Tag Archives: bigfoot

The Shelf Life of Film

I don’t think we need to address the fact that I suck at writing regular blog posts, so we won’t touch on that except to say that it’s kinda funny that the last thing I wrote was “The Importance of Being Sidetracked” two years ago.

sidetracked

HAHAHA!!!  What a failure of a blogger!!!

And, oddly enough, I haven’t been sidetracked. I’ve been slowly chipping away at The Legend of Grassman. Chipping and learning and chipping even more. I’m very excited to finally be able to show everyone soon.

But I don’t want to talk about that right now. I want to talk about being sidetracked.

Jessica

Here’s a brand new still of multi-talented actor/director/producer Jessica Cameron and the FIRST EVER REVEAL of our Bigfoot. But enough of that. It bores me.

A Dark Night at the Wrong House was the side project I wrote about last. It was actually an older film that had been sitting on The Shelf for a while, because I’m the kind of guy who likes keeping things on shelves. Big shelf guy.

Oke.jpg

Dennis Meyer. We’re brothers. We’re making a “Bigfoot” movie. Ring a bell? If not , just bear with me. It’ll make sense as I go. I promise.

Back when I was thoroughly obsessed with editing and re-editing our short The Projection Booth, everyone got sick of working on it and my brother, Dennis (who you’ll remember from our classic blog entries makes movies with me), insisted I do a new short. So, I picked A Dark Night at the Wrong House, which is actually a remake of a film I did at age 14. I’d been playing around with the idea of remaking it for a while and decided I’d do this real quick-like, distract Dennis with it and then get back to obsessing over The Projection Booth.

So, we did that. We shot it quickly, I mean. And then I couldn’t figure out the effects and this new-fangled 24p business I was trying out. Shortly after, we were doing Grassman, so there was no time for such frivolities. (So I neither finished the film real quick to distract Dennis, nor got back to obsessing over The Projection Booth. I underestimated my fox of a brother. He’s wily.)

So it sat. On The Shelf. With all my other Shelfstuff.

Around the time I wrote that last blog article, I happened to give The Shelf a once over. It’s important to give The Shelf a once over now and then, to make sure you haven’t left anything on the shelf – and I found a mostly-finished short that I really liked. A few years had passed, so I had become more proficient at effects, 24p, as well as giving up and sending things out unfinished.

Wrong House Cover Festivals 2.jpg

Couldn’t think of an interesting caption. It’s pretty much self-explanatory. 

bigfoot_pointing.jpg

“Grassman” is a regional name for “Bigfoot” – a mythical creature that many believe roams the forests of “North America.” 

So I worked hard on it for a couple weeks and then got right back to Grassman. Then something magical happened. Film Freeway was invented. It streamlined the submission process and made everything super easy. So I entered 278 film festivals without hardly noticing. And most of those were free.

I didn’t want to spend too much on festival entries on this film. I paid for a few, but I honestly did better with the free festivals. And, overall, had a great experience with those festivals.

In the end, we played at something like 25 festivals – not great, but not bad, and that’s more screenings than any other short we’ve done. Also, the film will be part of a horror/suspense/thriller anthology coming in November from SGL Entertainment called The Void. I am totally going to buy it because I‘ve never bought my own movie before. And I will take pictures of it. And post them on social media. And it will be AWESOME.

https://www.youtube.com/embed/TKXE11Po-8U

A Dark Night at the Wrong House isn’t any better than anything else we’ve done, but the difference is that I pushed it. And I was able to push it so much because Film Freeway streamlined the process so much. I’m the kind of guy who sends a film out to one festival, and when it gets rejected, I figure it sucks. Don’t be that guy. Whether it’s festivals, whether it’s trying to build a following on YouTube, you have to be relentless. 90% of the people won’t care about your film and that’s totally cool. You don’t care about them. You care about finding the 10% that will love it.

scarela

With actor Anthony Rizzuto at the ScareLa screening of A Dark Night at the Wrong House (1st time we were ever allowed to screen a movie anywhere near LA. The closest till now had been Seattle!)

Furthermore, as a creator of art, whatever the medium, you have a solemn duty to get it to the people who will love it. If that’s one creepy dude in the back of the auditorium with a really weird taste in films, that’s a worthy enough audience.

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Disastrous? You wouldn’t know it from this photo taken just before the screening. Poised and confident, “Dennis” and I radiate professionalism. (Dennis is my brother. We make “movies.”)

I remember there was a teenage boy who contacted me on “MySpace” after what I thought was a disastrous screening of The Projection Booth. He said he really liked it and wanted to know how he could get a copy. At the time, I fully intended to release it at some point, but wasn’t done tinkering with it. I told him about the new awesome cut that was on its way, and he said he loved the original and wanted that. And I figured he obviously has no idea what he’s talking about.

