“January” Production Diary #3

My meeting with Jack (AKA Kaptain Kewl, now known as “Drivel Kid”) went phenomenally. When I arrived, he greeted me, asked how I’d been, and then lead me to the back of his house. We climbed into a closet—his recording studio—and he opened up his MacBook. The small “room” was fitted with headphones, his laptop, an expensive-looking microphone, and some speakers. His guitar sat in its stand in a corner on the left, and the white walls were scrawled with various notes—bits of lyrics, phrases, ideas. It was certainly a Do-It-Yourself sort of studio, but it had the character one would expect, knowing Jack. He began by telling me that he loved the script—which, considering my nightmare last night where he told me he hated 2/3s of the script, was quite nice to hear—and told me he thought the ending was perfect, and that he loved the final line. Jack’s certainly the kind of guy who means what he says, so it meant a lot to hear that from him. He told me that the hardest part about composing the soundtrack was coming up with a tone that would translate from piece to piece to create a cohesive soundtrack. There were six songs displayed in his iTunes window, but he quickly explained that the final “album” will have around twelve songs. He’s hoping to have it entirely finished by this Friday. He prefaced each song by telling me that none of them were set in stone, and that if there was anything that I needed changed, to just let him know. The six songs that I heard were great. Each one was grounded in a similar melancholy, while still having nuances of the warmth of friendship. Jack said that while he definitely wanted the soundtrack to have a solemness, but tried to keep in mind that “even though it’s melancholy, there are friendships here. David really appreciates everything Jack [the character] is doing, and Sam really does love David and want what’s best for him.” The fact that Jack was implementing such themes from the screenplay into the creation of the music for the film speaks volumes of his talent, especially considering that this is the first time he’s done something like this. After listening to every song, Jack stressed that if I hated all of it, or only liked one song, to let him know so that he knew what exactly I was looking for. He said that if in two weeks we decide we need something longer, or want more of a specific sound, or need something recorded at better quality, that he’ll record something new. In his words: “The soundtrack won’t be completely finished until the film is, too.” What an excellent guy to work with, specifically considering how great all of the music already is. The moods are cohesive, but there’s a definite versatility in each of the tracks, so that I can imagine it getting put to use in multiple areas of the film. Overall, I’m totally impressed with the music, and can’t wait to hear the next six tracks.

LOVE,

BRENT

P.S. In a couple days, I might post my favorite song from the soundtrack. Right now it’s just hard to decide which one is my favorite; they’re all so good for so many different reasons!

“January” Production Diary #2

This is real. I—we—are making a film.

I’m not sure when it hit me the most, but today has been a triple-whammy as far as reminders go.

Before I become too far entrenched in my story-of-the-triple-whammy, let me first offer you with a short summary of “January,” because I realize I haven’t yet provided one. “January” is a short film about David, a college student, who finds himself on a quest to find purpose in his life after he interprets the writing in a bathroom stall as a sign from some higher being.

Now, on to the whammies!

Earlier today, I submitted an application to Kickstarter to hopefully gain a way to accept donations/get funding for the short. There are other websites which provide a way to get notoriety/money, but the fact that Kickstarter has an application process (which is reviewed by staff members, to make sure users don’t abuse their Terms of Service) makes me feel as if it’s a little more reputable. I have yet to hear back from them as to whether or not my proposal has been accepted, but I’m hoping that it is, as it’ll certainly be a confidence boost for the rest of the team and me. 

Speaking of the rest of the team, I got a text message from Jack Atterholt (AKA “Kaptain Kewl”), a friend of mine who’s composing the score for the film. We have a meeting tomorrow at noon, and he asked me to bring blank CDs and a USB drive to the meeting tomorrow. This thoroughly excited me—I may or may not have jumped up and down—and I’m hopeful that I’ll be able to take some samples (or all!!!) of the soundtrack to share with the cast and crew. Having worked with Jack before on several films (he was the lead in my award-winning short film “Amalgam” 3 years ago) I know his commitment to excellence in everything he does, and he and I seem to be kindred spirits when it comes to artistic matters in film. I have seen him perform live multiple times, and can say that he is an incredibly talented, incredibly passionate musician, and it is for these reasons that I cannot wait to hear what he’s come up with tomorrow. I know that the rest of the crew—Dan, Chris, and Natalie—are also on the edge of their collective seat for this music, too, because we all want to storyboard with some of the music in mind. I think that’s one of the (many) cool things about the four of us: we all get some of our inspiration from music, in that we all (although I’m only speaking for myself, technically, I guess) project images in our imagination to match the moods and emotions that we’re hearing. 

