CrewCall: Get Connected – May 31st 2012

08/05/2012 By 1 Comment

Welcome to CrewCall! CrewCall, a part of the “Get Connected” mixer, helps identify working indie filmmakers, producers and production companies for those wishing to work on crew. Each entity offers something quite different and all are talented, dedicated and passionate about their vision. Some will lead to paying gigs and some will lead to experience for your resume some well…  might lead to frustration, as such is this industry sometimes. You must provide a professional resume when you come. We will be located at the back of the venue, next to CineCentral, and will be there from 6:30-9pm. Check back as we might be adding a few more to the list…

Here is who we have so far:

Blue Dusk Productions

“After finding critical and festival success with their adaptation of the Stephen King short story “Survivor Type,” Jayson Palmer and Chris Ethridge founded Blue Dusk Productions in 2011 to focus on producing high quality, low budget feature films, music videos, and commercial/industrial pieces. Previous endeavors of the founders include the award-winning films “The Spitting Image”, “Painted Love” and “Idiots R Us”, the latter of which took home Best Comedy Feature at the 2006 New York Independent Film Festival. Their upcoming debut feature film, “The Morningside Monster”, is scheduled to begin production in late 2012.” www.BlueDusk.com

“The Morningside Monster“ is a horror/thriller about a series of bizarre murders in a small New Jersey town. The local sheriff, Tom Haulk, and his deputy, Klara Austin, are forced into a unreal world of darkness when desecrated corpses and ritualistic symbols start appearing in their otherwise peaceful existence. We are currently looking to fill crew positions and actors/actresses for day player roles. All crew positions and day player roles will pay $100/day and food will be provided.

 

HeadGames Entertainment

HeadGames Entertainment is a production company specializing in the production of webseries. Our interests mainly lie in the science-fiction, fantasy and horror genres. So if you are looking to partner up with genre filmmakers then HeadGames is the group for you. We started with a sci-fi comedy series called “Star Command” and are now starting to expand our lineup.

We are currently looking to fill crew roles for a new webseries called “Z-Games”. The premise is Survivor meets Night of the Living Dead. A reclusive billionaire invites twelve contestants to a remote island where they must struggle to s

urvive the elements, each other, and a bloodthirsty zombie horde. Currently we are operating on a deferred pay model for cast and crew, but are a great group to get credits and experience.

Learn more: https://www.facebook.com/StarCommandseries

WD40 Productions

WD40 productions was first concieved 5 years ago strictly making viral videos and an assortment of comedy shorts, garning 100,000s of views. After a couple of years of making sketch comedy, WD40 prodcutions succeeded in winning many commercial and viral video contests for promotion of movies or products that were being released. WD40 also has had it’s shorts on the festival circuit, winning a regional award for “Most awkward moment.” Over the last year, WD40 has been writing, directing, and producing it’s comedy show Brohan Sitcom, which has been aired on several local televsion channels in the southeast.

The project that is currently under development for this year is our first feature film. It is a comedy that is planned to start production either late July or the first week of August. We are currently accepting ALL positions for crew, specifically grip and electric. You will be compensated with, at the very least, gas money, food, and credit. The budget is still in progress so there is oppurtunity to possibly make more money. This is a great way to work with and learn professional equipment as well as meet industry professionals who have been doing this for awhile. I can promise this will be a very fun project to work on that will benefit everybody.

Learn More: http://www.brohansitcom.com/ 

Long Shot Productions

Long Shot Productions is currently in the process of aquiring funds for their project entitled, “PIMP”. PIMP is an honest look at the sometimes brutal realities of a fringe culture.

Screenwriter, Robert Kelly, will be on hand accepting resumes as he looks to build his team to pitch to investors.

Learn more: https://www.facebook.com/PimpTheMovie

Filed Under: Films

CineCentral: Get Connected May 31st 2012

26/04/2012 By Leave a Comment

Get Connected presents:CineCentral

CineCentral has been created as an extension of the event to give actors the chance to network with Independent Filmmakers in a more intimate setting at “Get Connected”.  Too many times actors and filmmakers were passing each other at the event or… not connecting. We look for and identify professionals that are looking to cast for projects or build their roster for when they get hired to cast a project.  The best way to describe CineCentral is to say it is similar to speed dating.  Actors submit their professional headshots and resumes for review and if accepted have two minutes to meet and network with each person. There is limited number of 2-minute time slots available so we screen the headshots and resumes carefully and accept based on the quality of headshot and resume. Actors of all ages are welcome and we try to keep the younger participants at front of the schedule.