The Projection Booth did not do extremely well on the festival circuit. One blogger described it as “just ok” which is about the worst insult I can think of for a film. I got the sense that this kid was a loner who didn’t fit in, and I had been a loner who didn’t fit in and the movie was about a loner who didn’t fit in. So even if I thought it was crap, it moved this young kid. It said something to him and out of everyone who saw it, it probably meant the most to him. It wasn’t about me. I had a duty to make that film available to him.

But, instead, I stuck it on The Shelf.

If I ever cross paths with that kid, I’m giving him my crappy film. It’s been a few years and it may not mean anything to him anymore. But he’s getting it anyway.

The Shelf

The Shelf. There’s a lot of weird stuff up there. Don’t be like me. Don’t stick it on The Shelf.

The most recent project to escape The Shelf is a feature-length film called les aventures d’archives. It was another side project, but it was taking too long and I shelved it to focus on Grassman. Weeks ago, while giving The Shelf the ol’ once over, I realized it had been, like A Dark Night at the Wrong House before it, abandoned while on the verge of completion and that there is someone, somewhere out there, that would love to see it. It stars filmmaker/cellist Gene Cornelius and a giant, flying robot shark. Who wouldn’t want to see that?  It will be hitting festivals in the coming months.

LES AVENTURES D’ARCHIVES EXCLUSIVE FIRST LOOK

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les aventures d’archives. Coming Soon. Yes, it’s as cool as it looks.

 

eloquent

I’m “Tyler” btw. I’m a “filmmaker.” You just “read” my “blog.”

The Importance of Being Sidetracked

There are moments where it feels like I’ll never finish the film. I spend an entire weekend toiling away and on Sunday night, when I take stock of what I’ve accomplished, I see that I kind of got one effect shot looking sort of good. Or I feel overwhelmed by the any of the few short scenes I have left to shoot -It’s too complicated, or I don’t know how to shoot it, or I don’t have the resources to make it work and I’ve spent all my money on legal fees and a cool hat for my second cameo.

Look at this and tell me our film won't be any good. I DARE you.

Look at this and tell me our film won’t be any good. I DARE you.

Like a lot of creative people who never finish anything, I have a tendency to want to take on more than what I can accomplish, and for the past couple years I’ve been very strict about not taking on any new projects until I’m finished with Grassman – unless, of course, they pay, because I need a cool hat for my second cameo. Saying “no” has been more difficult than I anticipated, cause I like doing things. That’s why I do things in the first place.

"Working on it" included taking selfies in a dilapidated restroom.

“Working on it” included restroom selfies.

I have learned, however, right before I committed myself to not doing things, that switching projects can be a great way to recharge and replenish motivation and resolve. In 2012, I took on a particularly ambitious Halloween special for my day job – which was not supposed to conflict with my filmmaking activities any more than the act of having a day job does. However, it was too ambitious for the 3 weeks we had to produce it, and to get it done, I had to work on it during every available bit of free time I had.

When you work that quickly, you don’t have time to get too attached to the project, and you frequently have to choose to cut or rethink elements of the production that prove to be too time consuming or troublesome. The process bears no resemblance to the slow, quiet, sometimes painstaking work you’re used to while working on your epic masterpiece love letter to Bigfoot cinema.

But as you go, you can’t help but remember that’s sort of how working on your Bigfoot masterpiece used to be. I mean, that was the whole point of doing a movie about Bigfoot running around the woods killing people rather than your planned sci-fi adaptation of Pete’s Dragon, which would clearly be the real masterpiece, if it ever existed. We chose our subject matter so we could work quickly, learn the process, and not worry that Downton Abbey fans would be disappointed in the quality.

Petes Dragon

It would be awesome. He kills Jabba and then rules Tatooine with Chewbacca and Jimmy Pigman.

Most of the Bigfoot films our love letter is being written to were made under similar circumstances, and exist as shining examples of perfect imperfect art. These films weren’t made to be “perfect.” Most of them aren’t even “good.”

However, when you finish your 3 week marathon filmmaking session, you have no choice but to release the wretched, imperfect thing into the world. Cause there’s a deadline. And when you’re watching the premiere on cable on Halloween night, you are filled with a glowing feeling of being totally pissed. That music is totally mixed too loud, and what the hell was that shot doing there in the wrong scene, and that sound effect is in the wrong place! RUINED!!!!  I AM RUINED!!!!

