Walkabout Thoughts #56

My thoughts, Stream of consciousness, rough and ready, while walking off long Covid and listening to podcasts… July 17, 2023, Monday

Weather for the day… 67° starting out, 72° when I got home

Podcast Deja News by Rachel Maddow, final episode of the season: Episode 6: “Hello America, this is Addis Ababa.” This episode is relating our defense of Ukraine, through to something that happened many many years ago in 1935 when blacks signed up to defend an African country, Ethiopia who were a member of the League of Nations, precursor to the UN, when there were only two black governed nation states in Africa. This was Mussolini, the Italian fascist, not the current fascist Putin in Russia. Mussolini thought if other countries are taking land in Africa, why shouldn't we? So instead of our decision to support Ukraine against Russia today, in 1935 America decided not to for Ethiopia against Italy. This is that story. Mussolini conjectured, they take over another country in a continent where other nations have colonized them. Why was that wrong? Because the era of colonization was over, dumb ass.

An anthropologist once said, "The human race is designed to raise up certain individuals and then take them down. While they were raised up in being something new, different, maybe better (hopefully), at some point they become an irritation to the overall organism and must be eliminated. Thus in example, Jesus was raised up and then eliminated. Where is that happening today and with whom? And are they that useful to humanity or just a small minority who have wrested power to abuse the entire nation (organism) as we see when authoritarianism takes countries over? To be sure at times a majority gets into it, supporting it.

I have published two of my screenplays as books, but for only a short time. I ordered my own copies, and when I receive them, I’m going to turn them off. I'll leave them there until these are produced as films and then, turn them back on again. “The Teenage Bodyguard", is a biopic and true crime story that’s been winning awards. I worked with producer, Robert Mitas (who was a producer on films with Michael Douglas) as consultant and producer to rewrite it is a shorter screenplay. 

But this is the longer original, a very well researched screenplay that got his attention. The second screenplay book I published is my horror and kind of comedy, “Gray and Lover, The Hearth Tales Incident". I entered a screenplay festival, where a side benefit was getting your screen place published as a book. I thought what the heck? But I also thought that if you  are really serious about having a screenplay produced, publish the screenplay as a book after the films is released, or at least after its purchase toward production (maybe not then).

Speaking of other works, my antiwar documentary filmic poem, "Pvt. Ravel's Bolero" is available exclusive on ThrilzTV. It has 18 short film awards internationally including, Best War Documentary, Best Experimental Film, Best Director, and others. In my previous blog you can see my previous poster for the film.

It sure seems like we usually know a war is coming, before it starts. So why don’t we do things ahead of time. as if the war has started? I also never understood, we have NATO and we have the UN, and while there are countries not part of NATO, why do we let that stop us from refusing war, ever again? Or at least do everything we can before one starts to cut it off. Yeah, yeah, I get all the contraindications, but while we're still at a point in our infancy, in our adolescence that we continue to allow wars, aggression against other countries? Come on! Sometimes after long paying your dues, you simply have to accept that you are a professional...or you ARE mature enough to do what is right and correct.

Aggressors, either Mussolini, or Hitler, or Putin, do not learn lessons. Donald Trump did NOT (never will), as one Republican Congresswoman Susan Collins had said ("Trump has learned ‘a pretty big lesson’ from impeachment"), learn a lesson from his bad actions. Nope. ain't gonna happen. What these dictatorial autocrats learn from failure is how to succeed further, the next time. What you do with these people, as we saw in World War II with these imperialistic aggressors, is you physically stop them, disallowing them their desires. We have still not done that with Putin, or helped Russia out of their delusions. Putin has fed them propaganda and dezinformatsiya for over 20 years. They have generationally been inculcated through the Soviet union since 1917, and before that as a country of serfs under a czar. Putin should have been reacted to long before the Ukrainian invasions. He should’ve been stopped before the 2014 invasion. Not just western democracies and America seem crippled when it comes to being proactive. One can offer climate change as evidence. I offer Ukraine here as evidence. At some point one has to learn you do not put up with bullies or you actualize them and propagate their existences.

In 2014, when "little green men" we’re running around, supporting Ukrainian Russian separatists, when still no one knew who they were, that was when we should (all) have supported Ukraine. 100% in all ways possible. Because Russian would not have taken Crimea and we would not now be involved in the Ukrainian war because of this delusional, Russian dictator once again. When will we learn that? Never? Apparently. Well, we're doing (a little) better, now.

I also think we need to sign on to the agreement about cluster (bombs) munitions. We need to sign on about land mines (thanks again, Trump). We need to get the world into a knee jerk reaction against international aggression at some point and, granted this may be a little premature, though I hope not, because earth really needs to stop allowing war.

The bombing of Japan that ended the war in the Pacific was a horrific event that did with Oppenheimer thought it would do. What he pushed for. It horrified humanity. Perhaps what we need now is for Russian nationals themselves to set off a nuke. A college kid can create an atomic bomb, they just need some fuel. Once they find specifically were Putin is at the moment and trying to minimize "collateral damage" as the military prefers to say, that might just wake the Russians the fuck up. But if anyone other than Russians do that, it just simple not serve the purpose to turn Russia around in their current despicable course.

