NEW YORK LATELY at the Charlotte Film Festival

NY LATELY tickets are now on sale for the Charlotte Film Festival

There will be 2 screenings (both of which I hope to attend)
9/23 (Wed – 6:30pm) – **UPDATE (I will be attending this screening with select cast)**
9/27 (Sun – 1pm)

CLICK HERE for more screening details

It’s very cool to get 2 screenings.  From looking at their lineup, it seems that not all films are given this treatment.

I’m going to try to attend this great fest — but some scheduling conflicts may prevent me from making it.  If I go, I plan to bring a few of the actors with me which would be a blast.

Please spread the word of this screening — I’d really appreciate your support.

***UPDATE*** I will be attending the Sept 23rd screening with select cast.  Hope to see you there!!!

Go See INK

This film is amazing — and pretty much created by two main people. That’s right — two. The talented Jamin Winans and Kiowa Winans.

It also features some up and coming talent that I hope to see more from in the near future.

Go support the film when it hits your city! You will not regret it and you’ll be supporting true indie film.

You can find the latest screening info by visiting the official INK Website

Part of the NEW BREED

I am very proud to announce that I am now included in an illustrious group of filmmakers — a collective known as NEW BREED.

Its curator — filmmaker Zak Forsman — is a tour-de-force in the DIY (Do-It-Yourself) filmmaking realm.  He took notice to my latest feature film project WHAT’S UP LOVELY and invited me to contribute my experiences of creating a film with very little money and “traditional” resources.

NEW BREED is part of the larger group known as the WORKBOOK PROJECT — which is a huge movement in modern indie filmmaking.

According to its website: “The WBP, through its website, R&D projects such as festival From Here to Awesome and roving conference DIY Days, provides insight into the process of funding, creating, distributing and sustaining as a creator of media (film, games, music, design, software).

Focused on innovation, new trends, cutting edge projects and an open approach to a once closed industry. The WBP offers a breath of fresh air by removing the competitive trappings of the media industry and replacing them with a collaborative and open system that shares resources, networking, information and knowledge.”

NEW BREED recently participated in DIY DAYS PHILADELPHIA. The event featured over 40 speakers and 22 sessions providing insight into how those working in film, games, software, music and design can fund, create, distribute and sustain from their creative efforts.

Needless to say these are exciting times for indie film — and I am honored to be part of the DIY movement.

LINKS:

Click here to read my first NEW BREED article about WHAT’S UP LOVELY

Click here to see the list of film projects being covered by NEW BREED

Click here to see the list of filmmakers included in NEW BREED

NEW BREED Official Website

the WORKBOOK PROJECT Official Website

a LOVELY Filmmaking Process

Originally posted on NEW BREED on August 10, 2009

Since this is my first post for NEW BREED, I wish to introduce myself and let everyone know how excited I am to be included in this film movement. These are exciting times and to be participating with such a collection of talented and emerging filmmakers is an honor.

WHAT’S UP LOVELY (currently in post-production) is my latest DIY feature film. I will never forget the way it transpired and how quickly it went from concept to shooting (about one month). The experience since then has been nothing but exciting and inspirational — which I can directly attribute to the collaboration with its main actress (Jenn Dees) and cinematographer/producer (Jason Varner).

JENN DEES, JASON VARNER (DP) and that’s me in the mirror

It had been about a year after shooting my first DIY feature NEW YORK LATELY. I was talking to my friend and regular collaborator Jason Varner about our next projects — and how I wish that we could shoot something quick and fun…but that since he recently moved from Brooklyn to Colorado (I live in New York) it was not possible. He responded with “I’ve got JetBlue miles…” — and we were off to the races.

I took a week to create an 8-page treatment for the story about an woman’s struggle with loneliness and her after-hours journey embarking on a series of strange encounters wandering the dark metropolis. I specifically wanted to work with Jenn Dees again, after having met and worked with her on NEW YORK LATELY.

