No Budget Moviemaking From Script To Screen

Right now Real Vampires is on hold while I catch up on Monster Cops. I'm still planning out auditions and working out casting, but my main concentration is on these Monster Cops episodes. Real Vampires auditions will have to wait for a week.

Just finished re-writes on the episode titled CHIMERA. I'm editing the episode called DREAD as well as planning insert shots for that. And next week we'll get all the office shots for CHIMERA, as well as for DREAD, and DEAD BY DAWN. So yes it's looking like 3 more complete 20 minute episodes before Oct. This hopefully means a DVD with 5 episodes to complete series 1. But things happen when you self distribute, so we shall see.

I'm not even going to talk about the Werewolf Episode, titled BLOOD MOON, which I have yet to do re-writes on. This may have to wait for Series 2 DVD, as I am only halfway through the Werewolf Costume.

Right now I'm concentrating on Chimera. Now that the script is finished, it's been emailed to some of the cast, and now I have to send specific pages to the rest of the cast and the crew. What do you do once you have a complete script? What needs to be done to get it shot.

LOCATION, LOCATION, LOCATION
First is figure out which scenes have the most cast members in it. Let's knock that out first. The office scenes have 4 to 6 characters talking at once, with many extras in the background. Time to find out if your location is available. Our office set is free next Wed, Thu, and Fri after 5pm. I may not need all those days, but it's best to plan for that anyways. Now it's time to contact everyone to see who is free on that schedule.

CAST AVAILABILITY
This is no budget moviemaking. You aren't paying anyone. So you are at the mercy of work schedules and personal problems. They show up because they want to and if they can. So plan for something to go wrong. Everyone I've contacted is free except for one actor. This person just so happened to have a lot of lines, but he has several scheduling conflicts, so that's a no go. Note: I'm not at all angry about it. Because I fully planned for this to happen, also I fully respect my actors and their own schedules. I've planned it so his lines would be easily transferable to another actor, so no major change in plot. So I call one of the other actors to let them know they have more lines.

Another problem. I have a scene between two actors but they aren't available on the same schedule. One is only free on Thursday, where the other one is only free on Wednesday and Friday. What do I do? Cut the scene. If there is an important plot point or message in that scene that is pivotal to the story, then those lines get transferred to another scene. No problem.

PROPS AND COSTUME
Now figure out what scenes you are shooting at that location. Highlight those specific pages. Start making notes on the side next to the start of each scene. The two main lists are PROPS and COSTUMES. Make a list for each scene what props are required, what costumes. Again we are no budget, so everyone brings their own costume. It's office attire mixed with police and military gear. So contact those who are in office attire let them know what to wear. Anyone in police or tactical gear, all they have to do is wear black or camo, I've got the majority of the tactical vests (yay Ebay). Since this is a multi departmental agency mixed with all military branches, For further authenticity I ask any local cops or soldiers I may know if they want to show up on set with their gear on. Many of them are more than happy to.

I've got majority of all props, but I send out an email with a list to see if anyone can fill in the blanks. Thankfully nothing is needed specifically for the storyline, just for the look, so if we don't get it, no biggie.

SHOT LIST
When I write I keep the shots in mind so I often times write in specific camera directions. Although I've shot at this location several times, prepare for anything and everything to go wrong. Maybe a room you were hoping was available is closed off. Or they painted the walls in the hall you wanted to use, and it's going to take a week for it to dry. I keep this in mind when I write out the shot list. At the start of each scene next to your props and costumes list, I right out the shot list. This is just the basic shots and angles I need to convey the action in the script.

Script Action:
"Close up of hand as it turns the door knob. The door swings open revealing the evil monster behind it."

Shot List:
- CU/LA Hand to knob. (That's Close Up / Low Angle Hand to Knob)
- XCU Knob turning. (Extreme Close Up)
- WS behind actor door opens (WS= Wide Shot)
- Rev Shot Reaction (Reverse Shot meaning shot of the actor from behind the door)
- MS Monster Growling (Medium Shot)

Mind you this is just an example. Monster Cops is shot documentary style so the shot descriptions are more complex than this. Also there are some abbreviations that I use that you may not learn in any film school. It's short hand to myself, because I'm pretty much the only person that reads the shot list.

I make a list of the basic shots (meaning the bare minimum of what I need in case I can't get what I really want), with side notes to any more creative shots that I might be able to actually get. Often times I don't have enough room for my entire shot list for each scene, so I write it out on a separate sheet and attach it to the script.

I have software that pretty much does all of the above, but I hardly ever use it. I'm so use to writing it all out myself. Also I do have call sheets, schedules, and all the traditional movie forms, but again, I hardly use them. With the exception of the releases.

SCHEDULE
Over a period of 3 days, starting at 6pm til 9:30pm, I need to get the shot list done. This is how you break it down. You're no longer following the script, you're relying on the shot list. Everyone should know their lines, everyone should have the proper costume, everything else is about getting the shots. So I double check that everyone will be there at about 6pm. And of course they are not. Some of them can't be there til 7:30 or 8pm. Not a problem. Figure out which scenes you can shoot with the actors that will be there at 6pm. Can't do it? Then figure out which shots you can get with the actors you'll have. Maybe you can knock out all of their Close Ups or Medium Shots. You can probably get their dialogue out of the way. Then when the other actors show up, you get their shots, then do the master shot, or wide shot, so we can see everyone in the same scenes.

