I’m speechless and honored that Adam Daniel Mezei of PMD-For-Hire would talk about my projects and cast with such high praise.
And after seeing this…I may even have a next project to work on with Christina Rose.
ADM Videoblog #67 — “Grab-Ass Fridays” — Gary King of “How Do You Write A Joe Schermann Song?” from Adam Daniel Mezei | ADMTV on Vimeo.
Jenn Dees has been named in The Independent Critic’s 2010 List of “10 Actresses You Don’t Know But Should!”
I’m just glad I know this talented woman — and that she’s willing to work with me. She is simply amazing.
Cinefist releases the video highlight from my What’s Up Lovely sneak peek in Los Angeles last May. It was an amazing day.
Casting news!! We have brought Debbie Williams on board to play the character of “Summer” (Details here). I will be spending the next week reviewing the script and sending out invitations to some of my favorite acting friends in New York to play some roles. It will be nice to work with them again — and a few new ones that I’ve met and am looking forward to collaborating as well.
I’ll be following up with a more detailed blog about how pre-production is coming along very soon.
Reviews are trickling in….
“…experimental and imaginative, disjointed and whacked out……Dees gives a wonderfully realized, enthralling portrayal…” – THE INDEPENDENT CRITIC
“…part daydream, nightmare and whimsical journey…” – FILM SNOBBERY
The film was also invited to screen in NYC as part of a summer film series — which unfortunately I had to ask to delay until later this year. The main reason being that a few film festivals ask for exclusivity and that it not screen in regions close to them. I can’t name the festivals — but the delay will be worth it should the film be programmed. If not, I just hope I don’t lose out from the New York screening later this fall (it kills me that I could’ve had a July screening in Manhattan).
The edit is now locked. I’ve been busy prepping files for the visual F/X team, the sound designer and the composer (happy to have Ken Lampl doing the score). I’m uber excited to move along to the next stage as it will bring a whole new dimension to the film to have the team contribute their work. It seems like the timeline will have me shooting my musical all hours, then coming home to review various aspects of this film for feedback.
It’s going to be a BUSY summer. There’s no other way I’d want it.
Part 2 of 2: A quick video report from my experience at the Cinefist sneak peek of WHAT’S UP LOVELY
WHAT’S UP LOVELY Q&A (Sneak Preview presented by Cinefist) from Gary King on Vimeo.
I’ve been asked by a few people to cover the post-production workflow. I already talked about the shooting, editing and test screening process. So now I plan to address the score and sound design component and how everything — in theory — comes together in the end.
Here’s a snapshot of the final project in Final Cut Pro: (remember to keep your dialogue, sound f/x, music all on separate tracks)
This review is all just based on my experiences as I’m sure if I had a post-production supervisor and budget to hire a post-house things would be a lot different.
Tackling the score with two different composers (Ken Lampl and Jonathan “Electronathan” Sorge) was no easy task. First off, I had to see if they were even open to this idea.
The reason I was interested in having two composers is I enjoy both their work for different reasons and skill sets — and it’d be an easier time commitment for each (if they split the duties) as they would be doing it as a favor for me. I showed them the rough cut to see if it was something they’d be interested in working on…thankfully they liked it and found it to be a great challenge they wanted to take part in. The main factor that I believe hooked them is that “Lovely” is definitely a score-driven film.
Admittedly, I was a little afraid to even bring up the idea — but knowing each guy personally helped make this a realistic option. They are true gentlemen and professional so I knew approaching them about it would at least be entertained. However, it’s a very risky thing to ask any creative person to join forces (almost like asking 2 filmmakers to co-direct together) — as it leads to potential conflicts. After a few phone calls to clearly define the roles/responsibilities and give each their own autonomy over specific scenes we were off to the races.
We all reviewed the film together in late November 2009. Then they took several movie files from me in order to work separately in their studios to create sketches of ideas. I let them work their magic until January 2010 when I checked in and previewed their cues. There was definitely some back and forth of feedback and revised cues — and by the end of February the score was locked and I was truly amazed.
In fact, the score is now so alive and adaptable with each scene in the film….it moves seamlessly from cue to cue (composer to composer). To me there is no sense of schizophrenia with the score – or at the very least their styles gel quite nicely together where it doesn’t take me out of it. In the end, the audience feedback is just that they truly enjoyed “the score” which is a win for everyone.
