WHAT’S UP LOVELY is my 3rd feature film — but the first project in which I allowed for time to reshoot the film and do pickups. It helped tremendously.

Earlier this month, I posted a blog about making a film and facing its praise and criticism (you can read it here). The main question it led to was this:

How do you find your audience — so they can find YOU?

What I mean by this is we as filmmakers first need to find an audience (i.e distribution) to get our films out there. This is a given. In today’s market, independent filmmakers realize that it is simply not enough to strive to make a quality piece of work. Half the battle (if not more) is spending time and effort to get the film out there via various outlets — by whatever means — to give audiences the opportunity to experience your work. With savvy grassroots campaigns and marketing techniques, indie filmmakers obviously know this emerging component is crucial for a film’s success.

However, I have learned that now more than ever it is imperative to not just find an audience — but to find YOUR audience. This is crucial and therein lies our dilemma. Our Catch-22. Our chicken and the egg. In order to gain a loyal following, you first have to get the work into the hands of the film enthusiasts who will appreciate your type of film. Finding your audience is the only way you can continue to prosper as a filmmaker and sustain a career. Your audience will be there to support you for every film you do.

What’s the best way to get your film out there to maximize its exposure? How do you find that person who is ready for your unique cinematic experience? If there were easy answers, everyone would do it. However, I do know that they are out there….hungry for good films. Hungry for your film. I can’t really name one person who says they don’t watch movies — but it’s getting harder and harder to compete in today’s film market (Hollywood, cable/TV, video games, etc) to be noticed and have your film be in demand.

NEW YORK LATELY (Post Screening Q&A)

I completed my first feature NEW YORK LATELY (NYL) in October 2008 — and just now it is starting to find its legs in the festival circuit. I am a big proponent of showing up in person (if possible) for every festival screening. Making an appearance shows that you appreciate the festival selection as well as gives an opportunity to make connections with people who support you. With each festival visit, I hope to plant the seeds of my future work — so that for those that enjoy NYL will look forward to WHAT’S UP LOVELY coming next year. Hopefully, awareness spreads throughout their network, so that people become more interested in seeking out my films (past/present/future).

My main learning lesson with NYL (in terms of PR) was it is never too early to begin building awareness. I started to publicize it once I completed the entire film in October 2008, which I believe now was way too late. With LOVELY, there is already a growing awareness of the film — and this is months prior to it being ready for festivals, screenings and the DVD/VOD release.

Audiences at 2009 Sedona Film Festival in line for NEW YORK LATELY

Are festivals the only way to bond with film enthusiasts? Thankfully not anymore — although I do have to say screening your film in front of a packed crowd in a theater is an incredible rush. However, there are new avenues (both on the Web and in person) to form connections with potential viewers of your work. The independent film movement is ever-shifting — so wouldn’t it be great if you had supporters following you no matter what?

So I ask you: Who is your audience? Where do you find your supporters? Film Festivals? Film Series? Self-Initiated Private/Public Screenings? DVD giveaways? Online Streaming? Film trailers? Blogs? Official film websites? Social Networking? Friend/Family/Colleagues? Whatever else you can think of?

Yes.

Having achieved picture lock with WHAT’S UP LOVELY, I feel that I am now able to fully cover the details of the decision-making process during the editing stage — and how engaging with test audiences affected its final outcome. Mind you, we are still in post-production as of this writing (currently getting the score and sound work done) so never say never, but I’m 99.9% sure that the edit is locked.

After wrapping production in May 2009, I began the task of putting together an assembly cut based on the treatment that I had developed with Jenn Dees (who plays the main character “Luci”). Since I was editing the project myself, I took the very unorthodox approach of not slating a single take as we shot. I knew that I was going to personally log and organize all the footage — which meant watching every single frame that was shot (in addition to already having seen it “live on the set”). Becoming very familiar with the footage — every nuance and performance — would be my goal before beginning the creative edit. Would I do this again? It depends on the project. For something with a concrete script with scene numbers — no way. For another improv-based project such as this — probably.

The Editing Begins
Here is my LOVELY Editing Roadmap. I managed to sketch it out (during about Week 6 of the editing phase) while waiting to meet a friend at a hotel in New York’s Union Square. Yes, my mind works at the oddest times which is why I try to bring a notebook me wherever I go.

(CLICK THE PICTURE TO ENLARGE — there are spoliers in there, but I wouldn’t worry about it. Good for you if you can read my chicken scratch let alone make sense of anything. I think I’m insane.)

As you can see (or more likely as you CAN’T see) — my mind was going all over the place as I ordered out every single scene of the film. I also added little notes for new ideas to try out. Then I shuffled scenes around a bit as I was sketching the roadmap as things became clearer on the order they needed to appear.