Why do we allow people like Putin or Donald Trump even to breathe the same air as decent people? This is not a conundrum, by the way.

As Rachel says in the podcast, "Dictators force you to consider your own interest against others." In the hope that yours will win out, to support theirs in the end, and the beginning. In this far too narcissistic world anymore (See, MAGA), an entire political party apparently devoted to narcissism, and the needs of the one each one over that of the group or the group over that of all citizens.

Putin has shown himself to be a callous anachronism...someone who displays a lack of empathy or sensitivity in a context where such behavior has become (by him...or them) no longer appropriate or acceptable. And the same is true of Donald Trump, and those who support either of them.

I agree NATO shouldn’t be going to war against Russia because of Ukraine. The United Nations Armed Forces should be. Which doesn't exist in that form. And if it did, might prove problematic. But does end  justify the means?

According to Donald Trump, his January 6 insurrection was an FBI false flag operation. But if we put him in jail, his supporters will do it again. That’s what we’re up against? One has to be unavailingly stupid to buy that line of bullshit. Well...MAGA.

Putin: the greatest catastrophe of the 20th century was the fall of the Soviet Union. Excuse me, while I guffaw. Donald Trump: his not being reelected is the greatest catastrophe in the entire 21st-century. Which we just started. Double guffaw. Moronic comics.

If Donald Trump‘s allegedly mushroom shaped penis were to "eat" all of his ego for a solid year until it was found to be engorged, like him, it would vastly larger than his character could ever attain. The man has no character, from a time when "character" was considered a comment on good character and not the existence of merely ANY character at all. Some "character" is not to be acceptable, or locked up, or wiped from existence for the benefit of Humankind. Remember when we were, "kind"?

After Trump's so far now, mere six court trials get going, I’ll need to be sure to get a photo of him now and from a year ago to compare to his photo from a year from hence. Because I would think his decrepitude will be easily observed in advancing exponentially.

The only metaphor I could think of just now for Trump's ludicrously adoring fans would be if he were seeb as their "cake", where instead of icing, it's just an inch of fat with no sugar, and maybe a little rancid, and they lap it up, loving it. And of course he and they, "want their cake and eat it, too."

Those especially in Congress or Governors of states, or Attorney General’s of states, who still disingenuously cannot clearly see how Donald Trump is criminal and how what he did was criminal, truly should be removed from office. So much of what these people do is not direct logic and they have to be able to draw conclusions and synthesize information, to apply it elsewhere. Tim Scott, saying he doesn’t hold Donald Trump accountable because Trump didn’t personally come and try to kill him on January 6, is probably the most disingenuous thing I’ve ever heard him say. Remove him from office. And he therefore has no right to run for POTUS.

I love Pad Thai. My son told me he read somewhere that Thai people don’t usually eat Pad Thai. That saddened me. On the other hand, there is a lot of other Thai food that’s much tastier. There’s Chinese food too, which I love that you can’t find in China because while it’s Chinese food based or China fusion or something. Chinese people in China wouldn't recognize it. I just don’t much care for Pad Thai with a solid wafer of egg in it. I only started seeing that in the past few years. Chicken, cut up in it is fine. I think when I started eating it, it was with pork, probably, but I’ve come to really like the chicken version. Even the tofu version can be good.

The number of Republicans who believe what Donald Trump did during his January 6 insurrection was criminal is under 10%. These are definitely low information people. Let me explain that. Information is real, it’s factual. They are however on the other hand, rather high DISinformation people. They're not stupid, but they are selective ignorant (on purpose).

What the hell is doing a shibboleth? That from Jon Lovett on the "Pod Save America" podcast: "Shibboleth is a single sign-on log-in system for computer networks and the Internet." Nope, not that. "a word or saying used by adherents of a party, sect, or belief and usually regarded by others as empty of real meaning." Maybe? What did AI said: "The phrase "doing a shibboleth" typically refers to using a particular word, expression, or custom as a test or a way to identify insiders from outsiders within a group or community." Ah, that must be why he keeps using it. "The term originates from an ancient Hebrew word, "shibboleth," which means "ear of corn" or "stream." In the Book of Judges in the Bible (Judges 12:5-6), it is described as a password used to distinguish between two groups of people who were at war."

I switched over to "Pod Save America" when Rachel’s double length, hour long, excellent podcast ended. And everyone should listen to Rachel‘s podcast of her season finale of Deja News ASAP.

Cheers! Sláinte!

"The Teenage Bodyguard" screenplay - Ruminations - Happy 4th!

Wishing you all a very happy 4th of July, 2023!

On that patriotic note, celebrating one of our own... 

I know a producer who’s worked with A-list talent on films, and read my screenplay, a true crime/biopic titled, "The Teenage Bodyguard". It sucked him in enough to then work with me on a rewrite. The rewrite was a selling script version while my original was what I referred to as the “Bible“ for the story that was the most researched, accurate and detailed. 

