Shawn Felty

It is with a heavy heart that I pass along the news that Shawn Felty — or “Felt” as we were wont to call him on set — passed away this afternoon, after a long struggle with colon cancer. While it seems all too clichéd to describe someone’s battle as “courageous,” in Shawn’s case it certainly seemed apt, as he never stopped remaining positive, never fell into self-pity or victimhood, even when his illness was at its worst (the title of his blog — “All It Takes Is Guts” — speaks volumes).

From our first meeting — on the night before we were to shoot “Schlimmer,” Tohubohu’s inaugural entry in the 48 Hour Film Project — Shawn showed himself to be not only talented, but creative and extraordinarily dedicated to his work. Following quickly with his starring turn in “Screening Process,” he cemented his position as a regular in front of the camera, appearing in nine of the thirteen short films we’ve produced. But his contribution never stopped there: We rapidly came to depend on his assistance in the postproduction arena, where he would jump in on everything from researching to organizing to editing (earning him the official title “Switch Hitter” on the Tohubohu board). When his health wouldn’t permit him to take a more active role, he would help in any way he could — on “Number One With a Bullet,” he took a turn helping coordinate the auditioning process, a task that he leapt into without a moment’s hesitation. And then, when his health improved, he was right back in the thick of things with “All Roads Lead Away” and “Please Forward.”

But more than all of that, Shawn was a good and valued friend. He never ceased to make the often arduous process of filmmaking a fun experience for everyone involved. His upbeat attitude, positive outlook and unbridled enthusiasm were truly unparalleled, and he routinely made friends everywhere he went; seventy people came by to see him in the hospital yesterday. And while I consider myself fortunate that I was able to be one of those visitors (where despite his weakness, his infectious smile was as wide as ever), that small feeling is overshadowed by the larger recognition of the tremendous impact he has had — and will continue to have — on my life. The world is measurably poorer for his passing.

Thanks, Shawn, for leaving the world a little brighter than it was before you entered.

Bill

Service arrangements are still being made, but Shawn’s family has asked that in lieu of flowers, donations be made to the American Cancer Society — Colorectal Cancer.

Counting Down... Again

Less than a week to go before we jump in on the 48 Hour Film Project International Shootout, but we still have some final details to get ironed out. Most significantly, just where to shoot. Turns out we don’t have a lot of our regular haunts available this time around, so if you’ve got any suggestions to offer up, please pass them along ASAP. The more interesting the better, of course (I have a fantasy of shooting in an abandoned steel mill), but even an ordinary apartment, office, bar, restaurant, school, or park will be helpful. We’ve got a couple of intriguing options out of the city (in some cases way out of the city), but I figure if we can shoot closer in there’s a greater chance that we’ll be able to keep everyone on board. (Yes, as a confirmed suburbanite, I’m used to driving, but not all of our city-dwelling brethren share my comfort level with distance travel.) Our main shooting day will be Saturday, but (since we’ve got the extra day for editing) we may do some additional scenes Sunday morning.

(And remember, if you’re going to be watching from the sidelines this time around, be sure to follow the weekend’s progress on my Twitter feed.)

On another note, I wanted to congratulate Erik Synnestvedt on winning a Silver Award for Acting on Camera – Dramatic, Male at the 2009 TIVA Awards for his work in “Please Forward.” So... congratulations!

Okay, that’s it for now — hope to see a lot of you in just a few days!

48HFP International Shootout

I suppose I should start with an apology for being effectively incommunicado for the past three months. Wish I could say that big film projects were afoot, but the reality is that this fall’s been a perfect storm of work, personal, and family obligations that occupied the vast majority of my personal time and mental energy.

That said, there’s nothing like a new project to get me out from under my rock, and it looks like we’ve got one: Tohubohu has just been invited to participate in the 48 Hour Film Project International Shootout! The good news is that this gives us the excuse we’ve been looking for to get another film in before the end of the year. The bad news (and there’s always bad news) is that the competition is the first weekend in December, which gives us very little prep time. Still, after talking to a few key folks and making sure we at least had our basic needs covered, we’ve decided to go ahead with it.

The competition works very similarly to the regular 48 Hour Film Project, but with a few variations. First, because this is a simultaneous international event, the drawing and submission processes are done remotely — we’ll receive our elements via email, and submit our finished film by mail (much like in the National Film Challenge); if you’re thinking ahead, you may realize that this effectively gives us an extra day to get everything wrapped up. Second, there won’t be a big-screen AFI Silver premiere — though the winning film will screen at Filmapalooza and at the Cannes Short Film Corner. And third, there will be other thematic elements besides the genre and the traditional required elements; because they’re looking to distribute a selection of the finished films as a package, the plan is to have some commonality connecting the films in the series.

