Have you any idea about the filmmaking? If no, why not have some experience?
November 22, 2006 (Press Release) --
One day in early January, while reading a selection from the autobiography of famous porn star Harry Reems, I had an epiphany. Back in the seventies, Harry and his buddies were making these feature length films that they would shoot in one day on Super 8. They didn't have much of a script, but they had the one thing that everyone was interested in…tons of sex. They called them one day wonders.
I realized quite early on that it while it would be fun, and increase my popularity in certain circles, to make a low-budget porno, it wasn't really something that I was interested in pursuing. Instead I sat down and wrote out an outline for ten characters that took place in one location. It would be a morality play. An infidelity would occur under heightened circumstances that would radically affect the stability of a group of friends. The dialogue would be completely improvised. We would shoot on the first weekend of February.
There were a handful of actors who I had worked with in the past, and I approached them first. The response, without exception, was enthusiastic — so enthusiastic in fact that they were willing to be involved just for the fun of it. The rest of the group was made up of a couple of friends, and people whose work I admired. I was surprised and delighted to find that this project offered a challenge not easily found, and one that they could not resist — I cast the first ten people that I talked to. In the end, the mix of professional and non-professional actors was a blessing as they helped each other maneuver through the unstructured, but creatively demanding shoot.
Over beer and/or coffee, I met with each actor individually and gave them their characters. They were each, in their own way, active contributors to the development of the story, which by the end of the first weekend had become a tightly woven treatment (a pre-screenplay document that breaks the story into detailed scenes but does not include dialogue). On the third weekend in January, I met with the actors to discuss the project: the dynamics of the various relationships, the events of the evening and the way that the narrative would wind its way through the shoot. The following weekend, the actors returned, but this time, they were in character. They met as friends — to discuss their fears, beliefs, desires and needs. I was a fly on the wall. It was a bizarre experience to spend three hours with a group of people who didn't speak to me or even look at me. By the end of that weekend we were ready to shoot. I bought eight hours worth of digital tape and a trunk load of groceries. My budget was 500 bucks.
The morning of the shoot began at 9 AM when my partner and I got up to clean the house (our set). At 11 AM the Director of Photography (DOP) and his assistant arrived to light the house using drugstore model 150-watt bulbs and paper lanterns. At 12:30 PM the cast arrived. At 1 PM we began to shoot.
Source: http://www.yahoo.c
I realized quite early on that it while it would be fun, and increase my popularity in certain circles, to make a low-budget porno, it wasn't really something that I was interested in pursuing. Instead I sat down and wrote out an outline for ten characters that took place in one location. It would be a morality play. An infidelity would occur under heightened circumstances that would radically affect the stability of a group of friends. The dialogue would be completely improvised. We would shoot on the first weekend of February.
There were a handful of actors who I had worked with in the past, and I approached them first. The response, without exception, was enthusiastic — so enthusiastic in fact that they were willing to be involved just for the fun of it. The rest of the group was made up of a couple of friends, and people whose work I admired. I was surprised and delighted to find that this project offered a challenge not easily found, and one that they could not resist — I cast the first ten people that I talked to. In the end, the mix of professional and non-professional actors was a blessing as they helped each other maneuver through the unstructured, but creatively demanding shoot.
Over beer and/or coffee, I met with each actor individually and gave them their characters. They were each, in their own way, active contributors to the development of the story, which by the end of the first weekend had become a tightly woven treatment (a pre-screenplay document that breaks the story into detailed scenes but does not include dialogue). On the third weekend in January, I met with the actors to discuss the project: the dynamics of the various relationships, the events of the evening and the way that the narrative would wind its way through the shoot. The following weekend, the actors returned, but this time, they were in character. They met as friends — to discuss their fears, beliefs, desires and needs. I was a fly on the wall. It was a bizarre experience to spend three hours with a group of people who didn't speak to me or even look at me. By the end of that weekend we were ready to shoot. I bought eight hours worth of digital tape and a trunk load of groceries. My budget was 500 bucks.
The morning of the shoot began at 9 AM when my partner and I got up to clean the house (our set). At 11 AM the Director of Photography (DOP) and his assistant arrived to light the house using drugstore model 150-watt bulbs and paper lanterns. At 12:30 PM the cast arrived. At 1 PM we began to shoot.
Source: http://www.yahoo.c
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