2. More useful, suitable, or desirable: found a better way to go; a suit with a better fit than that one.
3. More highly skilled or adept: I am better at math than English.
4. Greater or larger: argued for the better part of an hour.
5. More advantageous or favorable; improved: a better chance of success.
6. Healthier or more fit than before: The patient is better today.
I've been fast tracked through a course in confidence, emotional maturity, time management, and creative thinking. My eyes have been opened to new possibilities.
Because of the events of the past week I can say things are better in certain aspects of my life. But now I'm starting to see how other parts of my existence and especially my creative endeavors can greatly improve.
It has to happen every so often. You realize after seeing something fall a part how you can put it all back together and in even better shape. This becomes even more obvious when other people don't see what you see.
I made something and now that I look at it I'm seeing how awful it is. Well, not awful, but satisfactory. And for me satisfactory is awful. I don't want to create on a level that is just plain, acceptable, or average. I want to and can do better.
I'm sick of average. And so I go to work on greater things.
Today so far has been all about figuring it all out. What can be done? When can it be done? And how can it be done?
Doing a number of camera tests today. Trying out different filters in post. Also writing out the initial score. Yes this is for Creep, but sadly my brain is set on high, so I'm also contemplating another feature idea. Once again I'm walking that actor/director line. I think Creep will be great, but it does require me to play the lead, which I know I can do. But this new project that I am contemplating keeps me behind the camera, which is where I kind of want to stay just to make sure all goes smoothly.
Especially looking at the camera tests so far and working through this footage. This is going to require some real tender, love, and care. All my projects do (well most of em), but if I'm really trying to create something in the cinematical aces, then I really have to put extra care into the behind the scenes work.
Thankfully the internet provides some help with that. There are a slew of folks who've already done the work for you. Do a search on Vimeo or even Youtube for whatever camera you plan on testing, and chances are you'll find someone has already tested it for you. Light tests and all.
At some point today I will breaking to make a meatloaf. Then I will watch LOST. Then I will return to tests, scoring, and then re-writes. If you've been a previous cast member in anyone of my projects in the last few years, you may very well get a random message from me today or tomorrow.
Someday, it won't snow, so I can shoot outside. Someday .
My Indy Mogul episode is still getting me some great feeback. The episode itself is actually a recut of a video tutorial I did back in 2008. Since then a few folks have felt inspired to work on their own DIY Necronomicons, many of them blow mine out of the water. And that's what it's all about isn't it? To post your tutorial in the hopes that someone out there will be inspired and improve upon your techniques. Because of what I've seen in these vids, I'm going to revisit my prop and improve on mine.
Feel free to visit these videos, rate them high, and subscribe to these folks.
I saw this a while back and I've actually watched it several times since then. J.J. Abrams speaking a TED (Technology, Entertainement, and Design). Alot of what he says here I believe in. Great presentation, and what a great story about the Mystery Boxes. This made alot of sense to me when I first saw it, but very much so now, since I seem to be working very closely with a Mystery Box myself.
My Wisdom teeth. Never had em taken out. Every few years it seems like they wanna act up and grow, and give me over all pain.
That is what is happening now.
I am finishing up the final draft of Bobby's Closet, I am starting on the business plan, and planning out the full package, working on vlogs for it, and thinking about the official website, all in an effort to create buzz and start raising money to shoot this massive production .... all while I am in agonizing pain.
Ok, not exactly agonizing. When the ibuprofen wears off it's really just a throbbing ache/annoyance. But enough to be distracting. Good thing is, I am so driven to do this project that it's really not stopping me. But it is putting me in a very serious focused state. And also rather grumpy. I already don't want to do anything but work on Bobby's Closet, and now I'm ready to tear into anybody that stands in my way or distracts me. Which I guess is somewhat of a good thing, unless you're in my way and or distracting me.
I've been doing a lot of research as well. Preparing for the full workflow of producing another feature length film. I remember the struggles of working on my first two features. I remember the pains, and I understand much better now, what pains were necessary and what pains could have been avoided. It's the pains you go through that later give you that wisdom. It's that wisdom that I have now that gives me the confidence to do this project. There's a difference between knowing and REALLY knowing. I've been through this process enough times to know what needs to be done. Bobby's Closet will be made, and love it or hate it, the audience will see it.