Unfortunately, there’s no SAG waiver this time around, so alas, that means that our SAG-actor contingent will be unable to participate (well, not in front of the camera, anyway). Which is certainly a disappointment — particularly as our invitation to participate in this contest is due in no small part to all of the fantastic work you’ve done for us of late. But this will give others a chance to shine, and rest assured, we’ll have more opportunities soon!
Given the comparatively short prep time, we’ll naturally be giving preferential consideration to those with whom we’ve worked before (particularly on our most recent projects, “Number One With a Bullet,” “All Roads Lead Away,” and “Please Forward”). But — especially since several of our regulars are otherwise committed — if you’re interested in joining in, drop me a line ASAP! (And yes, I’m planning once again to tweet our progress across the weekend on my Twitter feed.)

Time to start shooting!

Quick Bits

Just wanted to take a moment to give everyone a few updates (only one of which is strictly Tohubohu-related, but I figure that at this stage I can be forgiven a little digression).

First of all, the “director’s cut” of “Please Forward” is now up and available for viewing at our official site. Not a whole lot different from the original 48 Hour Film Project version, but just a couple of minor alterations that we hope will give it a little life beyond the 48 Hour audience. Give it a look and let us know what you think! We hope to start sending this out to festivals shortly.

Second, a sort of follow-up shout-out to Barry Gribble and the Integral Arts team for their independent TV pilot, “Dog.” Last time I mentioned that it had been accepted into the Independent Television Festival in LA (and, of course, dropped the little fact that I did a little production design work on it). Well, as it so happens, the pilot took home the Best Overall TV award! The pilot should be viewable at the festival site soon, so be sure to check back — it’s definitely worth seeing (as if the fact that they won the top award didn’t give you a little clue). Congratulations!

Edited to add: Actually, the pilot won’t be viewable at the ITV Fest site right away — because it’ll be screening at the New York Television Festival in September! And as a special bonus, you can check out the trailer for “Dog” right here! (It’s kind of NSFW, though the language is muted. Use your own judgment.) And if you look carefully, you’ll see one of my poster designs in the opening shot. Just sayin’.

Third, a call to arms for fellow filmmaker Francis Abbey, of Boxing Day and video blog “Running Commentary” fame (or notoriety, depending on your point of view). His latest feature, 6 Nonsmokers, is looking for background actors right now. As in this week — Wednesday and Friday, to be specific. It’s a non-union shoot (and not a paying gig), but does promise to be a fun time. You can check out the official site for details on the film — a comedy about conflict resolution — but as for the pertinent practical details, here goes: On Wednesday, they’re looking to shoot a big crowd scene at the Oxon Hill Public Library, and need to fill an auditorium with journalists and academics. And on Friday, they’ll be staging a college party along with some bar gatherings (a regular bar, country-western bar, and a club). If you’re interested, you can contact casting director Laura Carlson at lauracarlson74 [AT] hotmail [DOT] com. Preferably sooner rather than later.

And finally, I just wanted to call attention to some promising new web series for your entertainment (as if my ramblings weren’t entertaining enough). First is “Shrinkage,” starring Gia Mora as an online advice columnist with a less-than-traditional therapy style (written and directed by the aforementioned Barry Gribble). Next is the ever-popular “Appletinis with Ken,” starring Ken Arnold as... well, Ken Arnold — not exactly a “new” series, but I haven’t mentioned it here before, and it has featured a few Tohubohu veterans in the guest chair. And finally, there’s “ParaAbnormal,” a show about dysfunctional paranormal investigators, featuring Ken Arnold and “All Roads Lead Away” star Joe Hansard. So give ’em a look-see and spread the word if you’re so inclined — gotta do what we can to expand the audience for the DC indie production community!

That’s it for now — thanks for listening (or reading), and we’ll be back in touch soon!

Rosebud Film & Video Festival 2009

Just wanted to remind everyone that the Rosebud Film & Video Festival Nominee Showcase is this Saturday at the Rosslyn Spectrum Theatre (1611 North Kent Street in Arlington — just two blocks from the Rosslyn Metro station)! The (twenty-film) screening runs from 12:30 p.m. until about 5:30 p.m., but (for those of you who may not be inclined to stay for the entire event), “All Roads Lead Away” will be showing at 2:00. That said, there are some really great films in the lineup — be sure to check out the official site for details!

Tickets for the all-day event are just $8.00, and include an invitation to the Rosebud Awards ceremony at the Clarendon Ballroom on Sunday. Tickets can be purchased in advance by calling 703-524-2388.