The third “whammy” came when I was sitting with a friend watching an episode of Celebrity Wife Swap. I looked to her, after sharing my Jack-story, and said, “I’m going to be a filmmaker.” It was almost a whisper, and I’m not sure why I was so surprised when I said it, but this—this whole production—is a dream come true. Yes, I suppose I’ve been a filmmaker since I picked up my mother’s JVC camcorder back in second grade and began making a movie with friends about wizards, but “January” is such an undertaking, and with such high goals, high sights, high aspirations, that I feel like I’m for real. I know that the cast and crew have already heard this, because I told it to them in an email a while back with the second draft, but for the rest of you (whoever “you” are) this will be new:

When I got to high school I became more involved in theatre, which I still do love, but it always felt like I had to choose between theatre or film in high school, because of time commitments. Now that I’m in college, I feel like I can finally get back to film, and it feels fucking* fantastic.

I feel like one of the characters in A Tale of Two Cities right now, with that phrase: “recalled to life.” This experience is about to be totally crazy, and entirely unforgettable. I can’t wait to get started.

LOVE,

BRENT

*I swear [pun intended] that the profanity was purely for alliterative and superlative effect. :-P 

“January” Production Diary #1

Regarding Various Filmmaking Manifestos

I think that, in regards to filmmaking, manifestos can be quite useful. I feel like with each year, films become more and more style, and less and less substance. And when I say “style,” I don’t really mean stylistic editing or narrative techniques, I mean visual effects, 3D animation, computer generation. I own a book—which, I confess, I haven’t yet finished—entitled “Film as Art.” This book, written in 1933, operates on the simple premise that mechanical advancements are killing the artistry of film, and it’s the limitations of the medium that contribute to making it art. Keep in mind that this was written back in 1933. I think that this thesis is even more true today. People left Avatar lauding the vast, immersive world Cameron created, proudly stating that it was one of the best films they’d ever seen.

Best films? 

Did they see the same movie I did?

While the world of Pandora was rendered in grandiose 3D, the characters that inhabited it were quite flat. I have no problem with the people that say it’s bad because the storyline is basically Fern Gully, Pocahontas, or Dances with Wolves; however, I think that these people are, to a certain degree, missing the point. Yes, it’s a re-hash of other stories that have been done better, but Avatar’s biggest crime is continuing to push the idea that visual effects are important in determining whether or not a film is good, and, in some cases, visual effects can make up for poor character development, writing, or acting. 

With these ideas in mind, it’s not hard to see why I was initially drawn to Dogme 95. The “Vow of Chastity” set out to purify film, by excising many features of features (oho! wordplay) that tend to detract from the story and actors. Although I do enjoy the thought behind Dogme 95, I feel that some “requirements” are ridiculous, such as not crediting the director, the format of the film, and the allowed movement of the camera.

From Dogme 95, I stumbled onto another film manifesto which is a sort-of reaction to Dogme 95. Jesse Richard’s Remodernist Film Manifesto set out to create a “new spirituality in cinema,” through a focus on humanity. I highly recommend reading Richard’s manifesto, as it was quite an inspiring experience for me. It’s focus on honesty throughout the entire filmmaking process is something which I really admire. 

As it is the beginning of a New Year, I think that I will start out by posting my own filmmaking manifesto, of sorts. This manifesto draws upon my personal ideas about film and art, Aristotle’s Poetics, my experiences in theatre, and the intentions of Dogme 95 and the Remodernist film movement.

I have thought of naming this something clever, such as the Creed of Candor, or something like that, ya know, alliterative and stuff, but I have decided that names are not important. It is the ideas which are important, and so that is what I’ll focus on.

1. Filmmaking should be honest, sincere, and real. While films are (generally) works of fiction, and settings/storylines can be fantastic and magical, the characters’ dialogue, motives, and actions should be genuine. The actor’s greatest asset is his intuition, and the same can be said for the director, writer, etc. Every member of the creative team needs to be honest to themselves in order to ensure an honest film. 
2. An emphasis on Plot, Character, and Theme is necessary to creating genuine films. It is Plot that differentiates one film from others, while the Characters and Theme(s) ensure that it is universally relatable.
3. The video camera is a tool for creation, and does not enable the holder a master, professional, cinematographer, photographer, or filmmaker. Technical specifications should have little bearing on the overall aesthetics, or quality, of a piece. If one’s motives are to create a technical masterpiece, then they will have no way of giving enough attention to the aspects of a film (as enumerated in Point B) which can be totally honest.
4. The Internet has created a proliferation of mediocrity in regards to film. The digital age, and websites like YouTube, have allowed anyone and everyone to create movies and share them with the world. A true filmmaker does not accept mediocrity in any aspect of film; he strives for creative excellence and authenticity. 
5. While special effects, make-up, visual effects, and lighting may be necessary in keeping with the artistic vision, they should never be employed in such a way that obscures sincerity. Rather, they should serve to augment the authenticity of the emotions and theme of a film.
6. The motives of a filmmaker should not be related to money or fame. A true filmmaker creates as a form of expression, and because of a desire to create. His creative impulses are passionate, and uncontrollable, and the medium of film is his chosen outlet for such urges.

LOVE,

BRENT