TIGER TAIL IN BLUE: The joke’s on you!

Last week I flew home from Chicago, while most of my friends and colleagues were flying home from Salt Lake City. Although I missed all the hubbub that was the 2011 Sundance Film Festival, I was lucky enough to be a part of a truly inspiring and rewarding experience. All that, and I still got to go sledding!

Frank V. Ross, a completely self-taught filmmaker, has made seven movies in the Chicagoland area. Not only does he write, direct and edit his own films; but oftentimes he’s one of the lead actors, he runs sound, and up until his last few pictures, he’s operated his own camera. Essentially, he’s a one man movie making machine. He’s also waited tables for over ten years and has no idea how to do anything else.

I first met Frank after a screening of his fifth film, PRESENT COMPANY, at the 2008 South By Southwest Film Festival. I was impressed with his ability to capture working people in real situations in an interesting way. Maintaining that balance between real people and the characters they play is key when creating a narrative meant both to convey the real world and to entice its viewers. Additionally, I’m fascinated in Frank’s remarkable ability to play jokes on his viewers and get away with it. He’ll often use suspense in humorous situations throughout his films to build the interest of the audience and then offer no real payoff. The audience will go along with it, oftentimes knowing they’ve been duped, because of his keen ability to distract and redirect.

As I read the script for AUDREY THE TRAINWRECK (our first collaboration), I found myself consistently amused, expecting something to happen and then chuckling when it didn’t. Frank even blatantly adds a title card, displayed after the main title while a supporting character has a tire blowout, that reads: “Or… These Things Happen in Threes.” Maintaining a pleasant vibe and keeping it fun for the audience, we ultimately get a payoff at the end – albeit, a non-traditional one.

In Frank’s latest incarnation, TIGER TAIL IN BLUE, he ups the joke’s-on-you ante. The film will thoroughly confuse some audiences and they’ll be constantly trying to figure out what’s going on. Whether or not the confusion over something so simple actually matters in the grand scheme of things is up to them. That being said, when discussing filmmaking over a glass of Scotch one evening, Frank said, “Movies aren’t a painting that you can stare at and make your own conclusions.” The endings don’t change, and the viewer can either accept that and go along for the ride, or not.

Some of the highlights in Chicago included reading an infamous John Wayne interview from a 1971 edition of Playboy Magazine, sledding down a hill on a snow shovel, Drew falling down the hill with all the sound gear (unscathed!), sausage and peppers, stares I got when I whipped out my koozie, realizing that I really enjoy slate jokes, laughing at how much fun it really is to count down the New Year over and over again in the middle of January. Somewhere in between all of that we made a movie. Follow TTIB on Twitter @TIGERTAILinBLUE.

In the meantime, the day before this edition of The SCENE Magazine rolls out, AUDREY THE TRAINWRECK will be screening in Los Angeles at UCLA. Towards the end of March, we’ve got a screening in The Netherlands. You can catch up with Frank while he’s waiting tables at Vincitori Restaurant in Westmont, Illinois – despite the fact that aspiring filmmakers should be paying him buckets of money to teach them how the heck to make movies.

Originally published in The SCENE MAGAZINE – February 2011

Find out more about TIGER TAIL IN BLUE, including links to still photos, Facebook and Twitter sites.

Filed under: Film Production, SCENE Magazine, Frank V. Ross, TIGER TAIL IN BLUE

That’s a Wrap on WUSS; Company Move to UNCERTAIN, TX

At this very moment, I’m surrounded by a comforting, slow-rolling breeze amidst the quiet air of the small historic town of Jefferson, TX. The birds are singing and I’m overlooking an overgrown backyard garden upon a second floor balcony at the Alley-McKay House Bed & Breakfast Inn. Attempting to clear my head, I’m mentally preparing myself for a chaotic nine day shoot for Eric Steele’s first feature length film, UNCERTAIN, TX. That much more intense, given we just wrapped on Clay Liford’s WUSS (previously MINOR IN POSSESSION) only a few days ago.

