It’s been 11 months, but it felt like yesterday…

In all
honesty, a good part of me gets off on artistic accomplishment. When
something comes together like this, the feeling is- quite frankly-
near-orgasmic. No joke dude. This is crack for artists. True, this
could fall apart in editing. The stationary shots could completely
distract from the moving shots. Worst of all, I could get into serious
f-ing trouble for how this was done. You know what? It’d be worth it.

The
last time I did any filming on my Kubrickian short film “Unwinnable
Hand: A Thriller in Two Movements,” I was on oxygen tanks, George W.
Bush was president, and “No Country for Old Men” was on the verge of
winning the Oscar for Best Picture. Now, months after the first
movement- “Agitato”- was first made available online, and months before
one of our main actors moves away, it was time to hit the home stretch.

Why’d
I start with the most logistically-complicated sequence? Well, it was
the easiest one to get cast and crew together for. Just four men, a
car, a camera, and the open road. If you want to know how to get
driving footage (with dialogue) done with 3 non-professional actors,
one non-professional cameraman, and five hours to do it in, this is as
good a way as any.

You know the story of Kubrick making Tom
Cruise do 90 takes of walking down a hall for “Eyes Wide Shut?” I think
we gave him a run for his money as me, Dave, and Mike did take after
take, rep after rep of the same two pages of dialogue- first in the
basement of Mike’s parents’ house, then in Dave’s stationary- but
turned on- car (I really wish I could compensate you for the gas man)
in the driveway (where we did the bulk of our close-ups and coverage),
followed by a few passes on the road where all pf these reps morphed
into a simply-shot sequence with a lot of room to move around in. (I
can’t imagine how long this is going to take to edit.)

Just
remind me to get those exterior shots of me leaving the car next time
guys. My thanks to Ron, Dave, Mike (and his parents) for their hard
work, their patience during the long shoot, and their allowing us to
shoot where we did. Now to prepare for the next day of filming.

Thanks for listening,

Brian Skutle

www.sonic-cinema.com

www.myspace.com/brianskutle

www.myspace.com/cinemanouveau- Featuring deleted scenes, trailers, and more from “Unwinnable Hand”

Click here to read my tenth “Unwinnable Hand” Production Diary.

Click here to read my ninth “Unwinnable Hand” Production Diary.

Click here to read my eighth “Unwinnable Hand” Production Diary.

Click here to read my seventh “Unwinnable Hand” Production Diary.

Click here to read my sixth “Unwinnable Hand” Production Diary.

Click here to read my fifth “Unwinnable Hand” Production Diary.

Click here to read my fourth “Unwinnable Hand” Production Diary.

Click here to read my third “Unwinnable Hand” Production Diary.

Click here to read my second “Unwinnable Hand” Production Diary.

Click here to read my first “Unwinnable Hand” Production Diary.

Click here
to read “Red Cup Mafia,” another short script I wrote in November 2006-
inspired by some recent happenings at work- that I hope to film in the
future through Cinema Nouveau Productions.

Another week, another blog. That it's another blog about this short film is curious enough. That it's coming so soon after the last one, and we haven't even shot anything in a couple of weeks, well, that's something of a miracle. But my goals require fast work, not months of slacking.

This past week, I began work on scoring "Unwinnable Hand." In point of fact I've been working on the music since late 2007, but this week I began recording it. And what did I learn?

Well, what I should have remembered from my experiences on "The Case" for Chris- when it comes to scoring, you gotta have the film in front of you. Very little of the ideas from that early writing are actually being used in the composition as it's being rewritten to the film, but such is the way of things. In the case of the piece currently in question, entitled "Edge Runner" (which I've always liked as either a name for a band or composition), there's something kind of problematic about that, as I'm trying to find a balance of not wanting it to FEEL like underscore, while also trying to have move with the flow of the action onscreen. Why?

"Edge Runner" is intended to be "source music," that is, music from an onscreen source. In this case, a stereo in the living room. The sound mix for the film will help that illusion, but my goal was always for the "techno music" (as it was called in the script) coming from the stereo to flow somewhat with the action onscreen. This was an idea that came about from Henry Mancini's score for the Welles' classic "Touch of Evil" (and no doubt others along the way, but that's the benchmark for me), and has always intrigued me. So why not incorporate it into a film of my own? Seeing as though no actual "underscore"- that is, music NOT from an onscreen source, and written specifically for the scene- seemed appropriate for most of "Movement I"- it's all dialogue folks, it sporadic "cues" would seem somewhat odd in a lot of places- here's a solution that not only calls upon my skills as a composer ('cause let's be honest, love to as I might, I can't exactly afford to license music, although a couple of pieces came to mind for inspiration), as well as helps me to further tell the story in a unique way.

Those of you familiar with much of my music over the past few years- Hell, my entire composing career really- will no doubt notice, I'm not one for grand orchestrations. Reason being, well, I have yet to really delve deep into large ensemble writing- though some pieces (my electronic "Otherworldly March" and "Gothic Twilight," as well as other pieces, heretofore unreleased) fit the bill. On top of which, many of my pieces sort of gravitate towards simple orchestrations anyhow.

Part of this is my compositional technique, which relies heavily on immediate improv and on-the-fly writing. If something seems to get in the way, it's generally gone (and mostly percussion, as you'll notice…sorry percussionists). Plus, in film music (my main field of composing I've taken an interest in), less is more, and while the "Wall of Sound" approach works for some (and don't get me wrong, some of my pieces DO work within this philosophy), it sometimes can feel heavy-handed to the ears. I noticed this a lot working on "The Case," and have noticed it again in the case of writing "Edge Runner"- sure, there's not much going on musically, but it'll serve its' purpose with what's onscreen, and that's where its' strength lies. Film writing is not the same as writing for the concert hall. That said, music that can stand up in both listening environments is music you'll remember.

