Wednesday, September 14, 2016

Exigence...


Lamont Easter in a scene from Exigence. Even the wicked are not exempt from Murphy's Law...

I never want to merely film the actions of actors in a scene. When I film, I want to shoot in a way that creates a visually declarative statement about what the actors are doing and not merely show that they are doing it. Some of this is conveyed by framing and composition. Lighting also plays a part and much of what I am shooting in my new film Exigence is being shot during magic hour--the time after the sun disappears below the horizon producing a softer, more even light absent highlights and sharp contrast.

In the accompanying still, Lamont is seen in just such a light.



Saturday, September 10, 2016

GTOs at Willow...

video

Helping Mario Tosi say goodbye to his GTO at Willow Springs Raceway with Peter Helm, Chris Cord and other Ferrari guys back in the day...

Wednesday, September 7, 2016

Exigence: In the car


Day 3 quote of the day: "Have him back it into next Wednesday."

Two characters (played by Tom Maseth and Pry'ce Jaymes) who are lucky their paths only came into brief contact...

Monday, September 5, 2016

Bleeder and Bates: Play the hand



Bleeder and Bates nearing the end of the second act and tensions are high between Patrick Gorman and Joe Filbeck...


Thursday, September 1, 2016

The Magistrate available with Amazon Prime


A Series of ONE: The Magistrate starring Antoinette Greene-Fisher is now live on Amazon and is available with Prime...

The Magistrate lectures a courtroom full of attorneys prior to a session of law and motions. It is obvious that she is not impressed with the level of competence she witnesses on a daily basis in her courtroom.

The Magistrate on Amazon

Tuesday, August 30, 2016

Exigence: Shane Lewis


Shane Lewis of Naked and Afraid was having a rough day working with me last Sunday on my new spy thriller Exigence. Someone commented that the quickest way to a man's heart is through his rib cage...

Saturday, August 27, 2016

Point of Departure: TGV



Two journeys: the physical and the internal...

Monday, August 22, 2016

One spur-of-the-moment at a time



I commented on Facebook recently that the first rule of guerilla filmmaking is to be ready to strike anywhere anytime with whatever you've got and it is my observation from reading books by A-list Hollywood filmmakers and hearing them speak--most notably William Friedkin speaking at an American Cinematheque screening of his film The French Connection--even major motion pictures have an element of guerilla filmmaking in them. Friedkin had to resort to spur-of-the-moment renegade solutions to get the footage he wanted on the elevated train that culminated one of the most famous car chases in film history. I sat with Bud Smith, an associate producer and editor on another Friedkin film Sorcerer, and he explained to me what they had to do to get the famous swinging bridge scene that needed to be in driving rain (during a drought).

Every film I've made qualifies as guerilla filmmaking and, often as not, spur-of-the-moment. Even a film I did for Tropicana Orange Juice for the J. Walter Thompson Agency saw me experimenting and, in fact, I dictated the 'completed script' to them in Paris over the phone from my Hollywood apartment the day before I got on the plane to fly to Paris for the shoot. They did not know that I was dictating it off the top of my head. Everybody loved the script and appreciated the time and effort I had obviously put into it.

For some twenty years, I ran a repertory company for film and television which I had founded in Los Angeles. Modeled after the old Hollywood studio system, it trained actors in a technique I had devised, taught them about public relations, marketing, branding and other considerations essential to working actors. The purpose, of course, was to have a band of actors with whom I could make experimental and innovative movies whenever I wanted and who could deliver their 'brand' to the camera in whatever scene was created for them. Eventually, we had a roster of 100 actors and maybe a dozen writers and half that many writer/directors.

Though I dismantled the rep company some 15 years ago, it seems I've formed a new one without realizing that is what I was doing. I now have a troop of actors on the east coast that I have trained teaching Action/ReAction, PR, branding, marketing, etc. and, as an army, they are ready to go. Many of them have performed in one-man/one-woman shows I wrote for them which can be seen on Amazon. Last week, I began shooting a feature-length film in HD which will be given a 'film-look' before it is completed. The gift shop 'souvenir' clapper/marker the crew is using is an inside joke because it says 'Hollywood Production' on it--the actors and crew are in Washington, D.C. and I am on the set via a Skype connection directing from my apartment in Ireland. Hollywood is a state of mind...

I have worked with the actors as students and they have learned what they need to know to be able to deliver compelling performances 'anywhere anytime' because they have prepared for exactly that. The teaser clip here is from the first of three movies I am doing. I wanted to shoot a declarative shot that would present the theme of the film visually. Two other movies I'm preparing are currently in rehearsal--a screwball comedy about two ladies who lunch and a more serious piece about two women managing their break-up via a series of cross-country phone calls. They will start shooting within a few weeks.

The point of all this is that everything you do is predicated upon everything you've done. When someone says you can't make a film on the spur-of-the-moment, they don't understand how much time and preparation went into that spur-of-the-moment.

Saturday, August 20, 2016

Exigence: Day 1


First day with a new crew and old habits on my new feature film–a spy thriller entitled Exigence...

Monday, August 15, 2016

Fait Accompli Main Theme by Bunny Brunel



This is the main theme for my movie Fait Accompli that led out of the opening prologue and into the opening credits taking us to Gérard Ismaël's arrival at the Union Station in Los Angeles, the largest railroad passenger terminal in the Western United States which combines Art Deco, Mission Revival, and Streamline Moderne style...