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Posts tagged “Serpentine movie

Feature Presentation

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There is that moment in a theater when the words “Feature Presentation” come up just before the picture starts. Certainly as a theatregoer we’re excited to see the film, but as a filmmaker it’s a rush—particularly when it’s your movie.  That rush happened for me when Justice Is Mind and Serpentine: The Short Program screened together at The Strand Theatre in March. Ask any filmmaker and they’ll tell you, there’s nothing like seeing your film on the silver screen.

But for all the accolades that come with making a feature film, there are significant challenges that theatregoers don’t necessarily concern themselves with. The recent articles on Broad Green and Open Road chronicle the times ahead for some. While the capital to produce is there, it’s the net return that’s the issue. Thus consolidation or, in the case of Broad Green, production shut down. In my view it comes down to a reasonable budget with a solid marketing plan tied to distribution. To turn a phrase from Ron Popeil you can’t “Make it and forget it”.

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Producing my first film First World back in 2006. At the Commonwealth Hotel in Boston.

I met with a colleague a few weeks ago who wants to make his first feature film. He’s a talented filmmaker who has made some award winning short films. A short film is one thing, a feature is an entirely other animal. His concerns were numerous—completing the script, managing a crew, finance and distribution. Basically it comes down to taking that leap of faith. You have to believe in yourself and your own capabilities. Yes, you rely on others, but as Luc Besson said you have to be the General of the Army. Look at any film in production from the low budget independent to the major studio release, the entire project revolves around the director. This isn’t to say that the director acts unilaterally, they too have to report to someone or at least adhere to a structure.

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Behind the scenes of Serpentine: The Short Program.

As for structure and directing, I’m looking forward to returning as site supervisor for the Naval Justice School’s mock trial program in Newport, RI. Yes, it’s directing of a sort, but it’s just as much as adhering to the structure of their program. What I enjoy about this program is that it’s neither film nor stage, it gives me the opportunity to roleplay a character over multiple days without a set script rather a set of circumstances and situation. As director it’s generally to make sure that the actors have an understanding of this process as it’s not stage or film. There’s no call to action and cut, rather you are in character when in the school. My supervisory role is essentially making sure everyone shows up on time, answer related questions and to follow the rules of the base and the agency that has hired us.

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From behind the scenes to on screen. This scene is one of the primary media stills for Serpentine

One thing about this industry that I enjoy is the variety of opportunity it affords. Whether directing a film, writing a screenplay or working on a military base, it’s about being well-rounded. The one thing that has helped enormously with my work in Newport was the years I spent doing TV interviews (many live). While there was no script, there was a subject matter and certain facts I had to adhere to. My point is that whatever the work is, it’s about the accumulation of experience because who knows what that next part will be.

Casting.

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Back to Newport next month!


New Direction

Denise Marco and Isabella Ramirez in Serpentine

Denise Marco and Isabella Ramirez in Serpentine.

This past week I was contracted to direct some commercial shoots through an ad agency. From a farm, to a school and a bank, each was a different experience. The talent for these shoots were “real” people not actors. The one thing that non-actors bring to a commercial for their own company is authenticity. If they don’t believe in what they’re selling who is? They also aren’t trying to create a character, they already are one.

All my films have had non-actors. In First World it was the equestrian. In Evidence it was a scientist as a court stenographer. In Justice Is Mind it was the pizza shop owner and MRI technicians. In Serpentine it was the skater and skating coach. In my view as long as you don’t ask for too much range, it usually works out fine. But that being said, it doesn’t matter if they are actors or non-actors, it all comes down to organization and coaching a performance.

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Brittany Wilkinson in First World.

There are some directors that are all about an obsessive amount of direction. I’ve seen this first hand as a performer. Sometimes I understand the level of detail they want, but often it’s just to demonstrate to everyone what title they hold on set. For me, if I don’t have any comment for an actor I’m directing that means it was OK with me. Particularly for non-actors, you have to find an emotional place for them to exist without thinking they are performing. For actors, who tend to analyze everything, I believe less is more. But in all cases, my one requirement is believability and when required a memorization of lines.

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Kim Merriam in Evidence.

In one of my films, one actor, who had the script for at least two months, arrived on set with almost no lines memorized. To say I was frustrated was beyond description, but the actor he played opposite was a true professional and thankfully picked up where he couldn’t. It was so bad, that we had to tape his lines to a window and shoot from an angle!

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Kim Gordon and Paul Lussier in Justice Is Mind.

As for lines, when I wrote Justice Is Mind the characters of Constance Smith and John Darrow had literal monologue after monologue and numerous other scenes with complex dialogue. But when Kim Gordon and Paul Lussier auditioned they brought such a realism to the characters that even I didn’t envision when I wrote the parts. It is no coincidence that I cast them opposite each other in Serpentine: The Short Program. At the end of the day, this is what a director lives for when casting—knowing you can cast actors without an audition.

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Paul Lussier and Kim Gordon in Serpentine: The Short Program.

This past week’s shooting reminded me of days long past when I directed my first TV commercial. It was a direct response spot for ESPN in the 1990s for the figure skating magazine I published. I fondly remember sitting in the editing booths with technicians going over one cut after another to a previously recorded narrator’s voice from a script I wrote. At the time I didn’t really know I was the director, but when I think about it they kept asking me if everything looked OK or if I wanted to try something different.  I now realize that they were training me on directing.

As they say, it all starts somewhere. And that’s what I told the talent I was interviewing this past week. Some may never be on-camera again, but there may be one or two who will remember the experience years from now when they are on network television.

Action.

SOS United States - UK Poster

I just finished updates to SOS United States. This new poster was designed by Daniel Elek-Diamanta.