I am sure this method is pretty unusual, but it definitely helped me since there was no formal script. And having edited for several weeks I finally could feel what was working and what was not in terms of storytelling and pacing.

In early August 2009, a preliminary cut was finished and in enough shape to share with an audience for feedback. Not having access to an affordable public venue, I invited people over to my apartment. Ideally for my next project(s) – I will be able to locate someplace in New York within my budget to hold test screenings. Many non-traditional places willing to let you use their space require the projector and screen – which I do not own. Researching such venues with the necessary equipment is on my To-Do list.

Anonymous surveys were handed out to the audience members (comprised of close friends and colleagues — and friends of friends) after the screening. I also extended an invitation to stay afterward and discuss the film should they wish to share their thoughts in an open forum with others. Following the model provided by Zak Forsman, I informed everyone that I would not defend anything in the film during the talk. I was simply there to listen and address specific questions — which I turned back on them if at all possible to see how their initial reactions from the screening influenced their thoughts and conclusions about the film.

ASSEMBLY CUT SCREENING – 76 mins – Initial reactions were mainly confusions and dislikes around three specific scenes (thankfully, it was consistently these three scenes or I would have been in trouble trying to figure out where to begin). To my relief everyone liked the main character “Luci” and actually wanted more of her — even though she already occupied about 90% of the screen time. This was a very good sign we were on the right track — as both Jenn and I felt it was crucial to create a likable character if the audience was to spend as much time with her as they do. For this cut, the original ending was entirely omitted and a new (more open-ended) one was created. This film leaves much to interpretation and I was concerned it was too out there for its own good. I am aware of the motto that “It’s good to be ambiguous…but you have to be clearly ambiguous.” The good news was everyone seemed ok with the ending. It should be noted that the crowd invited consisted of people who enjoy arthouse cinema and therefore my target audience.

Before the next screening, I met with Jenn to discuss the audience reaction. We talked about the changes needed and some voiceover work that had to be revised to match the evolving storyline.

ROUGH CUT 1 SCREENING - 71 mins – Original ending reinstated (but now placed in Act 1 of the film). Shaved off a few minutes by tightening every scene in the film (removed extraneous dialogue, added additional voiceover sequences). Anonymous surveys later revealed that now only one scene (of the original three unclear scenes identified at the previous screening) still needed some work. Additionally, post-screening conversations revealed that a few viewers picked up on the story elements loosely based on a literary classic (which shall remain nameless) which I was happy to hear — but I was encouraged to be more “clearly ambiguous” for the next cut should I wish viewers to really pick up on it. The talk also sparked a healthy debate in the room regarding the film’s symbolism and themes (I just sat back and smiled knowing the film had done its job in that respect).

Before the next rough cut screening, I decided to get a few pick up shots (which was now 5 months later from the original shoot) with Jenn Dees and Aidan Kane (a supporting character) — mainly to create a newly found storyline that needed a few shots to set up. Luckily they had not changed their appearance drastically. Additionally, some major plot points in the original written treatment were not as important anymore and were dropped or trimmed down. Jenn also recorded some new voiceover material to replace previous content in light of some new story developments. We were both really encouraged in what we were discovering and shaping.

ROUGH CUT 2 SCREENING – 70 mins – Deleted 2 voiceover sequences, re-edited others. Original ending now shifted to Act 2 of the film with the newly created storyline. Added a new shot for the ending. Feedback was very positive and encouraging. Although not an all-time favorite director of mine, it was nice to hear someone say “it’s like a good David Lynch film.” I also bit my lip and held back wanting to say to the group as the film ended, “it looks like you all want to say WTF?” Maybe that’s a new genre? Instead of “arthouse cinema” it should be called “wtf cinema” — meant in a good way.

The most positive aspect of the last test screening was the questions raised were exactly the ones I wanted to hear — but did not wish the film to answer. It had achieved its goal and I was a proud father.

I went out with Jenn for a last round of pick up shots to help flesh out visually the final voiceover work. I also tinkered with swapping a few shots around — but nothing major was changed. I should also point out that in between these formal test audience screenings, I was creating multiple versions of the film and sharing them with Jenn and a few other close people for feedback.

So here we are. At Picture Lock.

As they say, a movie is written 3 times:

#1 – script (when you write it)
#2 – filming (when you shoot it)
#3 – editing (when you edit it)

For this improv based project, the whole movie ultimately comes down to the editing. Stories could be added, deleted or shaped based on the direction we wanted to go. And luckily, the way it was shot we had some flexibility to do it. We were not always locked in to one plot point. We had some options.

