No Budget PreProduction on Indie Horror Short - Gumdrop Sampson

Hi. Ever made a movie? Not a home movie, but one you want others to see, others you don't know and will never meet? Putting yourself out there for comment. Making a statement. Sharing what you are thinking and showing how you think? Want to make a movie? Then stop listening to others who say you can't and just DO IT!

If you want to or are going to do it, this might be interesting. If you've done it, then this might just be sad, or hilarious. I know something about movies. Studied it some in college. I'm no practiced expert, but I've figured out a few things and I'm learning as I go. That's part of the fun of it.

I was with friend and local indie director Kelly Hughes when were at the Port Orchard Film Festival yesterday, to support the festival and see his music video collaboration "We're Nothing", entered in the Experimental Block of films, as I write this. From his website:

NEW COLLABORATION! To promote my docu-series Acting Up, I made a music video set to Postvorto's song We're Nothing. Postvorto is a post-metal band from Italy, and they have an intense sound that inspires me. The music video includes new footage I shot in Gorst and Sunnyslope, WA. One of the band's guitarists, Andrea Fioravanti, is also composing new music for me. I've heard several of his tracks already, and they are pretty amazing.

Kelly asked who he should introduce when we got (today) to Crypticon in SeaTac. We're spending the night, hitting panels on film production and Kelly's music video is also playing there. I'm obviously an author, blogger, aspiring screenwriter and now functionally, a filmmaker. I suggested that.

Kelly smiled and said, "Well, wannabe filmmaker."  I thought about that for a moment, a bit bummed out. But maybe he's right. Though, I would alter that slightly and say, "aspiring filmmaker". I have perhaps a few more projects to go, and maybe a feature-length film to go, in order to consider myself a full-fledged filmmaker.

To be sure I have earned the title filmmaker in having produced and documentary and a short. That's only fair to me. But, to be fair to more established filmmakers, I really should wait on that until I have a few more projects under my belt. Let's not jump the gun. Yes, you CAN call yourself a "filmmaker" after one project regardless the length. Or quality? Just Do it! But, strive to be more and really and proudly call yourself a filmmaker, once you have truly and fully earned. it.

I may add to this in the future as things progress if I find anything I left out. But following is the history and mindset I've had in building this project to production and preparing to shoot on set.

But that's not why you make films. As in being a writer, you produce because you have a need to produce. Because you enjoy it. You have a story to get out. Or you have a need to tell stories. Filmmaking, however, is not for the faint of heart. And then you put it out for others to see and you have to steel yourself for someone sooner or later shredding your work and your ego.

So do your best.

I started this by considering my next project, obviously. In 1993 I produced a documentary for public access cable TV at Viacom in Seattle. A studio up on Roosevelt Way Northeast. It was a comedy of errors like you wouldn't believe. I had moved out of Seattle and hard to return to work on the project, finished it, it "aired" twice in the PNW and that ended my work in production.

Until 2016. I got new equipment, I started writing. I came up with a viable project as a test after all these years and working with new equipment and produced "The Rapping". I have also been working with local indie horror director Kelly Hughes for a few years now.

Because I wanted to get on set and get a better understanding of what happens to my writings once it hits production. It's been fun, anxiety invoking (like when the police showed up wondering why a woman was screaming things like "Let me go!" "Why are you doing this to me!" That was actress Jennifer True. The cops couldn't have been nicer and said now that they knew we were shooting they'd be aware for the rest of the day.

art by Marvin Hayes

So, in choosing my next project I considered my original and recent reason for shooting films. To take some of my own published writings and turn them into live action. I decided the one with least special f/x could be Gumdrop City. I wrote about this before. Originally written in 1983, it was first published in an anthology in 2010. Then I put it in my own Anthology of Evil in 2012. And I wrote about this new film project in April.

But this is about the production now that it's been selected.

Preproduction.

I came up with the idea to not produce the story itself, but to do a prequel. How did this all begin? The story itself is based on a true crime story I heard about in college toward my psychology degree in a class on abnormal psychology. It affected the class so strongly I felt in walking out of that class I had to write about it. I'd never even known such things existed back then.