I get the concept of a biopic been entertaining. But for myself watching one, I prefer do at times, accuracy over entertainment value. As long as it’s interesting, engaging, evocative, and informative on things that happened, especially when in arenas I am unfamiliar with, even if it's a bit harsh, or bittersweet, I much prefer that in biopics better than the ones I would like which are merely entertaining and then, I later find out that half or all of it was just pure bullshit. IF you're going to tell a true story, based in a true story, at least try to be as accurate as possible, as much as possible. Unless possibly, if at the beginning your clearly state, "This is all bullshit, but very entertaining."

That producer said about the ending of my screenplay, a true story about a 17 year old guy (he was actually 18, but the producer thought 17 was a better idea), and about his experience over the course of a week in 1974 while protecting a murder witness. She had been a cocktail waitress at Tacoma‘s first popular topless club, run by the local crime family, the Carbones, enemies of the bigger and scarier Seattle crime family, the Colacurcios. And yes, all of Italian ancestry. The Carbone situation made national news in the late 80s for their federal court trial that had to be moved to San Francisco.

This producer said of my ending that he hated it. It had "ripped his heart out". Which was the point. The rewrite we did together, I wrote it, he guided me, and is a more mechanically functional screenplay than mine. But we left out that ending. I loved that. I loved it because this was the orientation of the entire story: bittersweet. For the young guy in a real world, growing up in a tough town of Tacoma, Washington in the Pacific Northwest, a town far tougher than he knew. This is not a typical "coming of age" tale. It is darker than light. Sadly, so many who I have tried to share the screenplay with, latched onto the young guy, hot girl, both caught up in the absurd situation storyline.

The first producer I told about this story was a London producer who triggered the whole thing. He said it was a great story. And that bittersweet intensity was its selling point. I have ongoing access to the actual character in the story and full agreement from him to tell his story. He and his story both are the selling points of this screenplay/story. The problem I ran into with the story immediately when I started writing a screenplay about it, after a lot of research and ever more as the screenplay developed and through rewrites (before I met the producer I was convinced to rewrite it by) was that no one believed this guy‘s life when he would tell anyone about it back in the 1970s. 

So he eventually quit telling this story to people. Stories he would tell people about this life story in general were discounted and disbelieved. "Kids just don’t do things like that," they would say. What is so sad for him about all that was that he was already downplaying those things but still people disbelieved him. Which surprised him. They would claim he was lying to try and make himself look better. But he didn't lie. His desire to never lie is another story altogether. So when people disbelieved him, he was shocked to be questioned. Why would he lie. But then he learned how unusual much of what he had done was to most people. Back then.

Nowadays we know far more about people and more about kids who are known for doing amazing things. And more kids are doing more amazing things now. Just consider Greta Thunberg, for instance.

But back then, for that woman to have happened upon that kid, at that time in her situation, really was an amazing stroke of luck for her. Or them both, depending on how you view it. In the end, he succeeded in his first job as a bodyguard. He later had a few protection jobs after that and into adulthood. She remained while in his protection, unharmed, unseen, and unfound by her enemies until she left the Tacoma at the end of that week. The awakening of this young man, raised as and by then a lapsed Catholic, with an old-school Slovakian mother, and a distant, seldom seen, Irish father, with a troubled stepfather who really didn’t like him very much, these are all entirely other but interesting elements of his story. 

It was a different time in the 60s and 70s. Drug culture was more prevalent. Free love was, if not more of a thing, more of a cultural phenomenon. There were no cell phones. If you were in danger, you had to get yourself out of it or find a phone somewhere. People could commit crimes more easily, and get away with them more easily. 

Some crimes, like the one this story begins with and because, in that of a bouncer at that topless club, in reality his murder was committed at 2 AM in the club's parking lot. It was deemed by a corrupt Sheriff's office, first on the scene, as a random event of violence by an "anonymous person". When in reality it was done by that crime family, to one of their own and most likely, the Sheriff's office, at least some, probably the Sheriff himself, knew what was going on, and what had happened. As he was in the Carbone's pocket, 

I had well known screenplay site, "The Blacklist", perform coverage of the screenplay. One of the reviewers asked in his review, "Why isn’t this already on the screen somewhere?" And that was years ago. Why? Because I don’t live in Hollywood? Also, although things are easier now with the Internet, the Film Industry is still after all a business. For whatever reason, I've been unable to find just the right person who gets what I'm selling here. Hard to believe, but it's true and I bet this happens all the time with great stories/screenplays.

The aforementioned producer, when he read the screenplay, said he had trouble with the beginning. But he got himself through it and in the end, it made him want to contact me. He said he wanted me to rewrite it with his help. Which I think says something right there. 

