I’ve recently come to realize how a fuck up during a take can make a scene even better. Now I’m not talking about the blooper reels you see at the end of Jackie Chan movies, I’m talking about a cough, stumbling on or repeating a line, a character tripping over themselves, over falling asleep on camera. All of the above have been edited into Rainbow Connection and have made the film that much more interesting/better. The real stuff. Like so many others, I was always about finding that perfect take, even if it meant shooting 7 takes of a wide master.
As a side note: That’s why it takes over 6 days for me to shoot a short film.
With a mistake comes something genuine. The actor is no longer acting, they are reacting to the moment. That, to me, is the most interesting thing about performances. Sometimes they react in character, sometimes they look at the camera and sometimes they stop and say “sorry”. But sometimes, just sometimes, they float somewhere in between, where you’re not quite sure if the mistake is intentional or not. Those are my favourites.
I actually started to think about incorporating flubs in the edit while we were filming. The original opening to Eugene’s first scene with his mother had him waking her up and lighting a smoke for her. Dylan (Eugene) was not familiar with using a lighter. The 3rd take in he burned himself and the moment/tone of the scene instantly changed. Even Deborah (Eugene’s mom) changed and for a slight moment you saw a side to her character that isn’t in the rest of the film. That one little fuck up showed more about her character and their relationship then the rest of the film. Ok maybe I’m stretching, but you learned a lot in a little bit of time, which too me is also key to filmmaking, especially shorts. When I was working with Patrick, who has autism, every take was a flub in a sense. Nothing would ever be the same and I had no idea what to expect one minute to the next. Some of Patrick’s reactions in the film were from me coaxing him, a lot came from exterior sources (ie. someone opening a door off screen) and some came from a place you and I know nothing about. No matter where they came from, they work. And although his reactions to certain scenarios may seem odd, they’re real.
This is what comes up when you search Auteur Filmmaker
Now that I’ve started to look at mistakes in a different light I’ve been going through all the footage again, keeping my eye out for gems. Vandewater may have found the ultimate fuck up/awesome moment the other day. I don’t even want to give it away. Leave it more as a Where’s Waldo type of thing. I don’t know how much more I can really say about this. It’s pretty straight forward, just be open as a director. Being stubborn or staying focused on making the movie you want, even if you don’t have it, doesn’t make you a auteur. It’s makes you an asshole.
The face Mitch makes when I post something after Foley Friday
After spending all my Rainbow Connection Arts Council money on Hash and Casino Rama, I needed to find a way to finish the film. I turned to IndieGoGo because I’d seen how much money Bill had raised for I Spyders (something like $3000). Bill, if I’m wrong please correct me.
As a side note: I might be waiting on Bill’s reply for a while. I don’t think he reads this blog anymore.
I got asked this question the other day…
Jen Kassabian: “Why did you pick IndieGoGo over Kickstarter?”
Kire Paputts: “Mind your own fucking business.”
Just joking. I told her I chose IndieGoGo over KickStarter because with IndieGoGo you have the option of Flexible funding. This means that you keep whatever you raise, minus IndieGoGo operation fees. With Kickstarter, you have to raise your entire goal or you don’t get dick. I learned this from Bill. I also had this discussion with a friend the other day and he convinced me that Kickstarter wasn’t as bad as I thought it was. His point was that with Kickstarter, people know where their money’s going. The idea with Kickstarter’s Fixed funding is that if people give you money then they know, for the most part, that the project will get completed, because when you sign up with Kickstarter you are saying that you need this much money to accomplish a certain project. With IndieGoGo’s Flexible funding there’s less certainty. For those who don’t know what I’m talking about, here’s an example…
Other IndieGoGo campaigns
Say someone needs $10,000 to finish a short film about a teenager with Down syndrome who has a fascination with rainbows. Say that person only makes $3,000. That person gets $3,000 but he still needs another $7,000. How’s he suppose to finish the film? What if that person isn’t able to raise the other $7,000? What happens then? Well, depending on the person, that particular project may never get finished and that person is now $3,000 richer.
As a side note: The key part of the last paragraph is depending on the person…I’m not that person.
I started working on the IndieGoGo campaign page about a month ago. Klopko and myself spent an afternoon working on a little promotional video. We invited Dylan out and he gave us his thoughts on everything from working on Rainbow Connection to manscaping. I got the video down to just under 5 minutes. When I was researching other successful campaigns on IndieGoGo I quickly realized that the majority of them had videos under 3 minutes. I also realize that people’s attention span in fucking pathetic, but the video is what it is. I think it’s interesting and will keep the viewer watching. I’m not gonna cut it down for the sake of following a particular structure.
