Digital Film Design
Post Production for Digital Films
We knew going in that filming in the US would have many advantages: we knew it, we spoke the language, we had many resources, it was accessible. We also knew that for a film this ambitious, it would have many roadblocks and disadvantages as well. Using friends, family and neighbors is great for that weekend shoot, but we were trying to make an action film with ongoing characters, big action, complex dialog and staging.
Our single biggest resource here was the deep pool of acting talent. Mostly because of Rob's association with and working with most of the working actors in the Southeast, and his own reputation for high quality performance, we had access to every type of actor\actress we could use. Further, the fact that he has worked with the major agencies of the area, meant that we could use their expertise and experience as well to round out our cast. Special thanks to Atlanta's PEOPLE STORE for their help and willingness to introduce and recommend actors for castings we were unsure of.
We were also able to adapt the story to the locations we knew or thought we knew we could convince people to 'donate'. The opening scene in the woods, the restaurant, the strip club, and the strip club office, the DC ' War Room', and the flashback to Jack and Jim's childhood house, were written around these resources. Others were found and or scouted in the traditional ways; Roanoke River, the historic cemetery, the DC conversation with Rourke, and the underpass where he is shot.
The other locations were done much like locations in Thailand. I knew I wanted the story to have an international feel that went beyond just being shot in 2 countries. I knew I wanted DC. We were told it would not happen easily and would have to 'steal' the location. Easy enough for a quick shot, but I wanted to stage a scene - action and dialog. I always knew I wanted Miami. Again, easy enough if all you are doing is taking beauty shots. I had lived and worked in Miami, so knew where I wanted to film. Calling friends to try to arrange permits turned out to be impossible in that the location was 'locked down', and not available to anyone for filming purposes (unless of course you have Michael Mann money and clout - and guess what? We didn't.).
The great thing about most of these cities is how many people from all over the world have been to all of them. This allows much of the audience to bring their own emotional and mnemonic paint to colour their perceptions of our scenes.
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Roanoke River, Roanoke, Virginia in the fall... Our first American scenes were shot in the fall of 2003 in Roanoke Virginia. I had seen the location on my way to visit Rob on the set of Storm Catcher's "The Feeding", and had made many phone calls to friends we had made to time the turn of the foliage. With Rob filming, we timed the early morning sunset for the walk on the river, and then spent an extremely physically taxing day climbing up and down on both side of the bridge and on both sides of the river. The steepness of the trails as we carried our camera and tripod made for an exhausting day. Almost every camera set up required another 20 to 30 minute climb by either or both of us, and then of course I did the rock climbing as Rob scrambled to find additional angles. The angle of the railing on the bridge meant that we had to go handheld on our long beauty shots, (thank God for post stabilization), and I know that as I climbed down and Rob did the opening shot, he was trying to remain steady with cold gusts of wind that day that topped 60 miles per hour. More coming soon... |
Washington DC with no hope of permits.... Rob plays an ongoing character for the productions of the United States Postal Service filmed by friends of ours (Les Rayburn of High Noon) out of Birmingham, Alabama. Having dealt with filming and the government for years, we were assured that no permits would be forthcoming or available, and that with the increased security of Post 9/11, even less likely. Still, knowing that the story would benefit by showing - not telling - that Jack's life was being manipulated by power struggles beyond his reach and knowing, I was determined to film there. And no reason to film the lesser sights, I wanted the Mall, with the resultant shots of the Capital Building and opposite, the Washington Monument. It would be nice to say the powers that be loved our script so much they gave their blessings, but these shots were also 'stolen'. We too would have liked a steadier camera and realized before we shot how much tripods and dolly's would add, but the red flags would have been TOO obvious. I am sure the 2 Secret Service men who approached us did not buy the statement that I was just making a little video for my mother, but I guess we looked harmless or stupid enough that they dismissed us as threat and let us film. More coming soon... |
