How’s it going out there ye fellow Indie filmmaking outlaws? How’s your $money$ hunt (for the 200th time)? How’s your casting (with people telling you to hire a bigger name of lesser talent)? How’s your location scouting (with the primary locale cancelling 7days out)? How’s pre-pro (with only a portion of financing in place)?  How’s principal (with cloud shifts)? How’s post-pro (with no money for editing)? How’s composing (with minimal resources)? How’s DI (with 5 days)?

How are you holding up?

You know what got me from start to finish intact and in love with the process?” I’ll tell you in no uncertain terms — it was an unexpected gesture at each turn that restored fuel.

For example;

In meeting crew; Reed Morano (DP) sent me an email in the middle of the night (3:30 am) saying, “I know how to do it, we just….” She had solved the Rubik’s Cube on a specific light wish I held, to subtly show a difference in our protagonist internal and external life, reflecting connected polarities throughout. A good number of folks in meetings before her, said it was not possible (for varying logical reasons; budgetary, technical or otherwise). But Reed, never said, “No”. She dove headlong into discovering a solution for what I emotionally-thematically desired.

In location scout; I was fixed on [2] characters running across a [6] lane highway. I mean, properly fixated. We’re all standing on the side of a highway at a location that’s beyond butter-beyond perfect for the scene’s needs. Except for the ole “how do we safely film it, how do we physically get cast+crew across an active [6]lane highway with camera rolling?” Debates, discussions, impossibility upon improbability. Then Alfonso Trinidad (Assoc Prod) quiet as kept, suggests, “Vic, if we…then we can…” And we did! We got the life, tension and movement the scene needed with safety and not only permission but assistance from the state.

In pre-pro; We had to cast, then seal contracts for [17] speaking roles. Eyde Belasco (Casting Director) offered calm in the storms; plural — there were far too many to list. Let it be known, Eyde was the very first crew member, to jump onto the film. Without a cent in place.

In pre-pro: We were advised around [10] wee days out from filming, that our [principal portion] of financing fell through, gone bye-bye. We had to shut production down and went dark for [5] days. I get a phone call from Kelly McGehee (production designer), where she says, “Vicky, we believe in you and the story you’re trying to tell. We (Dept heads) all spoke and we’ve decided to come to work tomorrow morning. We’ll see you at the office.” And they did; every single one of them. Without fuss or muss they, as a collective unit–cemented loyalty.

In pre-pro; I was obsessed with this bush we needed for the logistics of a shot. Zach Thrun (location manager) found this house with an Anish Kapoor looking right on, beyond truthful to the environment bush. We’re nearing shoot day of that location, and the home owners are still MIA. Zach has back up upon back up with other deals ready for signature, if need be. He continues pursuing the MIA homeowners and to the eaking-creaking wire, not only gets the house for our budgeted cost, but the homeowners offer to let our actors use their facilities if needed.

In principal; We had a situation (as ya do) in one dept. New people were brought in [2] days after principal. Nia R. Hooper (Costume Designer) and I had at length detailed intricate physical and existential work on each character toward why they wore what they wore and why they didn’t. I had a kooky-arse idea of connecting primary family members to an element, whereby that element would dictate their color palate. Not to mention we did something really fun and out there with two particular characters that stemmed from my teen years. Nia had done her homework in complex-layered advance. When we had the hiccup in a neighboring dept, for the sake of the film, Nia handed over her entire “costume plot-pro” program.

In principal; There’s a specific hair/make up thing implored to share info that carries throughout the flick. Cynthia Alvarez (Key Hair) and Julianne Laney (Key Make up), had to manage a dozen changes every single day of our [18] bullet train days, because we shot “for locale”. We snatched every shot in a locale then jammed onto the next. Actors+crew were constantly flip flopping story arcs, emotions +days within seconds of another. Cynthia bounced our characters between looks with pin point precision as did Julianne.

In post-pro; A day after I learned the [post portion] of financing fell through, gone bye-bye, dog ate the homework style. I get a random, unrelated phone call from Billy Mulligan (UPM). I tell him of the film’s current money woes and he promptly sits with me to strategize a rescue plan. In [9] business days he has [6] digits o’ cash ready and in place. Inside of [9] business days, he found money to complete our film. As every person on planet Earth, who ever made and Indie let alone is actively making an Indie right now knows, not many films recover from losing financing. Through no shortage of bloodletting we survived TWO losses. Having gone dark for a week in pre and for [2] months in post! The message in the lens cap is “DO NOT GIVE UP FIGHTING!” Instead, re-align yourself with like minded fighters, who above all–know how and where to get money!!!!!!!!!!!!!!!!! If we recovered, it means it is possible. No matter how severe the situation does NOT permit financial loss to rob an ounce of your tenacity.

In post-pro; during the stretch of going dark, where the film was drowning. No joke. Sinking to a slow death. I get a phone call from Ged Dickersin (LP) asking how I am, if I need anything. The film was in serious trouble, of not getting needs met in the optimum form it deserved. Ged started asking me once a day. “How are you doing, do you need anything, can I help?” Ged’s job officially ended at principal – months prior –  but he laced his bootstraps and walked beside me and Billy; extending knowledge, connections and competence in post pro, as he had in pre and principal.

In editing: We had to start all over from scratch. Reworked an entire 1st assembly from scratch. Bill Henry (editor) came on and combed every lick of footage in the bin, top to bottom, learning it like the back of his hand. He and I worked 16 hr days, 7 day weeks, for weeks on end. He worked those hours because he fell in love with the footage, the story, the actors-characters, and the possibility of shaping something special. Bill adopted the same ethic his co-workers in pre+principal on this film lived and breathed.

In composing: Another area where I was pining for duality, needing two sounds to meet, pick a fight, beat the ish outta each other then make peace. David Wittman (Composer) never-ever relented on getting this acute piece that exemplifies the story, beyond imagination.

Like all others who have cobbled a film to close using dental floss and band aids, I literally have an anecdote a day for each crew member spanning the entire duration of getting our film made. (Spacial restrictions prevent me from simultaneously scribbling about the cast. I’ll unload some “cast” gems in another blog).

In closing, yes–Filmmaking, is a “we” thing.

If you’re banging along alone–pause, catch your breath, take stock of your surroundings, identify the crisis, name the solution then get H-E-L-P.

If ever, the help you’re receiving is not enough, race at top speed toward additional support.

Unapologetically, link arms with people who will not only show up in a pinch but who, in the face of exhaustion–ceremoniously whip out a shovel and start digging alongside you, not stopping until you’ve secured; a  path  out  of  the  ditch.

Next post, I’ll share some doozies about the sales rep dance…until then, stay the course, and keep your seat in the saddle.