CineCentral is part of Get Connected, monthly film and entertainment industry mixer… “for the people… by the people.” There’s $10 entry fee and $5 valet for Get Connected but there is not a separate fee for CineCentral. Proceeds from the $10 admission fee and vendor booths will be used to pay for expense IE (Venue, food, other bills and to help fund grants for rising filmmakers to produce short films and donate to local charities and to help with community outreach.

The filmmakers are upstairs or at the far end corner in the V.I.P. Room at Get Connected and arranged in a round robin set¬up. This allows for each filmmaker to meet with the actors for 2-minutes EACH. This is NOT an audition. So what exactly is it? It’s a RARE and UNIQUE opportunity to sit down with filmmakers and let them know who you are.

 

Featured Guests:

Ann Snowden Wittenberg (Casting Director – newlifecasting.com)
Darla Clarkson (Casting/ Producer - Phoenix Castings)
Matthias Saunders (Filmmaker – Blog)
Lorraine Cochran (Commercial Producer – AdGirlConsulting)

Online Registration:

Learn More…

Ann Snowden Wittenberg

Ann Wittenberg grew up in a small country town in Louisiana where going to the movies (for only 35 cents!) was just about the only thing to do for fun. She always had a passion for the arts and played Nurse Betty in the theatre production, “Harvey”.  Ann was dedicated to her high school band and chorus, but going to the movies was always her first choice. Some days, she would spend the entire afternoon going from movie to movie, never dreaming that one day she would be involved in the business.

Ann moved to Atlanta to begin a career in the airline business, where she worked in Sales and Marketing with the highest level of management. After 14 years, Ann retired and decided it was time to try something new. Growing up with James Cameron’s wife, Suzi, Ann was always curious about the film industry.  But, when Avatar was released and became a smashing hit, that’s when Ann knew this was something within reach.

She began her career as a casting assistant, and also worked as an extra. Becoming an extra was just a way to get out of the house for a few days per month. Well, it didn’t end up that way.  After working for a local casting company on projects such as Drop Dead Diva, Footloose, Marry Me, The Change Up and The Lost Valentine, she decided it was time to start her own company. With a push from her friends, the Fincannon’s, Ann created New Life Casting.

Since the birth of New Life Casting, Ann has had the privilege of working with amazing people in the film industry, from producers to directors, and even some three-legged dogs. One of her latest accomplishment was to assist in the casting of The Wettest County, now called “Lawless” starring Shia LaBeouf, Mia Wasikowski, Jessica Chastain, Gary Oldman and many other great actors. This was a1930′s period piece and was not an easy task. She ended up providing over 650 extras, eight of whom landed speaking roles. In the words of Director John Hillcoat, “You saved my ass many times with your extras!” She has also provided many principal roles for commercials such as Graco, Belk and others.

Ann’s philosophy in this business is to give the “extra” some dignity and respect, for if it weren’t for the extras, there would be no movie.  She believes that people must be treated with kindness. This approach has led to a huge following of fine individuals who are available, reliable, respectful and get the job done. New Life Casting prides
itself on having these wonderful people on its “team” and Ann  continues to build the New Life Casting “family” with remarkable talent. Ann is a member of Women in Film and Television, The Georgia Production Partnership and NetFlix (LOL).  Ann attended LSU and resides in Peachtree City with her husband and 3 dogs.

New Life Casting now has about 10,000 people in its data base and has an office in New Orleans.

 

Matthias Saunders

Matthias Saunders is a highly skilled and dynamic filmmaker with over 19 years of professional experience.  Considered by many to be one of the top up-and-coming cinematographers in his generation, Matthias is also recognized as an innovative film producer and teacher as well.  As a young veteran of 37 independent feature films, numerous national commercials, and over 10 top ten award-winning music videos, he brings “real world” experience to the table.  Often referred to as “The Notorious D.O.P.”, his reputation for excellence, knowledge, and work ethic are unmatched.

1993 Graduate of New York University undergraduate Film Program.  1993-94 Resident Filmmaker Program at the International Film & Television Workshops, Rockport, ME.  2007-2010 Film & Video Department Head & Lead Instructor at the Institute of Production and Recording, Minneapolis, MN.

“When it comes to filmmaking, Matthias is kinda like Prince. He can do everything very very well,” says Aaron Friedman, who has been Matthias’s assistant for 3 years. “Since he has tons experience and can work in every department filmmaking-wise, he’s able to offer something a lot of others don’t: knowledge and information!  He can tell you exactly how to achieve a desired result, and show you new creative ideas and technical perspectives.  He has a very high success record as a teacher and workshop leader.”