Hope to see you there!

Oh, and while I’ve got you here, I wanted to give a quick shout-out to Barry Gribble and the Integral Arts production team, whose independent pilot “Dog” (for which yours truly made a very small production-design contribution) was just accepted into the Independent Television Festival in LA. Congratulations!

The Results Are In...

Please Forward” has taken home the Audience Award for screening group G in the 2009 48 Hour Film Project! (We’ve got a nice little certificate and everything.) And given that there were four films from our screening group represented in the “Best Of” screening, that’s no small feat. I just wanted to take a moment to thank everyone who helped make this effort such a success. The screening itself went great, and was a fantastic opportunity to celebrate with a veritable Who’s-Who of the DC filmmaking community.

The full listing of results are posted at the official site, but I thought I’d point out a few personal highlights. (Just my own opinion, of course, but I like to think my opinion’s pretty significant. It is to me, anyway.) Fellow Audience Award winners included Dobler’s Pen entry “He Drove,” Card Sharque’s “Cry Guy,” and River Run’s “Happy Hour.” Cinematography and Editing honors went to Dead City Films’ “The Imperial.” The WIT Films entry “Rakirovka” took home the Best Directing award (as well as Best Sound Design). And our frequent collaborators (co-conspirators?) Integral Arts took home Best Costumes, Best Special Effects, Best Writing, and Best Film awards for “Gwendolyn Dangerous and the Great Space Rescue.” (Whew!) I also want to give a quick shout-out to The Quest for their film “Stonking,” Cavegirl Productions for “Motivation,” and Star Wipe Films for “Like It’s Your Last” — all worth a look.

That’s it for today, but I’ll sign off with another reminder to keep your calendars open (not to mention passing the news along to anyone who might be interested) on June 27 for the Rosebud Film & Video Festival, where “All Roads Lead Away” will be screening. And in the meantime, I’ll be sure to keep everyone posted on any other showings or events to come!

Best of the 48 Hour Film Project 2009

Well, it’s official — “Please Forwardwill be screening as part of the Best of the 48 Hour Film Project this Thursday evening. We’ll be showing with the 7:00 show, and in glorious HD, no less. (I dropped off an HD master with the editor last Friday.)

If you’d like a recap of the big shooting weekend, Pam posted one earlier, so I won’t go into detail here. But I will say that everything came together fantastically. The writing (from “You Pay Your Dues” scribe Robin Brande) was spot-on, the crew was totally gung-ho (a big help given the daunting number of setups we had), and the cast (including a couple of very talented young newcomers) was enthusiastic and extremely dedicated.

Here’s the official listing of films (with links where available):

Screening 1 — 7:00 p.m.

Screening 2 — 9:30 p.m.

I’ve actually seen quite a few of the other films screening on Thursday, and if the ones I’ve seen are any indication, it promises to be an entertaining show. (Be sure to get your tickets soon, as they will likely sell out.)

Beyond that, be sure to mark your calendars for the Rosebud Film & Video Festival on June 27, where “All Roads Lead Away” will be showing. And we’re scrambling to finish up music for “Number One With a Bullet” so we can start shopping that around to festivals in earnest (though we have already made one submission). More news as we have it!

“Please Forward”

It’s fair to say that the idea for Tohubohu’s newest short film, “Please Forward,” came to me in a dream. Seriously.

In the days before the 48 Hour Film Project, Bill and Robin were joking about chain emails and then thinking how that concept would be interesting for the movie. But with our genre and required elements still not established, they didn’t want to go too far down that road. (In the 48 Hour Film Project, you pick your genre out of a hat and there is a required prop, character, and line of dialogue.) However, that night as I slept, I took that germ of a concept, mixed it with The Office, and a parody video, “Flutter.” I dreamed about a mockumentary about a business that starts all of those obnoxious chain emails. When I told Bill in the morning, he laughed, but not knowing what we’d have to use when we wrote our film, it didn’t make sense to work up the idea. We thought about writing it up afterward for our own film.

When Bill went to the kick-off party and drew the Holiday Film genre, the idea came back into play: What if we went with the mockumentary, but it was at the office Christmas party? On Friday night, Bill and Robin started off the brainstorming and script writing while I finished up the Drama Club performance with my fourth grader (she did an amazing job as a chicken). Back at home, Robin wrote up the script as Bill and I made suggestions, selected our cast, and made phone calls. I ran around the house finding Christmas decorations.