To be shot entirely on location in Jefferson, Marshall, and Uncertain, TX, news of the film shoot has already spread like wildfire in this small, tight knit community. While much of pre-production such as casting, preliminary crew hires and location securement, was initiated prior to principle photography on WUSS, logistics regarding photography, lodging, scheduling and general production were all tackled over the course of two fifteen hour days. In other words: we’re nuts!

But even in this brief, peaceful moment, I can’t help but reflect upon the absolute insanity that was WUSS. By and large the shoot went smoothly, albeit with ultra long hours. The actors really nailed it take after take and the entire crew was on point. Like all productions, however, the set of WUSS was not without its problems, culminating on the very last shooting day. Utilizing a “poor man’s” process trailer (i.e., a Uhaul trailer) we were filming all of the driving scenes. Down to the very last scene with two shots left, our trailer carrying the picture car carrying our actors was pulled over by Dallas PD. Fumbling to find something illegal with what we were doing, the stop ended up merely being an inconvenient delay―no tickets were issued and everybody went home.

Even more interesting and relevant, considering I recently joined the Kemah Volunteer Fire Department, was a small fire on set from the extremely hot exhaust of a generator. The fire started on the grass just behind the generator and ended up catching a furniture pad covering the generator to muffle the sound. Naturally, the location we were on did not have an accessible fire extinguisher; so we had to grab one out of the grip truck, parked in front. The fire department was called, as I put out the fire. Apparently, it was more amusing than shocking, given the fire was so small compared to the intense blast of the dry chemical in the extinguisher. All of this was caught on tape but then recorded over with footage of Tony Hale―probably a good idea.

Speaking of which, for those of you who are “Arrested Development” fans, Tony Hale is an absolute riot and a constant performer. There wasn’t a straight face behind the scenes during his time on set. Luckily, no one busted a take! Endearing, sweet and genuinely happy to participate, Hale was a welcomed addition to our cast.

Ultimately, even with some minor setbacks, a multitude of locations and complicated scenes with a lot of actors, we managed to pull off a great shoot. The wrap party took place at the historic Texas Theatre, where we showed a blooper reel and a rough edited assembly of about ten minutes to the cast and crew. All that behind us, we’re taking a break from WUSS in order to shoot UNCERTAIN, TX, where the small town vibe has created an interesting juxtaposition to hectic city life of Dallas.

It’s now 12:30 a.m. and call time is six and a half hours later. The house is silent, save for me, clicking away on my computer. Tomorrow we begin a brand new endeavor and my exhaustion is overcome by my anxiousness. I’m certain most of the crew is feeling the same way, having also just worked on Liford’s film. I’ll say it again: we’re nuts; utterly nuts.

Thankfully, we’ve got an amazingly talented group of individuals taking on this task. I’m once again partnered with my right hand man, Daniel Laabs―my production coordinator and friend. My wrap present to him after WUSS was a crumpled up one sheet for the film, TRASH HUMPERS, I found in the garbage at the Texas Theatre. While this seems odd to most of you, I’m sure―it meant a great deal to Daniel. Although I’m super happy with this serendipitous find (seriously, watch the movie and you might begin to understand why it’s so great), this time I might need to spring for a bottle of Jim Beam.

As silly as this will sound, I’m uncertain about where this film is going to go; although I’m quite certain it will be something great. Having a smaller cast and crew and a shorter shooting schedule in an intimate location will surely create an entirely different vibe. But that’s what movie making is all about. If it’s the same old thing every day, we wouldn’t be so driven to do it. This raw intensity is my passion and what fuels me―I can never stop making movies.

Originally published in The SCENE Magazine – August 2010

Filed under: Film Production, SCENE Magazine, Jefferson TX, UNCERTAIN TX, WUSS

Back on Set with WUSS and UNCERTAIN, TX

Update: The film previously titled “MINOR IN POSSESSION” is now titled “WUSS.”