Career Highlights

  • Personal assistant to Conrad Hall, ASC for over 2 years.
  • Assisted and trained under numerous cinematographers and members of the ASC, including Jeff Seckenndorf, Steven Burum ASC, Vilmos Sigmund ASC, Allen Daviau ASC, Curtis Clark ASC, and Robert Primes ASC
  • Member of the AATON Camera Team, a worldwide team of 24 cinematographers commissioned to document the Sydney 2000 Summer Olympic Games.

 

Partial  List of Production Credits

  • Prosper (2012) Director of Photography
  • The Retirement Party (2011) Director of Photography
  • Street Hassle (2010) Director of Photography
  • The Scientist (2010) Director of Photography / Producer
  • Roselita (2009) Director of Photography
  • Never to Run (2008) Director of Photography
  • Devils Grove (2007) Director of Photography
  • Prison of the Psychotic Damned (2006) Director of Photography
  • A Cold Blood (2005) Gaffer
  • Nicklebag (2004) Director of Photography
  • Murder Rap (2004) Director of Photography / Gaffer
  • New World (2000) Director of Photography
  • Cruel and Unusual (2000) Director of Photography / Gaffer
  • Disoriented (1999) Director of Photography / Gaffer
  • The Better Life (1999) Director of Photography
  • Below the Belt (1999) Director of Photography

Darla Clarkson

Darla Clarkson is a multi-faceted woman who has cast a variety of modeling, film and television projects including her most recent film, Abraham Lincoln vs. Zombies, a globally released Asylum production starring Bill Oberst, Jr. and Jason Vail. In addition to casting, Darla owns a production company named No Fear Here Productions which produces commercials, films and pitch videos for projects looking to capitalize on new crowd funding sources such as Kickstarter. No Fear Here reflects her attitude of No Fear when it comes to reaching for her dreams.

Darla has also been photographing and writing for more than 28 years. Her photos and articles have been published in magazines and newspapers such as the Houston Chronicle, Northeast News, Savannah Women’s Journal, Savannah Magazine, Living Vertikal Magazine, Atlanta Tastemakers, Richmond Hill Reflections, African American Golfers Digest, and Manik Magazine in NYC. Her photography company, Phoenix Photos, has been in business for three years and specializes in acting and modeling headshots, editorial/fashion and CD covers for musicians.

She is also available as a Production Manager, Script Supervisor and Still Photographer.

Darla grew up in Houston, Texas and is married to Ron Clarkson, a director at Gulfstream Aerospace. She has one grown daughter, Crystal, who is at Armstrong Atlantic University and who also serves as an art director and makeup artist for Phoenix Photos.

She currently divides her time between Atlanta and Savannah and can be booked for work anywhere. For more information, visit www.phoenixphotosga.com or www.NoFearHereProductions.com 912-844-3031.

Lorraine Cochran

Lorraine is a producer for AdGirlMarketing.

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At Ad Girl Consulting it is our goal to educate our clients and create award winning advertising campaigns that build brand awareness and result in consumer sales and loyalty. To better help our clients we constantly provide the latest and most relevant articles outlining marketing trends. Not all consumers are the same. To maximize marketing dollars advertising campaigns should be well thought out, properly executed, and strategically targeted to reach the desired consumer audience.

Learn More: http://www.adgirlconsulting.com/index.html

 

 

Filed Under: Films

CineCentral – Take a Chance!

13/03/2012 By 3 Comments

 

Click here to Sign-up

Welcome to CineCentral! Each month Get Connected seeks independent filmmakers who have projects on the horizon for an exclusive Get Connected actor/ filmmaker networking experience. We seek to fast track rising filmmakers with rising talent! Actors need not to prepare sides or even have a monologue (though that is optional), as this is a general meet and greet. Actors, you will be meeting and dropping off your headshot to up to four indie filmmakers. Actors MUST have a professional headshot and resume in order to be seen after online sign-up.  Spots are first come first serve only. To sign-up please add your name to the list by clicking here.

If the filmmakers like your look, or they have a role for you it is up to them to contact you and setup an audition or pre-cast you.

CineCentral is a part of the “Get Connected” networking mixer. The networking mixer is $10 and features this month free indie movie screenings from local filmmakers, an industry panel, food, music, networking and then the most important element… YOU! For more info please visit the Get Connetced fanpage by clicking here.

 

FEATURED FILMMAKERS

KRISTIN WRIGHT

Kristin Wright is a director, actor, and writer based in Atlanta, GA.  With a theater background, she ventured into the film arena starring in Jeff Shipman’s experimental short Windfall. This collaboration led to other Cinematic Revolution projects, such as co-producing Always Remember the Little Things which garnered the 2010 Grand Audience Award at the 48 Hour Film Project, and acting in Red Light Runners which took home Creative Loafing’s Best Line of Dialogue Award.  She has also worked with Cakebaby Productions as set dresser/props master for My Good Fortune, which can be seen in this year’s Atlanta Film Festival, and the upcoming Too Late Now.

