Perspective

[Reviewing footage of the end piece for my new short, "The Red-Headed Menace" - photo by Regina Guy]

Almost back to normal. This weekend (er, last weekend, I guess, as tomorrow starts another one) was very intense. How the hell did I do this for two weeks straight last summer? Must have been pure adrenaline.

I did finish a rough cut sans credits last night. Worked for about 8 hours, right now it totals about 6 minutes of movie. It will be 7-8 with credits. I have to credit nearly 50 people! One of whom I neglected to mention in my last post is my new friend Billy Poe. Billy is an author and documentarian and we "met" when he sent me a message with some questions about the pre-production class I was supposed to teach at the Creative Alliance on June 6, that I had to cancel when I accidentally poisoned my dogs. (BTW, I will be teaching that class on December 12 at the CA, barring any rat poison debacles). We kept in touch via email for 6 weeks talking shop, and I asked Billy if he would want to film behind-the-scenes stuff on the shoot of "The Red-Headed Menace" for me. So that was the day we met in person for the first time, and I only had about 5 minutes, collectively, to actually speak to him all day. He was extremely unobtrusive and I'm sure he got some great stuff. Maybe some day we will have time to sit down for a drink or something.

Behind-the-scenes footage, or rather lack thereof, is one of my bigger regrets about shooting, "Smalltimore," last summer. I did have a handheld video camera on the set most days, but I didn't have anyone with any experience to assign to it. I would definitely recommend having someone do that for you for every shoot that you can. Especially if you are directing, you are so focused that you don't have time to really absorb the circus that is around you, it is all you can do to keep it under control.

I have to say again that Sunday's shoot went pretty damn smoothly. There was amazingly little to no tension, at least from my perspective. Apparently I did, "intimidate," a few people. That is never my intention, but I can't spend a lot of time worrying about it. I think even those that said that understood by the end of the day why I have to be like that on the set.

What was a little difficult was switching gears when it was time to direct the kids. Of course, that takes a gentler touch. I had two kids in "Smalltimore," but they are my little cousins, so they were already comfortable with me and I knew they'd listen and not get scared (though the younger one, Sean, sometimes gets nervous at first). For kids, you have to take extra time and care to make them feel comfortable, especially with so many people on the set. It is very difficult for them to NOT look at the camera, so I had to position myself behind whichever actor they were supposed to be addressing their lines to and told them to look at me. This seemed to work pretty well and put them more at ease.

Nicole, the oldest (12) was a champ, and for the most part I could direct her as I did any of the adults. Colleen (8) is a friend of my little cousin Sean, and she had a part in, "Juju." She was such a natural that I knew the next time I wrote something, I wanted to write a part in for her. In the first draft of, "The Red-Headed Menace," there was only one kid, a part I had written for Colleen. But at first I wasn't able to reach her, which is when I found Nicole, and then Charlie's mom emailed me with a picture and he was so cute I had to put him in there, and then Colleen's mom got back to me and I thought, what the hell? I GUARANTEE you that no other movie in the 29 Days Later Film Project is going to have THREE cute red-headed kids! Production value, baby!

And that is both my strength, I think, and my curse: Production Value. I just can't do anything half-assed. For my restaurant scene, I couldn't just throw spaghetti on a plain plate and put a glass of water on the table. My Mom and I were up into the wee hours the night before, arranging fanned slices of steak on my Lenox china ("Autumn" pattern, their most expensive) and steaming vegetables so they were nice and brightly colored. We filmed on Sunday, so the liquor stores were closed and as I dressed the set I realized I had no red wine! My neighbor Philip came to my rescue and sent half a bottle over, to be poured in real crystal wine glasses, also Lenox ("McKinley"). I washed the tablecloths just that morning so that I could put them on the tables AFTER the crew had rigged the lights, so they wouldn't mess them up, and wile they were still a little damp so they wouldn't be too wrinkled. My Mom made the flower arrangements for each table. When Elizabeth, one of the PAs, set the silverware, it took her extra tie to do so because I told her the settings had to match. Votives on every table. Some plates fresh, some half-eaten, some tables ordering dessert... I think about all these things and this is why I don't get around to other things I need to be doing, like a shot list.

I did, though, break down the script in the order which I wanted to shoot the scenes, and Unique numbered them for me and kept everything straight, and saved my ass several times with continuity issues. Having a script supervisor/continuity person was another luxury I really didn't have on, "Smalltimore." It was awfully nice to have it this time.