This month, we begin principle photography on a feature dark comedy, tentatively titled WUSS (previously MINOR IN POSSESSION). Written and to be directed by Clay Liford, the film is somewhat of a follow-up to the Sundance short, MY MOM SMOKES WEED. Nate Rubin loosely reprises his role as “Mitch,” an awkward late twenty-something individual with little direction in life. A high school English teacher, Mitch finds himself incapable of relating to his students, his peers or his family. Barely managing to get through life as it is, things turn from ugly to worse when he’s beaten up by a group of his own students. Too embarrassed to tell his fellow teachers and having no where else to turn, Mitch teams up with Maddie, a young girl feared school-wide because of a dark family reputation. Bonded in battle, the student and teacher form a friendship that stretches the use of the word inappropriate.

The Film, to be shot in Dallas and surrounding areas, features a hodgepodge of local talent and well-known faces, such as Tony Hale from “Arrested Development” fame and Alex Karpovsky, who starred in Sundance favorite LOVERS OF HATE. Set to be shot in HD on the Canon 5D Mark II with all sorts of fancy lenses, rigs and adaptors, WUSS will continue a recent trend in independent (and some studio) productions of utilizing low cost camera solutions to produce quality, high definition video.

I got my first dose of the Canon 5D the last weekend in June while producing the short film NEAL, which Liford shot, about a poolside escapade that turns deadly for two lovers unaware of what lurks beneath the crystal clear water. Adding into the mix some heavy underwater footage, I was really impressed with what this camera can accomplish with the proper gadgetry―in this case, underwater housing specifically designed to keep the camera water tight. Although the most rewarding experience on this particular shoot was spraying co-lead Dallas based actor Ryan Harper Gray with a water cannon filled with fake blood.

We plan to shoot WUSS in fifteen days―a very small window of time, relatively speaking. During that time, I’ll be staying with one of my producing partners, Eric Steele, whom I stayed with during the production of NEAL. Lucky for me, I’ve already bonded with his dog, Jimmy―I’m hoping that’s some sort of omen. Along with general producing, I’ll be acting as unit production manager (UPM); meaning, I’ll be the primary producer on set. In short, I will be living, eating and breathing WUSS. It’s really hard for me to comprehend the fact that it’s actually been over a year since I’ve been on set for a feature (and other than NEAL, the set of a short, for that matter). Although, between film festivals, small dealings with distribution matters, and preparing for future projects, I’ve somehow stayed fully engrossed in filmmaking.

That being said, immediately following MIP, we go into pre-production for a measly five days before shooting our next project (also on the Canon 5D), co-written and to be directed by my future and temporary housemate. The film, titled UNCERTAIN, TX, is named for the small Texas town, with a population of approximately 150, on the west side of Caddo Lake; and will touch on it’s rich history and eerie superstitions. Although our principle location is a bed and breakfast located in the neighboring city of Marshall, there will be plenty of footage filmed on location.

Much like LOVERS OF HATE, which was conceived during a stay at the principle location, the script for UNCERTAIN, TX was largely written because of the already existing bed and breakfast. The film takes place on the banks of Caddo Lake and follows two drifting con-artists who deceive the aged, blind proprietors of a cozy bed and breakfast and their semi-retarded son by posing as two guests who have made reservations for the following week. They all sing songs and dance around and fish and garden and everything is quite comfortable and nice. And then… Wham!

Steele is interested in the reality of sudden changing moments. Heightened and stylized in the script, these moments can be very real and truly horrifying. Most of us have been in situations in life that suddenly, for whatever reason, everything seems to change. Without warning, the good times are over and our gut tightens up. What if we could pin point these moments and prolong them in cinematic time for an audience? A thriller, of sorts, I read UNCERTAIN, TX in under an hour on my iPhone on my way to Chicago for three screenings of AUDREY THE TRAINWRECK. Upon landing I immediately emailed Steele (and co-writer, Hunter Wood) the following: “This is incredible! I’m overcome with a sense of dread after completing the script! I read it in like an hour―couldn’t stop. I’m super excited about this and totally creeped out! Thanks a lot guys―my night is ruined!”

