THE TRAGEDY OF MISTER GEPPETTO - A film by J. Anthony Gonzales (cinealma)
- Thread starter cinealma
- Start date
cinealma
Veteran
Thanks. I hope to use these interviews as kind of my "production diary". I usually start one out but then it kind of gets away from me.
No, Tom didn't write the project. He's just some obsessed fan.:laugh:
Cheers!
Robbie Comeau
Como's back. back again
No, i mean Very intruiging?
r
r
Robbie Comeau
Como's back. back again
Cause tommyinla quoted you saying "Reserved"
but you never wrote that?
r
but you never wrote that?
r
Billy Pilgrim
Stye in my eye
I own two anamorphic scope lenses.
Can't wait to see this. After Pathomania, I'm most looking forward to what you have to offer.
cinealma
Veteran
Oh, I see what you mean. No, he doesn't really know anything about the film right now. "Reserved" was just the "reserved" in: I'm reserving these spots in this thread for BTS and stuff.
Thanks, Matt. What do you use your scope lenses with?
Billy Pilgrim
Stye in my eye
DVX. One of them is too small to use with the DVX though, as it's meant for 16mm cameras. The other is made for 35mm cameras, and is marginally bigger, but still kind of a pain to use. Some shots in the art of suicide were shot with the lens (when he's writing the suicide note, the film noirish blinds shot, and a couple others).
cinealma
Veteran
Very cool. How do you rig it up to the DVX? I'll have to go back and look at your film now, of course.
Billy Pilgrim
Stye in my eye
It's screw-mount, so I just have a couple of step-rings.
Here's a couple of pictures:
Here's a couple of pictures:
Billy Pilgrim
Stye in my eye
Actually, I shot that in my friends "studio" which is a house that is used as a studio, and has a wall painted green, since they do a fake daily show type of news show, and do a lot of chroma key shots.
It's kind of a pain, but not so bad. Focusing is a little harder to do, and since I have to zoom in so far to get rid of the vignetting, I'm fairly limited as to how I can shoot.
The lens is an Optivision XW 5000. I bought it at a local camera shop. I went there to just get the step rings, and when I told the owner what I was doing, he went in the back room for a couple of minutes, and came back with the lens. Turns out he sells film equipment to Indian Filmmakers on the side. I got my first lens (Sankor 16c) from ebay. They have some pretty good anamorphic lenses once in a while. I got most most of my information on shooting anamorphic DV from this website.
Marlon Ladd
Veteran
Nice, in depth interview. 5 kids?! Wow! Do your thing, John! I like the concept of this film too. Good choice.
Tom Marshall
Actor!!!!!!
Some obsessed fan? After all we've been through? 
:cheesy:
And what's this that I get no mention in your interview? :huh:
:cheesy:And what's this that I get no mention in your interview? :huh:
Brandon Rice
Distributed Producer
Good luck with your shoot today!
Kyle Stebbins
AD GURU
Some obsessed fan? After all we've been through?
And what's this that I get no mention in your interview? :huh:
It's the Mustang, man. - and the fact that you starred in one of those movies that GOLDEN helped produce...
Tom Marshall
Actor!!!!!!
So it's the whole competition thing? :violent5:
cinealma
Veteran
Here's the second interview I did with Mr. D'John last weekend.
*************************************
INTERVIEW #2 - December 30th, 2007 - Ventura, CA
JD: So what are we doing today in Ventura?
Gonzales: I'm scouting a few more exteriors for this film. Ventura was once upon a time a small oil town, so there lots of interesting buildings and such in the western part of the county.
JD: How did the shoot go last week?
Gonzales: It didn't. A few things came up that prohibited us from shooting, so I've moved the date back to MLK weekend. It's only going to give me three weeks to post for the DVX User deadline, but what are you going to do?
JD: So the usual jam and cram?
Gonzales: Yep.
JD: You've decided to shoot on dv, now. Correct?
Gonzales: Yes.
JD: I know you were hoping to shoot on film.
Gonzales: Well, things happen, you know. I, uh-- let's just say I don't want to venture into the unknown with this film-- especially with only three weeks for post.
JD: But I saw that Super 8 camera sitting on your shelf, begging to be used. And that Konvas with the handcrank--
Gonzales: Shh. Let's not talk about those. That's for-- something else.
JD: Any other news about the film?
Gonzales: Well, let me see. I think I've settled on an actual title of the film.
JD: I like "The Tragedy of Mister Geppetto".
Gonzales: Yes, well, I stole that from another film idea I have and I like it better for that other film.
JD: What's the new title?