So write out the times you need to get started, what scene or shots you can get at specific times. 6pm pages 4, 5, and 8, Close Ups of Martha, Jane, and Nathan. 7pm pages 7, 10, and 13 Medium Shots of Jones, Cutter, and Weir. And so on. Honestly, it never works. Why? Because people show up late. They drop their lines (especially me) and they get to laughing, alot. So your 6pm shots end up finishing at 7:30pm. And you have to push your schedule back. But it's fine, because it's good to prepare, because if you're not prepared you may be screwed. If everyone does show up on time and gets their lines right, and you're the one who's not on the ball, chaos will ensue. Chaos with a big group of people, in a location that you do not own. So keep your shit together.

This is everything I'm working on now. Soon I'll be contacting everyone to double check their schedule, and make changes to my lists and schedules as needed.

Other things you want to keep in mind when shooting your own scenes with several cast members.
- You can't afford to feed anyone, but a few snacks, candy, and definitely bottled water should be considered.
- Make sure there is a bathroom. This should be common sense. Also people need a place to change in and out of their costumes.
- Bring your own trashcan and trash bags. We are borrowing somebodies office. It's best to leave it the way you found it, which means keep and take out your own trash. This is true especially if you have a very large group of people in your cast and crew.

Here's my on set checklist. What I need to remember for every shoot:
Alot of this is common sense, but when you're juggling so much, you'd be surprised what you forget when you're in a rush. Making lists saves my life on a daily basis.
- Camera
- Batteries
- Plug Adapter / Extension Cords
- Tripod
- Lights
- Digital Audio Recorder
- Lav Mic
- Extra Batteries for both
- Tape Stock or Memory Cards
- Script / Shot List
- Energy Bar / Water (Gotta keep your energy up / stay hyrdated, think like you're running a marathon)
- Prop Box
- Costume Box
- Releases (Photo Release/Group Release) Anyone you're shooting must sign. It must be clear that 1) They are doing this for credit only, no money. 2) They give you permission to use their likeness and voice in anyway you see fit, thereby giving you the freedom to create what you need to. Also this helps tremendously when you're typing out the end credits.

This is all about organization and communication. Whatever your method is, whether you stick to traditional forms used in studio filmmaking, or you have your own techniques, in the end it's all about organization and communication. Make whatever lists you need to help keep you in order, and be sure you're in contact with your cast and crew, let them know what they need to know. Get them times, dates, directions to the location, details on make up and costume, and of course their script pages.

Do whatever it takes to help keep your shit together.

LINKS
Monster Cops The Series http://monstercops.com
Patrick's Blog http://patrickprejusa.com

Round 1: FIGHT!

It's like a fight, a war almost. The battle to strive to reach those goals. A new year's promise to give you another chance to make this year better than the last.

January 2010 = Round 1

What are we fighting for exactly? Improved income, improved lifestyle, and to make a kick ass bunch of videos and movies that will not only help in achieving those improvements, but to inspire and entertain the world as a whole, and hopefully change things for the better.

I'm excited actually. I really see the previous years as preparations for this one. 2005 I moved here to NC. 2006, 2007 was all about healing and grieving after my wife's mother died. 2008 was about getting back on our feet. 2009 was about solidifying what the goals are and preparing to move towards them. Which brings us to 2010. The move towards those goals.

The ball dropped on the first year of a new decade on the night of a Blue Moon. Sounds magical doesn't it. Like the beginning to what should be a magical and adventurous story. Like Once Upon a Time. Which only makes us all pine for a happily ever after.

Oh, but you gotta fight for it. Work must be done to reach that next level. Gotta climb that hill to get to the top. If you want to succeed you have to rise from your failures. How many more ways can I state this?

Oh I've got a few more.

You gotta drive right if you wanna make it down that freeway of life.

You wanna win it, then you gotta get in it.

No guts, no glory.

No fish, no fowl.

No cheese, no sandwhich.

yeah I lost it.

Bottom line is, there is much work to be done, and I'm ready for it.

Production wise we've still got the same goals:

First up, it's MONSTER COPS. Now that the holidays and hectic schedules have settled down, I have more time to work on our little monster killing web series. I hope to make enough episodes and webisdoes to warrant a pretty nifty DVD to put out. I'm finishing up editing on this next episode and we'll start shooting for the next one and the next few webisodes this month.

REDD. My little Red Riding Hood short. I'm aiming for it to be a mind blowing 5 to 10 minutes. Will start back to work on finishing the Werewolf body and stilts. Already finished the head and hands. Not quite sure when we'll wrap this one up, cuz I'm kind of holding out til I get the new camera in.