So, yea, I had all these people I didn't have on, "Smalltimore," an Assistant Director, a Scripty/Continuity, a Behind-the-Scenes guy... still, I need to delegate more of the pre-production and production work so I can better direct.

One luxury I DID have on "Smalltimore" that I did not have on "The Red-Headed Menace," was rehearsal time. I really wish I could have done that for this project, at least for the actors with the bulk of the lines, some of whom had never met so did not have established chemistry, some like me and Michelle who could have really used that to ease into putting ourself out on a limb like that.

I also should have scheduled a good hour and a half per page of shooting time (not including set-up or breaks). Or at least done one or the other (rehearsals + a shorter shoot, or if I know I can't have rehearsals, allow more time for shooting). To have done no rehearsals at all and scheduled a short shoot was just not how I would have liked to work. For "Smalltimore" I felt slightly guilty asking the actors for more of their time for rehearsals prior to production, but it was by far one of the best things I could have done. For a short like this, probably the best thing to do would have the actors come in at the same tie as the crew (4 hours before shooting began) to run the scenes and do blocking.

Sound is also an issue that continues to plague me, but the more I do it, the better I become at it, and to be able to finesse the sound yourself in post will save you THOUSANDS of dollars on a feature-length film. The best thing, of course, is to get it right while you are ON the set, but there are always glitches. If you can figure out how to fix them yourself, you'll be glad you took the time to do so. Next time I am doing a shot list if it kills me, INCLUDING Foley stuff (sound effects). Get it all done on the set and then you don't have to worry about it.

A filmmaker I was talking to recently, I think it was Ronnie Goodwin, I met him at the Heart of England Film Festival, made a suggestion to me that made so much sense I couldn't believe it had never crossed my mind. Every time he creates or records a specific sound (champagne popping, duck quacking, helicopter, rushing water, ambient sound in a crowded room, whatever, he keeps the clips altogether in a sound effects file for future use. If you shoot on a regular basis, you can establish a library of sound effects pretty quickly doing this. I am going to have to borrow ambient crowd noise from some "Smalltimore," footage, as we did indeed forget to record that while we had all the actors and extras on the set for TRHM.

I think those are my main regrets about this latest shoot, though they are negligible considering how well it all went. It was really fun, and it was amazing to me as I sat and edited last night, when the camera was rolling before I said, "Action!" or after I said, "Cut!" more than half the time we would be laughing about something. Even though it was intense and a lot of work, and a long day, it was relaxing in its way. Everyone was there because they wanted to be there, and as the day wore on, they seemed to get more excited about it instead of fading out on me. There were a lot of good photos taken that day, but the one at the top of this post is my favorite. It was about 8:30pm and we were reviewing the shot we just did, the stunt that wraps up the short, just before we are going to break for dinner (half an hour late), and after dinner we still have another two hours of shooting to do. That everyone in this photo is genuinely smiling and laughing makes me feel very good, like not only is the footage what I wanted it to be, but also they were just happy to be there and to be a part of the project. It was a great day, a great cast and a great crew, and this is the photo that spurs me on to think about the next project that I want to do, and within a few months, not a whole year from now. Who's in?

All Systems Go

I am sure I am not the only one who works this way, but I just have to do things when all of a sudden I can't NOT do them anymore. I've been having a very hard time writing this short for the 29 Days Later Film Festival. I've never written a short before and it is HARD, it is hard to decide what to make your story about, and it is very hard to try to squeeze a whole story into 3 to 8 minutes.

The hardest part for me is inventing characters out of thin air. Usually I base my characters on a real person, or more accurately, a combination of real people, OR if I know specifically who will be playing the part, then that makes it a lot easier to write for them, if I know their mannerisms or how they would naturally react to something. Up until yesterday, though I had some ideas, in that I knew the people that I wanted for certain roles, but I had not yet contacted them so I didn't know if they were going to play that part. After a flurry of emails, phone calls, text messages, and Facebook postings, I am happy to report that every single person I set out to get for the principle roles were available, willing, and excited to be a part of it. So now I can really hone the script to them and it is a HUGE weight off me shoulders.

