HDkilledFILM.
Burnin' down the House
The Cemetery /Cross Bearer, a horror double feature.
GH13/GH2-X/T2i/7D/HVX200/HMC150/MINIDV
To view both films trailers:
http://www.fangoria.com/index.php/ho...o-the-cemetery
http://www.fangoria.com/index.php/ho...e-cross-bearer
For more info:
www.adversaryfilms.com
https://www.facebook.com/CrossBearerMovie
http://www.facebook.com/TheCemetery
Come join us for a FREE sneak preview screening of Cross Bearer FRIDAY THE 13th of July at the Trocadero Theatre in Philadelphia PA located at 1003 Arch Street. There will be free food so it's the cheapest date Ever! Please RSVP to CrosseteryRSVP@gmail.com if you plan to attend. The event is over 21 with a cash bar, so come out!!! Artical on fearnet about the screening:
http://www.fearnet.com/news/news-article/catch-sneak-peek-cross-bearer
Well this has been a LONG time coming (and it's gonna be a looooooog
post)...
This post details the shooting of two ultra low budget horror features in
Philadelphia, Cooperstown PA, and New York over the course of a year and a half... And
all the HORROR that went with it
This journey began when I finished my second feature and secured
distribution for it... I don't know where to begin, I knew coming off of the burnt house (my
second feature) that I wanted to take a stab at shooting slasher pictures.
I'd up until that point stayed away from making anything which could be
considered a "Grindhouse" movie. I've always loved watching these movies
(Friday the 13th part 2 is one of my favorite movies of all time) but had
never ventured into making one or even writing one for various idiotic
personal reasons. Writing the script for the Cemetery I felt like I was
finally able to explore more of the reasons I loved movies in the first
place, horror movies are my addiction and I was going back to my roots. I
loved crafting the scares along with the humor, something my first two films
lacked. It felt great to have all those moments from my youth built into
the films, when I was young I used to sneak into the horror section of the
video store and catch glimpses of all of those amazing VHS covers. I'd pay
older kids to rent me copies of all the classics (The Texas Chainsaw Massacre,
Friday the 13th, Nightmare on Elm Street, Halloween, Pet Semetery, etc...) and I'd
put them on late night and feel the hairs on the back of my neck stand up. I was tense
as I listened for any sign that my dad was awake so I could quickly shut
off the TV before he could walk into the living room and catch me... And he
did catch me, many, many times... Funny, he must have known something when
he bought that old hi8 camera for me... And writing both of these films
brought me right back to that feeling, a summer night in my youth, scared
out of my mind... LOVING EVERY SECOND OF IT!!!!
I will take a break from all the nostalgia to say this, pre production on
any movie is THE MOST CRITICAL ASPECT OF THE PROCESS. Here is the last time
you will get to solve your problems without spending money. It is also the
time to fine tune every aspect of the picture you are about to make. Almost
every production I have ever worked on has had problems in pre which I have
personally heard addressed by more than one film maker with the line: "We
can make it work and we don't have time to change it anyway." This is wrong.
Never settle in pre. I don't care how little a detail is, MOVIES ARE ABOUT
DETAILS, don't settle on ANYTHING. Find a solution, even if it means you
realised that your going to have to tell someone they aren't right for the
project. Even if it means you have to ask people to work for free. See if
you can borrow money, beg friends to help you out with locations, craft
services, lodging, ANYTHING. I've stolen flowers out of a graveyard because
I needed them for a shot, HOW BAD DO YOU WANT IT? Do you think Kubrick
would settle??? Film making is about MAKING FILMS, not talking about making
films or starting films and not finishing them. And to get your project
made on an indie level and have it get noticed is about OUT
WORKING EVERYONE ELSE. Sleep? You don't need it, your too busy
tweaking your script, going over the budget, looking for a location (Yes,
you can location scout abandoned mental hospitals at 3am by yourself),
working on the schedule, double checking the call sheets, going over EVERY
DETAIL by yourself because YOU ARE THE ONLY ONE WHO WILL CARE THIS MUCH
ABOUT YOUR PROJECT. Sounds hard huh? It is, telling an actor that you've
changed your mind (Because someone better came along or the script changed
or you don't like their attitude etc...) or a location that you aren't
going to shoot there any more, or a crew member that you won't need them,
or a rental house that you won't be renting the gear (This can be
especially hard if they are expecting to get paid)... But THIS IS NOT ABOUT
MAKING PEOPLE HAPPY, THIS IS ABOUT MAKING THE BEST MOVIE YOU CAN. Be HONEST
and POLITE, but show no mercy, raise the black flag, take no prisoners.
There is no room for shyness in this industry, just be polite, tell people
the truth and move forward. At the end of the day if it makes the project
better, that's all that matters. I will also say this, GEAR WILL NOT MAKE
YOUR MOVIE. I see this mistake made over and over by film makers (I was one
of them!!!), HAVING A GOOD STORY AND EXECUTING IT WELL is all you have to
worry about. No camera in the world will make up for a lack of story and
executing it to the best of your ability. Who got to hold the flashlight at
your campfire? The person who told the best story. Gear can help make a
movie look good, but not without a skilled operator who is following the
vision of the director (You). And if you (As I do) direct and shoot, well
just remember that good enough is a good way to make a bad movie! Spend
your time in pre getting a talented cast and good locations, tighten the
script, and above all else: BE HONEST WITH YOURSELF AND OTHERS ABOUT WHAT
YOU INTEND TO ACCOMPLISH. People respect honesty, and projects are made
better when you can have an open door with everyone working on it. From
crew, to backers, to talent, everyone needs to understand what you intend
to do and what you intend to do with it. People get angry when you promise
them a 5 hour shoot and they have an 18 hour day. They get angry if you
don't tell them that there will be nudity occurring at their location. Or
that their walls, ceiling, floor, and dog will be covered in fake
blood...They also tend to get mad when you tell them they are going to see
their money back in 6 months (They won't, 99.99999% of the time). Just be
honest, I know I shouldn't have to say this but there is a reason why
people are leery of film making and it's because of dishonest people. I
shoot movies because I cannot do anything else and be happy, I just can't,
so I try and be honest with everyone so that they'll work with me again.
This is my dream, and I don't want to harm it in any way.
