Heading back to the mad house this weekend. Back for two days to pick up a few scenes we dropped during the shoot. Seems like so long ago now. It's been a busy time since then. A couple of projects have popped up and distracted me from editing Derelict. Iscariot being one, and a potential project that may or may not yield anything, but one worth pursuing to the end nonetheless. So the edit has been on the long finger. Probably a good thing to have a break. And with these shots over the weekend I'll have 95% of the film to cut.
We will have to go back to the mill, but only for an afternoon and just one scene. And there a scene to be shot in the front of a van, which can be done anywhere anytime. But hopefully soon. Not before Christmas though. These days cost a lot, a lot more than I have. Another grand to do this weekend. Another personal loan I did not want to have to get right before Christmas. But I felt it had to be done. I didn't want to leave these important scenes too long. I had hoped to get everything we needed this weekend, another day will still cost be €400, but wasn't to be. Hence after Christmas. Lessons learned on this one.
It's still an ultra-low budget film, I think at the end of it the budget will be €6500. But it's a lot when you're unemployed, have a young family, and you're paying for half of all that yourself! Sorry wife! I hope one day you'll learn to forgive... hopefully before you divorce me! That's something else that's important at this level of filmmaking - a supportive wife! But even the most supportive can have their patience tested.
I have to admit, the last month has been difficult, perhaps the most difficult and challenging of my career so far. Not finishing Derelict was a pain, and it's costing me more than I had hoped. I was exhausted coming off of it and got into a bit of a slump. Writing on Iscariot helped, and this new project too. They reignited my fire for film. Then I bolloxed it all up by making a faux pa, mentioning someone in an email I shouldn't have and perhaps jepordising a chance to do something fantastic. I'm not sure how it will pan out, but I fear the damage that was done may be irreversible. Thus ruining the best chance at jump starting the career I've been trying to build for 15 years.
It made me want to throw in the towel there and then. And I almost did. But it was my wife, the one who keeps having her patience tested by being married to a stubborn Independent filmmaker, who said - "Give up because you've lost your passion. Give up because you don't care anymore. But don't give up because it's hard." Can't really argue with that.
We make mistakes in life. Nothing we can do about other people. We just have to work around it. And if a chance is lost because of it, then we have to rise above and move on. I've been keeping my head down and moving forward for as long as I can remember. All I've ever wanted to do is make movies. I love them. I can't deny that. They're in my blood. Woven in the fabric of who I am. So I get over-zealous. I put my foot in it sometimes. I want to kick myself as much as the people I annoy do! And I feel like there are as many people trying to stop me as there are people who want to help me. But it's the nature of the game, the nature of the world.
I just have to keep reminding myself of why I love film, why I wanted to make them. It's because I love stories, I love to be taken on an adventure, I love to be thrilled, moved, engaged, surprised. And I love being able to give that to other people. Nothing in this world delights me more then seeing a great film (OK, maybe my daughter - but I'm talking in the context of film... you know what I mean!) I watched 13 Assassins a couple of weeks ago, I absolutely loved it LOVED it! And it came at the right time. It was a reminder. Great films always are.
That's the reason. To do something good. Regardless of the crap that you have to go through. The assholes you encounter. The drudgery, hardship and humiliation you are forced to endure daily. It's about the film. It's about what goes up on the screen and what you give to an audience. That's all it was ever about. That's the beacon of light in the dark, and it comes from a projector, shining out onto to 50 foot screen to a gathered crowd in the dark full of anticipation and excitement. It's for them. No one else. Not the idiot trying to stop you, standing in your way, saying NO NO NO. It's for that 9 year-old kid, seeing Back to the Future for the first time and suddenly realising that's why he was born. To do that.
So I'm going to finish my film. I'm going to keep trying to make more films. I'm not going to let anyone stand in my way... especially me.
Thursday, November 03, 2011
Monday, October 17, 2011
Madness and Method.
Yes, my post-shoot blog post was a little bleak and Yes, I have cheered up since then! I was just wiped-out, perhaps a little emotional and a bit disappointed in not getting everything done in the week. I think in the entire week of shooting I slept all of 30 hours, out of 168! And then came off that straight into broken nightmare sleeps... so no, probably was in the best frame of mind. Still, it was how I was feeling at the time and as this blog has the word Journey in the title I have to tell it as is goes.
I've since settled back into normal life and have caught up on sleep (as much as my soon-to-be two year-old daughter lets me! - but I guess that is normal now!) and I was talking with DOP John Lawlor yesterday about a fun idea for a new project!!! It's a sort of sequel to Derelict, but it's a comedy. I think I need to do a comedy after these last few years! It's all been very dark indeed.
I've been logging all the footage (no editing yet) and I must say it looks good, I'm very happy with how it's turned out. I need to finish logging and labeling and start choosing and syncing and then start the edit. I had hoped to have had it started by now but, well, life pokes it's head in and reminds you of the other things you put off while making the film - like finishing the bathroom and bringing the ever increasing pile of recycling to the centre and the contents of the attic to the charity shop! Not that I've actually done any of that mind you... Procrastination!
We're going back in two weeks to shoot pick-ups for a day and then the week after for two days, and that will everything, I hope, should be. I'm looking forward to getting it done. I know it has to be sooner rather then later for risk of it not being completed. I'd rather do it when it's fresh in our minds. And it deserves it of course, both for the film and for the work everyone's put in.
The scenes we're going back to get are really the most important in the film, at least the most important for those characters. One is the scene that changes everything for all the characters and leads to the eventual outcome, and it's just a simple conversation between two characters. The other, the same, a conversation between two characters, that is really theme of the whole film and the emotional center of the piece. So they're important to get.
I was sad we had to drop them in the main shoot, but now I'm glad in a way. Given their importance I'm glad we can take our time with them, settle in to them, spend a day on them rather than a rushed two hours.
In saying that though I don't feel the shoot was rushed... OK, it was a bit, and more in some places than others - But, I think it leant itself to the scenes themselves. For example, when we were shooting the opening scene of the film, where everyone arrives, we really had time constraints on that one, we flew through it, didn't stop for anything, and people got testy and edgy and probably felt rushed - but that was what the scene was about, the characters being on edge, testy, rushed.
This happened again and again, we ended up in similar situations to those being portrayed, which, was my point in doing it this way from the start (see old posts) - being in a situation as close to the real one as possible so we could feed off the energy in the room... albeit a very dark, oppressive and negative energy! But again, we weren't making a romantic comedy here! I always felt like the energy was right, which was probably why I wasn't running around panicking. I was getting what I set out to get - So you see, there was some method to my madness!
Hopefully some more images soon, not too many thought, I don't want to give anything away. Maybe a trailer... probably not for a while though and maybe some outtakes, there are some funny ones I have to say! If I say the words Tone and Jesus, I know some people will already be laughing. More info too on the edit, and pick-ups as they come.
Meantime Thomas and I are back writing on Iscariot. Trying to get a new draft done by the end of November to go looking for money. Will be interesting to see how that goes. So I have one feature to edit and one to write in the next six weeks! Should be fun!!!
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| Bag-O-Tricks |
I've since settled back into normal life and have caught up on sleep (as much as my soon-to-be two year-old daughter lets me! - but I guess that is normal now!) and I was talking with DOP John Lawlor yesterday about a fun idea for a new project!!! It's a sort of sequel to Derelict, but it's a comedy. I think I need to do a comedy after these last few years! It's all been very dark indeed.
I've been logging all the footage (no editing yet) and I must say it looks good, I'm very happy with how it's turned out. I need to finish logging and labeling and start choosing and syncing and then start the edit. I had hoped to have had it started by now but, well, life pokes it's head in and reminds you of the other things you put off while making the film - like finishing the bathroom and bringing the ever increasing pile of recycling to the centre and the contents of the attic to the charity shop! Not that I've actually done any of that mind you... Procrastination!
The scenes we're going back to get are really the most important in the film, at least the most important for those characters. One is the scene that changes everything for all the characters and leads to the eventual outcome, and it's just a simple conversation between two characters. The other, the same, a conversation between two characters, that is really theme of the whole film and the emotional center of the piece. So they're important to get.
I was sad we had to drop them in the main shoot, but now I'm glad in a way. Given their importance I'm glad we can take our time with them, settle in to them, spend a day on them rather than a rushed two hours.
This happened again and again, we ended up in similar situations to those being portrayed, which, was my point in doing it this way from the start (see old posts) - being in a situation as close to the real one as possible so we could feed off the energy in the room... albeit a very dark, oppressive and negative energy! But again, we weren't making a romantic comedy here! I always felt like the energy was right, which was probably why I wasn't running around panicking. I was getting what I set out to get - So you see, there was some method to my madness!
Hopefully some more images soon, not too many thought, I don't want to give anything away. Maybe a trailer... probably not for a while though and maybe some outtakes, there are some funny ones I have to say! If I say the words Tone and Jesus, I know some people will already be laughing. More info too on the edit, and pick-ups as they come.
Meantime Thomas and I are back writing on Iscariot. Trying to get a new draft done by the end of November to go looking for money. Will be interesting to see how that goes. So I have one feature to edit and one to write in the next six weeks! Should be fun!!!
Thursday, October 13, 2011
Monday, October 10, 2011
Gotta Love October!
