Tag Archives: recharging

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…