WUSS and UNCERTAIN, TX are just two of many films on the horizon. In early September I plan to work once again with my old friend David Lowery, writer/director of ST. NICK, on his short, PIONEER; but can’t give details on that just yet. Later that month, I’ll be producing Michelle Mower’s THE PREACHER’S DAUGHTER right here in Houston―with locations in Alvin and other surrounding areas. PD follows the estranged daughter of a small town minister who is forced to return to the strict, religious home of her youth and face the demons she left behind four years before. A small break in October to produce the Houston Film Race and then it’s back to Dallas in November for John Wildman’s STRIPPED, a film following the events of a birthday outing that turns into a horrific fight for survival when two brothers and a friend become trapped in a house with a “family” of malevolent women.

More details on those films and others currently in development as they come. In the meantime, I’ll be reporting next month from high school and the following knee deep in Caddo Lake.

Originally published in The SCENE Magazine – July 2010

See more information, including synopses, press and other information for WUSS and UNCERTAIN, TX

Filed under: Film Production, SCENE Magazine, MINOR IN POSSESSION, UNCERTAIN TX

Brief Film Updates

ST. NICK

Hello all! So, the last time I sent out an email, I was expressing my joy that ST. NICK had been invited to premiere at SXSW. As a reminder, those screening dates are 12pm Sunday, March 15th and 2:30pm Tuesday, March 17th. Both at the Alamo Ritz. I’ll be in town for five festival days, from March 13th thru the 17th. As of now, I’ve got a place to stay; but I’d really prefer to be a little closer if possible (no offense Bryan!). So, if you’ve got some space available, lemme know.

In addition, ST. NICK has been welcomed by AFI Dallas. The screening dates are Fri, March 27 at 4:15pm and Sun, March 29 at 12:15pm. Both at the Magnolia Theater. At this point, I’ll only be in town for the screenings. Talks haven’t even begun, but I’m sure there will be some sort of get together for cast and crew. PLEASE let me know your interest and availability and we’ll figure something out. Since many of the folks who worked on the film can’t make it to SXSW, this is an ideal place for a reuinion. I’m anxious to see all of you!

ST. NICK will also be screening very soon after in April… But I can’t say the festival yet. I’ll have to save that for another update.

So now I’m just waiting to see the final version myself! David literally finished it up yesterday… It’s totally locked and mastered. He’s now looking for a buck so he can drop a copy off to me in the mail.

Don’t forget to become a fan on Facebook and see our website at www.stnickfilm.com.

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LOVERS OF HATE

Bryan recently wrapped in Austin and from what I’ve seen so far, the film’s going to be really great. The performances were extraordinary… Especially the dynamic between the three leads. I was so happy to be there briefly during photography. And that I got to reprise my–er…Clay’s–creepy older nerd guy was worth the drive itself.

I posted pics on Facebook recently after my Austin venture. See them here, along with a very brief write up of my experience.

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AUDREY THE TRAINWRECK

I’m anxiously awaiting a rough picture cut in the mail presently… I hope it’s okay that I mention that (Frank? Frank, don’t hurt me!). Sound and scoring are in the near future and a cut should be available in September for festival submissions and whatnot.

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EARTHLING

My newest film, EARTHLING, written & directed by Clay Liford (I’ve helped produce several of his shorts: MY MOM SMOKES WEED, THE STRANGER and TIMENATRIX) is scheduled for principle photography April 4th thru April 16th. The film stars Rebecca Spence (GRACE IS GONE, PUBLIC ENEMIES, and… AUDREY THE TRAINWRECK!) who I was lucky enough to meet on Frank’s set; Peter Greene (PULP FICTION, THE MASK, THE USUAL SUSPECTS), William Katt (“The Greatest American Hero”, CARRIE, HOUSE), Jennifer Sipes (W, The Tree of Life), Harry Goaz (“Twin Peaks”, and… ST NICK!).

