Monday, October 28, 2019

Gumdrop, a short horror -.The Editing Continues

I've been editing the video I've shot on my short horror film, "Gumdrop, a short horror". This blog is for those new to filmmaking really, as more experienced filmmakers already know much of what I'll say and may even roll their eyes from time to time or simply shake their head wondering how I even turn out a product. Well, it's working for me. For now. And I'm learning as I go. And as we all do.

I passed twenty minutes in length yesterday and I'm hoping to keep it under 30 minutes total.

First, I would like to congratulate my friend and cartoonist, Pat Moriarity! He is doing very well with his first animative project, "The Realm Beyond Reason"(using Adobe Animator with Adobe's aide in software development) which he world premiered at our Gorst Underground Film Festival recently. He just won a "bloody" award at the Bellingham, Washington, Bleedingham A Northwestern Horror Short and Film Festival! Congratulations, Pat!

Moving on...

If things go well this coming Saturday, November 2, 2019, at the Bremerton Historic Roxy Theater "Slash Night" event I will be screening it for attendees along with other horror films, live entertainment, and filmmakers with their films. If I don't get it ready in time with a rough cut, I'll premiere it again the following month on December 14, 2019. Slash Night is first Saturday night at 10PM (December saw a previously scheduled event on the first Saturday so we're using the second Saturday).

Gumdrop", is my short horror film, a prequel based on my original short horror true crime story, "Gumdrop City" which was published in 2012 and I first heard about in an abnormal psychology class at Western Washington University toward my degree in the major of psychology and a minor in creative writing and team TV script and screenwriting.

It was a horror show of a class the day we were told about this crime. And so I wrote it as a fiction story and worked it up as an unfinished screenplay with a producer in Hollywood a while back. I may still finish that feature film as I'm not signed and have a producer attached to my other true crime and biopic, The Teenage Bodyguard with producer Robert Mitas.

My blog for last week was also on "Gumdrop" but I've made progress and because I may (hopefully) be showing it this next weekend, I'm updating my progress leading up to it.

I'm new to this editing software and I started editing film as a kid. Then did a phenomenology film in 1983 on black and white reel to reel videotape, a documentary in 1993 using VHS videotape and a short last year using this Sony Vegas Suite software on "The Rapping", which won one small award and showed at the NY Midnight Horror Festival.

One of the things that bugged me in this new effort with many hours of video shot and about thirteen actors involved was the paring of my separately digitally recorded audio with the visually recorded shots. What is the fastest way? I tried several things and it was painfully slow.

So I just moved forward, finding the best shots, following my screenplay roadmap, cutting them in, sometimes finding better shots or "lost" shots and replacing what I'd edited. Sometimes finding that a different order of shots or scenes comes out better than the planned route and readjusting to fit that new slightly different story and editing it as what turns out the best film. Or perhaps I should say, movie, as it moves along and isn't on film but video.

This was/is all rather frustrating at times, but the end product, not my feelings, or energy levels, or emotional state, or level of perseverance, really matters. On that plane, the thing that matters really, is your audience and your intentt in your project. First off? FINISH IT!

What I've settled on is to just cut and edit. Finish it.

Then I will go back, list all the audio clips/filenames and video clips/filenames and process the audio in my audio software (I'm using Reaper), then marry the audio to the video and replace the video in the editor. That will replace all the clips all through the project. Not for the faint of heart, but in the end, it will certainly produce a much better product and... audience experience.

I do have a backup mic ON my camera but if I'm using autofocus (which I seldom do but has almost accidentally given me some incredible shots...when it works right), you can hear the motor on the autio focusing. Besides, the digital recorder (Roland R-26) using a boom and separate and better mic (Rode) allows me to better position the mic where it needs to be recording from.

The amazing & talented "Bobby and Bobby" as "Gays for Jesus" with lead actor Tom Remick
So far? It's been an interesting experience editing.

I've learned how to push through the frustration things I missed on set, like an actor "spiking" the camera (looking into the lens, breaking the "fourth wall" and ruining a shot. Or my saying "cut", too soon in a shot (do NOT do that!). Always record a bit before acting begins after saying "action" (or whatever you say, as the Clint Eastwood story goes that he doesn't because he was used to not hearing "action" on a set with horses so as not to spook them and the same goes with some actors).