Saturday morning, we headed into Bill’s old office building, where he had gotten permission to film. It was a great set-up for us, offering lots of spaces for scenes, but also lots of room to wait around. Even with only one day to film, there’s a lot of waiting around in the movies. Both of the girls came to be in the Research & Development scenes, and also to help with the clapper board, set decoration, and general gofer jobs. I took calls from our cast and crew, made sure everyone was where they needed to be, picked internal locations, decorated and took down sets, made sure everyone had plenty of food (very important), arranged the order of filming for scenes, walked the actors through some parts, and made sure all the paperwork was in order. Bill just directed the movie. Slacker.

We had a great time during the day, with a pretty relaxed feel considering our tight schedule. The actors gave us some stellar performances. Really top notch. I may be biased, but my favorite scene is with my fourth grader, where the marketing woman is trying to get some ideas about the next generation of chain email users, but is having trouble working with a kid. I also love my seventh grader as a typical teen, texting instead of thinking about the marketer’s questions. The party scene was the most fun to film, and I do make an appearance there as an employee.

We wrapped up at 10:00 p.m. and Bill went into the office to work with the preliminary edit. In the wee hours of the morning he came back to the house for a few hours of sleep, and then went back to edit the film and add sound effects, music, and credits. Oh, and play with sound levels and color correction and technical film kind of stuff. I saw a rough cut at 2:00 and loved it. I reminded him to temper his technical perfectionism and get the film turned in early — no last-minute run for the doors at 7:00.

He did turn the film in with time to spare. Robin has seen it and really liked it. Bill went off with a couple of other directors for a mini-showing at someone’s house and got great feedback and lots of laughs. I can’t wait to show it to you... but it will have to wait until after our screening at the AFI Silver Theatre, Friday at 7:00 p.m.

The 48 Hour Film Project takes place in cities all over the country, so if you’re interested you might check the upcoming dates. While we work with a set team, many other groups need to fill positions in the weeks and days leading up to the competition. On the website, you can indicate your interest in joining a team, and there are often meet-and-greet events to help fill positions. It can be exhausting, but it’s a blast.

— Pam W. Coughlan

Preparations, Screenings, and the IMDb

Just a few days away from the 48 Hour Film Project now. We are still looking for anyone who’s interested in makeup and guitar or keyboard work — otherwise we’ll likely have to go for the wild card if we draw “Western or Musical” or “Horror.” Please get back to me ASAP if your skills fit these categories!

If you’re not working on the film (and that includes most of you on this list) but are inclined to follow our progress, we’re going to try providing at least semi-regular status updates via Twitter, which you can follow at twitter.com/coughlan. No guarantees we’ll make it through the whole weekend, but we’re optimistic.

Our official screening has been set — Friday, May 8, at 7:00 p.m., once again at the beautiful AFI Silver Theater. Be sure to get your tickets as soon as possible to make sure you don’t miss out!

In other news, “All Roads Lead Away” was accepted as a Nominee in the Rosebud Film and Video Festival. The screening will be at the Rossyln Spectrum Theater on Saturday, June 27. Stay tuned for details, but be sure to mark your calendars!

And one final notification — the Internet Movie Database now has dedicated pages for “Homemade Hero” and “You Pay Your Dues,” and both “Screening Process” and “Number One With a Bullet” will be following shortly. While not all of the details are up there yet, be sure to check out the pages to make sure all of your personal info is correct (and congratulations to anyone who’s earned their IMDb page with these additions)!

Two Weeks’ Notice

No, nobody’s quitting anything. But in just two short weeks, we’ll be kicking off our sixth year (and our seventh short film) with the 48 Hour Film Project! (Well, technically, as of this writing — Sunday morning — we'll be deep into the editing process.) A lot of elements are coming together, but we still have plenty to work out (as always) before the big weekend.

With that in mind, I’ve got a couple of quick questions for everyone:

One, are there any makeup artists out there (established or aspiring) who’d like to join in? While making our actors look their best is a real concern, my greater interest is in gauging our ability to pull off something in the horror genre. I’m not talking Rick Baker effects work, but at least dressing up a ghostly apparition or two.

And two, I wanted to know who we had out there with quick-working musical skills, should we draw the dreaded “musical or western” genre card. Nepotism accusations aside, both of my daughters are actually really good at writing music and lyrics, but we don’t have any quality recording capability. Assuming we could cobble together some kind of “click track” to work from for the shoot, do we have any guitar players, keyboardists, or even GarageBand experts who could lend their skills to our efforts? (In fact, even if we don’t make a musical, it’d be a real bonus to have an original song or two. We’ve done it before.)

Speaking of genres, here’s the list of genres for this year’s competition:

Buddy Film, Comedy, Detective/Cop, Drama, Fantasy, Film de Femme (i.e., film with strong female protagonist), Holiday Film, Horror, Mockumentary, Musical or Western, Romance, Sci Fi, Superhero, and Thriller/Suspense.

