The Languishing World of Post Production and What's To Come

It's crazy being so close to the finish line!  I am nearly days away from having the FINAL audio locked on the film (minus a couple new pieces of music that we'll drop in once our composer is finished).  I just need to sit down with my Director of Photography, Tom McCarty and color time the film.  There are a few "tidying up" things left to do (i.e., polishing the opening title graphics, smoothing out a few transitions, etc.), but all in all, I'd say there's about a week's worth of work left on the film.  And, so now, after nearly FOUR YEARS of laboring over this "bad boy," the finish line is an AMAZING site for sore eyes!

We had several scenes with completely unusable audio, so I've had to do a LOT of building audio tracks from scratch.  At first I was just going to live with some audio that wasn't great, but after doing some foley on a few scenes and hearing WHAT A DIFFERENCE a good audio tracks makes (compared to a not-so-good audio track), I simply couldn't ignore the other "lesser" scenes, and so I was forced to take a look at EVERY scene of the film to see how we can make the audio better.  I still opted to use some original production audio in a few scenes, but for the important ones, I've made the effort to go ahead and foley the heck out of them... Just trying to finish the film as strongly as we all started it.

I originally had no intention of doing the audio post on my film, but not being able to find someone to do it for me, and in keeping with the spirit of this ZERO budget production, I, yet again, grabbed a new hat to wear and officially became the sound designer/editor/mixer on this project as well.  To avoid being pretentious and listing my name a hundred times in the end credits of the film, I just made a title card that says, "Picture and Audio Post-Production: Jeremy Casper."  I never want to do that again, but I learned a ton!

A cold, brisk morning in Los Angeles.  Sound Editing by Candle Light

(NOTE: for those of you who don't know what "foley" is: Foley is any sound created by a human [excluding their voice] that is re-recorded in a studio or on location.  EXAMPLE: footsteps, clothes rustling, snapping fingers, creaking doors.  In most films, all of those sounds have been re-recorded in a studio and added back into the film... usually those kinds of sounds don't record well on set, so they have to be redone.  You'd be surprised at HOW MUCH of the final soundtrack you hear in a movie theatre was NOT recorded on set... even a lot of the dialogue!)

I've actually been giving some thought to what life is going to be like after this film is over.  The other night, I sat up in bed in a little bit of a panic!  Working on this film has been "my life" since the summer of 2008.  I started teaching at the LAFSC in the Fall of 2007 (which was right after I started conceiving the film), so I have been teaching at the center for as long as I've been working on this film.  I fact, I came up with the idea for Vacant House right before we moved up to Pasadena from South Orange County, so I literally haven't been in LA for a single minute when I wasn't working on this project. 

WHAT AM I GOING TO DO WHEN THIS IS ALL OVER!? 

Sure, I've got more projects on the horizon, but I have been working on my all-time favorite passion (making a movie) for YEARS... What am I going to do when I suddenly don't have a SPECIFIC film project to work on?  When I think about that question, my stomach sinks a little... I know myself well enough to know that I was made to create things... I must have a creative project!  There's going to be an emptiness when this is all done.  I'm sure festival entries (and hopefully acceptances) will fill my time for a while... but still... it's going to be a strange feeling.

I'm doing a lot of writing, but I haven't written anything recently that I think would make a great second film.  And even if I did know what film I wanted to do next, I wouldn't want to do it unless we have some serious funding!  I'm definitely not wearing 20 hats on my next production.

I will give you a hint of what my next (non-film) related project is.  I'm working on a children's book!  And even though, at the moment, the story is not in screenplay format, I think it could make a really exciting animated film.  But more about that later.

I've been trying to sort of "beef up" our films online presence (hence this blog entry), and I have a producer friend of mine Melanie Hall, to thank for that... She's great at this whole social networking thing (check out her and her husband's film Sudden Death!).  So, if you're really interested in following us, be sure to checkout our Facebook pages and our Twitter feed:

Facebook: Vacant House Facebook Page

Twitter: Vacant House (2012) Twitter Feed

Well, ironically, now that the film is winding down, there's a distinct possibility that I'll actually be blogging MORE.  I'm such a "reflection" kind of guy... sometimes I can't really process an experience until it's nearly over and I can think back upon it.  So, if you want more info about the film, check out the above links... If you're more interested in the neurotic ramblings of a filmmaker who has no idea what he just wen through and what's next for him, then keep coming back here! :-)

Thanks to everyone for all of the support.

MORE TO COME!

Jeremy

The End is Near!

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!

Test Screenings:

Hey everyone,

I know it's been a while since I posted, but I figured I'd go ahead and give you all a heads up on where we stand with the film.

Over the past few weeks, I've been conducting a few test screenings.  (YES, the film is nearly edited).  Each test screening has produced invaluable feedback,  I'm in the process now of sifting through all of the notes, and looking at the film from a "story structure" standpoint, after which I'll make any final changes to the picture, lock it, and be done!

We are literally days away from a locked picture.  It's been THREE YEARS since we started this crazy process, but we're nearing the finish line.

