Author Archive
Featured in an Open Indie Screencast
We at Sabi eagerly await the deployment of Open Indie, a new discovery community that expands on Arin Crumley’s pioneering efforts behind Four Eyed Monsters and offers a set of refined tools to all filmmakers. Kieran Masterton has released a development screencast so we can delight in the progress he’s made thus far. A sample of the developing site’s framework is shown using Heart of Now as a test subject. That video has been embedded at the end of this article.
The key feature of this site will be the ability to identify where fans are located so either the filmmakers, or fans of the film, can determine if holding a screening in their area would attract an audience. I’m sure you can see the value in that. It launches in March 2010 and you can follow further developments at their blog.
The Sleep of the Just
Have you ever unexpectedly slept for 12 uninterrupted hours? After an exhaustive week spent ramping up to last night’s private screening at THE DOWNTOWN INDEPENDENT, I did just that.
After setting the theater’s projector and sound to their appropriate level with the team at SNAP SOUND, I walked through the crowded lobby, shaking hands with old friends and making introductions with guests. Curiously, I felt confident that they would become new fans by the end of the night. Amongst the crowd, I finally had the opportunity to meet AIROM BLEICHER face to face (wished it had happened sooner). Airom composed and produced the music heard in the last third of the picture and I look forward to sharing his music and DEKLUN’s when we release the soundtrack via iTunes.
Before the screening, Kevin K. Shah welcomed the audience and invited them to introduce themselves to the person sitting next to them, and to congratulate each other for supporting independent film. This ingenious little ice-breaker is something we learned from Saskia Wilson-Brown and her Los Angeles screening series CINEMA SPEAKEASY. To express our gratitude, Kevin gave away 20 free copies of “Model/Photographer” and “White Knuckles” to the audience. After a brief introduction by me, the lights dimmed and HEART OF NOW filled the hearts and minds of those in attendance.
I sat next to Kevin and the film’s editor, Jamie Cobb. We listened for the audience’s unique reaction to the film. There were some unexpected, but welcomed laughs that we hadn’t gotten in test screening it. As well as plenty of moments where you could hear a pin drop – meaning no one in the audience was shuffling, eating or coughing. They were totally in the moment with the characters. When it ended, well… I’ll just say that continuous, unbroken applause is a good feeling.
I loved doing Q&A sessions at festivals for “IFHY“. By the end of that festival run, which took us all the way to London, I had a great deal of practice speaking about the film and was confident in which details the audience would find compelling to hear. But this being my first for this particular picture, it is tinged with uncertainty. I had no idea what people were scribbling on their comment cards at that point. So there was an irrational fear of outright rejection – that they hated it, or worse, felt indifferent – despite the applause. I explained that the spark behind making this film had been the death of my father and that character-defining feeling of being left behind. Further, that I had set out to make a picture about abandonment and aloneness which lead me behind the scenes to a collective of artists that came together as a family to author something bigger than any one of us.
Wonderful questions came in about improvisation, camerawork, the editing process and the sound design as a character unto itself. I was also asked to explain the butterfly motif and quickly refused to do any such thing. It got a laugh but I regret how I handled it. Given the opportunity, I would simply illustrate that it’s not my place to define any “meaning” for the audience, preferring that each person simply determine if it holds any significance for them.
During the Q&A, the audience also had an opportunity to fill out comment cards. It’s so vital to get an audience’s gut reaction, but also to talk with them afterward as their thoughts and feelings begin to settle. The response on those cards is overwhelmingly positive. 90% said they would likely recommend the movie to other fans of arthouse cinema. There was praise across the board for the performances by Marion Kerr and Kelly McCracken, and the rest of the cast. And the ending was cited universally as a favorite scene, even amongst the handful that were largely critical. It’s amazing how the ending was interpreted as very open for some, and as very definitive for others, but universally lauded. I can tell you that split seems to fall along gender lines. Women, I think, see a more conclusive denouement that men generally read as more ambiguous.
As I made my way to the rooftop for the after party, I spoke with Karen Worden of FILM COURAGE and we spoke of plans to appear on their radio show in February. Karen was so enthusiastic about the film that her comment card didn’t offer enough space to contain everything she had to say. Finally on the roof, a few guys on the crew each told me they had welled-up at different points in the film.
When I returned home and settled into bed, I fired up the laptop to check the email and facebook messages that had come in. Most were from people who were unable to attend, hoping to catch the picture at a later time. However, one email came from the projectionist at The Downtown Independent (aka “The Indie”). His words brought a sense of peace about the evening.
Hey Zak,
‘Heart of Now’ is a terrific film. It is humbling to see good work come through the Indie. This is a film I would be honored to present another time. The issues of abandonment and the subsequent coping mechanisms people employ are dealt with in not only a tactful manner, but also respectably and thoughtfully poetic. What I appreciate even more is the seemingly endless conclusion. It can be ambiguous or sharply conclusive, depending on the beholder.