BOBBY'S CLOSET. In early pre-production. Going to continue to fill out the official site with art work, may even try to shoot some sample scenes from the script. Not going to go into principal photography til we get the full budget, and we are still fundraising. 53,000 for actual production, and 20 to 40,000 for marketing and distribution. And I don't feel at all comfortable going into it without the money for either. I'm confident we can get the movie out there and make money back as well as raise money for Cancer Charities, as long as we get the full budget. We shall see.

PATRICK'S SUPER SECRET SPECTACULAR AND AMAZING NO-BUDGET FEATURE FILM.

Bobby's Closet was supposed to be a high concept on a low-budget. Something we can make with little money. A million dollar film for less than 100,000. And while I haggle with investors and go out begging for money, I'm still itching to make a truly filmic cinematic feature. So as I was ready to dive into low-budget moviemaking, turns out I'm not quite done with no-budget moviemaking just yet. So this project will only require the new camera, and utilize resources we already have (as per usual.)

Not going to say what it's about, because it is ever evolving. If you recall I wanted to make an Untitled Vampire Movie, then it was a Paranormal Film (which was turned off of when I saw Paranormal Activity), then it was that one about Russian Hookers and Filipino Pimps. Just kidding. Or am I? (muwahahaha)

I'm half way through the script, and I'm very excited about it, but I'm not going to tell anyone about it til it's done and ready to be xeroxed and given to the respective players and crew members. Just know that it's going to take a TON of preparation, and it's going to kick my ass. But it's something I'm confident we can shoot before the fall.

Any other projects will be Video and Commercial work. (Gotta support that green tea habit.)

Oh yes, and I'm working on another screenplay. This one I don't plan on shooting, it's just I've been missing the contest and festival circuit for a while and I kinda wanna throw my hat back in the ring. Came up with a nice concept and I'm writing through it. So many more opportunities and resources for script writer's have developed in the passed decade, why not try em out. Besides I miss getting those rejection letters from Endevour, Paramount, Warner, and Village Roadshow. There must be a ton more companies now that I can get rejected from.

I've been such a script hog for the passed decade. I didn't want to part with any of my scripts for a while, because I was intent on shooting them all. Now I'm wise enough to see that is impossible, so why not let my babies out into the world, let them grow, and evolve into the movies they're meant to be under other filmmakers effort. Or at the very least options that pay up but never get a green light. Dare to dream.

So let the fight begin.

right after I take this nap.

Keep Moving Forward

You have to be able to take yourself to that other place.

I'm working on a screenplay, my next movie. And I don't really like talking about writing other than posting in blogs and such. Of the random people at work who somehow pass by me and ask me what I'm working on, I just switch the screen to a free cell game and say "nothing." Many of them assume I'm still in school and I'm working on a paper. The others that know me as a filmmaker know not to bother me, but just can't help coming up behind me and staring at the screen, which I hate. I switch back to that free cell game and wait for them to leave, they apologize and then leave me alone.

It's a very basic pharse, "I'm writing a screenplay." It's akin to those other phrases that get tossed around alot everywhere especially in close company and in blogs. "I'm working on that novel" "I'm writing a song" "I'm writing a screenplay" The fact is I am working on a screenplay, but so much more than that. I'm making another movie.

And I haven't talked much about it to anyone. That's because I'm a believer in the birthday wish syndrome. Like a birthday wish made when the candles are blown out, if you tell someone about it, it will not come true. So although I will, coming soon, communicate more thoroughly about this current project to garner more support from the general public, I will not reveal exactly what the plot is until everything is in it's place. Some of the things that I am working towards in this preproduction phase is location scouting, pre-vis storyboarding, conceptual artwork, the score, casting, marketing and distribution agenda, and of course the screenplay.

So bare with me as I type this out, this mainly for my own edification and to better help me sort it all out, not that I don't already have all this written down in a billion other applications. As with most blogs o' mine, this is me talking to me.

LOCATION SCOUTING
Shooting will be here in North Carolina, because that's where I'm at right now. I have still yet to find out the specific filming laws here but I don't forsee what I want to do a problem since more and more indie films are being shot here. Also if permits are required I've already budgeted that in. Most permits and paper work usually max out around 2 to 3 grand and such, so not a problem if I'm ready for it. I am looking for warehouse space for base of operations, and something I can turn into a studio so I can anticipate having to build sets. I'd really like to avoid using the School Of The Arts backlot here for reasons passing understanding. I anticipate weird weather, and it will be handy to have a studio to fall back on if I need to, plus I'm already planning for alot of indoor shooting and prebuilt exteriors. Already been taking many many photos for the sotryboarding process as well as locations I would like to use.

PRE-VIS STORYBOARDS
Like regular storyboards but somewhat animated on video with added soundeffects, utilizing digital photos and drawings. Something to really bring to life those shots I want. The key here is to show the movie before it's actually made to get everyone on the same page.

CONCEPTUAL ART WORK
Again necessary for the Pre-Vis, but also important for to describe in detail the particualr type of technology being used in the storyline. Already looking at using KRE8 Effects (http://www.kre8-fx.com/) they've been doing work on the upcoming TRENCHES. They're work looks akin to what I'm trying to accomplish, some really great work.