Should we opt not to go with our assigned genre, we can go for a “wild card” pick. Potential wild card genres are:

Fable, Family Film, Foreign Film, Ghost Movie, Historical Fiction/Period Piece, Martial Arts, Silent Film, Stoner Film, Surprise Ending, and Tragedy.

Once again, the competition has worked out an agreement with SAG so that we can use union actors. (I’m glad, ’cause we were kind of counting on it.)

And finally, I’m toying with the idea of Twittering our progress on the big weekend — if so, updates will be at my Twitter feed, @coughlan. No promises (don’t know if I’ll have time), but it certainly seems like a possibility. Maybe we’ll have a designated Twitterer...

Springtime Update

Spring’s finally here, which (hopefully) means the weather will be brightening up a bit soon (though admittedly, the forecasts for the weekend aren’t looking particularly promising). But in my own attempt to raise spirits a bit, I thought I’d throw out some quick positive notes.

One, we’re now just about a month away from the 2009 48 Hour Film Project, and we’re actively working on assembling our team. If you’d like to join in and haven’t gotten back to me with that decision, now would be a really good time. We can use everything from actors to crew to offers of interesting or unusual props and locations — so if you think you may be able to offer a contribution, drop me a line ASAP!

Two, our short film “The Big Lie (That Solves Everything)” has joined “Quite Contrary,” “Machinations,” and “All Roads Lead Away” in being listed at the Internet Movie Database! So when you get a chance, head on over, check the page out, and submit your own rating for the film (and if you worked on it, take a second to make sure your listing is correct).

And three, “All Roads Lead Away” will be screening on Friday, April 3, as part of the 2009 Heritage Film & Video Festival. Check out the site for details as they become available, and I hope to see you there!

Okay, so maybe the sky’s still a little overcast — but I think I see the sun poking out from behind a cloud up there. Cherry blossoms can’t be too far behind...

Tales of My Death Have Been Greatly Exaggerated

No, we haven’t dropped off the face of the Earth — though lately it may seem that way. In all honesty, I think this may be the longest we’ve gone between updates in... well, a long time, anyway. Things are moving forward, if a bit more slowly than we (and no doubt many of you) would like. Alas, outside commitments have been a little more daunting than in times past, but there has still been some progress of note. Postproduction is moving ahead on “Number One With a Bullet”; the edit of the film is fairly well locked, we’re doing some cleanup work on visual effects, and we’re working on the score (and trying to license some other music). And, of course, we’re gearing up for this year’s 48 Hour Film Project; no date has yet been announced, but we’re planning on the first weekend in May (the usual weekend).

In the meantime, we’re working on several collaborative projects with the folks from Integral Arts, Team Jabberwocky, and the 48 Hour Film Project. Not a whole lot we can talk about just yet, but as soon as we can announce anything, you’ll hear about it here.

Honest.

Edited to add: The dates for this year’s 48 Hour Film Project have just been announced: May 1–3. Be sure to mark your calendars, and let us know if you’d like to join in the production festivities!

Reminder: DC Shorts This Weekend

Just wanted to remind everyone that the DC Shorts Film Festival opens this Thursday, with a gala opening night party on the rooftop terrace at Carroll Square (open to anyone with an opening night ticket). And “All Roads Lead Away” is screening as part of Showcase 3 — be sure to pick up your tickets before they sell out. And don’t forget to tell all your friends and neighbors; let’s generate some prescreening buzz! (Drawing attention to our MySpace page and our Facebook group would be a good start.)

Remember, our screenings are:

  • Friday, September 12, 7:00 p.m. (with Q&A afterward — this one I’ll definitely be attending)
  • Saturday, September 13, 3:00 p.m.
  • Sunday, September 14, 9:30 p.m.
  • Tuesday, September 16, 4:30 p.m.

And then we can all celebrate at the closing night party at Bar Louie on Saturday night! Hope to see you all there!

P.S.: On a side note, I’m just about finished with the first full cut of “Number One With a Bullet” (except for some pickup/establishing shots we still need to get in there). From here, we’ll be showing it to a select group of people to gauge reactions, and then polishing the edit and diving into cleanup, scoring, etc. If you’d like to be an early viewer, drop me a line (no promises — offhand, I’d say this is limited to cast and crew — but I’d just as soon have people who want to offer critiques).