Patience is a key component to any form of art. Remember that if the project isn't good enough it isn't good enough. Rushing to get things done when your a self funded indie film maker is in essence nullifying the one thing which you have over the major studio projects: No deadlines. I know it sucks to admit that things need to be redone, rethought or completely scrapped after months of hard work and personal finances have been dumped into them, but guess what, making a film should be about making a movie, not about stroking your, or anyone else's ego. REMEMBER THIS: People will get angry with you, because your film is taking too long, doesn't include their part anymore, is COMPLETELY DIFFERENT from the original script. THAT'S OK. AS LONG AS THE FILM IS GOOD THAT'S ALL THAT MATTERS. Make sure you remind yourself every day that if your at the point in your carrier where no one is giving you money to fund a project you have to give them a reason to do so. No investor is going to be wowed by hearing your big idea while you wait tables at the local coffee shop and scramble to get out their check book to fund your project. If this is your first real attempt at making a film OR EVEN YOUR 40th, and your still putting your own money into it one of two things are the cause for that: Your not making films which are commercially viable because of their content, structure, style etc... AND YOU KNOW THAT BUT ARE TRYING TO MAKE YOUR OWN FILMS (Which is a personal choice, and I get it), or... YOUR FILMS AREN'T GOOD ENOUGH YET. Listen, this is not to say that you won't get to a place where they are good enough, BUT SETTLING, OR TAKING THE EASY WAY OUT WILL NOT GET YOU THERE. I'll be honest, I'm guilty of this. I'll be the first to admit it, I lulled myself into the "It'll be good enough" train of thought MANY MANY TIMES. You have to be brutally honest with yourself, if something isn't good enough, RE SHOOT, REWRITE, RE-EDIT, DO WHAT EVER IT TAKES TO MAKE IT WHAT IT NEEDS TO BE. Because if not? Well, then what's the point? Ever wonder how so many crappy films get made? Ever turn on a movie and say to yourself: I could do better!!! YEAH? PROVE IT. Film making is UNFORGIVING. The industry is constantly EATING PEOPLES DREAMS ALIVE. Don't believe me? Just wait. Which brings me to my next point. EVEN IF YOU SUCCEED IN MAKING A GREAT FILM, YOU STILL HAVE A GOOD CHANCE OF BEING SCREWED OUT OF ALL THE PROFITS FROM IT. REALLY. When a film maker is new to the industry and has no leverage, legal representation, OR THINKS THEY KNOW EVERYTHING AND WON'T TAKE ANY ONE'S ADVICE, they are a sitting duck for many of the vultures who roam the vast wastelands which we call the distribution market. GET A LAWYER, A GOOD LAWYER. Let them look over all your contracts BEFORE YOU SIGN THEM. DO YOUR RESEARCH about who your dealing with, contact other people who have had their film taken by the party you are considering going with... YOU MAY BE SURPRISED TO FIND OUT THAT YOUR AMAZING OFFER IS BEING MADE BY A BUNCH OF THIEVES. If you want this to be your carrier you have to EDUCATE YOURSELF in every aspect of the business of film making. Now, that doesn't apply to all film makers. For many this is not their full time pursuit, notice I didn't say JOB because for it to become a JOB you must be PAID. For the amateur hobbyist who is content to make things in their spare time and with no intention of trying to work full time in the film making industry having a good entertainment lawyer is a moot point. BUT, if your really serious and not taking the camera out with your friends to have fun, but instead: SECURING OR WRITING A SCREENPLAY, DOING PRE-PRODUCTION (THE MOST IMPORTANT PART OF ANY PRODUCTION, BECAUSE IT'S STILL ON PAPER!!!), REWRITING THE SCREENPLAY, SECURING LOCATIONS, CASTING ACTORS, SECURING EQUIPMENT, FINDING CREW, DOING PAPERWORK (YES PAPERWORK, CONTRACTS ARE VERY VERY IMPORTANT!!!), and fulfilling the endless tasks of trying to MAKE A REAL FILM, then you need to KNOW AS MUCH AS YOU CAN AND CONDUCT YOURSELF IN THE MANNER IN WHICH YOU WISH TO BE VIEWED. AND YOU NEED A LAWYER!!!!
ACTORS are as important than any other aspect on your film. REMEMBER IT. The photographer
Joel Peter Witkin once asked himself if he took great pictures or if he had great subjects to photograph.
Having great subjects doesn't hurt. Great actors can make a bad set fade into the background, a bad shot forgivable, a bad
line great. CAST YOUR FILM RUTHLESSLY. REHEARSE YOUR FILM. LISTEN TO YOUR TO
YOUR ACTORS AND CATER TO THEIR NEEDS. Sounds simple right? Actors are
people too, and they can have strange and often difficult demands... They
can frustrate you like no other aspect of your set because in many ways you
cannot control them. You can tell an actor to do things your way, show them
what you want, explain over and over to them WHY YOU NEED THEM TO LOOK LEFT OR
WALK OFF SCREEN RIGHT but you can't make them do it, you have to inspire
them to believe in you and your vision. This brings me to a critical point
that every director needs to understand. THE FILM SHOULD BE YOUR VISION.
Not the producers, not the cinematographers, not the leading actors, YOURS.
People may have input but you need to hold the final say so or your set
will be chaos. At the end of the day, it's your name on the project as the
director. Make sure you set the ground rules for on set edict from the
start and hold firm to your command structure. On indie sets you often see
people all making suggestions which would get you fired on a pro set. Why
is this? Many times it's because people are working for free and are not
pros. The AC has no place telling an actor how he should deliver a line,
that is your job as director. Calmly but firmly you need to tell everyone
from the start, all suggestions must go through the proper chain of
command or the offending party will be asked to leave... I cannot tell you
how many times I have had to tell PA's that they are not to join in
discussions between actors and the director or cinematographer and
director. This is what makes a pro a pro, the ability to know your job and
the boundaries of it. If you don't agree with the director or the
cinematographer, hold your tongue and inform your direct superior of your
concerns, many times they will inform you that your concern is valid and
has already been explored and decided against. BE A PRO, or make films
which will only go on the Internet to be viewed by your friends. Actors
won't respect a director who they feel has lost control of the set,
more than that they may try and take over.
Now, I know that film making is about the final product on screen, but if
your here reading this then you are most likely like me a CAMERA JUNKIE. I
shot these two movies with as many camera's as I could get my hands on, I'm
with Cassavetes on the idea of covering a scene with as many angles as you
can... I would like to have the luxury of spending more time on each set
up, but when you can't afford propane for the space heaters in the 20
degree warehouse your shooting in... Well...
I always find myself itching to pick up a camera and get COVERAGE...
Purely because I also edit my own films and well... because I want to.
Coverage can SAVE YOUR A**. Any editor will tell you the same. And although I do actually like
having total creative control and being your own editor assures you of this...
An assistant editor would be nice to do some media management and rough assembly tasks...
However, by the time I usually get that point in the process
I HAVE TO EDIT MY OWN FILMS BECAUSE OF MY LACK OF BUDGET. This is what happens
on every film, by post the production is scrounging to get the film
finished and many times films stay in a limbo state because there isn't
cash to pay for post. You as an indie film maker need to realize that the
only thing standing in the way of you and your film is unpaid labor. You
have to learn as much as you can about EVERY ASPECT of film making, in
other words GET YOUR HANDS DIRTY. If you want to make films, MAKE FILMS!!!
Don't just take pictures of your rig, go out and make films with it!!! Take
unpaid gigs on projects you believe in, GO ON SET AND LEARN...
