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PostPosted: Fri Jul 07, 2017 4:41 pm 
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maxfrost wrote:
circuitsnake wrote:
Live a Little is playing in San Fran on June 18th if any of y'all live round those parts.

I just want to apologize for not seeing this film when it was here, but I ended up having to work that day and got off too late. And that I'm particularly upset about missing it as the venue was only eight blocks from where I live.


That's so cool! I didn't get to go either as I'm prepping a move to LA. What's the neighborhood like? The only thing I've heard about the screening was that the audience liked the film, but the actor that attended didn't like a continuity error with his beard or lack thereof. The film is bound to crop up online sooner or later.

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PostPosted: Mon Jul 10, 2017 10:09 am 
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circuitsnake wrote:
What's the neighborhood like?


Justin can add or subtract from this, but the venue is in the heart of the Fillmore, which was and--to a certain extent--still is the center of black culture in San Francisco since WWII, but which, since the mid-Sixties, has been undergoing gentrification and, thus, crystalizes what's best and what's worse about the City.

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PostPosted: Mon Jul 10, 2017 1:14 pm 
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Man, that neighborhood is like two buses away. Who has time?

But here's some gentrification/"urban renewal" history anyway.

SF neighborhoods are pretty interesting. Oftentimes you're two linear miles from home but the crowd can be vastly different. Last time I was up there (for Rogue One at the dear departed Kabuki), the crowd at the local bar seemed much more East-Coast-college-y than my usual haunts.


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PostPosted: Sun Aug 06, 2017 1:26 pm 
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Now word yet on american distribution for MOLLY (though I heard it's under review with a bunch of distributors), but that hasn't stopped me from wrapping principal photography on my next film. This is the one I've been trying to make for years and years. This is my baby. I feel like I've finally shot the action movie I've been trying to make all these years. I might even be done with action for a while. I can't wait to start editing this thing.

Here's a bunch of random stills (ungraded, just basic contrast) that the data handler collected during his late nights of copying those giant RAW files unto backup disks.

In contrast with the colourful thing we did on MOLLY, on this one I really wanted to shoot a movie that was told through contrast and atmosphere. Something that would work just as well in black and white.

Spoiler alert, I guess, but hopefully, as with any great action film, the surprise isn't WHAT's gonna happen, but HOW it's gonna happen. Just couldn't not share this with you guys. :mrgreen:



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PostPosted: Sun Aug 06, 2017 1:44 pm 
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That looks so fucking cool.


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PostPosted: Mon Aug 07, 2017 5:09 am 
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Can we get a full shot of the trampoline in Still #31?

(This shit rules, T)


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PostPosted: Mon Aug 07, 2017 10:17 am 
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Thijs, you're really putting the rest of us to shame. Keep it up. I'm still stoked for Molly, but this looks next-level good even compared to that. Can't wait to see more!

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PostPosted: Mon Aug 07, 2017 1:52 pm 
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Really interesting, feels like a spiritual successor, similar, but different enough to move into new narrative territory. I like how you have immediately jumped into the next project, always wanted to have a steady fund to do that. Dare I say.....are you planning on a trilogy??

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PostPosted: Mon Aug 07, 2017 2:12 pm 
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As always you guys are way to kind. I'm just lucky to be a part of this crazy bunch and that I'm able to share this with you guys.


tsukasa13 wrote:
Thijs, you're really putting the rest of us to shame.

You're either underestimating yourself or overestimating me.


circuitsnake wrote:
I like how you have immediately jumped into the next project, always wanted to have a steady fund to do that.

Luck, more than anything.


circuitsnake wrote:
Dare I say.....are you planning on a trilogy??

So this one is actually a prequel to Molly, although it was written before I wrote Molly. I made Molly 'cause I wasn't able to fund this one, and to show the investors and sales agents and all those businessy people that I had what it takes to make this one. 'Cause this is the one I really wanted to make. So chronologically, this is the first. This one's a coming of age story, finding your own power, that sort of thing, and then Molly is about motherhood, taking responsibility for someone else, passing on the torch. Kind of like Terminator and Terminator 2, or Alien and Aliens. Though I wouldn't dream to be able to compare to those films in any other way. Seeing as what happened when Alien and Terminator got their third instalment, I think maybe two is all you need?


Rocco wrote:
Can we get a full shot of the trampoline in Still #31?

Image

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PostPosted: Tue Aug 08, 2017 6:34 am 
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HA! Thanks :D


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PostPosted: Tue Aug 08, 2017 8:28 am 
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Pretty f*ck*ng amazing!

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PostPosted: Tue Aug 08, 2017 9:58 am 
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tsukasa13 wrote:
Thijs, you're really putting the rest of us to shame. Keep it up. I'm still stoked for Molly, but this looks next-level good even compared to that. Can't wait to see more!

THIS
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PostPosted: Wed Aug 23, 2017 6:25 pm 
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found a company for distribution, deets to come, also I looked back through the How to see The Brothers Bloom forum and boy was I a brat in 2008.

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Chonkyfire, spliced with rock n'roll indubitably, piper pied." - Andre 3000


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PostPosted: Thu Aug 24, 2017 12:14 am 
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circuitsnake wrote:
found a company for distribution, deets to come


Yes! I'm sorry I wasn't able to help, but I'm very glad you found a company yourself! If there's a DVD/Blu-ray somewhere along the line, I'll make sure to buy it.