We’ve already shot some of the footage for the film and it looks amazing. I’ve been uploading some publicity materials on my Facebook and we’ve also got a fan page. Become a fan on Facebook and check out the website at http://everythingcomesfromthewater.com.

We’ve also had press releases from Fangoria, Cyber Monkey Death Squad and SciFiCool.com.

Filed under: Film Production, AUDREY THE TRAINWRECK, Dallas Int'l Film Festival, EARTHLING, LOVERS OF HATE, ST. NICK, SXSW

ST. NICK Will Premiere at SXSW.09

A year ago today, we were a week shy of principle photography on ST. NICK.  Making the final preparations, I remember walking into the “abandoned house” location after our production designer, Ellen Weaver, and art director, Jonathan Rudak, had made the finishing touches.  The next day we finished set prep work and took the kids out for some rehearsal footage and shot the “family photos.”

Now, a year later, I’m so happy and proud to announce that ST. NICK will be premiering at the 2009 South By Southwest Film Festival.  It’s absolutely the perfect festival for a number of reasons.  For one thing, ST. NICK was shot almost entirely in Texas and its certainly got a southwest flavor about it.  It was partially funded by a Texas Filmmaker’s Production Fund Grant, awarded by the Austin Film Society.  SXSW also means a great deal to me personally, as it was the festival that got me back into filmmaking.  And I owe that all to the writer/director of the film and dear friend, David Lowery.

I had recently arrived home from a month long stint in Central America and David and I met up at the Macaroni Grill to catch up on this and that over house Chianti and BYO pasta dishes.  I remember lying on a bench outside of the restaurant, basking in the sun and sporting my recently acquired Guatemala expressions t-shirt.  I told David I simply couldn’t go back to work so soon after such an experience.  You see, traveling to Central America had really opened my eyes to new and fascinating and exotic experiences.  Everything was so different and yet the same in that weird, we’re-all-connected, sort of way; and I think I knew this prior to, but to see it in reality was still very intense!  Dave sensed my sincerity and responded in that playful but genuine sort of way he does; and offered up an idea.  The 2007 South By Southwest Film Festival was literally days away and he was headed there to support other local filmmakers and friends.

The next thing I knew, I was off to Austin on a whim with no idea that it’d be such the catalyst for new things that it was!  I was immediately entranced by the whole spectacle when I arrived and found myself drawn to all the crazy parties and events that SXSW has become quite known for.  Partying down with Paul Rudd and Jonah Hill at the opening night party didn’t hurt!  And then there were the films!  2007 was chock full of some really amazing films!  Perhaps it was partly because I hadn’t seen a great deal of independent films lately, or it was just the whole festival atmosphere, but I was completely sutured in from the very beginning.  By the end of the festival, I’d had several discussions with David about ST. NICK.  I remember he left the festival before me and as he was driving home he left me a lengthy voice mail that I kick myself for not saving.  Completely positive and with passion and excitement, he stressed how happy he was with all of our talks; it was at this moment that I’d decided, without a doubt, to come on board.

So, if you’re in Austin around March 13th, please join us for our premiere…  Otherwise, I’m sure you’ll get your chance as the film rides the festival circuit this year.  In the meantime, please, please, please join our St. Nick Facebook Fan Page, where you can see photos and our recently released trailer.  I’ve also got loads of photos on my Facebook: Pre-Production Photos, Production Photos – Week One, and Production Photos – Week Two.  Also, please visit our website at www.stnickfilm.com.

Stay tuned for more updates and thank you all so much for taking interest!!

Filed under: Film Production, ST. NICK, SXSW

St. Nick at IFP -or- Where the Hell Have I Been?

