Luis Caffesse
Admin
Wow.
Congratulations.
Congratulations.
"Corrado" - A production blog
- Thread starter taormina
- Start date
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taormina
Hates to Rent
So it happens to everyone then? Good to know, Erik. I thought I was manic depressive. Tom phoned yesterday and echoed the same thought "I hate it when movies end" he said.
He mentioned he'd stop by a couple times during the edit so I wouldn't "feel so lonely". Which I do now.
Thanks for the support, guys.
Ted Arabian
Member with Ladder
Adam, that is awesome that you have created such a bond with Tom and Johnny. Very cool.
And... when you shoot #2, I hope that you have the same energy to detail a production log as you did with Corrado. It will be so interesting to see the growth in your approach and execution.
Congrats again!
-Ted
And... when you shoot #2, I hope that you have the same energy to detail a production log as you did with Corrado. It will be so interesting to see the growth in your approach and execution.
Congrats again!
-Ted
Larry Rutledge
Fest Master
Yea, I worked on a feature last summer ... we shot for 14 consecutive days and by the end we all experienced the same thing. It was hard to say goodbye that last day knowing we weren't coming back the next day.
Good luck with post ... we anxiously await the fruits of your labor!
Good luck with post ... we anxiously await the fruits of your labor!
rainbowinthedark
New member
Hey Adam!!
Congratulations on wrapping and thanks for keeping us all updated during the filming!
I was just wondering, are you considering putting any kind of special features on the DVD?
I know it would be quite a bit of extra work but think it would be great if anyone had the opportunity to see/hear the story of how Corrado was made. It's an inspiration!
Good luck with the edit!
Elinor
xox
Congratulations on wrapping and thanks for keeping us all updated during the filming!
I was just wondering, are you considering putting any kind of special features on the DVD?
I know it would be quite a bit of extra work but think it would be great if anyone had the opportunity to see/hear the story of how Corrado was made. It's an inspiration!
Good luck with the edit!
Elinor
xox
Zak Forsman
Major Contributor
absolutely! the only reason 'IFHY' exists is because we had just come off a 22 day schedule and myself and the lead actress were both feeling a bit down at the prospect of going back to our old lives, pre-Heart of Now.
btw, Tom's CSI episode aired last night!
Zak Forsman
Major Contributor
holding is own.... and a little bit of david caruso's too.
Adam, I have been in backround, just reading and soaking it in. you said early on that an actor was no longer in in the movie ( a "douchebag" as i recall --funny) and you would let us know when your done, I guess your done, what was it like working with the other actors beside johhny and tom. I love the guys that you got from the sopranos, vito was superb so was eduardo and john fiore and in other things they have done, where they cool ?, cant wait to hear
egyptianboxer104
Well-known member
You said after it was over you were willing to let people see the script right? well.... I was just wondering.... (i don't plan to critique but with your success i'd like to compare my own script which i want to shoot as a feature)
EdGabrysPhotography
New member
Great job Adam. It was a blast working on set with you. I'm excited to see the finished product.
Ted Spencer
Veteran
I've had the same situation in music recording (I'm an audio engineer mainly). An album project can go on every day for many months, even years sometimes, so the artist/band and producer almost literally become your family. Then they're...gone.
It's pretty strange...
Then it starts all over again with the next group...:huh:
taormina
Hates to Rent
Back at you, Ed.
The Edit.
I've been working on the edit for two days now. I've so far edited three days of footage for a total of about 16 minuted of the movie. Not bad for a rough edit. I am doing the edit on Sony Vegas 8 pro, previously being a user of 7.0d.
I've done lots of editing - by rights when you own your own camera, you shoot lots and thus you edit lots. In this case, I am the single most qualified person to edit the picture - I wrote it, I directed it, and I saw every shot. I don't even need to look at the script, which is why I am doing it so fast.
This doesn't mean I'm the best person to do the edit, however. There are plenty of better editors out there. Especially when it comes to effects. Right now I'm doing a rough cut so I know what I need to go out and shoot to finish the pic.
Our shots look very good, and they all cut together very well. My job is fairly easy, just a little time consuming because after all there is close to a terabyte of data.
I hate to hold things up, but now everything rests on me. If I don't finish the rough cut, I can't supply the distribs with some teaser scenes, If I don't lock picture, I can't give it to the post sound people to edit, etc. etc.