The trick for me is to ultimately remember why I'm writing the piece I'm working on to begin with. Back to the musical keyboard.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com
www.myspace.com/brianskutle
www.myspace.com/cinemanouveau- Featuring deleted scenes, trailers, and more from "Unwinnable Hand"

Click here to download or watch Brian's first video diary after the first day of shooting.

Click here to read my ninth "Unwinnable Hand" Production Diary.
Click here to read my eighth "Unwinnable Hand" Production Diary.
Click here to read my seventh "Unwinnable Hand" Production Diary.
Click here to read my sixth "Unwinnable Hand" Production Diary.
Click here to read my fifth "Unwinnable Hand" Production Diary.
Click here to read my fourth "Unwinnable Hand" Production Diary.
Click here to read my third "Unwinnable Hand" Production Diary.
Click here to read my second "Unwinnable Hand" Production Diary.
Click here to read my first "Unwinnable Hand" Production Diary.

Click here to read "Red Cup Mafia," another short script I wrote in November 2006- inspired by some recent happenings at work- that I hope to film in the future through Cinema Nouveau Productions.

Sorry for being away for so long- it's been a crazy few months for me, as you can read about in my "Creative Happenings" blog on Sonic Cinema.

Well, after many months of postponements for a variety of personal reasons- most recently, my hospitalization with pneumonia in September (I woke up on the day we were suppose to film actually)- "Unwinnable Hand" has gone back in front of the cameras for the first time since June. The plan was to finish up all filming at Ron's parent's house yesterday (Sunday), and commence from there.

But life, as it always has seemed to do on this film, intervenes. Sick children (which I can work around- just come in later dad…). Impromptu sectionals (no prob- we'll start earlier, and I'll work quick). And tardiness of key players (when I say 11am people… ?). To say we didn't get everything I hoped to finish up done is stating the obvious as this point, but to say it didn't really matter is something of a surprise. While we didn't get to everything I wanted to Sunday, we did get enough done to where we shouldn't have to film over at Ron's parent's house again. Not that they aren't hospitable folks- they just don't have to worry about the inconvenience of having a tiny film crew and an iconoclastic filmmaker trying to work out a schedule with them anymore… ?

That said, the subtitle of this particular blog rang true in every way, shape, and form yesterday when working on the big scene of the day- a short flashback with Ron and Dave where more is implied than actually said. It's a compelling scene on the page- the trick would be to make it work on film; as it has with every other scene, the editing should benefit that greatly. The trickiest part is getting the right performances…and the flow of the scene. To say my actors have had it rough with my dialogue is putting it lightly- they've had some hard-core marble-mouthed lines to contend with. But God bless them for working with me- they're making it work onscreen (just wait until you see a scene with Mike and I- it's almost enough to give you chills the way it works…)

Yesterday, in particular, was quite a high-wire act, as lines were chopped, reworded, and rearranged on the fly during on-set rehearsals, making memorization a tricky proposition (just wait until you hear the commentary about THIS scene; this is guerilla filmmaking at its' best folks). But you know what? I like what we got, even if we were fighting time and our amateur status as thespians to make it work. I'm really looking forward to editing this thing together.

In addition to the big scene, we also got pickups for the end of "Movement II"- as well as a quick insert for "Movement I" I realized I might need- in the interim. The only thing we didn't get to was the last scene with the four main guys- myself, Ron, Dave, and Mike- but location isn't important to the scene, as I hope you'll see when the time comes. It made me feel bad that we didn't get to the big thing I wanted Mike there for, but he did get in front of the camera for one of the pickups, so it wasn't completely pointless for him being there (that and the fact that he provided an inspired idea for our line reading problems). Next time I'll make sure you are a big part of the scene.

Thank you again to everybody- Ron, Dave, Mike, Ron's parents, and of course my co-cameraman Chris- for their help in this venture. I couldn't do this without you. There's more to come…including- hopefully- the first movement of the film online.

Thanks for listening,

Brian Skutle
http://www.sonic-cinema.com
http://www.myspace.com/cinemanouveau- Featuring deleted scenes, trailers, and more from "Unwinnable Hand"
http://www.myspace.com/brianskutle

Click here to download or watch Brian's first video diary after the first day of shooting.
Click here to read my eighth "Unwinnable Hand" Production Diary.
Click here to read my seventh "Unwinnable Hand" Production Diary.
Click here to read my sixth "Unwinnable Hand" Production Diary.
Click here to read my fifth "Unwinnable Hand" Production Diary.
Click here to read my fourth "Unwinnable Hand" Production Diary.
Click here to read my third "Unwinnable Hand" Production Diary.
Click here to read my second "Unwinnable Hand" Production Diary.
Click here to read my first "Unwinnable Hand" Production Diary.

Click here to read "Red Cup Mafia," another short script I wrote in November 2006- inspired by some recent happenings at work- that I hope to film in the future through Cinema Nouveau Productions.

