January 26, 2012

Write What You Don’t Know!

They like to say, “Write what you know.” And often they mean that literally. To wit: write about the kind of life with which you’re familiar. They think that’s honest writing.

I think it’s a cop-out.

To be frank, the kind of life with which I’m familiar can sometimes seem rather boring. I’m a normal Canadian kid from a [somewhat unique] Canadian town. I spent some time in Texas, Oklahoma, Ontario, British Columbia, Los Angeles, and now I live in New York City. My parents are still together. I’m an only child and, for the most part, my relatives are all cordial, at the very least, and loving, during the best of times.

See?

Noah Baumbach would be depressed at the normalcy of my life.

I think the phrase “write what you know” should relate more to theme than subject matter. While I’ve led a normal life on the surface, I’ve experienced pain, fear, pride, insecurity, and, as a quirky Canadian that moved to Texas at thirteen-years-old who played basketball and was a drama nerd, I’ve experienced my fair share of identity issues. I’m also quite familiar with feminism and femininity issues, as a pear-shaped tom-boy (see also: identity issues).

So what do I know? I know universal human fears. I know how it feels to not know who you are nor who you should be. I know the quandary of a person fighting a sense of duty and responsibility with a deep personal passion for something other.

So sometimes I’m writing about 30-something guitar teachers. Sometimes I’m writing about 60-year-old homeless felons. But I’m always writing about my own fears and insecurities. About what I don’t know. About the things for which I have questions.

And ideally, it’s writing that’s honest.

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December 13, 2011

Minimalist Filmmaking!

So I just wrapped production as a writer-producer-director on another short film! It’s a 7-page comedy about a guitar lesson gone wrong. It’s called “Jerry & Diane”. I’m really about the performances from my actors and excited about how it looks!

We had the stupendous and fearless Chris Domig playing Jerry.

Chris Domig, JERRY

And the delightful dry and quirky Margaret Rossi Copeland playing Diane.

Margaret Rossi Copeland, DIANE

And our lovely DP, Danielle Campbell, was a wiz with the Canon 5D Mark II.

Danielle Campbell with Canon 5D and Zacuto Rig

One of the things I enjoyed about this process (other than directing comedy) was that it was a 2-day shoot, with two actors (plus one brief cameo) and a crew of four (including me). We had the DP, a grip/AC, and my husband (who is also my co-producer, editor and colourist) recorded production audio. All of us were experienced professionals who’ve each worn many hats so the short hand was effective. We worked quickly and communicated well. My actors were marvellous. They dove right into the material fearlessly and gave me lots of choices and options to cut with. It’s going to be a delightful little film.

My first short film as a writer-director, called “Sonny“, is still in post-production; but I’m pregnant (due in April 2012!), and my hubby and I wanted to get another project in before the baby consumes our time. We’re hoping to have both projects out of post and heading to the festival circuit by the time the baby arrives in mid-April.

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October 31, 2011

Building Sustainability… On Location and In Education!

When we shot “The Rock ‘n’ Roll Dreams of Duncan Christopher,” we did our best to produce the film in a sustainable, green-minded way. Some of the things we attempted include:

  • Using Bio-Diesel
  • Reusing Clothes for Costumes
  • Eco-friendly Flatware
  • Shooting On-location
  • Shooting Digitally
  • Being Carbon Neutral
Using Bio-Diesel

We secured a bio-diesel donation from Tulsa Biofuels for our trailers and trucks. In the future, film producers who’d like to make use of bio-diesel for their diesel vehicles and generators should take caution: bio-diesel has a specific freezing point. So if you’re planning on shooting in cold months, find out what the specific freezing point is of the bio-diesel that you’re using.

Reusing Clothes for Costumes

Most actors in the film either wore their own clothes or clothes that had been rented from costume shops or purchased from second-hand stores. We also incorporated organic and sustainably manufactured pieces that were donated. In the future, I might like to see any wardrobe that has been built specifically for a film be donated to an organization like Dress for Success or simply Goodwill or the Salvation Army. Sometimes “sustainability” can be akin to helping those less fortunate.

Eco-friendly Flatware

With our catering department, we used mostly local produce and products as well as utilizing ceramic plates and stainless steel flatware. Also we used eco-friendly cups, plates and utensils for our craft services department. However, I’d still like to run the numbers on the difference between manufacturing a few eco-friendly plates (etc) and the amount of water and heat it takes to clean 45 ceramic or glass plates for each meal. It may not add up… Somebody want to do that and get back to me?