But to do the story itself would require some difficult scenes I didn't want to get into, I didn't even want to get into in the short story. Special effects I didn't want to do on a first full narrative film project with my limited money and resources. So I settled on a prequel. An origin story of sorts. I just let my imagination go after re-reading the original story.

And a vision emerged. I decided to go a bit more bizarre. What if this was bigger than the short story. What if this guy wasn't such a degenerate as he is in the short story? What if, he lived the prequel storyline and then severely degenerated between that and the short story? That freed me up in many ways. Creatively. Financially. Resources. And it made it more fun.

So I wrote some notes out, then wrote my first draft. Over the next couple of weeks, I worked on other things and kept going back, adding ideas, fleshing it out, honing it to imperfective perfection.

I started to think about who should act in it. I had wanted to do something with my voice actor who has read a couple of my stories as audiobooks, Tom Remick. Nicest guy ever, playing the part of a sick demented murderer. Sure, why not.

I started to consider other actors I know. Tom said his son might be interested, and his two young boys. Excellent. I needed around ten actors. Three are voiceovers and never seen. I know actors from my friend and director Kelly Hughes' stable of actors (he and I will be at Crypticon Seattle in SeaTac this weekend, by the way). I've acted with some of them, done f/x around them, pyrotechnics, etc. As it turned out I'll only need a few of them. I now have the production cast.

I continued honing the screenplay. I started picking up props. I started researching the f/x I will need and some of the food props. That all in itself was an experience and an education. Any idea how expensive a lot of gumdrops can be? Single color? Red? Maybe easier to make your own.

Marvin Hayes who did most of my ebook covers and my print book covers had some f/x suggestions. That was handy.

A production is a collaborative effort. In a low budget indie, or no budget indie, it can have much more of a family/community feel to it. People volunteer their skills or efforts out of a love, not payment, for what they want to do. Some who never dreamed of doing it find they're doing it and living a kind of dream. But they still have to be able to pull off whatever it is they are offering. They still have to show up on time and pull their schedule off or they're replaced.

Some directors can get gold out of even problematic actors. Kelly is like that. I've been told I'm quite good too at directing by actors. We'll see soon enough. I'm used to working with professionals in other careers. I'd expect no less in this one. Demand quality and it shows on screen. Let the production take over your production, or your actors or crew, and you lose the production. Set up an environment for productivity and creativity and keep things moving forward, and you'll all feel the joy of creating something special.

Rule #1 in a production... Preparation: a solid screenplay, actors, camera work, f/x, and sound makes life so much easier and sets you up for a much better end product. Especially pay attention to sound. Because it can so easily ruin a good project.

Rule #2 in a production...Finish the production. David Lynch took five years to finish Eraserhead. But he finished it.

OK. So, I hit the point where the screenplay was finished enough to send to the actors. A screenplay is finished when the film is shown. It's perpetually in a penultimate state as things change on the set when shooting.

At the same time, I was working out practicals. Number one, gumdrops. Purchasing them was too expensive and finding only red ones even more problematic. So I decided making my own was the cheapest. AND, it gave me a new scene where Sampson, the lead character, makes his own. That gave me more opportunity to add in some more creepy factor.

That meant I had to research the recipes. That led to ingredients. One was problematic and expensive. More research until I found one source that was best and purchased it online. It's here now and more than we will need.

I had an idea for an opening camera shot involving my Syrp Genie and equipment. I continued honing that complex shot in the screenplay. I finally got around to digging out the equipment.

Syrp Genie configuration for this opening/closing shot

By the way, I charge all my equipment batteries the first of every month on all my equipment, something an assistant would be assigned to do if I had a bigger crew...or a crew. I set up the configuration I would need and began to plot out the setup and execution of the shot. Which, as it turned out, wasn't practical.