THE SCORE
As always I'm doing the score. Already got some key elements of the score produced, but the rest will have to be done with an orchestra, or at least with a very good set of keyboards with orcehstrated sampling, preferably a yamaha psr-3000. The music software I use right now is Fruity Loops and it does a tremendous job, especially with everything I've been learning over the past year, it does sooooo much, but it's still a pain for me to compose using a point and click mouse, I need keys.

CASTING
It's always good to have your cast in mind, even if you can't afford Tom Hanks, if it helps you finish the script then go on and imagine Tom Hanks in the role. But thankfully the kind of celebs I have in mind are more than in my price range and are only popular among those familiar with the sci-fi/horror genre. Already got my list going, got some very familiar faces on it, and I have everyone's contact info and agent info. Only need 4 key roles to fill.

MARKETING AND DISTRIBUTION AGENDA
This is just the basic rundown of how the entire production will go down, and what happens after the final cut. How it will be seen, where it will be seen, how the theatrical release may go and how the DVD release will go. Spells everything out to a T and explains how money will be made back and how much of it will go to charity.

And now we are back on to the ...

SCREENPLAY
The great thing about writing a screenplay you're going to shoot is that you don't have to adhere so closely to the the screenplay format. Although in honesty, I've forgone most of those rules a long time ago, due to the fact that most of those format rules are hardly obeyed by anyone anymore, just the basics. Scene Headings left, Action left to right, Character and dialogue center, put page numbers top right of page. Other than that I'm just trying to be clear and concise without being too uptight, I mean come on, as long as you and your crew understand what's going on, no need to put CUT TO before every scene heading.

But as far as the plot and the creative aspects are concerned, in making this movie, or any movie for that matter, you've really got to take yourself to that other place. That place where noone exists but you and the story. If you don't feel it then you're audience will not feel it. You have to engulf yourself in the very essence of what it is you're trying to achieve and then write from that place. These are the rules for how I write and may not necessarily be good for everyone else.

1. Get comfortable. Change your shoes, your shirt, get a comfortable chair, whatever it takes. I can't write in the heat. Gotta be a comfortable temprature for me to concentrate. I need the right music, or at the very least the right SILENCE. And there has to be pleasant scents in the room or no scent at all. There's this guy at work who likes to smoke clove cigarettes by the exit door nearest me. It seeps in and kills my senses. I told him to stop. He thinks I'm an asshole now, I don't care, because if he doesn't stop then the script stops and my movie stops. UNACCEPTABLE. If people have to think your an asshole for you to finish your work, then let them think your an asshole. Plus, who the hell smokes cloves anyways.

2. If you get blocked don't fight it. IF YOU GET BLOCKED DON'T FIGHT IT. If for some reason you can't get your self to write anything down and you just go blank, let it happen, go do something else, go for a jog, eat some fruit, get into a fist fight. Get oxygen (not the network), get the adrenaline flowing a little, eat something smell something hear something you're not familiar with. Do something else other than sit there and get frustrated and angry over how you can't write anything. If you fight it you will lose and then you'll end up feeling like shit and then you'll just give up and never finish.

3. If you're writing crap, just keep writing. The best advice I ever got was from William Froug from my favortie book on screenwriting ever. If you have a problem with what you're writing then write it out. If you think you're headed in the wrong direction or if you think you're writing utter shite, just keep writing. Nine times outta ten you're very being knows what you want more than you do, so just keep writing and you may find that it's leading you to where you didn't realize where you wanted to be. And even if you don't like where it ends up at least you got the crap out of the way and can now start fresh. Just get it all out on the page. This is part of the reason I have to handwrite my treatment first before I even touch the keys.

I'll talk more about this project later, but right now I've got 40 more pages of rewrites before I start putting together the rest of the package.

Gigantipithicus in Kentucky

For reasons passing understanding, I found myself deep in research for a screenplay having to do with the following subjects. Gigantipithicus, Waverly Hills Sanatorium, and Fort Knox.

It all started innocently enough. I decided to leave for work early today, and then found myself entranced by The History Channel. This happens often. If it's not The History Channel, it's The Food Network. If it's not The Food Network, it's FitTV, mainly because I have a very unhealthy obsession with Namaste Yoga. I dare you to turn on a show where three hot chicks do hot yoga poses in a relaxing environment, and then try to change the channel, it's fuckin impossible. The History Channel had a special on The Gold Bullion Depository in Fort Knox, the design of the place, the history, the mystery, and the background of the Depository itself as well as Fort Knox Military Base next door. I'm a sucker for almost any show on building and design or military history and training and weapons or any kind of conspiracy, and this show had all of that goin on. So I popped in a tape and let it record as I left for work.

I had told my wife when she got home to just stop the tape, because the show should be finished by the time she got home. I went to work, got off work, got a bit of shooting done for some needed dialogue scenes for something I shall speak of later, and then got home after midnight. Did the usual, kissed the wife good night (she has to get up early), ate, showered, and then got on the computer as I rewound and watched the recorded program. And this is what happens often. I record a program on Discovery or History, and then I end up recording 4 hours worth of stuff because the tape doesn't get turned off til later. In this case Juli didn't get home til later, so the Fort Knox documentary was not the only program on the tape. It happens all the time with me. I watch the program I initially intended to watch, and then I continue to watch the following programs, and then somehow in my head I try to connect all of the programs subject matter into a story.

