THE LEGEND OF SIX FINGERS Days 3,4 & 5; DRY BONES Progress Report
After shooting one day of The Legend of Six Fingers with Debbie Rochon and another with Lynn Lowry, this week Sam Qualiana shot three days on the film. My set report will be brief since I was only present for one of the three days (due to Buffalo Dreams Fantastic Film Festival duties and my daughter's first play - she played King Louie in The Jungle Book Kids).
Right now, we're shooting scenes in advance of our planned August 8th - 16th shoot, so everything we cover is gravy. The real advantage to knocking off scenes early relates to the weather. Most of this film takes place outdoors, so we're at the mercy of the rain. The more we shoot ahead of time, the more leeway we're giving ourselves if Mother Nature decides to have her way with us.
he
On Thursday, Sam shot scenes between himself and Andrew Elias which take place in the young filmmakers' apartment throughout the film. Not only did the guys make their day, but they shot four scenes beyond what I had scheduled for them. On Friday, they shot several scenes of their characters driving around in a car, and re-shot one they had shot on Debbie's day, preventing a continuity error. On Saturday, they shot an encounter with Beer Man (Hernan Caraballo, who kindly allowed us to use his home as a location). much later in the day, after Andrew had worked a full shift at his job, we shot a scene in which Sam's character attempts to convince a young woman (Nicole Ferrara) to strip on camera. Since we were there anyway, we decided to improvise an additional scene with Nicole for later in the film. So far, the "found footage" style of filmmaking is proving extremely easy.
We have a similar schedule this coming weekend; in the meantime, Sam will edit what he's shot so far.
My other film project for this year, Dry Bones, is currently being edited by my friend Phil Gallo, who co-composed the score for the original Mother's Day and directed West New York and Mattie Fresno and the Holoflux Universe. Phil edited Naked Fear and Slime City Massacre for me, and I consider him an essential collaborator. I insisted on recording sound directly into the camera we used (a T2i) to cut down the synching of dailies in post, and I'm glad we did. The portable mixer we used did a great job on the audio, and Phil was able to dive straight into editing. He cut about one third of the film, then took a week off to work on an assignment, and now he's 80% finished with the first cut. Based in NYC, he emails me sections of the film, I tell him if I want any changes, and we move on. The film looks really good, the acting is excellent - not a weak performance in the lot - and the laughs are there. He's now at the point of editing some really outrageous special effects scenes, and I can't wait to see them. Dry Bones will be finished this August, and The Legend of Six Fingers soon after. They'll make a great double feature!
Right now, we're shooting scenes in advance of our planned August 8th - 16th shoot, so everything we cover is gravy. The real advantage to knocking off scenes early relates to the weather. Most of this film takes place outdoors, so we're at the mercy of the rain. The more we shoot ahead of time, the more leeway we're giving ourselves if Mother Nature decides to have her way with us.
he
On Thursday, Sam shot scenes between himself and Andrew Elias which take place in the young filmmakers' apartment throughout the film. Not only did the guys make their day, but they shot four scenes beyond what I had scheduled for them. On Friday, they shot several scenes of their characters driving around in a car, and re-shot one they had shot on Debbie's day, preventing a continuity error. On Saturday, they shot an encounter with Beer Man (Hernan Caraballo, who kindly allowed us to use his home as a location). much later in the day, after Andrew had worked a full shift at his job, we shot a scene in which Sam's character attempts to convince a young woman (Nicole Ferrara) to strip on camera. Since we were there anyway, we decided to improvise an additional scene with Nicole for later in the film. So far, the "found footage" style of filmmaking is proving extremely easy.
We have a similar schedule this coming weekend; in the meantime, Sam will edit what he's shot so far.
My other film project for this year, Dry Bones, is currently being edited by my friend Phil Gallo, who co-composed the score for the original Mother's Day and directed West New York and Mattie Fresno and the Holoflux Universe. Phil edited Naked Fear and Slime City Massacre for me, and I consider him an essential collaborator. I insisted on recording sound directly into the camera we used (a T2i) to cut down the synching of dailies in post, and I'm glad we did. The portable mixer we used did a great job on the audio, and Phil was able to dive straight into editing. He cut about one third of the film, then took a week off to work on an assignment, and now he's 80% finished with the first cut. Based in NYC, he emails me sections of the film, I tell him if I want any changes, and we move on. The film looks really good, the acting is excellent - not a weak performance in the lot - and the laughs are there. He's now at the point of editing some really outrageous special effects scenes, and I can't wait to see them. Dry Bones will be finished this August, and The Legend of Six Fingers soon after. They'll make a great double feature!
No comments have been added yet.
