Van Stories

My friend Vince and I sat by the pool and conjured up a van story. To which we filmed.

A month later I ran into a friend who told me he was making a man living in his van story.

I will have to say...if I were to give any advice to this other van story, there are just a few bear traps I never considered. Making van stories conjures up A) rape B) murder C) abduction D) all the above. And you can't convince people otherwise, 'cause you'll sound rape-ier. Never mind in my story, I add in a prostitute. Haha. The perverts are going to lynch me. Cause this is a man's journey story. I know...dullsville for the raincoat crowd.

By the way, the people who are too young to get that reference, back in the day, you'd go to theaters to see your pornography. They'd wear raincoats to jerk off underneath. Kinda' weird if it's not raining. Total slush if it is.

So, do yourself a favor and side step the van stories if you can. Most likely you will constantly have to be defending the artistic merit of a guy who lives in a van and DOESN'T get rape-y.

The odd part about traveling with Vince in this van is...people who've lived this lifestyle are magnetically drawn it. It's weird. They have to stop and stare in respect. Most seem to look at it like Kane did to Rosebud. The last time these people were happy.

A Lesson In Eyeline

One of the most obvious yet, diabolically challenging but deceptively simple sequence to shoot are conversations in daylight while maintain orientation. Even big movies suffer this issue. The best way to describe it is to make sure people are facing each other when they are talking. People not looking at each other while talking is off-putting and weird. Done for effect (such as when Kubrick intentionally does it) it is cool. Mistakenly doing it, is bush league. I kick myself for being this far ahead of making movies and still stumbling on this.

The wrong effect is a guy faces on direction to speak to someone, then cuts away, then it cuts back to the guy…there’s a shift. You may not see it, but you feel it. It’s a crushing thing in editing when things are inverted with performances from one take, that don’t work with another. Frustrating to say the least. On thing you can do, is to flop the frame. Basically flip it to match the direction to which the actor is speaking towards. Unfortunately, I had him stand ¾ sideways wrong direction, and also, the sun would then also be on his wrong side. This IS something people will see.

Sometimes you can get away with it. For instance, Michael Bay has his actors constantly backlit. If you edit back and forth, it doesn’t appear too odd, but if you stop to think about it, that would mean there are two suns in that world. Movie magic for the sake of vanity is fine. Everyone can get aboard when actors look good.

Typically, productions tend to do one master wide shot to include to two people just to free you up to orientation. I hate using this crutch, because it always looks weird. A two shot is the dullest thing in the world. Unless you have great dialogue, it’s usually a boring frame. It also flattens out the cinema screen. We fake three dimensions. Two shots are reserved mostly for stage.

Anyway, I’m having issues now with matching looks. Unfortunately, I didn’t cover the entire scene with full takes. The beats are long, and I didn’t know how much more film we were going to burn through. Having a script supervisor may’ve been nice on this day. However, even on the feature I was shooting, my mind was so melted from the hours, I doubt her suggestions would’ve sound anything less than Charlie Brown’s teacher.

I’ve heard crazier stories about visual effects fixes that have NOTHING to do with the movie itself. On one movie, there were blemishes being removed, close up of actor’s crow’s feet removed (which, by the way, isn’t even someone you would consider vain). If I’d flip the actresses side of the screen and have her face the opposite direction, I’d also have to erase her shirt (as it has words on it). Crazy world, huh?

Anyway, it bothers me a little, but not enough to go nuts. The performances worked, so I’m good with that. I do lament about more technical stuff. Like had I had permits, and a bigger crew, I’d take the harsh sun off the actors and bring in a reflector. I regret more about not bringing in something to pop out and make it look better. I regret not having the lens filtration to knock down the grittiness of being two stops overexposed. Also, that I didn’t get a tighter close up so I could save the scenes. I frequently live a world of two movies. Happy with a lot of it, just gutted when it goes a little off.

But looking through this cut again, I am so very happy about the fact that there are workable moments. And now to fine tune, and give it to people to decide if these mistakes bother them. I think it’s the bigger picture that ultimately counts.

Rough Cut

My rough cuts are usually a rough assembly. Typical roughs don't have music. But I like to add it for pacing. It also feels better, to get the mood.

