"Without Provocation" - a Norm Sanders (Envision) film

Barry_Green said:
so if the board crashes or IE pukes or whatever, all I have to do is go in and "paste" and it's all back. A highly recommended technique for those of us as wordy as I am... :thumbsup:
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Classic techinque, I invented it... :Drogar-Love(DBG):

I like to add that the drug flashback with the effect, as many have written it is absolutely stunning.
 
First off, I want to say that your story was really engrossing for me. I was completely into the story. I love the way the viewer is just thrown into the situation and doesn't really know who to trust and begins to put pieces together as it progresses. I thought it was an extremely effective method that complemented the tension and anxiety that is so rampant in your film. I also thought the "flashbacks" were also very effective. Loved the frantic pacing of everything.

Secondly, I very much enjoyed the acting. I had no idea that you were the director until after seeing the film, so I think that I'm about as unbiased as they come. I thought you were great. I've read some people thought it was over the top...but I thought it was perfect for the role. Maybe it was just my imagination, but I felt like I could actually see the fear in your eyes as you were yelling, which really sold it for me. I believed that this is how the character would respond to a situation gone wrong. Maybe some people think that your acting in other movies is better, but having not seen your other films, I thought this was a solid performance. Maybe people didn't like it because you were the bad guy, in which case they are supposed to hate you. hahaha.

RebeccaD - I loved your performance. You completely sold it as well. Man, I would love to use you and Norm sometime down the line. You guys are extremely talented.

I thought the rest of the cast was wonderful too.

About the "look", I can see how other people felt it was distracting. I sorta felt that way as well, but then again I don't think it would have been the same without it. It gave your film a certain edge. I guess some of the 'bumps' in the footage was the most distracting. I think if you were a lot more subtle with the effect, like took it down to where it was barely noticeable...just enough to know that it is there....then that would be the best of both worlds. Try it and let me know.

The line where you say, "you are just full of good ideas" was a little hard to make out over the music. I had to rewatch it like three times before I could actually understand what you said.

When the movie ended...I was like.....NOOOOOOOOOOO! That can't be the end!
I wanted more! I wanted to see whether Seller bit the dust and have the pleasure of watching him die (no offense...haha). I wish the ending would've had a bit more resolution in that regard, but it works as is.

Definitely a favorite entry of mine and in my top three. It was consistent and solid and very effective. I loved everything about it. Would love it even more if the rotoscoping effect was toned down.

Great job in the time-crunch you were on and thanks for sharing.

-----
I had to read through the entire thread to figure out what all this talk of "controversy" was about.....not sure if I really gained anything from it....
 
shawneous said:
Norm, congratulations on pulling together a really good movie! The production was tough, but I can without a doubt say I am glad and proud to be a part of it. As for everyone's comments, I'm glad no one has said that Carter character stank the piece up! :-)
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Thanks, Shawn! I know we already discussed how tough the production was, and that we'd not want to do that again anytime soon (if ever), but in the end it appears to have at least been worth it. This certainly has been a polarizing film to the point where I've rec'd PM's from people with huge raves & kudos, to others who have been gravely disappointed, as they expected something different/more since WHERE SILENCE FALLS.

I pretty much expected it, however. I don't think I can say it enough, that this film was about experimentation on so many different levels. Better to do it here, than to experiment with a feature & a lot of money on the line, IMO.

Steve_Arm said:
I like to add that the drug flashback with the effect, as many have written it is absolutely stunning.
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Thank you, Steve, glad you liked it soo much as well, especially you being a VFX guru!

shawneous said:
After seeing 'On the Lot', Norm, you sorta remind me of Michael Bay
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Huh? :undecided: I'm trying to figure out of this is a good or bad thing, lol!

aravance said:
First off, I want to say that your story was really engrossing for me. I was completely into the story. I love the way the viewer is just thrown into the situation and doesn't really know who to trust and begins to put pieces together as it progresses. I thought it was an extremely effective method that complemented the tension and anxiety that is so rampant in your film. I also thought the "flashbacks" were also very effective. Loved the frantic pacing of everything.
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Wow! First, aravance, let me say that this is huge coming from someone who's made one of MY favorite films in this festival. You did a REALLY solid job with your film, and it's a serious contender for this fest. I'm ALMOST done viewing all the films, and will be putting up my reviews in everyone's thread when I do, including yours.