And by the way... Who cares what you shoot your movie on? Look at Paranormal Activity, The Blair Witch Project, Open Water, El Mariachi, Clerks... Who cares what they were shot on, the STORY is what matters. Most people don't go to the movies and look at the medium the film was produced on. They don't spend countless hours pouring over rez charts and debating the pros and cons of camera gear on Internet forums. They go to the movies to be taken into another world, to be captivated and enchanted, horrified and saddened, elated and held in suspense... THEY GO TO SEE THE MOVIE NOT THE MEDIUM. Remember that when your spending hours debating your camera choice rather than tweaking your script... On that note:
GEAR:
We shot mainly on two T2i's for medium to close shots and one GH13 for wide
shots, with a few GH2-X shots and a second GH13 used in the re shoot portion of the film. The equipment break down was as follows:
2 HVX200's
2 T2i's
1 7D
lenses used on the canon EOS DSLRS:
Nikon 85mm f1.8 af
Canon 50mm f1.2 L (Amazing lens, my favorite so far of any EOS mount lens)
Canon 35mm f1.4 L (Just fantastic performance, paired with the 50mm f1.2 I
could shoot an entire movie with that combo)
Sigma 28mm f1.8
Canon 14mm f2.8 L
Canon 17mm f4.0 tilt-shift
2 GH13's (C settings, and later 100max lat settings)
1 GH2-X (SeAQuake settings)
Lenses used on GH1(3)
Panasonic 7-14mm f4.0
SLR Magic 12mm f1.6
Panasonic 20mm f1.7
Canon FD 24mm f2.8
Voigtlander 25mm f0.95
Canon FD 50mm f1.4 s.s.c (Best FD lens for the dollar, love that lens)
Canon FD 200mm f4.0 s.s.c (Such a steal at 20 bucks off ebay, I only used
it a few times but WHAT SHARPNESS, if this lens doesn't impress you then I
don't know what will)
1 HMC150
2 of the worst minidv camera's we could find
2 Zoom h4n recorders
1 DVpromix sound mixer
1 Sennheiser MKH-416 shotgun mic
1 Arri kit ( 1 1k open face, 2 650's, 2 150's)
4 1200w arri HMI's (which we rented for two weeks and could only use 3 of
at any one time due to generator issues...Ugh...)
1 Omni DP kit (three 1k open faced lights)
An ingus slider dolly.
A glidecam 4000 rig with a proaim arm and vest (Actually a pretty descent
combo).
Several beat up tripods.
And a TON of sugar free Red Bull.
Ok, ENOUGH with the gear...
The Cemetery:
This screenplay had been sitting on my shelf for close to two years when I
finally found some cash to put into the project by way of my friend and
producer Brian Iglesias... Now I can honestly say that I had been burnt out
from making The Burnt House, I am happy that it was recoverable and was finished (HD crash
during editing), but it was a long hard road to get it done (See a pattern involving film making in general yet?)...
Which brings me to a side point: BACK EVERY THING UP EVERY
DAY TO AS MANY SOURCES AS YOU CAN AFFORD. Hard drives crash, don't try and
edit without backing up your work, sounds obvious but I know how broke many
of us film makers are and how desperately we want to have our project made.
But enough with the side bar. Brian had been serving in the Marines over in
Iraq for several years when he finally got to come home and join the
reserves, which gave him time to pursue his dream of making movies. Brian
and I lived together in college, we both went to Temple University in
Philadelphia, PA and both were taking classes in the FMA department. He and
I worked on several student projects together as well as a very small time
on my film The Burnt House, as Brian had just returned from overseas... To
put it bluntly: I need Brian.
As a film maker (Or in life in general) you have to realize your strengths
and weaknesses and know when you should get someone else to do something
for you. I am no good at talking about money. I don't care for money, it's
not what I Iive for, this should be obvious, I make films. Brian is very
good at dealing with the business end of making films and selling them, a
skill you'll need if you plan on trying to make a living in this industry.
I've made two feature films in the last year and a half primarily because of Brian
Iglesias and the skill set he brings along with his partner Anton Sattler
to our company Adversary Films. As a film maker you have to ask
yourself how you will make money, you can make films on the side as a hobby
and live with the fact that you will most likely never see a dime back from
them or... You can try and sell your films. This is harder than it seems.
No, it's not hard to find someone to put it out, but it is hard to get them
to pay you. Shop your film to sales agents first and let them sell it for
you. Make sure they're reputable (This is going to sound redundant, GOOD, maybe you'll remember it),
hire a lawyer to read all your contracts including the one you make with your sales agent.
Try and get an agent, the more people you have working with you towards your goal of making films the
better. Reality check: Before you go crazy with your film and submit it to
festivals, shop for sales agents, hire a PR rep for your film, book the
theater for the cast and crew screening etc... SHOW YOUR FILM TO PEOPLE AND
GET HONEST FEEDBACK. Don't buy your own hype, you should be able to admit
to yourself if your project isn't up to par, I'VE SET 20,000$ WORTH OF FILM
ON FIRE IN MY BACK YARD BECAUSE THE PROJECT I MADE WAS A HORRIBLE FILM...
And I don't consider that film to be a failure, I learned so much about
film making from making it that it was more valuable to me than the 20,000$
ever could have been. But back to how The Cemetery came to see the light of
day. As with many of my projects I had been trying to put The Cemetery
together on my own and without any non personal funding. I had attached a
few crew members, Doug Sakmann who does all of my sfx work joined up as
well as my good friend Timmy Cronin who both work on Paranormal Challenge
and Ghost Adventures now, which is ironic as The Cemetery is a film about
a ghost hunting show... My friend and leading man from The Burnt House J.D.
Brown also agreed to help out. That's when I got the call from Brian, he
wanted to help fund the project and assist in the distribution end of it.
Brian had recently come off a very successful film we had worked on together
called Chosin, a documentary about the battle at the Chosin reservoir
during the Korean war. The film tells the story of one of the most heroic
battles in American history through interviews with the survivors of the
campaign. I was the DP on the project... As well as the sound man... And the
editor... You see where this is going? That film got a limited theatrical
release. NO EXCUSES, GET YOUR HANDS DIRTY. I love film making and if a
project is good, I want to work on it. But I've always LOVED horror
movies... And so as soon as The Burnt House was finished I got the itch...
Well it was amazing news to hear that the film would not be made entirely with
my cash spent on pizza and beer while we used home depot lights... That
would be Cross Bearer... But I'm jumping around... We decided to shoot the
film out near Pittsburgh PA in an isolated (Or so we thought!!!)
hunting cabin. The setting seemed to be the perfect place to make the movie.
Rural wilderness and not a town within ten miles... The sounds of dogs
barking and construction made shooting a nightmare. Do you know what A D R
stands for? Additional Dialogue Recording... Ugh... Anyway, it looked
great. You just have to laugh at things like that, there will always be a
reason that shooting should be stopped, if you can fix it on the spot do
it, most mistakes just get overlooked or cut out in post. It seems like I
keep saying the same things in every post but here it goes again: Don't
settle and tell yourself you'll fix it in post, because you won't!!!