P.P.S.: If you’re not going to be in the DC area this weekend, I suppose we’ll be missing you this time around. But if, on the other hand, you find yourself in New York, be sure to catch the first public screening of the pilot for “Saving Corporate America” at the New York Television Festival. Produced by our friends over at Integral Arts for Fox Television Studios, the screening — at the New World Stages — is free (though space is limited), and will be followed by a Q&A from creators Barry Gribble and Kevin Good (as well as Fox exec Caitlin Foito). Click here for details. (After all they’ve done for us lately, the least we can do is give ’em a little plug. Though for the record, I have seen and loved the pilot, so it’s not an empty endorsement.)

Summer Progress Report

Okay, so summer slowed things down a bit. But I did want to give everyone a quick progress report, and to let you all know that tickets to the DC Shorts screenings are now on sale!

Editing on “Number One With a Bullet” is proceeding fairly well; we’re about two-thirds of the way toward a true “first cut” of the film. In truly nonsensical fashion, I’ve been working my way in from both ends — so right now, we’ve got scenes 1 through 9 cut together, and scenes 28 through 32, but nothing in the middle (other than a rough stringout). We’ll still have loads of work to do in terms of audio leveling, color correction, effects finalizing, scoring, etc., but once we get that middle portion finished, we’ll have something that we can show to people. Cast and crew get first dibs, of course, but after that, I’ll be sure to let people here know.

Individual screening tickets have gone on sale for the DC Shorts Film Festival. Generally speaking, you can just go to the DC Shorts website, then click on the “Films” tab to find either a particular film or browse through the schedule; then you’ll be able to buy tickets to a particular screening. A reminder that “All Roads Lead Away” is screening as part of “Showcase 3,” and we’ve got four screenings throughout the festival (you can direct-link to our screening schedule here). The first screening will also feature a filmmakers’ Q&A afterward — definitely the preferred option.

For the record, our screenings are:

  • Friday, September 12, 7:00 p.m. (with Q&A afterward)
  • Saturday, September 13, 3:00 p.m.
  • Sunday, September 14, 9:30 p.m.
  • Tuesday, September 16, 4:30 p.m.

It’s also worth noting that thanks to the DC Shorts screening, “All Roads Lead Away” now qualifies for inclusion in the Internet Movie Database (joining our earlier entries “Quite Contrary” and “Machinations”). You can find the dedicated page for “All Roads Lead Away” here — go give it a visit, add your ratings and comments, etc. (Do note that last I checked, they were still adding some of the information, so there might be some gaps in the crew listing; if you notice anything missing, let me know and I’ll investigate further.)

And I’ll also put in a reminder to visit our MySpace page and our Facebook group; we’ll be posting occasional updates and information there as well (though we’re not abandoning the email list just yet).

That’s all for now — hope to see you all at DC Shorts in September!

DC Shorts 2008

We just got word that “All Roads Lead Away” has been accepted into the 2008 DC Shorts Film Festival. As one of the premier short-film festivals in the country (they received more than 630 films and screenplays for consideration this year), this is a great honor. And on top of that, it’s a great festival experience to boot (both for viewers and filmmakers)!

I just took a quick glance at the official selections list, and with the exception of “The Bad News Bearer” (winner of this year’s 48 Hour Film Project for DC) and “Attack of the Hot Female Alien Man-Eaters” (starring Tohubohu vets Joy Haynes and Kevin Good, and directed by my occasional Integral Arts co-crewmember Janine Sides), there didn’t seem to be many I was familiar with (though I could easily have missed something). But there’s definitely a lot of variety there, and if past years’ festivals are any indication, there’ll be a lot of great films to see. We’ll be screening in high definition (we submitted the film into the HD Short Film competition), so if you missed seeing it in HD before (our premiere was just in standard definition), this’ll be another great opportunity to see it in all its HD, big-screen glory.

The festival runs from September 11th through the 18th of this year (the main events being from the 11th through the 14th, with additional screenings through the 18th), and there will be film screenings, screenplay readings, and meet-and-greet parties. We’ll know more as the date approaches, but I wanted to get this little tidbit of information out as soon as possible. Hope to see you there!

“Best Of” Wrapup and a Special Request

Well, last night was the “Best of the 48 Hour Film Project” screening, and I have to say it was a blast. Seeing “All Roads Lead Away” up on the big screen in high definition was an awe-inspiring experience. Once again, we were shut out of the major awards, but regardless, I’m immensely proud of our movie and extremely grateful for all of the hard work everyone put into making it.

I’m sure they’ll post the award-winners on the official site soon, but I thought I’d go ahead and let you all know directly. They should all be viewable on 48.tv sometime in the not-too-distant future, but I’ll post links to the ones that are already viewable online (as near as I can tell, anyway).