Snooch to the Nooch! Well, I'm finally back- after four months- with an "Unwinnable Hand" update. Pretty good one, too, actually, as we just started shooting it again. Hopefully, more to come throughout the summer. For now, though, read my latest blog here on what happened last night on the film. And feel free to check out any of the below links for more info on the longest short film shoot in history. Later.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com
www.myspace.com/cinemanouveau
www.myspace.com/brianskutle.com

Click here to download or watch Brian's first video diary after the first day of shooting.
Click here to read my seventh "Unwinnable Hand" Production Diary.
Click here to read my sixth "Unwinnable Hand" Production Diary.
Click here to read my fifth "Unwinnable Hand" Production Diary.
Click here to read my fourth "Unwinnable Hand" Production Diary.
Click here to read my third "Unwinnable Hand" Production Diary.
Click here to read my second "Unwinnable Hand" Production Diary.
Click here to read my first "Unwinnable Hand" Production Diary.

Click here to read "Red Cup Mafia," another short script I wrote in November 2006- inspired by some recent happenings at work- that I hope to film in the future through Cinema Nouveau Productions.

Hello one and all. I hope everyone who's watched our offerings- the trailer and the video diary- has enjoyed them. Your feedback is more than welcome. The following blogs were already posted on Sonic Cinema & my personal MySpace page, but seeing as though they pretain to the content on this page, I felt it necessary to post them over here as well for your reading pleasure. Here are the seven written production diaries for "Unwinnable Hand" by me, starting with the most recent. There's more to come, so check back, and let your friends know about us- want to have an audience for this thing when it's done in- hopefully- December.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com
www.myspace.com/brianskutle
www.myspace.com/cinemanouveau

"Unwinnable Hand" Production Diary 7: With Time Away Comes Perspective

Written: February 16, 2007
It's been too long (October actually), and there've been many a weeks with no work done at all, but a lot has happened since last I wrote about working on this short film. This won't be the last time, either; things are just getting started for 2007.

This week, post-production on the first half of this "Thriller in Two Movements" began to hit full stride- the first time since December any real work has happened with the film. I've put off editing the film as I wanted to be able to devote as much uninterrupted time as possible to it, originally meaning the recording of at least two compositions before I commit the time to it. With an awful lot of footage shot over the six days we filmed in 2006- read the past blogs through the links below- I thought I was in for quite a road as editor.

As it turns out, though, editing the trailer will be the trickiest part of the process, because "Movement I" came together pretty effortlessly from an editorial standpoint (first cut runtime- with opening credits: 10'38"). I'd already done some preliminary editing on the first day's footage shortly after that day, and it proved to be a smart move, giving me a taste of what I was up against. Using the same basic philosophy figured out that day, everything seemed to just fall into place. It's hard to mask the no-budget type of filmmaking we're doing here with as few resources as we had available "on set," but gotta say, it doesn't suck. It's not "Citizen Kane," either, but honestly, it's not an embarassment. Hell, once everything's in place, it might even be- dare I say?- good (maybe even festival worthy?). If some of the hand-held is shaky, it's because we don't have a steady-cam to work with. If some of the coverage around the table looks as though it was just point-and-shoot, it might be because there wasn't someone back there working the camera as we were in front of it. And if some shot choices seem odd, it's likely because those were the only choices available...or at least the best ones. Even the continuity between shots is, well, pretty consistant (or pretty hidden, as the case may be)- remarkable given the 7-plus months between our first shooting day and our last. My one disappointment- realizing we lacked one shot that will help establish stronger continuity and narrative flow. But with one more day of shooting to be had at Ron's parent's house for scenes in "Movement II," we'll have the chance to get it.

On that note, the first draft of "Movement II" was written in November, and read by the other principles- Ronnie Haynes, David Miles, and Michael Caudle- in December. The response was encouraging, although the resolution still has some rough spots to be smoothed out, although I knew as much when I sent it out to them. Some ideas have already come to me, and rewrites will be taking place in the not-too-distant future (hopefully in time for the Oscars, which is when Ron, Dave, and Mike will get their first look at the rough cut). Once rewrites are done, the script will be going out to some of the friends I've got in mind for the other roles in "Movement II" (six new characters are introduced), with filming hopefully to commence this summer. Location for the majority of filming for "Movement II" is still up in the air, but there are some options available to us.

In the coming weeks, expect a lot to happen on the "Unwinnable Hand" front. Along with a rough cut of the film, I hope to have a trailer available online soon, as well as a Filmmakers MySpace site for Cinema Nouveau Productions, our "production company" we've established in producing "Hand." Unfortunately, the trailer will be the only thing many people will have to watch of the film, as I'm wanting to hold off making the film available until the entire story is told. In addition to the editing, much thought has gone into the music for the film, even if pencil hasn't been laid to paper yet. When it is, I hope to have some excerpts available for your listening pleasure. As for the when the finished film will be ready for the public, I'm aiming for a release no later than December 2007.

The subtitle of this production diary has a couple of different meanings. I wrote the first draft of "Movement I" in September 2005. It's coming on a year since our first day of shooting. To say I didn't expect to spend so long on this film is to put it lightly, but what an experience it has been. I wouldn't trade it for anything. As the shot on "Movement I" moved along, I feel as though I've gotten more comfortable in my idea of what being a director entails, and more confident in what I need to do to get things done quickly (the last three days of shooting seemed to fly by and get more productive). And the extended time period from first day to locking a first cut allowed me to look more judiciously at what I had to work with, and sometimes go against first impulses to get what I wanted out of the material; it's also given me the perspective to find that even I didn't quite realize how clever thematically the story was laid out as I was writing it...if I do say so myself. (I've tried to avoid self-congratulation in this blog, but when you read the script, I'm sorry, themes and ideas do crystalize pretty effortlessly through structure and events within the story...how it took me so long to really realize how much that was true is beyond me.)