It never fails. I learn a bunch of stuff and immediately my brain goes, "Now how can this be turned into a script?" Ask me some other time about when I watched the show on Mega Freighter Ships and then watched that show on the History of licorice, yeah, it was a pretty fucked up plot. What normally happens is, I write a few notes down, and then forget about them as I get back on track with the business at hand. Not this time. For some reason I just couldn't get this little twisted plot out of my head.

It popped into my brain as I was watching the documentary on Fort Knox. Great stuff in this little doc. Covered everything from what is known about the depository, like how much Gold it may hold and how secure and guarded the area is, to what is not known, like speculation on the security measures of the place and whether or not the building is holding the Roswell Aliens. They also talked about Fort Knox Military Base, the training facility and how many modern day weapons are tested there. This was already turning all sorts of wheels in my head. I won't tell you details, because I hardly ever discuss scripts I work on. It's that whole birthday wish syndrome again. If I tell you it won't happen.

Suffice it to say I had this great visual story goin on and I was getting very excited with every intriguing detail from this doc. I will say that I'm thinking of something horror sci-fi based. And along those lines, it clicked in my head. Fort Knox, Kentucky. What else do you think of when you hear the word Kentucky Patrick? CHICKEN! How about a horror movie about Fried Chicken in Fort Knox? Ya know, like the Roswell aliens come to life, escape Fort Knox and turn all the soldiers into killer alien buckets of fried chicken?

OK not really.

What I did think of was, Waverly Hills Sanatorium. I started to wonder how far apart these two locations were. Was Fort Knox anywhere near Louisville where Waverly was located? I got REALLY curious. If you know nothing about Waverly Hills Sanatorium, all I will say is that most people call it THE MOST HAUNTED PLACE ON EARTH. Now click this link for more info. Pretty creepy stuff.

My brain started trying to tie the two subject together. Fort Knox conspiracies, Waverly Hills ghosts. Did some digging. Fort Knox wasn't too far away from Waverly, but they weren't right next door to each other. Still, close enough for me to put something together. And the plot I was conjuring in my head was just insane. It screams, action, horror, sci-fi. Very much along the lines of an old movie called The Keep. I would say go rent this movie, but it's extremely hard to find. It's a heck of a cast, and it's a Michael Mann horror movie.

So I've pretty much got a whole plot in my head just based on what I've got. But of course I continue watching the tape. What comes up next? A documentary on Fried Chicken. Just kidding.

It was a documentary on Gigantipithicus. Jeez, am I even spelling that right? Let's just call him G. G was basically the real life King Kong. A gigantic ape that lived ages ago. A relic of the past. The show did talk to people who believed there was some connection between G and Sasquatch. Fuckin Sasquatch. I swear to God I just can't get away from him. I attract it, I do. I can't turn on the TV without running into a show on Bigfoot. And I have to watch it. Monster sightings and conspiracies are like candy to me. I don't buy into the majority of it, and I'm more inclined to NOT believe in Bigfoot's existence, but I love this stuff anyhow. And more so lately because alot of what I'm trying to do with the Monster Cops movies is based on monster sighting footage. I'm obsessed with creating Monster Sighting footage. Can't wait to show you the next movie.

Anyhow. So now my brain is trying to cram Sasquatch into a supernatural, military, movie that takes place in Kentucky. Might as well throw in a subplot about The Colonel's Fried Chicken.

Part of it is just me trying to avoid the research I have to do on Video Compression and Mpeg2 DVD creation, yadda, yadda. It happens. I can't work on 1 thing. I have to work on 5 things. But seeing as how Haunted Fort Sasquatch is now number 6, looks like this goes on the back burner. But I'm getting back to it though. I REALLY like this plot I've got goin.

Great, now I want some fried chicken.

Oh yeah, try locating Waverly Hills Sanatorium on Google Maps, and see if you get creeped out like I did.

The Writing Demon

I think we all secretly want to be magicians.

A blank piece of paper is God's way of telling us how hard it is to be God.
- Sidney Sheldon

It's true. Essentially you are playing God when you write. And many people often whine to God about life and wish he would just fix it already. Many people often wish they were God or at least had her powers. Well you wanna know what it's like to be God, pull up your chair to a blank piece of paper or to that blank word document on your computer. Sidney Sheldon may very well have said it right. Writing is like playing God. And from my personal experience, it's painful, it's agonizing, it's frustrating, it's hellish, it's a burden on your heart and a black mark on your soul. And there is no truer bliss. Which reminds me of another quote.

It's tougher than Himalayan yak jerky on january. But, as any creative person will tell you, there are days when there's absolutely nothing sweeter than creating something from nothing.
- Richard Krzemien

Ain't that the truth. There is absolutely nothing sweeter than creating something from nothing. Something from nothing. Hmm.

