Carlos Sarmiento
PalmTreeCS@aol.com

1. How did you come up with the idea for the film?

Actually I didn't come up with the idea. The credit goes to "Gilmour" Writer/Producer David Solomon. During the first year of film school, David and I were in the same section, and our first assignment was for each of the students to come to class and tell (orally) a 5 minute story...an experience that happened to us. David told his story, telling of how he was going through some tough emotional times and how he met a perfect (almost Angelic) stranger named Gilmour. He revealed that Gilmour, another young man and him shared a spiritual type of moment at a subway station in Chicago. I really liked the story for many reasons. Aside from being so personal, it dealt with spiritualism, compassion, mystery and healing. What was also intriguing to me was the "angelic" quality to Gilmour...how there are people that come into one's life at most crucial moment and turn your world around for the better. I told David right there an then that I could "see" his experience and how it could make a great visual tale.

2. How long did the production process take?

After the first drafts that David wrote, we then presented the script to the Faculty for approval. We wanted "Gilmour" to be our 4th year graduation thesis film. It got approved, David and I then continued to rewrite and tweak the story, the characters and some dialogue. The writing process was concluded by the end of our third year. During the summer, David polished the script. By this time we already had our key production team assembled (cinematographer, production designer, costume designer, composer, editor, and 1st assistant Director).

David and I started throwing ideas for who we would cast and what locations we would use. Luckily, "Gilmour" was the last of the 4th year productions to go out in the fall, so we had plenty of time to research and prepare. Once we started our fourth year in the fall of 1999 (September), we went location scouting, and conducted various casting sessions (Winston-Salem and Charlotte).

We finally completed the majority of our talent search and our locations. The next thing for me was, along with John Kelly, Shira Arnold, and Heather Flemish (Cinematographer, Production Designer, Costume Designer respectively) to talk about the look of the film and create the visual palette of the story. Once the locations were agreed upon and secured, I devised the plan on how I was going to film "Gilmour" and thus, created my shot list. The casting was coming together and already it was the end of October (Principal photography started in November).

We began shooting during the coldest days of the year in mid-November, all of our locations with the exception of one, were true locations, they ranged from city park, city bus, streets, houses, a clinic, and a restaurant. We shot for eight days (two 4-day weekends back to back) and two more days again in mid December. Since the story takes place at night, we had night shoots, they were cold, hard, and long, but with the help of a fantastic crew and wonderful talented actors, we pulled it off.

Post-production or the editing of the film started in early January and went on till the very end of the school year (May). The task was long and Adriana Minacapilli (editor) and I spent lots of nights working, trying out different ideas on various scenes and sequences. We finally got the film to slightly under 20 minutes (our thesis film had to be no longer than 20 minutes, including credits). Once we had picture lock, I brought the film to John Baumbach, the music composer. In less than 3 weeks John wrote a terrific score that elevated the film and gave it a different life. At the same time the film was put through the sound mixing and layback process. There we mixed sound effects, additional dialogue, and music.

About one week before graduation "Gilmour" was finally completed. It was then showcased at NCSA, New York City (Tribeca Film Center) and in LA (20th Century Fox Studios). I am happy to say that it got great responses from many people.

3. What challenges did you experience in the creation of the film?

Challenges will arise to any film in all its processes. The development was a challenge, dramatizing the script was key to tell an effective story. Even though David's original story was great, it needed a "filmic" edge. Then the challenge of shooting multiple locations, at night, with lots of actors, and in unusually cold enviroments. Still, the crew and cast, and myself all pulled together and perservered. Finally, the post-production phase was very long, and lots of endless hours and nights were put forth into tweaking the film. Still, with every challenge, new and better ideas came out - and that's all I can ask for.

4. What is your favorite memory from creating the film?

I think that every moment of the creation of this film are my favorite. Perhaps the biggest payoff is when it is finally screened to an audience. You no longer are working on the film, and basically you just stand back and let the film take a life of its own, and hopefully, the audience will enjoy it. Screening a film can be, and is to me, a very humbling experience. However, I must say that I love the principal photography phase (the shooting of the film itself). Its quite an awesome sensation to be on location with thirty plus individuals that are there to help you execute your vision.

The feeling you get when you are on the street or whatever location, and there are crew people everywhere, lights, cameras, and a group of wonderful performers that are visually interpreting your story, is wonderfully inexplicable. Also I have to mention Jackson Gutierrez, Jesse Hamilton, Turrel Dulin and Beatriz Abella (principal characters) all played their roles wonderully. They brought so much life and made the story complete - shooting scenes with them were always a greatly anticipated event.

5. When someone has finished watching the film, what do you hope they take away from the experience?

Naturally, I am hoping that they enjoyed it. Better yet, if they got something out of it, if they learned something about themselves, that would be great. I enjoy making "relationship" films, because it is there that I hope to bring out emotions, sensitivities - anything that stirs the human spirit.

6. What type of reaction has your film received from viewers?

The majority of them love "Gilmour". They appreciated the compassionate and spiritual story, the acting and the way the film looked. Of course, there were some that didn't really like it (but to this day, only a handful).

7. What advice would you give to aspiring young filmmakers?

Tell a story that means something to you. The rest will follow.

8. Please tell us about the next film you plan to work on?

I am always developing new ideas for stories, screenplays, films etc. I hope to complete my first feature-length script soon. In the mean time, I practice photography, read, watch movies, and observe people - this way, I can exercise the creative mind and eye.

9. What are your thoughts on the film industry in NC?

I truly believe that North Carolina has a lot to offer. I am very fortunate that my School of the Arts/School of Filmmaking experience was second to none. Shooting in Winston-Salem was great. I found the city and those that work there to be very helpful and supportive of the arts, especially filmmaking. I'd like to come back someday and shoot in NC again.