But not only has a lot happened with this film, and how I see it, but a lot has happened in my life from the first time I wrote "Movement I." The idea to tell a larger story than just a poker game between three friends came to me early on, as did the idea I wanted to get across in telling such a story. But time was important in getting to the outlook on the material I now have. It became more than just a simple film project for me; it became something more personal, and subsequently, more interesting. One of the things Ron said to me early on when we were talking about the film in its' early stages was how it felt like a heightened version of how we really are, albeit told within an entirely fictional storyline. That wasn't an accident, and it's those personal touches (with many more spread throughout "Movement II") that I think will eventually make this film- in its' finished form- an exciting experience for its' viewers. It's already become a greatly rewarding one for me...I can't wait to share it.

Thank you to everyone who's participated so far; I hope this has been as fun for you as it has for me.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 6: This is where the fun begins...

Written: October 8, 2006
OK, so it didn't start out like I had hoped my last day of filming on the first movement of this "Thriller in Two Movements," but it ended just as I had hoped, in that it is the last day of filming on the first movement of "Unwinnable Hand." I didn't do the alternate ending Jeffrey B suggested during our first day back in February (it'll make it into the commentary track, though, Jeff), but everything else- and then some- is filmed and ready for editing. I even got some group and solo photos taken on "set," so expect a change to my profile pic in the near future.

So, OK, this morning we had planned on the usual 12pm start time. But, you know, I kind of like to just give the people whose house we're filming at some notice before I just head over there- and others do the same. Well, I was trying to get a hold of Ron to confirm and let him know about what time I'd be over- couldn't get a hold of him (even as late as 11:45am), so I called Dave (who called Mike) and Chris to tell them to hold off until they hear from me. A little bit after 12pm I did get a hold of Ron, who had left his phone in his car and was heading over there as we spoke. We agreed to let the others know and I headed over there myself. The delay meant starting at closer to 1pm.

It wasn't much of an issue. Today was a day more for pickups, reshoots, and- most importantly- some makeup work. This morning- as I was watching Scorsese's "GoodFellas"- one of the movies that inspired me in the first place on this film- I was also looking over the footage from the previous shooting days to make sure of what I needed to get today. (As you can see by the soundtrack listened to, Scorsese's been on my mind today- Ron and I are watching "The Departed" tonight.) There wasn't much, and as we were completed with filming by 3:30pm, it was evident in how quickly everything took (even if some of the prep for shots took longer than the shots themselves). We had two reshoots to finish up (one due to script changes, one due to a new refridgerator mentioned in an earlier blog)- knocked out quickly. We had a section of dialogue in regards to the flashback discussed in "Production Diary 3" between Ron and I that took a handful of takes, but not much effort, to complete. I also had a couple of inserts I plan on using in "Movement II" of the film that I wanted to get out of the way, and were completed easily. Next came the makeup work, which is probably more gruesome than you'd expect given the event that transpires, but the effect should surpass any lingering questions in terms of authenticity one has (we got some really fun-to-watch behind the scenes when Chris- who has more experience with it (thanks to "The Case") than I do- applied it, which will be entertaining to watch in the mini-doc I'll be putting together about the film). Also on the initial schedule I wanted to get some sides (to be intercut with the coverage we got on the last shooting day) with Mike, Dave, and I for our conversation that closes the first part of the film, but looking back at what we shot of that earlier, it all works well as is, in not just performance but rhythm and look, so I opted to not revisit the scene for the sake of "choices" like we had others in the film.

So, for now, filming is done. Now comes the fun of editing, sound processing, writing the music, and general post-production. Setting up a MySpace Filmmakers account for Cinema Nouveau productions and cutting a trailer is also in the cards for the next few months. Also in the works will be completing the script for "Movement II," with some massaging of the material by myself, Ron, and Dave (uncredited script doctors- their input has been most helpful), and then, of course, beginning the process again for "Movement II." The amazing length and time gone into this project will not be unmerited, however; you're in for an entertaining piece of work in the end.

Once again, thank you to Ron's parents for allowing us into their home to shoot these past few months (there's at least one more day ahead, though I don't suspect it'll take long), and thank you, as always, to Ron, Dave, Mike, and Chris for their invaluable assistance in this project- you guys have made this a fun learning experience.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 5: Two Red, One Blue, Three White.

Written: August, 27, 2006
There were a lot of titles that could have gone with this blog, but whatever the title, the subject would be the same. This thing is coming together. Granted, the time frame from the first shot- back in February- to the last shot- look for it in either September or October- is unenviable from a continuity standpoint (Did I mention the place we're shooting this just got a new, very different-looking refridgerator this week? Gotta get some more retakes I guess.), but I knew going in this wasn't gonna be perfect. You just hope for the best and do what you can.

And what did we do this week? We set ourselves up for a single, final day on "Movement I" of this thriller, and I couldn't be happier with our progress. We not only got up to the point I wanted to get to today- not far before the end- but we also went beyond, shooting some footage (what we could, at least) with our friend Mike, who- other than Day 3 when we shot the flashback- has just had to sit back and watch myself, Ron, and Dave go rehersal after rehersal, take after take of flubbed lines, less-than-great execution of the actions we're supposed to be doing during the sometimes marble-mouth-inducing dialogue (which is where the subtitle for this entry came from). It has allowed him to get some interesting behind-the-scenes footage (via his own camera) that I'm gonna put together for a little documentary on making this film for people to see on the eventual DVD; we watched what he got last week before we started to shoot today, and it was pretty entertaining stuff.

