This past week was another busy one as pre-production moves along for Serpentine. But today was a visit to The Collings Foundation production of “Battle for the Airfield”. To quote from their website, “There will be over 300 re-enactors representing several branches of Allied and Axis military participating in an amazing re-enactment.” The event did not disappoint.
Although it was raining, the announcer reminded us all that wars are not always fought on warm sunny days. Indeed, it was like watching a conflict in real time. Unlike a movie set with constant calls of “action” and “cut”, there was no stopping once the action did start. When the tanks started to roll the re-enactment was just as good if not better than any Hollywood production. The filmmaker in me wished I had cameras recording it for some upcoming production. All I could think of was the battle scene in 1953’s War of the Worlds!
Just prior to the start of the battle, the national anthem was played. I’ve heard our anthem played in many venues, but there’s something special to hear it against a military backdrop with veterans present. When I think of the tens of millions that have sacrificed themselves for this country, this American proudly stands and turns to honor our flag and all those that have defended it.
Speaking of old glory, the flag will be part of the set dressing for our FBI conference room scene at The Verve, Crowne Plaza. On Thursday I visited the hotel for a site visit. The room looked just as great in real life as it did in the pictures I saw prior to my visit.
A site visit is another one of the critical components to pre-production as there are usually things that need some sort of adjustment or that may have changed. In this case, a couple of posters to cover up artwork on the opposite wall and a movie screen has replaced the TV screen. Actually the movie screen is better as it gives us more room in post-production for images that our VFX specialist will put in. A special thank you to Lynne Luongo, The Verve’s General Manager, for the personal tour!
Earlier in the week I was reading the script again for other creative components. One scene has a character leaving in a car—a car that will be getting a fair amount of screen time. As this character comes forward to sponsor a skater in the story, I wanted something high end that said wealth.
Although there are countless dealerships in the area, there is only one luxury dealer I wanted to approach to see if they might be interested in working with us. When I visited Foley Motorsports website, I was thrilled to see that they have direct staff contacts, including owner RJ Foley. After his review of my presentation, I’m delighted to report that Foley Motorsports will be providing a luxury vehicle for Serpentine. Now, here’s fate for you, his daughter used to be a figure skater and will be appearing as an FBI Agent at The Verve!
As for figure skating I visited Northstar Ice Sports again this week to work out some additional details on our upcoming shoot and to skate again. Yes, I’m getting the skating legs back underneath me to assist in the production when we start to shoot the on ice scenes. It is interesting being back in a rink again and on the same ice as my first coach Denise Marco, who is not only the Executive Director of Northstar but will be playing Elizabeth Rogers in Serpentine.
On August 18, 2016 Justice Is Mind will celebrate its third anniversary. The same week that will see the website completed for the figure skating political thriller I’ll be announcing soon. Some ask where does the time go, for me it’s about taking the time to develop projects that I’m passionate about.
When I was writing Justice Is Mind back in 2010 writing a political thriller around the sport of figure skating was the furthest from my mind. The same could be said about Justice Is Mind when I was writing First World in 2006. As a screenwriter, it’s the idea that first calls to me and then if it sticks around a while I start to write those first few pages of a screenplay. I’m not one that writes a story using index cards, beet sheets or other devices, rather I let the story unfold as I build characters and the world they live in.
When I look at my dashboard on Amazon Video Direct and see how my films are doing across all their territories, yes, it’s a pretty cool feeling. Just like when you see your film screen in a theater. There is that sense of accomplishment that all involved in the project can share. Because, making a film is a project that does involve a village.
It is precisely because it takes a village that developing a new project takes a considerable amount of planning. Part of that planning is visiting possible locations, meeting with potential talent and laying the foundation before I seek to bring on a crew. This past week I had a great meeting at Northstar Ice Sports and from that meeting went to a local competition at the Cape (one that I competed in myself many years ago!).