As always, tell your friends about the film.  You can visit the film's Facebook page at the following link (I update the Facebook page QUITE regularly):

http://www.facebook.com/#!/pages/Vacant-House/136278793052070

Thanks all for your support!
Jeremy

The Final Shoot Days (August 4th and 5th, 2010)

The final two days of shooting went exceptionally well.  In fact, I can honestly say that we haven't had a single disappointing shooting day since we began –  my my expectations continuously exceeded, far above and beyond!

This past Wednesday and Thursday was no exception.  We had originally hoped to shoot everything in one day, but we couldn’t get our actors’ schedules to vibe, so we divided up the days.  Which ended up being a blessing in disguise.  I spent a good 8 hours each day shooting what I needed.  I’m glad I wasn’t rushed with either actor.

I was very nervous about the first day.  With the exception of a few shots, EVERYTHING we had to shoot was PIVOTAL in terms of the story, so the performances, the photography, the directing… EVERYTING needed to be as good as it could be.

Also, the nature of what we were shooting was thematically intense, so that added to the nervousness I was feeling about the day.  But, as always, my team rose to the occasion.  TJ Maxwell tackled the scene like a true champ, and Tom McCarty’s lighting was just as prominent of a character in the scene as TJ – some beautiful work.

It was all shot in slow motion, so I’m interested to see how it all looks once we run the footage through a few filters and play it back the way we intended.

We then packed up our gear and made our way out into the woods.  We had to reshoot a couple of Uncle Rusty’s scenes plus a new, rewritten scene to correspond with the new ending.  TJ Maxwell hit a homerun with his performance.  In fact, we were all floored.  We (the crew) noted to each other that it seemed like duing the past year (since we shot TJ’s first round of scenes), he’d gone to acting school and become a pro.  Not to discredit what he'd done before; I was so pleased with his performances from last year, but his scenes this time around went from good to cinematic!  TJ brought a level of honesty to the character that I hadn’t seen before; I’m really excited for you all to finally meet Uncle Rusty on the big screen.

We wrapped up the evening with burgers and fries from Island’s.  What a great day.

So that night, after shooting all day, I stayed up for hours trying to map out my shot list for the next day.  I was having trouble figuring it all out because I needed my actor, Jason Zahodnik to perform some stunts.  But I didn’t want to impose any sort of precarious scenario on set without having discussed it with Jason first.  So, to play it safe, I came up with a list of shots that sort of “did the stunts” for Jason.  With a few quick shots and some fancy editing, I figured I could get what I needed in order to make it APPEAR like Jason was doing the stunts.

So, the next day we all trekked back out into the woods, only this time further than the day before.  I carried a 40lb bag of props around my neck (which included a rotting corpse), so needless to say, I got my cardio in for the day (and threw out my back)!

Once we got to the location, I started to explain my shooting plan to my DP and to Jason.  And, that’s when my producer, Walker Haynes stepped up and reminded me that he does professional stunt work and could coordinate some pretty cool looking (and safe) stunt scenarios if Jason was up to performing them.  I can't believe I'd forgotten that Walker did stunts!  So, Walker went to work!

I’m so glad Jason is 24-years-old (and apparently has bigger balls than me)!  He JUMPED at the chance to LITERALLY throw himself into the scene, and before I knew it, he was lobbing himself (safely – just in case MOM Zahodnik is reading this) down rocky embankments, falling off of ledges, and performing some fantastic looking feats!

I tried to pull some stills to post here, but none of the pictures do the stunt work justice.  You just have to see it in motion!  Good work, Jason and Walker!

The rest of the day was MUCH easier in comparison, and it was great to finally get to see Jason act.  He’s got a great look, and he’s a very honest actor.  He’s only onscreen for a few minutes in Vacant House, but there’s a good chance you’ll get to see a lot more of Jason in my next project (unless he makes it big before then, which is a distinct possibility)!

The day ended with a trip to The Yardhouse for good food, imported beer, and some much needed chill time after our exhausting day.

The big test, however is always reviewing the footage after everybody else goes home.  I’ve been on shoots in the past that SEEMED like they went well until I reviewed the shots at the end of the day – I've experienced some very DARK DARK days!  But once again, Tom McCarty’s footage looked phenomenal, and I have to hand it to Tom.  He must have pretty big balls too for being able to stand completely still, with camera in hand, while Jason tumbled down a mountainside heading directly for him.  The stuff looks great.

Some of the new footage will be added to the new trailer that will be completed by the end of August, so keep checking back here, our Facebook page, and our Twitter page for updates.

So, picture-lock in two weeks!  Can’t wait to write more about that!  Okay all; more to come soon enough!

Now, off to the editing suite!

-Jeremy Casper

Facebook Page and Twitter

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Prepping for Shoot #5:

I had lunch today with Jason Zahodnik, a good friend of mine and a bit player in Vacant House. Jason's scene was shot last summer, but (as has been the case with a lot of scenes in my film) I've rethought it just a bit, and so we're going to reshoot it... just to beef it up a little. It should be fun.

I had a great discussion with Jason about characters and different mediums, and after reading several recent articles about television surpassing recent films in terms of compelling storylines and developed characters, I now want to produce a TV series...