As per usual, the rough does have a sense of sadness to it. Everyone goes through it, because it's the first time you see everything strung out (as you are strung out). In a lot of cases, especially with a feature, the director doesn't sit in on editorial until it gets to a manageable state. Nowadays, they can review takes on set and decide if they should move on (in terms of performance). If you have the budget, you have time, and you can make the decision then. When you need to move fast, you move on, and have to deal with what you have. Also, some directors leave for a vacation after. They want the whole experience of production to leave them so they can approach it with a fresh perspective. I'm lucky in the sense that I have no one to answer to besides myself and the actors and crew. If there were investors, I'm sure I couldn't just tip toe through the daisies to get it right.

I should get perspective on it. I'm not sure if it works or not. Only that I made...something that begins, and ends. There are really great moments. But the ones that stand out now are the ones that grate on me. Eyelines, light, camera and sound. These things stick out because I think of things I have to fix already. Shouldn't be the case, but it is.

Here's the deal. Usually, I think I have a gauge on what I think works or doesn't. So far, some things work and others not. My last film, I was giddy that people would "get it." To which they did and they didn't. I brushed it off nicely. But was still proud of the project. For "Nick's Van" I know when things will work and others won't. It's hard to know what some people will take from it and others will dismiss. What I think will work, may fall flat. What may fall flat will draw a reaction. It's an odd thing.

I'm sure when Judd Apatow was watching "Trainwreck" he was with an editor to put the project together. The movie expands and contracts CONSTANTLY, until you're fed up with it. In a movie like "Trainwreck" you're not dealing with just a handful of people. You have to gauge real reaction. An audience testing is essential because getting a reaction from people is a group think. It's not individual. I can't sit in my dark room and know what an audience can think. I can think what they would think, but it's not guarantee. That's why in a lot of comedies, there is panic to go bigger. I am not making a comedy, so that's already off the table. But it still needs to play to people.

Recently when I went to "Jurassic World" I saw it with a massive crowd of kids. There are just obvious reaction beats in the movie to get the audience moving. Honestly, the movie isn't that great. From the standpoint of just something original or interesting. They're rehashing old stomping grounds. But I saw it surrounded by families. And BOY...did that make it fun. The screaming and laughing and jumps was what made the experience so good. "Nick's Van" isn't that movie. It was designed to be more like...a Hal Ashby movie. To which there aren't any screaming kids to tell you if you did it right. Onward!

A Short Break

Sitting poolside (to steal a term from my previous movie) after stringing out the second to last scene of “Nick’s Van.” Getting to the edge of the first rough cut.

You know, when people shoot film (film film), they seem to have projects that are very earnest. I don’t feel I fall into that category. I’m sorta’ more ragtag. When I see others who shoot on film, they have a more…polished, mature feel to them. They are very measured in terms of shot selection, mood and subject matter. Those who burn silver (the stuff film is made of) can’t be jackasses. They are gravely serious. And anyone who hears of this, believes these people aren’t fools.

I know one specific one now who made a movie about his grandparents who were coal miners. Beautiful, lyrical piece with outstanding even handedness. You can tell the people who made it were guided by an evolved art mind. It seems they also had a real budget, unlike my own wallet. This is no excuse, but rather I like hearing that people who shoot on film have money to do so. My budget was 1/30^th of what they already spent (according to their website). And what’s to become of this project afterwards that seems so bleak. As my one sister once put it she could put money into my movie, but what is the return on investment. How about my undying gratitude!? I digress…

Me…I think I’m punk rock. Get what we can get, when we get it. It’s splashy and retro. Clumsy, yet with a subject matter I think is less the polished feel of these other film projects. I feel this was a byproduct of being an enormous Tony Scott fan. That guy was the Warhol of his time, without the name recognition. His movies were daring. Bold in color and experimentation. Both with sound design and color. The guy pushed the visual medium to suit his material. Oftentimes he was criticized for style over substance. That’s fine.  His critics weren’t wrong. But he worked with a LOT of serious actors, because he was so passionate about the craft. I am NO Tony Scott, but I care very much about telling an interesting story. I’m actually trying to whittle down the moments now. Half the shit I do now, I want it to not be explosions or ridiculous reveals. I fear that the most.

“Nick’s Van” does have a reveal that…is a very scary tightrope. Because it can be corny and has potential of pissing people off. I’m actually at the last scene now, and unsure of what I have (haven’t synced up the audio to picture yet). I know I felt something. And because we shoot somewhat out of order, you may get a patchwork of bad edits that lead to a disjointed feel. Everything needs to flow from one thing to the next. I am convinced people will forgive my bad dialogue, they won’t forgive poor structure.

I think it is my rat brain that does this. I think it flows from page to page. But once on screen it just feels different. Feeling is what people leave the theater with, either glad they experience something or pissed that they’ve wasted their time.

