Saturday, January 21, 2017

The Dearly Departed


As Exigence moves into post-production and Person-to-Person begins filming later today, The Dearly Departed is nearing the end of its writing/rehearsal phase--here with Tom Maseth, Joy White and Katrina Wiskup--and will begin shooting very soon.

Tuesday, January 10, 2017

Exigence: "Recovery" (Time Lapse)



Exigence: "Recovery" (Time Lapse)--Pry'ce Jaymes and Shane Lewis getting through a rough patch with special help from Jaymes Young and Nicole Terry....

This time lapse sequence will also feature a musical score and might also have a voice-over narration from Pry'ce's inner monologue.

Sunday, January 8, 2017

Exigence: "Recovery"


Exigence: "Recovery" with Pry'ce Jaymes and Shane Lewis with special thanks to Jaymes Young and Nicole Terry! As I directed the scene from my apartment in Ireland via Skype, they were filming in an unheated basement in Connecticut and outside there was snow everywhere!

Tuesday, January 3, 2017

Exigence: "Worlds Apart"



Exigence: "Worlds Apart"--two men occupying the same space but living in entirely different worlds with Tom Maseth and Pry'ce Jaymes and special thanks to Jaymes Young. Fading in and out of this will be recent events and inner monologue that are 'Nico's' preoccupation...

Wednesday, December 21, 2016

Exigence: "Check & Mate"



Putting together a scene from Exigence with unprocessed clips and no M&E track...Features Pry'ce Jaymes, Shane Lewis and Lamont Easter.

Monday, December 19, 2016

Exigence: The Incursion



No music & effects yet, just visuals...

Monday, December 12, 2016

Exigence: "Alley Chase"



Following on "The break-in" sequence in Exigence, our heroes (Pry'ce Jaymes and Shane Lewis) had to make a quick exit. There comes a moment in every story when you need to go from passive verbs to an active verb...

I remember a screening of In the Heat of the Night and Norman Jewison said he felt the need for a bit of action, which prompted the chase scene where the hounds were after Harvey Oberst played by the actor Scott Wilson.

Friday, December 9, 2016

Notes on a Call Sheet review


The topics vary but my hope is that what the listener may gain from these podcasts will help shape a career and accelerate progress towards an acting goal. they are free on iTunes and Podbean.



Branding and typecasting are at the opposite ends of the spectrum for an actor. Learn the difference and the consequences of each as it affects your career.

Tuesday, December 6, 2016

How to Shoot a Feature Film in 15 Days (And Survive to See Profits): The making of Dead Right

I met Vito di Bari who was an Italian film distributor at a film market in Las Vegas and struck up a conversation. What follows is an excerpt from How to Shoot a Feature Film in 15 Days (And Survive to See Profits).

When I had run out of small talk, I said to Vito, “I can make a police action thriller for [undisclosed, loss-leader, unbelievably bargain basement sum here].” “How can you do that?” he wanted to know. “I do it a lot,” I told him looking more sad than proud of the fact. “What would the film look like?” he asked which told me that he was either incredibly forbearing or had bitten off on a small piece of my implied proposition. Time to offer him a larger bite, I thought to myself.

“If you’ll come down the hallway with me, I’ll show you.” This was a nice trick to pull out of my hat, because it just so happened that my producer’s rep had a suite down the hall and there, one of the films they were pushing, was my latest movie Bleeder & Bates to be seen. I escorted Vito into the suite, exchanged brief hellos with my rep, appropriated a video player that wasn’t being used at the time and racked up my movie. As I did so, I noticed Vito studying the poster for Bleeder with its shiny, silver police badge, the Porsche Turbo (with Martini racing colors), two guys with guns and intent to kill and two women wearing what looked like Victoria’s Secret lingerie. This arrangement of images piqued his interest even further. We watched the opening of Bleeder.

After about ten minutes, Vito asked me to scan ahead to the middle of the film, which I did. There we watched another ten minute segment of the movie; possibly the sequence with the Porsche Turbo racing along Mulholland Drive was in this section. Then, he asked me to scan forward to the last portion of the film which we watched taking in the enigmatic ending where a police commander is shotgunned to death at the front door of his home by an assailant that is implied rather than identified. “Let’s talk,” was all he said.

We didn’t go back to his company's suite but, instead, found a sofa at the intersection of two hallways and began our discussion. “When could you start?” Vito asked. “In about three days.” I told him this knowing how crazy that would sound to him. It reminded me of a scene from the film Patton where Patton tells the command that he can pull out of battle and move his troops in a winter storm a hundred kilometers to another region and take up the fight again. Vito was just as incredulous as were those Generals listening to Patton’s declaration. Vito needed an explanation. “Vito, I founded a repertory company for film and television,” I began. “We have about a hundred actors at any given time whom we have trained and prepared for the roles we create for them in the movies we make. Think of us as a studio from the old Hollywood studio system with our own actors but without the overhead and real estate and operating as guerrilla filmmakers.” I added that it was my habit to write the script as we shoot the movie and went on to say that if we required three days to start, it was only because I needed a day to get back to Los Angeles. He began to see that I wasn’t quite as crazy as he at first thought. “What kind of film would it be?” he wanted to know. It will be very much like the one you just looked at; a thinking man’s cop drama looking at the relationship between crime, law enforcement and politics. If you liked what you just saw, you’ll like what I do for you.

If you didn’t, we should stop now. Do you have a story in mind, he asked. No, but I have a title—Dead Right.

Vito and I shook hands on the deal and he gave me his card asking me to call his office in Los Angeles so we could set up a meeting to formalize our agreement to make this movie together. Coming away from the encounter, a friend pointed out that I had just made a deal whereby a distributor, whom I had never met, would fund a film for which there was no script and which, in the real world, isn’t supposed to happen. It occurred to me that if I only did things that were supposed to happen, I would be selling life insurance in the San Fernando Valley. “I think he liked the title,” I told my friend

Saturday, December 3, 2016

Carrera Panamericana (1950-54): A new review


A remarkable documentary!
By MICHELLE LEVERE on November 30, 2016 
Format: Amazon Video Verified Purchase
 
I can't say that I am either a race fan or a car buff, but when I read the description of this documentary stating that the Carrera Panamericana was the world's most dangerous road race, I thought it would be a good idea to investigate. I wasn't disappointed. Incredible race footage plus in-depth interviews brought me right to the edge of the road. The only things missing as I watched were the dust and the smell of exhaust! This film absolutely satisfied my appreciation of history, particularly in light of the fact that I had never heard of this event. So, I am better for that. And towards the end of the movie, I wondered if they were able to keep this race alive to the current day, that it would be on par with the FIFA World Cup for anticipation and fan following. And never forget, "A driver is always an optimist, a passenger is always a pessimist"! 
On Amazon Prime and DVD.