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.
A Thank You To The Production Crew of Moments
Interdependent filmmaking, a phrase which I learned at Sabi, but until I worked on Moments with an exceptionally gifted cast and crew I now truly understand the phrase. David Shiriwastaw “Smokey”, Ron Santarsiero and Mycel Stokes proved to be one of the greatest crews I have worked on set with. Three people might not sound like much of a crew, yet all of them participated and truly mastered multiple roles on set. Moments could not evolved to what it has without their dedication and enthusiasm for the project. They all had a role, which was just as important Erik’s role, and my role in writing Moments, just as important as Josh’s role in photographing and editing Moments.
Smokey a fellow filmmaker which I met when I attended Sonoma State University, where we both collaborated on film and stop animation projects. He had just recently moved down to Los Angeles before we started working on Moments, I knew from working with him in the past that Smokey is someone that I wanted to be a part of this crew. Smokey would be the first crewmember to arrive on set and the last to leave each day of production. He was in charge of the digital transfer of the footage, and in setting up lights, slating scenes and setting up dollies. Yet one of the biggest roles Smokey played, which I’m not sure that he realized he did was keeping the crew’s energy level high, with his humor and zest for collaborative filmmaking, played in integral role in the positive atmosphere we all worked in. His sprits never faltered when matched with daunting tasks and his work on Moments is much appreciated and will never be forgot.
Ron Santariero, the professional, Ron had worked previously with Erik, Josh and I on Take 2, he proved to us on that production that he had filmmaking abilities that surpassed his peers at Cal State Northridge. Ron can grip and operate cameras with such ease and precession that an observer could make comparisons of his work to that of a master painter working on his magnum opus. On Moments, Ron brought professionalism to the set, which made us all strive to be better filmmakers, from calling out and slating scenes, to helping Josh with the camera and setting up the lights, Ron was always two steps ahead of you. Ron is truly an invaluable part of any crew he is on.
Mycel Stokes, the one man band. Mycel boomed and mixed on set. He had worked on many professional shoots in the past and commented us on our style and abilities. We too would like to comment on his amazing abilities and honesty on set. What you see on the screen is the work of many individuals working in an interdependent collaborative atmosphere to create what you see. Mycel was the lone artist of capturing all the sound from set. Truly an incredible amount of responsibility to carry, which Mycel carried with class and confidence which many of us will strive to match on future projects. His honesty was commendable, telling us when he truly felt he could have done better and telling us about audio glitches on set instead of finding out about them in the dailies. He is a true master of his craft.
These guys are amazing at what they do, and I speak for everyone at Sabi that we all would love to work with them on future projects and cannot imagine Moments without them.
Thank You
Daniel J Carmody.
THE EDITOGRAPHY OF J. NITSCHKE
EDITOGRAPHY – The study of shooters who edit and editors who shoot.
THE EDITOGRAPHY OF J. NITSCHKE
A Case Study in Interdependent Editing & Interdependent Cinematography
Moments – a film by sabi, has something special that very few films have – a member of the team that wore hats traditionally belonging to 2 entirely separate artists (whose paths do not normally converge). That is, in the case of Moments, the editor of the film was also the cinematographer — and the person that shot the film, conversely, also edited the film. Seems simple enough, but the implications (for the filmmaker that understands both) are enormous.
There is, emerging, a new breed of nano-budget filmmakers out there like those being cultivated at Sabi Pictures – and Joshua Nitschke is among them & a powerhouse of an artist. Give him colored pencils or a camera, and you have someone that can create something beautiful for you, and be humble about it throughout the whole process. The fact that this man is both an editor as well as a cinematographer is an amazing aspect of the new interdependent filmmaker.
At first glance it seems a natural continuity – editing what you shoot – but it’s easier said than done. While working on set with scripted improvisational drama (and with the guidance of an artistic producer and a visionary director) Joshua had to learn how to edit the improvisational takes without letting the cinematography take precedence in his mind – that is, he had to cut for what was “most honest” and not for what was always “most beautiful”. Often with dramatic improvisation, an editor sifts through hours of footage to find a moment that is honest… but what about also having to resist the urge to scrap something perfect because of a technical glitch, or a camera movement, or a flaw in the staging of the scene? What about embracing imperfections and playing with the subtle nuances of movements and softened focus planes in one story, and hard, linear staging and perfect focus in another? What about the two styles of the films that exist in Moments – how did this editor/cinematographer reconcile all of these dichotomies? These are secrets we hope to find out in our exploration of J. Nitschke – of which this article is only the beginning.
