Recently, on our Facebook page we posted a behind the scenes pic of our lead actor wearing a nightgown that plays prominently in the movie (the nightgown does, not the picture). Since that posting we haven't picked up any new fans. Coincidence?
Some background on the photo: we were well into our shoot and we were just about to wrap for the night and I jokingly asked Juan if he'd put on the nightgown for some pictures. Obviously, he did. As per usual during our production, Juan gave us a great laugh and kept the set loose. He's the best kind of collaborator: talented, fearless, generous and very hairy.
Tuesday, May 25, 2010
May 25th south loop Update
We just finished color correction and the mix should be done in the next two weeks. I can smell it. And it smells pretty damn good.
A word to the wise (independent filmmaker): test your workflow early in pre-production. Then test that shit again. You can never be too sure.
For the uninitiated, I'm referring to the technical processes behind shooting, editing and exporting footage while taking into account the multiple pieces of software you'll be using. You need to consider the file type your camera generates, will that work natively with your editing system, what should you export settings be to go into your sound editing software, etc.
Thing have gone smoothly enough for us in post , but they should have been smoother.
A word to the wise (independent filmmaker): test your workflow early in pre-production. Then test that shit again. You can never be too sure.
For the uninitiated, I'm referring to the technical processes behind shooting, editing and exporting footage while taking into account the multiple pieces of software you'll be using. You need to consider the file type your camera generates, will that work natively with your editing system, what should you export settings be to go into your sound editing software, etc.
Thing have gone smoothly enough for us in post , but they should have been smoother.
Jafar Panahi Reportedly Released
I've been meaning to comment on this for some time, but now may be as good a time as any. Iranian filmmaker Jafar Panahi has reportedly been released from prison.
The director of such masterpieces as The Circle, Crimson Gold and Offside, Panahi had been imprisoned for unidentified "offenses" by the Iranian government. He was first detained after visiting gravesites of some Iranians slain during the Green Revolution.
The imprisonment that apparently just ended was reportedly due to Panahi's intention to produce a film based on that revolution.
Rightfully so, a number of powerful American filmmakers signed a letter imploring the Iranian government to release their colleague.
It seems that has happened and it's about damn time.
The director of such masterpieces as The Circle, Crimson Gold and Offside, Panahi had been imprisoned for unidentified "offenses" by the Iranian government. He was first detained after visiting gravesites of some Iranians slain during the Green Revolution.
The imprisonment that apparently just ended was reportedly due to Panahi's intention to produce a film based on that revolution.
Rightfully so, a number of powerful American filmmakers signed a letter imploring the Iranian government to release their colleague.
It seems that has happened and it's about damn time.
Monday, May 17, 2010
Saturday, May 15, 2010
And Now the Website, Please
The official website for south loop is up. Check it out to see the trailer, stills from the movie and updates on the movie's release.
Tuesday, May 4, 2010
"south loop" is on Facebook
Become a fan of south loop and stay on top of all the latest updates (reading this blog might help, too).
What you know about that "Treme"?
The creators of "Treme", HBO's new original series, put the viewer in a place of distinct privilege. In no way does the show give a wholesale introduction to the world of post-Katrina New Orleans or New Orleans in any form for that matter. It doesn't aim to give you a tour guide's view of the landscape, physically or culturally. What this show does, much to my delight, is it assumes the viewer as an insider, as much a native as anyone.
Now, for the average viewer (read: NOT from New Orleans) that can be challenging because you have to hit the premier episode running (and, damn, what an episode). You'll hear terms you don't know or move from parish to parish with no discernible physical guideposts (I'm still not sure what a parish is) all the while observing a group of characters who couldn't care less if the rest of the world deciphers their culture. Some are even downright hostile to outsiders. Again, that could be challenging.
But, to my mind, that's what so beautiful about this still very young show. We don't have to beg to be in on the joke because the creators put us there to begin with. We aren't turned away like the Katrina tour bus in episode three that pulls up to a group of Indians as the pay respects to a colleague bested by the storm. The driver of that bus did the right thing and drove off, realizing the severity of his trespass. And as he drives off, the camera (ergo we) stays with the Indians as they watch the outsiders (them) fade into the distance.
"Treme" gives us the credit and, yes, the challenge to learn as we go because ultimately the story of New Orleans is the story of every city. Granted, we may not all have been through a terrible combination of natural and man-made disasters, but we all know the pride of home, perhaps even community, that the characters of "Treme" and the people of New Orleans feel. And we all crave the warm blanket of normalcy those characters and people have yet to regain.
In the end, that's what the show is about, that's its central conflict. It's about finding normal again. If that's even possible for the New Orleans of "Treme" we will find out eventually.
That's right, WE. I can say that because the creators of the show have put me in a position to do so and I am quite grateful.
Now, for the average viewer (read: NOT from New Orleans) that can be challenging because you have to hit the premier episode running (and, damn, what an episode). You'll hear terms you don't know or move from parish to parish with no discernible physical guideposts (I'm still not sure what a parish is) all the while observing a group of characters who couldn't care less if the rest of the world deciphers their culture. Some are even downright hostile to outsiders. Again, that could be challenging.
But, to my mind, that's what so beautiful about this still very young show. We don't have to beg to be in on the joke because the creators put us there to begin with. We aren't turned away like the Katrina tour bus in episode three that pulls up to a group of Indians as the pay respects to a colleague bested by the storm. The driver of that bus did the right thing and drove off, realizing the severity of his trespass. And as he drives off, the camera (ergo we) stays with the Indians as they watch the outsiders (them) fade into the distance.
"Treme" gives us the credit and, yes, the challenge to learn as we go because ultimately the story of New Orleans is the story of every city. Granted, we may not all have been through a terrible combination of natural and man-made disasters, but we all know the pride of home, perhaps even community, that the characters of "Treme" and the people of New Orleans feel. And we all crave the warm blanket of normalcy those characters and people have yet to regain.
In the end, that's what the show is about, that's its central conflict. It's about finding normal again. If that's even possible for the New Orleans of "Treme" we will find out eventually.
That's right, WE. I can say that because the creators of the show have put me in a position to do so and I am quite grateful.
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