Here's a video of Harold Ramis talking about Ghostbuster's 3. Not only is there insight into the anticipated sequel, but good old insight in general. There's wisdom in much of his words. Especially when he talks about making something with REAL people, and how some Hollywood movies start to look the same. What I'm trying to do with BOBBY'S CLOSET is to make something real that you can grab on to. To make something that doesn't look or feel like everything else. I'm trying to make something magical, amazing, adventurous, and overall with a true sense of REAL human emotion. Not another fx heavy blur of a project. Something the audience can REALLY connect with.
Gearing up for the shoot tonight over at Northwoods Stable. Going to shoot zombies, literally. Working on the current 23 minute episode MONSTER COPS: ZOMBIES and I realize we just don't have enough zombies heads being popped with bullets. So tonight is going to be all about the blood squibs.
Gotta pack up the gear, load up all the props, pick some munchies and drinks, and then head out the the stables, where hopefully we'll have some decent zombie carnage. And then hopefully get it all done in less than 3 hours, because I still have a ton of other stuff to do tonight as well.
Thank God for clear weather Saturdays. Let's hope we have more of em.
Yet another short webisode for Monstercops.com This time Bryce "encounters" a tree. 3 min 35 sec.
The footage of Bryce (Mark Tabije) was shot years ago on a night a certain special fx guy did not show up. We improvised a few scenes instead. The footage of Cutter and Windows (me and Chris Plouffe) was shot just last week. Really trying to combine both Texas and North Carolina casts. Alot of what Mark did was improv'd with a little bit of directing from me. For the most part this is all do to Mark just being a really funny guy. I also like the way Chris says "He has good form."
Coming up. More short Webisodes but this time it would be nice to actually include a few MONSTERS to go with our comical cops. Wouldn't you agree?
No this isn't me having a pity party, nor is this me trying to buck myself up. This is me being real. The year is almost up and I'm only semi satisfied with the work I've done this year. I'm only semi satisfied with that Shadow Company episode of Monster Cops.
Nothing in particular, just everything in my creative control. I know some folks seem to like it, but this is me being my harshest critic. I scold myself because I know what I am capable of and I have yet to even come close to putting my full potential on the screen for you to see.
So I travel towards finishing what I can before the years end, to see if I can even come close to what I seek. I know it's a part of that eternal struggle in life, to continually seek to improve upon ones work. To always aim to the next level. For me I don't even feel as if I've even hit any sort of level. That Monster Cops episode is child's play compared to what I have in me.
No offense to everyone who participated in it's creation. I feel that everyone did an amazing job, and we put together a good episode. But for everything on my part, I know I can do better. As a writer, editor, producer, and director, I feel I've just barely been scratching the surface. I wish I could show you what is in my brain. One day I will.
And it's not about the money either. I don't like hearing comments like, "well if you had more money then maybe this would be better." This is not about pushing yourself financially. Perhaps a few bucks will make things a bit easier. It doesn't change the fact that this is about pushing the creative envelope not the financial one. Hollywood throws money at problems all the time, and often times to no avail. Indies can bitch about not having any money all day long. As long as you have a camera and a means to edit, then you have absolutely no excuses. There is always a way to tell the essence of your story, I don't care how much money you don't have.
Your obstacles and limitations should be your strengths not your weaknesses. I know this and still I waste my time trying to "raise money." I need to raise my creativity. I need to refine my editing skills and improve upon my direction, not worry about weather or not I've got enough tactical vests to go around, or how much the price of blank ammo costs. All this is nothing without that creative spark. It's not about what you don't have, it's about using what you've got.
And even with nothing I should still be able to blow your mind. Nothing should be able to hold back the ability to tell a story. Absolutely nothing. Even at the bare minimum I should still be able to give you a great show. This is what I need to strive for. Excellence at no cost, but with great expense of personal ability. To create with full force of mind and soul.
Maybe I'll never be satisfied. But I have to try.
Time to step it up. Time to work harder and more efficiently. I need to make production days count, with tons of preplanning ahead of time. Time to do more, time to do better.
I'm better than what I have accomplished this far.
I'm on set for Monster Cops: Dead By Dawn. I am currently waiting for the costumes and the make up stuff to get done. All the lights and electrical is ready to go, just waiting on the Vampires to get done with make up and for costume issues to get fixed, then we can knock this stuff out.
I'm posting just to kill some time. Here are a few pics I just took.