And let the camera record too much even in silence, at the end of a shot. You never know the gold you mine in that sometimes. Everyone rushes on camera for some reason. Well, inexperienced actors whom I'm mostly using. Oddly enough, the most experienced actor n my production is Jennifer True and I only used her for some voiceovers, sadly. But she came late to the production and... maybe in the next production. Hopefully.

Whenever an actor during a shoot has an alternative to how I want something shot, I listen to them. I don't always take the shot, unless they insist and then sometimes it's just easier and faster to shoot it and move on than to argue over it.

Sometimes, they don't want to do what I want but another way. So I listen, and if I can't get them to drop it, I just sa:

"OK, let's shoot it your way. But, and especially because I wrote [when I have written] the screenplay, let's also get my shot down also because it's stuck in my mind. Since I wrote it and I may indeed while editing, use your idea/shot and I will honestly look at using it. But I can't move on with a clear mind unless I get MY shot. It will continue to bug me going forward, just as not getting YOUR shot as you want, now. So please...and, action!"

Filmmaking is indeed a collaborative endeavor. Even though I AM my entire crew now. I do hope to get a crew eventually. It would be so much easier, though scheduling then becomes the nightmare it usually is.

Still, I do believe that you need to choose the right actors for the parts because that's half the work. The actor learns the role (hopefully) and knows the character (again, hopefully). So when they say, "I think they might do this, or say that...", listen. Give it a moment's thought. Even if it's "ridiculous".

Because sometimes you don't et it at first and they are right. it can take time to absorb it. Understand it. But the4y are living the character more than you and that is collaborative,, and highly useful. Use ALL your resources. Not just your desires, your roadmap, your style. Be open. And you will find a wealth of two things. At times, utter annoyance and frustration. And at others, sheer bliss and perfections as if touched by the Gods.

More to come...

Monday, October 21, 2019

Editing and History of "Gumdrop, a short horror"

First, some housekeeping and promotions...Last year I shot my first short-short eight-minute narrative film, The Rapping. It was a festival selection at the New York Midnight Film Festival, actually, showing in New York and won the Weekly Online Once A Week Film Festival for January 2, 2019. I shot this with a single actor, Nikolas Hayes. We had worked together previously on Kelly Hughes' horror films.

I have worked on several projects with Kelly and lately, we've been working on the ongoing annual GUFF, the Gorst Underground Film Festival. We began it and held it for two years at Blue Collar Art but are moving it to The Historic Charleston Theater in Bremerton. Both venues are perfect for it.

Our most recent event series is "Slash Night" at the Historic Roxy Theater here in Bremerton which I recently wrote about here. Gorst is a small community right next to Bremerton, Washington. Kelly started both events and both are now becoming standard annual and monthly events, respectively.

This past summer I shot my short horror film, "Gumdrop, a short horror" with multiple actors. I wrote the screenplay and directed and shot it myself. It is a prequel to my short horror story based on a true crime, "Gumdrop City" (2012) on Amazon as an ebook and included in the collection of my first short horror tales in "Anthology of Evil" (2012). I have a manuscript ready for a sequel as, "Anthology of Evil II", but haven't had the time to deal with it.

On Gumdrop, a short horror and Gumdrop City, the new piece is a prequel. The story is about Sampson, an odd character who in the short story is older and more decrepit but just as dastardly and deadly, but even more despicable a personality. In the current film, In using the short story as a roadmap, I drew a character who had been abused as a child and had grown up traveling to escape his birth country of Czechoslovakia and his horror of a childhood.

In those restrictions of his accent and so on, I gave him a background of having traveled to South Africa and to various locations that affected his accent. His father was Irish, his mother Czech. So he has an accent that is an odd juxtaposition of a Slovak accent with a South African slant to it and words of an Irish orientation. He knew his father but didn't know him long enough for it to affect his accent that much, but enough and in odd ways. This makes him confusing for those he interfaces with. His mental status and his orientation led him into criminal enterprises and to avoid traditional forms of employment and sustenance.

Actor Stan W with lead actor Tom Remick as "Sampson"
Sampson is one odd character and not to be trifled with. As the character, Manz (played by actor Stan Wankowsky) discovers int he film.

Okay now...editing.

First, apologies. I'm more concerned with working on this project than blogging. And I'm adding to this as I'm editing, and think of things to mention.