‘Heart of Now’ has a poignant message that resonates with me personally right now as I deal with similar issues. It was even more striking to hear you talk about the loss of your father as an impetus for the film. My father was taken from me in ’95. Many of the statements made by both Amber and Gabe reverberated deeply, so it only made sense when you elucidated that fact for the audience.
Thank you for bringing ‘Heart of Now’ to this theatre. I wish you, the crew, the production company, and the film all the best as you move forward in bringing this work of art to others.
A calm set in and I slept for 12 uninterrupted hours.
These words will spur me on as I spend the next couple days burning DVDs and Blu-ray screeners for additional festivals, distribution partners and friends eager to give creative feedback. The road ahead is focused on distributing directly to our audience-community next summer. We are designating July 4th, 2010 as “Interdependence Day” where we will usher HEART OF NOW and WHITE KNUCKLES through a series of release windows: Theatrical/DVD/Blu-ray, followed by Cable VOD, then by iTunes/Netflix/Amazon, and finally ad-supported outlets such as Hulu.
One journey ends. Another begins.
Theatrical Posters
We’ve updated the SABI STORE with new HEART OF NOW Theatrical Posters available in two sizes. The regular sized 17″x11″ will fit nicely in your home theater, office, dorm room, bathroom, garage, cardboard box, wherever. It was designed personally by Zak Forsman from photography by Kevin K. Shah – a true collaborative effort.
Exclusively for our fans (with large sums of money to burn) is the full-size 40″x27″ poster. These soak up a lot of ink and so you’ll pay a premium, but take it from us, she is a thing of beauty. The filmmakers will sign your poster at your request.
Available in the SABI STORE now.
Announcing the Comic
I received a series of rough sketches from cartoonist Chuck McBuck over the weekend. They are for the upcoming prequel comic series, THE VERY HEART OF NOW.
The story takes place over a decade before our film where we see the history shared by our two main characters, Amber and Gabe. Chuck McBuck is a cartoonist and a 2008 graduate of The Center for Cartoon Studies. He publishes the comic book, SNAKE OIL twice yearly and is hard at work on his first drawn-novella, Gerry and Olga. He has won several Ignatz Awards for his efforts.
Currently we are discussing the use of color in the film and how that may translate to the comic. I’ve given Chuck my notes on the characters’ backstory and free reign to flesh out that story in his own unique way. I look forward to sharing this with fans of the film as a way to expand the story and engage on a totally different level.
The website address will be announced as soon as finished panels start coming in.
Picture Lock, Film Festivals and Everything In Between
Here is a list of updates on HEART OF NOW which currently has a soft picture lock at 89 minutes.
A MINOR DISASTER
The last six weeks have been eventful to say the least. We began extensive sound work on a 90 minute cut. In the middle of which, we had a major drive failure and lost all the sound work done over the course of three weeks. Fortunately all the core media was backed up and protected off site, and the project file and its back-ups did not reside on the drive array that failed. The subsequent weeks were spent rebuilding and redesigning the latest sound work.
MARION KERR as “Amber” in HEART OF NOW
SOUND WORK
As of last week everything has been recovered or replaced with newly recorded fx. With looming festival deadlines, Jamie and I spent this week going through the film, filling out the soundtrack, replacing mono sound with newly recorded stereo fx and foley work, giving it a solid stereo mix in the edit bay. We’ve found that the process of detailed sound work inspires new ideas for picture edits and the result here is that we shaved another minute off the film. All this is in an effort to present the film well for festival submissions.
FILM FESTIVALS & OUR OVERALL STRATEGY
Tomorrow morning, we are sending the film out to Slamdance, SXSW, Rotterdam and Berlinale. Our strategy is to limit first-round submissions to festivals that can generate significant press – for us and our publicist to make the most of. Kevin K. Shah and I are constantly refining our strategy to distribute HEART OF NOW and WHITE KNUCKLES via a theatrical tour, DVD, VOD and online outlets next year. If either film is programmed at a major fest this winter/spring, it will be leveraged to announce our platform release of both films, but the overall strategy does not rely on top tier festival acceptance. We are moving forward either way, making great strides to partner with the right companies and to make a successful, possibly innovative run at distributing directly to our audience while licensing to foreign territories.
SOUND DESIGN AND THE 5.1 MIX
I’m very fortunate to have enlisted the creative talents of Zach Seivers and J.M. Davey of SNAPSOUND for our 5.1 theatrical and home video mix. During November, we begin a three week schedule of extensive sound design and mixing that will culminate in early December with a finished, professionally mastered motion picture. SNAPSOUND’s credits included numerous independent features that have played Sundance, SXSW, et cetera.