So I had to work around that. Splitting up the programming (there is a cell phone app where you program the equipment) into two programmed shots. The Syrp equipment simply won't do the shot I wanted.

The plan was to start high and happy and shoot downward slightly, tracking to the right and lower to and sad, at the other end of the track. Uncovering and exposing the other side of a face. Then I could take that shot and split it up, using the first half in the opening and the second half at the end. It was a moving example of "the Comedy and Tragedy Masks" or just "the theater masks".

Preproduction is so important in so many ways. Having a good screenplay. Rehearsing at least some. You want the actors to understand what you want of them which relaxes them some. Trying out camera shots ahead of time. Testing f/x and recipes for things like blood. Lighting issues and setups. Locations and test shots. Etc.

I've learned not to send my screenplay out to too many or ask for too many comments on it (same with dailies or rushes if you have them) as a lot of times it simply muddies your thinking. If you find someone who really does understand how you think and can productively critique and add to the project, they are simply gold.

I'm deep into preproduction now.

At some point, you need to write up a list of shots, or a shooting script. Some don't do it at all, some get very technical about it. Find your bliss, what works best, what turns out the best product for you and go with it. Always considering to enhance or alter as you find what works better, or you are eventually able to evolve into. The mission, the project, the product, the film is what takes precedence, not you. Kick your ego to the curb and produce quality at all costs.

You also need a schedule for the production and consideration for what needs to be on set before anyone arrives. You can send a screenplay to a company and they will produce for you a shooting screenplay, or cost estimates or all kinds of things.

Or you can do it yourself (preferable). it can be as intricate or simple as you like. All that matters is that it is good enough to make your life easier and the project more productive and aid in enhancing the quality of the end product.

What day, what actors, when do the actors /crew need to be where. If you have any crew and I suggest you have some. I hear, certainly, on a larger crew/production, an AD is so important, an assistant director to take on your more mundane or difficult tasks freeing you up for the real directing on set issues.

What do you need for all of them? Food and drink, to be sure, always keep your actors happy and fed and happy to return. Costumes? Practicals? Props?

The list of who is shot when and in what scene. You may have an actor in scenes all through the production, but do they need to be there in chronological order or can their scenes all be shot on the same day and edited into place later?

Taking the screenplay from its format and order and timeline into when is most economical in many/all ways is imperative. Logistics are important and getting them right in preproduction is a life saver.

I have children in this project. So getting them in as early as possible, their scenes shot all in one day makes my life, and theirs, and their parents lives, easier.

Paperwork. Do you need shooting permits from the city, county, area? Or are you guerilla shooting, shot and run shots? Actor waivers/agreements. I know many don't bother with them on no budget films but it's so easy to do, I think it's worth it.

That alone makes the actors feel more respectable, more professional, more respected and sets a tone overall for the project. Not to mention it gives you and them, the reasonable protections you want later on if something unforeseen does come up.

Now with all these things under consideration, preproduction is a matter of going over them until you hit your desired level of perfection and costs. Which is where I am now.

Last Friday Tom and Amy came over and we did a run through on Amy's scene and it was so enlightening. Table reads, rehearsals, save so much time and can really add so much to tweaking the screenplay. Iron your issues out before you begin principle shooting.

Next up? Production?

Actually, just a lot more preproduction. I'll let you know how it turns out.

Cheers! Sláinte!

The Insane Process of Filmmaking

If anyone has every worked on a film production, you have to appreciate this film. It's a little like what "Office Space" is for corporate workers, only for film productions. In fact, some of those frustrations that you find in working on any collaborative projects, are explored and somewhat released in this film. And, it's just fun.

"Living in Oblivion", is a sweet little indie film (1995) written/directed by Tom DiCillo with Steve Buscemi, Catherine Keener, Dermot Mulroney (Catherine's husband at the time), Danielle Von Zerneck, James Le Gros, and Peter Dinklage as the "dream dwarf", or, maybe not.

