One is, I am going to try to find a producer to work with. It would be great if I could find someone local who knows the ins and outs of the funding machine(s) and also who can just take the load of organization, administration, and budgeting off of my shoulders. I can definitely produce but I think it takes a toll on my directing and my creative work, especially at this level when being a producer can mean you're the one making the sandwiches before the shoot. This project is getting to be too big and I am beginning to really respect it too much, partially because of all of the people who have helped me in so many ways already, and partially because of Tom himself, to shortchange it by trying to do too much.
Secondly, I am starting to put out feelers for the cast. I am aiming to have the whole film completely cast by the end of May, and so the next couple of weeks will be spent trying to set up the auditions. I am hoping that I can arrange them for May 27. There are several good actors who I already like from the first round of auditions back in February, but I need to see more women, preferably 'character' actresses. I still don't have Mama or Katja cast, and those are big roles. Unfortunately I have met mostly young attractive actresses so far so I am still looking. I have a great contact in Wayne Slinn of the Regina Actor's Club; he is an actor himself with a great face and a lot of experience, and is willing to help me line up some good non-union performers for the auditions. I am getting excited about seeing the new actors!
Third, Raul, who is storyboarding the film, has taken a first stab at keyframing the entire movie scene-by-scene, so that we can get a look at the overall visual progression, both in terms of color and contrast, of the whole film. This phase is not about framing or camera or beautiful drawings, but about the overall flow of the story. Here is his first black-and-white keyframe exploration, focusing primarily on the contrast (values of light and dark) in the film. With this approach we are looking at both the needs of each scene independently, and also the way that each scene fits into the overall progression of the film. More important high tension or 'key' scenes should be higher contrast, because whether the viewer is aware of this or not, interest and intensity are increased by applying more contrast, while quieter scenes have more affinity. This higher contrast may be achieved either by placing a very low key (dark) scene next to a very high key (bright) scene, or by increasing the breadth between value levels within a single scene, from very dark to very bright. Or both. Here is Raul's first rough keyframe layout (click for a larger image):
Raul is so awesome. I am so lucky to have the story department here in the house!
simple color script
The next steps for the story and art departments will be boarding the film, and working out the color within each shot. This will lead to prop and costume choices, as well as location and set dressing choices.I am glad to be back and really getting into the work of production. The more I get done in this phase the better I will feel about the shoot in late August.More updates coming soon!
Until next time... Sisu!