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Miami - drive on Fri, scout Sat, shoot Sun, go home Sun I had tried to line up permits through friends of mine in Miami to shoot on the 'point' of South Beach Pier. I was informed that it was not to be and that there would be major security, (Miami is a major international port of entry) so sneaking it would be out of the question. We drove the 11 hour drive and through an additional 3 hour delay and made it to Miami at about 1 am, got up the next morning and scouted for the location. Nothing seemed as good as what had been originally envisioned, though we did find an alternate for part of the shoot. Murray was played by Robert's real father, Mel Pralgo, who's chops included such dubious credentials as Frankenstein's Island 30 years ago. We flew him in from LA Sat. afternoon. With a lot of noise and a huge rotoscoping job afterward to remove and change every visible logo and ship name, we were able to film the entire scene Sun morning exactly where I had dreamed. We were packing up and walking away as 3 different sets of police and patrols arrived. We are all thrilled at the performance Mel gave and the 'weight' he brought to the story and film. I think even Mel had to be surprised at the final result, and for the film, it's another showcase acting performance. The script even called for an old Spanish fisherman, and as luck would have it, we found Luis Torrens just finishing up. He was thrilled to be in the film and we were thrilled to have him. The bodyguard was played by my old weight training partner, Curtis Allen. |
Atlanta - filming in our own backyard... The near opening scene of the father's funeral was done in Atlanta's Jackson Memorial Cemetery, the final resting place of Mayor Maynard Jackson and Margaret Mitchell (author of Gone With The Wind). It was the only scene of the movie that filmed with proper permits and permission of both the cemetery and the City of Atlanta. Still, we actually snuck back in a second day and did further pickups on another to round out the scene and add Rob's wrap around with his resolution at the father's grave. Once again, the key was casting, and I am thrilled with not only the main performances, but the bit players we pulled in as well. Also credit to Jeff Rose, who is not only a very strong actor and a film maker in his own right, but also an ordained minister. He took my key points and rewrote a powerful yet believable sermon. The intercuts with the 'blasphemous' ISF Team - Quint, Adam, Steve and Andrew - was the only improved dialog of the movie. Hats off to all of them for bringing their 'A' game. Throughout the filming of Blood Ties, we were able to consistently bring strong, working actors into each part, no matter how small. The fact that they treated the writing with dignity and respect, is what makes this story a 'film'. For me, the scene is very 'Tony Scott', with all the set ups and ingredients for the powder keg to blow; the cops, the ISF team, the 'Control team', the "Company Men', and Jack. In a 'TS' film, everyone would have unloaded on everyone else, helicopters and patrols cars would have swooped in; people would have died. For us, without money, the explosion is only a bit of angry words, and Quint and Jack's anger. |
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Catering for no budget films ... Rob's mother was also roped in to help, (pretty sure it should be part of the definition of a truly independent film - mother does catering!). On at least 5 different non consecutive days of filming, she cooked massive 20 pound pans of baked ziti with chicken breasts and loaves of garlic bread. Not only was it greatly appreciated by the cast and crew, it was one less thing for us to worry about! Though in Thailand, we could feed our cast (no crew) of 25 people for as little as 25 - 30 dollars, even baked ziti with chicken, salad, bread, fruits, cookies, etc.., cost several hundred dollars each day of shooting. Hats off to producers' mothers everywhere! Especially when they are as cool as Renee Bakal! |
Hey Big Brother, how would you like to be in a movie? Not only did I convince (pretty easily) my older brother John to play our Senator, (he just had to sit there with his dour 'big brother' look on his face), we also crashed at this house, had him drive us from Richmond to DC, buy our dinner, and then fix us breakfast and lunch before we headed back. The things people will do to be in the movies! And help their families. Though the part is small - like all parts, it's important. And I can not imagine anyone doing a better job than John David McClung did at playing Senator Goines. Okay, okay. It's a really small part. And I swear he'll have bigger part in the sequal. But just the same... thanks. |