After it was rewritten, we talked to several directors he got interested in it, who wanted to make it as a film. But either we didn’t really click with one another, or I simply didn’t like their "take" on the spirit of the movie, and it didn’t happen. Because I wouldn’t go forward. We had three chances to make it into a film that I turned down. Because no one seemed to catch onto what the film is really about or who the protagonist was/is. He wasn't just some teenage boy with raging sex hormones. As one true crime podcast put it ("Scene of the Crime"), he was incredibly knowledgeable for his age and time, a quite disciplined young man, with ADHD, who was quite ethical, and had since childhood had a strong sense of character and of right and wrong. Things that had gotten him into trouble at times. 

He had found the works of Aristotle in the local library, in fifth grade and read him. In the early 60s as a little kid, he had liked watching adult detective and court ("Perry Mason") TV shows, and espionage shows. Some he watched with his grandmother. While he watched kids shows too, these were not shows other kids watched. Anyway, overall this a very good story. I just hope before I die, or even after I die, that somebody makes it into a good (great?) movie. 

Ah, now I remember what that London producer had said about this story… It reminded him of the film, "The Place Beyond the Pines" (2012). Bradley Cooper and Ryan Gosling. A gritty crime drama. And that is what "The Teenage Bodyguard" is.

THAT is what I have been shooting for. More of a serious drama. But everyone wants to turn it into a teen romp or some bullshit. I don’t understand it. The screenplay starts with a few scenes that lead into the protagonists childhood in order to make his story/character all more believable/acceptable. It stresses ta bit on his family situation. He was perhaps immature emotionally, but in other ways much more of an adult than many adults. 

By the time he was 18 he'd done many things that some adult would never do over their entire lifetime. He was a trained marksman by 9th grade. He was military trained in the USAF auxiliary, Civil Air Patrol with search and rescue training, where in his squadron, he was a Flight Commander training other cadets in drill and discipline. CAP kids can get called out of school for search and rescue missions, whenever a small plane goes down, to search for it.

When he actually entered the US Air Force, he was made primary squad leader which the entire flight of 50 men take their lead in marching from. Granted, at over 6' the tallest also goes to the front right for reasons that should be obvious.

He had his Radio-Telephone Operators permit in 8th grade in 1968, in order to operate HAM radio and that same year he flew and landed his first airplane. He landed it with a 2-point landing, which the USAF pilot owner of the plane (a "Senior" in CAP) said was excellent. "Better than some pilots would do", he had said. That scene is in the screenplay. He took pilot ground school, twice that year. He had begun Isshinryu Okinawan Karate in fifth grade and fought tournaments around the Pacific Northwest. 

By time he got connected up with that waitress (through a "friend", or so he thought...), he might well have been the most adept teen in the entire region, if not one of the most adept and well trained on the entire West Coast. 

Tell me that isn’t all set up for one hell of a story!

I’ve not named that Hollywood producer who I had worked with, because we’re not actively working together now. However, he did said should I find a buyer on my own, he would definitely be interested in  being a producer on it. He also said he’s always looking for somebody for this project. 

He's a really busy guy, working on more active projects. He saw this film as a small indie feature. I see it as a little bit bigger indie project (again, "The Place Beyond the Pine"). So we’ve kind of parted ways, but on good terms and may still work together one day. I will say, at the time I worked with him, the last A-list actor/producer he had worked with, has been one of my performing arts "heroes" since childhood. Not to mention, his father. Who, when I was very young, with my own birth father absent, was one of my "TV/movie dads". I've spoken to other guys over the years, who knew exactly what that means, and who also had absent fathers.

By the way, interesting side note… That A-list Hollywood actor producer, whose dad I so admired in the early 1960s, up until he died too soon (but at an advanced age)… that dad of my producer had been discovered by a famous Director, back in the 49? Or so he said. 

After receiving my second-degree from Western Washington University (first from Pierce College), I attended a series of seminars with that famous director. I got to sit and listen to him Saturday after Saturday, about the most amazing tales and advice on film production and the golden age of Hollywood, about his career and the famous actors he had worked with. What I would do to have a video tape of those lectures. Or even an audio recording of it. I’d have done that, recorded it, but it would’ve been too obvious back then. I started that first day seminar to take a notes, but I just gave up because of the onslaught of what he was saying, story after story all that were so amazing and distracting. He moved up north here to the PNW to retire near his daughter who lived up here. Best seminars ever. Week after week of looking forward to Saturday Kramer seminars, in 1984, at Bellevue Community College.

The problem I feared I had with this screenplay, this story, this protagonist, this real person, was getting people to find his character and actions, believable. Just throw him into situations with no backstory seems artificial. It's hard to buy into. People might see it as fantasy. How is this kid able to do all this stuff? Or have the "guts" to even agree to do it? Some is just ignorance. Some is boredom in life. Some was his position in his sometimes troubled nuclear family. Some was his position in his dojo in grade school or his  position as Flight Commander in his CAP Squadron and his first responder training.