Kristin wrote, directed, and produced her short film Superhero which premiered in 2011 at the Rock & Reel event hosted at The Grand Opera House in Macon, GA.  It was a finalist in the Macon Shorts Film Competition where it tied for Runner Up and took home the Sense of Community Award.  Since then, it has screened at Get Connected and WonderRoot’s Film Series in Atlanta, and was an official selection of the Macon Film Festival.  The trailer for Superhero won the 2012 Silver ADDY® Award.

Kristin recently won the Get Connected Production Plan Contest for RED, which she will produce and co-wrote with fellow writer Sara Register.  Production is set to start soon and will premiere at Get Connected in the spring.  She is the founder of Fishbelly Moon Productions.

BYRON CONRAD ERWIN

An amateur filmmaker as a child, Byron Conrad Erwin moved several times growing up and spent part of his youth in Virginia.  A highly praised television film, Inside Job (1989), brought him the opportunity to work with such prestigious clients as National Geographic Televisionand Discovery Channel. He then moved to Charleston and became one of the most successful television commercial directors for Comcast in the late 1990s.

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His films have explored primeval fears, as in Cardboard Castles (2011), or expressed hope and faith, as in Tiger Lily (2011). Erwin is in development of his most ambitious project yet, The Dreamed (2012), a film about the amazing world of Lucid Dreaming.

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In 2006 he completed the gritty cult hit film Lynch Mob, a project written and produced by Scott Stamper for First Cinema. Later films include the critically acclaimed Lure (2009). He also served as director and co-producer for a series of shorts for  Blank Stage Productions Poor Boy(2010) and Jersey Shark (2010).

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Erwin has received many honors during his career and often appears as a guest speaker at many Film Schools and regularly performs as a judge for Actor Showcases across the country.

SHARON TOMLINSON

Upon relocating to Atlanta, GA Tomlinson opened up Atlanta’s premiere Acting Studio – Blueprint 4 Hollywood. In less than 2 years the studio has had much success of their actors booking major roles as series regulars on Television as well as feature films. Adding to the success of the acting studio, Tomlinson recently started Studio 11 Films where she will be producing a catalog of film projects partnering with 11 Industry Professionals.

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As an innovator Tomlinson is responsible for creating the “Y-Tie”, a patented necktie that requires no tying. This unique product earned Tomlinson the highly coveted 1998 award for “New Product of the Year” by the prestigious Apparel Industry Board, “National Small Business Entrepreneur” award, Madam C.J. Walker Spirit award and extensive recognition in national publications such as Entrepreneur Magazine, Black Enterprise and Essence Magazine.

CHANCE WHITE

Chance White is an award-winning director, cinematographer, animator, editor and a 15 year veteran of the multimedia, entertainment, film, television, and animation industry. His vast experience includes working at various production houses in Atlanta and gaining experience producing content as a Creative Lead for corporations such as Coca-Cola, Microsoft, and Motorola. White’s role in each project ranged from writing, to shooting, to directing, to animation, and to editing, and sometimes a combination of all of the above.

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White’s passion for film began with his earliest childhood memory, seeing Return of the Jedi on the big screen. He spent countless hours watching Star Wars films on repeat and directing his own action scenes with action figures on the living room floor. This passion resulted in an obsession with narrative storytelling and a drive to create his own films. White believes that films have the power to change the way we look at the world, and ourselves, and this compels him to continue learning and bettering himself as a filmmaker.

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In 2006, White’s first feature film, ‘Death of Seasons’ was released. The indie hit quickly garnered a cult following for it’s intense direction, compelling philosophical content, striking visual style and exemplary performances. In 2009, White founded White Flame Studios. He has since produced several award winning films and commercials, such as ‘Thesis’, ‘Breaking Ground’, ‘John Doe’, and ‘The Prince’s Perfect Party’, which will screen at the 2012 Atlanta Film Festival and the 2012 Cannes International Film Festival. White is currently involved in the hit web series ‘Remnant’, a post-apocalyptic steampunk series which he co-directed with Matthew Young and Jared Young of Brothers Young Productions. White is also currently in the pre-production phase of his second feature film.

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I am the Creative Director and Owner of White Flame Studios. You can view my narrative work on my YouTube channel, and more of my commercial work on the White Flame Studios channel.