I’ll answer the question first. My current position is Concord, North Carolina, where I’ve been diligently working so I can invest more cash money into films! Concord, which is about twenty-five miles north of downtown Charlotte, is home to all things Nascar–something I have absolutely no interest in. That’s not to say I don’t have interest in speed or racing. I had a ball at the Nascar Speedway, driving aimlessly in go carts at about twenty-five miles per hour, racing my co-workers and friends. Speaking of, with regards to interest in the sport of race car driving, I can’t say the same for them. Already, my co-workers have gone to several races (I declined) and one of them even has a Boston Terrier–a girl–named, “Dale E.” Either way, I feel a bit out of place here.

Adding fuel to the fire, there’s absolutely no vegan restaurants here, and finding decent vegan-friendly fare is next to impossible. Of course, there’s always Mexican and there’s a few decent Asian restaurants within a few miles, but largely, I’m cooking at home. I did find a really cool place in Charlotte called Zada Jane’s. A relatively new establishment, the quaint bar/diner (having a full bar in a diner seems fairly popular around these parts) has visual appeal, with its vibrant colors and interesting dishes. But let me back up. I’ve only had time to spend one Sunday afternoon in the Queen’s City. But what I found wasn’t the royal glory I’d hope to find. There are some beautiful historic homes and expansive parks, but the Mint Museum of Art was nothing to brag about (although there is a really great Chuck Close portrait). I found the culture of the city either dying or non-existent. Apparently, the Bohemian flavor of the city is located in an area of town called NoDa. But when I checked it out, all I found was a small concert venue, a cute live music lounge, one or two restaurants and a bar, and a few art galleries. I’ve seen more life in Dallas’ Deep Ellum and Deep Ellum is dead, Fred. A bit irritated, I walked into Solstice Tavern, where I found anything but “artsy” folks. In terms of texture, the bar had a traditional college tavern feel, but the clientèle seemed more the sports bar type. After grilling the bartender about all the Charlotte happenings, I downed my PBR and moved on down the road. Using the bartender’s directions, I found another small area of town with a few eclectic shops, a vegan-friendly restaurant, Dish, that was closed and the historic Penguin Drive-In. This is when I moseyed on over to Zada Jane’s. I was immediately greeted by Roger, the cafe’s owner. Less than a year old, the establishment blends in nicely with the neighborhood. I’d almost given up hope when I asked to see a menu. My mouth was dry and my mind bitter as I read over all the items. My mood quickly changed, however, when, in a last attempt–hunger pains a sorin’–I confessed my distress with Roger. I can’t quite remember his exact words, but they were something to the nature of: “Sit the hell down. You’re eating here.” I complied as he called over a gal from the kitchen. Fifteen minutes later I found a succulent curry dish with soy chicken in front of me. The seasoning was spot on and the price was right at twelve bucks (considering he could have charged me anything, given it wasn’t on the menu). Thirty minutes later, I found myself outside with Roger playing real life shuffle board (this ain’t the mini push boards either!) and drinking cold beers, well into the evening.

So that’s where I’ve been… except for a brief, glorious stint in New York, the second week of June. When David informed me that St. Nick had been accepted into the prestigious IFP (“Independent Film Project”) Narrative Rough Cut Labs, I immediately bought myself an airline ticket, and eagerly anticipated my arrival. Lucky for me, I was graciously welcomed into the home of Marc and Colin Raybin (Marc produced Frownland), located a mere 1.3 miles away from Soho House, the hotel that hosted the IFP Labs. Contrasted with Charlotte, New York has all the vegan food you can eat. My favorite was the comfort food (hot wings, pizza, Philly cheese steak, buffalo chicken, etc.). But enough about food…

I can’t think of a more invaluable experience then the IFP Labs for aspiring filmmakers. Being the newbie that I am, I found the week packed with information and real-world knowledge about the independent film industry. The labs consisted of film-specific notes on editing and composition with industry professionals and in-depth discussions of legal concerns, during the filmmaking process. In addition, we discussed the positives and negatives with regards to traditional and alternative distribution models, during the post-production process. But most importantly, we learned what to look out for, and garnered valuable industry knowledge. It was also really cool to catch a sneak peek at what will most-likely be some of the films on the festival circuit next year, and to meet the filmmakers who made them. I really can’t wait to review the plethora of notes I took when me, David and James sit down and discuss the future of St. Nick.