I bring this up because that's where I'm at right now. Yeah, yeah, production on shorts are pending, still working on Monster Cops episodes, and marketing The Midnight Special. I'll never stop being a movie maker, but along with that I'll never stop being a writer. And I'm at that point right now. Staring down the blank page. Finding that road that'll lead me straight to that fucking Demon. The Writing Demon that wrestles me to the ground right when I think I've got my pace going. What sucks is that he also likes to kick me in groin, point and laugh at me as I'm in pain, and then he always says the same thing and it never makes any sense, "How do ya like that Francis?!" Then he gives me a wet willy, does some sort of strange Xena Warrior Princess combat yell, and then runs off into the darkness. So weird. He's got fucked up teeth to. I mean like evil Vampire teeth, but also like red neck hasn't seen a toothbrush in ages teeth. He's missing a fang or two. And who the fuck is Francis?

I don't really know any other way to do it. I do start the same way. First the brainstorming section. I buy a brand new slim, 3 ring, black folder. I three hole punch 50 sheets of white paper, stick em in the rings, close the folder, set out a Pentel RSVP black 91 writing pen. And then I sit and stare at the closed folder. If you ever happen upon me as this is happening, you'd probably think I was praying. I always contemplate with my hands together as if in prayer, right before I open the folder. I guess all great quests must start with some form of ceremony or ritual. After that I fling the folder open and stare down the page. I start writing. Not with the capped pen still sitting on the desk, mind you. I'm writing in my head.

It is of course a screenplay I'm working on once again. So what I'm really doing is seeing the movie in my head. And you'd think after all this time, I'd have it down. All the little tricks and gimmicks to writing a movie. Writing isn't about tricks and gimmicks. Certainly not when it's a comedy/mystery you're trying to write. But the biggest hurdle is the fact that you have to write low budget. Meaning I'm trying to piece together scenes that I can shoot with what little resources I have here. And I'm not home in Texas, where I know where everything is. I know how to get whatever I need there. I'm in North Carolina, in an area that I'm not completely familiar with. Mainly surrounded by much forest. Hey, forest is good. I can write comedic mysteries in forests.

So I have a picture in my head. I actually pick up the pen. I write a few things down, knowing full well that I'm going to be scribbling it out just minutes from now. Oh, here comes the first scribble. What? I wrote down a scene involving 3 characters. Who the hell are going to be playing these three characters when I know good and well I'll most likely only be able to get 2. I even went into detail with the dialogue being about how cold the rain is. This may not necessarily be shot in winter, and even if it is, there is no garuntee that it will be cold or raining that day. So let's stick to things we can control. I am afterall only God on paper.

The limitations are endless when it comes to finding that creative niche. Over and over things go in and out of your brain. The writer in me says, "I have this great scene idea that takes place in a warehouse, surely we can find a warehouse somewhere." Then the director in me kicks in going, "don't tie the scene to a warehouse if it's not on the list of places that are garunteed." The come the random thoughts. "Ooh! A scene that involves flying pigs in a Russian Orthodox Cathedral! Dammit! If only we had a delorean and a time flux capacitor!" "I've got it! Talking Animals!" It's easy and sometimes necessary to go on tangents. Which reminds me of a scene from The West Wing.

Sam and Toby are working on the President's Thanksgiving Proclamation Speech.

SAM [cont.]
A small band of pilgrims sought out a
place in the New World where they could
worship according to their own beliefs...
and solve crimes.

TOBY
Sam...

SAM
It'd be good.

TOBY
Read the thing.

SAM
By day, they churn butter and worship
according to their own beliefs and by
night, they solve crimes.

TOBY
Read the thing.

SAM
Pilgrim detectives.

TOBY
Do you see me laughing?

SAM
I think you're laughing
on the inside.

TOBY
Okay.

SAM
With the big hats.

The West Wing Season 2. Episode 30 'SHIBBOLETH'
TELEPLAY BY: AARON SORKIN
STORY BY: PATRICK H. CADDELL

Ok, gotta buckle down. What am I working on? Am I working on the script for that feature that I may or may not shoot, or am I working on that 5 minute short that I know that I will shoot? Believe it or not I pick the hardest of the two to work on. The 5 minute short. Heck I need to get more shorts out there on the internet and in fests and stuff, lets' get to work on that. With the feature I can go hog wild and then go back and correct all the impossible things I cannot possibly shoot. With 5 pages/minutes, we're talking about trying to nail it as close to the mark as possible. I mean if I go hog wild now and write in impossible scenes, I'd only be wasting time, because in 10 minutes I gotta go back and look at reality. So I go through the routine of talking outloud as I pace. This cannot be avoided with me. I have to talk outloud, I have to move around. And in the midst of trying to write in my head, I have to do other things within the time I'm walking and talking. I have to do origami, I have to practice card tricks, I have to scream, jog in place, throw things, do a little dance, make a little love, get down tonight. All these things are necessary. I don't know why, they just are.