Not only that, but my fellow Baltimore Socialite of the Artistic Circles, Lois Tuttle, put the word out for me as well and set a chain in motion that has rounded me up almost a dozen extras already! Extras are such a tough thing to deal with. Though I know a few people who do a lot of extra work and enjoy it, mostly it is a lot of hurry up and wait for them on the set, and for the director it is an anxiety factor in that you never know if they are actually going to show up. Having little to no extras in the background in scenes that SHOULD have a good number of people is a dead-giveaway that you had no budget to speak of. Having bodies milling about in the background is a lot like having proper lighting: you only notice it if it is absent, AND there is no way to fake it. No one ever looks at a scene and says, wow, look at all those extras in this restaurant, this looks so professional, they must have had a huge budget! But if there is an empty restaurant save for the speaking characters, it can look so fake and terrible, and it stands out like a sore thumb. So I am very happy and send out major thanks to Lois and her friend Steph for rounding up these folks for me!

Also I am psyched that some other people I have worked with on other projects are on board. Fred Baeshe (sound) who is working on the Steve Yeager project, "The Rosens," with me, and Unique Dowtin (script supervisor/continuity), Craig Herron (special effects/CG), Jeff Wilhelm and Mark Mosier (stunts), who all worked with me on the set of "Juju: The Witch Doctor Chronicles"). Plus, of course, my staples, Director of Photography Michelle Farrell and craft services manager Regina Guy, who will also have a nice-sized role in the short. For a small, last-minute, no-budget short, I could not be more pleased with the cast and crew I've assembled. It is such a great feeling when someone says that they really want to work with you, or even better, that they want to work with you again! Makes me feel like I must be doing something right. Can't wait to get back on the set!

Break Over

Hey gang, sorry for the radio silence. I needed a serious break from both All Things Movie and All Things Computer. I have been so close to "Smalltimore" for so long that I needed to step back for a little perspective, and I had been spending so much time at the computer that I was on the verge of major carpal tunnel syndrome. My arms tingled from my wrists all the way up to my shoulders, especially in my right arm, which is the hand I use more when typing and exclusively for editing, and I was starting to feel sharp pains as well. This post is the last thing I plan on doing on the computer today, as I am starting to tingle again after being on the computer catching up with email etc. for the last hour or so. My friend Matthew and my Mom have both had surgery for carpal tunnel, and it is something I am most interested in avoiding.

SO, what is new in MovieLand? Well, last Friday I was interviewed by Tiffany Ariany (Angela) on a television program called "Media Matters" which focuses on international finance and media arts. We talked about how I found my investors and how "Smalltimore" managed to get into an international film festival. It was fun, and great to see Tiffany, I had not laid eyes on her since the screening of the rough cut in December. She and her Mom, Farah, both look like a million bucks, as always. Tiffany is co-producing and editing the program in addition to hosting it. I think she is barely 20 years old! Can't wait to ask her to hire me for something when she's 30 and ruling the world.

I have booked my plane ticket for England, to attend the Heart of England Film Festival in Tamworth, where "Smalltimore" screens on June 10th. I plan to be there a few days early to spend my evenings liquoring up the locals and convincing them to attend the screening. I am hoping that at least one of my stars will join me, but haven't had anyone confirm yet.

Found out that my job-job seems to be semi-secure at least until the end of summer (knock on wood). Really hoping I can stretch that out until the end of the calendar year and pay off a few more credit cards.

Waiting to hear back from some more film festivals. There are a few that I am REALLY hoping to get into, even though it may be tough to scrape the $$$ together to actually attend them. Had a huge yard sale last weekend that made enough cash to cover the rest of my hotel expenses in England, so that was good. And so successful that my neighbors and I plan on doing it monthly! Next sale, Sunday, June 28th, 9am-3pm, so mark your calendars!

Also of course I am teaching a one-day pre-production class at the Creative Alliance on Saturday, June 6th, 10am-4pm. If you are planning your own production soon, I promise you will learn enough in this class to save you enough time and money that the class will more than pay for itself - AND allow me to eat in England!

Wrist really starting to hurt, so signing off for now...

Afterglow/Aftermath

[Sold-out crowd at The Wind-Up Space for Smalltimore Premiere - photo by Richard Payne]

Breathing is... nice! And so very foreign to me these days. Monday morning, post-premiere, was not all that rough though I did sleep in until it was time to go to lunch with my friend Shawn (a.k.a. prom date). When he hit the road, I had only a couple hours before going to the CAmm Salon/Cinelounge at the Creative Alliance. If you are a filmmaker, actor, musician, crew member, anyone involved whatsoever (or wants to be) in the filmmaking community of Baltimore, you really need to start going to this. It happens the first Monday of the month, and it is a great way to network and to keep your finger on the pulse of what is going on in the community, plus you get to see several shorts, and who doesn't love shorts!