I'm glad that the story & tension worked for you, along with the pacing!

aravance said:
Secondly, I very much enjoyed the acting. I had no idea that you were the director until after seeing the film, so I think that I'm about as unbiased as they come. I thought you were great. I've read some people thought it was over the top...but I thought it was perfect for the role. Maybe it was just my imagination, but I felt like I could actually see the fear in your eyes as you were yelling, which really sold it for me. I believed that this is how the character would respond to a situation gone wrong. Maybe some people think that your acting in other movies is better, but having not seen your other films, I thought this was a solid performance. Maybe people didn't like it because you were the bad guy, in which case they are supposed to hate you. hahaha.

RebeccaD - I loved your performance. You completely sold it as well. Man, I would love to use you and Norm sometime down the line. You guys are extremely talented.

I thought the rest of the cast was wonderful too.
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All of the cast are thanking you for that. I know Rebecca was also extremely impressed by your film, so she'll be incredibly pleased to hear you loved her performance so much, as she respects how you directed your talent, etc. K, I'll let her speak for herself, lol. I do thank you, and am thrilled you didn't know I was the director ... I do wonder, sometimes, how many people have a preconcieved perception of a talent, when they also know they directed/produced the thing as well. If they're more harsh/critical, not allowing them to let go as much, or are comparing against other past roles ... which again, may not allow them to mentally let go as much in the moment as they watch.

Regardless, I respect & value everyone's opinion that's been stated in this thread, and appreciate your kind words & enthusiasm for the performances!

aravance said:
About the "look", I can see how other people felt it was distracting. I sorta felt that way as well, but then again I don't think it would have been the same without it. It gave your film a certain edge. I guess some of the 'bumps' in the footage was the most distracting. I think if you were a lot more subtle with the effect, like took it down to where it was barely noticeable...just enough to know that it is there....then that would be the best of both worlds. Try it and let me know.

The line where you say, "you are just full of good ideas" was a little hard to make out over the music. I had to rewatch it like three times before I could actually understand what you said.

When the movie ended...I was like.....NOOOOOOOOOOO! That can't be the end!
I wanted more! I wanted to see whether Seller bit the dust and have the pleasure of watching him die (no offense...haha). I wish the ending would've had a bit more resolution in that regard, but it works as is.

Definitely a favorite entry of mine and in my top three. It was consistent and solid and very effective. I loved everything about it. Would love it even more if the rotoscoping effect was toned down.

Great job in the time-crunch you were on and thanks for sharing.

-----
I had to read through the entire thread to figure out what all this talk of "controversy" was about.....not sure if I really gained anything from it....
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Three key things to address here, after I first say THANK YOU for putting us in your top three! :grin:

Okay, the look ... you bring up an interesting point about perhaps just adding enough to where it's barely noticeable, but there's something different about this film ... and perhaps not even having the viewer really know what it was, visually.

When I first started testing the look on some grabs, I had Shawn look at them, and we wondered on a few if it was really even noticeable. Then others were questioned as possibly too much? I wonder how it would have turned out had I not done the extra work to really separate it out, but what's done is done. Since I did kind of want a polarizing effect with regards to the look & how the audience rec'd it, I don't have any regrets ... though I am curiuos to know how it would have been rec'd in the way you're suggesting as well.

Next, on the audio "You're just full of great ideas.", thanks for bringing that to my attention. I had wondered that as well, but never really put it into a specific thought, until you said this. I've brought it up to Herman, and will be addressed in the final mix before we put this to DVD for the cast/crew & final online version(s).