Obstacles will always come up, you have to be adaptable and yet listen to
your gut and know when to stick to your guns. Know when you can't let that
window blow out and you have to take the time to ND it. Know when you need
that dolly shot with the hard rack that the AC (In my case me) keeps
missing... Know what's going to kill your momentum and crush your day and
what's going to be missing from the movie. Which brings me back to The
Cemetery... It's less than a week before the shoot, Ruby Larocca has a
major family issue and has to drop out of the film's leading role... She
later would make an appearance in the set up for the sequel... But that was
after I ran around searching for a new leading actress who was willing to
take the film on such short notice and whom I was willing to work with...
Thinking a pushing the project back then not being able to because of the
cabin being rented out already... Finally Natalie Jean, a model and actress
I had worked with on a few music videos before agreed to fly in from LA and
take the project. I was doing the happy dance, then I realized that we had
done a life cast on Ruby... Hum... Which Brings me to the involvement of Tom
Savini's school of make up. This project was blessed with the talents of
Tommy Kollmer and a good number of current students of Mr. Savini's school.
Tommy was simply brilliant. He along with Doug Sakmann took the SFX to a new
level for me and for that I am eternally grateful. SFX are not only
about the big budget decapitations and amputations, they're about making
the little things look and feel REAL. If people don't buy every punch, fall, cut,
scrape, etc... The giant SFX won't matter. And it is hard to keep the
quality level high on a set that can demand people stay awake 24 hours a
day.
The post process on the Cemetery was GRUELING... I edited it and Cross
Bearer by myself in my basement for the better part of a year and a half...
ADR? Recorded by yours truly up and down the east coast... Color
Correction? Guess who? Every part of the post process was completed on an
out of date Macbook with a pile of external hard drives at night after
my three children went to bed. Most nights I worked until 4am or later to
wake up by 7am the following day. Not ideal, but as Tony Dungy would say:
No excuses, no explanations.
CROSS BEARER:
Wow...
Hum, where to start? Should I begin by telling you that we shot for two
weeks in an unheated warehouse in the dead of the winter in Philadelphia?
Or that our story of a killer who targets hookers and drug dealers mirrored
an actual murderer who was active within the neighborhood we were shooting
in (Which made for some actually production issues such as,
HAVING TO ESCORT ALL THE FEMALE ACTRESSES EVERYWHERE DUE TO THEIR WARDROBE)?
Or that I was the writer, director, cinematographer,
and media manager and only slept less than 8 hours during the two week
shoot? I won't even get to the budget which ran out about a week and a half
into production and stopped us from having propane for our ONE portable
heater... Ask any one on that set, it was the hardest shoot I've ever been
on and I've gone to the hospital and gotten 18 stitches on a set before...
It was the definition of misery.
Did I mention that this film was a NIGHTMARE? Funny that I can look back on it now and find it humorous. At one point one of the leading actors and Gaffer Tim Cronin and I were standing around our propane heater (Before we ran out of propane and money for it) and he casually turned to me and in the most monotone voice said: Hey, your knees are on fire, I looked down and guess what? They were. No, he didn't try and put me out or even move... Yeah, we were that tired. 24 hours a day for two weeks straight. I may have gotten 8 hours of sleep total during that time, but I don't remember all of it. Our craft services were begged from a coffee shop, or supplied through wheeling and dealing with a local pizza parlor. I was dumping the cards every night after the shoot and trying to look at the schedule for the next day while POUNDING RED BULL down my gullet to stay awake. MISERABLE. And yet, it was one of those things where when it was over and done with I MISSED IT INTENSELY. I missed seeing everyone and how we pulled together through the unbearable conditions, the jokes which kept us going like: It can't get much worse right? It became a matter of endurance and everyone was strained to the brink. Things like having an actress run through the warehouse in only a g-string and heels when the temperature was maybe 20 degrees... Well, I can't say that I'll ever see that again in my life. We were PROUD of our suffering, in a way it brought everyone together. We knew that no one was going to let the film fail and went to all lengths to make it happen, in the face of all logic and reason. Sometimes, that's the only way you can get a film made. I DON'T RECOMMEND IT. AT ALL. The way we made Cross Bearer flies in the face of everything which logical and rational film making stands for. It was a test of mental and physical endurance and NOT THE WAY TO MAKE A MOVIE IN A SANE AND RATIONAL MANNER. But sometimes, SANITY AND RATIONAL THOUGHT will stop you from making great films... NOT VERY OFTEN, but sometimes. I don't recommend taking the route we took, if you have time to plan things DO IT. If you have money to invest into the amenities we lacked DO IT. I can't imagine ever making a film in this manner again... Then again, I WOULD AND I WILL. Think about that, how badly do you want to make movies? Be honest with yourself, I'm not unique in my relentless desire to make films. Many of the people you will be trying to compete against in this industry share my drive. I've been homeless for my dreams and I haven't quit yet. Are you willing to go that far? Just think about it, this is an industry where people are willing to WORK FOR FREE. Ask your plumber to do that. Tell him it'll lead to bigger and better things... See how it goes.
Robert Rodriguez sold his body to medical science, Jay Leno was homeless and slept on the subway, Daniel Craig slept on a park bench... How bad do you want it? Don't give up, if making films is your dream then don't give up. People will laugh in your face, significant others will leave you, your friends will tell you your wasting your time... If you really want it, if this is the only thing you truly love to do, DO IT. I grew up in a trailer in Virginia. I've seen most of my graduating class from College give up. I know it's hard to keep going when you can't make rent or eat. DON'T GIVE UP. This is where you will separate yourself from the pack. OUT WORK THEM. OUT SUFFER THEM. OUT LAST THEM. The road isn't going to be easy, and be aware that even success will breed contempt. But if this is the life you want, the carrier you want, stay the course. And define your own success. Many people are seeking fame and fortune, I want to create worlds, to bring my dreams to life. The money and fame are inconsequential. Steven Spielberg once said: "I dream for a living." That's why I do this. I want to see my dreams come to life. How about you? Know why you've decided to pursue this and be honest with yourself. Fame and fortune are not easily obtained, and in the film industry? Well, let's just say that there are better ways to make a living and why anyone would want to be endlessly followed by the paparazzi is beyond me... But hey, to each their own.