The talented and beautiful JENN DEES as Luci

I met with Jenn and discussed the treatment. We then worked on it together. I wanted to involve her in the creative process from the very beginning. Our approach to this film would not include a traditional script, but rather use the treatment as our guide and utilize heavy improvisation techniques to find our story. This was both exciting and daunting. Jenn and I agreed that although we would shoot many scenarios and options, we would discover our real story in post….or rather the story would discover itself.

Our main concern was would audiences be able to relate or sympathize with the main character (Luci). The last thing we wanted was to portray a very unlikable protagonist with no redeeming qualities — as the film could be very inaccessible and struggle to find viewers. But we also wanted to create a realistic portrayal of a woman who is not just a one-note character. Because of this, I asked Jenn if she would be interested in creating a series of voiceover pieces for Luci to describe her world and her life experiences. She enthusiastically agreed. We decided that she should come up with the writings after we shot the film (after she had experienced being Luci).

In late April 2009, Jason flew in from Colorado and set up shop at my apartment. He would stay for about a month as we shot for 21 days. Since Jenn worked a day job, our shooting schedule usually would start around 6pm (which was fine since the majority of the film took place at night) and last until around 1am. Jason and I would head back to my place to log and view the footage each night — which meant we went to bed around 5am. It was a hectic schedule that I soon found an odd comfort in.

I’d like to share a picture to show the type of DP JASON VARNER is….

Since there was not a lot of money behind this DIY film (is there ever?) we decided to use minimal equipment to be able to get around the city quickly and easily — and to be able to shoot under the radar. It helps that New York City residents are so used to seeing film production going on, that we were never noticed.

Case in point, here’s a shot from the film that we were able to get undetected. We were in and out in less than 30 minutes.

Once we wrapped in early May, it took me about 10 weeks to edit an assembly cut together from approximately 30+ hours of footage. I was really encouraged from what I was seeing, but was not sure if the film was working how originally planned. The only thing to do now was get it in front of an audience to gauge the response and gather feedback. I would hold a test screening — a process I both love and dread. It was held this past weekend.

Next up: The Test Screening

“LOVELY” Rough Cut Update (Week 10)

Week 10 – Marathon Sessions

I now have about 4 days to finish 5 scenes for an assembly cut.  I’m racing for a Sunday (August 9th) deadline as I’ll be screening it for a small select group that day to see how it plays.

For those who may not know — an assembly cut is the first pass at editing a film without much sound, music or dialogue editing going on.  The main concentration is on the visual storytelling.

I know a lot of polishing — and possible rearranging will be going on.  Some storylines may be dropped or created based on how I observe the film play to a group.  I’ve learned with test audience feedback that you cannot try to appease the opinions of a single viewer.  You’ll never win.  However, if there are common opinions that are pointing out a problem, confusion or other issues….then it may be well worth your time to address it.

Of course I want everyone to love the film….but I’m slowly beginning to accept that this is an impossibility.  Film is art.  Art is subjective.  I was told by a friend and colleague that it’s good to have someone love or hate your film, but the last thing you want is for them to have no opinion on it.  It’s a fine balance of trying to make something with artistic integrity without going too far and alienating an audience.  This is what the test screening is for…to see how accessible the film is in its current stage…to find its strengths and weaknesses….if they like the main character (why or why not?) and so on.

It’ll be an interesting day.  I’ll report back on how things go.

Until then, here’s a new image from the film.

LA/NY….I Love You

I spent this past week in Los Angeles — taking a few meetings with film producers and actors as well as catching up with many friends that have moved to the area.  I had an amazing time and met up with some incredible people — everything went by so quickly that I’m sorry to leave soon.

There’s so much excitement among the film community in LA that it’s infectious and pulls me to almost want to stay — but then I think about my lovely New York and all I’ve done there.  My career path, the people I’ve met and worked with, my films — all would not be what they are if it weren’t for the beauty of New York and what is has to offer.

Love triangle?  You bet.