Lastly, on the ending, again I wonder if it would be better rec'd if we had VO and SFX of SWAT entering the room, a final conflict, and then hearing/seeing the Wife at the end asking about her son? This would bring complete resolution, but I wonder if it would also take away from the impact we wanted to have from the sudden ending? In the revised mix, you'll hear more of a boom & ringing tone before the music cues in, so it SHOULD help to tell you that they're stunned & that's the SWAT coming for them ... at least, that was my original goal.

Oh, and as far as learning a lot from the controversy stuff? There's usually not a lot to learn when people mention that, because it typically involves folks going back & forth about the same issue, many times letting a lot of emotion/passion show through. Though it can make for an interesting read, lol.

Thanks again for watching, and for all the detailed commments!
 
Cool visual effect. Sounds great, Herman Kicks butt on this. You kept me watching. Loved the story. If you're ever in New Orleans filming hit a brotha up.
 
Blake Balu said:
Cool visual effect. Sounds great, Herman Kicks butt on this. You kept me watching. Loved the story. If you're ever in New Orleans filming hit a brotha up.
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Yes, Herman totally takes the film to another level with is score & sound design! Glad it worked for you, Blake, and I've been VERY impressed with your acting as well. You were GREAT in SCHITTEKATTER!!
 
Norm, man this completely different for you.
The cartoon(OK that's what I call it) look had the effect of nothing here was real .just somebody’s wild thoughts.
Maybe the coke effect?
Not sure if that what was what you were going for or not.
The story itself was good, fast paced etc.
Suspicion of their partners and all along it was the child.
Very good Norm
Although I would like to see this without the cartoon look just to see if it has the same impact.
Ian
 
Thanks, Ian, that was the intention ... to be completely different from anything done in the past. Glad you liked the story & pacing, and you'll be able to see the non-filtered (cartoon) look by Sunday night! :beer:
 
Yowza this thread has come to a screeching halt, lol!

I thought I'd at least for now post the original script, for anyone who's interested. Eventually, I'll get this link as well as a link to the altered script (last minute, on the set changes) onto the front page ... probably sprinkled throughout a Director/Producer Journal, which I'd still like to record.

For now, feel free to check out the following ... the most interesting of which is this 12 page script pacing out to 5 minutes, once completed in post: www.eefilm.com/scripts/withoutprovocation.pdf
 
Just caught the piece man. I thought it was good, but coulda been great. I thought the whole thing seemed long. I thought the paranoia stuff worked, and absolutely loved the editng. But the stylistic use of trhe "cartoony" look was a bit much. Loved the gun shot, as well as some of the acting. Really liked the story, it just seemed long to me. But overall, it was fun.

On another note, I absolutely LOVED yours and Rebecca's cameo's in Spies Girls. Absolutely brilliant. Best part of that film by far.

Hope you and Rebecca keep up the good work. I'm always excited to see your next project.
 
I'm just waiting for you to release that behind the scenes clip of you going punk-drunk at the 16th hour and doing streaking laps around the set. It was so awkward, but I bet it'd be funny now...
...
...
... ;-)
 
Ok buddy, finally brought myself to basically recreating the tome that the forum ate the other day when I tried to post it. Sorry it took me a while. :beer:



Great pacing, the editing and visceral camera work really served the tension and kept me hooked.

The story is barebones, but worked well enough and I really liked the reveal.

Your getting more and more impressive with your work with actors and your casting. I thought Rebecca was good as always, and the man and woman with accents were particularly believable and grounded.

I hate to say it but I think you were the weakest link in the acting department. I think you have some talent here, but you need an outside eye on the set to critique your performance especially when you are wearing so many production hats. The "what do you think we should do. Kill her" (words roughly to that effect) just seemed so unmotivated and like you were almost bored ... maybe you were playing stoned. But when I saw the BTS of that moment, you looked like you were about at your wit's end. If it wasn't noise outside, someone would flub their line, or something else wouldn't be ready and your reading belied Norm the filmmaker's subtext, "oh god please let's somehow get through this." Not the criminal's subtext which could have been any of a myriad interesting choices ... to scare this victim into talking, to show the rest of the gang I mean business, to intimidate the hell out of everyone, etc.