Like treats. I get up in the mornings around 6-7AM and have breakfast, sometimes just toast and peanut butter, or oatmeal, and two cups of coffee. Years ago I limited myself to two cups a day, maybe tea mid-morning if needed. I watch something on TV, usually news of some sort, or a late-night talk show. Then I get to work. If things go on too long, watching a show, and it's really interesting, I'll stop, and save it to watch at lunch as a kind of reward. Understand I'm retired from IT and work on film production and writing from a home office which at this point happens to be half my living room.

I've found tricking and treating myself works wonders for my motivation and stress levels. Have something to look forward to. And use any way you can think of to make yourself do what you woin't or don't want to do. Whatever works. Just find a way to be productive, and try not to (have to) kills yourself over it. IF there is any way possible to make it entertaining/ Do that. But save the wasteful time spending for after you have worked for a day's amount of work, or more.

I have no formal training in film production. Just theory and doing. Self-taught you might say. I've read a lot of books on film production but should have spent more time ready about editing. Well, I've spent some time learning about it, but this project is in part that education. My next project will look a lot better edited, I'm sure. I'll also be reviewing some videos on editing now. I'd meant to do that already before starting this but the flu had messed up my timing. And other things...

 Sony Movie Studio Suite 16 - Gumdrop
Shown, actors: Luke Remick (Jinks), Tom Remick (Sampson)
I am using Sony Movie Studio Suite 16. For that matter, I write screenplays using Final Draft 11. One of these days when I can afford it I may switch to Final Cut. My first edit of a film was at Western Washington University. I used a half-inch black and white reel to reel rig and had to edit in the camera. At some point, I was soldering wires to add music. And it was a nightmare. But I produced a phenomenology film for my department advisor, Dr. Rod Rees in part toward my degree in psychology. I also got a minor in creative writing and team script and screenwriting.

My next production came years later as a Viacom public access cable TV producer where I shot and directed and edited with a few friends a documentary for the twenty-fifth anniversary of the old Lost in Space TV show. I shot on VHS using my own camera as I'd had a bad experience in college where the battery in every camera rig was dead or almost dead in my case, which was the problem.

I didn't know it was "dead" as it worked some and so I shot a bunch of film to near-disastrous results. Still, some of those shots made it into the film. I used a Panasonic VHS editor deck at the studio and it did cablecast twice in the associated region.

For both The Rapping and now with Gumdrop, I'm using my own equipment and software entirely under the auspices of the production company started in 1993 for the LIS doc, LgN Productions (Last good Nerve Productions). I'm using a Canon DSLR 80D, a Roland R-26 digital recording, an HP video editor system from 2016 and the aforementioned software.

Shooting the film I am using the 80D and a Rode mic on top of the camera as a backup, with the Roland R-26 and a boom mic and tripod for main audio. I highly recommend a backup mic, it can be a lifesaver. But that means you have to marry the proper audio with the proper video and that can be a real job. Especially if you are not documenting your shots as you go. Which, I haven't, sadly. But which I hope to in the future.

Beginning the editing I pull out the screenplay and follow that roadmap. I start to insert the video media and begin to edit. Once I have a sequence of shots or a scene edited, I start to locate and insert the digital audio media. Then I begin matching it up. Part of my problem in not matching up the video and audio first and then ordering up and cutting is I could end up doing a lot of work for naught.

IF I had annotations taken during the shooting, this would go much smoother. But in having actors, especially amateur or nonactors in a production, considering timing as they are working people, not working actors paid to have their time on a schedule to act in my production, it makes life and shooting problematic.

I don't have the time to take the time myself to document and clapper my shots. I have to shoot quickly as on any production, without the safety net of documentation and in shot annotations (clapper and onboard notes).

Another issue was the processing of the audio clips. I really didn't know if I could edit this film, then go back and select only the audio I need, process it (I'm using Reaper for that) and then replace the clips I've used. That is, replace the base media in the editor and have it replace all those snippets all throughout the project. Finally, I took the time yesterday to first do a test and it worked out great.

Another issue I had was I built the opening titles sequence first. In this project the opening titles are the end credits to an extent, only reversed. So in building the opening, I figured as it was fresh in my mind, I might as well build the end. And so I did.