Now for a request: As many of you are aware, we had to cut a lot of material (more than two minutes’ worth) from “All Roads Lead Away” in order to keep our running time under the seven-minute limit. And while normally I’m a big fan of that forced editing — it almost always makes for a tighter, better-paced film — in this case I fear we may have trimmed a bit too much. With that in mind, I’ve posted both the original 48 Hour Film Project cut and a somewhat longer cut that reincorporates some (but not all) of the lost material on the official site.

And I figured what better “test audience” to provide honest feedback than this group?

So if you get a chance, take a look at both versions with a critical eye. Do the new and extended scenes add to your understanding and appreciation of the story, or do they drag the pacing down? Do they add genuine character moments or are they mere directorial self-indulgence? Consider this a “director’s-cut-in-progress,” and one in which your reactions may have an impact.

For our final “archival” cut (i.e., the version we’ll be submitting to festivals) we may go with the full extended edit. Or we may keep to the original shorter cut. Or something in between. So go ahead and let your opinion be heard — at the very least you’ll be getting a glimpse into the filmmaking process.

Best of the 48 Hour Film Project

Straight from the Cannes Film Festival’s Short Film Corner (where several 48 Hour Film Project films — including “The Kumbio Takedown” — screened this week) comes word about the upcoming “Best of the DC 48 Hour Film Project” showcase.

And “All Roads Lead Away” is in, one of 24 films selected for the honor. As was the case last year, there will be a separate slate of films shown across the two screenings (one at 7:00 and another at 9:30), and our film will be part of the second (i.e., we’ll be at 9:30); all shows will be on Thursday, May 29th, again at the AFI Silver Theater.

Furthermore, we’ll be screening in high definition; we’ve been working with the 48 Hour production team to get them our full-HD files (rather than the standard-definition version that was shown at the premiere screening). If you’re at all able to make it, this is going to be worth seeing. In fact, tickets are available (or, as of this writing, soon will be) for both shows, and there are some strong offerings in both screenings (judging by what I’ve seen so far). And after the second screening, there'll be a wrap party at McGinty’s Pub — so do plan on sticking around!

Congratulations to everyone who pitched in on this little picture. I’m so proud of the efforts you all put in, and I hope to see you next Thursday!

P.S.: Here is the full screening lineup — unlike last year, there are no duplicates this time around. (My understanding is that the judges’ final decisions are not yet locked down, meaning there’s no way to pick the “front-runners.”) And I’m just listing these in alphabetical order by team name; we don’t know the screening order yet.

Screening 1 — 7:00 p.m.

  • Actors With Strings: “The Chair” (Historical Fiction)
  • Butch’s All-Stars: “Commitment”
  • Dead City Films: “Get Closer” (Spy)
  • Double Deuce Films: “The Hauntening, Part 3”
  • Flik Productions: “Road to Greenwood”
  • Flat Feet Films:The End” (Fantasy)
  • Habitual Offenders: “Recalculating”
  • The Quest:Spy, Gina, Spy!
  • Roadside Productions:Sales of a Deathman” (Road Movie)
  • Roanoke:American Revolution” (Historical Fiction)
  • 3mm Films: “Fairy Bust” (Fantasy) (behind-the-scenes video)
  • WIT Films:iLoveU2” (Sci Fi)
Screening 2 — 9:30 p.m.

Grab Some Popcorn

Just thought I’d send out a quick little notice to let you newsblog readers know that our latest short, “All Roads Lead Away,” is now available for viewing.

The audience reception at Friday night’s premiere was phenomenal, and really gives me hope that we’ll make the “Best of the 48 Hour Film Project” screening on May 29th. (And we’ve already submitted the film for consideration to the DC Shorts film festival. No guarantee that it’ll get in, of course — they receive hundreds of submissions each year — but I’ve got a good feeling about it.)

So sit back, grab a tub of popcorn (or maybe just a bag — it’s not all that long a film), and give it a viewing. And if you like it, don’t forget to let us know (and spread the word)!

48 Recap

Hard to believe this is our fifth year participating in the 48 Hour Film Project (and our sixth film — what were we thinking doing two films at once in only our second year?). And every time I’m reminded that this really is film school; as far as I’m concerned, we’d better take advantage of that and try something new each time.

So if our big “add-on” last year was bringing in a professional author to write our script (well, and pushing the envelope with noir-styled lighting — no small feat given our meager lighting kit), then this year had a few new elements. We brought in another professional author (Barry Lyga), worked with two great SAG actors (Joe Hansard and Jennifer Massey) as our leads, shot in HDV, and even managed to use a homemade car mount for our “road movie.”