But back to the objective outside eye. You and Rebecca are close and work well together and she has acting training ... so I would recommend when you are acting that you appoint her as your coach, and I would also just not act in your own stuff period if you do not have time to review the takes on the monitor. Just don't do it. You would not work with another actor who due to some supernatural curse, their performance was invisible until you got the tape into the editing room. So if you are gonna keep doing the Orson Wells thing, invite someone to coach you ... it won't be weird that an actor is directing you if you ask for it "Come on Rebecca whaddaya got for me?" and just don't act if t he schedule will not permit you to review your takes on set before you move on. Your work is too strong otherwise to not demand the same quality in your own performance. I think you have to respect how hard it is to act .. I mean to REALLY do it well. I told you how Denzel Washington would not speak to anyone on set, and would just sit quietly between takes. A friend of mine worked on a Stephen Carell movie and said the same thing. Between takes Carell would fold his hands on his lap and look down and close his eyes. Part of the reason for this is doing take after take can be exhausting especially over the course of nine months. But the point is, here are two respected actors, a dramatic megastar and a comedian who have been doing this much longer than you and they deem it as so demanding that they try to marshal all their energy into only the takes they are doing. You have much less experience and are trying to direct a guerilla shoot and somehow pull it together to act in the scene as well. OK. point made. I think you can do it, but you have to take extra measures to set yourself up for success. From what I see on the BTS tapes I think you are setting yourself with too many obstacles to success.

As for the look. Pushed me out. Did not pull me in. I think it's important to note in WAKING LIFE and SCANNER DARKLY that the look is tied directly to the central theme of the movies. WAKING LIFE: Is this a dream or is this reality and which has more meaning? SCANNER DARKLY: Is this reality or my altered perception of reality and if I can't tell the difference, how do I know who to trust? But here it had nothing to do with the narrative or theme or anything other than coolness for coolness sake. And great discovery never lies down that path. So it just seemed laid on to me and irrelevant, and it was a barrier that kept me from empathizing with the characters. Also Linklater has a team of people working on this stuff and finessing it with proprietary software so that the faces retain some humanity and accessibility. I felt people looked old or funny and that the look was a real barrier.

In general the cursing was not a problem for me. But it was a problem for your big swear line where you call someone a biotch. Just seemed so not you. Partially because it was so sudden in the delivery and partially because it just seemed odd on you. Remember in theatre we can get away with casting folks who are a little off type but have mad acting skills. In film, due to the whole film is truth at 24fps thing, we have to cast people that not only have mad acting skills but who are also dead on for type. All acting ability aside. I would be the right type for that part, as blowing my stack with a stream of sailor talk is something I can do in my sleep :)


Ok so because I went into detail on the stuff that didn't work for me and as your friend offered some suggestions on why I thought it went astray and what you might do about it next time, it makes it seem like I really didn't like it maybe.

But that's not the case. I had a great time. You are very talented and are taking some kind of filmmaking super-spinach that grows only in the rainforest in Washington I think. So because you really have the goods I really go into detail in my criticisms.

My last note would have to do with finding your own voice. There is no question that you can put pretty much anything you want to in front of the camera at this point. I think it is important that you look for subject matter that really matters to you. That connects with your heart in some deep way. Shed, ODD Squad, and Bonehand all deal with the theme of adult sacrifice for the sake of a child. I did not realize this until I was midway through filming Bonehand, but clearly as the child of divorced parents I was following something that was close to me. I'm not saying filmmaking should be therapy, and I'm not saying my voice is fully realized, I'm struggling with it. But I think it is worth looking into. This was clearly something you wanted to try but also, clearly, you had no deep personal connection with this material. I think with your ever increasing technical skills, once you start working with material that really resonates for you on a deep level, you will start walking away with 1,2 or 3 every time in these contests.