However, that put the end at the actual end of the screen, the project, the file. While editing the other day, and this can happen, I deleted a file and didn't realize I had deleted the end sequence. I realized what I did and could feel a nervous breakdown coming on. So I just sat there absorbing it, thinking if there were ways out of that. Putting off the breakdown until necessary. As it turned out, I found it and from then on every day I save a new version of my work that day and begin a newly named file for the next day. I also saved the end titles in a separate file. THAT won't be happening again. I had also created a couple more unneeded tracks and put it alone at the top out of the way. Which was where it was. Not lost. So my habits aren't too bad after all.

Aside: This happened once after college when I had a dul 5.25" floppy disk PC. One disk had the OS on it, the other was data. I had just written a short story. Sometimes I get in the zone and a story just dumped out onto paper. And it's usually pretty good. I did that once while working on a paper on synesthesia in college. I was exhausted, it was midnight and a short story, one page, single typed, come out. I dumped it onto paper (typed it out) and handed it in to my psych prof, my department advisor in class that next day. The following day we all got a handout. I loved his handouts. I was stunned to realize it was my short story (Perception, which grew along with my short story, later novella, Andrew, into my first full book, Death of heaven). Anyway, I was writing this short story on the dual floppy system and suddenly (and it had done this before), it locked up. Because the data disk got full. At that point, there is nothing to do but reboot. But I hesitated an hour before buying into that need. Finally, I rebooted and immediately rewrote the story. Now when I was almost done with the story I was thinking at the time that it was the most perfect short story I'd ever written. Obviously, I didn't rewrite it word for word but close, but it was not the same as I had written. That was lost.

My point? When you think all is lost, don't accept the breakdown. Breathe. Then think. And do what is productive. And move on.

So I have what I have.

This has been so much easier than editing physically with film or VHS as I had in the past. I was the film editor in my family when I was a kid. I had my grandfather's physical film editor (I still have it) and I did cut and tape film. VHS editing was easier. Digital editing is a dream. As in writing is in using a computer over longhand, or that's how I find it anyway. So much faster to cut and paste than as I did in college, literally cutting and pasting and then typing it all up (back then after being in a queue at the library to use a typewriter).

Yes, I did edit The Rapping last year. But that was a shorter film, a much less complicated film. A film I shot and edited just to prove I could do it. And since it got shown in New York and won one festival, even a micro-festival online, I did prove I could do it.

After a week of editing, the nightmare effort began to get easier as I got into the swing of things. Yesterda I was about six minutes into the diting (six-minute of edited video under my belt) and I hit potentially the toughest scene in the film.

It is the scene with hitwoman Wanda (actress Amy M) and Sampson (Tom Remick). The difficulty came in an interaction that required a lot of insert shots and bouncing back and forth from mid shots to close-ups and some ECUs (extreme close-ups) of a tool. That scene, that sequence of shots took me a couple of days. When I started again yesterday, I felt pretty hopeless, like I'll never work it out.

I thought I was done with that scene but today found I had a mirror sequence (gotta have a cool/bizarre mirror sequence in a film like this). I just finished it and I'm now done with that scene and moving on to the Rowan scene with Tacoma actor Jason Lockhart.

But I'm dumping my media I'd inserted into the project at the end where I clean it up and inject it into the timeline with the other assembled pieces of shots. It's important to remember to clean up. I overuse files/copies in my pre-editing end area of the file to avoid having to reapply a clip. Though I end up with a lot of extra pieces  (also in clipping, and expanding), and just need clean up between sequences, which isn't much of a problem.

I'm also thinking now it might be easier and faster to just video edit and then focus on the audio. As you get used to one thing, video or audio, you get in the swing of it. But when I'm jumping between, I seem to cause myself too much confusion. A few days of this will prove the point one way or another.

But, you take a deep breath and begin again, or continue on as it were. by midday, I was feeling much better. Do not accept the breakdown. Or, accept it, but don't have it. Be productive. Always moving forward.

Professionals produce. Be a professional.

As it is this project needs to be done by the second of November so it can premier at the Slash Night event here in Bremerton, at the Historic Roxy Theater. If I'm not ready, then I can show it in December, and then I'll have more flyers sharing its premiere. And so I may show it twice in a row. We shall see.

At the end of each day's edit, I am rendering a movie of what I have done. Essentially finished rushes. Sort of "finished". As this is all going to take a rough cut, and then a run-through for other issues and another rough cut, over and over as any editor knows.

