Developing My First Feature: Part 1

The Current State of the Writing
Since writing my first feature script "Blood Covenant" I have played with almost ten different ideas for a new feature script. This time I am working on a "producible" feature, since filming "Blood Covenant" would take probably over $2.5 million to make after all the stunts, gun play, SFX, VFX and locations took their toll on the budget. This may be something I will be able to tackle after a few smaller-budget features and more diverse funding can be acquired.

So, looking back, let's see... what were some of these feature ideas? Beach Baby, Bad Day, Perla, The Logical Diary, Mirum Lux, The Awakening, Redshift, The Light Princess, Caterwauling for the Prize, Traveling Without Moving, etc. There are probably others I have forgotten about since then. Other grains of ideas that did not even get working titles. Most of these are still being developed and written but many of them are also not producible for me now.

I really enjoy working on adaptations as well, (mostly for fun) like "The Light Princess" a classic fairy tale by George MacDonald and "Out of the Silent Planet," the first of a series of sci-fi novels by author C.S. Lewis. I really wish these projects would get made and have a unique vision for them. So, what's the best way to ensure that I enjoy these but to write my own versions? And if they are not to be made, at least this can be done for my own enjoyment. These would obviously be large, expensive, popular projects, especially in the Christian Sci-Fi/Fantasy market. The same market that ate up the Narnia films and possibly many of the YA book-to-film properties that are popular now.

What Is It About?
Well anyway... back to this "producible" feature project. Right now we are in the very beginning stages. I am a few days away from solidifying the beats of the film. I mostly use Blake Snyder's Beat Sheet for this. But, as soon as we start collaborating it will, no doubt, experience many changes.

This latest idea deals with a college student going through a journey of self-discovery to become an artist. She gets no support from her family, teachers and friends, accepting one faithful friend. Everyone assumes she is on a foolish ego trip to try to become rich and famous. No one is willing to listen to her doubts and perspectives about her life or career, except for this one friend. This sounds dire and depressing- I'm sure, but actually, this is a light comedy. This is basically about my own stupid life. Yep. ;)

But these kinds of stories work in real life. This isn't really about me, you see. If you can see the comedy in life's cruelties you can accomplish much and speak to people in a universal language. Comedies don't often accomplish this cross-cultural impact, but all artists, I believe, have a common experience in how they became artists. There are, I believe, very common, understandable feelings about why and how they became artists. And often, they are profound and humorous. At least I find that they are.

Style and Genre
Attaching myself to the American Micro-budget "Mumblecore" film movement may be a helpful thing. Since much of the inspiration for the film are Noah Baumbach and Joe Swanberg films, this may be achievable. Baumbach is not necessarily a mumblecore filmmaker, but his oft-utilized muse Greta Gerwig is a mumblecore regular. Exhibiting much of the ethos of a mumblecore filmmaker herself, Gerwig remains ensconced in the current American Independent film market.

Noah Baumbach

And as the lead character, "Elizabeth" is inspired by Gerwig's seminal creative and fun yet aimless and youthful persona. Gerwig has become one of my muses as well, apparently. But, uncharacteristically, as a Tampa Bay filmmaker, I am one of the few indie filmmakers here to attach myself to this movement. Typically, the local fare is action, horror, family & mainstream comedy. Rarely have I seen a successful attempt at art house comedy or drama in this local market. I find this surprising since these films are much easier to produce with little to no budget- which is exactly what we have here in the Tampa Bay film market.

Instead we are trying to make action, even sci-fi with little to no success. This is not for lack of trying or lack of talent. But they may be mostly unsuccessful because it costs $ to make good action/sci-fi. Believe me, I want to make these genres as well. And if i have a choice, sci-fi/fantasy would be my genres of choice. But every genre has something to appreciate and enjoy. Each has its own challenges as well. And, if I ever make sci-fi/fantasy, my primary objective is to build it atop a substantial foundation of good drama, character development and story-telling, not VFX, choreography, stunt work and other technical concerns. So, this light drama is my initial play ground for acheiving that goal.

Research
So, some films to watch to prepare for making this film. "Frances Ha", "Happy Christmas", "Tiny Furniture",  "Damsels in Distress", "Drinking Buddies", "The Squid and the Whale", "The Art of Getting By", "Lola Versus", "Nights & Weekends", "The Dish and the Spoon", "Kicking and Screaming", "Hannah Takes the Stairs", "Mistress America", etc. And I have seen the first five of these so far. Admittedly, Woody Allen, Dogme 95 and New Wave films are a bit of an inspiration for much of the mumblecore movement as well. So, some of these can be referred to for inspiration as well. And possibly, some JIm Jarmusch may be in there as well.

Current Budget and Team
Again, Mumblecore is unique in it's strong collaborative and micro-budget ethic. This works for a beginning filmmaker like myself. It brings great things within reach. Remaining consistent with this ethos, I am forming a collaborative team with my wife, Rebecca Croft, Luke Sokolewicz, Linda Roser, Davina Reid & a few other people. I am hoping a few more people will get on board too- Daryn Murphy, Lynne Hansen, John Borland and Andrew Durliat just to name a few.