Gonzales: Wood Heart.
JD: Ok. I like that one too.
Gonzales: Well, I'll let it soak up the juices in my head for a bit and see if it sticks.
JD: I also hear that this is going to be a silent film, like from the nineteen-twenties.
Gonzales: Rumors. Yes, well-- we'll see.
JD: So you aren't denying it?
Gonzales: One never knows, does one?
JD: Indeed.
We drive down a small street off the main avenue in Ventura. Gonzales pulls the car over across the street from an old, weathered warehouse. He doesn't say anything. He sits and stares at the structure for about ten minutes and then writes something down in a little wire-bound notebook. I take a peek over and I can see a couple of storyboard frames and some chicken scratch around them. He closes the notebook, puts the car in gear, and we drive off.
JD: Did you find something?
Gonzales: There's no sun on this street. Hills on both sides here. I'll have to come back in the morning and see what it looks like.
JD: I like the padlocked door.
Gonzales: Yes, that was interesting. And all the textured grays are peachy. Oh, did I tell you I got my new fog machine?
JD: No.
Gonzales: I got it pretty cheap from some "old stock" warehouse in Simi Valley. It's like a bazillion watt continuous model. Only thing is it didn't come with intstructions. I assume you just pour in the juice and let her rip. I guess I should test it out, huh?
JD: That sounds about right.
Gonzales: There's a great taco place down Main Street. Let's go.
JD: I'm hungry.
Gonzales: Me, too.
JD: Anything else?
Gonzales: Yes, one more thing for this interview.
JD: Yes?
Gonzales: Tom Marshall!
*************************************
*************************************
INTERVIEW #2 - December 30th, 2007 - Ventura, CA
JD: So what are we doing today in Ventura?
Gonzales: I'm scouting a few more exteriors for this film. Ventura was once upon a time a small oil town, so there lots of interesting buildings and such in the western part of the county.
JD: How did the shoot go last week?
Gonzales: It didn't. A few things came up that prohibited us from shooting, so I've moved the date back to MLK weekend. It's only going to give me three weeks to post for the DVX User deadline, but what are you going to do?
JD: So the usual jam and cram?
Gonzales: Yep.
JD: You've decided to shoot on dv, now. Correct?
Gonzales: Yes.
JD: I know you were hoping to shoot on film.
Gonzales: Well, things happen, you know. I, uh-- let's just say I don't want to venture into the unknown with this film-- especially with only three weeks for post.
JD: But I saw that Super 8 camera sitting on your shelf, begging to be used. And that Konvas with the handcrank--
Gonzales: Shh. Let's not talk about those. That's for-- something else.
JD: Any other news about the film?
Gonzales: Well, let me see. I think I've settled on an actual title of the film.
JD: I like "The Tragedy of Mister Geppetto".
Gonzales: Yes, well, I stole that from another film idea I have and I like it better for that other film.
JD: What's the new title?
Gonzales: Wood Heart.
JD: Ok. I like that one too.
Gonzales: Well, I'll let it soak up the juices in my head for a bit and see if it sticks.
JD: I also hear that this is going to be a silent film, like from the nineteen-twenties.
Gonzales: Rumors. Yes, well-- we'll see.
JD: So you aren't denying it?
Gonzales: One never knows, does one?
JD: Indeed.
We drive down a small street off the main avenue in Ventura. Gonzales pulls the car over across the street from an old, weathered warehouse. He doesn't say anything. He sits and stares at the structure for about ten minutes and then writes something down in a little wire-bound notebook. I take a peek over and I can see a couple of storyboard frames and some chicken scratch around them. He closes the notebook, puts the car in gear, and we drive off.
JD: Did you find something?
Gonzales: There's no sun on this street. Hills on both sides here. I'll have to come back in the morning and see what it looks like.
JD: I like the padlocked door.
Gonzales: Yes, that was interesting. And all the textured grays are peachy. Oh, did I tell you I got my new fog machine?
JD: No.
Gonzales: I got it pretty cheap from some "old stock" warehouse in Simi Valley. It's like a bazillion watt continuous model. Only thing is it didn't come with intstructions. I assume you just pour in the juice and let her rip. I guess I should test it out, huh?
JD: That sounds about right.
Gonzales: There's a great taco place down Main Street. Let's go.
JD: I'm hungry.
Gonzales: Me, too.
JD: Anything else?
Gonzales: Yes, one more thing for this interview.
JD: Yes?
Gonzales: Tom Marshall!
*************************************
Brandon Rice
Distributed Producer
HA HA! Classic... good interview man!