The guy with the clapper board on set, Ryan Bowker, is the guy who pulled this idea from Tom in just a few minutes at an event they both happened into one day. They had both been in acting classes together years before and when they ran into one another again, Tom had previously produced a failed film called, "Johnny Suede". So Tom gave him the role as the clapper board guy.

The idea came to Tom though because Ryan was so happy to see him because he knew he had actually produced a film. Tom's experience on this was so bad (the film only ran one week and because of that he lost financing for his next planned film, stagnating his career for a while), that he came off at Ryan about what a pain film production is. And that's when the idea hit him for, "Living in Oblivion".

I say again, if you've experienced the set of a film being made, you have to appreciate this film. Tom talks a lot about the technical difficulties and he explores that in this film. I can relate. I can really, relate.

I got my university degree in Psychology. But I also got a minor in creative writing that involved a year of a special screenwriting class with eight specially chosen other writers, from a previous playwriting class we all had together. Before that though, I shot a film for two of my Psychology Professors on Phenomenology. That was really my first experience in a film production. As a kid I was the go to guy for our family for our home movies whenever we would watch them. I learned to use a film splicer for 8mm. 

In high school I had a couple of years of Audio Visual where you got to run media devices for classrooms whenever a teacher needed the equipment. Then came my college experience. I was using a reel to reel half inch black and white video tape camera whose vidicon tube was really beyond its years of use. This equipment had really been run through its paces and were at the end of their life cycle. But I didn't know that. 

My first day of shooting was driving through downtown Bellingham, Washington. These were not small cameras and were attached by thick cords to the reel to reel. It had a battery in it so it could be used remotely which was great, but only lasted about a half an hour before needing a charge again. I was trying to drive, direct (that is find interesting things to shoot) and drive. At several points I nearly drove off the road and one time in particular, literally scared the hell out of myself in almost losing control of the car. But I got the shot!

My next shot was at the beach just south of Bellingham in a suburb called, Fairhaven. Essentially a community of ex hippies who moved there in the 60s and now they had kids who were going to college. It's a nice little community almost on the beach. I went down to the beach and found a sign that warned about "red tide" and said do not pick the shellfish. The shot had large storage tanks nearby for waste sewage or something and I really liked the composition of the shot.

So I have the tripod set up, the camera mounted, the reel to reel running and I was getting footage of the scene shooting out toward the Puget Sound waters. As I was shooting I noticed a family, parents and a couple of kids, picking shellfish. I looked at the sign. As they walked past me I asked the father if he had seen the sign, but he just said, "Naw, I don't pay any attention to that, it doesn't mean a thing."

Okayyyy.... Well, maybe he knew what he was talking about. One could only hope. I got about fifteen minutes of footage there. I was pretty happy at this point.

Then I took it home. I had gotten enough footage outside all over town. Then I was going to shoot footage inside. Then I realized that there was no way to hook up a microphone. There was a plug in but it wouldn't work with my microphone which was a normal 1/4 inch jack. Not wanting to admit defeat, I got out my electronic tools and wired together something that would work. During this production phase I came up with a paper with a light behind it and an embossed insignia (just happened to be my family name), but it looked cool. 

I had noticed while shooting around the town that I was having problems with the camera equipment. Before I got to doing any shooting indoors, I ended up at school that next day. So I went to the A/V department where I had checked out the equipment and asked them. What's up with the battery on this thing. Do you have another better one? I got a shocked look. 

It would seem that none of the batteries worked anymore and they had pulled all of them. You had to plug it in for it to work. But I had a battery. He said I shouldn't have one, but that would explain any problems I was having. They were getting new equipment to replace all this ragged stuff, next year. Which was too late for me.

Then I got a cold chill. After school I hurried home and ran the tape back and sure enough, the battery had enough power to run, but not record. All that footage I had shot, the risked possibility of driving into a telephone pole, the ironic footage of the family gathering allegedly tainted food on the beach, was all lost. I was crushed. 

