Production Update #28: Another great shoot!

Last weekend, we rolled another 400 feet of 16mm film stock in downtown Lineboro, picking up inserts for 3 already edited sequences, and shooting a 4th new scene.  (Favorite shot of the day: A close-up of the winning cow pie at Barnyard Bingo... well, okay, it's wasn't the ACTUAL winning cow pie; we needed to wrangle up a stunt pie... but that's one of those loopy movie story...).

As usual, I'd like to thank those who were curious, dedicated, or just plain crazy enough to volunteer their time:

Kenny Ditto -- for handling slates, tripod, and lights on Saturday. Couldn't have done it without you.Kenny Ditto (left) talks with director Jonathan Slade between set-ups.

Linda Kirkpatrick -- for showing up for your cameo.

Gordon Masters -- for getting almost as much sunburn as I did, and editing down all those audio takes onto a single DAT.

Bob Sapora -- for showing up to shoot even though your family reunion was that day...

John Krebs -- for continuing to deliver a wondrfully authentic performance -- even if your scene involved holding a cow turn on a pitchfork in the hot, hot sun...

Novia Campbell -- for putting on that wedding dress on yet again. I promise to write a scene where you burn it...

And, of course, to Lineboro firefighters Will, Keith, and John who reprised their roles from previous shoots.  Thanks so much.

And now for the remaining summer production schedule, as best we know it:

Friday July 20, 2007 -- TBA

Saturday July 21, 2007 -- TBA

Sunday, July 22, 2007 -- TBA

Friday August 3, 2007 -- TBA

Saturday August 4, 2007 -- TBA

Sunday, August 5, 2007 -- TBA

I'll keep everyone updated as the locations and scenes become apparent.  Independent filmmaking lives in Maryland... At least, for now...

Production Update # 27: Half day shoot Saturday 6/23 @ 10am

Rolling right along with our production schedule. Next up:

Saturday June 23, 2007 -- 10am-2pm in Lineboro  (PLEASE NOTE: The CREW CALL for this shoot has moved 2 HOURS EARLIER to 10 AM!)

Crew call: 10am in Lineboro, MD

We will be picking up a number of shots for several different scenes (in the following order):

1) firefighters Keith and Will search barn for injured Flynt (Interior -- 1 shot) [ BOB: Please load the interior 7218 - 500 tungsten short end for this ].

2) Talia telephones girlfriend to be picked up (Exterior - 1 shot) [BOB Please load the OLD 7246 Daylight stock for this -- and bring an extra can of the OLD 7246.... GORDON: Please bring your antique payphone prop. I have a bunch of quarters.]

3) Barnyard Bingo pickups / PLEASE NOTE: The actual event begins at 1pm (Exterior, shoot on OLD 7246 Daylight stock so we can intercut with existing scene)

      a) CUs of Russell the bartender at the event (if possible)

      b) John finds Talia's wedding ring in Laurie-the-Cow's dung

4) If time permits, we'll finish out the OLD 7246 reel with drivebys of local red barns...

Also FYI to Linda & Julie K., Jasna & Nasja, Deb. L.: This is probably the LAST scene in the film where we can include shots of women (other than those in major roles). If you think you want a close-up while watching Barnyard Bingo, this is the time...

So, once again, thanks for everyone's patience -- and endurance.

Here's to another great summer of makin' movies...



Production Update # 26: A great weekend of shooting!

Well, we rolled about 1,300 feet of 16mm film stock on Saturday and Sunday, completing 6 new scenes for the feature we've now been shooting for almost three years.  If everything comes out all right at the lab (hopefully we nailed the focus and exposure on a brand new Kodak stock that didn't even exist when we began filming on 2004),  we'll have finished another 6 minutes of the "script" -- and, as the die-hards on this crew all know, I use the term script very loosely.

Special thanks to:Brian Belida (left) assists cinematographer Bob Sapora.

Brian Belida -- for being a one-man whirlwind production assistant on Saturday -- slates, lighting grip, prop master, picnic table mover. Couldn't have done it without you.

Linda Kirkpatrick -- for showing up with that awesome, homemade vegetable lasagna and banana cake for dinner on Sunday. Perfect timing.

Scott McGee and his family -- for allowing us total access to your tavern on Sunday; and even helping pull and check focus. Very cool!

Gordon Masters -- for shooting until 11pm on Sunday night, even though you needed to be up at 4:30am on Monday for a paying job.

Gordon Masters, audio recordist (left) and director Jonathan Slade.Russell Justice -- for bringing a wonderful serenity to the character of Skip the bartender; at some point we owe you a REAL beer.

Robert Lemieux --  for stepping in at the last moment to portray a guy with a boil on his back -- well played -- and for helping us wrap up all those extension cords at the end of the shoot.