I have also created a Facebook group, a private group just for the crew and actors on Gumdrop under the LGN banner. There I/we can share issues about the production.. Actors can speak up and hopefully, everyone can learn something, or at least, be made away of progress. I found as an actor you know so little about progression on a production and it can be frustrating.

In making this private group I was hoping to have the actors be more involved, aware of progress (and delays) and hopefully as I said, learn something.

Yesterday I found a few useful links about film production/editing I'd like to share and I shared in our private group.

IFH 113: Post Production Process – Understand It or Suffer the Consequences

Understanding the 5 Stages of Indie Film Production

The 6 Stages Of Editing As A Film Director

I'm into filmmaking, I retired from a very well paying job and a career in IT of 20 years, to make films. To write. To turn my past writings into screenplays and sell or shoot them myself. I couldn't get a film made if I were dying. Like so many others. So I finally just thought, "To hell with it, I'll make my own damn films!"

And so I am.

I made The Rapping up and shot it. I am now finally, for the first time shooting a film based on my own past writings. I first heard about the story behind Gumdrop City in 1983 in an abnormal psychology class. A story so affecting of the entire class, I felt I needed to share it with the world. So I made it entertaining and slipped it into a story about a damaged guy and a serial murderer across the street from him.

I worked for a while with a Hollywood producer on a feature film-length version screenplay of Gumdrop City (I just finished working on a screenplay rewrite of my true crime biopic The Teenage Bodyguard with producer Robert Mitas who has worked with Michael Douglas a lot). I thought that story would be the easiest thing to shoot on my own as my first film of a story I wrote years ago. But to shoot the original itself would be problematic in many ways. So I wrote a prequel and added in some interesting characters and elements. Still, it is a difficult story. But doable. And that's all I needed.

What are those interesting characters and elements? In time you will see.
Hopefully, in very little time.

Monday, October 14, 2019

Let Me Tell You A Story About Tacoma, WA in 1973

Let me take you back, into my the year 1973. Tacoma, Washington. I was seventeen. Allow me to set the stage...
Myself in Manhattan in 1974
I had graduated at seventeen, got a job, moved out of my parent's house and finally, started my life. Like many teens, I'd been ready to be on my own for years. Though in reality, I wasn't really ready for it. In some ways, I was more ready for it than many adults ever become. In other ways, not so much. I was very adept at problem-solving, at heading toward trouble when necessary, regardless of my personal feelings.
Me on the left fighting in the 1967
Seattle Open International Karate Tournament put on by my Sensei.

I had started martial arts in grade school. I had studied flight ground school. I had studied search and rescue and first responder disaster first aid in an auxiliary of the USAF, the Civil Air Patro. I had been on a private rifle team and then spent three years on my high school rifle team. I had flown small planes.
Me on the left with my high school SCUBA club in 1971
Immediately after high school, I had started sky diving. I already had my SCUBA diving license in tenth grade and performed my first open water, saltwater dive in Puget Sound's waters the same day I took my driver's license written test. In fact, I was sitting in my wet swimming trunks immediately after my open water dive while I took my written exam at my high school, after hours.

I can remember being distracted while taking my driving test by my wet swim trunks under my jeans and if anyone could smell the salt waters of Puget Sound from me while we sat stressing over filling out our test. Still, I passed both tests that day, for SCUBA and for driving.

My 2nd-floor apartment at 17
One day while sitting at my apartment in an old house in Old Town part of Tacoma, a very nice area of manicured lawns and beautiful old houses, I got a phone call that would echo throughout my entire life to today. For purposes of story and filmmaking, we altered things to turn that phone call into a party instead. But it only made the story more interesting and wrapped up several issues quickly and neatly, increasing the tension and decreasing the cost of making the film overall.

That phone call led me to some years ago, to begin writing a new screenplay. I had just been thinking of what story from my past would make an interesting story, one that could be written and filmed and sold and shown in theaters. See, when I left my parent's house in 1973 it was my desire, after a childhood of adventures, to continue on that path to bigger and better adventures, better stories, stories I could one day, as an old man, write and people might want to buy and read, supplementing my retirement.