There's a cool book I've just discovered called
Directing Film Techniques and Aesthetics by Michael Rabiger. It is a great book that covers everything from blocking, to creating a shot list, to finding style through storytelling, and to the point of this discussion, developing your unique voice as a director. I'm about a 1/3 of the way into it's 1100 pages, but it is an interesting book and worth checking out I think.

Anyway back to the film .. it was a lot of fun. An adrenaline fueled thrill ride with a sweet twist.

Thanks so much for screening it. :thumbup:
 
Wow, Jack! Thank you so much for the detailed review. That was very informative and I know Norm will appreciate it very much. He respects your work greatly, and I know will take your suggestions to heart.

On another note, my acting training was years ago, but I am glad you feel I am equipped to help Norm. This was a very different role for me as well and I did coach Norm to some extent. I felt like he did do a good job in this film, especially considering all he had on his plate that day, lol.

Anyway, thank you so much again!
 
After 3pm PST, as that's when the voting closes ... so it should be fair for me to post at that point. I've got one last film to comment on, then I'll get back here to address Jack's unnecessarily rough critique on the film, that dirty rotten @#$@#%!!!

KIDDING, Jack! Thanks for the detailed thoughts, as I truly appreciate them, and get back to you in a bit with feedback. :)
 
Danielleus said:
I thought it was good, but coulda been great. I thought the whole thing seemed long. I thought the paranoia stuff worked, and absolutely loved the editng. But the stylistic use of trhe "cartoony" look was a bit much. Loved the gun shot, as well as some of the acting. Really liked the story, it just seemed long to me. But overall, it was fun.
................
Hope you and Rebecca keep up the good work. I'm always excited to see your next project.
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Thanks, Danielleus, I'm glad you enjoyed it. I understand the look not working for you, as much as it has some others, as it's a common response I've been getting ... some love it, some not so much, while others have hated it. Normal, non filtered version going up shortly.

Again, thanks for the kind words.

Jack Daniel Stanley said:
Great pacing, the editing and visceral camera work really served the tension and kept me hooked.

The story is barebones, but worked well enough and I really liked the reveal.

Your getting more and more impressive with your work with actors and your casting. I thought Rebecca was good as always, and the man and woman with accents were particularly believable and grounded.
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Jack, I'm glad to hear it worked for you, and that you liked everyone's performances except ... well, I'll get to that one in a second, lol. Thanks for the kudos, and thanks especially for taking the time to write ANOTHER detailed review, especially since the last one got mysteriously eaten as you tried to post it!

Jack Daniel Stanley said:
I hate to say it but I think you were the weakest link in the acting department. I think you have some talent here, but you need an outside eye on the set to critique your performance especially when you are wearing so many production hats. The "what do you think we should do. Kill her" (words roughly to that effect) just seemed so unmotivated and like you were almost bored ... maybe you were playing stoned. But when I saw the BTS of that moment, you looked like you were about at your wit's end. If it wasn't noise outside, someone would flub their line, or something else wouldn't be ready and your reading belied Norm the filmmaker's subtext, "oh god please let's somehow get through this." Not the criminal's subtext which could have been any of a myriad interesting choices ... to scare this victim into talking, to show the rest of the gang I mean business, to intimidate the hell out of everyone, etc.