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PostPosted: Wed Sep 06, 2017 12:40 am 
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Awesome T-Jones - looks fucking fab and can't wait to see BOTH projects.

...In the meantime, I've gone to Australia for a 15 day adventure and come back with another "unscripted" road trip film. Tried this once before on a much, much smaller scale with "Colorado" (https://vimeo.com/192293704) - and for those of you that have watched that, well, it was easily a large departure from the likes of "Apocalypse, CA" or (insert any other movie I've made here). "Australia" is only kinda unscripted. It played out more like one big giant experiment in filmmaking, rather, starting with a simple plot line and taking it day by day.

The plot we set out to make, in its most basic form:

Alex proposes to his girlfriend on the way to the airport in Los Angeles. They're about to embark on a vacation to Australia together... but she says NO, and ditches him before the flight. Alex goes to Australia anyway...

Knowing that much, I first found an actor to play Alex - his name is Tommy O'Brien. Second, we set out a very general plan to get from point A (Melbourne) to point B (Perth) - a 2,123.7 mile journey. From there, we placed a number of casting calls in cities along the way, and ultimately cast out the movie where/when we could with people admittedly naive enough to join our insane adventure. Hannah Lehmann, an Australian actress local to Sydney, flew into Adelaide to join us for the latter half of the film shoot (Adelaide to Perth), and from there we were really able to craft a pretty solid two-character adventure (and not just another one-person drama, like "Colorado"). The end result will probably resemble something along the lines of the "Before Sunrise" films.

Each day went something like this:

Wake up relatively early (but never super early), get coffee, hit the road, film wherever and whatever we needed to film, usually until midnight, actors would sleep and then I'd stay up until 3am writing scenes for the following day. Compounded over two weeks straight, this was all pretty exhausting and some nights I just couldn't keep my eyes open to write even a word. Most of the intense scenes ended up with a script before attempting to film, but there were more than a handful that the actors simply had to figure out on their own, usually while I was racing against the sun, trying to get the shot before losing all light (and hope, with it). Filming on the road was the easiest - usually because the scenes there were transitional, whereas when we'd hit a major city or port, the plot would have to thicken, and scene complexity would follow. Continuity, for a good chunk, was maintained by the actors, because my brain simply couldn't remember everything we'd filmed - what lines were spoke, etc - by the end of our shoot. In one case, the actors finished reading a scene I'd just written, and they looked at me to say, "Chad, it's great, but sixty-percent of this dialogue was in our scene three days ago." That's how exhausted we were by the end. Despite that, I'm still confident we somehow pulled it off, with any repetitive scenes! hah...

The film *should* end up being feature length when it's all done. We've still got the entire Los Angeles stuff at the beginning of the film to take care of, and I'm not quite sure when that'll happen, but hopefully soon, before we get too far removed from it.

A couple musings, from the shoot...

-- People are incredibly generous in South Australia. Not a single person told us we couldn't film somewhere, if asked, and we only caught a "no" here and there when we were asking people if they'd like to be in our movie.

-- I was the only crew member, outside of the cast members, shooting on 8K with a Red Epic-W camera (helium sensor). I had three Leica-R mount lenses to work with; a 19mm, a 35mm and a 50mm. Sound was boomed (on locked-off tripod shots) or microphones were clamped in place around the scene. I was working with two shotgun microphones; a Schoeps CMIT-5U and a Sennheiser 416. Had I not trusted my instinct to rent the Sennheiser 416, I'm not sure we could have filmed MOST of the scenes we filmed. I rented the 416 as a potential backup, but quickly learned I needed a second source in larger scenes (or even in the car scenes, when we had two mics clamped, one for each actor). Perhaps Lav mics would have been better, but I am unfamiliar with them and didn't want to deal with the excess bullshit that comes with it (sending, receiving signals and all the additional battery power that we'd have needed). On the locked-off shots I'll have to paint myself out of most of them - sometimes I'd be up-close, booming the actors from within the shot - a technique we used a whole helluva lot on House of Cards.

-- Any number of things could have stopped production at ANY point along the way and we'd have been screwed. Among those, primary would have been equipment problems (things not working, etc), theft (none, thankfully), international customs (travelled with a Carnet for my gear (a passport for equipment) - which cost like $500), car rental could have exploded, actors could have bailed, we could have died, etc, etc, etc. None of that happened. Well, mostly. We did have a battery charger (for the camera) die on us mid-way thru the Nullarbor... and I thought we were fucked for a minute, until I realized the camera itself will charge the batteries (Redvolt XL) when powered-off and plugged-in.

-- Some highlights along the way: Adelaide is an awesome city. Would love to return. Quorn is also awesome. The Nullarbor, which is basically nothing but desert and dead kangaroos, still had cell reception and 3G for the vast majority of the trip. Not until we reached Western Australia did we start to have "no service" on our cell phones. Perth was great, too, but in it's own unique way. As desolate as some of the trip was, honestly it's not much different than a drive through the American southwest, except that the sights were more beautiful and, yes, the population is significantly smaller. What amazed me most is just how EMPTY the areas surrounding Perth are. Perth is a large city, but it is surrounded by absolutely fuck all.

More soon.

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