As a side note: Sticking to structure for the sake of structure, whether it be writing, editing, etc. is a totally separate blog entry in the future.
Mike Hurlbut at Parts and Labour
After a few video issues with Vimeo we finally launched yesterday. In the first hour we raised over $500…majority from friends, but still. It sits at $615 as I write this. So far the response has been positive. I think a big part of raising money is knowing the people/communities we’re trying to appeal too. For instance, I’m not marketing this campaign towards Ossington hipsters or Mike Pierro, I’m gonna reach out to local Down syndrome organizations, communities and other special needs organizations. I’ve already established a dialogue with a lot of these people when I was doing casting and many have been extremely supportive towards the project. Another reason I’m steering the campaign their way is that they have a better understanding and appreciation for the project and its cause. Many parents who have kids with special needs don’t need me to tell them that a film like this doesn’t happen that often.
Another thing to put some effort into is the perks people get when they donate. I probably could have come up with some better ones but they’re not bad. I think the key thing is to have a good variety or denominations. I have $1,000 option called The Executive but I don’t expect anybody to donate that much. I’m expecting to make most my funding on the $10 or $25 options. Both great options by the way.
Now that I’ve emailed everybody I’ve ever met with this campaign I’m trying to figure out other avenues to explore. I have a few ideas but I’ll share them on a later date. I think the most important thing to keep in mind when doing this type of stuff is that creating exposure for your project is just as important, if not more important, then raising funds. Raising $10,000 would be awesome, but the fact that people are learning about the film is more valuable. Getting back to I Spyders, I think Bill and Kyle did a really good job promoting the film before it was done. It was something that people talked about and looked forward too. The premiere was also packed.
We also launched the film’s website at the same time. I think it’s important to show that the project lives outside IndieGoGo because…
1: IndieGoGo doesn’t last forever and you need other outlets to further promote the film and keep up the little momentum you might have.
2: The more work you put into things like a website, Facebook and Twitter account, the more serious you look and the project looks. Hence, people are more willing to trust you with their money.
Use information at own risk!
The campaign’s gonna run for 45 days. I figured that’s enough time to accomplish everything. I’m gonna to update the campaign often. Vandewater’s gonna cut a trailer, so keep your eyes peeled for that. I’m also gonna add more pics and other interesting goodies.
As a side note: Keep in mind, everything I’ve written up to this point is shit I’ve pulled out of my ass. What the fuck do I know? This is all based on how I think good fundraising works. I maybe totally wrong. Maybe $615 is all I’ll make. I just checked again and it’s still $615. I could be doing another blog post in 45 days with my tail between my legs. If you’re stupid enough to trust a Macedonian then you get what you deserve. For other fundraising tips check out this video.
Now here’s where I get serious. How can you help?
1: Donate. If you feel like donating that’s great.
2: Create Awareness. Aside from raising money, I’m trying to create awareness for film. If you could pass this email and info on to others it would be greatly appreciated. Maybe they’ll donate.
Earlier this week Alex Cox, the acclaimed indi director of films like Repo Man and Sid and Nancy was on the CBC radio show Q. He was mainly talking about internet ‘piracy’ and the bullshit big corporations use to further their agenda and strengthen their choke-hold on the market. As an independent filmmaker working since the early 1980s Cox has spent most of his life fighting to get his films made and distributed by the big studios. After years and years of listening to the BS cycled over and over again by the studios and their lackies it was incredibly refreshing to hear someone from the industry talk a bit of sense about the issue. Here’s the episode, his interview starts at around the two minute mark so give it a listen!
One of the main arguments that comes up a lot is that ‘piracy’ hurts independent artists more that the big corporations. This is supposedly because the corporations can afford to lose more or something like that, and that the smaller artists are working with much smaller profit margins (if any at all). Though the logic behind this idea seems to make sense it has always rung false with me and it was nice to hear Cox pretty much dismantle it.
I like movies. You like movies (assumedly). I like books. You like books (again assumedly). I like animation. You like animation (I’m making assumptions here). Then we both need to check out amazing combination of all three, an ad for charity organization Goodbooks, I think (assume) you’ll love it.
Metamorphosis was directed by Buck, the audio done by Antfood – and no Made By Other People don’t know them but I wholeheartedly wish we did. It combines Franz Kafka, Hunter S. Thompson’s Raoul Duke of Fear and Loathing in Las Vegas fame in the role of Gregor Samsa and what is some of the most striking, refreshingly non CG, animation I’ve had seen in sometime. It’s got everything you’d need for a good time: cockroaches, lizards, women with roses for eyes and beautiful intestines. No point in mentioning the bats, I think. Poor bastards will see them soon enough.