But back to the objective outside eye. You and Rebecca are close and work well together and she has acting training ... so I would recommend when you are acting that you appoint her as your coach, and I would also just not act in your own stuff period if you do not have time to review the takes on the monitor. Just don't do it. You would not work with another actor who due to some supernatural curse, their performance was invisible until you got the tape into the editing room. So if you are gonna keep doing the Orson Wells thing, invite someone to coach you ... it won't be weird that an actor is directing you if you ask for it "Come on Rebecca whaddaya got for me?" and just don't act if t he schedule will not permit you to review your takes on set before you move on. Your work is too strong otherwise to not demand the same quality in your own performance. I think you have to respect how hard it is to act .. I mean to REALLY do it well. I told you how Denzel Washington would not speak to anyone on set, and would just sit quietly between takes. A friend of mine worked on a Stephen Carell movie and said the same thing. Between takes Carell would fold his hands on his lap and look down and close his eyes. Part of the reason for this is doing take after take can be exhausting especially over the course of nine months. But the point is, here are two respected actors, a dramatic megastar and a comedian who have been doing this much longer than you and they deem it as so demanding that they try to marshal all their energy into only the takes they are doing. You have much less experience and are trying to direct a guerilla shoot and somehow pull it together to act in the scene as well. OK. point made. I think you can do it, but you have to take extra measures to set yourself up for success. From what I see on the BTS tapes I think you are setting yourself with too many obstacles to success.
..............

In general the cursing was not a problem for me. But it was a problem for your big swear line where you call someone a biotch. Just seemed so not you. Partially because it was so sudden in the delivery and partially because it just seemed odd on you. Remember in theatre we can get away with casting folks who are a little off type but have mad acting skills. In film, due to the whole film is truth at 24fps thing, we have to cast people that not only have mad acting skills but who are also dead on for type. All acting ability aside. I would be the right type for that part, as blowing my stack with a stream of sailor talk is something I can do in my sleep :)
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Yeah, so I can't say I ENJOY this part of your review, but I respect & appreciate it all the same. I think you do an outstanding job getting what you want from your talent, so who am I to question it? I do wonder, however, if you would have viewed the performance a little differently had you not seen the BTS, or if you believed that I had a lot of extra crew to watch all the particulars, etc. Not sure. I also believe that the line you're speaking of in particular may not fair as well compared to the rest, as I'm thinking it's a fairly common voice that says I'm best at my game when it comes to being extreme in the emotion department (i.e. rage, etc.) ... so again, I can see why it may have stood out to you. That, and it's also the same line that's shown in the BTS section where I'm at my highest visible sign of stress for the night.

On the swearing part, I thought it was pretty real, lol. I get the feeling that you may see me as usually this very clean white collar guy that never swears and always lets others in front of me while driving in traffic, etc. :) While I firmly believe in treating others the way you'd want to be treated, that they'll remember how you make them feel, etc ... believe me, I've got my moments! What made it more unbelievable ... how I looked on screen (i.e. maybe I needed to come across as darker/trashier with appearance), or how you percieve me in real life? Then again, if I was TRULY convincing, I would have completely taken you into the performance to where you forgot it was me playing it ... so I am confident that there's something that was missing on my end.

For Rebecca, yes, I value her opinion greatly ... as you can see in the BTS video as I asked (okay, at that point probably more 'told' - could have asked more nicely, lol) her to watch me. I wasn't aware of any formal training of hers, as I don't believe she's done anything since some plays in HS. Meaning, she's just pure, raw talent, with no where to go but up. With people like her, I'm cautious about recommending who they should go to for coaching, as some poor coaches could actually derail them from doing what already works so well, try to get them to think that there's only one school of thought on how a performance should be, etc. Don't get me wrong, I think a GOOD coach is invaluable to anyone ... just don't know who the really good ones are here in the Portland area.

I degress ... if I have someone coach while on set, if it's not Rebecca (when off screen), then I'd have it be a 1st AD I trusted ... in WSF it was Stefen (scharky). So I agree with really having someone to watch & critique ... especially in a situation like this where we simply had no time to stop & review the tape, simply to watch my performance. Doing so also make me concerned with looking like more of a Diva, or that this is the Norm show, since I've already placed myself in a key role ... but you're right, the project & everyone else that is investing their time into this, deserves to have me make sure that my performance is up to par with everything else as well.

All that said, I honestly believe this was probably my strongest performance yet ... maybe I just love the raw emotional stuff the most, which I'm confident is the case.