From the 30+ hours of footage, LOVELY has been shaped into a nice 69-minute film. You can read about how I feel regarding its running time on my blog entry titled “Size Doesn’t Matter”.

I love the test screening process. If nothing else, it gets an extra set of eyes on your film to gauge how it is working (or not). Sometimes a filmmaker can be too connected to the material and not realize that important elements can be lost in translation to others. Of course, it would be impossible to please every viewer in the room and that should never be the goal. Think of it as just another tool — a very valuable one — to help determine if you are connecting with your audience the way you want to.

Next Up: Scoring the Film With 2 Composers

Here is the Official Trailer:

WHAT’S UP LOVELY – Official Trailer from Gary King on Vimeo.

With this film, not having much money meant that the locations we chose either had to be in a place that someone could help us secure for no fee (i.e. a friend’s place, someone’s workplace, etc) or shoot in a spot without prior permission with the risk of getting booted – guerrilla style.  This should mainly happen once you’ve exhausted all resources, favors, funding and you still need to shoot at a particular location (without causing disruptions or safety concerns for anyone involved).

Of course there could be creative reasons for a filmmaker to shoot guerrilla style, but for the purposes of this article I am referring to a situation where one would like to shoot in a public space — for example a city street — without permits or permission.  Please note I am not talking about private property where you would be considered breaking and entering.

To be guerrilla and shoot in a spot where one does not have official permission there are several steps to take in order to be prepared.

1.  Location Scout – this is the first and most crucial step.  First finding the spot that fits what you need to tell your story.  Once you find it, be sure to scout it at the same time of day you would plan to shoot there (is it a weekend day? A weeknight? Monday vs. Friday?)  Be mindful of foot/vehicle traffic in the area.  Blocking or impeding any path is bound to draw serious attention and could get you kicked out.  Ideally, look for more unpopulated areas.

2.  Look for practical light sources – Try to find ways to light your scene using the available light.  Do not bring in tons of lighting equipment and gear.  You want to avoid getting in the public’s way at all costs unless you have a shooting permit and have permission from the proper authorities.

3.  Bring minimal crew and equipment – Bring the essentials of what is needed to complete the scene.  Does everyone need to be there to get it done?  If not, have them wait on standby at a designated location – or even better give them the day off.  The motto for this day should be “less is better”.  You should also inform the cast and crew that you plan to shoot in an area without permission to make sure they are comfortable with the situation.  If they are not, you need to figure out an alternative.

4.  Rehearse in another spot. Assuming you have scouted the location and know its nooks and crannies, have the actors block out the action in another “safe zone” so they know what to do in the actual spot.  This way no one is wasting time in the shooting area trying to figure out what to do and how to shoot it.  If the action is blocked out ahead of time, the DP/crew can also see what is going to happen in order to move the scene along efficiently with you.

5.  Get in and get out. Be sure to get what you need first.  What are the essential shots you need to tell the story?  Grab those first.  Any expendable shots should be held off until the end and considered icing on the cake.  If you’re not sure what shots to grab, you probably aren’t ready yet.

6.  Be prepared with a contingency plan. Have a backup location should you not be allowed to shoot in your first choice.  The last thing you want is to send everyone home.  I’m sure juggling schedules to make the day happen was tough enough – so why go through the hassle again when everyone is there ready to go?  Have a location A, B and even C if needed.  Get that scheduled scene done no matter what.

7.  You are a film student. People love them and support aspiring filmmakers.  They understand even more that as a student you probably don’t have much money.  I’ve experienced it first hand that people in NY are supportive and will leave you to your own devices if you just say: “I’m a film student.”

EPILOGUE:
So for all intents and purpose, this article is meant for your simple reading pleasure.  I am neither condoning such behavior nor admitting to having done so in the past.

This is more of what I would do in theory if I had to shoot in a spot without permission.  A hypothetical.  Yeah, that’s it.  If anyone formally asks how I was able to shoot in a certain location, I’ll always respond that we actually filmed on a sound stage made to look exactly like New York City.

***Please note that this does not apply to all situations as some cities have different permit requirements or may not have them at all.  Check with your local film commission for guidelines.***

My article “A LOVELY Test Screening” for the NEW BREED is now featured on THE WORKBOOK PROJECT.

The NEW BREED is a group blog centered on all things associated with DIY filmmaking.  It features a host of film projects in various phases from script to screen.  If you haven’t visited it yet, I highly suggest you head on over to learn about a diverse group of filmmakers paving their own way and sharing their learning lessons.

I took a screenshot (click to enlarge pic) because my article was on the front page. The Workbook Project is a DIY movement and fairly well-known within the film industry and community — so it was a very special moment for me to see it.

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

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