I’m in a professional arena now. Yet sometimes I still feel like I’m still in amateur hour theater. It’s not just me beating myself up. I tend to have empathy for those who do things like this. The professional world does not. They don’t tolerate jackassery (yes, I’m making it a word). I hear the talk when production crews aren’t around in post. In big budgeted movies. “Look at that guy’s chin” “They better do something about the acne” “why are we working on this dumb project?” and so forth. Let’s not forget, most people in post-production are failed at something they’d rather do. Post-production (as I’ve described to our intern) was the soft dirt landing when they fall from a tree. I know most of my co-workers love I do this, but more happy if I fall on my face. It is human nature to despise other’s opportunities. I’m not sure why I don’t. I guess because it’s wasted energy. I have more things I want to accomplish than hate someone for doing something with themselves. I see that a lot in this business. Hell, there’s been stories Lucas and Coppola use to drive by each others’ houses and scream box office tallies.

I don’t mind failure. Again, I worry more about never trying. I like these challenges (I’m sure if I ever had investors they may’ve axed me a long time ago). It really staves off that uneasy feeling that I never did anything to be better in life. These quiet moments are a great reflection.

Universal truth is so very difficult to tap into. I mean there are simple things in plotting that move things along. For instance, chasing money is a very clear motive in movies. Or saving the world. Human dynamic is so slip shot since everyone grows up so differently. And since we all have a different type of sensibility. This interests me more than anything these days.

Pick Up Shots

No...it's not little jell-o vodka infused one-poppers *crickets*
These are the moments when you let everything settle, and then panic that you didn't get every shot you wanted in your movie.

I don't panic anymore, because...well, I own my own camera and accessories now. So, it is good and bad. Good, because I can just pick up my gear and go shoot. Bad, because I'm lazy as fuck. But...
HUGE but...
I have to weigh this on whether these missing shots will stab me in the side of the gut or not. In other words, can I live without them?

Technically, yes. Officially, in my heart, fuck no.

This is also the reason why a shot list would be helpful. Something I didn't anticipate. In fact, I drew my storyboards the day before I shot on the first day. I've actually gotten pretty good at my illustrations. Looking at the "Poolside" ones, it is pretty accurate to what we covered. On a bigger movie, yah...I should not be so lazy.

Oddly enough, very little if anything went amiss. In fact, everything is there to tell the story. To me, it's the bells and whistles that make a film in to a movie. Insert shots and b-roll cityscapes or whatever seem to bridge gaps between really odd edits. I was putting together a driving scene yesterday. I stressed hard about whether or not footage wouldn't be too jarring, as on one day we shot overcast, the next bright sunny day. I had a superfluous 2 shot that I used to do this with. An added bonus, there is a sound of a car or something that whizzed by. It was PERFECT for the transition, and sure enough, as a viewer, I know people will make that connection. I love it when shit like that happens. Because it saves both time and money. But there are things I still want to cover. This is just me wanting to make it a bigger movie.

I may even put together a teaser trailer...already found some music. Stay tuned...

Bye Bye Son

Whenever I sell an older camera I've had for a while, it feels like...sending a kid off into the world. I can imagine the emptiness it must feel to really send a child off. But recently I sold a camera that I had a duplicate version of. I bought it because it had a really rare function to it. But alas, I needed money to finish my movie. It didn't stop me from being a little choked up at the FedEx office as I waved it goodbye. The gear has served me well, and I can only hope the new owner treats it with respect that it deserves.

Moving Along On The Short Film

I've got a few scenes cut now...and to my surprise, things are working BETTER than what I'd expected. It's disjointed due to sound issues, but as far as performances go...I couldn't be happier. Most of you who do make movies, will understand when sound and picture are put together in sync, that's when you really see what you got, and what you didn't.

Maybe it was the heat last night, but as I was watching the first 6 minutes, I really got into it. There are beautiful nuances, that...given I was watching framing, eyeline, remembering t-stops and lighting, is diluted. But the moments were spot on. I mean, on in terms of what was written. There are some solid moments I think are going to play really well.

I think it's also a good sign when I can go over the same footage over and over and see different things. In the past, I've hurried through not to get a cringing feeling. But...this time, it was comforting to see all the parts play the way they did in the script. Good or bad (script wise anyway).

The point was to make a real feeling film. Yes, it's got a strange scenario, but I'm excited to see what else I've got. Picture and sound, my friends, picture and sound.