The latest film to be made is one of my favourite scripts. John Ondo from Columbus, Ohio has made The Hack as part of a filmmaking class he runs for a non-profit arts centre.
Hope you like it.
Today’s film is an adaptation of The Department for Accidental Advancement and the first two pager to be animated. It was made by the three Multimedia and Design students, Colin Grey, James Martin, and Kathleen Tran. It’s a lot of fun.
Here’s Colin’s introduction:
The short film was created by three students, studying Interactive Multimedia & Design. The courses in the program cover a multitude of different topics, though this course in particular acting as an introduction to 3D Computer Animation. As the project assigned was required to not be too short or long in length, Two Pages A Week was recommended by the professor, as a two page script provides a fairly attainable scope in the time provided. After reading through some of the scripts to get a feel for them, we came across The Department For Accidental Advancement. This script in particular felt like a great mix of serious and funny, with unique character personalities and dynamic, which helped give an immediate mental image of what we could produce. We ran with it and ended up with what you see.
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…
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.
While I was on my recent hiatus I was surprised by the fact that the average view count on the blog never really went down (thanks guys!) and even more surprised and delighted whenever someone would contact me having made a film. I had intended to post the films as they came in but life got in the way.
So I’m going to start posting them now and through the coming weeks. The first one is a doozy, Niklaas van Poortvliet from London has adapted Line of Sight, renaming it Sniper. I’d just like to point out that these guys and girls got away with shooting on a London rooftop with a sniper rifle! Here’s an introduction from Niklaas:
Out of Sight jumped out amongst other scripts I had read, as it had a very interesting dynamic between its characters and also some action, which I had never really attempted. I knew when making this film that getting the right location would be paramount in making it believable. Getting the sense of height for the sniper to perch and look down from meant we had to find a rooftop in central London. Gaining access to a roof top in central London with no budget is hard, let alone with a sniper rifle, so we shot very early in the morning to keep a low profile, I had some sleepless night on the approach to making this but I’m so happy we managed to pull it off. I guess if a film doesn’t challenge you then you’re not learning anything. Thanks to everyone who got up early that day and helped out this little film together and thanks to Robert for giving us the script! Good luck to you all for future projects and email me if you have any questions or wish to collaborate in the future email@example.com
I love it and hope you enjoy it too.
It’s getting to a point now where there may be several productions of the same script happening around the world and it’s exciting to see how different directors interpret the same script in different ways. Here we have another version of The Gospel According to Dennis, directed by Paul Matian, and I love seeing how different it is to Sarah’s version.
Here’s Paul’s introduction. Hope you enjoy the film.
The Gospel According to Dennis is my first comedy and I’ve always been a little intimidated by the genre. It’s probably the most difficult genre to direct and at the end of the day it’s really hard to make people laugh. Fortunately, we had a great script from Robert to work from and by casting correctly we were able to capture some great improv between Carlo Aparo and Jimmie Tolliver.Robert’s script was so good to begin with that all we had to do was give the actor’s some freedom to ad lib. I think actor’s love that sense of liberty on set and I was very clear that they were free to bring anything to the table. Sometimes when actors memorize their lines they end up delivering a performance that’s flat or forced. In our case both Jimmie and Carlo simply had a conversation. We shot several takes and jotted down notes when some of the really good jokes took place. That liberty truly brought out some of the best jokes.Along with the crew, I found myself having a really difficult time trying to keep the laughter to myself. A few of the takes I just couldn’t hold back from laughing out loud and I ruined those takes. It was a very organic production and we had a blast filming the script. Our crew was small but nimble and I’m very thankful we were able to work with Matt Young (Cinematographer) and Mike Murrie (Sound). Hopefully we can all work together again very soon.