Yesterday, Tuesday, I finally just BREATHED DEEP. Wrote a few quick emails, avoided the phone, and watched about 6 episodes of Law & Order, and also two episodes online of Rescue Me that I had missed while I was in Seattle. Damn, I love that show.

It was nice, just to chill, not to be on a crushing deadline or feeling guilty because I don't have time to hang out with friends. Just take a day to myself. Today will be a bit more of that, but have to do some real work at my day job, too. I'd like to keep that for awhile longer!

Last night I spent some time seriously slogging through the Film Guide on the website of the Maryland Film Festival, which kicks off tonight. I have to admit, they have some really interesting flicks in there and I am looking forward to seeing several of them. Still stings a bit that I wasn't invited in, but I am pretty well over it, especially considering that I met my goal of being able to cover my flight to London for The Heart of England Film Festival with my take at the door of the "Smalltimore" Premiere. Wouldn't have seen a dime if it had premiered at MFF instead. I do know some other local filmmakers (lots of them actually, since only one local-ish feature film is in the MFF, out of about 90 time slots) who are also disappointed in not getting into the MFF, and some of them are boycotting it because of this. I understand that and I won't deny I considered doing so myself. But once the bruises to your ego heal, you have to look at the big picture. MFF never claimed to be a festival about Maryland films. They even make a point of saying exactly that on their website. It is simply a film festival that happens to take place in Maryland. They are bringing some amazing films to Baltimore, many of which have already done well in the big three, Tribeca, Toronto, and Sundance. I am not going to cut off my nose to spite my face and miss what is likely my only opportunity to see these films on the big screen. Also I have some friends that work for the festival that have been very supportive of me (who were not decision-makers regarding my entry) and they have worked really hard to make this a great event. I've been to it before and it gets better every year. Sometimes you just have to get over yourself, and see the blessing in disguise. I had a SOLD OUT premiere on a night that was mine and all mine; and I'm going to England.

I got an email this morning from the Red Rock Film Festival of Zion Canyon, saying that "Smalltimore," had made it through to the second round. Red Rock is only in its third year, and before finding it on withoutabox.com I had never heard of it. But there are several reasons I submitted to it: 1) I have never been to Zion National Park, where the festival is held; 2) when I saw the outdoor screen when I clicked on their website (http://www.ophilia.com/), I really, REALLY wanted to see my movie on that screen, and 3) it was super-cheap to submit. Like, two cosmopolitans, not including tip. I didn't go out last night, so it just paid for itself!

Bitter Pill/Better Solution

[Al Letson in "Smalltimore," playing himself: "The Voice of Reason".}

It was the worst of news, it was the best of news... brace yourself, I am going to rip the band-aid off quickly, and it is going to sting a bit: "Smalltimore," was not accepted at the Maryland Film Festival.

Dear Filmmaker,

Thank you for submitting your film for consideration in the 2009 Maryland Film Festival. Our screening committee members have given careful consideration to all submissions. Unfortunately, your work was not chosen to be a part of this year’s Maryland Film Festival.

Over the last few years, we have experienced a dramatic increase in submissions, due in part to our association with the Without a Box entry-facilitating web site. As a result, each year we also see an increasing number of films that we were fond of but simply could not find a place for in our schedule.

We recognize that many of the entries we are not accepting have had great success at other film festivals, or will go on to do so. Please do not let our decision impact the pride and enthusiasm you have for your work. We wish you every success in your filmmaking pursuits and hope that you will keep our festival in mind in the future.


Maryland Film Festival


I found this out on Monday, actually, but I didn't want to tell anyone about it until I had some good news to tell them as well. So I did create some good news, which I'll tell you about in a sec, but then I just still didn't feel like talking about it because, you know, nursing the bruised ego. Then I was going to write about it yesterday but I realized it was April Fool's Day, and I didn't want people to think it was a joke and get their hopes up that the opposite was true, so that is why I waited until today.