This has been a fun learning experience for everyone involved, and I- for one- can't wait to show people. I'm really looking forward to hitting the editing/post production portion of production, sifting through the hours (literally) of footage we have to put together this film, which has been a very personal expression/experiment for me. The sifting will be time consuming, but hey, that's the process.

Like the second day of shooting, Chris (whose help with this film has been invaluable thus far, and beyond just providing the camera equipment, some of the props, and the editing software I'm working on) had to leave early to visit with family, but with an extra set of hands we were able to smoothly (kind of) get a lot more done today to where on the final day of shooting this movement, we have some makeup shots to get, some individual sides to shoot for the last conversation in this part of the story, some brief pickups, and a brief rewrite scene that goes with the flashback from Day Three that we have yet to do.

The question came up today from Mike regarding what was going to happen with this film when it's done. Well, it'll be on not just on Sonic Cinema but MySpace (via a forthcoming Cinema Nouveau Films page) for sure. I've also thought about submitting it to sites like iFilm and Atom Films to see if we can get some feedback from there. And if it isn't too embarrasing, possibly a submission to the Atlanta Film Festival isn't out of the question. But that's not in the cards just yet. First comes a trailer, and then a finished product. For their help in that- for not just today, but in shooting days past and future- Ron (and his parents, whose house we've been shooting at), Dave, Mike, and Chris (and Jeff B., who I didn't recruit this time but may for the last day) have my thanks...and a guaranteed spot in the end credits.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 4: We're working in a new style. It's called...

Written: August 20, 2006
...Cinema Nouveau.

OK, this may not be the best way to shoot a film- days spread out over months- but I think we've made considerable progress over the four days of shooting we've had on this film since we began back in late February. We have one- maybe two- more days of shooting before "Movement I" of this "Thriller in Two Movements" is completed. We didn't get quite as much as I wanted done today, but we did get about half of it completed. What we did get done, though, was pretty good, however, and that's the biggest thing to realize. Without a budget, without a set timeline to get things done, what you do get is the freedom to work through the material at your own pace (while slow to some) and get the best results in the process. There will be continuity questions that arise, there will be revelations that manifest (That flashback mentioned in my "Day 3" blog? I wouldn't expect it in the final film. It will be edited together for a bonus scene, though, 'cause it is pretty funny.), and there will be wonders of "when is this gonna get done?" by some of those nearest you. But in the end, what you'll get is a finished product that may not be great art, but will hopefully be good fun for everyone to watch, reflecting the fun had in making it.

And this has been really fun to make, applying some of the knowledge learned from over 2000 films seen in a lifetime and hours of behind-the-scenes material sifted through on DVDs into a film that will reflect (with luck) the passion of its' creator(s) for the medium. I could go into specifics of what exactly we worked on today, but it would be retreading previously-written-about territory. The method of rehearsing slices of scenes before we roll the camera worked even better- and more efficiently- than it did back in the second day in April. Having Chris back behind the camera, setting up shots, and being experienced enough via his own short films to tell you what worked and what didn't was a definite benefit in speeding up the process (after a late start) this time around...I think we'll keep him. Sometimes uncontrollable laughter at mistakes made, and thoughts of real-life ideas playing out onscreen made things a bit silly and take longer than expected, but I can honestly say that today was a very good day for everyone involved on this shoot to have, capped off by a dinner at Wendy's (yes, I know how to treat my actors...when they have to pay for it), Dave installing the new computer he built me for my birthday (it's very video and audio-friendly), and Ron, Dave and I taking in "Snakes on a Plane" (it's great fun if you aren't a film snob; folks, the title tells you what you're gonna get...in spades).

In other "Unwinnable Hand" news, I think we finally have enough to create a teaser/trailer for the film. As the writer-director, the thought of trying to boil this film down into a 30 second-1 minute teaser frightens me given the dialogue-heavy nature of the story, but I would expect an attempt in the near future (with music, which it's getting about time to think about). Also, it's as official as it's ever gonna be- the name of our "production company" that is making this film is going to be Cinema Nouveau Films (expect a Filmmaker page on MySpace once we have something to share). It- and the subtitle of this blog- is inspired by a line in "Bowfinger," one of my personal favorite movies ever about making movies (and particularly inspiring for someone without much in the way of means to make a film), and a couple of weeks ago I came up with a logo for the company to go at the head of the film. In addition to the company name, it will also read the following, "Filmmakers inspired by the past...films created for the future." A bit pretentious I know, but indicative of my goal to never forget the legacy of cinema past as I use modern means to create movies that will be- hopefully- enjoyed by fans of the art form in the future. This is one of my goals as a filmmaker, and one that I think we're meeting with each passing day on this film. Thank you very much to Ron, Dave, Mike, and Chris for their work today and on shooting days past (to Jeff B., I hope you'll be able to make it in the future, and that we'll find something for you to do). Thank you to Ron's parents for allowing us to film in your home; I know it's an inconvenience, and your patience is most appreciated. To all of you- this will be worth it in the end.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 3: Drama is easy, comedy is hard.

Written: June 25, 2006
I had another title for his entry, but I'll save that one for another day.