As I settle in the edit 'Derelict', two of my short films are off doing their thing around the world.
First 'Raise My Hands' is screening this week as an Official Selection at the Heartland Film Festival in Indianapolis (my fourth film at the festival since 2006). Trailer on the right -->
And 'Slán agus Beannacht' will be broadcast on RTE2 (Ireland's National Broadcaster) on October 24th as part of their Short Screen series. Very excited about both.
October's turning out to be a busy month!
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| New Poster (design by Lisa Kay) |
And 'Slán agus Beannacht' will be broadcast on RTE2 (Ireland's National Broadcaster) on October 24th as part of their Short Screen series. Very excited about both.
October's turning out to be a busy month!
Saturday, October 08, 2011
Wednesday, October 05, 2011
5am? Let's do one more.
Last Sunday 15 people locked themselves in a dusty, blacked out, 200 year-old abandoned mill to make a film. None of them were ever seen again. Some images and random footage survived. This is their story.
The schedule was out the window before day one had even started. Our lead actor, Michael Bates, had a commercial in the middle of the week, which he had told be about, but assured me it would mean he'd be a couple of hours late one of the days, and to put it to the back of my mind. On the last day of rehearsal he got a call to say he would be needed for two full days, 5:30am pick-up to 6:30pm. Basically meaning he would have to leave early on Monday, be gone all day Tuesday, and be late Wednesday - remember, this was a five day shoot, and Michael was in every single scene of the film. So we were up shit creek from day one.
Let me just say before I continue, this is no slight on Michael, he was fully committed to the film, and on the Wednesday, after a 5:30am start he came straight to the set and shot till 3am. Bad timing was all.
I decided to start shooting on Sunday, what was to be the blocking day, and to make things even more complicated I decided to start with the most complicated part of the film - the end. If you want to know if you're ready for something, get the entire cast in a room talking, shouting and pointing guns at each other. I very quickly realised just how complicated this film really was. There was me thinking a few people in one room would be easy, but it was tricky and mechanical.
The first night was tense. People were on edge. We got started late and then had an issue with the sound equipment. First it went missing. I was supposed to pick it up at 12, but Sue ended up going to get it, wasn't there, took them an hour to track down the guy who had it and then she had to drive into Dublin to find him to get it. Then when she got back the harddrive wouldn't work, wouldn't start up, took Sue two hours of rebooting and phone calls to fix it. So we started 4 hours late.
We got a alot in the can quickly and although we went till 5am, and didn't get done what I had planned to do that night, we still shot 11 pages in that first night. But it wasn't a great start to the week, morale-wise. It got everyone tired right away. The schedule was shunted again, which meant no-one really knew where and when they were.
By mid week the schedule was changing hourly. We were working with who was available and on set. Someone showed up who should have been told they weren't need, things would move. I was just trying to keep one foot in front of the other and not side step off a cliff. I was concentrating on what was in front of me in the moment. But that often meant people were hanging around all day who didn't need to be. Still, we were getting footage in the can.
The week was up and down. Good days and bad days. I think the lowest ebb was Wednesday night. A particularily difficult and complicated shoot. Everyone's energy was sapped and the energy in the room was throw the floor. The break room that night was silent. Nobody talking and nobody looking at me. I felt hated. I felt as though I was losing my grip on the project and if I'd said 'Let's just leave it' people would have happily exited the building never to be seen or heard from again.
I was asking a lot from people, and although they were committed, they were there, when the schedule started slipping I do believe some people lost their faith in me and perhaps even regretted their decision to be a part of the project. You pick up on a vibe. You see how people look at you. You hear whispers in the corner when they think you're not close enough. That was hard for me. I felt upset and it made it difficult to concentrate on the task at hand. I went home that night more depressed then I had ever been on a film. I wont say I cried. But I was close.
I managed a good sleep, which always helps, and came to set with the previous day behind me. I smiled at people as they entered, well aware that everyone was on my project, there for me, and feeding off my energy. If I was sitting in the corner of the room not talking, then that's what I'd get back. So I stood at the stairs and smiled a warm hearty welcome to everyone as they came in. I hope it work. People seemed a bit more cheery that day and we got good work done that night. I was never as low again during the shoot anyway.
Amid the mayhem I believe the film was coming together. I was getting great performance from all involved, and even when at times actors weren't happy with what they were doing, or unsure, or not feeling it, I was continually blown away. The moment of the week came when Elaine Reddy delivered a stunning performance that floored everyone in the room and had us all reeling afterwards. She said she wasn't happy with it, but Fuck Me! I had goosebumps. When I said 'Cut' everyone in the room let out a huge sigh, because they'd all been holding their breath watching her.
This happened again and again for me. I knew scenes were working when I forgot where I was, when I would be watching the monitor and I'd forget to yell 'Cut' because I was at the movies, completely caught up in what was happening and waiting to see what was going to happen next, and then realising I still had to film that part!
It was interesting watching how the actors worked, there were 8 actors and 8 different processes in the room. It was difficult at times. But for me it was working. There was tension, but it was in the right place. People were constantly telling me what I should and shouldn't be doing, I believe they were trying to be helpful and I'm happy to take suggestions, and if they're good I'm more than happy to run with them. But it gets frustrating when people are questioning you, and basically saying you don't know what you're doing. I did know, I knew what I wanted, I knew what I was getting, I knew to keep going if it wasn't their yet. If it takes an extra hour to get the take that makes it into the film and raises the film to a higher standard, then I'm willing to go to bed at 5am instead of 3am.
There's a sense during any film, or any job, that a some point midweek you've broken it, the majority is done and the final run in should be easier than it has been so far and things can be a bit more relaxed. That's didn't happen on this. I didn't feel we'd broken in until the very last shot on the last day, which still left us with 2 days to pick up later. I know those two days will be more relaxed. But it was tough and tense right till the end.
There were one or two blow-outs during the shoot. People lost their patience. Which was fair enough. I remained calm through out. I almost lost it at one point. I forget exactly what day, Friday night maybe. I'd had enough of people telling me what to do and was building up to a blow out. I figured "Fuck it, I'm done, I'm gone. I'm going home to my wife and daughter, I'm sick of the lot of you..." I was waiting for the moment someone pushed me over the edge, but they didn't so I had a conversation with myself, I calmed myself down and I chose not to embarrass myself and waste everyone's time. We shot the scene and we moved on.
The level of commitment through out really blew me away. People brought their best work to the table and I enjoyed watching everyone work. All the cast brought their best. The crew were outstanding. I'm not going to single anyone out, but there were some star players, and they'll be the people you see go far. I was so grateful, and lucky, to have them.
There are still some scenes to get, the opening of the film, the conversation that changes everything for the two main characters, and the end of the film. All two handers. So hopefully we can go back and get them in the coming months. After all, it's nothing if it's not finished.
I was happy with everything that was going in. I haven't looked back at it yet. But I know there's a film in there. I'm not sure what it is yet though. Something different came out in that room. Something a bit more frightening then I had planned on. It's closer to the bone I think. I'm not entirely sure what I've made. It's the film I wrote. But I'm kind of afraid of this film. We'll see what arrives in the edit.
Things I've learned on this one: Plan better. Schedule better. Be realistic. Fights are complicated. 8 people in a room talking is complicated (especially when they're pointing guns at each other). Good continuity is so important. An 1st AD is essential. 5 days is probably impossible. Two weeks is better. It's always going to cost more then you had planned for. Shooting in a filthy old building is a pain in the arse. Shoot in a comfortable hotel next time. Shooting dark material can effect you mentally. Remain positive. Focus on what's in front of you. Be in the centre of the room. Step up. Lead. DON'T PANIC.
I'm quite drained this week. I had the first good nights sleep last night. Previous to this it was broken with a lot of anxiety dreams of still filming and nightmares. Today I feel extremely low, which is probably just the come down from such a busy few weeks. So maybe I'll cheer up soon and be dying to get back on set!
But trying not to end on a dull note I am extremely happy with what's been done. The shots are beautiful looking, the performances are outstanding (wouldn't be surprised if there weren't a few awards on the distant horizon) and I think I've made the film I set out to make. I'm looking forward to the edit, I love editing and I'm so excited to start putting all this together, especially to Dermot O'Mahony's score. I think we've got a good film on our hands and I'm looking forward to finishing it and to showing you, especially all those who have supported it over the last year, and those who have believed in me.
The schedule was out the window before day one had even started. Our lead actor, Michael Bates, had a commercial in the middle of the week, which he had told be about, but assured me it would mean he'd be a couple of hours late one of the days, and to put it to the back of my mind. On the last day of rehearsal he got a call to say he would be needed for two full days, 5:30am pick-up to 6:30pm. Basically meaning he would have to leave early on Monday, be gone all day Tuesday, and be late Wednesday - remember, this was a five day shoot, and Michael was in every single scene of the film. So we were up shit creek from day one.
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| Michael Bates as J |
I decided to start shooting on Sunday, what was to be the blocking day, and to make things even more complicated I decided to start with the most complicated part of the film - the end. If you want to know if you're ready for something, get the entire cast in a room talking, shouting and pointing guns at each other. I very quickly realised just how complicated this film really was. There was me thinking a few people in one room would be easy, but it was tricky and mechanical.