It is not an easy pill to swallow, but after a few phone calls to certain friends, and a few beers, I managed to get it down. I can accept the rejection on my own behalf. "Smalltimore," is a fairly standard romantic comedy with no big stars in it, a hard sell at festivals that aren't looking for anything specific, and the Maryland Film Festival is one such festival. Other festivals I have submitted to are centric to female filmmakers, African-American (actors), Gay & Lesbian, original music, comedy, first-time filmmakers, etc... The MFF isn't looking for anything specific like that, it is a non-competitive festival - no juries, no prizes, no categories. So for me personally, it's okay, I can live with the decision, as being in the MFF would have given me another laurel to show off, but I didn't have a chance of winning any cash prizes and it probably would not help me to find a distributor for my film. But... it just would have been nice if my love letter to Baltimore were not... unrequited.

That stings a little bit, I won't lie. But after that initial disappointment, what really had me upset was to think that a single time slot could not be found for a movie that would have given so many local artists and musicians a boost. That, to me, is the part that really sucks and why I didn't want to talk about it (and still really don't, but I have to). That is the part that I don't get. And for the moment I can't say more than that or I will say things I will later regret, and as I have told you so many times, this is a very small town, so sometimes you should just keep your mouth shut so you don't burn any bridges. Hopefully I haven't done anything more than singe them a bit.

On to the good news. A few days before I found out about being rejected by the MFF, I started bracing myself for that possibility. What do I do if that happens? I didn't want to make all the people who worked so hard on the movie wait any longer to see the finished product. I came up with an idea, and within an hour of getting that unfortunate email, I set it into motion.

So, as unhappy as I was to tell you about the above news, I am equally happy to announce the first public screening of "Smalltimore," its World Premiere! That glorious event will take place on Sunday, May 3, at the Wind-Up Space. Of course I will be bombarding you with info on that soon, but the basics are, doors open at 6:00pm, movie at 7:00pm.

The Wind-Up Space is a very cool bar and multi-media space, with one large wall that is a movie screen. We filmed several scenes of the movie here. Russell DeoCampo, who owns the place, designed the space specifically to be flexible and conducive to art exhibits and performances of any kind. That is the spirit of Baltimore that I love so much and so it is very fitting that the first screening of "Smalltimore" will take place here. Plus, you can order up an icy cold Natty Boh to enjoy with the film! Can't do THAT at the MFF. And the price of admission will only be $7, less than most matinees.

I look at the whole thing as a blessing in disguise. Of course I am disappointed, being in the MFF would have given us some good press. But in the big picture, it may be better this way. I would not have received a dime from screening at the MFF, but this way I can use the movie to fundraise, so that I can afford to travel to the festivals that do accept the film. I am hoping to raise enough $$$ at this screening to cover my expenses to go to The Heart of England Festival in June, where, as you know, we have already been accepted.

So, big thanks to Russell for helping me to salvage the situation and give everyone something to look forward to. I promise it will be a great time. And thanks to the few friends I have shared this with so far who have, as always, provided me with their unwavering support. The first person I called was Al Letson (pictured above), because not only is he a dear friend and always calms me down when I am about to blow a gasket, but is one of my few friends who in this situation can speak from experience. He told me that this happens to him all the time, he receives rejections for theater festivals he should have been accepted to, to later find out that people not as talented got in because they knew someone. Coming from someone else, that might sound like sour grapes, but if you have seen any of Al's work, you know it is just the plain truth. I can't think of anyone I know who is more talented than Al.

During our conversation he talked about the possibility of me directing a screenplay he has already written, one we have talked about before. That was a very nice thing to hear, I would LOVE to direct something Al has written, that would be amazing!

Like I said, Al always straightens my head out and makes me feel better. As we were getting off the phone, he simply said, "They're assholes. I love you."

I'm not saying he's right. I'm just saying it made me feel better.

CONTEST: Feed a Starving Actor!!!

I was just about to rename the "Smalltimore the Movie" Facebook page, "Phil Calvert & Friends" as we have recently had a deluge of his friends become fans of the page, but I decided to take a count to be sure which actor had the most friends on here, and it turns out that Kyle Holtgren wins (for the moment) by a nose! The current tally is:

Kyle - 12
Phil C. - 11
Kelly Coston - 7
Cheryl Scungio - 4
Orlando Gonzalez - 4
Johnny Benson - 2
Al Letson - 2
Will Lurie - 1

So, as a little incentive, I decided to create a little contest.

Feed a Starving Actor!!!