But, maybe I should finish THIS film first!

Discussions like the one I had with Jason, the "psychological" input TJ Maxwell gave to the story, and Cris Cunningham's countless notes on character and dialogue have made this whole process such a team effort. This film has had a "family" feel since the very beginning. All of the cast and so many members of the crew to some degree have influenced the story, provided immeasurable encouragement, and unflinchingly devoted their time to getting this thing done.

In a couple of weeks we're shooting Jason's scene, reshooting two of Uncle Rusty's scenes, and adding two new Uncle Rusty's scenes. Then... (drum roll)... we should be done with production.

The end is near!

AND PLEASE SHARE THIS BLOG WITH ANYONE YOU THINK MIGHT FIND OUR LITTLE INDEPENDENT FILM INTERESTING!

Uncle Rusty:

Of all the lessons I've learned in this process, continuing to learn more about the "nuts and bolts" of storytelling has been one of the greatest!

The most interesting "discoveries" in the VACANT HOUSE writing process was the development of the character, Uncle Rusty.

When I talk about Rusty, I usually describe the experience of discovering him to the way in which astronomers discover new planets and black holes. An astronomer can look to the sky, and JUST by observing HOW other planets and celestial entities interact with each other, they can deduce that SOMETHING ELSE is out there. They can discover a planet before they even SEE IT just by how everything in neighboring space is reacting.

That is how I discovered Uncle Rusty.

From the very beginning I think I (and my characters) were aware that Uncle Rusty was in our story; I just hadn't discovered him yet. There was a force in the script... something that was compelling my characters to react the way they were reacting, and slowly, over time, Uncle Rusty was DISCOVERED just like a distant planet in our solar system.

In an early version of the treatment, dated 2007, the character of Uncle Rusty was a nameless individual only mentioned once in a line of dialogue.

At that point, I had no idea that this "off-hand" character was going to grow into one of the most important characters in the whole story! In fact, I can go as far as to say that Uncle Rusty is the WHOLE REASON the story of Vacant House even happens.

After Cris took an initial read of the treatment, he too gravitated to this nameless character. He wanted to know more. And from his own experience as a writer and an actor, he knew this character was important. Just for the purpose of discussing the character, we quickly gave him the name "Rusty" and the name stuck.

Without divulging too much of the story here, Uncle Rusty became the catalyst that the whole story was lacking. He became the REASON Cameron does all of the things he does. In fact, in retrospect, I'm not even sure how the story worked without him.

So the character of Uncle Rusty was born.

But, Rusty's development into a full-blown character wasn't over.

He now had a name, and his roll in the story was made more prominent, but Uncle Rusty was still just a character mentioned in dialogue. We never saw Rusty; we just new he existed.

And so we started shooting the film. (The entire process of writing this script and shooting the film, I will save for future posts - it was unconventional to say the least!)

We shot the first summer and knocked out about 60% of the film. We returned the next summer and shot (what I thought at the time was) the remaining 40% of the film. We were fluid in our storytelling, and the script developed as we shot.

After that second shoot I cut all of my footage together and realized...

...we still don't have a film.

Over the course of these two summers, Rusty had grown into such a prominent character, motivating and influencing Cameron, our main character, that the next step in the script writing/filmmaking process seemed obvious.

We need to SEE Uncle Rusty. And so, with the vast majority of the film already shot, I added an entire new character to the story/film, I wrote new lines, cast a good friend of mine (TJ Maxwell) in the role, and we set out for shoot #3.

Uncle Rusty's scenes added a new life to the film. In fact, some of the initial feedback we received suggested that Uncle Rusty's journey in the film is the most concise and clear storyline. I was excited about the encouragement, but something STILL wasn't working.

I was so tired of my film, and the idea of shooting anything more wasn't an option at the end of the second summer. But after discussing the film's problems with TJ, it became obvious... once again... that there was STILL more to Uncle Rusty that needed to be uncovered. And so, after a few pep talks from friends, I decided ONCE AGAIN to pick up the cameras and schedule TWO MORE shoots to finish up my film.

These final two shoots will round out the character of Uncle Rusty even more. One of the main problems with that initial cut of the film was the ending. I had a specific ending in mind for the character of Uncle Rusty, but I didn't shoot it. I chickened out. I shied away from the direction Uncle Rusty's character was heading. The ending didn't resonate. The film didn't end where it needed to end. And the result was a flat, two-dimmensional ending.

So with these final two shoots, I'm delving even deeper into the character of Uncle Rusty... and hopefully giving the film the end it deserves.

Is it all going to work??? I guess that's still left to be seen.

But the process of discovering, developing, and writing the character of Uncle Rusty has been one of the greatest writing lessons I've ever experienced. LISTEN to your other characters. What are they telling you about the world they live in? Are your stories just sitting there, not moving forward? Chances are your story lacks conflict or your main character doesn't have a clearly defined goal... and in the world of storytelling, the most interesting goals and conflict come from other people. And the closer your characters are to those people, the more intense the drama will be.

Uncle Rusty is the blood line of Vacant House. He's the "thing" that keeps the story moving.

Thanks Uncle Rusty!