The first night was tense. People were on edge. We got started late and then had an issue with the sound equipment. First it went missing. I was supposed to pick it up at 12, but Sue ended up going to get it, wasn't there, took them an hour to track down the guy who had it and then she had to drive into Dublin to find him to get it. Then when she got back the harddrive wouldn't work, wouldn't start up, took Sue two hours of rebooting and phone calls to fix it. So we started 4 hours late.
We got a alot in the can quickly and although we went till 5am, and didn't get done what I had planned to do that night, we still shot 11 pages in that first night. But it wasn't a great start to the week, morale-wise. It got everyone tired right away. The schedule was shunted again, which meant no-one really knew where and when they were.
By mid week the schedule was changing hourly. We were working with who was available and on set. Someone showed up who should have been told they weren't need, things would move. I was just trying to keep one foot in front of the other and not side step off a cliff. I was concentrating on what was in front of me in the moment. But that often meant people were hanging around all day who didn't need to be. Still, we were getting footage in the can.
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| Painting with Light |
I was asking a lot from people, and although they were committed, they were there, when the schedule started slipping I do believe some people lost their faith in me and perhaps even regretted their decision to be a part of the project. You pick up on a vibe. You see how people look at you. You hear whispers in the corner when they think you're not close enough. That was hard for me. I felt upset and it made it difficult to concentrate on the task at hand. I went home that night more depressed then I had ever been on a film. I wont say I cried. But I was close.
I managed a good sleep, which always helps, and came to set with the previous day behind me. I smiled at people as they entered, well aware that everyone was on my project, there for me, and feeding off my energy. If I was sitting in the corner of the room not talking, then that's what I'd get back. So I stood at the stairs and smiled a warm hearty welcome to everyone as they came in. I hope it work. People seemed a bit more cheery that day and we got good work done that night. I was never as low again during the shoot anyway.
Amid the mayhem I believe the film was coming together. I was getting great performance from all involved, and even when at times actors weren't happy with what they were doing, or unsure, or not feeling it, I was continually blown away. The moment of the week came when Elaine Reddy delivered a stunning performance that floored everyone in the room and had us all reeling afterwards. She said she wasn't happy with it, but Fuck Me! I had goosebumps. When I said 'Cut' everyone in the room let out a huge sigh, because they'd all been holding their breath watching her.
This happened again and again for me. I knew scenes were working when I forgot where I was, when I would be watching the monitor and I'd forget to yell 'Cut' because I was at the movies, completely caught up in what was happening and waiting to see what was going to happen next, and then realising I still had to film that part!
It was interesting watching how the actors worked, there were 8 actors and 8 different processes in the room. It was difficult at times. But for me it was working. There was tension, but it was in the right place. People were constantly telling me what I should and shouldn't be doing, I believe they were trying to be helpful and I'm happy to take suggestions, and if they're good I'm more than happy to run with them. But it gets frustrating when people are questioning you, and basically saying you don't know what you're doing. I did know, I knew what I wanted, I knew what I was getting, I knew to keep going if it wasn't their yet. If it takes an extra hour to get the take that makes it into the film and raises the film to a higher standard, then I'm willing to go to bed at 5am instead of 3am.
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| Bright Star - Catherine Wrigglesworth |
There were one or two blow-outs during the shoot. People lost their patience. Which was fair enough. I remained calm through out. I almost lost it at one point. I forget exactly what day, Friday night maybe. I'd had enough of people telling me what to do and was building up to a blow out. I figured "Fuck it, I'm done, I'm gone. I'm going home to my wife and daughter, I'm sick of the lot of you..." I was waiting for the moment someone pushed me over the edge, but they didn't so I had a conversation with myself, I calmed myself down and I chose not to embarrass myself and waste everyone's time. We shot the scene and we moved on.
The level of commitment through out really blew me away. People brought their best work to the table and I enjoyed watching everyone work. All the cast brought their best. The crew were outstanding. I'm not going to single anyone out, but there were some star players, and they'll be the people you see go far. I was so grateful, and lucky, to have them.
There are still some scenes to get, the opening of the film, the conversation that changes everything for the two main characters, and the end of the film. All two handers. So hopefully we can go back and get them in the coming months. After all, it's nothing if it's not finished.
I was happy with everything that was going in. I haven't looked back at it yet. But I know there's a film in there. I'm not sure what it is yet though. Something different came out in that room. Something a bit more frightening then I had planned on. It's closer to the bone I think. I'm not entirely sure what I've made. It's the film I wrote. But I'm kind of afraid of this film. We'll see what arrives in the edit.
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| Me and DOP John Lawlor |
I'm quite drained this week. I had the first good nights sleep last night. Previous to this it was broken with a lot of anxiety dreams of still filming and nightmares. Today I feel extremely low, which is probably just the come down from such a busy few weeks. So maybe I'll cheer up soon and be dying to get back on set!
But trying not to end on a dull note I am extremely happy with what's been done. The shots are beautiful looking, the performances are outstanding (wouldn't be surprised if there weren't a few awards on the distant horizon) and I think I've made the film I set out to make. I'm looking forward to the edit, I love editing and I'm so excited to start putting all this together, especially to Dermot O'Mahony's score. I think we've got a good film on our hands and I'm looking forward to finishing it and to showing you, especially all those who have supported it over the last year, and those who have believed in me.
Wednesday, September 21, 2011
Rehearsals: Day 3
It's almost mid-night, I should be asleep, considering I didn't sleep very well at all last night (bad tummy, and anxiety dreams) and today was long, productive, yet tiring day at rehearsal, but, there's a 21 month old running around my ankles. Someone decided she didn't want to go to sleep tonight. After two hours of tantrum we finally gave in and and our lovely little daughter in happily running around singing and laughing... she won this battle!
Today was a good day. We blocked a good portion of the script, up page 40, so over half. Tomorrow we'll do the same. It got a little tough in the afternoon.
My energy was completely depleted. I could feel that the ideas weren't coming and because the rehearsal schedule has really been thrown out the window at this stage and we're just doing everything we can, when we can, I was finding it hard to focus on what exactly to do with half the cast not there. Sleep deprivation is not conducive to the creative environment... or anything really.
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| Elaine Reddy, Steve Gunn, Me, Patrick O'Donnell in The Factory |
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| Discussing a scene |
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| Steve captures the moment |
But we got through it and found a pace again. With it we got through several important scenes, so I was happy enough with that. Hopefully tomorrow we'll have all the crew there and can run through the entire script, start to finish and start figuring out the movements.
It's such a technical piece, I'm so glad I blocked off this week for rehearsal, we would have been up shit creek on set with all we have to do in 5 days! But I know, even with all this prep, it's still going to be intense on set, and I'm sure, like every other film I've done, a hell of a lot more than I'm anticipating... it's this blind optimism keeps us coming back, after the pain of the broken arm has faded we still go back and climb the tree.
OK, more tomorrow. Hopefully. I probably would have missed this one if little miss wakey wakes had decided to be little miss sleepy sleeps instead!
Tuesday, September 20, 2011
Rehearsals: Day 2
Today was a good day. A very good day. Those hiccups I mentioned, we got them solved. Starting with a very welcome phone call from Steve Gunn last night to say he'd mentioned the part to a friend of his, Patrick O'Donnell. He sent me a link to his reel, I was about 30 seconds of it a breathed a huge sigh of relief! My thumb lit across the blackberry qwerty keyboard and the deal was sealed! Patrick was in.
I got to together first thing with Michael and Steve. We hit their scenes together and tried to find the right balance between the two brothers in the opening scene. It went well. We didn't have enough time at it, so hopefully we can back to it, and their relationship during the week.
Everyone joined us, Maryann (my wife) came along to take info on costumes before going off to look for them. We got word then that Patrick was going to be able to join us for a reading. So we hung out a little bit, though I should curb the hanging out, we've only three days left and still a lot to go through! But the reading was great, Patrick brought a whole new take on Tone that changed it completely from how Keith was playing it, which I think is what it needed. I couldn't match what Keith was doing, and I didn't want to try, so I'm glad Patrick took it his own way, we can move ahead now.
What was nice too was that he knew most everyone, and had worked with almost everyone there. I was hoping for that, I think that relaxed atmosphere of friends and colleagues who now each other, like each other and thrive off each other makes for a good working atmosphere and allows us to bipass the getting-to-know-you stage. We can get stuck right it with a talented acting troupe.
Something else that worked out, my previous insurers, the one's I used on Emily's Song and Slán agus Beannacht got back to me, turns out they didn't go out of business but were just bought by another firm. So that is finally sorted - HURRAY!!! That's a load off my mind.
So yeah, it was a good day! And I'm looking forward to getting stuck in again tomorrow.
Meantime, seems we're making Headlines - Page one of IFTN today:
I got to together first thing with Michael and Steve. We hit their scenes together and tried to find the right balance between the two brothers in the opening scene. It went well. We didn't have enough time at it, so hopefully we can back to it, and their relationship during the week.