After almost three months since our last filming date (and two cancelled dates in May), we staked this one out for our third day of filming. Well, a funny thing kind of happened. Originally we had hoped to film at the primary location of the first part of the film (it's split into two "movements"), but life, once again, intervened, and that plan was put aside. But it did offer an opportunity. One of the main actors- Mike- was unable to make it to original shooting location because of responsibilities in his own life situation, but after 3pm today, he was free to get together. And so myself, Dave, and Ron (the other principles in the film) made our way gradually up to Mike's place for an afternoon/evening of hanging out and- hopefully- filming some stuff, namely the flashback in the first movement, but hopefully maybe even a scene between Mike and I that starts the second movement. We didn't get to the latter scene- a good thing since it gives us the opportunity to rewrite it and rework it if necessary- but the flashback was filmed. To say it isn't exactly what I was thinking it should be goes without saying. I was thinking, as it was conceived, that it would be a quick, 10-15 second flash for a quick joke. That was before we played it out. The scene is actually- in the grand scheme of the story- pretty pointless, and in all honesty, even to the moment it's explaining in the story, it doesn't really make much sense. But what we ended up with seems pretty inspired, if you ask me. Although the scene was meant to be an exchange that ended with a joke that cracks one character up a little too much, nothing was written for said exchange except a brief description.

We are not skilled comedians/actors. We'll be the first to tell you. Improvisation is not an easy art for us. But once we hit on an area of discussion for the scene (alternate versions will be available at some point), inspiration hit, and an out-of-nowhere joke hit the mark. The question is, how much will get in? The dialogue played out for about four minutes. That will be decided in editing. If you weren't there, you'll have to wait for the finished film to find out.

The visual style of the scene also struck of inspiration...at least it did for me. Flashbacks in movies are, generally speaking, first person accounts of the moment. But do they ever really look that way? Most of the time (if not all of the time), flashbacks are filmed as if a film crew just happened to be there at the time. Why not try a literal first-person account, with the point-of-view visually to match? We originally thought about shooting it in a wide shot, as we normally see in films and TV, but the idea of a first-person POV struck everyone, it seemed, as a way to go. We cheat it a little bit, but it should be a fun twist on convention when it's put together.

Other than that, we didn't really do too much. Played some video games, went on endlessly trying to figure out something to watch (to no avail), and even watched some "behind the scenes" footage we filmed on Mike's camera the first day (it was really quite entertaining). Overall, a nice hour or so of filming. We didn't get a lot done- again- but what we did get done is, I think, pretty cool. Thanks to Mike, Dave, and Ron for their assistance and patience. To Jeff and Chris, we hope to see you next time.

Thanks for listening,

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 2: Is this any way to make a movie?

Written: April 2, 2006
So, uh, about those nine pages I was going to get filmed today...

Seriously, today was supposed to get this thing mostly finished. After getting 2 1/2 pages of a 13 page script done our first day of filming, we reconvened today, over a month later, with my intention to get as far as the script's climax, with only that and a flashback to film on the third day.

Yeah, that didn't happen. Life intervened. First of all, day 2 of filming was originally supposed to be three weeks ago, and everyone was set until I got a call an hour before we were to meet from the actor whose parents' house we're filming in saying his brother had a 101-degree fever and his visiting aunt wasn't feeling too well either. Wouldn't you decide not to film that day as well? It was actually nice because I was to work at the theatre that evening afterwards, so having the afternoon off was good, 'cause I wasn't looking forward to doing both the same day. Sure, I was disappointed we didn't get anything done, but there aren't too many reasons better for cancelling a day of filming. The day before that, though, I set aside today- April 2- for another filming day. Since it would be a real day off work, it would be nice to just go home, post my blog, and relax.

So enough of that, how was today? True to the first statement of this blog, my intention today was to knock out most of the script because once we got one scene at the door filmed, everything else takes place around a table where the poker game was going on. Curse that pesky Daylight Savings Time- stupid rotation around the sun- which resulted in a slight delay in our start time of 30 minutes. No harm no foul. What made it difficult, though, was life intervening, resulting in neither of the sound recordists from day one being able to make it), and our cameraman- who I've worked with on "The Case" series (and supplied some fine ideas to consider and impliment)- having to leave half way through. But we slaved on (I'll have another filming date set soon) and got 3 1/2 pages done. It may not seem like much, but it's actually not bad given that none of us actors are professionals...or working much off-set to memorize our lines (or at least I haven't- yes I said it). Without the performances of your fellow actors to play off, though, is it really that easy to do away from the set anyway? Making it extra-difficult for us non-pros is the writer-director's crazy notion of combining dialogue and action- from the poker game- while maintaining continuity (what was he thinking?).

The dialogue was the tricky part today. Not the recording of it- we managed with the camera audio- but the performing of it. But that's where rehearsal comes into play, and while onset rehearsal slows the process down, once you get to recording it, without a script in front of you, it's surprising how smoothly it can go (don't worry, some gag reel-worthy moments occured, though). I can see why someone wouldn't enjoy filming on the day-to-day, and can't wait to get to the post-production (I've loved putting it together in editing thus far), but if this is what it takes to make the film I want to make, the way I want to make it, I'm game. To say this hasn't gone quite as I expected is an understatement (we were originally going to shoot January 29, but that day ended up as a much-needed rehearsal day), but speaking from a strictly biased perspective (hey, I AM that crazy writer-director fella), I can't wait to see how it turns out...and to show people what I've got planned. This is gonna be fun.

Thank you to Ron, Dave, and Chris for your assistance today. To Jeff and Mike, you were missed; I hope to see you on the next day of filming.

Brian Skutle
www.sonic-cinema.com

 

"Unwinnable Hand" Production Diary 1: What was I thinking?

Written: February 25, 2006
So, the writer-director is done with his first day of shooting. And what has he learned...this filmmaking thing is hard work.

