We’re ramping-up for the shoot with designer Anthony Franco that I posted about previously.
It’s going smoothly thanks to the team in place which includes not only Anthony, but also Francis overseeing casting, Geordy our brilliant master of all things audio, Lonny the master of digital infrastructure & workflow, JP helping with location scouting and visual effects planning (yes, a some fun effects planned), and Raymond who will be leading the editing with the two of us working closely on shaping the final form of the short film — I plan to be in the edit booth too, I love the film editing process (tinkerers like me can’t help it).
I cranked out the script with more speed than I expected, the concept came to me in three pieces over the course of a week at which point it just felt right. The team is pumped up about it, you can tell when the people around you are into a project — that makes such a difference.
This script is consistent with my style and tone in some respects, but in other ways a departure. I’m looking forward to it as a step into what I see as a new creative phase. Periodically there are clear changes in the vibe of my work, and I feel I’m at one of those points right now. I always feel when one of these transitions is coming on — it’s a mix of eagerness to move forward and break the old mold and some ambiguity in that I’m taking new risks by abandoning many of the methods and techniques that have served me well in the past. But this kind of performing without pre-established muscle memory is how we advance our work (and, in fact, ourselves).
Casting was our number one priority, we need compelling performances to make all the work around the production worthwhile. It’s obvious, but it’s true. I love models and actors and have so much respect for what they do. I like an odd tone in the characters, but with qualities that are still accessible. The characters in the story are human, but not exactly like any humans we’ve ever met. This is not a warm fuzzy story, it’s more about a look at an alternate world through a peephole.
With casting looking like it’s well under control, the other big focus is the environment. The debate is locations vs. building sets. We are searching for locations on a very tight budget, to see if we can get lucky with a connection or favor. The backup plan has been to build the sets in my studio — but the more I think about it the more excited I get about what was initially our plan B.
I love building sets because we spend so much time in digital world in front the computer. Building sets is the opposite — it’s a very analog, tactical experience. It feels good to make something physical, especially something big in scale. Meeting with my main set builder tomorrow to plan. He won’t be building it, but he will help me think about how to turn my ideas into a physical reality since we’re doing some new things — pushing it further. Then I’ll get to work with my assistants. Love this part.
Soon I’ll start working with my camera team on camera kit decisions, lighting setups, and some test shooting.
Thanks for sharing… Who is your set builder by the way??.. “tactical” as you said sounds like the way Christopher Nolan describes his reason for doing some physical sets in the cinefex interview for Inception….. Is the computer always less expensive to make a doable physically constructed effect??> Less expensive as in who will take more man hours to achieve for example: a realistic box floating 4 feet in the air next to your model> The set builder will construct a simple box put sheen of desired skin on it,rig it & job is done as the camera/lighting will illuminate & shade it during the photo process>>The computer artist will have to construct it, position it & have to illuminate/shade it to match up with the photo..
Im asking from not much experience with photoshop point of view…..
Im currently enjoying a book on James Cameron called “The Futurist” in it he talks about his physical effects guy Stan Winston which has a book called “The Winston Effect”, I think you might like it if haven’t peeped them yet… Thanks -Greg
Interesting thoughts. Will check out the books, they sound like my kind of thing.
I always concept out the sets then talk with a friend in the same building as my studio about how to best build them — he’s an artist who works with a lot of distressed metal, concrete, and wood. Often times my assistants and I then build them. Good to get your hands dirty.