Nowadays we can maybe see that in a youth. We see too many films that really are fantasies, but sold to us as action adventure, sci-fi, whatever. I think about the protagonist in "The Teenage Bodyguard" in that he just had a solid foundation. He had a lot of training. He sweat and worked hard since childhood. He was a "dojo rat" from fifth grade, which means he was at his dojo 7 days a week, and even when the dojo wasn’t open sometimes, on Sundays. If he heard the Sensei was going to show up to do some paperwork on Sundays, he’d request showing up alone and working out. And begrudgingly, at first, it was granted. So after mass at St. Joe's Slovak Catholic Church, he'd take the bus to the dojo.

The point of all this? "The Teenage Bodyguard" is a very interesting, well researched, true crime biopic. It just need the right director who gets the story for what it is. One of these days...

A Mafia Murder And An Armed Teen

This is the story of "The Teenage Bodyguard." Who? Well, if you haven't already heard about this, in 1974 a teenager protected a murder witness, a woman and cocktail waitress for a week, from the mob, the mafia, from their "Enterprise". And he kept her alive. But did she survive?

Graphic by Kelly Hughes

Welcome to the Pacific Northwest podcast, "Scene of the Crime", who recently did a podcast titled, "Enterprise" (Also, here - podcast currently seems unavailable), in June of 2020. It told of the story of the Tacoma, Washington Carbone crime family who abused local Pierce County law enforcement and government all through the 1970s.

Years later, in 1978 during their San Francisco federal trial of their "Enterprise", they again murdered one of their bouncers who had been subpoenaed. But he was not the first bouncer they had murdered. The first was in 1974, and his name was Danny McCormack.

In the spring of 1974, there is a particular story that is of interest to us here. And that is the story of Gordie. After receiving a phone call from a "friend", he gave a woman who had been staying with the friend, a short ride.

When she got into his car, a 1967 Camaro RS/SS red convertible (two years later this model would be renamed as the Z28 model), she refused to give him an address to where he was taking here.

The first red light, and sign there was something wrong. Instead shea just told him where to turn until they got to her new living space. Her new home was with four people she had just met recently. With no ties at all to her past, or Gordie's friend, or Gordie for that matter.

At this point one might ask, "Why isn't this in theaters yet?" And if you're someone who could see this film produced, surely, say, "Hi!"

Exactly. Even the podcast pointed that out. The Blacklist, indicated that on an evaluation of this film. The Bluecat Screenplay Contest asked that exact question.

The Blacklist: "Since 2005, each December, the Black List releases its annual list, a survey of the most liked unproduced screenplays of that year. The annual lists are aggregated using votes from film executives working in the film industry." From The Blacklist

Bluecat Screenplay Contest: "Founded in 1998 by award-winning writer Gordy Hoffman, BlueCat has remained committed in discovering unknown, gifted screenwriters and showcases their work to a global audience year after year. Through written analysis provided to all entrants, BlueCat has supported thousands of screenwriters with many who have gone on to successful careers in the film and television industry."

Actually, I've been working with Gordie, the protagonist of this story, along with Voyage Media's head of their Originals Department, Robert Mitas. Robert has had screenplays produced himself, and worked producing films with actor and producer, Michael Douglas.
We are currently working to see this screenplay and story produced and into theaters or via another of many viewer platforms. I'd be happy with Netflix or Amazon Prime or others.

Text from Thursday, January 24th, 1974 Tacoma News Tribune article:

Patron kills bouncer at Tiki

The bouncer in a Lakewood night spot was slain early Sunday as he argued with a disgruntled customer in the parking lot.

Danny Derrick McCormick, 25, 3102 S. 47th St., was pronounced dead at Lakewood General Hospital at 2:30a.m.

He was employed by The Tiki, at Villa Plaza.

Sheriff's deputies were told McCormick was shot in the chest by a young white man who earlier had been harrassing a waitress in The Tiki.

After closing at 2AM, the suspect returned to pound on the cabaret door, unsuccessfully demanding to be let in. When McCormick and a friend went to their car, the suspect and a companion drove over and began angrily discussing the Tiki operation.

The suspect pulled a revolver, deputies were told. McCormick's friend grabbed him and told the bouncer to "get the gun."

McCormick was shot as he approached the suspect, who broke away and fled with his companion in their car.

An off-duty school security officer who had left with McCormick but gone to his own car fired a shot at the fleeing car as it sped away.

Mccormick was rushed to the hospital but did not respond to treatment.

It was this murder of a coworker that sparked this whole story. A story that led to a cocktail waitress to go on the run because, as she contended, she was IN that parking lot when Danny was murdered. A murder she said was NOT performed by an anonymous disgruntled patron, but rather by one of the capos of the head of the "Enterprise", John "Handsome Johnny" Carbone himself.

Why isn't this on screen yet somewhere?

Getting a film made is a magical thing. But we continue to work toward seeing this produced so you can see this story for yourself. And maybe, make up your own mind.

Film Production 101 - "Gumdrop", a short horror

My new film, "Gumdrop", a short horror, is finished! In the can! We began on this film back in the Spring of 2019. We shot through the summer and I started post-production early las Fall. As of March 5, 2020, after speaking with the film score composer, Andrea Fioravanti of the Italian band, Postvorta, we agreed... the film is ready to be locked and distributed. That begins with the film being submitted to film festivals. Which I have now started doing.