It's agonizing. I mean it's a real physical hurt to just get to that creative point, trying to come up with that idea. And it's not one that I can get help with. I have to be alone. I have to have my privacy. All by my lonesome, feeling that pain, trying to give birth to something. Some sort of strange immaculate conception of which the labor has no definite end. Could take hours, could take months. But in 5 pages and 5 minutes a story can be told with the resources at hand. And it's right there. It's staring right at me and I can't see it fully, but I know it's right there. That moment of brilliance is right there. THERE! Over by the trash can, next to the fridge, it's right there. Then it's gone. Stolen, taken, yanked away by guess who.

INT. ROOM - NIGHT

PATRICK stares blankly at "It" as THE WRITING DEMON grabs hold of it and begins to run.

PATRICK
Hey!
The Demon stops in his tracks clutching on to "It".

DEMON
What?

PATRICK
For just like, once, could you just hand
that to me. Or at the very least leave it in
one place so I can grab hold of it?

The Demon is about to turn away as an evil smirk grows on his face.

PATRICK
I'll give you 5 bucks.

The Demon laughs at this.

DEMON
20.

PATRICK
10 bucks. Ooh...

Patrick searches his pockets.

PATRICK (con't)
and a deck or cards. And a stick of gum.

DEMON
Is it sugarless?

PATRICK
Yes.

DEMON
It has to be sugarless.

PATRICK
Like it matters with your teeth.

The Demon turns around upset. Patrick panics.

PATRICK
I've got CD's in the car.

DEMON
Like what?

PATRICK
Cold Play.

DEMON
No thank you.

PATRICK
AC/DC, Gnarls Barkley.
Ooh, I've got Public Enemy.

DEMON
Apocalypse 91?

PATRICK
No it's Fear Of A Black Planet.

DEMON
You'd give up Fear Of A Black Planet?

Patrick thinks about this.

PATRICK
I can burn you a copy.

DEMON
Or you can keep the copy and
I can have the CD.

PATRICK
What's wrong with the copy?

DEMON
I like liner notes. Makes me feel like
I really have the whole package, like
I've really got something, ya know.

PATRICK
Yeah like Vinyl. Album cover and all.
It's all about the music, sure, but you feel
like you've got something substantial and
not just something you burned or downloaded.

DEMON
Exactly.

Patrick smiles. They're really getting along.

PATRICK
(Smiling)
Alright then. We have a deal.

The Demon smiles. But the smile slowly turns to a pout.

DEMON
(Angry)
Screw you Francis!

The Demon runs off with "It". Patrick is confused.

PATRICK
Wait! No wait! I have ABBA!

He pauses to see if there is a response.

PATRICK (con't)
Fleetwood Mac?

Another pause.

PATRICK (con't)
Starland Vocal Band?!

Patrick gives up and heads back to the desk. He stops suddenly
and turns back to the Demon's direction.

PATRICK (con't)
Who the fuck is Francis?

CUT TO BLACK


And so it is that the agony continues until you can get back to "It". That idea, that moment of wonder. That little spark to get things going. And once you're going it's not an easy path your on. There is no such thing as writing, only rewriting. The labor pains can last you a while. But once it's all said and done and your baby is born. It is a sight to be hold. And all the agony, frustration, and pain was worth it.

Then you do it all over again.

Let's face it, that's the most addicting part of playing God on paper. Creating. Creating is an addiction. Especially when we're trying to create something out of what is seemingly nothing. And I think it's true for most things, whether your painting a picture, knitting a sock, constructing a building, or writing a movie. We all like the feeling of starting with what seems like nothing and creating something out of it.

Like pulling cards out of the air. Ya know, like a magician.


Follow the path of your aroused thought, and you will soon meet this infernal inscription: There is nothing so beautiful as that which does not exist.
- Paul Valery

Napoleon's Battle Plan

This was originally posted on Live Journal on June 19th, 2005. I'm posting it here now, because I wanted to include it in this blog and because it's still relevant for me today. Enjoy.


Sometimes you don't have to do anything.

Sometimes you just have to let it go. Let it do it's thing. Let the flow, flow. Let the groove, groove. Let the bears bare and the bees be.

I wrote a script for the movie we are doing now. But the problem with making movies in general is that most times things may go wrong. Things may not turn out the way they are supposed to in accordance with the script. Lord knows that this is oh so true for low budget films, and more specifically and most definitely for NO budget films. After tonights shoot, I thought of the scene in State And Main where Walt the director(William H. Macy) and Joe the writer (Phillip Seymour Hoffman) are sorting out how to shoot a movie called The Old Mill after learning that the old mill has burned down.

Walt: Don't run off. We need you. You know why? You're why we are here. You're script is why we are here. Big deal, we fight a little bit. Show me a family that doesn't. But we got something good here. You know what it is? We're here to make a movie. We can't use the old mill. That happens. What you gotta do, you've got to figure out the essence. What is it that brought us all here? It wasn't a building, Joe. It was an idea. What is the essence of your story Joe?

Joe: It's about a man who gets a second chance.

Walt: Then you write that. And then this is our second chance. That's why we're all here.

Joe: I want to make a good film.

Walt: I know you do.

Joe: Maybe it will be a better film without the old mill.

Walt: Hey, it's with the gods. We don't have the money. We got to write it out, the best or not. And that's a lesson.