It all depends on me now. And I'll be damned if I hold myself up - the sooner I sell this movie, the sooner I pay back my lenders, the sooner I go into prepro on movie #2.
It's OK to make art, have a passion, try your best to make the best film possible. You just have to make sure you remember that this is a business, and you are making a product. And this product needs to be sold, so you can make more products.
I can't wait for #2. Why? Because it won't be like Corrado. I hope to be eating real meals, using real equipment, taking lunchtime naps in my trailer, and focusing on how to direct the picture better instead of being a fireman. And I will do it.
Here's my motto: Have I not said it, and shall I not do it?
It's a loose paraphrase of Numbers 23:19 "hath he said, and shall he not do [it]? or hath he spoken, and shall he not make it good?"
IMHO the most important quality a man can have is to do what he says he will do. It's one of the closest things you can do to be like God, who does the same thing.
You heard it here first.
The Edit.
I've been working on the edit for two days now. I've so far edited three days of footage for a total of about 16 minuted of the movie. Not bad for a rough edit. I am doing the edit on Sony Vegas 8 pro, previously being a user of 7.0d.
I've done lots of editing - by rights when you own your own camera, you shoot lots and thus you edit lots. In this case, I am the single most qualified person to edit the picture - I wrote it, I directed it, and I saw every shot. I don't even need to look at the script, which is why I am doing it so fast.
This doesn't mean I'm the best person to do the edit, however. There are plenty of better editors out there. Especially when it comes to effects. Right now I'm doing a rough cut so I know what I need to go out and shoot to finish the pic.
Our shots look very good, and they all cut together very well. My job is fairly easy, just a little time consuming because after all there is close to a terabyte of data.
I hate to hold things up, but now everything rests on me. If I don't finish the rough cut, I can't supply the distribs with some teaser scenes, If I don't lock picture, I can't give it to the post sound people to edit, etc. etc.
It all depends on me now. And I'll be damned if I hold myself up - the sooner I sell this movie, the sooner I pay back my lenders, the sooner I go into prepro on movie #2.
It's OK to make art, have a passion, try your best to make the best film possible. You just have to make sure you remember that this is a business, and you are making a product. And this product needs to be sold, so you can make more products.
I can't wait for #2. Why? Because it won't be like Corrado. I hope to be eating real meals, using real equipment, taking lunchtime naps in my trailer, and focusing on how to direct the picture better instead of being a fireman. And I will do it.
Here's my motto: Have I not said it, and shall I not do it?
It's a loose paraphrase of Numbers 23:19 "hath he said, and shall he not do [it]? or hath he spoken, and shall he not make it good?"
IMHO the most important quality a man can have is to do what he says he will do. It's one of the closest things you can do to be like God, who does the same thing.
You heard it here first.
Brandon Rice
Distributed Producer
Adam... got a question for you..
How are you approaching the selling process?
In my experience, unless you have a history with a distributor they won't touch your film until they've seen a finished piece.
You mentioned teaser scenes... mind explaining what you mean?
because I'm also trying to sell my feature ASAP
I totally understand what you mean by not needing the script to edit... most of the time its better doing it that way anyways, because sometimes the actors improv and if you're going by the script you get held up trying to figure it out... then other times, the editor improvs... meaning he (or she) edits the scene differently, but in a way it can tell the story better... I rarely use a script when editing, unless it's something with a lot of visual effects, I use the stage notes in that case.
How are you approaching the selling process?
In my experience, unless you have a history with a distributor they won't touch your film until they've seen a finished piece.
You mentioned teaser scenes... mind explaining what you mean?
because I'm also trying to sell my feature ASAP
I totally understand what you mean by not needing the script to edit... most of the time its better doing it that way anyways, because sometimes the actors improv and if you're going by the script you get held up trying to figure it out... then other times, the editor improvs... meaning he (or she) edits the scene differently, but in a way it can tell the story better... I rarely use a script when editing, unless it's something with a lot of visual effects, I use the stage notes in that case.
filmman
Veteran
Did you have a script girl (continuity person)? The continuity person's script is the editor's script. That's how it used to be anyway. If you had a good continuity person, the notes are invaluable, even though the notes have to do with what you liked as the director. The takes that you said "print" and the takes that you said "put a hold on that" -- plus other notes that you may have made or the continuity person wrote down regarding the performances or the technical aspects of the shoot (such as what lens was used, what techniques were used, etc.)