Everyone joined us, Maryann (my wife) came along to take info on costumes before going off to look for them. We got word then that Patrick was going to be able to join us for a reading. So we hung out a little bit, though I should curb the hanging out, we've only three days left and still a lot to go through! But the reading was great, Patrick brought a whole new take on Tone that changed it completely from how Keith was playing it, which I think is what it needed. I couldn't match what Keith was doing, and I didn't want to try, so I'm glad Patrick took it his own way, we can move ahead now.
What was nice too was that he knew most everyone, and had worked with almost everyone there. I was hoping for that, I think that relaxed atmosphere of friends and colleagues who now each other, like each other and thrive off each other makes for a good working atmosphere and allows us to bipass the getting-to-know-you stage. We can get stuck right it with a talented acting troupe.
Something else that worked out, my previous insurers, the one's I used on Emily's Song and Slán agus Beannacht got back to me, turns out they didn't go out of business but were just bought by another firm. So that is finally sorted - HURRAY!!! That's a load off my mind.
So yeah, it was a good day! And I'm looking forward to getting stuck in again tomorrow.
Meantime, seems we're making Headlines - Page one of IFTN today:
Monday, September 19, 2011
Rehearsals: Day 1
Well, we have begun... rehearsals at least. Day one done. We've set up camp in The Factory in Dublin, a studio, rehearsal space founded by John Carney, Kirsten Sheridan, Lance Daly and others. It's a great space (if not a little chilly). Most of the cast gathered at 10am, started by chatting, getting to know new faces, and then got stuck into some conversations about the script, the character, the themes and tone there in.
We had some lunch, soup and sandwiches, warmed us up. Then back to it. We read the end of the script, sequence 18 is a long a complicated piece, so I wanted to hit it first. A little more discussion and then everyone but me, Michael and Brian stayed behind to work on their character's relationship, which is one of high intensity! Even though we only started we got stuck in and it felt good.
It's always fun to see it come to life and watch the choices actors make, changing, improving upon, bringing new meaning to what I've written - and making it real, making the project real.
There are a couple of hiccups that arose over the weekend that have yet to be sorted out. For some reason my insurers are not getting back to me, no idea why they're dragging their heals, usually insurence has never been a worry, it goes through in the first phone call! But I decided to try a different firm this time and I can safely say I wont be using them again, well, maybe at all if they don't get back to me tomorrow!
We will have insurance, we can't do without it, that simple, we wont be allowed on location without it! It's just annoying that I've been put in this situation and made doubtful while I should just be concentrating on the creative side of things. Hopefully it'll get sorted in the next day or two.
Another headache came when I got a call on Saturday even from Keith Ward, the actor playing Tone, and the stunt coordinator, telling me that he had to pull out, just two days before rehearsal! He's working on Asterix 3 in Waterford and the shoot got pushed back because of the weather. Stupid hurricane! I don't hold any grudge toward Keith, I know he was in a tight spot. It's frustrating alright, but these things happen all the time. Hopefully tomorrow we'll have a new Tone. It's going to be a big challenge for whatever actor takes it. He's got to learn a whole character and script in four days! When Keith had it for a year! So watch this space!
OK, that's all for today. More tomorrow. I need to sleep now!!!
We had some lunch, soup and sandwiches, warmed us up. Then back to it. We read the end of the script, sequence 18 is a long a complicated piece, so I wanted to hit it first. A little more discussion and then everyone but me, Michael and Brian stayed behind to work on their character's relationship, which is one of high intensity! Even though we only started we got stuck in and it felt good.
It's always fun to see it come to life and watch the choices actors make, changing, improving upon, bringing new meaning to what I've written - and making it real, making the project real.
There are a couple of hiccups that arose over the weekend that have yet to be sorted out. For some reason my insurers are not getting back to me, no idea why they're dragging their heals, usually insurence has never been a worry, it goes through in the first phone call! But I decided to try a different firm this time and I can safely say I wont be using them again, well, maybe at all if they don't get back to me tomorrow!
We will have insurance, we can't do without it, that simple, we wont be allowed on location without it! It's just annoying that I've been put in this situation and made doubtful while I should just be concentrating on the creative side of things. Hopefully it'll get sorted in the next day or two.
Another headache came when I got a call on Saturday even from Keith Ward, the actor playing Tone, and the stunt coordinator, telling me that he had to pull out, just two days before rehearsal! He's working on Asterix 3 in Waterford and the shoot got pushed back because of the weather. Stupid hurricane! I don't hold any grudge toward Keith, I know he was in a tight spot. It's frustrating alright, but these things happen all the time. Hopefully tomorrow we'll have a new Tone. It's going to be a big challenge for whatever actor takes it. He's got to learn a whole character and script in four days! When Keith had it for a year! So watch this space!
OK, that's all for today. More tomorrow. I need to sleep now!!!
Wednesday, September 14, 2011
Lucky Number 5
Tomorrow is Thursday. That's three days to pick up everything I need. Lights, sound equipment, food, water, kitchen equipment, props, costumes... I'm getting flashbacks to my childhood and Saturday evenings when Challenge Anneka was on! Lots to do. Someone called me this evening and asked if I'd do a music video for them, for some reason I agreed to meet them tomorrow. Don't know what I was thinking, for one, I don't do music videos, and what the hell time do I think I have?! I'm going to have to cancel.
Monday brings the first day of rehearsal, now taking place in The Factory in Dublin. The guys did me a great deal and got me out of a hole! I thought we were getting the Complex, one of the actors helps out there and said we probably could get it, but they booked a show in the meantime. Fair enough. I'm interested to see what the Factory space is like. The palce was a famous rehearsal space for bands back in the 80s, the likes of U2 used to rehearse there. Recently it has been reestablished as a film studio, set up by several well known Irish filmmakers, John Carney (Once) Kirsten Sheridan (August Rush) and Lance Daly (Kisses) among them. I believe it's meant to operate in the same way Coppola's Zoetrope does, or did! A kind of filmmakers collective?! I'm not a hundred percent sure, so looking forward to finding out more. (RTE Radio interview about the place Here.)
Apart from that aspect I'm just looking forward to getting into a room with the actors and figuring this thing out. With all the delays on this, 5 false starts in total, it's actually been a bit of a blessing. It's given us the time to meet again and again and try different things. Things that didn't always work, but you have to go down these roads. I've had the luxury of having lengthy conversations with the actors. Nothing has been rushed and I believe it's all lead to a stronger script and hopefully that will all translate to a better film.
Just mentioning the 5 false starts there - it's interesting, 5 seems to be the constant trend here, fifth start attempt, €5000 budget, 5 day shoot. Hopefully it's Lucky!
Should get to bed. Late. I've already had one sleepless night filled with worry this week, so going to try and get some sleep before a busy day tomorrow! Just thought I'd empty sweep some brain dust under the rug before laying it to rest.
More soon. Once we get into rehearsals it should get a bit more interesting and hopefully I'll be able to post a lot more pictures and maybe some more videos.
Monday brings the first day of rehearsal, now taking place in The Factory in Dublin. The guys did me a great deal and got me out of a hole! I thought we were getting the Complex, one of the actors helps out there and said we probably could get it, but they booked a show in the meantime. Fair enough. I'm interested to see what the Factory space is like. The palce was a famous rehearsal space for bands back in the 80s, the likes of U2 used to rehearse there. Recently it has been reestablished as a film studio, set up by several well known Irish filmmakers, John Carney (Once) Kirsten Sheridan (August Rush) and Lance Daly (Kisses) among them. I believe it's meant to operate in the same way Coppola's Zoetrope does, or did! A kind of filmmakers collective?! I'm not a hundred percent sure, so looking forward to finding out more. (RTE Radio interview about the place Here.)
Apart from that aspect I'm just looking forward to getting into a room with the actors and figuring this thing out. With all the delays on this, 5 false starts in total, it's actually been a bit of a blessing. It's given us the time to meet again and again and try different things. Things that didn't always work, but you have to go down these roads. I've had the luxury of having lengthy conversations with the actors. Nothing has been rushed and I believe it's all lead to a stronger script and hopefully that will all translate to a better film.
Just mentioning the 5 false starts there - it's interesting, 5 seems to be the constant trend here, fifth start attempt, €5000 budget, 5 day shoot. Hopefully it's Lucky!
Should get to bed. Late. I've already had one sleepless night filled with worry this week, so going to try and get some sleep before a busy day tomorrow! Just thought I'd empty sweep some brain dust under the rug before laying it to rest.
More soon. Once we get into rehearsals it should get a bit more interesting and hopefully I'll be able to post a lot more pictures and maybe some more videos.
Thursday, September 01, 2011
SEPTEMBER!
It's September. That means one thing. I'm shooting this month!
Two years ago me and a friend sat in a pub having a few beers and talking about movies. We kept saying we should do something together. I had this idea of getting a bunch of actors together and putting them in one location with an story and seeing what came out (a lazy writer's dream!)
There was a location I had in mind. As it happened another friend was in the same bar, a councillor at the time, so I asked if we could get into a certain location. He said yes. And so it was in motion. I had planned to shoot that October. Just one month later! But... didn't happen. Reality dawned.
We set to writing a script, Mark Lebenon and I. We didn't get very far. The idea kept falling flat. We couldn't find a hook. A reason to keep everyone in the building. Mark and his family eventually decided to return to South Africa after the recession took it's toll on them. But before Mark left we met for one more chat and he told me about a play he was working on, one that took place in a school, all over the school. So the audience would be lead around from class to class to watch different scenes. I thought this was a great idea. And so grew the idea of shooting the film in one take.