I forget how small a world the sport is. No sooner do I arrive and I see one of the judges who I used to talk to regularly when I was actively involved in the sport. We still to this day reminisce about our time together at an International Skating Union Congress in Davos, Switzerland back in the 90s. I was one of the few members of the media to attend and she was moving up the ranks in the judging system. It was also nice running into a couple of coaches I haven’t seen in a while. All in all it was a great time.
This morning I was reading C. Hope Clark’s latest email newsletter and there was a particular passage that really stood out, “We should strive to be in awe of our work, and awe-struck by others. Instead of production, maybe we ought to focus on our power to seek and create awe. After all, wouldn’t you rather be remembered for the one, lone book than the fact you published a lot of forgettable stories? Or maybe you can find a place in the middle, but to do so, you need to slow down and think about the quality you produce.” I couldn’t agree more with her statement as it greatly applies to filmmakers.
If you’ve ever sat through the end credits of film you see the number of people that were involved that made the film come to life. Unlike a stage production that can be tweaked along the way once you wrap a film, it’s up to creative editing, or god forbid expense reshoots if you didn’t get what you wanted in the first place. I can thankfully say we didn’t need to do any reshoots on Justice Is Mind.
While there won’t be a special theatrical screening of Justice Is Mind this week, there will be online promotion to further introduce the film to a worldwide audience and build momentum for the sequel In Mind We Trust.
Indeed, while past projects continue to be promoted and marketed a new one is about to be announced.
I first met Robin Ann Rapoport in 2011 when we were both cast in the independent feature film Noah. After production wrapped, I worked to get Justice Is Mind off the ground and started with the short film version Evidence. When Robin auditioned for the part of Margaret Miller later that year, she had changed her look to the point that I didn’t recognize her from a few months earlier (versatility!). After I cast her in the role, I forget who reminded me that we had already worked together. The rest is history, Evidence was released in early 2011 and Robin reprised her role as the intrepid journalist in Justice Is Mind in 2013.
Since Justice was released, like so many of us involved in the project, we keep in touch through social media. When Robin announced that she was going to be in Vokes Players production of Death of a Salesman, I knew I wanted to see her in it. I arrived about 20 minutes before the performance started and suddenly Vernon Aldershoff who played Henri Miller in Justice, Margaret’s husband, showed up! Vern pulls these surprise appearances more often than not. I still remember him showing up at a screening in Plymouth. The weather could not have been worse that day, but sure enough—here comes Vern! Needless to say last night was a great reunion and brought back so many memories.
As for the play? First, Robin portrayed the character of The Woman brilliantly. Having worked with her as an actor and director, I always see a new dynamic range to her performances. I’ve seen lots of plays in my day, but Vokes Players presentation of Death of a Salesman was mesmerizing. Robert Zawistowski’s performance as Willy Loman captivated everyone in the theater. When a performance is so good you forget you’re in a theater and believe you are watching real life, that’s when you know that every note has been hit. Kudos to director John Barrett and his team. And for such an intimate theater, the lighting moved the audiences effortlessly and seamlessly from one scene to another. On a scale of 1-10? 12.
Last week the foundation for my political thriller around the sport of figure skating started to take shape. With the website almost complete and the concept poster in revision, I reached out to some of the actors and crew from Justice Is Mind for the short film version of this new production. Unlike the short film version of Justice that represented a couple of key scenes, this short is the first ten pages of the script that sets the stage for the feature length story.
As for staging, tomorrow I pay a visit to the Northstar Ice Sports in Westborough, MA as a possible location for this production. In addition to the executive director being my first skating coach, the operations supervisor was involved in First World. So, yes, it’s a small world!
The one thing about this industry that I have long learned is that it’s built on lasting relationships. Whenever I look to start something new, I always aim to work with those from previous productions. In addition to a level of trust on both sides of the camera, there’s the knowledge that a project can be seen through from start to finish. Of course, it’s also exciting to work with new actors and crew because you never know what one can bring to your production that can raise the bar even higher.