Filed under: Film Production, Travel, IFP, ST. NICK, Veganism

The Weekend of 420: Probably Not the Best Time to Film in a Head Shop

Nate outside the Gas Pipe

It was Friday, April 18th around eleven o’clock in the morning. The morning and evening before, I’d called a local head shop…er smoke shop, Pipe Dream, only to get the runaround. At 11:00 AM, this Friday morning, I was determined to get a location set up for the final scheduled shot–the first shot of the actual film–for My Mom Smokes Weed. I called the Gas Pipe and immediately I was interrogated: was I part of a news crew? After briefly explaining that I was merely part of an independent film production, the manager assured me he’d get an answer from corporate, by the end of the day. The end of the day came and went, and still no answer. Clay physically went to an independent shop in Deep Ellum, The Deep End, and got permission to shoot there. The morning of our shoot, I also secured the Gas Pipe as a back up. Thanks go out to both of these fine establishments.

Here are some stills:

Clay Liford films nervous Nate Rubin as he passes the head shop. Barak Epstein on sound and me wrangling! Thanks Yen Tan for the photo.

Deep Ellum's own, The Deep End, ended up being a better location; and we got to support a dying neighborhood that frantically needs our help.

Clay and Barak filming Nate walking up to The Deep End.

Scary, tattooed man, James M. Johnston scares little-pansy-boy Nate in this clever piece of foreshadowing.

Finally, a brief photo study of producer, Yen Tan:

See additional photos on Facebook!

Also, Check out writer/director, Clay Liford’s MMSW blog post!

Filed under: Film Production, MY MOM SMOKES WEED

My Mom Smokes Weed

As the title suggests, Clay Liford’s semi-autobiographical short, My Mom Smokes Weed, is a film about a son and his relationship with his pot-smoking mother. Chip, a straight-laced squirt who really needs to shave, pays a much needed visit to see his septuagenarian mother, and, upon arrival, is met with a barrage of smoke, his high mother a flurry of awkwardness. Although uncomfortable Chip completely disapproves of his loopy mother’s illegal dabblings, he somehow finds himself on a wild quest with her to score some Marijuana. But submissive Chip will soon find that uncomfortable situations are the least of his problems.

Chip’s septuagenarian MOM sits on the edge of her bed,
fastening a smoldering bud to a roach clip.

Cinematographer Jason Croft and key grip/gaffer Chris Simpson strap down an HVX to the hood of producer Yen Tan’s car.

The HVX strapped down to the hood of Yen’s car with sound guy, Barak Epstein, and camera dude, David Lowery, inside.
Unfortunately, the production saw it’s own bit of misadventure when said car backed into Jason’s vehicle! Fortunately, however, the incident was minor and no one–nor any camera–was hurt.

Enthusiastic Nate Rubin (and sleeping Barak) before he smashed up Yen’s car. Sorry Nate! Keep smilin’!

Fans of Yen Tan will recognize this similarly blocked shot from Ciao. Mother, Sylvia Luedtke, and son, Nate Rubin, tepidly approach the ill-fated drug dealer’s apartment!

The looming drug dealer towers over mother and son. Nervous Nate appropriately reacts.

Sandwiched between his mother and really creepy gang banger, Chris Gardner, Chip finds himself in yet another uncomfortable position. To make matters worse, his mother overtly flirts with Rastafarian, James McKinley, and passes glances back-and-forth with strong man, John Phelan.

A gleeful mom passes a joint to her new Rastafarian friend, as drug dealer (and Starbucks barrista) Scott Logan looks upon .

John continuously lifted weights throughout the course of this entire shot!

James and Sylvia share a moment while Chris is passed out.

Sylvia hits the TIMENATRIX bong!

Meek Nate finds himself in a threatening position with Scott on the balcony, as Tanner faithfully watches over.

Jason also finds himself in a threatening position shooting the balcony!
Check out a short video of Chris teaching Sylvia how to properly hit a bong!