Joshua Nitschke and Aqua Yost (Jamie) on the set of Moments - a film by sabi
It’s a subjective dilemma – having to choose between ‘how it looks’ and ‘what serves the story’ – and both editors and cinematographers are meticulous about their craft (and must be). But in our case (Moments) the creative project and the brains behind it (Daniel J. Carmody & J. Erik Reese) required Nitschke to be the ultimate diplomat between both halves of his artistic self. There has been several times that people in independent films have worn more than one hat, sometimes its writer / director, or perhaps actor / producer – but once in a while you get a pairing within an artistic individual that stamps itself as new, unique, and incredibly original. A shooter holds a lot of power in being the eyes through which all audiences will experience the story – and an editor holds a lot of power in deciding what dramatic improvisational moments make it into the tale. Needless to say, Nitschke’s hand is present in every frame of this beautiful film experience and thankfully so.
[More about Joshua Nitschke: He has a deep love and appreciation for the photographic and cinematic arts, but also has a mistress for mathematics and academia in general (he is incredibly smart). At Sabi Pictures, nothing could have prepared Joshua for his experience with Moments - and we hope that he shares his knowledge with us as we release the film. From the pod-casts retelling the editing phase of production – to the filmmaker’s blogs on this site, this single article cannot do not do justice what Joshua had to endure in the creation of this film. He is two halves of the same person that constantly has to work together to discover, uncover and create those beautiful, life changing, weighted and honest moments... Those poignant choices we do or do not make in an instant. Joshua came through for this film and for his friends that made it with him. What he has put together for the rest of us is something compelling, gripping and honest. What Sabi Pictures has premiering soon worldwide is a brief flash of life in front of you that changes everything. Those instances for which the film is named.
COLLABORATION: ARTFUL COMPROMISE
How Joshua did it was the art of compromise (and no one is harder on himself than Joshua). On set, if there was a technical problem with the gear, you could see it in his face, and feel it in his spirit – but he’d eventually shake it off and get back to it. His own system of checks and balances made him one of the hardest working cinematographers I have ever met. If things were going well (as they were during location scouting & production) nothing could bring him down – not even a gash in the palm of his hand so deep it required multiple stitches (just before production). These ups and downs (that are vintage Joshua to the people that know and love him the best) balance themselves out into a hard-working perfectionist. He is a man that passionately presses on when he his most needed, and handles his responsibilities to the story, his team, and his film superbly. And he knows how to collaborate - which is the art of compromise.
[More about Nitschke: When it is time for execution – he is a stead-fast, trustworthy creative force to be reckoned with. I hope that he can offer, over time – more insight on the sabiforum and on this Moments main site into how he explored the material that he made Moments, from the challenges he faced, to what went wrong, to what we can learn from. And most of all, how he was able to (despite everything) craft an honest and beautiful story that resonates with sharp and cavernous chords long after the final cut to black (like the echo of a train rolling across a distant track). We hope to know more about how he settled upon the distinct looks for each story - and how he worked with the footage he shot - and how he helped make Moments. And most of all, his fans look forward to his contributions to Sverige in 2009.]
All of us at Sabi Pictures are thankful for his dedication to Moments – a true work of art – and we are grateful for his contributions to the interdependent filmmaking movement.
MOMENTS – a film by SABI reaches Picture Lock!
Moments ultimately began last summer, when J. Erik Reese and the executive producers at Sabi Pictures began discussing an idea for the creation of a nano-budget dramatic narrative film. Erik approached the studio with a project that he and Daniel Carmody were coincidentally batting back and forth – as something to make before Erik left for a year in Sweden.
At the time, Moments existed only in numerous discussions and in Daniel’s trusted leather-bound notebook, but after some encouragement – it was committed to screenplay format: a blue-print for guided improvisation. Shortly thereafter (June 2008) the project received the official green-light from Sabi Pictures.