Ok so I've set up a google site sepcifically listing what else is needed for the production of Monster Cops: Dead By Dawn. Check it out here and find out how you can help. http://sites.google.com/site/mcopsproduction/Home
I think I've got all 3 Vampire Brides covered, I'll find out today or tomorrow.
Thanks to Richard Gaither we may very well have some locations covered, as well as a coffin, and some fog machines.
We still need a bunch of stuff as well as some locations so check out the site and lemme know if you can help.
There has been much discussion about stories, writing, and what I call the discipline of franchsie writing. I'm entirely too tired to write about everything that has been happening in just the past 3 days. But much of it does concern writing movies, knowing what your franchise is like, and understanding how your audience sees what you put out.
I will say that there has been many examples presented to us by the Hollywood core or movie creators of how not to write a franchise and how to ignore your audience. It is a complex discussion, because maybe they aren't ignoring us, maybe we aren't the audience any longer. Maybe they're right in making what they want to make without regard for what the old fans are wanting. At the sametime, if I go and see a movie that is part of a franchise that has in the past given me nothing but the very best, am I wrong to expect the same quality from a new installment?
I don't want to get too deep into it in this post. This post is just a minor vent. What it boils down to is, if the usual fare isn't impressing you, then all I can rely on is my ability to create the kind of movies I want to see. So I dive into going through footage and editing my current project.
Delay.
My computer doesn't recognize the DV camera. I've spent the better part of today trying to fix it, but it will not allow me to transfer footage into the computer. I've tried everything I know, and my conclusion is I have to get a new computer. Which delays post production for 1 month.
I am frustrated but not incredibly upset, mainly because of the old adage that obstacles begets creativity which begets brilliance. That concept has been on my mind for a while now, and I just know, that with every delay, misstep, obstacle, and problem, comes a brilliant and creative solution just waiting to be discovered, just waiting to make whatever art or story you are trying to create better and closer to the essence of your truest vision. That's something I think alot of Hollywood creators need more of. Less money, more obstacles. Maybe then we'd get back a little more of that brilliance into the movies.
What if the Shark worked perfectly the entire time they shot Jaws? How great would that movie really have been without that obstacle?
It still blows my mind how something can go from an idea, to the page, and into production. Scene 12 (also known as the Mothman Conversation) was one of the first scene ideas that I would build the rest of the story out of. Scene 12 serves as an introduction to several plot points, introduces the majority of the cast, and sets up jokes for later punchlines. It's the first (and really only) scene that I had rehearsed the first time we had all met, and it's the scene that the majority of the cast is in.
As we were setting up I realized that we were about to put on to tape something that was really only in my head months ago. I was only really able to be excited about it for a few minutes. The rest of the time I was too busy remembering my lines, setting up the shots, and going over the shot list in my phone (that seems to be where I keep all my notes now.)
Solid shoot. Smoother than normal, thanks to the addition of Brian Tally. An experienced behind the scenes man who was on the ball the whole time. Eager to set up, first to start packing up after the scene wrapped. Thanks Brian. And thanks to Seth Tucker for working the boom mic. First time on sound, but an excellent job indeed. No really, I just checked all the sound and it's good.
A big thanks to the cast tonight, Jamie Bertman (thanks for letting us use Katy's Ass), Danielle Motley (A real trooper, walking as many times as she did even if she was in pain), Brandon White (funny as hell), Will Atwood (no one else is Chase), Greg Romeo (hilarious as always, great improv), Nicole Nastazzio (who looks great in camo and shines for the camera), and Chris Plouffe (who not only performed well, but also allowed us to destroy his office, thank you Chris).
It was the first and possibly the last time the whole NC cast would be together (for this episode that is), so that meant taking a whole lot of pictures. Here are a few of em.
It was fun. But now we move on to the other 15 scenes that still need to be shot. OK guys, from the top. ;)
Today we worked on the Bud Light commercial for XLNTads. I think we all had several different ideas for the past week, but really we're coming late to the game and couldn't do alot as per Budweiser's Guidelines. Tonight we got quite a bit done. Came up with a nifty idea and knocked it out by about 9:30pm.
Got started at about 4:30, first with a few videos for actor Chris Plouffe. I'm working on his demo reel as well as helping him produce some videos for his acting profile. Then went into the Bud Light stuff.