Shooting On-location

This is an easy one for independent film producers. Because it’s often difficult to rent studios, shooting “on location” is often a default. But the good news is, that default is also the sustainable choice. Using existing locations means that sets aren’t being built that will be trashed eventually. Ideally, we’d have the resources [read: money] some day to gut-renovate a dilapidated location and leave the place better than we found it! What a dream that would be! But for now, we’re happy with not creating more garbage.

Shooting Digitally

We shot on digital hard drive cameras, as opposed to film. For me, the jury is still out on whether this saves energy or not. Film is rarely trashed – most filmmakers keep their film “in the can” in safe storage, under lock and key! But it sure does take a lot of energy to power hard drives! Also, I can’t deny that shooting on film requires more people, more time, and more money, so shooting on hard drives makes a lot of sense financially; but I have yet to be convinced that “shooting digital” is the more sustainable choice.

Recycling When Possible

We had recycling bins distributed all throughout the set at each location – in our catering tent, in our roving production office, in our trailers. Even with this accessibility, it was still a challenge to get our crew to recycle diligently. Part of the problem was that, in the beginning, no-one was assigned to bring the recycling to the recycling depot. Admittedly, as Line Producer, that was my job (to assign that job to somebody) and I eventually did just that, once I was aware of the problem. This being my first time on a set that was attempting to be “sustainable,” it’s just not something that I’d had to think about before; but I will certainly think about it in the future.

Being Carbon Neutral

Through a donation to a company called Native Energy, we were able to offset the entire film-making process, from development through post-production, and then some! So not only is the film carbon neutral, it’s actually carbon negative. When all else fails, this is a great way to support sustainability.

…

Regardless of my thoughts and opinions, successes and failures, regarding my recent sustainable filmmaking efforts, I do intend to continue making progress toward not only an economically sound method of independent filmmaking, but also a sustainably profitable method of filmmaking. The two ideals may be difficult to marry, but I’m committed to the challenge.

And because of my experience and commitment, as well as plenty of other experiences with film production, I’ve been asked to be involved in a mentorship program at the University of Western Ontario, specifically for the Building Sustainable Value Research Centre at the Richard Ivey School of Business (aka “the Harvard of Canada”).  I’m listed among some pretty amazing people and am totally honoured to be participating!

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October 27, 2011

Those Microsoft Commercials!

So remember those commercials I First AD’d back in May? Here they are!

This was day 1: the Samsung Series 9 and delightfully kind and easy-to-work-with Robert Sudduth (39s).

Day 2: We shot the Sony Viao Y with the handsome and generous actor Brian Palatucci (37s).

Day 3: Our computer was the HP Touchsmart 610 and our actress was Desiree Hall, a beautiful and surprisingly spunky actress (38s).

Day 4: We finished with six (6) computers, some of which we’d already featured and some of which were new, and one new actress, the demure and talented Jocelin Donahue (1:23).

Hope you’ve enjoyed this trip down my own memory lane.

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August 2, 2011

On Being A Better First AD

Back in May, I was the First AD on a series of commercials for Microsoft – specifically, for several computers that sport the new Windows 7 operating system. We shot in a studio for four days and to be honest…

It was my best experience as a First AD ever.

I’m not sure what the difference was. Perhaps it was the director, who treated everybody (and I mean EVERYBODY) with kindness and respect. Perhaps it was the crew, who were all so comfortable with their jobs and comfortable with their rate of pay, that they just showed up on time, with smiles, did their work and rarely complained. Perhaps it was the gaggle of awesome PA’s we had? Perhaps it was being in a studio? Perhaps it was the shooting schedule?

Or perhaps it was me. And not because I’m amazing (which I’m not) but because of two disparate experiences I’ve had that, combined, have made me a more comfortable (possibly better?) First AD. Those two experiences are:

  1. Producing a feature film
  2. Working as a background actor

In 2008, my husband and I co-produced a feature film with two friends and business partners. Along with producing, each of us had at least one other key role. One was also the writer and lead actor, one was also the director, my husband was also the editor, and I was also a line producer and costume designer. It was the experience of producing and line producing (the two are not always the same job!) that made me a more knowledgeable First AD. Knowledge isn’t always power, but it certainly can add a level of comfort. And comfort can breed confidence. Comfort certainly doesn’t breed fear.