In it’s earliest stages “Moments” was inspired by two locations for two different stories: San Francisco and Los Angeles. J. Erik Reese and Daniel Carmody originally planned that both stories would converge thematically, informing each other – a sum greater than its parts. It was a bold and novel idea and the executive producers at Sabi were more than compelled by it. Even though both films would look different, feel different, and have a different cast – the two films to be unified by a common thematic thread…
Several meetings, hundreds of headshots, weeks of casting, huge script changes, and a vigorous production schedule later – the film (in all its structured and improvised glory) was in the can. And by the end of July 2008, the film was knee-deep in post with cinematographer / editor Joshua Nitschke at the keys. As Erik packed up and left for Sweden, the three continued their interdependent collaboration via Skype (as documented in the “Making Moments” pod-cast series) and Joshua would subsequently dive deep into the material on his own (and with the support of Sabi). Both Joshua and Daniel discovered together the finer challenges and greater pains of improvisational editing. Erik contributed wherever he could – and the filmmakers emerged from Post victorious.
And now, it’s complete. The picture is locked on Moments – a film by sabi. Though there is sound work to do, and other minimal finishing choices to be made – the film is beautifully complete. And if these three talented artists only began with the simple goal of telling a good story – they have exceeded their expectations. And if the goal was to tell something original, provocative – honest – then this film is an unparalleled, complete success.
All of us at Sabi Pictures are definitively proud of these three gentlemen who saw the film to its end, and in particular Daniel Camody – a producer who kept the candle burning in post production’s darkest hour. From J. Erik Reese working improvisational magic on set with our talented cast, to Joshua Nitschke editing in the darkness of the night – these artists interdependently worked with each other to tell the best story possible.
Sabi Pictures is humbled by and proud of this new breed of filmmakers, and of their new film.
Jan. 22, 2009
REUBEN played by Clyde Tull
“I’ve been thinking a lot lately about how wonderful and unique my experience was working with Kevin and Zak on the movie, “White Knuckles”. Unlike the other work I’ve done in my 15 years of professional acting, I was able to tell my part of the story exactly the way I wanted to.” Clyde Tull
A seasoned actor and gifted artist named Clyde Tull plays the retired gentleman/stranger Reuben that appears late in White Knuckles – a film by sabi. Julie encounters Reuben in the hospital sequence in the third chapter of the film. Originally, the character of Reuben was written into different scenes and was part of circumstances that were to affect both Julie and William’s story. But as the last act of the film was crafted on set organically (as the story was unfolding) the written concepts of Reuben were changed by the director for what was happening in the moment / on set with Clyde – and what was necessary for Julie in the final sequences. Both Clyde and the director Kevin Shah worked together to create an entirely new character (conceptually) for Reuben– one that has resonates with audiences in ways neither could have predicted.
The words of Clyde Tull (on the process of White Knuckles):
“I’ve been thinking a lot lately about how wonderful and unique my experience was working with Kevin and Zak on the movie, “White Knuckles”. Unlike the other work I’ve done in my 15 years of professional acting, I was able to tell my part of the story exactly the way I wanted to. This was the first time I did not have to memorize someone else’s words and attempt to make them my own. My dialogue with my scene partner, the wonderful actor Martie Ashworth, was created in the moment, based on a story outline and clear objectives from our director, Kevin. During the shooting, I noticed that I was just as committed to facilitating the director’s intent as I always was, but I was not burdened with having to remember and recite lines.
For me, this process was both liberating and joyful, as it allowed me to follow my impulses and make the points I wanted to make in the order I wanted to make them. With neither of us knowing exactly what the other one would say or do, Martie and I interacted more authentically, responding naturally to the ebb and flow of the scene. It felt more like a real conversation than anything I’ve ever done. I also remember the speed and efficiency of the process. As I recall, we had two cameras, one on each of us. After our discussion with Kevin, we shot one long take and a couple of brief close-up/retakes, and it was done. Very efficient use of time.
I really enjoyed that afternoon of shooting, and every time I have a script to learn, I think about it. I hope other directors and producers will use this process in creating their projects.” - Clyde Tull
The director asked Clyde to contribute some thoughts about what didn’t work / or could potentially be a pitfall with such a process, in addition to what is detailed above. Clyde, always responsive with insight – offered the following:
“Kevin, as I considered negative thoughts about the process, I could only came up with one. It’s not a negative thought about my own experience, but rather a negative thought about the process, a potential problem perhaps. It is this: directors and producers who are brave enough to use this process need to be careful to pick actors who are truly comfortable with it. There are fine actors who, due to their training and their personality, are only comfortable with a script. In other words, not all actors can improv well. They may freeze up or go way “off message” and thereby waste a lot of valuable time. Actors doing this work need to really know the story they are telling and be willing to tell it in their own words.”