Remember, at the end of the day, IF YOUR FILM IS BAD IT'S YOUR FAULT. No one will care that you lost your funding, location, crew, lead actor, etc... They'll watch the screen and be bored, annoyed, angered and they'll TURN IT OFF. You need to do WHATEVER IT TAKES to make your film good. Be driven, dedicated, unrelenting and unwavering. People don't watch films while keeping in mind that the film makers were using limited resources, had no food or sleep, were freezing or trying to do thirty jobs at once. NO, THEY WATCH FILMS TO BE ENTERTAINED. Capture some one's imagination, show them your vision, take them into your world. Be willing to do whatever it takes to craft your film into a wonderful experience for the audience. This is the only way to make great films, there is no other.-Adam
GH13/GH2-X/T2i/7D/HVX200/HMC150/MINIDV
To view both films trailers:
http://www.fangoria.com/index.php/ho...o-the-cemetery
http://www.fangoria.com/index.php/ho...e-cross-bearer
For more info:
www.adversaryfilms.com
https://www.facebook.com/CrossBearerMovie
http://www.facebook.com/TheCemetery
Come join us for a FREE sneak preview screening of Cross Bearer FRIDAY THE 13th of July at the Trocadero Theatre in Philadelphia PA located at 1003 Arch Street. There will be free food so it's the cheapest date Ever! Please RSVP to CrosseteryRSVP@gmail.com if you plan to attend. The event is over 21 with a cash bar, so come out!!! Artical on fearnet about the screening:
http://www.fearnet.com/news/news-article/catch-sneak-peek-cross-bearer
Well this has been a LONG time coming (and it's gonna be a looooooog
post)...
This post details the shooting of two ultra low budget horror features in
Philadelphia, Cooperstown PA, and New York over the course of a year and a half... And
all the HORROR that went with it
This journey began when I finished my second feature and secured
distribution for it... I don't know where to begin, I knew coming off of the burnt house (my
second feature) that I wanted to take a stab at shooting slasher pictures.
I'd up until that point stayed away from making anything which could be
considered a "Grindhouse" movie. I've always loved watching these movies
(Friday the 13th part 2 is one of my favorite movies of all time) but had
never ventured into making one or even writing one for various idiotic
personal reasons. Writing the script for the Cemetery I felt like I was
finally able to explore more of the reasons I loved movies in the first
place, horror movies are my addiction and I was going back to my roots. I
loved crafting the scares along with the humor, something my first two films
lacked. It felt great to have all those moments from my youth built into
the films, when I was young I used to sneak into the horror section of the
video store and catch glimpses of all of those amazing VHS covers. I'd pay
older kids to rent me copies of all the classics (The Texas Chainsaw Massacre,
Friday the 13th, Nightmare on Elm Street, Halloween, Pet Semetery, etc...) and I'd
put them on late night and feel the hairs on the back of my neck stand up. I was tense
as I listened for any sign that my dad was awake so I could quickly shut
off the TV before he could walk into the living room and catch me... And he
did catch me, many, many times... Funny, he must have known something when
he bought that old hi8 camera for me... And writing both of these films
brought me right back to that feeling, a summer night in my youth, scared
out of my mind... LOVING EVERY SECOND OF IT!!!!
I will take a break from all the nostalgia to say this, pre production on
any movie is THE MOST CRITICAL ASPECT OF THE PROCESS. Here is the last time
you will get to solve your problems without spending money. It is also the
time to fine tune every aspect of the picture you are about to make. Almost
every production I have ever worked on has had problems in pre which I have
personally heard addressed by more than one film maker with the line: "We
can make it work and we don't have time to change it anyway." This is wrong.
Never settle in pre. I don't care how little a detail is, MOVIES ARE ABOUT
DETAILS, don't settle on ANYTHING. Find a solution, even if it means you
realised that your going to have to tell someone they aren't right for the
project. Even if it means you have to ask people to work for free. See if
you can borrow money, beg friends to help you out with locations, craft
services, lodging, ANYTHING. I've stolen flowers out of a graveyard because
I needed them for a shot, HOW BAD DO YOU WANT IT? Do you think Kubrick
would settle??? Film making is about MAKING FILMS, not talking about making
films or starting films and not finishing them. And to get your project
made on an indie level and have it get noticed is about OUT
WORKING EVERYONE ELSE. Sleep? You don't need it, your too busy
tweaking your script, going over the budget, looking for a location (Yes,
you can location scout abandoned mental hospitals at 3am by yourself),
working on the schedule, double checking the call sheets, going over EVERY
DETAIL by yourself because YOU ARE THE ONLY ONE WHO WILL CARE THIS MUCH
ABOUT YOUR PROJECT. Sounds hard huh? It is, telling an actor that you've
changed your mind (Because someone better came along or the script changed
or you don't like their attitude etc...) or a location that you aren't
going to shoot there any more, or a crew member that you won't need them,
or a rental house that you won't be renting the gear (This can be
especially hard if they are expecting to get paid)... But THIS IS NOT ABOUT
MAKING PEOPLE HAPPY, THIS IS ABOUT MAKING THE BEST MOVIE YOU CAN. Be HONEST
and POLITE, but show no mercy, raise the black flag, take no prisoners.
There is no room for shyness in this industry, just be polite, tell people
the truth and move forward. At the end of the day if it makes the project
better, that's all that matters. I will also say this, GEAR WILL NOT MAKE
YOUR MOVIE. I see this mistake made over and over by film makers (I was one
of them!!!), HAVING A GOOD STORY AND EXECUTING IT WELL is all you have to
worry about. No camera in the world will make up for a lack of story and
executing it to the best of your ability. Who got to hold the flashlight at
your campfire? The person who told the best story. Gear can help make a
movie look good, but not without a skilled operator who is following the
vision of the director (You). And if you (As I do) direct and shoot, well
just remember that good enough is a good way to make a bad movie! Spend
your time in pre getting a talented cast and good locations, tighten the
script, and above all else: BE HONEST WITH YOURSELF AND OTHERS ABOUT WHAT
YOU INTEND TO ACCOMPLISH. People respect honesty, and projects are made
better when you can have an open door with everyone working on it. From
crew, to backers, to talent, everyone needs to understand what you intend
to do and what you intend to do with it. People get angry when you promise
them a 5 hour shoot and they have an 18 hour day. They get angry if you
don't tell them that there will be nudity occurring at their location. Or
that their walls, ceiling, floor, and dog will be covered in fake
blood...They also tend to get mad when you tell them they are going to see
their money back in 6 months (They won't, 99.99999% of the time). Just be
honest, I know I shouldn't have to say this but there is a reason why
people are leery of film making and it's because of dishonest people. I
shoot movies because I cannot do anything else and be happy, I just can't,
so I try and be honest with everyone so that they'll work with me again.
This is my dream, and I don't want to harm it in any way.