As I’ve said before… Also, thanks much to Ellen Weaver for procuring the fantastic “water pipe” and herbal smoke-stuff (yes, it was fake. I swear!). Thanks to Chipotle for donating burritos for the cast and crew one out of the two days. And thanks to Jerry for allowing us to rampage through his apartment!

See additional photos on MySpace and/or Facebook.

Filed under: Film Production, MY MOM SMOKES WEED

St. Nick: That's [Sorta] A Wrap.

Today David and I met with the kids to give them a reel David cut together. It’s been almost two weeks since we wrapped principle, so it was great to see the kiddos again. David’s already cut over twenty minutes of footage (and that’s just been the last few days since we got back from SXSW!) and apparently it’s looking great. The reel was super-rad-cool so I’m anticipating a great film!

Here are a few more stills from the last few days of principle photography:

Tucker’s bloody hand. Interestingly enough, apparently David has written this in many of his scripts.

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Mark Sharon sets up the log gag. In the film, the boy sets it up as a trap. Barlow Jacobs plays a contractor who’s the first to find the trap… Will he get hit? Will it hurt? Will he die? Will he bleed? Oh, the suspense!

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A superhero ice cream truck.

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Jonathan “Rambo” Rudak sets up some candles.

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Filming across the street from the abandoned house.

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The impeccable Bosque Brown, along with Curtis Heath (of The Theater Fire). Thanks much to Curtis and Valerie for allowing us to ransack their home!

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A picture perfect family?

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This is what happens when an actress doesn’t obey David “The Dictator” Lowery!

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Below are some photos from Annetta North. Thanks to James’ grandmother for allowing us to shoot on her ranch and for the Town of Annetta North for allowing us to shoot at an abandoned church. Oh wait, we didn’t have permission. Well, thanks anyway.

Yen with some ass!

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Poster, t-shirt or postcard shot!

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Welcome to Annetta United Methodist Church.

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Annetta North railroad tracks.

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Officer Donaghey sees something strange.

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Hot cop ass?

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Pick-up shots after Martin left. Thanks Barak for stepping in and helping!

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Convenience store location. Thanks to Lin for allowing us to shoot!

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That’s a wrap… For now. I’ll have all the pictures available on my MySpace within the next day or two. In the meantime, check out more stills from Jonathan Rudak and from James Watkins. Thanks guys!

Filed under: Film Production, ST. NICK

TIMENATRIX

As soon as David and I were back in Dallas from SXSW, it was back to work on a new short film from writer/director, Clay Liford–who played one of the four leads in the short, as well. Shot entirely at Barak Epstein’s abode, the film shows us one of the lamest excuses for adultery ever!

Based on the collected erotica of D.H. Lawrence, TIMENATRIX takes us where other films only dare to dream! We find ourselves in the past… the present… the future! TIMENATRIX will make you laugh… Cry… But in the end, it really just makes you want to toke up!

I’ll bet you didn’t know time travel was powered by the obvious–yet, never realized until just now–connection between a bong and an Atari joystick!

Chris Gardner (as “Chris”) and Robin Gierhart (as “Robin”) heat it up. David on B-Cam and guess who’s on boom? I’ll give you a hint: he’s the moron with a broken collar bone that thought it’d be cool to do sound for the day!

Dual cameras! David Lowery afar on B-Cam and Barak Epstein on A-Cam.

Clay Liford (as “Clay”) getting jiggy with Beth Featherstone (as “Beth”; and don’t worry Sharon and Chris… This is for a moooovie!)

Also, thanks much to Ellen Weaver for procuring the fantastic “water pipe” and herbal smoke-stuff (yes, it was fake. I swear!). And for taking stills for me while I was on sound. Also involved and not mentioned: Yen Tan on P2 cards and in a general producerly capacity; and Sharon Wright on catering. Fun shoot, guys!

See additional photos on MySpace or Facebook.

Filed under: Film Production, TIMENATRIX