With a lot of our regular troupe (both in front of and behind the camera) unavailable this time around, we’d be a little leaner than usual. But there’s something to be said for keeping things small — and coming right off of “Number One With a Bullet,” we’d honed our workflow pretty well. Of course, the time we’d spent on the earlier shoot also meant we hadn’t prepared as much as usual, so we’d be winging things a bit.

So, about the weekend. After the kickoff event, I spent the drive home brainstorming with Barry (and some really wild ideas got tossed around at that stage), so that by the time I’d arrived at our “base of operations,” we already had a good handle on the story, and Pam and I could begin working out casting and logistics (including borrowing a neighbor’s beat-up old car — as Pam says, the “third star” of our movie). It was still a late night, but we were in great shape to start shooting first thing Saturday morning.

Saturday was (as usual) a loooong day, but we managed to remain pretty flexible. We did have to switch the timing for one location (which meant we lost an actress for that scene and had to recast at the last minute), but we still managed to finish everything by around midnight. And we got some really great performances — and shots — in the process. Then it was time to get the overnight editor (Jacob Cremer, back in town for the weekend) set up and grab a couple of hours’ rest before the big scramble on Sunday.

We did run into a few snags at that point. We weren’t able to get in touch with the artist whose music we’d originally wanted to use (he was out of town without phone or email access), so that was out. (Fortunately, the 48 Hour Film Project organizers had worked out a music licensing deal that gave us a few options.) Jacob wasn’t able to get as far as I’d hoped (we had a lot of material there), which meant I still had to string out a lot of footage before I could start polishing anything. And our initial cut — once we reached that stage — came in at more than nine minutes. The upper limit being seven. Whoops.

So as unfortunately happens at that stage, you make tradeoffs. And in our case, that meant sacrificing color and audio correction for really taking the time to look at the piece and make intelligent cuts. So while it may not be as technically polished as I’d like, it’s a lot more creatively rewarding. And that “second choice” music really ended up complementing the story perfectly.

And most importantly, we got it finished. (Just one copy, though — no time for a backup.)

Oh, and the title? “All Roads Lead Away.”

Will there be a “director’s cut”? Probably — but that’ll mostly be just to correct those technical issues. The old mantra about editing holds true — the forced necessity of cutting it down really does improve the flow of the story. So while I may add a couple of shots (and maybe one scene) back in, it certainly won’t be going back up to that nine-minute version.

Now I can’t wait to see it up on the big screen; it promises to be a great capper to the whole experience. (And for the record, I’ve also gotten a sneak peek at the Integral Arts entry — so I can say that attendees at tonight’s 9:30 screening will not be disappointed. Do you have your tickets yet?)

Hope to see you all there!

“All Roads Lead Away”

I’m still tired from the 48 Hour Film Project, and I wasn’t even that involved in yesterday’s work. The experience of making a film in two days is so intense that it takes a lot out of you. Our script by Barry Lyga was ambitious, and our filming went from our Saturday 8:30 a.m. call time until almost midnight. It was a very long day for the crew and our two lead actors, who really carried the piece. Well, three lead actors if you include the beat-up car which we considered the third star of the movie.

Barry gave us an amazing script, dramatic and contemplative. Bill and I selected two strong actors (Jennifer Massey and Joe Hansard) who could pull off the emotion of the film. We got to test the new camera car mount, to the delight of the cameraman. I kept asking for reassurance that the expensive camera was not, was NOT, going to fall off the hood of the car. After a last-minute location change, I was slotted for a small part in the movie — which ended up on the cutting room floor in the interest of meeting our seven-minute running time requirement. I’m still in the background helping a customer, and my hair is in a later office scene. Oh, the glamour.

Bill spent Sunday editing the film at his workplace, while I searched for music at home. I found the piece that we ended up using within a few minutes. Unfortunately, I then spent almost two hours continuing to search for music, finding almost nothing, and deciding to stick with my first choice. After Bill was forced to make some difficult decisions about editing, he sent me the film online so I could look at it. With my fresh perspective — having not spent the last six hours putting it together — I was able to suggest different places to cut, allowing some great moments to fit back in (though not my scene, alas). For later festivals, we may look at putting in a lost scene where the couple fights outside the car. It was a crew favorite as Jennifer screamed, “GET IN THE CAR!!!” with pure fury.

Our screening is Friday at 9:30 at the AFI Silver Theatre in Bethesda, Maryland. We’re really proud of it, and I can’t wait to see it on the big screen. If you’re in the area, you can order tickets online — but do so soon, because the shows always sell out. If you can’t get to the show, the film — “All Roads Lead Away” — will be available on our website sometime after the screening.

— Pam W. Coughlan