Hans Moleman
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Last Activity: 12-07-2008 02:18 PM
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This is the official online blog for the upcoming film "Redlined" to be produced by the Diesel Iron Film group.
10/30/08 -
Preproduction is ramping up.
We have 4 producers working on the project's funding at the moment, with other side projects including the production of the trailer (to be released before January).
I'm still going through the process of hand picking every single crew member to work on the film. I believe it is VITAL to a passion project, or any film, that everyone on board is excited about the film, loves what they're doing, and wants to be there. I did not go the route of letting department heads choose their crews, which would spread the responsibility over too many different people. I've chosen to micromanage, as I did with Rooster, which should create a very unique dynamic on set.
Redlined, as a project, is lining up to be in direct competition with the advanced practicum films produced by my college. I'm very very happy about this. It will basically force the very best that Columbia has to offer to stand up to the best that I can personally do. The difference is that there is unlimited support for the practicum films in the form of the Columbia system, whereas I am responsible for every facet of my movie. Redlined will live or die by what steps I take, and it's failure would land squarely on me. The upside is that my project, and our group, is getting notoriety around the area for being an independent project on par with the highest level Columbia projects, and there is a lot of interest and hype in what we're doing.
Yesterday I was able to sit down with my production designer for a few hours and talk shop. She recently moved to the city, and is looking to break into film. I had seen a lot of her theater work when she attended UMD, and I knew that I needed to work with her very soon before she gets on contract with the Goodman, and I can't afford her. I'm very excited to giver her a budget to run with, but I'm more excited to see how she reacts when the first set she ever gets on is as big a deal as Redlined will be. A lot of what I have been doing in the last 6 months since Redlined was written was trading opportunity for talent. Redlined will be submitted to (and hopefully screened) at the 30 biggest festivals in the world, all of which are attended by academy members. So, its a pretty big draw when you ask if someone would like to work on a movie that gets seen by the guys who hand out oscars.
I'm still at a loss for gaffer, however. I'm deciding between someone who is technically proficient, but whom I don't 100% mesh with, and a guy who gets along with me perfectly, but has little experience. I'm leaning towards the latter as a gut instinct. I'm very concerned about the set dynamic, more than I am about the experience level of the guys working under my direction.
I have also made enough contacts and deals that it is now plausible to shoot Redlined on 35mm. I have contacts at Kodak supplying the film, a lab back in MN who can work with it very well, and a camera crew that is more than capable of handling it. I'm very excited to start tests soon.
The entire production team is a little scattered at the moment, which is why we have got a production meeting scheduled for next week. We need everyone to be on the same page again and to have all the resources they need to work efficiently. My favorite part of this project is being able to have the most talented individuals I know all in one place, and set them loose with the best circumstances, materials, and support there is.
Redlined is going to be a great movie.
10/30/08 -
Preproduction is ramping up.
We have 4 producers working on the project's funding at the moment, with other side projects including the production of the trailer (to be released before January).
I'm still going through the process of hand picking every single crew member to work on the film. I believe it is VITAL to a passion project, or any film, that everyone on board is excited about the film, loves what they're doing, and wants to be there. I did not go the route of letting department heads choose their crews, which would spread the responsibility over too many different people. I've chosen to micromanage, as I did with Rooster, which should create a very unique dynamic on set.
Redlined, as a project, is lining up to be in direct competition with the advanced practicum films produced by my college. I'm very very happy about this. It will basically force the very best that Columbia has to offer to stand up to the best that I can personally do. The difference is that there is unlimited support for the practicum films in the form of the Columbia system, whereas I am responsible for every facet of my movie. Redlined will live or die by what steps I take, and it's failure would land squarely on me. The upside is that my project, and our group, is getting notoriety around the area for being an independent project on par with the highest level Columbia projects, and there is a lot of interest and hype in what we're doing.
Yesterday I was able to sit down with my production designer for a few hours and talk shop. She recently moved to the city, and is looking to break into film. I had seen a lot of her theater work when she attended UMD, and I knew that I needed to work with her very soon before she gets on contract with the Goodman, and I can't afford her. I'm very excited to giver her a budget to run with, but I'm more excited to see how she reacts when the first set she ever gets on is as big a deal as Redlined will be. A lot of what I have been doing in the last 6 months since Redlined was written was trading opportunity for talent. Redlined will be submitted to (and hopefully screened) at the 30 biggest festivals in the world, all of which are attended by academy members. So, its a pretty big draw when you ask if someone would like to work on a movie that gets seen by the guys who hand out oscars.
I'm still at a loss for gaffer, however. I'm deciding between someone who is technically proficient, but whom I don't 100% mesh with, and a guy who gets along with me perfectly, but has little experience. I'm leaning towards the latter as a gut instinct. I'm very concerned about the set dynamic, more than I am about the experience level of the guys working under my direction.
I have also made enough contacts and deals that it is now plausible to shoot Redlined on 35mm. I have contacts at Kodak supplying the film, a lab back in MN who can work with it very well, and a camera crew that is more than capable of handling it. I'm very excited to start tests soon.
The entire production team is a little scattered at the moment, which is why we have got a production meeting scheduled for next week. We need everyone to be on the same page again and to have all the resources they need to work efficiently. My favorite part of this project is being able to have the most talented individuals I know all in one place, and set them loose with the best circumstances, materials, and support there is.
Redlined is going to be a great movie.