I pulled myself together (a couple of days later) and realized I would have to plug it in, limiting me mostly only to indoor shots, and that was that. So I had to start all over again on my theme. I only had the equipment for a weekend at a time and each time might get me different equipment. One weekend I had a camera where the vidicon tube, which you should never aim at a bright light as it would make a permanent burn in on the tube. Then you would have ghosts in your frame when you record. 

This one weekend I received the worst camera I had used, with lots of these burn ins leaving it almost useless for me, so I got this idea. I noticed that if you did aim it at streetlights and moved the camera, you'd get trails. It looked like UFOs in the night sky. Which, was awesome. Things started to pull together and in the end, I got the film done, turned in and was done with it. 

Then I found that one of my Professors had shown it to all of his classes. He did that to me a lot, I'd turn in a paper one day and later find he had shown it to all his classes as a handout. The film needed an actor in one part, I had decided and no one was available in my time frame with the camera. So I thought I could use myself. Why not? No one but the Prof.s will see it. So I did.  

I became an instant semi celebrity around campus. Lots of attractive women would stop me between classes to talk to me, argue my theme, and so on. I was living with my long time girlfriend so all these interruptions weren't doing anything but making me late to my next class. So it was kind of lost on me at the time. And I was not pleased with the overall quality of the film. Luckily, it was a pass / fail kind of class. I passed.

Film production. What a nightmare. I figured my next turn at it would be much better. 

In 1984 just after graduating college, I had moved down from Bellingham to Tacoma. My sister's husband Joe, called one day to ask if I wanted to go with him to the Stanley Kramer film production series of seminars at Bellevue Community College. I was stunned and excited to think of meeting the famous director. I was broke, just out of college and Joe paid my $150 for the seminars. Thanks, Joe! [By the way, for the last few years Joe has been running Live it Out Loud!, an awesome kind of day band camp for teens.] It seems Mr. Kramer had moved up here to retire and be around his daughter and family and wanted to teach at the college. It was a fascinating set of Saturday's to sit and listen to a film legend. Needless to say, it was re-energizing in my love for film.

By 1986 I had split up with my girlfriend and moved up north to Seattle. One day a film crew was shooting the pilot to the new TV show, Starman, from the feature film with Jeff Bridges. I ran into them on the way home from work, on Queen Anne Hill. I heard them talking and they said they would break and then head to the Seattle Center for night shooting. So I went home, ate, and ran down to the center. It was amazing. The rides there were all running just for background for the show. They guy I saw with the walkie talkie up on the hill would give an order and all the rides would start up or stop.

The location guy in charge kept walking by me and seeing me just sitting there watching it all. He stopped one time and asked if he hadn't seen me on the hill earlier that day and what was I doing? I said yes, and that I had studied screenwriting but never been on a set. He said to follow him and we went beyond the security guys up to the monorail platform where the lights and camera were set up. He put me just behind the camera to the side of the director and I got to sit there all night and obverse. I learned a lot just from that one night. It was also kind of fun in that many of the crew kept looking at me like, who is this guy?

In the late 80s early 90s, I was involved with a project from the Psych Department at the University of Washington. My wife at that time was running one of the computer labs for the project, and I worked for MCIS at the UW and would help her out in the lab sometimes. We became friends with the head of the project and one thing led to another and my wife, our nearly four year old son and I were the subject of a BBC documentary. It was an interesting and difficult week to be the focus of a project like that, and that doesn't say anything about how fascinating the actual Psych department's long term project itself was. And so, I got to learn just how "real" a reality show could be, or not be.

Years later I became a public cable TV producer in Seattle. It was the wild west of the cable industry in about 1992. There were shows on like a girl that interviewed people, only in her bikini in hot tubs around the Northwest. Another with a woman who was naked and danced around candles. There was a garden show that was very low quality but ended up as a real cable show on a real cable channel years later. 

I was again lacking help to do a production,  but I convinced my best friend to do a film of some sort with me. He was being difficult. He didn't want to do it. I made a mistake in not using the resources of other producers and film makers at the station but I wanted someone I knew I could trust. We finally agreed on doing a documentary on his favorite topic. An old TV sci fi show, as it just happened to be its twenty-fifth anniversary. And he would do anything to talk about that show. 