PRIVATE CAST/CREW SCREENING
Finally, we are looking to hold a private cast and crew screening to share the film with our friends and family. If you’d like to attend what will likely be an intimate, early-December screening at the Downtown Independent theater in Los Angeles, add your info below. Press inquiries should go to pr@sabipictures.com.
[wpmlsubscribe type="list" id="1"]
New HEART OF NOW Trailer
“whales swim slow…”
Mary Elise Hayden News X2
Mary Elise Hayden, who plays the role of Monica in HEART OF NOW is featured in two exhibits currently showing in Los Angeles.
VP Candidates on Roe v. Wade
Heart of Now went before cameras a year ago in October of 2007. As the finish line comes into sight, the issue of reproductive rights is again in the nation’s spotlight. In our story, Amber is thrilled to discover she is pregnant, but when her relationship with her boyfriend is unexpectedly thrown into turmoil, she’s faced with the same difficult choice that many young women have encountered.
For this story, I wanted an honest, emotionally and intellectually truthful conclusion to Amber’s choice. After talking with Marion Kerr, the lead actor playing Amber, we agreed that the final decision would be left for her to reach in that final improvised scene, trusting in the moment, without conceding to what was written in the screenplay. Heart of Now is not simply a pro-choice or prolife film. It is both, giving equal weight to the sanctity of a new life and the reality of a woman’s reproductive rights.
Ohh-oh! We're halfway there!
…Take my hand and we’ll make it I swear!!! Yes, i’ve invoked the lyrics of Bon Jovi. Just wanted to update everyone on our progress. The first 47 minutes of the film stand in a very tight “soft picture lock”. I say “soft” because we are leaving it open for changes during the sound design process, to begin shortly.
As best as we can tell, the film’s total running time will likely be in the vicinity of 90 minutes when finished. Personally, I would love to get it under 90, but i’m not going to impose an artificial limit on it. The film will be as long or short as it needs to be. Anyway, I’m sure Jamie will have her say about this milestone so I’ll stop here.
Putting YOU in the Edit Bay
Next week, we will begin broadcasting a live webcam feed from the edit bay where Jamie Cobb is cutting Heart of Now. This is a pretty unique opportunity to witness a process that is often a mystery to audiences and fans. You are encouraged to watch, comment and ask questions. Both Jamie and I will be there to interact with you. So remember, next week, after we return from the Sacramento Film & Music Festival… stay tuned.
Progress
I spoke to Zach Seivers yesterday and we are both excited about doing the sound design on Heart of Now this fall. I told him we have a “soft” picture lock on the first reel. And the purpose of keeping it “soft” is to encouraged additional thought into the sound design process. If suddenly an opportunity presents itself to improve the film based on choices made in the sound design that require tweaks to picture, I don’t want to stifle that. And neither does Jamie. And we won’t.
As for her, Jamie is doing a revision pass on her cut and has a very solid first 14 minutes cut. And it is killing me not to share it with all of you. I’m very happy with it.
WRAPPED!
Back from the desert, and production is wrapped. We returned three days ago and it took me this long to post about it because I have been genuinely depressed about it. I love being in production, and it only seemed to last long enough for the cast and crew to start feeling that family atmosphere. I wish it could go on forever (maybe I need to write longer scripts!!) Still, being together on location for the last week really brought us all together.
Over the Hump!
yesterday we wrapped the location for Monica’s apartment, which means we are more than halfway, having shot all scenes at our major interior locations. the fires in southern california are causing us to rearrange and move to alternate locations. so this week, we will pick up half a dozen scenes before leaving for Death Valley to shoot the third chapter of the story.
Shot 27B, Take 4.
Today is our last day shooting in “Gabe’s apartment”. Sifted through all the scenes we shot thus far to make sure no re-shoots were necessary. And none are. We are getting great, great stuff. Marion (“Amber”) is bringing aspects of her character to life that are a real surprise. And I know she’s feeling very close to Amber now. Yesterday, while shooting the “water fight” between she and Kelly (“Gabe”), she said, “thanks for letting me have fun today.” And it occurred to me that we were truly seeing another side of Amber — what she might have been like at a much younger age. In a way I had planned for that, but what we got “in the can” far exceeded my intentions.
Kelly as “Gabe” has been a revelation too. He has this amazingly, sad way of looking at the world around him. And Kelly is so “supercharged” at this point that he is willing to try anything. So we are getting an abundance of options — each subtly different but great in their own way.