From that came the idea of having to shoot in real time. That's when I thought of the Tiger Kidnapping idea, the idea that it would take one of the kidnappers and hour-and-half to go to a bank and comeback. So there it was. That took about a year.
While Mark was still here I started casting. And once again planned to shoot in October of that year, 2010. But then the location fell through. I pushed it to January, scheduling problems. March, money problems. May, more scheduling problems. Finally I said September, and that's it. If anyone can't do it then I'll find someone who can, but everyone committed. If I don't have the money, I'll beg steal and borrow... which I did!
So here we are, September 2011! Finally. Less than 4 weeks out from shooting. I'm meeting some actors tomorrow to talk in detail about characters. I meeting Dermot O'Mahony on Saturday to talk Music and from here on out I'll be working on it everyday. Which is exciting.
And, I can also finally announce that Catherine Wrigglesworth joins the cast playing Louise. Welcome Cath, happy to have you on board!
Plenty more news to come as we move forward. Stay tuned.
Two years ago me and a friend sat in a pub having a few beers and talking about movies. We kept saying we should do something together. I had this idea of getting a bunch of actors together and putting them in one location with an story and seeing what came out (a lazy writer's dream!)
There was a location I had in mind. As it happened another friend was in the same bar, a councillor at the time, so I asked if we could get into a certain location. He said yes. And so it was in motion. I had planned to shoot that October. Just one month later! But... didn't happen. Reality dawned.
We set to writing a script, Mark Lebenon and I. We didn't get very far. The idea kept falling flat. We couldn't find a hook. A reason to keep everyone in the building. Mark and his family eventually decided to return to South Africa after the recession took it's toll on them. But before Mark left we met for one more chat and he told me about a play he was working on, one that took place in a school, all over the school. So the audience would be lead around from class to class to watch different scenes. I thought this was a great idea. And so grew the idea of shooting the film in one take.
From that came the idea of having to shoot in real time. That's when I thought of the Tiger Kidnapping idea, the idea that it would take one of the kidnappers and hour-and-half to go to a bank and comeback. So there it was. That took about a year.
While Mark was still here I started casting. And once again planned to shoot in October of that year, 2010. But then the location fell through. I pushed it to January, scheduling problems. March, money problems. May, more scheduling problems. Finally I said September, and that's it. If anyone can't do it then I'll find someone who can, but everyone committed. If I don't have the money, I'll beg steal and borrow... which I did!
So here we are, September 2011! Finally. Less than 4 weeks out from shooting. I'm meeting some actors tomorrow to talk in detail about characters. I meeting Dermot O'Mahony on Saturday to talk Music and from here on out I'll be working on it everyday. Which is exciting.
And, I can also finally announce that Catherine Wrigglesworth joins the cast playing Louise. Welcome Cath, happy to have you on board!
 |
| Catherine Wrigglesworth (centre) in Jason Figgis' Railway Children. |
Wednesday, August 31, 2011
PFO
I got a PFO letter this week. I have a stack of them. A large pile that I used to keep pinned to the wall beside my desk, but that now inhabit the bottom of a box somewhere. I also have several gigs of PFO emails.
Ah, the rejection letter. It's a daily subjection as a filmmaker and writer to be faced with rejection. Daily rejection? Think about that. To be told "No" "Not Good Enough" "Go Away" "Not A Chance" "PLEASE F*&@ OFF" on a daily basis. I imagine it's a lot like what it feels like to be a chugger. (Though that doesn't make me hate them any less!)
But, alas, it is part of the process. It gets easier to take. But is no less annoying. I suppose it helps develop a thick skin and enforces the resolve to keep going. To prove them wrong? a little bit, yes. But it's always about the work. Making something good and enjoying it, because that's why you're in it in the first place - for the love of the work. Not for the approval of funding bodies.
In fact, I'd like to start sending them PFO letters back.
Dear Funding Body,
Well I don't need you stupid money anyway. I'm still going to make my film. :b'
Yours Sincerely
A Jilted Lover.
Does make me sound a bit like a jilted lover doesn't it?! Well, maybe not then. Best to just brush it off. Just figure on the fact that your work is not going to be for everyone and keep doing it anyway.
The project I'm referring to was of course Derelict (as well as every other project I've ever thought of, developed, wrote and made) but that's shooting in 4 weeks time. So you make it happen. No one else. Just you. People may step in to help if you're lucky, but still and always it's down to you to make it happen. Rejection is part of acceptance. Makes becoming all the sweeter.
Now, I have work to do, so if you don't mind - PFO.
;)
Ah, the rejection letter. It's a daily subjection as a filmmaker and writer to be faced with rejection. Daily rejection? Think about that. To be told "No" "Not Good Enough" "Go Away" "Not A Chance" "PLEASE F*&@ OFF" on a daily basis. I imagine it's a lot like what it feels like to be a chugger. (Though that doesn't make me hate them any less!)
But, alas, it is part of the process. It gets easier to take. But is no less annoying. I suppose it helps develop a thick skin and enforces the resolve to keep going. To prove them wrong? a little bit, yes. But it's always about the work. Making something good and enjoying it, because that's why you're in it in the first place - for the love of the work. Not for the approval of funding bodies.
In fact, I'd like to start sending them PFO letters back.
Dear Funding Body,
Well I don't need you stupid money anyway. I'm still going to make my film. :b'
Yours Sincerely
A Jilted Lover.
Does make me sound a bit like a jilted lover doesn't it?! Well, maybe not then. Best to just brush it off. Just figure on the fact that your work is not going to be for everyone and keep doing it anyway.
The project I'm referring to was of course Derelict (as well as every other project I've ever thought of, developed, wrote and made) but that's shooting in 4 weeks time. So you make it happen. No one else. Just you. People may step in to help if you're lucky, but still and always it's down to you to make it happen. Rejection is part of acceptance. Makes becoming all the sweeter.
Now, I have work to do, so if you don't mind - PFO.
;)
Wednesday, August 24, 2011
2001: A Filmmaker's Odyssey
2001 really was the year that changed my life forever. For lots of personal reasons, but also for film.
I graduated college in 2000 having studied Animation for 4 years at Ballyfermot College of Further Education. I started out top of my class, an extremely enthusiastic student, but I didn't stay that way. I probably graduated bottom of my class, if I'm entirely honest. For lots of reasons, and not to play the blame game, but it was the kind of college where you were pretty much left to your own devises, they weren't so big on the guidance thing, and left to my own devises I'm easily distracted.
One such distraction was screenwriting. I became obsessed with it. I've always been a film fan and I've wanted to make films for as long as I can remember. And I've always been a keen writer. But again, never really guided. Sounds odd, but I discovered screenwriting quite late. When I did, I knew this was my way in. College took a backseat from then on.
I went to LA straight after graduation. Spent several weeks looking for work in some of the top studios in the world with a half-assed portfolio and the worst reel you'd ever seen. Not surprisingly I didn't find work, so I came home early. My girlfriend at the time had already decided she was going to spend a year in Australia, backpacking. I could come, or not, but whatever I decided she was going. So I guess that meant I was going.
She went ahead by several months. I stayed behind working on a factory production line trying to safe enough money to join her. I was lucky though. I was sat alone in the far corner of a large factory on a near empty floor on a self-running test machine that I only had to load every 30 minutes. It gave me months to write. I actually loved it. I wrote three short scripts and two feature scripts. They were terrible. I knew even then. But I was writing. And more to the point I discovered that I enjoyed it more than Animation. I loved making up stories.
I finished working there in January of 2001 and by that time I had made the decision not to pursue Animation any further and instead follow my first love, no, not the girlfriend in Australia, but Film.
When I landed in Australia I was of course thrilled to see the girlfriend, and her me... for about 12 hours! The next day I dropped the bombshell "I'm not doing Animation anymore, I want to make films." The look on her face should have told me that was the end, but I've always been a little naive that way. It took several more months for the penny to drop.
During the following oblivious months I wrote, like never before. I poured over screenwriting books, I bought notebooks and took endless notes and I even bought myself an old type-writer from SVP (SVP would play a hand in my career again of course!) and I set to writing the screenplay I was going to direct when I got back to Ireland. It was a kidnap thriller called Blood . Dirt . Money even had the full-stops like that and everything!
A huge influence on the script, and me, was the film Memento by Christopher Nolan. It truly inspired me and informed me. It changed how I looked at films. I realised this was the kind of film I wanted to make. Something contained, taught, dark, something that kept the audience guessing and enthralled. That first draft of B.D.M probably lifted a lot from Memento, in fact, I know it did, as well as a lot of other films. Looking back it was something of a patchwork of borrowed scenes! But I managed to finish the screenplay before we left Sydney. Little didn't I know that when I typed 'The End' it meant more than just the end of the script.
I came back to Ireland early. The girlfriend stayed behind to spend some time with her sister, or so I thought. I had suspicions something else had been going on for a while. She would cry for no reason. Disappear to meet friends, who would then show up completely unaware of any such meeting, strange misplaced apologies. When she eventually did get back I popped around to see her and was sitting at the table flicking through a magazine when I came across her named, written across a L'Oreal advertisement, but with a different second name, and not mine!