This past week I began researching film festivals to submit to. I had previously submitted my last film, "The Rapping" to film festivals. My first time doing that. It won the Weekly Online Film Festival, and was shown at New York's, Midnight Film Festival. Now pieces of it have ended up in this current film as a kind of background in what was a rather challenging audio flashback scene.

This past Saturday night was our monthly Slash Night horror film event at the Historic Roxy Theater in Bremerton, Washington. I was talking to the event founder Kelly Hughes (also founded the Gorst Underground Film Festival, September will be the third annual and now a three-day event). I've been helping Kelly on his films over the past few years and now on the GUFF and these Slash Night events.

We started the monthly Slash Night events to support the annual GUFF. But also to build a community of local filmmakers. To bring us all together. To educate ourselves together and to build a sense of cooperation and support. And it is working. The Darkow film crew is working with Kelly on a new short film project we are filming at the Roxy Theater. I'm helping with that, too.

Kelly saw my first assembly draft cut of "Gumdrop". I had inadvertently called it a first rough cut. He and our friend and cartoonist, Pat Moriarity, had come to my house in Bremerton to watch it. Both of them live just across the bay in Port Orchard.

They had some positive and negative things to say about the film at that point. I was a little surprised by their reaction. To be fair, Pat said he's not really a fan of horror movies, but he has taught storyboarding in college and as that professor's eye that is always positive and productive for students. But they both had some very valuable critiques.

I mention this viewing because that week after they saw my film, I researched some things and came to realize, I had not shown them my first draft cut of the film, but the first assembly cut. To vastly different things. And so they judged it upon that mistaken understanding. My fault, not theirs. I should have said they were watching the first assembly, or assembly cut,  not a first rough cut.

The first assembly, or assembly cut, is the editor's first cut of the entire movie. The editor strings together all of the usable footage and organizes it into a chronological sequence that corresponds with the film's script.

The assembly cut is also the first draft of the movie edit in which the director has the opportunity to see the movie for the first time. In filmmaking, the rough cut is the second of three stages of offline editing. The term originates from the early days of filmmaking when film stock was physically cut and reassembled, but is still used to describe projects that are recorded and edited digitally. - Wikipedia 

I also mention all this because, at this past weekend's Slash Night, Kelly said he saw just a bit of my submission to our GUFF on FilmFreeway.com and he was very impressed with how much it changed from that first viewing he got many months ago. Since he last saw it with Pat, I have done fifty-four drafts of the film and added the film score and songs.

On that... I was very lucky to acquire musician Andrea Fioravanti from the awesome Italian band, Postvorta. No, really. Check them out! I laid down his soundtrack, we talked, he sent me another, I laid that down, I began to edit in the late stages of the film with the soundtrack in place and altered things accordingly and the film only got better.

It's hard to know what it takes to produce a film without doing it. In doing all stages of the film build process you really get a close-up view through painful and tedious work. 

I am not bragging, but this is the process one goes through. Of course on a bigger production where you have even one crew member, there are people to do these various things, all of which the director and producer may be intimately involved in throughout the process. 

I wrote the screenplay last Spring of 2019. It is based upon one of my older short stories, "Gumdrop City" and is a prequel to that story and an origin story of that main character. That story is a true crime story that I fictionalized and published in "Anthology of Evil", a collection of my first short horror stories.

It contains my first published work of science fiction, a short horror story ("In Memory, Yet Crystal Clear") and, my first novelette ("Andrew"). Andrew was eventually grown, along with another single page short story ("Perception") into my massive epic horror sci-fi book, "Death of heaven". 

I also later published "Gumdrop City" as a standalone ebook. Not yet as an audiobook, though I have a few. I first heard about this story at university in an abnormal psychology class. It was so disturbing I decided to write a short story to share that story with the world. OK then. Marketing crap out of the way, back to our story...

After finishing the screenplay, I chose and gathered the actors among friends, and actors, who I had worked with on Kelly's film projects in the past, and handed out the roles. We began principal photography where I was cameraman, sound tech, lighting tech/grip, cinematographer, craft services (food/drink for the actors and non-existent crewmembers), essentially, the crew.

Now let me mention something here. I've seen low budget, indie films where at the end you see in the credits:

• Directed by: Alan Smithee
• Edited by: Alan Smithee
• Produced by: Alan Smithee
• Cinematographer: Alan Smithee
• Soundtrack by: Alan Smithee
• Lighting by: Alan Smithee
• Written by: Alan Smithee
• Screenplay by: Alan Smithee
• Childhood horrors by: Alan Smithee

Look. Do NOT do that! In my film "Gumdrop", at the end it simply says:

A

JZ Murdock

Film

Or something like that. But, nice, brief, clean. Simple! Like me. OK? Don't purge the needs of your ego at that point. We get it. You're the MASTER. Well? You're probably not. Even the greatest of filmmakers are always learning.