A major concern I had going into this production was that the camerawork wouldn’t reflect the way I perceive things. I have a vision unique to me and was afraid that to get there, I would have to shoot everything myself. Fortunately, the camera department, made up of Matt Garrett and Sam Krueger, really understands the nuance of what we are doing and what I would do. For example, yesterday we had done a few takes of the scene where Amber asks Gabe for something warm to sleep in and she get a call from her boyfriend. At the end, I told Matt, “I’m setting you free now”. And he covered the whole scene in one take, moving from character to character at just the right moment, revealing something new about them which each shot. It’s pretty amazing when performance and camerawork come together in such a way that they can’t be separated from one another. Another shot (referenced in the subject header above) 27B, take 4 is a perfect example of that. But its contents will have to remain a mystery for now.
Below are some stills from our preshoots and the first week of principal photography.
principal photography. tomorrow.
the morning i’ve waited over a year for is just hours away. finally, i can put all my knowledge, all my feelings, and all my questions INTO something greater than myself. and I get to share the experience with great people — Jamie. Kevin. Marion and Kelly. Sam and Kester. Xander and Zach. John-Erik. Stan. and of course, Neha, who will keep us all fed (that should make her pretty popular on set).
my thanks to everyone, for what I know will be a memorable four weeks. I can’t imagine what that drive home from Death Valley will feel like. well, maybe I can… 
the crew read-through
today, most of the crew gathered at the Sabi studio to read through the screenplay for Heart of Now. it was great to get everyone together in the same room. roles were doled out and kevin narrated. Matt Garrett, in particular, played a convincing “Monica”. but more importantly, it was a chance to gather the team, look each other in the eye and come to know the people we will be relying on throughout october. this is a tremendously talented band of filmmakers and I’m enthusiastic for the days ahead.
pre-shoots. day two.
Took a small band to Point Dume to grab a little footage. Here are a few behind the scenes photos taken by Jamie Cobb (co-producer/editor)
Marion Kerr and Kester Krueger
Kester Krueger, Marion Kerr and Zak Forsman
Camera Dept: Matt Garrett and Sam Krueger
Marion Kerr and Matt Garrett
Zak Forsman and Marion Kerr
Sam Krueger, Zak Forsman, Matt Garrett, Kester Krueger and Marion Kerr
Zak Forsman, Marion Kerr, Sam Krueger and Matt Garrett
first a.d. Kester Krueger
oh missy, you so fine…
I want to throw out a HUGE “thank you” to Missy Shapin for taking on Wardrobe Coordination duties this week. Her generosity and willingness to help our small film is very much appreciated. We couldn’t do it without people like her, people who (whether out of charity or boredom) find they have something to contribute to this project and find the motivation in themselves to do so.
Thank you for your time and thank you for choosing us over the Wii, missy!
introducing… the cast.
i’m proud to announce the full cast of Heart of Now…
Marion Kerr (Amber)
Kelly McCracken (Gabe)
Jason Lopez (Tobey)
Dusty Sorg (Edwin)
Mary Elise Hayden (Monica)
Jonathan Eisley (Andrew)
Gina Gian (Maggie)
Alison Haislip (Jamie)
Kimberly Grant (Cara)
Laura Laurent (Philomena)
Cynthia Young (Eloise)
Mary Elise Hayden
very happy to announce the addition of Mary Elise Hayden to the cast. She will be playing Monica, whose apartment is often where Amber and her friends congregate.
pre-shoots. day one.
This would be a good time to welcome Dusty Sorg to the production. He has been cast to play the character of Edwin. Dusty also happens to be en route to superstardom, making it a genuine pleasure to work with him early in his career. It’s exciting to work with an actor so nuanced and rich in character where my job is basically to guide and stay out of the way.
Early this morning myself, Marion Kerr and Dusty met at the location of our first “pre-shoot”. We have five of these pre-shoots scheduled between now and October to help streamline the main production schedule. With the ever-reliable Sam Krueger splitting duties between camera support and boom op, we knocked out scenes 84, 85 and 86 before noon.
The footage we shot today is simply beautiful — two fascinating people discovering something about themselves and the world they live in. I couldn’t be more pleased with the day’s results.
dusty sorg
This would be a good time to welcome Dusty Sorg to the production. He has been cast to play the character of Edwin. Dusty also happens to be en route to superstardom, making it a genuine pleasure to work with him early in his career. It’s exciting to work with an actor so nuanced and rich in character where my job is basically to guide and stay out of the way.
call backs
Yesterday, Marion and Kelly donated their time to work through some improvised scenes with nearly a dozen immensely skilled actors we are considering for various roles. Basically I set up a scenario, giving each actor some context for the scene and an objective to pursue. From time to time I would step in and whisper a turn, or new intention into their ear to guide them along a path. Some of the improvs took us to surprising places, and generated real, genuine moments. I have a few more actors to look at late next week and then some very hard choices to make.
Also, I can’t thank Marion and Kelly enough for giving of their time. They continue to go well beyond the call of duty for the sake of this project.