By this time in about 2013, I had published short horror stories for money. Years before in the 80s I had gotten published in various local computer magazines, those that looked like tiny newspapers or a Nickel want ads format. I'd gotten published in the greater Seattle area and my favorite piece "Cyberspace", about the new internet for people and not just the military and universities, and about workers and managers dealing with the use of the internet at work.

Many managers were freaking out about it...should they fire employees over it? I argued it was little different at the time as over personal use of telephones which once gave managers great concertation and to today, is an issue with employees. Especially considering today the use of cell and smartphones.

So, I reviewed in my mind on that day in 2013, what stories I had that would be best to attempt a biopic of my past life. I reviewed my published stories and my memories. I looked at old photos.  I considered stories from my years in the USAF when I had a secret clearance for working around nuclear weapons. Some interesting stories there and I'm released from talking about my work in the service after twenty-five years had passed. Which they have. I thought about years growing up in the 60s and 70s and even 80s. Lot's of interesting stuff then.

In the 90s and after 2000 I was in IT work, raising my kids and my life had toned down quite a bit. In fact, when my son was about eighteen months old in 1989 I remember driving down the street considering if in now having a child I shouldn't curb my activities and do my best to be there for him growing up. And so that day I truly became a father. Then in 1993 my daughter came about and even more reason to live sane and safe.

Then I remembered something from my past, when I was seventeen. I graduated from high school and moved out of my parents as soon as I could. I got an apartment in an old house and a job where my sister had her first post-high school job, three years prior to me. Then one day I was sitting at home and a friend called me and asked that I give a woman a ride who was staying with him and his roommate. To make a long story short, I gave her a ride and ... the rest of that story seeped back into my mind.

As I ran over that day, that week actually, I realized that may be the story. My most marketable story. A story I had never told anyone. And the more I thought about it the more I couldn't believe I hadn't thought about it sooner.

Because the story was about my staying with a woman for a week until she could leave town. Something about where she had worked, at the Polynesian style Tiki Restaurant in the Tacoma suburb community of Lakewood, Washington. there had been a murder three of the young bouncer there. It was at Tacoma's first topless venue. The bouncer was only twenty-five.

The woman, in about her late twenties, admitted to being where the murder had happened and said that those who committed it believed she saw it. A murder allegedly according to the newspaper and Sheriff's office was by an anonymous patron. But a murder she claimed had been committed by the restaurant owners themselves. Those "owners" were the local mafia. Not like today where you hear about a mafia of a loosely held gang. This was the real mafia.

So I agreed. I would stay with her for that week and keep her out of trouble, away from prying eyes and keep her alive until she could leave town forever for her old home town. It was an interesting week. So I agreed. With myself. That would be the story, the screenplay I would write. One day. Some day. Time passed. Occasionally I would research some on it but never got past that stage.

A few months later I was contacted by an author whom I had written an adaptation of her novel, an espionage romance, to screenplay format. it had been a few years. She said her book been optioned once for a film, but the year had passed and the option expired. Now she had interest from another producer. One in London who wanted to see it. So I contacted him via email.

I ended up sending him a copy of the screenplay. In our emails back and forth he asked me what else i had available. So I sent him a list of my finished screenplays and protected screenplays I was considering writing. I mentioned Gray and Lover The Heart Tales Incident, which had been a semi-finalist in the Circus Road Films screenplay contest. I mentioned a few others: Colorado Lobsters.

And, Popsicle Death, Sarah, and Poor Lord Ritchie the three short stories/screenplays I had included as a part of Gray and Lover and then due to coverage suggesting removing them and let the frame and main part of the screenplay to run free, I  then cut. And to very positive effect in coming close to winning a contest with it. But then I set Gray and Lover aside for this new property.

I included a list of screenplays I was thinking of writing. He latched right onto one and asked to see it first should I ever write it. The name really grabbed him: "The Teenage Bodyguard". I finished writing it in nineteen days and sent it back to him. I never heard back from him on either property. I looked him up later and found he had disappeared from the scene. So I moved on. Continued to research and send out to contests that gave feedback. I honed the screenplay and researched more.

I'll skip the ins and outs of my efforts on this screenplay. However, through my research, I stumbled onto exactly what I had gotten myself into back in 73. The story only continued to get more interesting.

I finally got a producer to work with me just a few months ago and because of that, we have redrafted the screenplay to a smaller and more marketable approach. It's been a learning experience with producer Robert Mitas. A nice guy, interesting and knowledgable guy I've enjoyed working with who is now attached to my project.