Got home around 10:30 and continued back on what I started the day off with. Editing Monster Cops.
What's that you say? We've barely shot anything? Correct. Plenty of test footage, rehearsal video, and fx tests. Out of all that, there's maybe 2 minutes of footage I could use and sneak into the actual movie. But editing goes beyond just cutting footage together. There is quite a bit of graphic and titling work to be done, and I might as well get started on sound effects work.
This is basically a 22 minute series pilot we're working on. So I've already created an editing timeline in Vegas starting off with the usual, black tone, bars and tone, and a countdown.
Can you tell I use to work in Television? Does anyone even say bars and tone anymore. If you don't know what I'm talking about here's the run down. We start off with black tone, which is really just a black screen. We use to call it black tone, or black burst, because back in the days of analog 3/4 inch video you had to actually have a machine that produced a black screen (called black burst or tone) that you'd record on to your video tape. 30 seconds worth because back in the day you had to make sure enough video tape had run through because the very beginning of the tape was always more at risk to be damaged or degraded in a video deck. Nowadays you don't have to worry about that, so I do about 5 to 10 seconds of black, all on the good old computer machine ;).
After a black screen, we have the color bars and tone. You may have accidentally seen this on tv late at night. Color bars are there so whoever is playing back your video can adjust their equipment to the correct industry standard colors. Again back in the day a machine put out a color bar signal. Now all I have to do is click a setting in Sony Vegas. So easy. The tone part of bars and tone means a sound tone. One long sound in order to help whoever's watching adjust their volume accordingly.
Then of course the countdown. Self explanatory. A countdown is there to let the presenter of your video no where to cue it. That way your video is ready to go when the lights go down, or when the curtain comes up, or whatever. They hit play and it's ready to go. The countdown you see here is the typical start at 8 and ending at 3. Starts at 8 because honestly 10 is just too long, and ending at 3 because those last 2 counts should be black screen and then the actual start of the movie. I made my own countdown, full of color and hues, just for the heck of it.
The episode starts off with very official looking government office graphics. I'm using actual department seals and logos, along with the Shadow Company Unit number, file number, video number, etc. Really trying to give you a feel that you're watching something produced in secret by the government.
Got to specify that you are watching a training video of sorts. As if you yourself are being trained as a Monster Cop, or that you are somehow being treated to a sneak peak into a secret government project.
After all the graphics and ID flashes and such, we go right into the action. Starting with this text. Trenton County is a fake county I've used in previous productions. I've decided to set most of the Monster Cops action in the town of Magic Valley, USA. A creepy little town I've written quite a lot about. When you watch the episode(s) Magic Valley and Trenton County are going to look like a hybrid of The Triad and DFW.
Here's the main titles for the show intro. The following pics are freezes from the intro.
The intro as it is right now only has footage from rehearsals and test runs, as well as footage from the first movie. Look it's Roy and Tabije.
Speaking of Tabije, I'm glad to say that the boys in Texas had a successful shoot last Saturday. They knocked out quite a bit of footage from the pages I sent them for this episode, and I can't wait to see it all put together with the stuff I'm shooting here.
This wednesday I hope to work on the Bud Light ads more, get some work done for ExpoTv, and hopefully get into some Monster Cops footage. I NEED A CAMERA PERSON!
It's something I find myself talking to more and more filmmakers about. Less is more. Also something that was hammered into my head back in my early days of Theatre. It's a concept that seems to be ignored by too many indies. Too many people focusing on what they can't get instead of (here comes that phrase Patrick likes so damn much) "doing the best with what they have."
I went on about it a few posts back, and for many of you who have kept up with my previous blogs and journals, you know I say this quite a bit. Now more than ever you can afford the very basic things you need to make a movie. Cameras are more affordable, computers, yadda, yadda, yadda. But still too many people focus on, "Geez, if we only had a better camera!" or "Just another grand to match the grand we already have to make this movie..."
If you have access to a camera, shut up and shoot something. If you have a grand set aside to make a movie and you're still hesitating, I'm comin over right now to slap you in the frickin face. Do you know what I could do with a grand? How about this? What if Steven Spielberg had no money, no studio backing, no connections? What if all he had was his talent? What do you think he could do with a grand? I mean lets say all he could get with that grand was a camera, a computer, some tape stock, some cheap lights, and maybe a few more odds and ends that he could only get with one grand. What kind of movie do you think he would come up with?