Oh, by the way. Who's Alan Smithee? Surely, inquiring minds want to know. Well, too bad, this isn't about HIM!

Oh, and... THAT'S one of the thing I love about filmmaking.  So humble is good. And as my brother, seven years my senior once told me when I was in junior high, self-deprecating humor is good. If a bully picks on you, cuts you down..."Cut your self down first... more. But be funny. It robs bullies of their power and may turn them to your benefit."

Good advice. No. As it turned out? Great advice! Really great advice. It saved me from so many ass beatings, I lost count. And, made me many new friends. So thanks for that, Jon!

Anyway, as I had been saying earlier before my ADD lost track, got unfocused tangent (a woman once called me, "Mr. Tangent! But, that's a good thing!" She said. Okayyy, uh, thanks?) ...luckily for all of us, I was not an actor. Though when one actor dropped out playing a voiceover role on the day of the recording, I jumped in to sit opposite professional actor, Jennifer True for the audio flashback scene of the Sampson's character's child role and step-mother, and I played the visitor, Koloman.

We began shooting the film on set throughout the Summer of 2019. After that was over I began the editing post-production process in Fall of that year and finished, less than a week ago as I write this. 

The editing process is a beast. You have to select the shots to use out of all the raw video shot. That is when you discover if you actually have all the shots you needed. Or if any of the shots or audio aren't up to par. You notice continuity errors and issues and try to fix them in post. You have to match up the digitally recorded audio to the video. 

I also use an external mic on my camera (a Canon 80D DSLR) as an audio backup and it's paid off big time. Nothing worse than finding somehow the DR wasn't turned on or that the mic picked up the dialog in a weird fashion, or some other issue of placement or technical manufacture (such as having the audio pick up turned up too high, clipping the loudness end of the audio spectrum). 

What gave me the most trouble was the audio. As I inferred above, you always run into problems and you do your best to fix them in post, or you reshoot or re-record in ADR. 

"ADR (Automated Dialog Replacement) in film is the process of re-recording audio in a more controlled and quieter setting, usually in a studio. It involves the re-recording of dialogue by the original actor after filming as a way to improve audio quality or reflect dialogue changes."

I had Tom Remick, the lead actor in the role of Sampson, come back and do a brief ADR for a scene of Sampson, in the beginning, looking at a plant. All he had to say was, "My poor little friend." I think there was one other short sentence but I don't remember just now what it was. I then had to match that up to him speaking the words on screen so it looks like he said that. Which means you have to match the cadence up in recording it, or perhaps speed it up or slow it down slightly in post. 

It's not for the faint of heart. Not for the tech doing the audio replacement, or for the actor. I have a lot more respect now for actors who come back to do ADR to themselves on screen. It's tedious, it's difficult and professionals earn their keep. As it is, what we did turn out well. But I'd prefer to avoid it in the future, though at times, it can be impossible to avoid. The more money involved in the production, the more important and necessary it can be. 

There are also issues of sound levels, compression, and separating out the audio of tracks for dialog, soundtrack, music, and sound effects. You have to hear the dialog over all other sounds, or not. It's a decision of the audience understanding the scene and story. When there is too much bass in the music, you have to lower it to understand the dialog, or add treble to the dialog. 

The video is similar. You have to control the color, the white light "temperature" (which hopefully you did on set using real or artificial lighting and camera controls. Matching up the video clips so there is a smooth transition. Shot and scene transitions have to be managed. Special audio and video effects have to be built, acquired and manipulated. Do you give sound to everything you see on screen, or not? Whatever supports the scene and story, of course. 

Do you use real sounds or fake? Foley sounds made up and applied. IF you use the sound of someone walking or being stabbed, it may not sound at all like the action. So you use shoes on a wood floor or stab a head of lettuce, or whatever makes the scene sound real. But you can't overdo it. 

Movie magic, I like to say. Make it seem real to the audience watching the film. And sometimes you go overboard, and it works! Sometimes it fails miserably. It's an artistic choice much of the time and requires a consideration of the format of the film, the story being told the orientation of the filmmaker and other elements. Which is why we take classes, read books, watch videos and best of all, learn from and work with filmmakers who are better and more educated than you are. The best you can access.

Once the film is "locked", the distribution begins. Actually, wise words are that it should begin, whenever possible, before you initially put pen to paper. But for many low budget, indie filmmakers, it's not so much an option and you're left with submitting to film festivals once the film is ready to go out. 

And that, is a whole other blog. 

I started taking a look at film festivals about a month ago, ramping up until the end of post-production. As of this time, I have submitted to about ten festivals around the world. Mostly good, solid local ones. So far one big on, the Austin Film Festival. Some international ones, I have two in Ireland (I'm half Irish born in Tacoma, Washington, and visited there for my birthday in 2015). I've been to Cork and Dublin, so I submitted to a film festival in each town. 