Patience is a key component to any form of art. Remember that if the project isn't good enough it isn't good enough. Rushing to get things done when your a self funded indie film maker is in essence nullifying the one thing which you have over the major studio projects: No deadlines. I know it sucks to admit that things need to be redone, rethought or completely scrapped after months of hard work and personal finances have been dumped into them, but guess what, making a film should be about making a movie, not about stroking your, or anyone else's ego. REMEMBER THIS: People will get angry with you, because your film is taking too long, doesn't include their part anymore, is COMPLETELY DIFFERENT from the original script. THAT'S OK. AS LONG AS THE FILM IS GOOD THAT'S ALL THAT MATTERS. Make sure you remind yourself every day that if your at the point in your carrier where no one is giving you money to fund a project you have to give them a reason to do so. No investor is going to be wowed by hearing your big idea while you wait tables at the local coffee shop and scramble to get out their check book to fund your project. If this is your first real attempt at making a film OR EVEN YOUR 40th, and your still putting your own money into it one of two things are the cause for that: Your not making films which are commercially viable because of their content, structure, style etc... AND YOU KNOW THAT BUT ARE TRYING TO MAKE YOUR OWN FILMS (Which is a personal choice, and I get it), or... YOUR FILMS AREN'T GOOD ENOUGH YET. Listen, this is not to say that you won't get to a place where they are good enough, BUT SETTLING, OR TAKING THE EASY WAY OUT WILL NOT GET YOU THERE. I'll be honest, I'm guilty of this. I'll be the first to admit it, I lulled myself into the "It'll be good enough" train of thought MANY MANY TIMES. You have to be brutally honest with yourself, if something isn't good enough, RE SHOOT, REWRITE, RE-EDIT, DO WHAT EVER IT TAKES TO MAKE IT WHAT IT NEEDS TO BE. Because if not? Well, then what's the point? Ever wonder how so many crappy films get made? Ever turn on a movie and say to yourself: I could do better!!! YEAH? PROVE IT. Film making is UNFORGIVING. The industry is constantly EATING PEOPLES DREAMS ALIVE. Don't believe me? Just wait. Which brings me to my next point. EVEN IF YOU SUCCEED IN MAKING A GREAT FILM, YOU STILL HAVE A GOOD CHANCE OF BEING SCREWED OUT OF ALL THE PROFITS FROM IT. REALLY. When a film maker is new to the industry and has no leverage, legal representation, OR THINKS THEY KNOW EVERYTHING AND WON'T TAKE ANY ONE'S ADVICE, they are a sitting duck for many of the vultures who roam the vast wastelands which we call the distribution market. GET A LAWYER, A GOOD LAWYER. Let them look over all your contracts BEFORE YOU SIGN THEM. DO YOUR RESEARCH about who your dealing with, contact other people who have had their film taken by the party you are considering going with... YOU MAY BE SURPRISED TO FIND OUT THAT YOUR AMAZING OFFER IS BEING MADE BY A BUNCH OF THIEVES. If you want this to be your carrier you have to EDUCATE YOURSELF in every aspect of the business of film making. Now, that doesn't apply to all film makers. For many this is not their full time pursuit, notice I didn't say JOB because for it to become a JOB you must be PAID. For the amateur hobbyist who is content to make things in their spare time and with no intention of trying to work full time in the film making industry having a good entertainment lawyer is a moot point. BUT, if your really serious and not taking the camera out with your friends to have fun, but instead: SECURING OR WRITING A SCREENPLAY, DOING PRE-PRODUCTION (THE MOST IMPORTANT PART OF ANY PRODUCTION, BECAUSE IT'S STILL ON PAPER!!!), REWRITING THE SCREENPLAY, SECURING LOCATIONS, CASTING ACTORS, SECURING EQUIPMENT, FINDING CREW, DOING PAPERWORK (YES PAPERWORK, CONTRACTS ARE VERY VERY IMPORTANT!!!), and fulfilling the endless tasks of trying to MAKE A REAL FILM, then you need to KNOW AS MUCH AS YOU CAN AND CONDUCT YOURSELF IN THE MANNER IN WHICH YOU WISH TO BE VIEWED. AND YOU NEED A LAWYER!!!!
ACTORS are as important than any other aspect on your film. REMEMBER IT. The photographer
Joel Peter Witkin once asked himself if he took great pictures or if he had great subjects to photograph.
Having great subjects doesn't hurt. Great actors can make a bad set fade into the background, a bad shot forgivable, a bad
line great. CAST YOUR FILM RUTHLESSLY. REHEARSE YOUR FILM. LISTEN TO YOUR TO
YOUR ACTORS AND CATER TO THEIR NEEDS. Sounds simple right? Actors are
people too, and they can have strange and often difficult demands... They
can frustrate you like no other aspect of your set because in many ways you
cannot control them. You can tell an actor to do things your way, show them
what you want, explain over and over to them WHY YOU NEED THEM TO LOOK LEFT OR
WALK OFF SCREEN RIGHT but you can't make them do it, you have to inspire
them to believe in you and your vision. This brings me to a critical point
that every director needs to understand. THE FILM SHOULD BE YOUR VISION.
Not the producers, not the cinematographers, not the leading actors, YOURS.
People may have input but you need to hold the final say so or your set
will be chaos. At the end of the day, it's your name on the project as the
director. Make sure you set the ground rules for on set edict from the
start and hold firm to your command structure. On indie sets you often see
people all making suggestions which would get you fired on a pro set. Why
is this? Many times it's because people are working for free and are not
pros. The AC has no place telling an actor how he should deliver a line,
that is your job as director. Calmly but firmly you need to tell everyone
from the start, all suggestions must go through the proper chain of
command or the offending party will be asked to leave... I cannot tell you
how many times I have had to tell PA's that they are not to join in
discussions between actors and the director or cinematographer and
director. This is what makes a pro a pro, the ability to know your job and
the boundaries of it. If you don't agree with the director or the
cinematographer, hold your tongue and inform your direct superior of your
concerns, many times they will inform you that your concern is valid and
has already been explored and decided against. BE A PRO, or make films
which will only go on the Internet to be viewed by your friends. Actors
won't respect a director who they feel has lost control of the set,
more than that they may try and take over.
Now, I know that film making is about the final product on screen, but if
your here reading this then you are most likely like me a CAMERA JUNKIE. I
shot these two movies with as many camera's as I could get my hands on, I'm
with Cassavetes on the idea of covering a scene with as many angles as you
can... I would like to have the luxury of spending more time on each set
up, but when you can't afford propane for the space heaters in the 20
degree warehouse your shooting in... Well...
I always find myself itching to pick up a camera and get COVERAGE...
Purely because I also edit my own films and well... because I want to.
Coverage can SAVE YOUR A**. Any editor will tell you the same. And although I do actually like
having total creative control and being your own editor assures you of this...
An assistant editor would be nice to do some media management and rough assembly tasks...
However, by the time I usually get that point in the process
I HAVE TO EDIT MY OWN FILMS BECAUSE OF MY LACK OF BUDGET. This is what happens
on every film, by post the production is scrounging to get the film
finished and many times films stay in a limbo state because there isn't
cash to pay for post. You as an indie film maker need to realize that the
only thing standing in the way of you and your film is unpaid labor. You
have to learn as much as you can about EVERY ASPECT of film making, in
other words GET YOUR HANDS DIRTY. If you want to make films, MAKE FILMS!!!
Don't just take pictures of your rig, go out and make films with it!!! Take
unpaid gigs on projects you believe in, GO ON SET AND LEARN...
