It’s been a while since I posted here, so I figured it was about time for an update. I’m looking forward to the day when I finally get to share this film with the rest of the world (or at least with close family and friends who are willing to sit down and watch it).
The process of making this film has been one of the most amazing and enriching experiences of my life. It’s not a perfect film (by far), but I’m ecstatic about what I’ve learned and can’t wait to take all of my “filmmaking lessons” with me to my next project!
But before I move on, I’ve got to finish this film.
I am happy to announce that picture lock is probably about a week away. In fact, as I type this, I’m exporting a cut of the film that just might be the final picture lock. I’m screening it next week for a few people, and based on how that audience responds, I’ll determine if any more cuts are necessary.
I feel like the major problems with the film (that came to light through many test screenings) have been addressed, and I’m pleased to say that every effort has been made to take what we have (very limited resources) and do the very best with it.
It was very important to me that my first feature MAKE money. Time will reveal if that is to be the case. I haven’t crunched the final numbers, but just based on memory (and some quick arithmetic in my head), I’d say that the final budget on this film was anywhere from $4,800-$6,000. And that includes EVERYTHING (meals, plane tickets, etc.) If you JUST tally the production costs, the budget is probably more in the realm of about $3,000.
The latest test screenings have gone exceptionally well; they’ve revealed tiny (but extremely important) details that needed to be addressed. In one case, a SINGLE line of dialogue ruined the film for one viewer. After examining this viewer’s argument, it made sense! So we cut that one line, and the film plays better because of it.
The greatest lesson that I’ve learned through this process about writing and making films is the fact that NO detail is too small to ignore! If something doesn’t work on the page, it WILL NOT work on the big screen. It’s very easy (especially for writers who are good with words) to gloss over structural and story problems in the script by using eloquent verbiage. In fact, some writers are so good at “hiding” structural problems with their artistic verbosity, that even seasoned readers don’t notice them at first glance. But let me assure you, if there is an issue in the script and you don’t address it, it WILL come back to haunt you.
I recently attended a seminar put on by Hollywood script doctor, John Truby. His words and lecture were invaluable. I typed over 15,000 words (44 pages) of notes! Even though my film had already been written, shot and edited, I still took his insights and looked at the structure of my film to see if there was ANYTHING that could be fixed or improved upon by cutting scenes or moving things around. And sure enough, by taking a look at basic story structure I recognized scenes that just weren’t advancing the story and could be cut. Next week's screening will reveal if those cuts helped.
Right now the total running time of the film is 80 minutes exactly. That’s a good, healthy running time for a low budget feature film. The second act still drags a bit, but at this point, there’s not much more I can do about that. I wish three years ago I knew what I know now about story structure.
The biggest weakness of the film (in my opinion) is the fact that there is no clear antagonist in the story. There are several characters that step in and serve as antagonists at various points in the narrative, but there is not one, clear opponent to the main character, Cameron. A true antagonist WANTS the same thing as the PROTAGONIST. Cameron is searching for the bones of Uncle Rusty. To add pressure, tension and FUEL to the story, I really needed a character that wanted the same thing as Cameron… someone who ALSO needed to find the bones of Uncle Rusty.
If I ever revisit this story with a bigger budget (which I can’t EVER imagine doing, but “if”), I might introduce another sibling to the story, maybe an older brother to Cameron – a brother to whom Uncle Rusty’s assets would pass if Uncle Rusty died. However, since Uncle Rusty’s bones are “lost” and his death could not be proved, this brother would have to find the bones to get his inheritance. The film would then become a race. Cameron would need to get to the bones before his brother. The pressure would be on, and the story would then have fuel!
Lessons learned!
I’m hoping in the coming months, while finishing up the audio post-production on this film that I can start working on my second feature. I’m still toying around with ideas, but I’m leaning towards either a UFO or a GHOST story. Either one would still be a very “human” driven story, very much like Vacant House.
I tend to gravitate to stories of the supernatural that are still deeply rooted in the human condition. Writing dramas is VERY hard; it’s easier just to go for the scare, or to "wow" people with special effect, but those aren’t the kinds of films I want to make. I want to make films that address the human condition.
“Solitude in Isolation” is a theme that I’m drawn to in films, as well as father/son stories, and forgiveness.
I never thought, when I first started writing Vacant House, that I’d end up writing a story that was so deeply personal. I originally intended this to be a “one-off” – just a quick film that I made so I could tell people that I wrote and directed a feature film. But when I started pouring my life into the process (and I realized how much time it was going to take), I decided that I didn’t want to waste time writing something that didn’t resonate with me.
Vacant House is FAR from perfect, but as a filmmaker, I said what I wanted to say, and for my first feature, I am proud of the end product.
More to come!