I remember her telling me years ago that it was something all girls did, write their name with the second name of a potential husband to see if it looked good, sounded good (she always thought my second name sounded funny with hers!) I never forgot the name, and it was only years later when I heard the name of her now husband that it was all confirmed. We broke up that week.
But none of that matters now. She's married. I'm married. Everyone's grown up and happy. It's just relevant to the year that changed my life. 2001. My odyssey!
After that I decided I would focus on writing. I got in touch with Thomas Kennedy. Told him I wanted to make this script I had and if could advise me. He read it. Never mentioned it again. But asked if I wanted to write something else with him. From that first meeting came Emily's Song, our award winning short film. Ten years on the writing partnership continues, that although we've been interrupted by marriages and kids and careers and soon immigration, it is still going strong - I'm meeting him tomorrow in fact, we're still working on Iscariot!
So that was the year that changed my life. Had I not made that decision I would have the films I've made, the friends, the collaboration the measure of success I've had. Had the girlfriend not made her decision I would not be happily married to a wonderful, supportive, strong woman with whom I have the most beautiful daughter.
And ten years on I finally get to make my kidnap thriller. Except this time is called Derelict and hopefully the script is a bit better!
I graduated college in 2000 having studied Animation for 4 years at Ballyfermot College of Further Education. I started out top of my class, an extremely enthusiastic student, but I didn't stay that way. I probably graduated bottom of my class, if I'm entirely honest. For lots of reasons, and not to play the blame game, but it was the kind of college where you were pretty much left to your own devises, they weren't so big on the guidance thing, and left to my own devises I'm easily distracted.
One such distraction was screenwriting. I became obsessed with it. I've always been a film fan and I've wanted to make films for as long as I can remember. And I've always been a keen writer. But again, never really guided. Sounds odd, but I discovered screenwriting quite late. When I did, I knew this was my way in. College took a backseat from then on.
I went to LA straight after graduation. Spent several weeks looking for work in some of the top studios in the world with a half-assed portfolio and the worst reel you'd ever seen. Not surprisingly I didn't find work, so I came home early. My girlfriend at the time had already decided she was going to spend a year in Australia, backpacking. I could come, or not, but whatever I decided she was going. So I guess that meant I was going.
She went ahead by several months. I stayed behind working on a factory production line trying to safe enough money to join her. I was lucky though. I was sat alone in the far corner of a large factory on a near empty floor on a self-running test machine that I only had to load every 30 minutes. It gave me months to write. I actually loved it. I wrote three short scripts and two feature scripts. They were terrible. I knew even then. But I was writing. And more to the point I discovered that I enjoyed it more than Animation. I loved making up stories.
I finished working there in January of 2001 and by that time I had made the decision not to pursue Animation any further and instead follow my first love, no, not the girlfriend in Australia, but Film.
When I landed in Australia I was of course thrilled to see the girlfriend, and her me... for about 12 hours! The next day I dropped the bombshell "I'm not doing Animation anymore, I want to make films." The look on her face should have told me that was the end, but I've always been a little naive that way. It took several more months for the penny to drop.
During the following oblivious months I wrote, like never before. I poured over screenwriting books, I bought notebooks and took endless notes and I even bought myself an old type-writer from SVP (SVP would play a hand in my career again of course!) and I set to writing the screenplay I was going to direct when I got back to Ireland. It was a kidnap thriller called Blood . Dirt . Money even had the full-stops like that and everything!
A huge influence on the script, and me, was the film Memento by Christopher Nolan. It truly inspired me and informed me. It changed how I looked at films. I realised this was the kind of film I wanted to make. Something contained, taught, dark, something that kept the audience guessing and enthralled. That first draft of B.D.M probably lifted a lot from Memento, in fact, I know it did, as well as a lot of other films. Looking back it was something of a patchwork of borrowed scenes! But I managed to finish the screenplay before we left Sydney. Little didn't I know that when I typed 'The End' it meant more than just the end of the script.
I came back to Ireland early. The girlfriend stayed behind to spend some time with her sister, or so I thought. I had suspicions something else had been going on for a while. She would cry for no reason. Disappear to meet friends, who would then show up completely unaware of any such meeting, strange misplaced apologies. When she eventually did get back I popped around to see her and was sitting at the table flicking through a magazine when I came across her named, written across a L'Oreal advertisement, but with a different second name, and not mine!
I remember her telling me years ago that it was something all girls did, write their name with the second name of a potential husband to see if it looked good, sounded good (she always thought my second name sounded funny with hers!) I never forgot the name, and it was only years later when I heard the name of her now husband that it was all confirmed. We broke up that week.
But none of that matters now. She's married. I'm married. Everyone's grown up and happy. It's just relevant to the year that changed my life. 2001. My odyssey!
After that I decided I would focus on writing. I got in touch with Thomas Kennedy. Told him I wanted to make this script I had and if could advise me. He read it. Never mentioned it again. But asked if I wanted to write something else with him. From that first meeting came Emily's Song, our award winning short film. Ten years on the writing partnership continues, that although we've been interrupted by marriages and kids and careers and soon immigration, it is still going strong - I'm meeting him tomorrow in fact, we're still working on Iscariot!
So that was the year that changed my life. Had I not made that decision I would have the films I've made, the friends, the collaboration the measure of success I've had. Had the girlfriend not made her decision I would not be happily married to a wonderful, supportive, strong woman with whom I have the most beautiful daughter.
And ten years on I finally get to make my kidnap thriller. Except this time is called Derelict and hopefully the script is a bit better!
Sunday, August 07, 2011
Pistols at Dawn.
Sold Slán agus Beannacht to RTE. Great! Delighted. I'm glad this film will be broadcast and everyone's work will finally get seen by a large audience.
Derelict is moving forward nicely. Things are coming together. On target for September shoot. We'll be getting gear from Film Equipment Hire Ireland, my thanks Colin Browne there for the help! Awesome! I've been talking to renowned armorer John McKenna about supplying some weapons - pistols and knives. Hopefully going out to his store soon to have a look at what I can afford.
On that subject I'm meeting with actor Keith Ward this week to start designing the fights and stunts. So I'm looking forward to that. I'm planning on storyboarding the film, so will trying to get some boards done for the fights soon to work from.
Last week I met with actors Michael bates and Steve Gunn to go over the brother scenes and work on their relationship as brothers. It was a great afternoon. We got a lot from it and it gave us so much food for thought. It felt like we'd given the script life, and the more time we spent with it the more it grew and flourished. So I'm really looking forward to doing some lengthy rehearsals and
finally getting on set.
I think I said before it's one of my favourite parts of the experience, getting actors in a room and watching your words come to life and then the collaboration that comes after, the conversation, the search for the truth within the words. When it works it's truly exhilarating. I love it.
Coming up, casting. I have one part left to cast. Previously owned by Andy Gallagher, the part of Andrew the son has been rewritten as Louise, the daughter. So I'm on the look out for a young actress. So seeing some people this week. Hopefully Louise is among them.
So it's getting close. 7 weeks today we'll all be on set. I can't wait... actually, I can! There's still a hell of a lot to do and I'd rather have the time. Even though this has been two year in development and it's been delayed and delayed this year, I'm sure once it comes to it I'll be praying for more time! But that's the energy that gets us through.
Derelict is moving forward nicely. Things are coming together. On target for September shoot. We'll be getting gear from Film Equipment Hire Ireland, my thanks Colin Browne there for the help! Awesome! I've been talking to renowned armorer John McKenna about supplying some weapons - pistols and knives. Hopefully going out to his store soon to have a look at what I can afford.
 |
| Me doing camera test at location. |
Last week I met with actors Michael bates and Steve Gunn to go over the brother scenes and work on their relationship as brothers. It was a great afternoon. We got a lot from it and it gave us so much food for thought. It felt like we'd given the script life, and the more time we spent with it the more it grew and flourished. So I'm really looking forward to doing some lengthy rehearsals and
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| John Lawlor DOP |
I think I said before it's one of my favourite parts of the experience, getting actors in a room and watching your words come to life and then the collaboration that comes after, the conversation, the search for the truth within the words. When it works it's truly exhilarating. I love it.
Coming up, casting. I have one part left to cast. Previously owned by Andy Gallagher, the part of Andrew the son has been rewritten as Louise, the daughter. So I'm on the look out for a young actress. So seeing some people this week. Hopefully Louise is among them.
So it's getting close. 7 weeks today we'll all be on set. I can't wait... actually, I can! There's still a hell of a lot to do and I'd rather have the time. Even though this has been two year in development and it's been delayed and delayed this year, I'm sure once it comes to it I'll be praying for more time! But that's the energy that gets us through.
 |
| The location. |
Just wanted to throw this in. I watched a fantastic film this morning, one I've been meaning to watch for quite a while - Down Terrace. A low budget british crime film made by director Ben Wheatley and writer Rob Hill. It was absolutely brilliant. I loved it. A real, edgy, violent and very bloody funny crime thriller. It's very much in the same vein as Derelict - Shoot on one location, a small cast and crew, everyone working for free, a budget of a few grand, no backing, purely independent and shot over two weeks.
Down Terrace - Highly Recommended!