Dialogue clean up and sound f/x were completed by a talented music student — Keith Ukrisna — that I had met while he was interning for a post-studio I was using for “New York Lately“. I delivered the film to him and off he went.
We primarily used Google Wave for our entire communication/review process. There were definitely some lengthy waves going on, but for the most part it helped us keep organized over the entire scope of the film.
Keith spent the majority of time working on cleaning up the audio (primarily the dialogue scenes). Note: Remember to record “room tone” so that you can lay it under your scene to help smooth things out. He worked wonders on some of the scenes. Thankfully we had pretty clean sound throughout, but there were definitely a few locations that had some issues (ex: bar refrigerator, traffic, etc)
I asked him to put all his ideas into the sound design — and then we could scale back as needed. I preferred him to explore the soundscape as I thought there would be things he developed that I never would think of — which happened. There were definitely times where I did say I wasn’t too fond of things and they were removed.
It was an easy process/workflow. We divided the entire film into separate sequences for him to work on and referenced every shot with a timecode window. 
Once sound was approved for each scene, Keith would deliver the sound design files associated with the scene (referencing the timecode on where the file should be plopped in to the timeline to sync up with picture).
The only drawback in asking a student to work on your project is they have school and other activities that may cause delays if you’re on a strict timeline. But for me, the cost-saving advantages far outweighed any hard deadline — even though I kept him on one to keep things on track. Keith did a phenomenal job and I plan to work with him again.
I did the final mixing myself on Final Cut Pro. Not the ideal whatsoever but it worked. I had all the separate files (music, sound design, dialogue) on discrete tracks so I could easily mix the levels to what I needed. And since the film is in stereo 2.0 (and not some complex 5.1 or 7.2 mix) I felt I could handle it.
Again, not my choice to do it (I’d really prefer someone else) — but to save money and not burn any favors — I believed I could spend about a week on it. If I had any trouble I had friends willing to help out which was a great safety net.
The best part was at a recent sneak preview of the film we had the audience comment on how great the music and sound was — which is an incredible testament to my team. They were truly amazing to work with and I hope I can keep them around (and pay them next time!). Sometimes I have to take a step back to really appreciate the amount of talented people that are willing to work with me for very low (or no) pay. I definitely don’t want this to be a regular thing and — as evidenced with my next project “How Do You Write A Joe Schermann Song” — I’m able to move up and gain a little funding which I’m more than happy to share with the people who’ve been there the whole time believing in what I’m doing.
That’s sometimes the best part — to look around at the people who were there with you from the beginning….and to see everyone moving up together. Helping each other along the way. That’s independent filmmaking.
Here’s an interview I did for Channel APA a few months back:
Thank you Steve Nguyen for connecting with me and conducting the interview.
FEATURE FILM PROJECT UPDATES:
HOW DO YOU WRITE A JOE SCHERMANN SONG
Casting is officially under way. We had a pretty amazing audition session (singing/dancing) last Friday — and now are getting ready to make some decisions and schedule callbacks. All I can say is I’m extremely excited about having some incredibly talented people on board for this film. I am blown away.
WHAT’S UP LOVELY
Sneak peek screening on Friday (5/14) – 8pm - in Los Angeles at the Downtown Independent (presented by Cinefist) – Jenn Dees and myself will be there to present the film and answer questions. There’s an after party on the rooftop too. I hope to see you there. Get your tickets here.
Request a screening in your area via Open Indie.
DEATH OF THE DEAD
Finished editing the 2nd cut – received great feedback from producers – prepping for Horrorfind Weekend Premiere Screening (Sept 3-5) in Gettysburg, PA! If you like silly comedies I think you’ll dig this film. We had some great test screenings recently. I’ve been told to let everyone know that if you plan to spend the weekend — to get your hotel rooms early as they’re booking fast.
There are a ton of really great celebrities (Bruce Campbell, George Romero, Clive Barker, Gary Busey and many more!!) that will be there. The Strange Stuff producers will also have a booth there where I’ll be hanging out with the cast. I believe the film will also be for sale there along with related merchandise. If you go please stop by and say hello.
Click the "Donate" button to make a pledge in any amount -- thank you for your support!
Gary's Facebook
Gary's IMDB
Gary’s Twitter
Kitchen Table Films