Today has been an odd day. I've been looking forward to this day for, really as long as I've picked up a camera.
Writing a script for a movie is incredibly challenging. Making a movie is hard. Making a feature length movie is extremely hard. Making a feature length movie that is considered good enough for distribution (while being funded with your own money) is...well I would say if you don't REALLY want to make a movie, then do something else.
Today is the day where our film One Night in October can be purchased openly. There were so many people who had a hand in creating it - I hope that I've made them aware of how thankful I am to them.
I have so many memories of One Night - so I'll try to keep it *short*. Shooting in a cornfield was so cool - I HOPE that one day I'll be able to do it again and make my scarecrow movie (fingers crossed). I had officially given my two weeks at work so I would leave on my lunch break and work on props. The skeletons heads were from the dollar store, I loved melting candles with a blow touch, making the scarecrow mask from scratch - it was all freaking so cool. And then the smoke and mirrors of movies where we shot in the cornfield and then filmed the rest of the short on the complete other side of town for the barn. And of course staying an extra day due to exhaustion and to pack after everyone moved to California to our new home.
For The Dark, I remember buying two styrofoam skulls, painting them, carving them out so a fake brain would fall out. Painting a rib cage and spine - that was as cheap as could be but with a little latex, tissue paper and paint - ended up looking awesome. And of course trying to keep the film a secret from different parts of the cast. Patrick literally body painting our creature. Finding an Arizona Iced Tea can in our four minute establishing shot AFTER we were in post, taping up a freaking DOOR to help block the wind,
And for Reaper. Jumping from one camera to another MID SHOOT - Chris now would advise against this but Chris then wouldn't have cared, getting to get BamBam into the film, creating FROM SCRATCH, our own little set/haunted maze. We used our first foam latex mask and painted it from scratch to get the skinned face look. I remember sitting in the extra holding area for Orville and writing on my phone no less, the new ending for Reaper.
There are so many memories that I'll be doing a podcast on soon to talk about them further. But right now, I'll leave it at that.
I always tell people to "wait for the next one." Mostly because I have no intention of stopping, but also because I truly feel that I learn something from every film I make. It's imperative to get better and to learn from mistakes. But it's also important to experience mistakes - lord knows I've don't that. And I think that speaks to me more today than in the past. I am exceptionally proud of One Night in October and everyone who was part of making it. But I am also stupidly excited about what's to come for me as a creative. I love how ONiO turned out and highly recommend it for your Halloween viewing. But... wait til you see the next one.