Whichever actor of the main ensemble has the most number of friends on the "Smalltimore the Movie" page by midnight, May 6th, the eve of the Maryland Film Festival, (and NO, I do not know if we are in yet, but for good or evil, I'll be drinking that weekend) will be treated by me to a ridiculously decadent dinner at the PRIME RIB Restaurant. What's your pleasure? Oysters Rockefeller? Lobster Bisque? Or a steak from one of the top 20 steak houses in the entire COUNTRY? This is not a dinner for the faint of heart, folks.

If a person is friends with more than one of the actors, they will each receive credit. If you don't know one of the actors personally, just post to the page who you are "voting" for and I will add it to their tally. If you are already a fan but not a friend of an actor, you, too, can post your vote. ONE VOTE PER FAN if you are not friends with any of the actors. Watch the trailer to see who's who, and make your voice heard!

Cheryl Scungio as Gracie
Orlando Gonzalez as Tony
Joyce J. Scott as Mrs. Talford
Kelly Coston as Mel
Johnny Benson as Bentley
Darik Bernard as Darik
Will Lurie as Andrew
Phil Calvert as Thom
Tom Diventi as Tucker
Kyle Holtgren as David
Tiffany Ariany as Angela
Phil Amico as Jack
and
Al Letson as The Voice of Reason

So, do your good deed for the day and become a fan of the "Smalltimore, the Movie" Facebook page. I'll be posting an update every 7-10 days to let you know the stats.

Let them eat steak!

Kelly Coston, as Melanie

Kelly Coston so totally rocked out the character of Melanie that I had completely forgotten the sheer hell I had put her through before she got the role. She was quick to remind me at the reception following the screening of the rough cut, however.

I met Kelly last March, on the set of a short titled, "The Mystery Date," written and directed by Arlette Fletcher, who is the President of the Baltimore chapter of Women in Film & Video. Kelly was a Production Assistant and I was the Script Supervisor. She was very easy to work with, and a hard worker, but really I just had so much FUN with her and she kept me laughing all day. She is smart and sassy and has a very quick wit.

"The Mystery Date" was only a three day shoot, and on the third day I thought I had found my Mel in Kelly. Near the end of a very long day, there was a scene between a father and his young daughter where they are having a sad conversation and the father is crying. The actor couldn't seem to tear up, so I closed the set to give them more privacy, and the PAs and I went in the next room. From where we were, we could still hear them (and them us) so I was trying to keep everyone quiet. Kelly kept making me laugh, so I stared at the floor. We listened while the actor tried like hell to cry (I don't think he quite pulled it off, though). Finally I lifted my gaze to Kelly, and she looked very upset. I saw a single tear run down her cheek, and I thought, wow, this scene is really getting to her! She met my eyes, looked so sad, then pointed to her tear and broke into an ear-to-ear grin, like, "See, I can do that!" It was all I could do not to burst out laughing. I could have strangled her. But I was impressed.

I think the thing about Kelly is is that she is very hard on herself and gets herself worked up and nervous. At the first audition, she was good but a little rigid. There was another actress at the first round who really blew me away. So I called them both to the second round.

That was a long, tough day, and they both did very well. Now I had a real dilemma. I didn't know who to choose. On top of their skills, they were both gorgeous, but had very different looks. I was starting to skew towards the other actress, but down the stretch, something happened. I think the other actress lost her confidence, and the last few scenes there was a noticeable fade in her enthusiasm. Kelly still wasn't as loose as she was when I first met her but she was strong and consistent. It was still a hard decision, but now Kelly was in the lead.

After the callbacks, I still had a third actress to audition for the role of Gracie, so I called in a few of the other actors (including Kelly) to help her play out the scenes. That actress was not a good fit for Gracie, but what I saw of her, she would have done well as Melanie. So now I was leaning towards her. I really wanted Kelly for Mel from the beginning, but she just stiffens a little when she is competing for a role, and I didn't know her well enough to know if she was going to be able to loosen up.

I was honest with Kelly and it looked like I was going to give it to the other actress, who poor Kelly had helped me audition for the Gracie role! I felt terrible but I had to do what I thought was best for the film. Kelly wrote me and said it was cool, she had a little conversation with God about it and God wanted her to have this role, and it would all work out, I'd see.

It turns out that the other actress' day job was in turmoil and she couldn't have committed for the two-week shoot anyway. I emailed Kelly back that God was right, and the role was hers if she still wanted it. She just about leapt through my computer screen to accept.