Well, no shit Sherlock. I could have told you that before today. But though I've worked on low-budget sets before (I helped film- and acted in- "The Case" series I've been scoring), being in charge of one seems to bring some more edge to the proceedings. You're expected to know what you want, and not really dilly dally in how you get it. It doesn't help when you have an actor call you an hour before you're supposed to meet telling you he's got nerves about knowing his lines. That's where a little bit of imagination and patience goes a long way; we only got two and a half pages done, but what we got works (or at least it will until I start editing). The sound is going to be an experience to work on- a lot of noise, and I'm not too keen on using the camera's sound, but it should be interesting. A lot got done. Not as much as I would have liked, but such as the nature of the beast.

For those who don't know, "Unwinnable Hand" (subtitled "A Thriller in Two Movements") is a short film script I wrote back in September- it's since gone through a handful of drafts, each one improving- for myself and three friends to act in and film. It's the story of three friends who are getting together to play cards before they get to an assignment from work. Their aggrevated about their job. They're asked to do too much work in not enough time. They play cards as they complain. Anyone who's read the script- which I'll post online after it's done- will know there's more to it than that. A second "movement"- which I've already begun- will follow exploring these characters and this situation further. Inspired by diverse films like "Office Space" and "GoodFellas," I think I've expanded on this very basic idea in an interesting and intelligent way. It's not Shakespeare, but it'll hopefully make for an entertaining and well-crafted film.

So what did I learn today- don't bite off more than you can chew. Creating quality art takes time, and no matter how long it takes, stay the course, don't get frustrated (you'll get more out of your crew), and roll with the punches. Because in the end, that's what I hope to do with this film- create art, even if it's a little fun. I'm not aiming for "Citizen Kane"- just aiming for an entertaining movie. Thank you to Ron, Dave, Mike, and Jeff for their help today, for their support in the past, and assistance in the future.

Brian Skutle
www.sonic-cinema.com

P.S. I've actually videotaped a little video diary with my immediate thoughts about today. Expect it on the DVD...seriously, you'll see it. I might even make the audio available online before that.

P.P.S. I would like to apologize to the actor who called me an hour before shooting. I misrepresented his worries in this blog and apologize. I have corrected this post accordingly.

This was originally posted over at Brian's Music Myspace Page back in November, and it's still there- as well as some friend's feedback if you can find it, but with Cinema Nouveau finally online, I felt like it would be appropriate to repost here. It's a script inspired by an incident that happened at the theatre back in September. Hope you enjoy it, and let me know what you think if you already haven't!

Brian Skutle
www.sonic-cinema.com
www.myspace.com/brianskutle
www.myspace.com/cinemanouveau
------------------------------------------------------------------------------------------------
"Red Cup Mafia"
A comic vignette written by Brian Skutle

1 EXT. Parking Lot
 
The camera pans and looks out at an empty parking lot as  the sun goes down. It's not pitch black yet, but dark enough to require headlights when driving around. The parking lot is just in back of a movie theatre. A dumpster can be seen just left of the frame. On the screen the following comes up:
 
"It used to be that the employees and management of this moving picture house- allowed free drinks while they worked- could purchase plastic red cups provided by management if they didn't have their own to drink out of. The proceeds would go to purchasing more cups or even snacks they could indulge in as well. But one day, it came to an end when the higher ups were none too happy about the arrangement. Being a resourceful bunch, the employees- aware of what retribution would come were management to find out- found their own ways of getting around the system…"
 
As the last words fade off the screen, a car pulls up by the dumpster. Out of the car steps an employee of the theatre- dressed for work- who leans up against the car as another one pulls up beside him. Another employee, dressed for work, steps out of the second car and up to the first employee as they shake hands.
 
EMPLOYEE #2
So, you got what I need?
 
EMPLOYEE #1
(Nods.) I do. Do you have the money?
 
Employee #2 nods as he reaches into his pocket. He pulls out a dime, which he holds between his right thumb and index finger. (Cut to a closeup of the dime in hand.) Employee #1 then nods again as he moves towards his trunk, which he opens just enough to reach in and pull out- after some rustling- a red plastic cup. Employee #1 then walks back over to Employee #2 as the two make the exchange at the same time.
 
EMPLOYEE #1
Pleasure doing business with you.
 
EMPLOYEE #2
Yep. I'll see you inside.
 
Employee #2 then walks back to his car and drives off as Employee #1 closes his trunk door, but not until another car pulls up, stops, and the driver- also an employee (like the others, in work uniform)- walks up to Employee #1, and the two shake hands.
 
EMPLOYEE #3
Open for business?
 
EMPLOYEE #1
(Looking around.) I am. That is, if you can pay the price.
 
EMPLOYEE #3
Here you go.
 
Employee #3 then reaches into his pocket and pulls out ten pennies. Employee #1 gives him a look.
 
EMPLOYEE #1
Man, what are you doing to me? What have I told you before?
 
EMPLOYEE #3
I know- "no pennies." But I didn't have anything bigger. I really need this. I'll owe you…
 
EMPLOYEE #1
You always say that. You know I can't exchange those- nobody will take them.
 
EMPLOYEE #3
You make people take them- how hard can it be? I swear this'll be the last time.
 
Employee #3 then goes to hand Employee #1 the change. While he's doing this Employee #1 slaps away Employee #3's hand, and the pennies disappear into the darkness. As Employee #3 bends down to pick up the pennies, Employee #1 reaches into his trunk and pulls out a red cup and hands it to Employee #3.
 