Sabi wishes to thank Clyde Tull for his thoughts, words, and contributions to White Knuckles. The character of Reuben created through an interdependent process of collaboration was a hit at the cast and crew screening of the film. The entire family of White Knuckles wants to thank you sincerely for all of your artistic work and sabi looks forward to working with you again.
a film by sabi
The Evolution of Moments: Producing (Part 2 of 4)
Producing Moments has proven to be one of the biggest positive challenges in my life. I have learned so much. Story telling through a visual medium, working with extremely talented people, legal paperwork, self-promotion, dramatic improvisation, interdependent filmmaking, editing, location scouting, casting, the list can go on and on. I learned a lot about myself. Finding something I’m passionate about, creating films, working with people, working in a positive environment. Learning how much I can push myself and what I’m truly capable of accomplishing. This is something that I hope to do for the rest of my life. I’m ever grateful for the opportunity Sabi has given me and everyone connected to Moments.
Going over the Shooting Schedule with Moments crew member David Shiriwastaw outside a location in Hermosa Beach.
Looking back at the production, the sleepless nights I had going over a mental checklist in my mind for the next day of shooting. Do we have all the props for tomorrow? Does Josh have the all batteries charged? Did all the footage get off loaded? Do we have enough food for crew dinner tomorrow night? Did I put the right call times in the shooting schedule? I emailed most of these questions to myself from my phone in bed so they would be in my inbox on my laptop in the morning. As a producer you find yourself the last one to bed and the first to rise. Making sure everyone is accounted for, and that they have everything they need to perform to the best of their abilities. There is this inherent drive to have the project grow to it’s full potential. Your mind constantly races to find ways to make the project better and more efficient. I distinctly remember driving on the 118 freeway 10pm at night July 4th 2008 not enjoying the fireworks or festivities but sitting beside Josh (who was less then thrilled about this trip) in his 60s VW bus heading back to Los Angeles. I had previewed all the locations in Oxnard earlier that day and felt we could find better ones in LA. I remember telling Josh the, “locations in Oxnard were good but we don’t want good locations, we want great locations”. The gas prices were astronomical in July and finding something closer to the rest of the locations in LA could help us save a lot of money which could be spent on more equipment. July 4th being only 6 days until production, we had to find new locations asap. The next day Josh and I drove along the LA coast through Manhattan and Hermosa Beach and found locations that were perfect for the film. The locations we found in Hermosa Beach could never be replaced by any other locations. I still remember how amazed Erik was when I first introduced him to the new locations and how excited Josh and him were to start blocking out shots on their new canvas.
Making sure your crew and cast have the right environment and tools to perform to the best of their abilities. Being there when they need guidance, not being afraid to push them to evolve and grow. Listening to everyone and allowing everyone to be a co-creator is key. I learned to be open to everyone’s ideas and let everyone have an equal hand in creating Moments to a point where Moments couldn’t be created or be what it has become without everyone’s input…. this is truly interdependent filmmaking. You have to make sure you maintain this open forum of communication and ideas between the crew. This helps for the birth of new ideas and makes sure everyone’s voice is always being heard. Having fun on and off set is key, waking up Erik every morning to loud music, which I knew, he despised. Playing pranks on Josh and the rest of the crew, to lighten the mood on set. Creates a sort of bond, which will stay strong when everything goes wrong on set. Which in every shoot happens at least once. As a producer you want to be a manager, friend and co-creator all at the same time. You can’t turn off this multirole personality until the project is completed. It’s an interesting balance you must keep.
Making scheduling adjustments on set at Hermosa Pier.
Not everything goes as planed on set and mistakes are often made. Getting hung up on mistakes doesn’t do anyone any good, but learning and adapting from mistakes is the best way to learn how to become a better filmmaker. You learn the most important lessons from mistakes, it makes you better at what you do, and more confident that you have new knowledge that will allow your next project to be even better then the last.
In the next post I will continue on about my role as producer and watching the amazing cast that we assembled bring Moments alive. Also how the unreplacible crew of Moments played a large role in shaping the film.
Part 1 of the series: The Evolution of Moments: The Script (Part 1 of 4)
More on the concept of Interdependant Filmmaking by Kevin Shah: White Knuckles – an interdependent film