Robert has a few irons in the fire, another film in the works similar to mine as it's a true story from a young guy's past and I'm looking forward to seeing it.

I watched his latest film, an adaptation of Shirley Jackson's story, "We Have Always Lived In The Castle". Michael Douglas was an executive producer. I really liked it. Crispin Glover was excellent as always as a quirky character, an uncle.

For my project, our project, we are now looking for a director and have a shortlist we are working off of. I look forward to seeing this project produced because it's an interesting story, a story about a place and time that hasn't received any attention.

Who KNEW there were mafia efforts in Tacoma, Washington in the 1970s? I didn't and I lived through going up against them. I just thought it was a bunch of bad actors at the time. Had I known back then, at seventeen, who they were, would it have made any difference to me at the time? I really don't think so. Here was a frightened and abused woman, who was asking for help and who was I with all the skills at my disposal, to walk away from her. That just wasn't me.

There is much more to this story. You'll be able to watch some of it in "The Teenage Bodyguard" once we get it produced and on screen for people to see. It's a much bigger story than will be on screen and maybe we'll get around to telling more of it in ensuing years. But I believe, as does Robert, that what you'll see when this version, this part of the story gets told, is a very interesting and entertaining film and you won't regret watching it.

Monday, October 7, 2019

New "Slash Night" at Bremerton's Historic Roxy Theatre

As I write this, last night I was at Bremerton, Washington's first-ever "Slash Night" a Historic Roxy Theater. There is to be another in a month, on November 2nd, 2019. And it was better than I expected.

photo by "Mermaid" event performer Aura Stier
Some great films were shown with vendor tables in the lobby selling horror memorabilia and an opportunity to meet some of the filmmakers. Some of my friends were there and perhaps some new ones. I've been asked to premiere my new film I'm currently in post-production on, "Gumdrop, a short horror" (a prequel based on my 2012 true crime short horror story, "Gumdrop City"), which is coming along nicely. I hope to have it ready by either the November or December Slash Night event.

photo by "Mermaid" event performer Aura Stier
The event was put on by director/promotor/producer Kelly Wayne Hughes. There was a kind of Frankenstein Drag MC in Hellen Bedd, in a camp kind of moderation on the evening which included one short film, one animation and main event flick, 1970s, "The House That Dripped Blood" with an all-star cast from back in the day.

Out front in the lobby, which opens at 9pm, an hour before the film starts were vendor tables where you could purchase horror paraphernalia and boxes of movie posters for sale. The filmmakers were also available to meet.

photo by "Mermaid" event performer Aura Stier
Filmmakers in attendance (and there were others who didn't have films being played that night) were cartoonist, director, and animator Pat Moriarity.

photo by "Mermaid" event performer Aura Stier
Pat Moriarity with artist Ray Hammar
Pat recently became a friend when he "world premiered" his new animation, "The Realm Beyond All Reason", which also played last night. As with the other filmmakers, there was a Q&A period after the film. 

Name dropping just a bit here, Kelly and I are headed over to Pat's Tuesday evening to see his collections and hang out to have beers and BBQ. I'm looking forward to it. Pat's a truly fun and knowledgable guy who once worked for Mad Magazine and his underground comic style of cartooning is obvious. As one filmmaker put it last night to him after his film played, Pat definitely has "a real hand" in his drawing and artistic abilities and sensibilities. I would fully agree.

photo by "Mermaid" event performer Aura Stier
Kelly with the theater (left) with Kelly Hughes
The other filmmakers who showed up with their short and amazingly dark and funny film were the guys from Laslo Films (attended by William Stancik and Gabriel Wagner).

From Laslo Films
They showed an amazing, dark and funny short, "Amphetamine Trucker Lament 2 - 1971"."You've never seen a man truck so hard. (Because Laslo Films loves you.)" I look forward to seeing other films from these guys.

November 2019 Slash Night Flyer
The December event may be on the second Saturday of the month as they have a pre-existing event on the first Saturday night. Thanks so much to the Roxy Theater for allowing this event to be put on. If things keep going in this direction, this is going to be a stable and very fun monthly event in Bremerton.

After all, how cool is it to have an event where you can peruse some cool horror stuff to buy, to see some cool old and new horror films and meet some of the filmmakers?