Filed Under: Blog, Films

Interview with Ava Leigh Stewart, Director of “South of Southern”

17/02/2012 By Leave a Comment

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Cast and Crew getting ready for the next shot on the set of the comedy “South of Southern”

SOUTH OF SOUTHERN – 22:00

Logline:
An alcoholic truck stop stripper, turned high society debutant, sets out to throw her daughter the perfect Southern engagement party.  The sister of the groom shocks everyone with an outrageous surprise guest, hoping to stop her brother from making the biggest mistake of his life.  A roller coaster of dysfunction ensues in a small Southern town.

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Plot Summary: 
South of Southern is a film that explores the lives of several seemingly traditional Southerners and the complications that often arise when old society mantras meet the modern age. This is a tale of treachery, deceit, debauchery, and salvation, seen through the eyes of a handful of diverse party guests celebrating the engagement of a young couple, delving into the darker side of proper Southern society. Two families collide at the apex of a generation, each clan harboring staggering secrets that not even their own relatives could fathom – an epic clashing of truth, appearance, alcohol, and morality, destined to forever shape the future of both bloodlines.

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RSVP FB:                    https://www.facebook.com/events/338617216161842/
Press Kit (images):      http://southofsouthern.net/press/
Trailer:                         http://southofsouthern.net/wp-content/uploads/2011/11/sos_wcopyrght.mov
Youtube:                      http://youtu.be/LBu3juSRvE8
Vimeo:                         http://vimeo.com/32123235

 

Interview Ava Leigh Stewart

Are you looking forward to having SOUTH OF SOUTHERN screened at “Get Connected”? 

I am elated to be back home, as a native of Atlanta, to have the honor of screening a preview of my feature film at Get Connected.    Making my feature debut, South of Southern in my hometown, after almost seven years in Los Angeles has been a wonderful experience.  I feel very inspired to see that Atlanta is becoming the Hollywood of the South.   I hope to meet new friends at the event and work to create some roots in the film industry here, so I can do more projects here.

Can you tell us your past experience in the industry? 

I began my career at CNN – climbing the ranks of news production.  I started on the production design team for CNN, CNNI, CNN Espanol, CNNSI, and Headline News responsible for graphics worldwide and sets in Atlanta, Washington D.C., New York, London, and Los Angeles.   I was tapped to manage the design department for CNN.com in 2001, after completing a Business Degree in Information Systems, specializing in integrating media between television and the web.   I left CNN to attend the MFS, The National Film & Television School in London, England.    After film school in London, I founded Art West Film to pursue a diverse range of projects in film, television, and new media.   I have worked for major studios, including Warner Brothers, Disney, AEG, and independent production companies in all areas of development, production, and new media. Some recent projects include production design for Philippe Caland’s film, Tripping Tommy, as well as producing the Documentary, State of Control, and others.   We are in development with the sequel to South of Southern,  entitled, Sisters of Suburbia that we hope to shoot in the Fall of this year.

So… What is “South of Southern” all about?

It revolves around family dysfunction as a universal experience, those moments when you realize, “Oh my God, my uncle didn’t hit twelve deer – he was an alcoholic.”  For some more caustic, than others, the film depicts the reality of growing up in a small Southern town, rife with rules, and keeping up appearances.  The story centers on the mother and father of two adult children, who still live close to home.  We hoped to lift the curtain to show Southern values, ethics and ideals, showing a thousand choices have to be made, and how all of them have consequences.

How did you come up with the idea? 

The inspiration for the film was rooted in my experiences growing up in the South.  Southern Culture is fascinating, full of unique individuals, and although we created fictional characters, this movie and the series is an homage to all things Southern.  I wanted to show a different version of the South, not often depicted on screen, on more than one level.  It is the idea that you can’t choose the family into which we’re born.  Be it functional or dysfunctional, happy or tragic, as children we collect baggage that must be unpacked over a lifetime.  Part of becoming an adult is deciding what role our parents and siblings are going to play in the rest of our lives. Do we recognize their strengths and forgive their mistakes, or harbor resentment?  How much are we willing to take, as we grow older and discard all the lessons learned in youth and reinvent ourselves as adults?

The film opens as the characters start to form second families: friends, roommates, co-workers, and significant others.  Sometimes finding that those we choose to allow into our lives can cause chaos and conflicts, as the worlds collide   As family, marriage, and other links bind us, we are forced to develop relationships with virtual strangers who will be part of every significant event of our lives.  These bonds can be easily cut or damaged, as time marches forward, so each challenge builds the family history and that is South of Southern in a nutshell, which in reality is more like an onion…

We love the stories filmmakers tell us about how the film comes together,  how do you go about making the movie?