As it turned out, he would be the host and narrator. He looked okay on camera but his speech skills weren't so good. He just wasn't an actor. As time went on he got better, though. But rather than using a script, which would have most likely made it more difficult for him, he just winged it. Which was okay, in that he was an expert in this area, but he hesitated at times. So I had trouble, to put it mildly, with the talent. And then, I was the entire crew.

We finally realized at one point that we needed an interview segment with him. That meant, even though I made it clear I never again wanted to appear on screen, I was going to have to, just to make it feel more natural. I fixed that in post. I interviewed him, then took some pick shots of me that would blend in. Not a problem.

One principle shooting was done, it was time to edit. I was the editor. I had Panasonic machines and just had to reserve time and show up to do it. It was professional equipment and I was very excited, after the University experience, to use real equipment. So I got to it. I could only do it in blocks of time within what was available so usually that meant only two or four hour blocks. It took a while, needless to say. 

One day I showed up to edit and the editing machine was gone. They had like six editing bays so that wasn't a problem. Right? I asked them and they said that machine #8 had been sent to California as it needed work. Something, was wrong with it. So they pointed me to another bay and I got to work. Except that, the other machines wouldn't correctly recognize my master tape. Oh my God! I asked when the machine would be back and they said a couple of weeks or so. 

Great! 

In the meantime I had met this girl. Eventually, I moved in but for now, I was just spending a lot of time over there at her place which was in another town and so I'd spend the night sometimes. After a few weeks of that, I moved in with her, later we married, bought a house and ten years later got divorced. 

But I'm getting ahead of myself.

I finally had to go back and see if the machine was back and finish editing. It had been a few weeks now and I was hoping it would have to be back by now. I don't remember but I may have called to check if it was back yet. So I signed up for some editing time and went back to finish the project.

I got back to the editing bay and there it was, good old machine #8. I got a feeling of elation. But now, would the old master tape work? I pushed it in and sure enough, it worked. I finished the cuts, finished the music overlays, the titling and (I may have had to go back one more time or so), I was done. I was overjoyed. I turned the tape in, schedule it for playing across the Pacific Northwest and waited for the premiere day. 

Finally the day and time came and I sat with my girlfriend and we watched the show. Then, there it was, on TV! Pretty cool! The quality wasn't what I had hoped, but it was all there, all that we had wanted to say, to show, to tell people about his favorite show. I did realize that I would like to have re-shot the whole thing, redoing what wasn't that good with what I had learned through the entire process. Maybe use a script and reader cards, for instance. But it was all good. 

Except for one thing. 

About half way through it, I realized that there was no background music whatsoever. At the end where the titles ran, there were the music references. But no music. What happened? I went back to the station and got the tape and rescheduled it to run again in a week. I took it back to the editing bay and listened to it again. And there it all was. All the music sounded great. But then I took it to another machine, a regular player not an editor. And no music! None! What the hell?

So I took it back and dropped it off. It ran its last time on cable TV and then I took it home and put it in a box. 

Film production, especially if you are doing it low budget, especially if you are using free help (as Tom mentions on the second audio track on the DVD of "Living in Oblivion"), or no help and doing it all on your own, can be misery. And even if everything is going well with the talent, there are always technical difficulties. 

After all this, would I like to direct a film? I don't know. I do enjoy writing screenplays. I can't say I have a great desire to be on the set or in charge of something on the production. Other than writing. And I'm good at writing on the fly, should things suddenly need to be redone. There are so many parts to film production that, it's a bit insane, really. 

Stephen King on the set of directing the film Maximum Overdrive (1986) with Emilio Estavez said that film production is insane and he hated it and didn't know how any film ever got completed, ever! I can understand that. I'll never forget the look in King's eyes sitting there at the camera on set that day in the middle of shooting.

Film making is a strange, surreal, sometimes psychotic and marvelous thing. 

Still, in the end, it is a marvelous thing.