It gives me hope, makes me believe that great films really are achievable at this level. Also worries me! But Derelict has a great team fighting to make it work.
That's all for now. Hopefully back soon with some cast news!
Saturday, July 16, 2011
Day for Night
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| Location by Day |
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| Location Graded for Night |
So overall the location was a 'No', it was too small, didn't offer enough in terms of story and as John pointed out 'It's not derelict!' - it was also right on the doorstep of the owners house. Slightly impractical. While they had a 'Work away' attitude, I'm sure they have no idea just how intrusive a film crew is, especially one shooting at night. We might find on the second night, at 3 am, having woken them up for the fifth time, a grumpy housewife walking into shot in her nightgown telling us to find somewhere else to make our film!
We headed straight from there to the second location. One Richie and I had looked at late one evening as the sun was going down. It was pitch black inside and our only source of light was a candle and the light from our phones! So I didn't really get a sense of the space. But it was a different story during the day. As we pulled up to this large old mill, complete with rows of shed and 80 foot chimney stack, John said 'I don't even have to see inside, this is the place.'
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| Me at Location |
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| Me at Location Graded for Night |
I'm never sure about shooting Day for Night, I always see it in films and it jars me out of them. There's a big difference in the lighting, the skin tones, how shadows fall and the overall quality of the piece. It creates the wrong type of atmosphere. I love when it's done in the old Hammer Horror films, makes my smile. But not for this. I'd rather work as close to the environment we're trying to portray as possible. Shooting at night lends a certain atmosphere that is simply unobtainable in the day. And I want that to translate to the screen.
While the second location is expensive it gives us so much more that, for me, makes it worth it. I'm getting very excited about getting in there to dress the set and to light it. It's going to be a challenge I'm sure, probably ten times harder than I'm imagining, and who the hell wants to work from 8pm to 4am! But I think it's the right choice and will give us the dark, atmospheric, gritty crime thriller I set out to make two years ago!
Can't wait to get stuck in!!!
In some other news, the short film I directed and edited last year, Raise My Hands, is finally hitting the road - starting with the IMDB page. We've started entering festival and I'm cutting the trailer on the other screen right now, that should be up soon! More news coming.
Friday, July 08, 2011
Doubt.
No, not the John Patrick Shanley film, though it's great and you should see it. I mean the actual feeling of doubt that plagues our every waking minute. That sense of being unsure, the feeling that things are quite as they should be. I have doubt a lot of the time, probably as much as anyone, I doubt the news, word of mouth, people, freedom, my grocery receipt... the usual stuff. But I have it in spades at the moment.
I just sent the new draft of the Derelict script out to the actors, and some trusted friends, and as soon as clicked send I regretted it. Which is odd, because I've been sending earlier, less completed, drafts out no problem - with that very intension, that people would be involved early on and the actors could contribute to their own parts with their ideas. But on this draft for some reason, I had doubt.
I think as it gets closer, we're now two and a half months away from shooting, I'm getting more worried about it working, about making a good film, a worthy film, of everyone's time, talent and effort and money - a lot of people have donated money to this film now. I'm worried about making a fool of myself too! I've been blabbering on about this film for far to long, to make it and fail, would be a disaster, would be unacceptable.
When I finish a draft, revise it, read it again and feel happy with it, I put it aside and I might sit down to watch some TV, and if there's something bad on I think "Shit, does my script sound like that, is this what I'm making?!" so I have to go back and check. Or, the opposite, I watched Network and Serpico this week, blistering performances burning the screen, powerful, a master-class in the craft of filmmaking. So I think, "What's the point in doing it if I can't do that?! What's the point in doing anything if the best has already been achieved" - so the doubt grows and grows.
I think the trick is, I hope the trick is, to use that doubt as a tool. To keep checking, keep refining and ultimately, never really be happy with it. Do the best you can with what you have and hope that what comes out in the end is somewhere near that vibrant intangible spark you caught a glimpse of way back when you decided it would be a worth while journey to follow it.
Some more writing to come. Hopefully a rehearsal or two. And I'm going to do some storyboards soon too. Still looking for some crew as well. More doubt soon.
I just sent the new draft of the Derelict script out to the actors, and some trusted friends, and as soon as clicked send I regretted it. Which is odd, because I've been sending earlier, less completed, drafts out no problem - with that very intension, that people would be involved early on and the actors could contribute to their own parts with their ideas. But on this draft for some reason, I had doubt.
I think as it gets closer, we're now two and a half months away from shooting, I'm getting more worried about it working, about making a good film, a worthy film, of everyone's time, talent and effort and money - a lot of people have donated money to this film now. I'm worried about making a fool of myself too! I've been blabbering on about this film for far to long, to make it and fail, would be a disaster, would be unacceptable.
When I finish a draft, revise it, read it again and feel happy with it, I put it aside and I might sit down to watch some TV, and if there's something bad on I think "Shit, does my script sound like that, is this what I'm making?!" so I have to go back and check. Or, the opposite, I watched Network and Serpico this week, blistering performances burning the screen, powerful, a master-class in the craft of filmmaking. So I think, "What's the point in doing it if I can't do that?! What's the point in doing anything if the best has already been achieved" - so the doubt grows and grows.
I think the trick is, I hope the trick is, to use that doubt as a tool. To keep checking, keep refining and ultimately, never really be happy with it. Do the best you can with what you have and hope that what comes out in the end is somewhere near that vibrant intangible spark you caught a glimpse of way back when you decided it would be a worth while journey to follow it.
Some more writing to come. Hopefully a rehearsal or two. And I'm going to do some storyboards soon too. Still looking for some crew as well. More doubt soon.
Monday, July 04, 2011
5 Years Old.
My blogiversary passed with incident or fanfare! I guess I forgot all about it with all that was going on over at Kickstarter! Sorry Blog!
5 Years Old!!! As of June 28th.
I started this blog just after I completed 'Emily's Song' in 2006 and have since charted my accomplishments, failures, hopes, disappointments, dreams and nightmares! It's been interesting for me to look back over it and see ideas come to fruition. Reading an entry where something is sort of mentioned and knowing that was the day I came up with the idea, then there's the script, cast attached, the shoot, the film, festivals, distribution deal signed, awards, TV broadcast! It's been a fascinating journey. It's still as tough as it ever was I still have as many struggles and doubts. But if I'm ever in any doubt that it's possible I only need to looking back over these pages and know it is.
I hope those who visit have enjoyed the blog and continue to enjoy it. It will be interesting to see what new films and adventures appear here over the next five years! Stay tuned!
Thanks for reading.
5 Years Old!!! As of June 28th.
I started this blog just after I completed 'Emily's Song' in 2006 and have since charted my accomplishments, failures, hopes, disappointments, dreams and nightmares! It's been interesting for me to look back over it and see ideas come to fruition. Reading an entry where something is sort of mentioned and knowing that was the day I came up with the idea, then there's the script, cast attached, the shoot, the film, festivals, distribution deal signed, awards, TV broadcast! It's been a fascinating journey. It's still as tough as it ever was I still have as many struggles and doubts. But if I'm ever in any doubt that it's possible I only need to looking back over these pages and know it is.
I hope those who visit have enjoyed the blog and continue to enjoy it. It will be interesting to see what new films and adventures appear here over the next five years! Stay tuned!
Thanks for reading.
Wednesday, June 29, 2011
Kickstarted!
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| Kickstarter Success! |
We did it! You did it! The Derelict Kickstarter funding drive is SUCCESSFUL!!! I'm thrilled, over the moon, ecstatic! I didn't think it was going to happen for a while there, but so many friends, acquaintances, associates and complete strangers came through to help me and help get this project off the ground.
Most of all this has been extremely encouraging. I've had a lot of positive feedback on the clip, people like the dialogue, love the cast and are intrigued by the scenes and want to see more. Well, there certain is more and thanks to this, and of course the other donation given, we're going to get to see it all realised.
I'm under no illusions mind you. It's still going to be a tough project to complete. When the kickstarter money comes through, what with fees and the exchange rate at the moment that $3000 should translate to about €2000. Along with what's in the bank, we'll have between three and four thousand. Still not a hell of a lot to make a feature film. But it's enough to make this film. It has to be.
There's still a lot to get organised. Including cast a new role. We unfortunately lost Andy Gallagher, who was to play, Andrew, the son. But the schedule of the film conflicted with the start date of his college course. I decided to try a little experiment and change the character of the son to that of a daughter. Adds a whole new dimension (less of a sausage fest as my wife said!) So I'm casting for that role - actresses who can play 16/17 year-old. (If you're an actress and you're reading this, hit the 'contact me' button on the right)
Equipment to get. Crew - very specifically a Sound Recordist! Anyone reading?! You know what to do.
We're able to get this film made because everyone is working for free. Because, as well as the generous people who have pledged to pay for insurance, equipment, expenses etc. there are the cast and crew, all of whom were the first to donate to this project, of their time and talent - so my thanks to them, always.
Next for me is to keep working on the script. I finished the new draft today, purely by conincidence. I'm going to spend a couple of days going over it before anyone gets their hands on it. After that we'll try and get together and begin some form of rehearsals, workshops, one on ones - whatever we can find the time to do. I do plan to hold a full rehearsal with all the cast in the location of the film, to get a feel for it, so everyone knows early on what we're up against. I'll also film it, so some teaser footage may appear in the coming months... maybe!