We spent the better part of a year developing the script and started the casting process early in the development.  We had an ultra low budget, so we had a very ambitious filming schedule.  In a situation where your trying to curb costs by limiting locations, and special effects, the movie is primarily focused on the story and the cast, We spent a long time working on the script to give it the layers that it needed to tell the story and create opportunities for the actors.  We filmed this feature in four days with a skeleton crew and an ensemble cast of eleven, and it was a symphony of chaos.   There were a lot of happy accident, we had a great chemistry on set with everyone, and you can will see it in the final version of the feature film, especially.

Tell us about your cast and crew! 

A COLORFUL TABLE: 
When looking for actors and actresses for the movie, we conducted an exhaustive casting search, open auditions, virtual auditions, and everything in between.  South of Southern is an ensemble comedy centered on unique characters, so it was essential to find the perfect cast.  It was a challenge to cast the entire Honeycut & Roberts families because they had to look like they could be related, but have a balance.  Each actor had to possess a certain quality to be able to create the type of characters we wrote, each member of our team had a real edge.  With eleven actors and actresses, a writer, and a director with improvisational training, it was a given that the production would have on-site discovery.  None of the cast knew each other before the film, but from the first time everyone met, they all had an amazing chemistry.  There were strange 3rd party connections that spanned the country between almost everyone, and we became like a big family.    We had a great cast, if someone had an idea in the moment, everyone jumped in to try and make it better, until it worked.  Normally, when making movies, you have more time to perfect the performance.  Low budget film making is different, you have almost no time for rehearsals or thousands of takes, so everyone on set had to bring 200% to make a film like this in four days for less than twenty grand.  It is a different process that requires a lot of energy.   The entire cast and crew had to be engaged constantly and make sure not to drop their guards.  It was actually a great way to work, even though a synergy cannot be a sure thing – this entire team had something.

THE CAST IN ACTION:
ALISA RIGGS PETTIT (Footloose) leads the cast as Anabelle Honeycut, the eccentric single mother of two daughters, Hollis (KAT SLATERY) and Harper (SHARON OLIPHANT). The story begins with the engagement of Hollis Honeycut to Heyward Roberts (LEE WILSON). When Heyward’s sister, Katie Roberts (KRISTEN TUNSTALL) discovers by invitation and not a phone call that her brother is engaged, she finds herself horrified.  Kaite enlists the help of her co-worker, Trevor Connor (BRIAN LINSLEY) to secretly record the party with hidden cameras and microphones.  Katie travels to Florida before the party to meet Charles Honeycut III (RICK MONTGOMERY JR.) for an interview, as well as extend an invitation to the engagement party. The arrival of Charles Honeycut III and his new wife Donna (LESLEY WARREN) shake up both families.

ABOUT THE CREW:
The comedy’s behind-the-scenes crew is led by director AVA LEIGH STEWART (Keepers of the Gate, State of Control) who also co-wrote and produced the Southern comedy, South of Southern under the Art West Film banner. Collaborating with fellow writer and producer, DREW STEWART, as well as producer and production designer, TREY LAFAVE, they created a world of interesting characters and a location that makes the story come to life.   The crew was spearheaded by cinematographer MITCHELL LIPSINER and camera assistant SHANE TEPPER, Costume Designer AQUA CATLIN (Tripping Tommy), Assistant Director SAM GREEN (The Mansion, Prosper), 2nd Assistant Director, REED PENDERGRASS, makeup artist RENONDA ANDERSON (The Promotion, Prosper), Art Director DAVID HAMILTON WILSON (Drop Dead Diva), Scenic Manager, ALAN REESE, editors LUKE DYE, JAMES FARLOW, and Sound Designer MIKE SLATER.
A full list of our cast and crew can be found on our website:  www.southofsouthern.net

What do you think audiences will enjoy most?

We wanted audiences to laugh!  We are experiencing an economic depression in our country, many people are experiencing hardships, and the best remedy to me, is to laugh, so I decided that the next film I worked on would be a comedy.   I really hope that people sit back and forget about a bad day, week, or month, and enjoy the colorful characters that we have created and take those moments with them.

Any war stories from the set?

We had a great group of people, but we had a number of challenges, but two in particular resonate with me now.  We used live chickens for several scenes and although we had veterinary supervisor, one of the chickens got loose in the Buckhead neighborhood where we did our principle filming.  I was standing behind the camera and I heard our sound guy yell, “we have a loose cock.”    There are really no words that accurately describe such a moment, as an escaped animal on set, and imminent bedlam.   The entire cast and crew chased the chicken and the chicken, whose name was Clyde, ended up at the neighborhood swimming pool, where no one seemed to notice him, until he was rescued by our associate producer, Joanna Wilson.

The second was losing a location for one of the scenes.  We planned a pool scene and the power at the pool location was lost due to a freak lightning storm, so we ended up having to change the location 30 minutes before we started filming to the back porch of our primary location, which had no production design or water.  It also compromised the script, so we had to do an emergency re-write, which was difficult all while trying to do so many things at once and lacking a certain focus.  Trey Lafave, David Hamilton Wilson, Nancy Thanki, and Raqchel Walker did an amazing job making an ordinary space, into something extraordinary in less than 30 minutes, using candles, bowls, holiday lights,  and flowers.

Any tips you can share with others about the production process? 

I won’t lie, making films might be one of the most challenging experiences of my professional career, which is why I love it, hate it, and can’t stay away.    The energy on set is amazing, so much creativity and synergy, but it can get very hectic.   I think attempting to remain calm under pressure,  trying to listen before reacting, and  walking away when you need a moment to think would be my best advice to those starting out in the entertainment industry.

Filed Under: Blog, Films

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31/01/2012 By Leave a Comment

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12/11/2011 By Leave a Comment

 

Filed Under: Films

TAKE ME OUT: Interview with Director Michael Harper

12/10/2011 By 2 Comments

As part of the film screenings at Get Connected each month Blank Stage seeks to feature the hard working directors behind each of the projects. Enjoy the interview!

Are you looking forward to your film screening at “Get Connected”?

Definitely.  I’ve heard some very positive comments about previous Get Connected events, and I’m excited to attend this one.  To have the opportunity to screen at an industry event is a special treat.  The people watching the film are industry peers; they know the trials and tribulations of making a film, so for me, their opinions hold more weight.  Get Connected gives me a chance to show the Atlanta film community what kind of movies I can make; hopefully Take Me Out is well-received.

Describe your past experience in the industry.

I’ve been working exclusively in the Atlanta independent film industry since 2007.  I work predominantly as a screenwriter, story consultant, and writing coach; I’ve started two screenwriters’ groups in Atlanta, and worked with several production companies.  In 2009, I also began working as a 1st AD, primarily for CakeBaby Productions.  Take Me Out is my directorial debut.  Our world premiere was at the 2011 Action On Film International Film Festival, where the film was named Best Short Runner-Up.  I was named Best Director at the 2011 Atlanta Horror Film Festival.  I’ve currently got two short screenplays I’ve written in production at different companies, directors and talent attached, with plans to shoot both by the end of the year.

What is your film about?

Take Me Out is a psychological thriller set during the last ten minutes in the life of Parker Lam, a baseball Hall-of-Famer and death-row inmate awaiting execution.  When he receives an eleventh-hour visit from former teammate Alex Mackenzie, Parker is forced to admit the brutal truth of his crime.  The film explores themes of friendship, brotherhood, love, obsession, rage, and ultimate accountability.

How did you come up with the idea?

I wrote the screenplay for Take Me Out in the summer of 2006, as a writing sample for the Los Angeles-based Writers’ Arc Screenwriting Fellowship.  The first round qualifying assignment for potential fellowship members was to craft a scene using two character names, a location, and a prop supplied by the Writers’ Arc.  But those details were merely logistical decisions for the story; the themes and conflict came from my personal experience.  I was planning my wedding at the time I was writing Take Me Out, and had recently moved in with my wife-to-be after living with my brother for two years.  Subconsciously, I’m sure I felt I was betraying my brother in some way by choosing my new wife over him, and was questioning the definitions and boundaries of brotherhood.  Add to that the minor familial and friendship discord that can arise when a man brings a new lover into his life, and my writer’s mind took these situations and pushed them to the extreme.  The Writers’ Arc guidelines just helped craft the perfect container for the story I needed to tell.

How did you go about making the movie?

The only way I knew how; by the seat of my pants.  Take Me Out was set up at two other production companies, with two other directors attached, at separate times.  Due to scheduling, financing, and the always fun “creative differences”, the shoots just kept getting pushed back.  Eventually, I realized that if the film was going to get made, I would have to produce it myself.  With my experience behind the camera as a 1st AD on other short films, and having directed several animated shorts, I felt confident stepping into the director’s role.  We went into pre-production in January, 2010, and after a major re-scheduling, shot the film in November of last year.  As a first-time producer and director, I made quite a few mistakes; luckily I was surrounded by professionals who taught me a lot, and the final product didn’t suffer too much from my inexperience.  It was a great learning opportunity for me, and I’m humbled by the success the film has found since its release.

Tell us about your cast and crew.

I was incredibly lucky to pull together such a dedicated group of talented filmmakers.  Rob Pralgo’s unrelenting work ethic really allowed him to dig deep into Parker’s psychology.  The emotional roller-coaster he endures during the film, from all swagger and ego through total devastation is harrowingly extreme, and Rob gave me exactly what I was looking for.  There’s a reason Rob works a lot; it’s because he’s so good at what he does.

I had worked with Stephen Caudill before, and when I began casting, he was the first person I called.  Stephen’s all-American look and his ability to really command the screen were paramount in his casting as Alex, and his off-screen friendship with Rob added so much to the subtext of the script.  Together, they were the only choice for this film.

Steve Coulter is one of my closest friends in the business, and hands-down the most talented person I know.  He writes, acts, directs, slices, dices, and makes cole slaw.  He joined us late in the process, mostly because I was afraid to direct him because I just love him so much.  But once I saw him with Rob in rehearsal, I knew they were going to generate electricity on screen.  He brought the perfect balance of humor and sympathy to the prison guard; he’s just great.

Mindy Castellanos was suggested to me for the role of Marjorie by a mutual friend, and once I saw a photo of her, I was instantly smitten.  And when we met, her energy and charisma were infectious.  I realized she needed to be a bigger part of the film, so I expanded her role, only for most of it to end up on the cutting-room floor through no fault of hers.  She’s awesome in the film, and I look forward to working with her again on something where I can really help her shine.

Behind the camera, my lead producer Kelly Silverman was instrumental in getting Take Me Out to the screen.  Kelly is a mixture of drill sergeant and cheerleader; she kept me on task and always made a point of telling me how great the finished project would be.  If she ever had doubts about the project, she never let it show; she was always 100% positive.

Tim Glover was our DP; I’ll never be able to say enough about that man.  He’s a magician with a camera, and a phenomenal director himself.  Take Me Out was the fourth time I’d worked with Tim, and he brought so much to the look of the film.  He’s one of the best in the business, and I’ll work with him any chance I get.

In the cutting room, I was lucky enough to have David Silverman as my editor.  David, like Tim, is a great director on his own, and his eye was so helpful in editing Take Me Out.  We worked a lot of long days getting the film in shape, and David’s input was invaluable.  I learned a lot working with him, and enjoyed the process.

And the rest of the crew, everyone from the Executive Producers to the PAs were all 100% on their game.  I’d work with all of them again in a heartbeat; they’re some of the best industry professionals the Atlanta area has to offer.

What will the audience enjoy about your film?

For me, the most important – and resonant – aspect of a film is truth.  Special effects are cool, cinematography can set a beautiful mood, and sound is vital, of course, but the truth of a script, or a performance, or especially a theme, is what, in my opinion, stays with an audience long after the credits roll.  So the story of Take Me Out, while completely fictional, is told honestly.  Most of us know what it’s like to be betrayed by a best friend; a lot of us know what it’s like to lose the most important person in our lives; most of us know what it means to stand toe-to-toe in conflict against someone we love.  These are the universal true-life inspirations for Take Me Out.  Alongside those truths, though, is an ambiguity I fought to keep in the forefront of my mind as we made the film.  I don’t want to answer every question the audience might have during the course of watching Take Me Out; I want the members of the audience to form their own individual opinions and answer their own questions from the depth of their own experiences.  But if they’re just looking for a fun, intense roller-coaster ride, they’ll get that, too!

Any war stores from the set?

No more than the usual stuff.  We shot outside, overnight, in November, so it was cold; very cold.  But my cast and crew were all professionals, and they did their jobs beautifully, with no complaints.  The big thing, I guess, was we lost our location the day before the shoot, so we had to regroup and shoot at a location without a fence.  The prison fence you see in the film is just two four-foot by eight-foot chainlink panels zip-tied together, and held up by two c-stands.  I had to throw away my storyboards and replan the whole shoot, because the logistics of the short fence really limited our choices.  I think the close angles give the film a claustrophobic feel though, and it works.

Any tips you can share with others about the production process?

It’s old advice, but it’s so true, it bears repeating:  a minute in pre-production will save an hour on set.  As independent filmmakers, we don’t have the luxuries of long schedules and large budgets.  Plan, plan, plan for everything, and then plan for things to go wrong, because something will.  And surround yourself with professionals who know their jobs and do them well; their experience lets you trust them to handle the small problems that pop up during production.

 

TAKE ME OUT facebook fanpage: https://www.facebook.com/takemeoutmovie

GET CONNECTED facebook fanpage: https://www.facebook.com/pages/Get-Connected/150061968382511

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