Bob Sapora -- for making the most of those new lights we used; and for hobbling around on that foot for 2 days -- and even taking a spill over the wall in the garden -- and NEVER letting it slow you down. Iron Bob lives!

Novia Campbell -- for putting on that wedding dress again even though it smells like roadkill; and climbing through a basement window at ten o'clock at night.

And, of course, to all the townsfolk of Lineboro who showed up for the master shot of the bar.  Thanks so much.

I'll keep everyone updated as the summer progresses.

Independent filmmaking lives in Maryland...

Production Update # 25: Back in Saddle Again!

To All Involved (and those potentially involved) in our Never-ending Indie Film Experience:

Well, it's that time of year again when I can finally focus my attention on finishing this 16mm feature film which is now (can you believe it?) THREE YEARS IN THE MAKING! The ol' credit cards have healed up somewhat, I've ordered $2,000 of color stock from Kodak, we have the camera gear, mics and lights, and I'm rarin' to go!

As usual, we need student volunteers to help in all areas: pre-production organization, prop gathering, packing and moving gear, confirming actors, as well as gripping and production assistance on the day of the shoots. If you have half a day, I'm sure we can put you to good use.

The following is our tentative production schedule for SUMMER 2007. As always, if you are available for a shoot, please send me an email to let me know. (If you are UNavailable, no reply is necessary. And if these emails are just plain driving you nuts -- Slade's STILL shooting that thing? -- I will gladly remove you from this list).

Without further delay, the schedule, as best we know it:

Saturday, June 9, 2007 -- 6pm-11pm @ Slade household

Sunday, June 10, 2007 -- noon-midnight @ Village Inn in Lineboro

Saturday, June 23, 2007 -- noon-4pm @ Barnyard Bingo in Lineboro (pickups) Yes, this is the turd… uh, I mean, third year in a row we’ve filmed at this event.)

Friday July 20, 2007 -- TBA

Saturday July 21, 2007 -- TBA

Sunday, July 22, 2007 -- TBA

Friday August 3, 2007 -- TBA

Saturday August 4, 2007 -- TBA

Sunday, August 5, 2007 -- TBA

As you know, no independent film makes it to the screen without a few bruises and hiccups -- and we've had our share. But currently 35 minutes of this feature film is picture-locked -- completely shot and edited -- and it looks great. This summer we simply NEED to finish principal photography so we can wrap up editing by the end of January 2008.

So, once again, thanks for your patience -- and endurance. And here's to another great summer of makin' movies.



Production Update # 24: Still Waiting for Steenbeck Repair!

These are perhaps the most disheartening moments in the micro-budget independent film process. When equipment breaks down. When people are willing but unavailable. When you are too broke to buy more film stock or pay anyone to work on your crew. When everything grinds to an undeniable halt: Suddenly YOU actually have room in your schedule to move forward, but the film gods are lounging feet-up in their comfy chairs with the extra-large drink holders, taunting you: "You want time? Here's your time...  But say buh-bye to all your other resources."

At moments like this, I wish I actually had that big wad of Hollywood cash to throw at the problem, just to get us rolling again. Sure, I can plan, keep working on the story, scout locations, find props. But right now I want to edit. To see if the film we've already shot works... and if not, what we can do to make it work.

If one more person asks, "Wouldn't it be easier to shoot on video? Why are you working in film when digital technology is so much cheaper?", I think an artery in my neck will burst... These are well-intentioned souls, but they will never understand, and it's almost not worth the effort to try to lead them toward the light: Telling a good story, one you really care about, is never about expediency. It's about tenacity. It's about not taking short cuts, but also about not giving up. Sometimes, letting the story take the time it needs to evolve seems absurd to those outside the process. "Are you done yet?" they ask. I've heard it so often I call my little homemade production company "RUdoneYETfilms." But these are folks who see film as a product. As a commodity. As something to be consumed, critiqued, then stored away on a shelf.

But I see it as a process. A journey. A path. An opportunity to work on something larger than myself with other people fully engaged, fully committed to the irrationality of it all. It's also a chance to create a cinematic artifact, a snapshot in time that has a very real shot at outlasting my own mortality... And once the characters start talking to you, you get hooked: You want to follow their story wherever it takes you. Quite simply, you need to see how the film will end...

So the broken Steenbeck angers me not so much because it is wreaking havoc with the production schedule. It angers me because it is the most central tool I need to chase the story: Every shot cut into the reel answers a question. But it also asks the next question. Without the Steenbeck to assemble what I have, I can only guess at the next questions.  I need to chunk in the actual shots to be sure...

And so, while I anxiously await that phone call from Christy's Editorial in Los Angeles, CA -- 2,600 miles away -- here are a few photos taken by Greg Witthauer on our last shoot (6/26/05). When I look at them, they remind me of why I suffer through all the equipment failures, all the doubts, and all the well-intentioned but misguided questions about why we shoot film.

Onward.