worked with on the Southlan-films production CREATURES OF THE NIGHT and then subsequently hired as the lead for MISS KITTY & ME and its companion THE OLD WOMAN & THE PARK.DIARY OF A FILMMAKER - (EPISODE 1007)
Subscribe to:
Posts (Atom)