After you recover from your crippling failure, you go back and fix some of the mistakes for the sake of posterity. And then you realize, this thing isn’t really half bad. It’s no Sci Fi Pete’s Dragon, but it’s pretty good work for a three week rush job. And some people actually have told you they liked it. (Plenty of others told you they didn’t, but that’s hardly the point.)

Ghost Girl

(I’m pretty sure this invalidates their arguments.)

It’s tempting to think of the three weeks of being unable to work on your Bigfoot masterpiece as a waste of time and a failure, but the fact is, the experience shook you up. You are suddenly used to working as fast as possible, and getting rid of scenes or elements that are too difficult and time consuming and aren’t 100% necessary to get the story across.

Two years ago, I received valuable lessons and inspiration from the simple act of being sidetracked. And then eventually, of course, I forgot all of it and promptly got back to the time consuming task of Photoshopping realistic Bigfoot nipples into wide shots, frame by frame.  People won’t ever see it, or care if they did, but boy, does it make the whole thing feel authentic.

Wrong House

A Dark Night at the Wrong House, our most recent sidetrack short film project. Playing at film festivals worldwide. Well…. mostly just two so far…

 

 

Getting Rich – Part 3: Everything is better with a rope bridge

Previously, on Jackasses Make Movie:

Rodriguez Rodriguez. Script. Rodriguez Rodriguez Rodriguez, Rodriguez Rodriguez. Shit. Rodriguez. Shevchik. Rodriguez. Shevchik, Rodriguez Rodriguez. Rodriguez!

English: Filmmaker Robert Rodriguez at the pre...

Final gratuitous Rodriguez pic. The man can sign autographs without looking.

So, yeah. We had a script. Now we had somewhere to shoot. What we were about to realize, however, was that we had more than just a shooting location. We had a goldmine of Rodriguezness.

Shortly after asking Rich if we could shoot on his property, Tyler and I began talking about casting. Some of the cast members were already set, with parts written specifically for them (see Lights, Camera, Action! What have I gotten myself into? to see how I wrote myself into the movie). But, there were still several other roles that needed actors, specifically members of the Bigfoot expedition. We needed folks who not only could act, but who looked the parts. The first such character was that of Gavin Reynolds, the cryptid expert with years of experience and clout in the Bigfoot community.

As we were talking about what kind of guy we wanted for the part, a crazy thought popped into my jackass mind. What about Rich? He’s a outdoor dude. He’s the smartest guy I know. He’s a natural storyteller. He’s got… a look. Hell, the look. So, I sent Tyler a picture of Rich with the message “This is Gavin.” I don’t recall Tyler’s exact words, but it was something along the lines of “Shit, yeah! See if he’ll do it.”

Rich and son, blissfully unaware of what they've gotten themselves into.

Rich and son, blissfully unaware of what they’ve gotten themselves into.

After reading the script and a talk about acting abilities concerns which I countered with the experience of the cast and a memory-refreshing clip of Badness, Rich agreed. We had our first non-family actor on board and our first unexpected benefit of getting Rich’s location.

But, that wasn’t all. A few weeks later, Tyler and I went to Rich’s property to scope out the land and start picking locations for specific scenes. We arrived on a nice Spring Saturday, armed with script, cameras, and a Google Map printout of the area for reference. Rich met us and we began a 3 hour trek through the wilds of Lebanon.

Shooting on a rope bridge in the jungle wilds of Lebanon, OH.

Shooting on a rope bridge in the jungle wilds of Lebanon, OH.

It was better than we could have imagined. Not only did it have places for the majority of the script locations, and a story behind each from Rich, but there were places that I had forgotten, treasure troves of production value. Things like a rope bridge and an old, abandoned Shaker home which were too good to not include in the fourth draft of the script.  And there was Rich’s son, Michael, who is the spitting image of his father, who managed to get worked into the film, as well.

Cover of "Slacker [Region 2]"

Now, imagine it with a rope bridge… yeah.

That’s right. We were post-Rodriguezing the script! I mean, who wouldn’t jump on the chance to have a rope bridge in their low-budget, independent film? Imagine how much more exciting Richard Linklater‘s Slacker would have been with a rope bridge in it!

So, the lesson of this entire long-winded tale is this: if you have no budget, use the Rodriguez List method. Make a list of what you have and write with those things in mind. If you are a jackass like me and forget the advice of one of your filmmaking idols, then hope that you are friends with Rich. Then everything will be okay.

Regardless of your friendship level with the Rich, once you’ve gotten some locations worked out, don’t be afraid to post-Rodriguez your script, to make adjustments to accommodate unexpected production value that may fall into your lap. In this business, you’re either adaptive or you’re dead.

Well, not dead… but without a kick-ass rope bridge, that’s for sure!

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