That's all for now. Just my thanks again to everyone who has pledged. Thank you all so much for helping get this film made. My thanks to everyone who perhaps couldn't afford to donate but still helped get the word out by sharing the link on their facebook walls and retweeting on twitter! I know for a fact one such wall post lead to a donation of $145! And another to a donation of $500!!! So in these situation, you may not think you can help because you can't pledge, but you can, getting the word out helps - you never know who's reading!
Ok, I'm off. I have a busy 10 days ahead. My wife is flying to the states for her sisters wedding so I have my 18 month old daughter alone for that time! I hope I survive... wish my luck!
Thanks! All of you. And thanks to Kickstarter for giving me such brilliant opportunities to raise funding. Great website! Love it.
Backers:
Debra Carty
Deb Stone
Niamh O'Donnell
Farah Azalea
Oisin Prenerville
David Brennan
Terry Whittingham
Elliot Kotek
Victoria Charters
Trevi Productions
Donal Black
Paul Quinn
Paul McGrath
Gavan Murphy
Damien Donnelly
Jennifer Hegarty
David Wolstencroft
Jason Butler
Trampas Thomspon
Dan Gaynor
Brendan Leech
Emily Best
Holly Perkins
Cara Konig-Brock
Varda Hardy
Gwen Fearon
Paul J. Gitschner
Fiaz Farrelly
John Burton
Fergalio
Samantha Boylan
Noel Prendiville
Kyle Jaracz
Doen Vozov
Don Reilly
Tadeusz Cantwell
Hugh O'Conor
Morgen Sarpeshkar
Simon Gregory
Leigh Ann Danzey-Bussell
Roger Hudson
Erick von Schulz
Badgerankles360
Tuesday, June 21, 2011
Don't forget your friends.
Just a quick blog about the importance of taping you social networking resources indies! Take nothing for granted. A couple of weeks ago I was getting a little burnt out on facebook, so I took a break, stayed more on twitter (which of course I love, 140 anyone?!) But had the notion that maybe I would stay over at twitter! Tonight I changed my mind and remembered the each are different and as important as the other.The kickstarter fund had stalled at $1565, as the blog below states. So I put out a call to my friends on facebook, sent a message asking them to share a link and help get word out - they went a step further and began pledging, and we went from $1565 to $2022 in a couple of hours! It was unbelievable! I'm so appreciative and taken aback with the sudden outpouring of generosity and belief! Even though I haven't had much sleep in the last three nights I'm buzzing tonight... hence a blog at 1am!
There's still a way to go. I have 7 days to raise almost $1000. I'm not resting on my laurels. But I am thankful for tonight.
The moral, take nothing for granted, utilise what you have. Trust that your friends believe in you and will support you. Ask for help when you need it. Be grateful. Be thankful. And keep pushing, right to the end.
Goodnight.
Update: June 22. Since last night the fund has gone up to $2737! So 91% funded with 6 days to go! Still $263 to raise though! - Sprint to the finish!
Monday, June 20, 2011
The Magic 5%
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| Derelict Kickstarter Page |
Kickstarter has a policy, I've mentioned it here time and again, it states that if you do not get the full amount, you get nothing, works as an incentive and I kinda like it... well, I did at the start, but now I'm in single digits and staring down the barrel of a gun, I'm not so sure anymore!!!
The script is going well, I've been writing all last week and all weekend (even with my daughter up all night teething and crying I managed to get a page here and there in the quiet moments!) So I'm feeling good about the project.
My hope is to have another reading in the location itself and film it, so everyone can get a feel for it and maybe I can even cut a rough version of the film together, which will help with further development of the script and may even be something to show investors in the project... will also just be good fun!
For me that's an important factor, Fun! Filmmaking at this level, the bottom rung of the ladder... that's if I'm even near a ladder! - is all about hustling, pulling favours, putting on community fundraisers, crowdfunding, being a one-man-band, so it gets tiring and I find myself questioning the reasons I'm doing this in the first place, it's certainly not for all of the above.
But that's the 95% that comes before the magic 5% when you do get to do what it's all about and every time I get a chance to get in that space I'm reminded why I go through the other crap. It's about getting in a room with a bunch of creative people and making something out of thin air that may entertain, educate, move, inspire people. That's why I do the rest of it. For that magic 5%.
So, back to Kickstarter. I really don't want to lose that $1500, I really would like to get the rest and make it to $3000! To lose it now would be such a blow. So I need to keep pushing it, to the final hour - Mid-night on June 30th. The next day my wife leaves for the states to attend her sisters wedding and me and my Daughter have 10 days alone. We'll already be sad. I don't want to be any more sad!
If I don't get this, honestly, the film really stands a chance of not getting made! I only have so much time to develop the script, find the rest of the crew and rehearse with the actors. I need to be concentrating on that and less on the fundraising! And time is of the essence for me as I have a huge personal deadline approaching. I can't keep delaying the shoot. So this could be it! Help. Is. Needed!
So, if you're reading this and think you can help, please do. $/€5 makes a difference, helps push us forward. $/€50 is huge boost and provides credits and freebies and inclusion in the process of making the film. http://kck.st/iLoYWC - and spreading the word, recommending to friends, it's all good!
What's the money for? Insurance, equipment rental, travel expenses and food.
Thanks for you help! It's appreciated.
Wednesday, June 08, 2011
Praise Be.
I just wanted to thank everyone who has pledged so far to the Derelict Kickstarter fund. The support of these people means everything to me as it means I'll be able to make my film! Patrons of the arts provide the life blood of the artist. Without their support we simple could not do what we do.
So my sincerest thanks to:
Debra Carty
Deb Stone
Niamh O'Donnell
Farah Azalea
Oisin Prenerville
David Brennan
Terry Whittingham
Elliot Kotek
Victoria Charters
Trevi Productions
Donal Black
Paul Quinn
Paul McGrath
Gavan Murphy
Damien Donnelly
Jennifer Hegarty
David Wolstencroft
Jason Butler
Thanks to all you guys for getting the Derelict Kickstarter campaign up to $1065!
I'm trying to get to $3000 and I have 21 days to go. The way Kickstarter works is that if I don't get the full amount I get nothing at all! So that 935 above isn't secure yet!!! I need more help and more generous individuals like those above to join the list and be a part of this project.
To do so head on over to Kickstarter and make a pledge, even if it's just $1! For that you get my thanks and a credit on the film, and you will have my sincerest thanks, because every penny counts with this!
Thanks.
Addition:
I would also like to acknowledge the people who donated on Ghoster and then agreed to transfer their donations to Derelict when Ghoster stalled. There money is secure in my bank along with other donation received and as they gave through a crowd-funding website they will avail of the equivalent perk to the donation they made.
Graham McBride - $50 - Thank You Credit. Updates. Signed DVD.
Paul Gitschner - $100 - Thank You Credit. Updates. Signed DVD. Signed Poster.
Robert Zappia - $25 - Thank You Credit. Updates. Signed Art Card.
David Brennan - $25 - Thank You Credit. Updates. Signed Art Card.
Mairtin DeBarra - $25 - Thank You Credit. Updates. Signed Art Card.
Caroline Farrell - $50 - Thank You Credit. Updates. Signed DVD.
Jason van Genderen - $100 - Thank You Credit. Updates. Signed DVD. Signed Poster.
Thanks Guys!!!
So my sincerest thanks to:
Debra CartyDeb Stone
Niamh O'Donnell
Farah Azalea
Oisin Prenerville
David Brennan
Terry Whittingham
Elliot Kotek
Victoria Charters
Trevi Productions
Donal Black
Paul Quinn
Paul McGrath
Gavan Murphy
Damien Donnelly
Jennifer Hegarty
David Wolstencroft
Jason Butler
Thanks to all you guys for getting the Derelict Kickstarter campaign up to $1065!
I'm trying to get to $3000 and I have 21 days to go. The way Kickstarter works is that if I don't get the full amount I get nothing at all! So that 935 above isn't secure yet!!! I need more help and more generous individuals like those above to join the list and be a part of this project.
To do so head on over to Kickstarter and make a pledge, even if it's just $1! For that you get my thanks and a credit on the film, and you will have my sincerest thanks, because every penny counts with this!
Thanks.
Addition:
I would also like to acknowledge the people who donated on Ghoster and then agreed to transfer their donations to Derelict when Ghoster stalled. There money is secure in my bank along with other donation received and as they gave through a crowd-funding website they will avail of the equivalent perk to the donation they made.
Graham McBride - $50 - Thank You Credit. Updates. Signed DVD.
Paul Gitschner - $100 - Thank You Credit. Updates. Signed DVD. Signed Poster.
Robert Zappia - $25 - Thank You Credit. Updates. Signed Art Card.
David Brennan - $25 - Thank You Credit. Updates. Signed Art Card.
Mairtin DeBarra - $25 - Thank You Credit. Updates. Signed Art Card.
Caroline Farrell - $50 - Thank You Credit. Updates. Signed DVD.
Jason van Genderen - $100 - Thank You Credit. Updates. Signed DVD. Signed Poster.
Thanks Guys!!!
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