POST blue (Greenscream)
Wendell Cunningham, star of my new feature OVERDOSE IN THE HOSPITAL OF LOVE, shot this behind the scenes look at the making of the movie. That's exactly how it was.
When I am finishing up a feature, I like to watch it in the best circumstances, comfortably in my living room on the couch with the volume cranked up. Then I make notes. Then I make the changes. Then I watch the revised movie, again in the best circumstances. I repeat this process until there are no more notes left to make. Then it's done. I am always a bit sad when it's over and it's time to move on.
I just wrote my last set of notes, I am pretty sure. I think once I fix this stuff, the thing will be ready for Irina's backgrounds. Shooting in front of a green screen has been challenging and liberating. Mainly, I am super excited about collaborating with wifey. I make no bones of my fandom for her work. Seeing our worlds coming together on the screen will be a great joy.
I originally thought I was going to have a two and a half hour feature. I was going for the letting it all hang out thing. No apologies. But then I tapped into this cutting rhythm in line with the unnatural tennets of my hyper non realism. It really hit on something and gives a visible madness method. Much length was trimmed. It's now down to 55 minutes. I think the finished thing will be closer to 50. That makes for an eleven to one ratio. Next time I'd like to shoot something where I use everything - something edited in camera.
The first movies I fell in love with were the Universal horrors from the '30s and '40s and they were all just a smidge over or a tad under one hour long. I def prefer more entertainment in shorter amounts. Cut out all the bullshit. Get straight to the climax and then keep going and climax again. If you can, then why not?
When I am finishing up a feature, I like to watch it in the best circumstances, comfortably in my living room on the couch with the volume cranked up. Then I make notes. Then I make the changes. Then I watch the revised movie, again in the best circumstances. I repeat this process until there are no more notes left to make. Then it's done. I am always a bit sad when it's over and it's time to move on.
I just wrote my last set of notes, I am pretty sure. I think once I fix this stuff, the thing will be ready for Irina's backgrounds. Shooting in front of a green screen has been challenging and liberating. Mainly, I am super excited about collaborating with wifey. I make no bones of my fandom for her work. Seeing our worlds coming together on the screen will be a great joy.
I originally thought I was going to have a two and a half hour feature. I was going for the letting it all hang out thing. No apologies. But then I tapped into this cutting rhythm in line with the unnatural tennets of my hyper non realism. It really hit on something and gives a visible madness method. Much length was trimmed. It's now down to 55 minutes. I think the finished thing will be closer to 50. That makes for an eleven to one ratio. Next time I'd like to shoot something where I use everything - something edited in camera.
The first movies I fell in love with were the Universal horrors from the '30s and '40s and they were all just a smidge over or a tad under one hour long. I def prefer more entertainment in shorter amounts. Cut out all the bullshit. Get straight to the climax and then keep going and climax again. If you can, then why not?
Labels: art film, bob moricz, cheap digital filmmaking, green screen backgrounds, irina beffa, jeff guay, lo-fi, no-fi, overdose in the hospital of love, portland oregon independent film, underground film
posted by Bob Moricz at 6:23 PM
1 Comments:
bob IS crazy! i can't believe how amazing and brilliant and riveting this movie is. it's new and special and real and true and totally entertaining. it makes me angry that nobody will watch it but fuck them. can't wait to see part II!
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