Development and pre-production took just a couple of months. The actual time spent filming was roughly eight days. The post process took the longest. It required many months, but our editor, Katie Abel, cut first on a computer, she then assembled a full cut via a work print. I felt for her on that part. For a film under fifteen minutes, we had over 400 cuts, many of which revolved around rhythmic montages and some shots literally only appearing for a frame.
3. What challenges did you experience in the creation of the film?
Challenges hmmmm… Well, working with the many actors was a really exciting task. I’ve never worked with such a large cast as I generally keep things small. But I wanted to work in more of an ensemble cast. Several of the actors had never acted before, and only two were actors I had worked with before. So literally I was running between rehearsals with all of them one second to the next. But I loved that challenge. The most fun I have is with the often with the actors. For Cathy Beetle, who played the girl in the Swing Jazz club, she wasn’t an actress and deathly afraid of cameras, but over a few weeks we became good friends and opened up to each other. By the end of shooting, it was easy for us to just pick up the camera and play. Not to mention I think she does an excellent job in that part. That and the flowers in that field. Those were all fake as you don’t get yellow flowers in October when we shot.. There were over six-hundred, and it was just me and a few other people that had to put those things into the ground one night for shooting.
4. What is your favorite memory from creating the film?
My favorite memory…. That’s really hard. This was a rare occasion where everything went together really smoothly. I loved all the time working with the actors I used. They were such a fun, open, exciting cast, and many have become close friends. I would say the time was also excellent with all of the crew. Every week twice a week, my producers, editor, Dp and writer, and I would all get together, have breakfast, dinner, drinks, whatever, and work. We really became a strong family who were able to communicate without even speaking. It was incredible. I may never experience such good collaboration again.
5. When someone has finished watching the film, what do you hope they take away from the experience?
As far as what to take away from the film, well, it’s a journey of forgiveness and understanding. I realize that as a poetic and non-narrative film, many folks just will not be able to follow so easily. And then other people seem to dive right in and grasp so much. Regardless, I think most people enjoy the experience. For me, the story is really about the beauty in life that you find in many of the moments that seem the most painful. Each sequence explores a different area in life and all ties back into the street poet’s poem and question. In one sequence you find two lovers reconnecting over the beauty they know in each other. In another you have a character finally finding the beauty and resolve to move beyond her self-destructive breakdown. And then you have the final sequence exploring the violence and hurt that arise out of family turmoil and the need for connection and friendship. What I hope is that each person that sees this film can relate to at least one of the stories and understand the beauty in their own lives in these moments. For me, each sequence represents a story from my own life in some way. Like he says in the poem “This pain is my ascension line, my elevator, my wings…” These moments are ours. They are our life. And that is beauty.
6. What type of reaction has your film received from viewers?
Overall I think people really enjoy the film. Like I said, many people have trouble with the style and finding an easy meaning from it. But it’s not easy. The film is more a poetic explanation of my own philosophies of life. And I think even when people find themselves a little lost, they come out feeling moved by the stories they have seen, and are left thinking about the importance of each one. And again, there are people that seem to connect instantly. My favorite story was showing it to one of my producer’s mother. She just turned to me afterwards and broke the film down to its most bare essentials and even pointed out films I had used as a reference for the directions I took. That was crazy. And she loved it. Personally, I feel very complete with what I have done, even if there are those moments where I wish I could fix just a bit.
7. What advice would you give to aspiring young filmmakers?
Advice to young filmmakers… Watch movies. Especially older forgotten classics. You will find so much you can use, enjoy, and love. It’s like studying a language. And when it comes time to be make the film, be passionate, be infectious with that passion, and be collaborative. Work with your crew like a family. And most of all enjoy the process.
8. Please tell us about the next film you plan to work on?
Well, since Twilight, I have created a few things. I have a music video for a hip-hop group called Solillaquists of Sound that will be released through Epitaph’s Anti records on their next release. I recently finished a spec pilot for a show on civil aviation that the producers are currently marketing toward Discovery Channel. Then I also just last week finished a dog leash commercial that mixes live action with animation in a comic book style. That was a lot of fun. Currently, I am developing a documentary on the Alternative Country/Rockabilly/Psychobilly music scene here in Los Angeles where I now live. There is a group, Los Duggans, who I am currently talking to about the idea. Otherwise, you can find my name in the credits of Season Six on the World Poker Tour Post department as my steady paycheck.