EMPLOYEE #1
Look, don't worry about it this time. Just pay me back when you have some silver. I'm keepin' a tab on you…

EMPLOYEE #3
Thank you so much. I'll have your change for you tomorrow.

EMPLOYEE #1
I'm off. Just give it to the person in charge of distribution tomorrow.
 
Employee #3 takes the cup and what pennies he could find and gets back into his car and drives off. As Employee #3's car drives off another car drives into frame behind it. Recognizing the car immediately as a fellow employee, Employee #1 doesn't move to close the trunk and goes to meet the employee as he gets out of the car.
 
EMPLOYEE #4
How's it going? Been busy today?
 
EMPLOYEE #1
Not really. Too many people bringing in their own cups- it's really cutting into my profit margin.
 
EMPLOYEE #4
I'll bet. You're still getting the newbies, though, I'm sure.
 
EMPLOYEE #1
Only when they forget to bring a cup. Don't really like dealing with too many new faces anyway. At least I trust my regulars. I know that…oh crap!
 
At the end of the last exchange, Employee #1 notices a car that looks suspiciously like one of the manager's car coming around the corner. Knowing the drill, Employee #4 then follows Employee #1 to the opened trunk of his car, where along with a plastic bag full of red cups there are old (empty) boxes from concession stock around the edges. The employees proceed to take out the boxes as if to look like they're unloading stock and place them on the platform that leads into the back of the building as the suspicious car drives up for a closer look, stops briefly, then drives away in the opposite direction. Noticing the driver was not a member of management after all, just a curious bystander, the employees- relieved- begin putting back the boxes in the trunk.
 
EMPLOYEE #1
Close call. Too many of those recently. So, did you come to just chat, or are we gonna do some business?
 
EMPLOYEE #4
Oh, I'm here for business. Cup me.
 
Employee #1 pauses after this, and gets a disturbed look on his face.

EMPLOYEE #1
Never say that again. That'll be one Roosevelt.
 
Employee #4 pulls out a dollar. Employee #1's face turns from disgust to unpleasantly angry.
 
EMPLOYEE #1
Good Lord, not you too. How hard is it to come up with a dime? Or two nickels? Or Heck, I'd even settle for a quarter. I can make change for that.
 
EMPLOYEE #4
You can make change.

EMPLOYEE #1
No, I can't. You're only my third customer today, and you know I only carry 50 cents in change.
 
EMPLOYEE #4
And why you do that I'll never know. Look, just give me ten cups then. I'll keep some for future shifts.
 
EMPLOYEE #1
Alright, but if I hear or see that people have been getting their cups from another supplier, we're gonna have a little talk.
 
EMPLOYEE #4
Yeah, that should be nice and boring. Just give me the cups hot shot.
 
Employee #1 then takes the dollar and gets out ten cups from the bag, which he then hands to Employee #4, who nods and heads back to his car before driving off. Employee #1 shuts the trunk door, and leans on the side of his car, waiting for additional customers.
 
2 INT. Hallway
 
Walking down a hallway with concession stand stock and trash cans on either side of it are two female employees in uniform. They're headed for the back door to head outside. Into frame behind them comes a man- mid-late 20s- dressed in a suit. He's one of the managers.

MANAGER
Hey! Where are you two headed?
 
FEMALE EMPLOYEE #1
Just headed out back for our break.
 
MANAGER
Did you clear it with your supervisor?
 
FEMALE EMPLOYEE #2
Of course. Would you like to join…I mean, I'd ask if you'd like to join us, but you're probably busy right now.

MANAGER
FEMALE EMPLOYEE #1
Well, nonetheless, it'd probably be a bit awkward for you anyway. We were just gonna talk about school and stuff anyway…probably be pretty boring for you, so we'll just be outside.
 
MANAGER
I can tune you out. I really could go for a break.
 
FEMALE EMPLOYEE #2
Well, isn't there someplace else you'd rather take it?
 
MANAGER
Out back seems as good a place as any.
 
FEMALE EMPLOYEE #2
Ehh, not unless you like the smell of dumpster. Can't get enough of it ourselves, can we?
 
MANAGER
Why do I get the feeling you guys are trying to hide something?

FEMALE EMPLOYEE #1
What would we be trying to hide?
 
MANAGER
I don't know. What would you be trying to hide?
 
FEMALE EMPLOYEE #2
We better tell him.
 
FEMALE EMPLOYEE #1
OK, OK. We're going out there to smoke, alright?
 
MANAGER
Hey, that makes sense…except you've never smoked a day in your lives while you've been working here.
 
FEMALE EMPLOYEE #2
Well you don't know what we do on the days you don't work. Ask any of the other managers.
 
MANAGER
I'm pretty sure I know their answers. Still, the smell or smoke doesn't bother me, so I'll just head back there and see for myself.
 
FEMALE EMPLOYEE #1
(Sighs.) OK…fine. Let's go then.
 
So Female Employees #1 & 2 lead Manager back to the back doors behind concession, which they open furiously and go out and start signaling to Employee #1 to take off. Employee #1 sees this, and gets in his car and drives off as Female Employees #1 &2 stand and watch, as the Manager- who ran out after the Female Employees- runs after the car waving his hands in the air before finally stopping after the car goes out of sight.
 
MANAGER
Hey! Where are you going? Come back here!! I just wanted a freakin' cup!!!
 
FADE OUT
 
CREDITS ROLL

Property of Cinema Nouveau Productions.
Written November 5-9, 2006 by Brian Skutle.: