Film: Ellipse

Today’s film is Ellipse, directed by Kevin Oh. Here’s Kevin’s introduction:

We chose Ellipse because it was short and sweet. Just the right length to enjoy the story (with a great turn at the end), but just short enough to do it on a tight schedule. I probably shouldn’t go into productions hoping they’d be easy ones anymore. First problems came up when we realized how understaffed we were. I’m the luckiest guy in the world to have an amazing wife who was there to organize every single casting session we’d have (and we probably went through at least fifty actors/actresses to find who fit the roles the best). Then the usual conflicts of scheduling the actors came up, other crew members who couldn’t make it, it started becoming a real nightmare. Also, my wife was beginning her pregnancy, and you can imagine how hard it was for her through such a hectic schedule. Finally, first day of shooting and we’re finally rolling the damn camera. The actors are going through the scene, and I can hardly believe it (it didn’t even matter if the dolly was loud as hell). Suddenly, from up above, all of us hear this horrid ripping sound. We had attached planets onto the beams above the set as our interpretation of the script, and fucking Jupiter began tumbling down into our atmosphere, choosing to bounce right between our actors. Dear God. I suddenly felt all the tension and stress built up in myself dissipate if only for a moment. The moment was too good we put it after the credits.

Other notes:
- Ultraviolet lights really helped us make a cheap looking set (which admittedly still looks pretty cheap) into a decent looking one.
- We were really trying to make the actor’s heads look like planets in orbit, thus the stark black interior of the cafe, and the slow revolving dolly in every shot
- We decided to use a famous Russian composer’s music for the film, which is interestingly enough set in space. This caught the attention of copyright laws and we got a chance to speak to this famous composer’s agent. We never contacted him directly, but we were under the impression he watched the film and thought it was ok. Then he proceeded to sell us the rights for fifty dollars. We have yet to get back to him.
- On our last day of shooting to get the shot of Eloise spinning around at the beginning, it ended up just me and the wife crewing alone (and of course the actress). We were expecting more people and even brought catering. More Subway for us I suppose.
- We were really torn on who got what part. We met with so many amazing actors and the film could have gone in so many directions that we didn’t know what to do. Ultimately, we saw our favorite Eloise actresses and our favorite Remy actors do the entire scene together in the callbacks. That’s how we ended up with our choice and that’s who we had on set. Now if only we the dolly would stop creaking during the dialogue…

Film: Taste

I haven’t written a script for this week due to being quite ill. Instead I’m going to finally get around to posting all the films that people have been sending me. Apologies to all the filmmakers for taking so long.

The order will be determined by how quickly I can find them in my email inbox. The first is Taste directed by Tyler Moldovan.

Enjoy!

Tattle Tale

A hard boiled tale of double crosses, subterfuge, and marbles.

This one was fun to write. Knowing that I had up to five pages to play with really opened the story up a lot. and I wanted to write something that is for children that can be enjoyed by adults.

The story is based loosely on something that happened at my school when I was a kid and I’d love to expand it into a feature one day.

Hope you like it.

Tattle Tale

A Permanent State of Readiness

The day has finally come for Donald the survivalist.

You may have noticed that most of my recent scripts are coming in over two pages, usually a full three pages. From now on what I’m going to do is write a short script every week that is at least two pages but no longer than five. I have found that truncating them into two pages often means sacrificing pace or condensing action paragraphs into large blocks.

This week’s script is a dark little number about survivalism.

I hope you like it.

A Permanent State of Readiness