It's been helpful reading about how a $300,000 movie was planned and shot. Now we get to see how it is edited and distributed. Thanks for everything.
It's been helpful reading about how a $300,000 movie was planned and shot. Now we get to see how it is edited and distributed. Thanks for everything.
Brandon Rice
Distributed Producer
Yep, script supervisor notes always help me a lot... especially on a long 2 hr. feature.
Luis Caffesse
Admin
I know what you meant...but I couldn't help but find that funny.
(considering Numbers was probably written around 800 BC)
But seriously...
Best of luck with the edit, Adamo.
Can't wait to see some moving footage from this monster.
:thumbsup:
taormina
Hates to Rent
Ha! Good one Luis.
Brandon et al -
Yes, we had a scripty on set. I'm kinda lukewarm on this since I didn't perceive too much value from having one. The edit is smooth as silk without notes. Remember - I conceived every facet of this movie - words, locations, picked actors, directed - that's what makes it so intuitive in the edit.
Distribs......I've had many calls from distributors and producers who freelance and take movies into distribution.
All of this came from the Hollywood Reporter / Variety listing. If you did this, people will automatically call you. Plus having name talent has definitely help. One of the people who called was a distrib that had already distributed a bunch of Tom's smaller films.
One of my earliest contacts was at Nu Image, where a couple of people there want to shop the movie to larger companies. The movie is too small for them buy outright, but they want to make some dough and shop it.
I've been instructed to compile a rough of the 4 or 5 best scenes...maybe 3-4 minutes and get it too them. They will shop it based on this. This is what Nu-Image / Millennium does best - foreign distrib based on a few scraps of footage. They actually don't like to show the whole movie because it's usually much worse than the best clips.
The relationships these two have with distribution outlets is amazing - my footage will be shown to senior execs at huge companies without red tape. It once again boils down to who you know.
How do I know them? I worked on Death and Life of Bobby Z - loaned them a big yacht to film on 3 years ago - met Avi Lerner briefly, and more or less helped the movie as best I could (which was not very much, but still noticed). So when I cold called them and mentioned Bobby Z it rang a bell.
No big secret there. Good 'ol fashioned cold calling - except I had a tenuous connection to one of their films.
Brandon et al -
Yes, we had a scripty on set. I'm kinda lukewarm on this since I didn't perceive too much value from having one. The edit is smooth as silk without notes. Remember - I conceived every facet of this movie - words, locations, picked actors, directed - that's what makes it so intuitive in the edit.
Distribs......I've had many calls from distributors and producers who freelance and take movies into distribution.
All of this came from the Hollywood Reporter / Variety listing. If you did this, people will automatically call you. Plus having name talent has definitely help. One of the people who called was a distrib that had already distributed a bunch of Tom's smaller films.
One of my earliest contacts was at Nu Image, where a couple of people there want to shop the movie to larger companies. The movie is too small for them buy outright, but they want to make some dough and shop it.
I've been instructed to compile a rough of the 4 or 5 best scenes...maybe 3-4 minutes and get it too them. They will shop it based on this. This is what Nu-Image / Millennium does best - foreign distrib based on a few scraps of footage. They actually don't like to show the whole movie because it's usually much worse than the best clips.
The relationships these two have with distribution outlets is amazing - my footage will be shown to senior execs at huge companies without red tape. It once again boils down to who you know.
How do I know them? I worked on Death and Life of Bobby Z - loaned them a big yacht to film on 3 years ago - met Avi Lerner briefly, and more or less helped the movie as best I could (which was not very much, but still noticed). So when I cold called them and mentioned Bobby Z it rang a bell.
No big secret there. Good 'ol fashioned cold calling - except I had a tenuous connection to one of their films.
Zak Forsman
Major Contributor
ha! small world... Nu Image produced Mega Snake, which John T. Woods (I "F*cking Hate You) had a lead role in. He got the part, get this, because he was working as a runner for Nu Image at the time (acting wasn't paying the bills yet). before selling it to Sci-Fi channel they tried to sell it to Sony as an Anaconda sequel. snake bit his head off thre quarters into the movie. i shut it off after that.
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