And by the way... Who cares what you shoot your movie on? Look at Paranormal Activity, The Blair Witch Project, Open Water, El Mariachi, Clerks... Who cares what they were shot on, the STORY is what matters. Most people don't go to the movies and look at the medium the film was produced on. They don't spend countless hours pouring over rez charts and debating the pros and cons of camera gear on Internet forums. They go to the movies to be taken into another world, to be captivated and enchanted, horrified and saddened, elated and held in suspense... THEY GO TO SEE THE MOVIE NOT THE MEDIUM. Remember that when your spending hours debating your camera choice rather than tweaking your script... On that note:
GEAR:
We shot mainly on two T2i's for medium to close shots and one GH13 for wide
shots, with a few GH2-X shots and a second GH13 used in the re shoot portion of the film. The equipment break down was as follows:
2 HVX200's
2 T2i's
1 7D
lenses used on the canon EOS DSLRS:
Nikon 85mm f1.8 af
Canon 50mm f1.2 L (Amazing lens, my favorite so far of any EOS mount lens)
Canon 35mm f1.4 L (Just fantastic performance, paired with the 50mm f1.2 I
could shoot an entire movie with that combo)
Sigma 28mm f1.8
Canon 14mm f2.8 L
Canon 17mm f4.0 tilt-shift
2 GH13's (C settings, and later 100max lat settings)
1 GH2-X (SeAQuake settings)
Lenses used on GH1(3)
Panasonic 7-14mm f4.0
SLR Magic 12mm f1.6
Panasonic 20mm f1.7
Canon FD 24mm f2.8
Voigtlander 25mm f0.95
Canon FD 50mm f1.4 s.s.c (Best FD lens for the dollar, love that lens)
Canon FD 200mm f4.0 s.s.c (Such a steal at 20 bucks off ebay, I only used
it a few times but WHAT SHARPNESS, if this lens doesn't impress you then I
don't know what will)
1 HMC150
2 of the worst minidv camera's we could find
2 Zoom h4n recorders
1 DVpromix sound mixer
1 Sennheiser MKH-416 shotgun mic
1 Arri kit ( 1 1k open face, 2 650's, 2 150's)
4 1200w arri HMI's (which we rented for two weeks and could only use 3 of
at any one time due to generator issues...Ugh...)
1 Omni DP kit (three 1k open faced lights)
An ingus slider dolly.
A glidecam 4000 rig with a proaim arm and vest (Actually a pretty descent
combo).
Several beat up tripods.
And a TON of sugar free Red Bull.
Ok, ENOUGH with the gear...
The Cemetery:
This screenplay had been sitting on my shelf for close to two years when I
finally found some cash to put into the project by way of my friend and
producer Brian Iglesias... Now I can honestly say that I had been burnt out
from making The Burnt House, I am happy that it was recoverable and was finished (HD crash
during editing), but it was a long hard road to get it done (See a pattern involving film making in general yet?)...
Which brings me to a side point: BACK EVERY THING UP EVERY
DAY TO AS MANY SOURCES AS YOU CAN AFFORD. Hard drives crash, don't try and
edit without backing up your work, sounds obvious but I know how broke many
of us film makers are and how desperately we want to have our project made.
But enough with the side bar. Brian had been serving in the Marines over in
Iraq for several years when he finally got to come home and join the
reserves, which gave him time to pursue his dream of making movies. Brian
and I lived together in college, we both went to Temple University in
Philadelphia, PA and both were taking classes in the FMA department. He and
I worked on several student projects together as well as a very small time
on my film The Burnt House, as Brian had just returned from overseas... To
put it bluntly: I need Brian.
As a film maker (Or in life in general) you have to realize your strengths
and weaknesses and know when you should get someone else to do something
for you. I am no good at talking about money. I don't care for money, it's
not what I Iive for, this should be obvious, I make films. Brian is very
good at dealing with the business end of making films and selling them, a
skill you'll need if you plan on trying to make a living in this industry.
I've made two feature films in the last year and a half primarily because of Brian
Iglesias and the skill set he brings along with his partner Anton Sattler
to our company Adversary Films. As a film maker you have to ask
yourself how you will make money, you can make films on the side as a hobby
and live with the fact that you will most likely never see a dime back from
them or... You can try and sell your films. This is harder than it seems.
No, it's not hard to find someone to put it out, but it is hard to get them
to pay you. Shop your film to sales agents first and let them sell it for
you. Make sure they're reputable (This is going to sound redundant, GOOD, maybe you'll remember it),
hire a lawyer to read all your contracts including the one you make with your sales agent.
Try and get an agent, the more people you have working with you towards your goal of making films the
better. Reality check: Before you go crazy with your film and submit it to
festivals, shop for sales agents, hire a PR rep for your film, book the
theater for the cast and crew screening etc... SHOW YOUR FILM TO PEOPLE AND
GET HONEST FEEDBACK. Don't buy your own hype, you should be able to admit
to yourself if your project isn't up to par, I'VE SET 20,000$ WORTH OF FILM
ON FIRE IN MY BACK YARD BECAUSE THE PROJECT I MADE WAS A HORRIBLE FILM...
And I don't consider that film to be a failure, I learned so much about
film making from making it that it was more valuable to me than the 20,000$
ever could have been. But back to how The Cemetery came to see the light of
day. As with many of my projects I had been trying to put The Cemetery
together on my own and without any non personal funding. I had attached a
few crew members, Doug Sakmann who does all of my sfx work joined up as
well as my good friend Timmy Cronin who both work on Paranormal Challenge
and Ghost Adventures now, which is ironic as The Cemetery is a film about
a ghost hunting show... My friend and leading man from The Burnt House J.D.
Brown also agreed to help out. That's when I got the call from Brian, he
wanted to help fund the project and assist in the distribution end of it.
Brian had recently come off a very successful film we had worked on together
called Chosin, a documentary about the battle at the Chosin reservoir
during the Korean war. The film tells the story of one of the most heroic
battles in American history through interviews with the survivors of the
campaign. I was the DP on the project... As well as the sound man... And the
editor... You see where this is going? That film got a limited theatrical
release. NO EXCUSES, GET YOUR HANDS DIRTY. I love film making and if a
project is good, I want to work on it. But I've always LOVED horror
movies... And so as soon as The Burnt House was finished I got the itch...
Well it was amazing news to hear that the film would not be made entirely with
my cash spent on pizza and beer while we used home depot lights... That
would be Cross Bearer... But I'm jumping around... We decided to shoot the
film out near Pittsburgh PA in an isolated (Or so we thought!!!)
hunting cabin. The setting seemed to be the perfect place to make the movie.
Rural wilderness and not a town within ten miles... The sounds of dogs
barking and construction made shooting a nightmare. Do you know what A D R
stands for? Additional Dialogue Recording... Ugh... Anyway, it looked
great. You just have to laugh at things like that, there will always be a
reason that shooting should be stopped, if you can fix it on the spot do
it, most mistakes just get overlooked or cut out in post. It seems like I
keep saying the same things in every post but here it goes again: Don't
settle and tell yourself you'll fix it in post, because you won't!!!
