He's Really Not That Angry

Kelley Baker, known as the Angry Filmmaker, just put up his interview with me on the making of south loop.

Writing on a Micro-Budget Doesn’t Have to be so Hard

As I write a draft of the screenplay for my current feature Measure (based on the work of Trevor Thomas), I am reminded of something I tell my students all the time – rewriting is hard. It’s harder than the moment the idea comes to you. It’s harder than getting the first draft done. It’s harder than reading your first draft and realizing how awful it really is.

But it is in the rewriting where the movie becomes a movie.

Rewriting a micro-budget feature is additionally difficult because it is almost impossible to ignore the producer in your head constantly reminding you that he can’t afford the location you just added in the last scene. Now, the writer in your head has no problem ignoring the producer because the story is what matters most, right?

As a way to get around this particular brand of schizophrenia, I tried a new approach (well, at least new to me) on my last film south loop.

Once I knew I was going to produce and finance my own movie (along with my producing partner Juan Diego Ramirez), I made a list of everything I knew I could get for free. That included locations, actors, crewmembers, musicians, props, and so on. I also included the streets of Chicago because, as a guerrilla filmmaker, I could. I included family members that might be willing to cook for the production. I also, with some fatherly hesitation, included my children in case the story I generated needed some toddlers.

So I ended up with a long and diverse list of resources. And a quick glance over the list made me realize I could effectively set a story in the world of real estate. And by effectively I mean that I could develop a narrative and shoot it in a way that allows the audience to buy into that world. Now, if my list had been a lot shorter I might have ended up producing a movie that took place entirely in my apartment. And while there are plenty of movies that tell great stories visually primarily in one location (see Dogtooth), my list of resources took me in a different direction.

As for Measure, the previous drafts were written with these restrictions in mind so I inherited a script that already takes advantage of the resources our production has in hand. And that’s a good thing. Still, I find myself trying to strike a balance between the producer and writer in my head. While I am not adding helicopter chase scenes to the script, I am still adding scenes that require resources we don’t have currently.

For example, I have added a scene that takes place in a banquet hall. The scene is significant for establishing our protagonist in the way she deals with the politics of her job. Again, no helicopters needed. And it’s set in a banquet hall because that particular context adds to the subtext of the scene (or at least that’s the hope). So, at least in this case, the writer in my head wins because, ultimately, story really is what matters most.

But let’s say we never get access to a banquet hall. That will hardly hamstring us because the mechanics of the scene – people talking to each other and the staging of characters – can easily take place in another location. If we have to stage the scene in a restaurant or someone’s home the script will simply be rewritten to reflect that change in context. Rewriting that won’t be so hard. Well, at least not as hard as turning a helicopter chase into a conversation at a bar.

DIY Film to re-post from Take 58

I will be writing a production blog for DIY Film on my current production "Measure". Those same posts can be read here among all the other nonsense I post.

Thank you to Laura Zinger.

Thank you to Robin and everyone at the Chicago Art Magazine Network.

'south loop' in Los Angeles

south loop will screen at the Downtown Independent in Los Angeles on May 30th. Lead actor and producer Juan Ramirez will be for an awkward Q&A following the screening.

'south loop' on Film Yarn

Today I was interviewed for the Film Yarn podcast. I am flattered to be the first filmmaker interviewed for the podcast. Traditionally, the hosts, Fredo and Frank, discuss movies they've seen (quite intelligently, I might add). Fredo attended the south loop screening at College of DuPage and asked me to be on the podcast. It is probably the best discussion about the movie I've been a part of.

Thanks, Fredo.

We Got STIFFed (but that's a good thing)

south loop is an Official Selection of the 2011 Seattle True Independent Film Festival. More details to come.

You Don't Get What You Don't Ask For

I’ve recently been hired to direct “Measure”, an ultra-low budget crime drama. We’re shooting primarily in Cincinnati with some exteriors being shot in Chicago. This has a lot to do with the producers having a wealth of resources in Cincinnati, which leads me to today’s post.

Joe and Julie, the producers of “Measure”, put out an email to people in that area with whom they’d worked on previous projects. They basically gave a list of things we’ll need for production – locations, props, costumes, crew positions, roles, catering, and so on – and graciously asked their colleagues and friends for whatever they might be able to provide us.

And that’s how all ultra-low budget movies should start – by looking for free (or really cheap) shit. It takes a wealth of services and goods to make a movie and, for the most part, they all cost money. However, truly independent movies don’t have money to pay for everything needed. So, you take all the free (or really cheap) shit you can get.

And that can be tough for most people. It isn’t easy approaching family, friends, or colleagues and basically begging for stuff. Luckily, that isn’t a problem for my producers or me. And it shouldn’t be a problem for any filmmaker dying to make her movie.

And this should make it easier – you, the independent filmmaker, are likely surrounded by well-grounded, pragmatic people who wouldn’t dare try and make a movie. But they probably would love to be a part in seeing that your movie is made. The truth is that there is an overwhelming abundance of good will out there for independent filmmakers. We dreamers can only fly among the clouds because we are surrounded by loving and supportive people who enjoy helping us get off the ground. So they give us free (or really cheap) shit, and we thank them however we can.

And don’t forget that part. Whenever you receive free (or really cheap) shit, you reciprocate in some fashion. More times than not that means a “Special Thank You” in the credits, a DVD copy of the movie or maybe even a credit of some kind should the size of the contribution warrant such. Sometimes, you can or perhaps should give small, walk-on roles to people who are helping you get your movie made.

Still, don’t forget that you’re making a movie. You don’t want to simply hand out roles to just anyone. The integrity of your movie isn’t worth the free (or really cheap) shit you’re receiving. Make a great movie above all else. So, hand out walk-ons to people who can be great in the part, and they just happen to be contributing something else to the movie along the way.

Another common contribution to the truly independent movie is favors given by fellow filmmakers. You could have some very talented collaborators take a huge cut in pay or loan you equipment or put you in touch with a vendor that gave them an unbelievable deal. The best way to thank your fellow filmmakers is to do the same for other filmmakers. In other words, if you’re on the receiving end of an email like Joe and Julie’s, be one of the first to offer whatever resources you can.

Finally, don’t forget to be creative in who you approach. Of course, start with those who love and support you, but it doesn’t have to end there. I once had a student production of mine completely catered by Olive Garden because the manager of the local franchise went to the same school as I. All I did was walk in the door and ask if he could give me a good deal.

Joe and Julie just sent their email a week or so ago and already we have had a wonderful response. We’re being offered locations, props, places to house cast and crew, and more. Of course, some of this is due to Joe and Julie’s abilities to forge great relationships. Julie spent years creating a network that paid off with her and Joe’s first production “Joy”. And giving their collaborators a wonderful experience on that first production garnered the loyalty that Joe and Julie can count on for future productions. If they hadn’t, we wouldn’t be receiving all the free (or really cheap) shit that we are.