This movie will be starring Linda Roser and Davina Reid with plenty of room for guest actors to come in and make their mark. It is initially inspired by a short script my wife was working on a few years ago called "Antisocial Butterfly." But we had to fill out the story into feature film length and we want to involve Linda and Luke in the writing process along with me and my wife. This should make it very dynamic and enjoyable to create.

Revisiting the Style and Inspiration
I have been inspired lately by movies like "Frances Ha" and "Happy Christmas". Especially in their art house and elegant minimalism. American high school/college self-discovery films are especially engaging in their characters and plots as well. In tone and visuals- the French New Wave as well as American Indie films have great impact. This should contribute a great pacing, a light airy retreat from our troubles.

I love the natural light with black and white to bring a very classic, elegant, and yet a minimalist feel to it- almost an impressionistic eye to balance the emotional, expressionist and honest intellectual dialogue and themes of the film. Yet, I also wish to make a "Floridian Christmas" film. Visually there is plenty of things to dig up there. At least that is an exceptional location. So, this necessitates color for the Christmas lights and sunsets you get here in Florida- bringing more life into the colorful characters as well. B&W may be revisited in the future, as it is a great inspiration for me.

Greta Gerwig in Frances Ha

The Plot?
But, what happens in the film? That is what we are trying to work out. I have my ideas, but as soon as I am finished editing my short "Golden Foot" we will be able to do more writing. We really want to make a fun, inspiring and engaging film for the local market here- and hopefully it will be cheap to produce. Wish us luck.

Is this the kind of film you'd like to see from us- or do you have any different ideas for films for us to produce?

How to Achieve While Others Are Trouncing All Over Your Silly Shoes

Our short "Golden Foot" has been really great to shoot despite some of the issues we had in pre-production. Those things are past now and I am happy I tried and succeeded in resolving disputes as quickly as possible. This has really been an invaluable experience for me. Believe me, this doesn't mean I'm soft on people when my vision is at stake. Especially, if I can cull together a consensus about how to achieve that vision with other key players. After all, a director's job is to have vision- often a strong one- and then know how to achieve that vision.

Hopefully, I can use my experiences here to help cooperate better with producers in the future though. I know what difficulties producers have to go through because I am a producer as well. Achieving consensus on the most important aspects of the story and on potentially the most expensive parts of production are essential. Making sure the director has a strong ethic and is trustworthy is just as important. These are things I care about greatly and I strive to tirelessly maintain this ethic.

Making sure you are there because you are 'right' for this project should be the first thing that gets realized, or you might end up fighting a losing battle. And being 'right' for a project doesn't mean you are getting a paycheck that you like- it means that your vision is communicable and achievable in this environment. The environment that needs to be present for this to happen is a budget and the key players which will enable your vision to come to life. Without this, a discordant note may always plague meetings and collaboration- even if you don't notice it at first.

If you notice these weaknesses in time- all is not lost. But, realize that a lot of work is forthcoming. The great thing is that a budget is always something you can work towards together, but if you don't have those key players you need, a worthy budget will only further accentuate the failure of your key collaborative relationships.

Once I have a good idea of what is achievable and what it will take to make this film, maintaining my cool and sticking to my guns becomes more important, whether I'm facing criticism from my most trusted confidants or from any level of business associate. But, also, you must learn how to choose your battles strategically. As they say, "...If you're moaning because your feet keep getting stepped on, maybe you need to take off the clown shoes."

...This means that maybe you are taking too many things seriously or being unrealistic- which can only give off the impression to others that you are being melodramatic- even, ridiculous about non-essentials. So, have some priorities that make sense to your cohorts. At least clowns know that they are ridiculous- their job is to be ridiculous. But, yours is to know your limitations- know what's important and know what can be unloaded for the sake of making a better film. Because it's actually not about you ...it's about actually making the film. After all, making a product is REALLY what will earn you more respect in the future. Then, if you wear clown shoes to work, people will assume you have some sort of method to what you are doing and they will question your quirks much less. They may even assume brilliance!

And, of course, this goes without saying, but- know when to seek guidance or when to listen to advice. You're going to get plenty so- get used to it. Of course, we must always listen to others. This is essential! And I'm not talking about standing there while others talk- I'm talking about actually hearing and considering what others say in a conscientious manner. It is the heart of collaborative filmmaking in my view.

All these things that they don't teach you in school- how to be kind and how to actually work with people while other people aren't actually being kind to you. These things are essential to being a professional in the business. But lots of people just get told that they are "great," so they accept it ...until it really matters. Then they wonder why nobody will give them the time of day. Because we are paying attention to the lies and niceties instead of the reality. The reality is you must prove yourself FIRST... and do it while smiling and getting kicked in the rumpus at the same time. That isn't actually unfair. It's actually the way it works. When someone congratulates you or is nice to you- it doesn't mean they really think you are the best, it just means they are being nice. And others being nice says more about who they are instead of who you are... Remember that.