In 2010, my husband and I moved to New York City where I determined that I didn’t want to First AD, I didn’t want to Line Produce or UPM or Production Coordinate. I just wanted to be a simple artist. I wanted a part-time job that wasn’t taxing or emotionally draining and I wanted to spend the rest of my time writing and working on the Short Film that I’d just finished shooting and was ready to edit with my Los Angeles-based editor. This all sounds kind of selfish in hindsight (especially considering that there are plenty of people with my skill set who can’t find work); it seems nearsighted to avoid looking for the best-paying work I can acquire, but I felt strongly about persuing my passions (and still do).

So what did we come up with for me to do? Background acting! But first! First, I had to get over my pride. “I’ve produced a feature film!” “I’m usually a First AD!” “I’m actually a director!” These lines echoed in my head each of the first half-dozen or so times that I found myself on a set as a background actor (aka expensive organic prop). I had to get over that pride and be okay with my choices.

Once I did that, I was able to open my eyes and learn. I began to watch the First ADs, I began to watch the other crew and (given my experiences) I could actually understand what was happening (many background actors are clueless about the process). And as I watched, I learned.

It’s mostly tacit knowledge: things like, how different ADs run their sets, how different shows plan their days, how different gaffers like to communicate with their DPs, and how long a 2/8 page scene really should take!!! Also, to be frank, as a background actor in New York City, I found myself on bigger sets than I ever had been as a producer or First AD. And being on bigger sets gives you a better perspective of how smaller sets should run.

So now, I recommend that everyone who wants to be in a key creative or technical position in “Hollywood” work on big sets and work on small sets. It doesn’t matter what your position is as long as you pay attention to what’s happening around you.

Anyway, back to being a First AD. I’m kinda energized for the position now.

Anybody shooting anything?

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July 21, 2011

Secret Millionaires: Red Carpet Event

A few months ago I was in LA for work (I was the First AD on a Windows 7 commercial, more on that later) and I was fortunate enough to be there for a red carpet event for Secret Millionaires, the web-series I shot with my talented friends Dan Amos and Elizabeth Pennington. Secret Millionaires had been nominated for the Mingle Media Audience Choice Award by the fans at 2011 New Media Film Festival. What an honour!

Thankfully I was not working on the night of the event, so I borrowed clothes and jewelry from my former roomie (Pennington) and we did our hair and makeup and drove off in a classy rental car (mine for the week) to downtown Hollywood for the red carpet. We were hoping for the win!

We didn’t get the top spot, but we came close. You can see a video here of us all on the red carpet.

Snazzy group, eh?

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June 28, 2011

Netflix for Theaters: MoviePass

In this Gizmodo article we learn about a subscription program for movie theaters. Part of me is excited; part of me is nervous. Having worked in professional theater, I know what a boon subscription offers can be for stabilizing earned income. And in general, it’s been proven over and over again in my experience that what’s good for one theater is good for other theaters.

So can this effect transfer into the film industry? I’m sure that someone somewhere in Burbank or Culver City has run the numbers: the number of movie-going public in America, the amount who own netflix already, and a projection of who would use and recommend the use of both… It’s either going to be a life-saver of the film industry or a catalyst for major change.

As an indie filmmaker, I’ve been watching the whole digital distribution revolution with interest and while I don’t think I’m in a place where I can yet effect change, I am wholeheartedly invested in the changes that do occur. Some would argue that I should be working to effect change if I have preferences about how the dice roll; but do I want to put the time and effort into changing distribution channels yet? I lean towards waiting.

What do you think?

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June 25, 2011

Cars 2: Under The Hood, It’s Kind Of A Clunker

I’m not one to write reviews; but I felt so disappointed by Disney-Pixar’s most recent offering that I felt compelled to share my thoughts.

The story should have been about Mater being too afraid to be himself in the big wide world; instead it was about Mater behaving badly and getting off easy. It wasn’t about friendship. It wasn’t about anything meaningful.

It should have started with a “big promise” spy-action-type scene with Mater as the hero somewhere near or in Radiator Springs. Instead it was a car we don’t know and don’t yet care for…  In a place we don’t recognize.