This particular subject has been conceptualized and documented in a kick ass site called, you guessed it, $1000 Spielberg. Check out the site. These guys have got it down. Much of the rules and concepts I've set for myself, these guys have got listed on their site. They talk about it too. The idea of using what you've got, as well as knowing how to use what you've got. If you have a lower end MiniDV camera that has decent resolution but isn't quite up to par with HD or 35mm, then why are you going to set out to make a 35mm film? I'm going to shoot this 357 using paintballs.
I've known too many of these guys. I've seen their shorts. Too many people trying to imitate the latest Hollywood trends. Hey, practice is great. Go out and practice some of your Matrix style moves and fx, lord knows we have, but as far as conceptualizing a feature film, too many people wanna go out and make a million dollar movie with only a grand in their pocket. Sometimes less. Hey I get it, we think big, we want to make big impressive movies. But I repeat what Clive and James over at $1000 Spielberg have said. "Make your format your advantage."
If you're going to make your guerilla movie, than adhere to some of the rules of guerilla tactics. One of those rules is this: Make your weaknesses your strengths. If you can only afford a low end MiniDV camera, start thinking about what you can make in that format. What is something that would look feasible in this particular format? Obviously you can't shoot widescreen panavision style epics. You could try, and many have, but it doesn't seem to work well. So how do you make it work? How could lower resolution video look "good"?
For me, doing The Midnight Special was an easy concept. It just clicked with me one day. It has to be reality TV. A huge inspiration was Cops. When Cops first came on the air (seems like ages ago) I was a little angry I didn't do it first. I thought, well here's a genuis idea. Low production costs, hight end concept. One camera, video tape Cops at work. Cut it together, get some minor graphics, got enough money left over to get a theme song, get it on the air, and boom. Instant TV show. No actors, no fx. Cops became a staple along with many other shows on TV we all now know as "reality TV". Along comes The Real World and America's Funniest Home Videos and the increase in the voyeuristic, cinema verite, type programming, and now everyone's use to seeing this look. This rough, spy cam, realistic, home movieish look. So why not come up with a storyline around that particular kind of look, heck we've got the cameras for it. That's what they did with Blair Witch and The Last Broadcast.
So that was our niche. A reality TV look into the "training video" of a Secret Government Agency that fights monsters. Basically it's Reno 911 except with monsters. Of course there's more to it than that, a little bit of added pathos and drama along with the comedy. But that was the basic idea. A training video. Would definitely fit the format. Features interviews, camera tag alongs on cases, monster sighting type footage, etc. No need to spend money making it look real, because most of it was real, well, except for the monsters, but we'll cover that later.
So instead of looking at what you can't make with what you don't have, start looking at what you can make with what you do have. Blair Witch is an example, except I would advise you actually write a script. The Last Broadcast is a really great example, and it's well written. And there it is, it's in the writing. A great story can be told with a movie, and you should be creative enough to come up with something amazing with what you've already got. Make the best with less.
And speaking of that, here's a movie that won the Fangoria Chainsaw Award for the BEST WITH LESS Category. It's a movie called Zombie Honeymoon. Written and Directed by David Gebroe. I haven't seen it yet, but the trailer looks great. Good job David! I am really impressed.
Okay, look, here's the deal. Man, you were gonna drive me around tonight, never be the wiser, but El Gordo got in front of a window, did his high dive, we're into Plan B. Still breathing? Now we gotta make the best of it, improvise, adapt to the environment, Darwin, shit happens, I Ching, whatever man, we gotta roll with it.
- Tom Cruise as Vincent in COLLATERAL
Not that I'm a huge authority on the matter, but I do get the occasional request on what tips I can offer those starting out in low low budget production. I always end up telling them the same thing.
1. Remember, you control the camera. 2. Creativity First, Money Last.
You Control The Camera.
The one mistake I do see often with ultra low budget and amateur videos is the lack of camera control. Somehow people just lose control of the camera. The shots are too shakey or just not steady enough, and not on purpose either. With my movie, The Midnight Special, it's shakey on purpose, because we were going for that reality TV type, COPS feel. All the shakes were intentional, in fact looking back at it now, I think we had too many steady shots.