And of course it turned out that she really WAS the exact right person for it. She and Cheryl got along in real life exactly as they do on the screen, instant BFFs. She cracks on Orlando and Johnny in real life just as Mel does to their characters, Tony and Bentley. So much attitude! Melanie hates the character Angela, who is played by the very sweet Tiffany Ariany. Kelly would be so mean to Tiff during the scenes, I almost felt kind of bad. (Later she admitted that at the beginning, she was still kind of mad at me, and "used" that to amp up her attitude in those scenes. It worked.) Now Kelly was relaxed and back to her sharp, funny, confident self that I had originally met. We had SO much fun shopping for wardrobe, that was an absolute blast, and she did not mind at all that everything I put her in showed massive amounts of cleavage. "I didn't use to have any of that," she'd say, and flash her thousand-watt smile. "They were a present from the kids!"

Kelly was always well-prepared and never had a bad day on the set. She is one that I really miss seeing. Half the time I would end up calling her Mel instead of Kelly (and still do), so we fused that into Melly. She truly is a complete package. The character of Mel ends up having a broader range than maybe any of the other characters, and Kelly was totally believable whether she was verbally castrating Tony, being blindsided with bad news, having to make life-altering decisions, being disappointed in a friend, or simply gazing lovingly at her man. Also, she is an editor's dream: I NEVER have to cut around her, she is consistent on every single take. Roll that all together with her fantastic attitude, teeth that most people would kill for, and what more could a Director ask for? Did I mention she is built like a brick house?

4:00am is the New 1:00am

I haven't been writing much because I haven't been doing much, film-wise, since the holidays ended. Once I am out of the groove it is hard to get back in, and real life and its issues start taking up more and more of my time since I have allowed myself to become un-entrenched from the movie. Plus, as you know by now, I work best with a deadline. Right now, that deadline is January 31st, the late-late date to submit to the Maryland Film Festival. And if you have not picked up on this by now, I am not an 11th-hour kind of person. I am an 11:45 kind of person. Some personal things, and things at my current "real job" to take care of through this week, and next week I have to really hit the bricks.

But, a little bit more fun this weekend before I go back to marathon editing. One of my major investors, my friend Tom, and his girlfriend are coming to visit me. I can't even remember the last time I saw them! I think the last time I saw Melanie was for my birthday way back in MAY, and I think I have seen Tom once since then. They couldn't make it for the screening of the rough cut, so I am having a mini-screening for them and a couple other friends who couldn't make it that day. But first, a decadent dinner at the Prime Rib! Mmmmmmmmmmmmm... It's fun to play Grown-Ups sometimes.

Actually, I have been editing. In my head. Late at night. Which is why I probably can't sleep. I took sleep aids for two nights, thinking they would knock me right out since I have never taken sleep aids in my life. No such luck. They did nothing. So now I am not even bothering.

Maybe it is feeling guilty for not really working on things lately. I think more likely it is because my brain got used to filing through a million things a day and now is still coasting at a high velocity on its own momentum. I've also found myself to be highly emotional the last month or so. The first few weeks of feeling this way were puzzling to me, I know myself pretty well, and when I am feeling some way that makes me stop and wonder WHY I am feeling that way, I can usually pick it apart and figure it out. This time took me awhile, but I know what it is: I need to write.

The way I blow off steam is most often in the form of writing (or anything to do with words, like editing), drinking, or sex. Just being honest here, don't get squeamish on me (and no, that is not a call for volunteers; I need to FOCUS, here!). Obviously the first is the most productive method, the second the most counter-productive, the third the most fun. Writing/editing is what I have been doing non-stop for a full year now, so though I haven't had time to really get involved with anyone (nookie-wise) I was fine. Since I finished the rough cut, a week before Christmas, up until New Year's I had plenty of drinking time (a few friends may argue, too much). But even if I am blowing off steam with one of my vices, if I am not writing, the words just build up in my brain until I can find an outlet for them, they never just dissipate.

But other than this blog and email, I won't let myself write until I have the final cut of the movie finished. Once the words are out, all creativity dwindles, so sometimes I just have to let it build up like this. I have ideas for other projects, some good ones, I think, but I can't take my eye off the ball. I have to do everything I can to cut this movie into the best possible piece it can be, and then I have to do everything I can to get it off the ground. I owe that to all the people who worked so hard on it with me, to everyone who has put their faith in me from the start (or who converted along the way), and to myself. But once I'm there... man, I can't WAIT to start writing again. I know that's when I'll finally be able to sleep like a baby.