Obstacles will always come up, you have to be adaptable and yet listen to
your gut and know when to stick to your guns. Know when you can't let that
window blow out and you have to take the time to ND it. Know when you need
that dolly shot with the hard rack that the AC (In my case me) keeps
missing... Know what's going to kill your momentum and crush your day and
what's going to be missing from the movie. Which brings me back to The
Cemetery... It's less than a week before the shoot, Ruby Larocca has a
major family issue and has to drop out of the film's leading role... She
later would make an appearance in the set up for the sequel... But that was
after I ran around searching for a new leading actress who was willing to
take the film on such short notice and whom I was willing to work with...
Thinking a pushing the project back then not being able to because of the
cabin being rented out already... Finally Natalie Jean, a model and actress
I had worked with on a few music videos before agreed to fly in from LA and
take the project. I was doing the happy dance, then I realized that we had
done a life cast on Ruby... Hum... Which Brings me to the involvement of Tom
Savini's school of make up. This project was blessed with the talents of
Tommy Kollmer and a good number of current students of Mr. Savini's school.
Tommy was simply brilliant. He along with Doug Sakmann took the SFX to a new
level for me and for that I am eternally grateful. SFX are not only
about the big budget decapitations and amputations, they're about making
the little things look and feel REAL. If people don't buy every punch, fall, cut,
scrape, etc... The giant SFX won't matter. And it is hard to keep the
quality level high on a set that can demand people stay awake 24 hours a
day.
The post process on the Cemetery was GRUELING... I edited it and Cross
Bearer by myself in my basement for the better part of a year and a half...
ADR? Recorded by yours truly up and down the east coast... Color
Correction? Guess who? Every part of the post process was completed on an
out of date Macbook with a pile of external hard drives at night after
my three children went to bed. Most nights I worked until 4am or later to
wake up by 7am the following day. Not ideal, but as Tony Dungy would say:
No excuses, no explanations.
CROSS BEARER:
Wow...
Hum, where to start? Should I begin by telling you that we shot for two
weeks in an unheated warehouse in the dead of the winter in Philadelphia?
Or that our story of a killer who targets hookers and drug dealers mirrored
an actual murderer who was active within the neighborhood we were shooting
in (Which made for some actually production issues such as,
HAVING TO ESCORT ALL THE FEMALE ACTRESSES EVERYWHERE DUE TO THEIR WARDROBE)?
Or that I was the writer, director, cinematographer,
and media manager and only slept less than 8 hours during the two week
shoot? I won't even get to the budget which ran out about a week and a half
into production and stopped us from having propane for our ONE portable
heater... Ask any one on that set, it was the hardest shoot I've ever been
on and I've gone to the hospital and gotten 18 stitches on a set before...
It was the definition of misery.
Did I mention that this film was a NIGHTMARE? Funny that I can look back on it now and find it humorous. At one point one of the leading actors and Gaffer Tim Cronin and I were standing around our propane heater (Before we ran out of propane and money for it) and he casually turned to me and in the most monotone voice said: Hey, your knees are on fire, I looked down and guess what? They were. No, he didn't try and put me out or even move... Yeah, we were that tired. 24 hours a day for two weeks straight. I may have gotten 8 hours of sleep total during that time, but I don't remember all of it. Our craft services were begged from a coffee shop, or supplied through wheeling and dealing with a local pizza parlor. I was dumping the cards every night after the shoot and trying to look at the schedule for the next day while POUNDING RED BULL down my gullet to stay awake. MISERABLE. And yet, it was one of those things where when it was over and done with I MISSED IT INTENSELY. I missed seeing everyone and how we pulled together through the unbearable conditions, the jokes which kept us going like: It can't get much worse right? It became a matter of endurance and everyone was strained to the brink. Things like having an actress run through the warehouse in only a g-string and heels when the temperature was maybe 20 degrees... Well, I can't say that I'll ever see that again in my life. We were PROUD of our suffering, in a way it brought everyone together. We knew that no one was going to let the film fail and went to all lengths to make it happen, in the face of all logic and reason. Sometimes, that's the only way you can get a film made. I DON'T RECOMMEND IT. AT ALL. The way we made Cross Bearer flies in the face of everything which logical and rational film making stands for. It was a test of mental and physical endurance and NOT THE WAY TO MAKE A MOVIE IN A SANE AND RATIONAL MANNER. But sometimes, SANITY AND RATIONAL THOUGHT will stop you from making great films... NOT VERY OFTEN, but sometimes. I don't recommend taking the route we took, if you have time to plan things DO IT. If you have money to invest into the amenities we lacked DO IT. I can't imagine ever making a film in this manner again... Then again, I WOULD AND I WILL. Think about that, how badly do you want to make movies? Be honest with yourself, I'm not unique in my relentless desire to make films. Many of the people you will be trying to compete against in this industry share my drive. I've been homeless for my dreams and I haven't quit yet. Are you willing to go that far? Just think about it, this is an industry where people are willing to WORK FOR FREE. Ask your plumber to do that. Tell him it'll lead to bigger and better things... See how it goes.
Robert Rodriguez sold his body to medical science, Jay Leno was homeless and slept on the subway, Daniel Craig slept on a park bench... How bad do you want it? Don't give up, if making films is your dream then don't give up. People will laugh in your face, significant others will leave you, your friends will tell you your wasting your time... If you really want it, if this is the only thing you truly love to do, DO IT. I grew up in a trailer in Virginia. I've seen most of my graduating class from College give up. I know it's hard to keep going when you can't make rent or eat. DON'T GIVE UP. This is where you will separate yourself from the pack. OUT WORK THEM. OUT SUFFER THEM. OUT LAST THEM. The road isn't going to be easy, and be aware that even success will breed contempt. But if this is the life you want, the carrier you want, stay the course. And define your own success. Many people are seeking fame and fortune, I want to create worlds, to bring my dreams to life. The money and fame are inconsequential. Steven Spielberg once said: "I dream for a living." That's why I do this. I want to see my dreams come to life. How about you? Know why you've decided to pursue this and be honest with yourself. Fame and fortune are not easily obtained, and in the film industry? Well, let's just say that there are better ways to make a living and why anyone would want to be endlessly followed by the paparazzi is beyond me... But hey, to each their own.
Remember, at the end of the day, IF YOUR FILM IS BAD IT'S YOUR FAULT. No one will care that you lost your funding, location, crew, lead actor, etc... They'll watch the screen and be bored, annoyed, angered and they'll TURN IT OFF. You need to do WHATEVER IT TAKES to make your film good. Be driven, dedicated, unrelenting and unwavering. People don't watch films while keeping in mind that the film makers were using limited resources, had no food or sleep, were freezing or trying to do thirty jobs at once. NO, THEY WATCH FILMS TO BE ENTERTAINED. Capture some one's imagination, show them your vision, take them into your world. Be willing to do whatever it takes to craft your film into a wonderful experience for the audience. This is the only way to make great films, there is no other.-Adam
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very very very cool