Andrea, our soundtrack composer lives in Italy. So I found a festival about two and a half hours from where he lives. He may not make it, the film may not get accepted, but at least I made the effort so that if he wished to, the film might get accepted and he could have the opportunity to show up and enjoy some of the attention I may get to receive. It's really only right to do it.

Festivals I've submitted to, after reviewing top ten lists of best festivals for in my case, indie horror films to submit to, and reviewing the festivals I came up with. Some of these gave me a waiver so no entry fee! I just asked. One even said to ask them if you are a local filmmaker. I got waivers in the Crypticon. Some of these I've entered before with "The Rapping". 

• TMFF - The Monthly Film Festival
• Gorst Underground Film Festival (my festival I judge with Kelly Hughes who founded it)
• Portland Unknown film festival
• Crypticon Seattle Horror Film Festival, which I've attended several years, twice getting a room, the best way!
• Horror Show Festival in Italy, near to Andrea so he could go if he wants
• Cork International Film Festival, as I've been to Cork and sounds like a great festival
• Oregon Independent Film Festival
• Austin Film Festival, my big one so far
• Bleedingham Film Festival is a fun festival that opens soon and I'll submit. I graduated from Western Washington University in that town, so a college town submission that not only has meaning for me, I might attend if I get accepted, or win.
• Washington West International Film Festival, supposed to be a top ten festival to submit to, and local
• The Midnight Film Festival, they selected my film, "The Rapping" last year in 2019

How many festivals should you submit to? Up to you, and how much money you have. Be sure to read the rules and about info to know what you're getting into. I entered one for "The Rapping" and was rightfully disqualified, as I had missed it was for student submissions only. Luckily, it was a free submission.

So for me, now, that's ten. I may enter the Port Townsend Film Festival up north of here. I love Port Townsend and it can draw big names. They also require DCP format, which is a bit of a pain, rather than the format my film is in now, MP4. My daughter was working up there several years ago and called me up to say, "Tom Cruz is walking down the street." So you never know who might see your film.

And that's about it. For now.

Much more later...

So, I know, I know, I should add in some inside jokes, some blooper reels, some brief and funny or weirdly bizarre asides, but...no. Maybe in the DVD extras?

Speaking of which. The film is now done. I got some DVD blanks and I've had some DVD covers for a few years which I had almost gotten rid of but now I'll use for this. I have to make up a graphic for the DVD covers. Hey, I'm getting there! Soon. This week even. I'm still not to 100% of my energy after a month of healing from that damn flu. No, not THAT damn flu. Just, the flu. But, it sucked.

Now I've shared Gumdrop with some close to me on Google Drive. My kids. My editor of "Death of heaven". Her husband is my friend, so they both get access to it and later I'll get them a DVD. In fact, I'm still thinking up who to offer it to.

Let's see. So far I've given offered it to Ilene and Kurt Giambastiani (this is in no particular order by the way). Did I say Ilene was once my editor until she had to go and start a new career as a small businessperson? By the way, I love Kurt's "Fallen Cloud" series of revisionist history. I know, sounds stupid but it's so amazing, well written and historically accurate... until he subverts it for fun and profit.

I said, my two kids. Who else?

Oh, Erwin. No, wait. Andrea in Italy (see above). Since he did, after all, do the soundtrack music. I mean, come on. Not to mention what Italy is going through now with this COVID-19 virus crap.

Oh, Erwin. Great photographer. I met him online in the 90s over a Clive Barker play he was producing. He sent me the music and years later, I sent that to Clive's archivists, Phil and Sarah. I met Clive a few times in person, and that's a story unto itself. But as far as meeting a celebrity doing me any good...not so much.

But then Erwin Verweij and I reconnected on Facebook years ago. And, he's awesome. But, he lives in Rotterdam, Netherlands and I live in Bremerton near Seattle, Washington. That being said, we both know we need to meet one of these days and have a very good whiskey and talk. He has my young self's dream job as a photographer. Long story. It has a bit to do with my older brother who was once a bit of a photographer.

Anyway, I'm now working on the DVDs for friends and whoever should get one of Gumdrop. I'm going to look into that this week and I'd like to include some DVD extras. There is definitely some entertaining stuff from our film shoots. Festivals get my film from what I uploaded on the Film Festival site.

And, end scene. It's been a long weekend. I've covered so much above, I hope something was informative or entertaining to you, or someone.

Enjoy your week/year. Stay safe, avoid the hype and nonsense and go out and be brilliant and be productive! Sláinte! Cheers!

Oh, that was something I'd meant to mention. Gumdrop ends with a word no one knows. It's actually a word that ends old Czech films. Like "Fin" in the |French cinema, I ended both "The Rapping", and, "Gumdrop", a short horror, with Sláinte.

Why?

I grew up watching in the 1960s in America on our local PBS channel. Because, the lead character in Gumdrop, that being, Sampson, is half Czech and half Irish.

Just like me.

So?

Sláinte

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.

[Note 2/22/2022, UPDATE: our film has won some awards and continues to do so...]

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...

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.

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

Let me take you back, into my past...to 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.