It's always the signal of a first time camera guy when the camera shakes. And there are different kinds too. One of my favorites is one I like to call the, "We Didn't Buy A Tripod Shake". They hold the camera handheld and try there best to hold it steady. This hardly ever works. Unless you're intention is to get that handheld NYPD Blue, Paul Greengrass, effect. But most times you can tell they were trying to keep it steady, battling the fact that human's can't help but twitch every so often. Even worse when it's a small light weight camera. Even even worse when the shot is zoomed all the way in on something, in which case every centimeter you shift looks like a bad swish pan from one mile to the next.
The solution of course is to buy a tripod. Which brings us to the, "I Have A Tripod But I Keep Touching The Camera Shakes." This may be even worse than the first. Because on a tripod the shot is static. But then all of a sudden the shot twitches because you got all itchy about the shot and felt the need to mess with it. Solution, set your shot on the tripod, and then leave it alone. There is no need for you to have your hands on the camera and tripod at all times, espescially when it's not a particularily heavy camera. If it's windy, or the shot is supposed to pan or tilt, fine grab hold, but if you're trying to get a steady shot, DON'T TOUCH THE CAMERA.
The point is you have to realize you control the camera. If the shot shakes it has to be because you wanted it to and you felt it would be good for telling the story at hand. If the shot needs to be steady, then keep the camera steady, either on a tripod or not. Which brings me to the next piece of advice.
Creativity First, Money Last.
You've gotta learn that creativity will solve a problem much faster than money. What if you can't afford a tripod? Then get a stool and some duct tape. What if I can't afford duct tape? Then set your camera on a table, a nearby chair, how about the ground. I don't know how many great shots I got just by setting the damn camera on the ground, and then propping the lens up with my wallet. Hey look at that, a nice steady shot with no money.
Now I'm not saying you don't ever need money. Eventually the bigger movies you make you're going to need some funding. Movies do indeed cost money. Cameras and computers to edit on cost money, of course. But nowadays those things are much easier to come by if you're working that day job, which you should be. After that, if you can shoot it, and cut it, then you've got all the power in the world. No need for you to spend thousands on a fancy crane, special fx, or expensive locations. Use what you've got. Shoot in your apartment, use your car, a park, a parking lot. I mean, come on. It's a lesson taught over and over again, haven't we heard about this a billion times. Clerks, Evil Dead, Night Of The Living Dead, the frickin Blair Witch. And get on youtube and triggerstreet, you'll see some real gems for no money.
No money is the motto of the world and the backbone of civilization. Some truely creative and powerful things have arisen from the poor, the penniless, and the desperate. It's the very roots of rock, country, blues, and hip hop. It's learning to make music with a washboard and a jug. It's figuring out how to make big sounds with two turntables and some old records. It's the days of the early street performers all the way to Vaudeville, when the most creative acts came from the slums, the ghettos, and the poor houses. It's the very soul of Martial Arts. Using your limbs as weapons, or making weapons out of those thing around you, all in the name of defending yourself because you had to. You needed to.
True talent has always come out of desperation. True creativity has always risen out of the very rock bottom of down and out. If they can figure out how to build pyramids without machines, if they can make music with nothing but their hands and mouths, if they can make hit performances out of sticks and brooms, then you should be able to come up with a creative masterpiece with out fancy FX or an expensive tripod. You've got the camera, you've got the editing software, shut up and make a movie.
It's the very essence of the true guerilla filmmaker. Do the very best with what you've got. Adapt, improvise. If you really look at it you have the opportunity to create something the big Hollywood machine cannot. A movie from your specific point of view. Think about it, they would have to spend 3 hundred grand if they needed to put together an authentic set that looked like someone's apartment or house. And you don't have to. Use your supposed weaknesses as your strengths. Do the very best with what you've got, and often you'll find it's exactly what you needed in the first place. I believe there's a life lesson in there somewhere.
Here's an example. Out of the millions of dollars some people spend on putting together music videos, the fancy filters, the hot dancers, the expensive sets, cars, etc. Here's one of the coolest, most popular, most creative music videos EVER!
The band is OK GO. And if you haven't seen the awesomeness of their videos, check em out now, and tell me if you couldn't have come up with that yourself for no money.
You know in guerilla warfare, you try to use your weaknesses as strengths. If they're big and you're small, you're mobile and they're slow. You're hidden and they're exposed. Only fight battles you know you can win. You capture their weapons and you use them against them the next time. That way they're supplying you. You grow stronger as they grow weaker.