Then after showing Mater with hero-potential, we could have introduced the spys and that plot…

In most stories, it’s supposed to be the protagonist that needs changing. In this film Mater is the protagonist, but he’s not the one who changes. Lightning is the one who changes. But we haven’t really followed his story.

Sure it’s a fun ride; but the story is not meaningful.

Disappointing, Pixar. :(

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June 2, 2011

Background!

So my husband and I just moved to New York City and to help pay the bills while I work on my short film, we decided that I needed to get a part-time job.

I needed to figure out what kind of job I could do that would be flexible enough but that would also provide a decent hourly rate.  I have an MBA, and experience producing films, bookkeeping, being a local coffee-shop girl, and even small business management; but I wanted something that wouldn’t drain me physically or emotionally.  As much as I like to play the tough, macho feminist who’s going to take over the world, I’m really just a sensitive artist who takes everything about my self way too seriously.  So I knew that bookkeeping and coffee-slinging would be too taxing for my fragile artistic soul (at this juncture).  What could I do?

Then one day it hit me!  Background work!

At first I was somewhat resistant to the idea, and to be honest, it’s because I’m kinda prideful. I’d love for people to think that I’m rollin’ in the dough, having made a ton of moolah on the feature we produced and don’t need any help getting my short film made. Well, the cut and dry of it is: the feature film hasn’t been released yet (and who’s to say how well it’ll fair at the box office once it does?), so I really do need the earn the money that we’re going to spend to finish my short film.

So in November, I signed up for Central Casting here in NYC. The very next day I was on a set silently improvising a conversation with two seasoned actors. The production was the pilot that Judd Apatow helped Lena Dunham produce. I questioned those seasoned actors and learned about other casting agencies – including Casting Networks. Shortly after, I signed up with Casting Networks.

The plan was to do the background acting for a few months to be sure I’d like it and could handle it; and if I did, I’d join SAG and earn the higher union wage (I became SAG eligible back in 2008 with a small role on an independent feature). I joined SAG back in April and haven’t looked back. It’s been really wonderful to have such a flexible job and for my job to be relatively low-stress! The early morning calls are tedious; but, boy! is it fun to be on set for a living!!

Also, with my producing experience, I can watch what’s going on around me with an educated eye – and I learn. I’m learning how different First AD’s function; learning how different sets are run (big ones versus little ones); learning who the best caterers in NYC are; learning what keeps background and crew happy; learning how to organize a shooting day; learning all the extra space you need when you shoot on location; and learning SAG rules. Learning all this and so much more will hopefully help make me a smarter, more efficient and patient director. I know it’s already made me a better First AD (more on that in another post).

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March 4, 2011

On Directing Actors

The Hollywood Reporter has a delightfully short little piece on Tom Hooper and his recent accolades called “The 5 Secrets of Tom Hooper’s ‘King’s Speech’ Success.”  In it Hooper says,

“I was at the roundtable with Ethan Coen and he said to me, ‘I’ve never directed an actor in my life,’ and I thought, well — I wonder if that’s true. Because I’m sure if you walk into a Coen brothers setup, a good actor will immediately read so much from the locations, the art direction, where the camera’s placed, from the casting of the other person — that is all directing as well, just because it’s not saying, ‘Now do it this way, now do it that!’”

I think Tom’s on to something. While I do think that “True Grit” was better written than directed and would totally believe that the Coen Bros did not say a word to their actors on that set, I do think that perhaps the writing, costumes, set dec, and camera placement did have an effect on the performance of the actors.  It’s probably why, my favourite scene, is also my favourite performance – the courtroom scene.

I find it hard to process this idea from the Coen Bros; because one of the reasons I love directing so much is that I love directing actors.  The second reason is that I love directing the camera; but that’s a story for a different day. Directing was initially birthed in me when I would tell my childhood friends, after a rousing round of make-believe, “That was great! Let’s do it again but this time, let’s change a few things.”

True story.

I always found it strange that I was the only one who wanted to play the same story over again. But I digress.

I love directing actors and I can’t imagine being a director and avoiding that joyful experience! I’m not saying that all actors require direction all the time.  That’s certainly not true. But the experience of working out the truth of a moment or the truth of a character with a friend is too delicious! Let me play!

You might think that perhaps I am just a frustrated actor, but I promise that I love directing more than I love acting. I’ve done both enough to know which I love more.

I love directing actors.

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