Jack Daniel Stanley said:
As for the look. Pushed me out. Did not pull me in. I think it's important to note in WAKING LIFE and SCANNER DARKLY that the look is tied directly to the central theme of the movies. WAKING LIFE: Is this a dream or is this reality and which has more meaning? SCANNER DARKLY: Is this reality or my altered perception of reality and if I can't tell the difference, how do I know who to trust? But here it had nothing to do with the narrative or theme or anything other than coolness for coolness sake. And great discovery never lies down that path. So it just seemed laid on to me and irrelevant, and it was a barrier that kept me from empathizing with the characters. Also Linklater has a team of people working on this stuff and finessing it with proprietary software so that the faces retain some humanity and accessibility. I felt people looked old or funny and that the look was a real barrier.
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Check. Understood. Look forward to you being able to watch the non filtered version, which will be up soon ... to see if it helps anything else in the film for you!

Jack Daniel Stanley said:
Ok so because I went into detail on the stuff that didn't work for me and as your friend offered some suggestions on why I thought it went astray and what you might do about it next time, it makes it seem like I really didn't like it maybe.

But that's not the case. I had a great time. You are very talented and are taking some kind of filmmaking super-spinach that grows only in the rainforest in Washington I think. So because you really have the goods I really go into detail in my criticisms.

My last note would have to do with finding your own voice. There is no question that you can put pretty much anything you want to in front of the camera at this point. I think it is important that you look for subject matter that really matters to you. That connects with your heart in some deep way. Shed, ODD Squad, and Bonehand all deal with the theme of adult sacrifice for the sake of a child. I did not realize this until I was midway through filming Bonehand, but clearly as the child of divorced parents I was following something that was close to me. I'm not saying filmmaking should be therapy, and I'm not saying my voice is fully realized, I'm struggling with it. But I think it is worth looking into. This was clearly something you wanted to try but also, clearly, you had no deep personal connection with this material. I think with your ever increasing technical skills, once you start working with material that really resonates for you on a deep level, you will start walking away with 1,2 or 3 every time in these contests.

There's a cool book I've just discovered called
Directing Film Techniques and Aesthetics by Michael Rabiger. It is a great book that covers everything from blocking, to creating a shot list, to finding style through storytelling, and to the point of this discussion, developing your unique voice as a director. I'm about a 1/3 of the way into it's 1100 pages, but it is an interesting book and worth checking out I think.

Anyway back to the film .. it was a lot of fun. An adrenaline fueled thrill ride with a sweet twist.

Thanks so much for screening it. :thumbup:
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Thanks so much again for the detailed thoughts, as well as the recommendation for the book. I'll have to check it out soon.

As for finding my 'voice', I think you're dead on about that. While this wasn't a subject matter I was passionate about, it was something I thought would be fun to do ... and it was. I have zero regrets on anything about this, from start to finish. That said, I do believe that when someone is truly passionate about something, it shows through.

I don't know what my theme is, per se, but I can tell you that I'm most drawn to things that have raw, visceral emotion to them. Whether it be making the person come to tears of joy & wanting to jump out of their seat to chear, or make you want to cry out of saddness .... or build up a rage in you to where you want nothing more than to see the person on the screen 'get theirs' & die. This is probably why everything I've done has usually strayed towards darker tones. I'd like to see if there's a way to find that 'voice' while still doing something comedic, as I just HAVE to do the next short as a comedy. I desperately need something I can feel good about showing my kids, and can make them laugh.

From there, the features I want to do I think do more clearly voice my passions, with regards to exploring emotion ... which is probably my biggest drive in filmmaking ... to explore emotion & passion in life. Above that, I may have a deeper theme wanting to get out, but I just don't know what it is yet. Someone made a connection between WSF and WP, both dealing with paranoia, jumping to conclusions, etc. ... but I think that has more to do with being able to have a twist in a 6 minute short film, more than it does a deep theme that interests me.

Thanks again, Jack, for taking the time to comment. I truly appreciate & respect what you've had to say.
 
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