RIGHT THERE. "We don't have the money. We got to write it out, the best or not." And that is most certainly is a lesson. This is a realization that I learned over the 7 years it took to make my first movie. And a lesson I knew all about going into this movie. We don't have the money. So, you do what you can with what you have and try to tell the essence of the story. Too many people bail out when there is no money. When everything that the script calls for isn't there or isn't available at all. And I can bitch all the live long day about not having enough money to finish the movie. But all of that is window dressing compared to the real deal.

What is the essence of this story? When I came up with the idea for The Midnight Special I knew what the gimmick was. I knew it was going to have some solid scares in it to be a watchable horror flick. I knew it was going to have laughs for it to be an entertaining comedy. I knew that I was going to have to go for the "Cops" look in order to properly use the medium that was available to us. I knew what I could do and what I couldn't do. I knew what was possible and what was even more possible even if everyone said it wasn't possible. I knew what I wanted. I knew what we could get. I knew what we couldn't get but I wanted anyways.

But I also knew about the essence. I knew that I had to hold on to the true essence of this movie in order to be able to truely finish it. I knew that anything and everything can and will go wrong and that when it did I had to be prepared. And I must say some moments were real whoppers. Some things occured that I expected, but it still threw me back. And there were a few moments here and there where I wanted to throw in the towel and head on back to the world of the 9 to 5 working class dreamer. But I held on to the essence of the script. I had to pay attention to the fact that although we couldn't get the costumes we wanted, or always get the location that was called for in the script, or always get that specific shot, or always get every bit of the cast to be together all in one place and on time. Although things did go wrong, and sometimes horribly, as long as I held on to the essence of the story, then anything was possible.

I knew that everytime I had to shoot to keep in mind of what part of the story needed to be told and what the audience needed to feel. Not necessarily see, but what did I want them to feel. You try to shoot the script, but if it doesn't workout, do you give up? Pack it up and go home? No. You figure out exactly what is it that needs to be conveyed here and you try your best to convey that. You try your best to tell the essence of your story. So you soldier on using whatever you can. Maybe it wasn't the original prop, shot, set, you wanted, but are you still able to convey the same message that is in the story of this particular screen?

So now when we go to shoot some scenes. I aim for what I want and how I want to tell it. But if I can't do it my way then you have to do it the story's way. You have to figure out how to do it creatively without that particular thing you thought you needed. And most often then not you may come up with something better than what was originally written. This has happened many times within this movie, and each time it turned out better than what was written, but still in accordance to the essence of the story. And this is the lesson.

Bruce Lee said, "The great mistake is to anticipate the outcome of the engagement; you ought not to be thinking of whether it ends in victory or defeat. Let nature take it's course, and your tools will strike at the right moment."

As a story teller sometimes you can't tell it the way you want to. As long as you tell the story. When things got rough I tried to apply this philosophy to the obstacle, and many times that obstacle turned into a productive tool. Now don't get me wrong. I'm not saying you should always abandon form and not aim for a specific goal. Just realize that sometimes formlessness can be your form and within the realm of no buget filmmaking, you should let your story be your goal.

Tonight specifically was one of those nights. I knew what I wanted, but I knew that maybe we couldn't pull off what I wanted. But instead I just let it flow. I let nature take it's course. After awhile it all came to me. We let the tape roll and we just did the scene. No form. No rules. And it all fell into place. We got some great shots. We shot a very necessary scene for the movie. We kept the idea of the movie and the story in mind and we went for it. Low and behold all of our tools struck at the right moment. And looking over the footage just now I realize we got the scene I wanted to get. The scene I needed to get tonight. We achieved the goal of the story. And we are that much closer to getting it all done.

Hopefully soon you'll be able to see what it is we've all been working so hard for. Hopefully soon everyone will be able to finally see and hear and feel the essence of this story. Hopefully soon you'll be able to be witness to our goal. Our story that is.

Yeah I wrote a script. But going in I had to realize that the script isn't always the story. The story is something truer than that. And as long as I can tell that truth, then I'll reach my goal. We will have made a good movie. The script is just a script. For most people they turn it into something more. Like a code or a set of rules that MUST be followed.

I say hang the code and hang the rules.

They're more like guidelines anyway.


"The first lesson in my film school was that it's not your wallet that makes the movie. Any monkey can tap himself out financially. The idea is to tap yourself out creatively first."
- Robert Rodriguez



Casey: Technically, I have a plan.
Dan: What's the plan?
Casey: It's Napoleon's plan.
Dan: Who's Napoleon?
Casey: A 19th century French emperor.
Dan: You're cracking wise with me now?
Casey: Yes.
Dan: Thanks.
Casey: He had a two-part plan.
Dan: What was it?
Casey: First we show up, then we see what happens.
Dan: That was his plan?
Casey: Yeah.
Dan: Against the Russian army?
Casey: Yeah.
Dan: First we show up, then we see what happens.
Casey: Yeah.
Dan: Almost hard to believe he lost.
Casey: Yeah.

- Sports Night, Episode 22, "Napoleon's Battle Plan"