Film Challenge Retrospective: Cosmic Questers '97

Hey there, Questers! Marcus here...

It was great looking back over our old projects during Film Challenge Month last May. Now, six months after our latest film challenge was completed, I’m pleased to be able to share a retrospective on the making of “Cosmic Questers ‘97”!

In the green room at our location,  rehearsing the script with our talented cast. 

Unlike our past projects, we shared a lot of the details of this production before it began. You can find our cast and crew announcement and our planned schedule in previous blog entries. I won’t repeat those details in this post, but I will talk about how the production differed from our expectations.

Before getting critical, I have to say I couldn’t be happier with the contributions everyone brought to this film. I gushed about them in the announcement back in May, but the cast and crew brought their A-game to this project, and Andrew, Eric, and I are very proud of what the team came up with. 

Check out the film on your viewscreen here before we dive into the production details:

Pretty rad, right?

Okay, so how did the actual weekend differ from our plan? It all started at the genre drawing. Right there at the beginning, the odds were simply not in our favor. 

Andrew went up and drew "Film de Femme," which requires a female lead. This was literally the only genre we didn't want to use. Normally, it wouldn't be a problem, but we had lined up Bill Dablow, Lucas Vonasek, and MJ Marsh as our actors—three guys that we had been aching to work with for ages—and we didn't want to discard the opportunity to showcase them together. So we reprimanded Andrew and sent him back up to draw a wild card genre.

We were excited for the wild cards. We could make do with any of them except “Period Piece" because our reserved location was a production office space with a very modern look. Guess what we got?

Yeah. Andrew isn't allowed to draw anymore.

We were left with the following elements after taking our wild card choice:

Character: Kevin Whitefish, Club President
Prop: A coat hanger
Line of Dialogue: "You choose. I can't/cannot decide."
Genre: Period Piece

I’ll freely admit that we weren’t thrilled by the genre selection. Our location wasn't going to work for any distinctive period, and it was set to rain that weekend, which meant it would be hard to do an outdoor shoot—woods look the same in most periods. As a rather risky play, we decided to change our location to a more versatile studio space and double down on the period elements. The film would take place in the late 90s during a public access production inspired by a 60s era sci-fi show—in an homage to the original "Star Trek" series and Minnesota’s own “Mystery Science Theater 3000."

With "Cosmic Questers '97" we won our first “Best Use of Prop” award for our coat hanger monster! We affectionately call him "Coatie"!

Our risky move to fulfill the "Period Piece" genre really began to throw us off balance come Saturday morning.

While I rehearsed and refined the script with the cast, our concept's need for period props and costumes pulled Andrew's attention away from his co-director responsibilities to more of a producer's role. He spent a majority of his morning on the phone with our production assistants, arranging the acquisition of materials. Due to the last minute change of location, Eric was forced to run to our unused location to pick up a bunch of equipment. He also had to stop by a couple of places for additional props and costumes. As a result, neither Andrew or Eric had much time to plan our shots for the day, and we started shooting late. Once we got going, the team made up for lost time by working quickly, but at the expense of more deliberate blocking and visuals, which could have better communicated our characters' motivations. At the time, the stakes were clear to Andrew, Eric, and me, but I don’t know how well they came across in those first few crucial minutes of the film.

Our expectations for the weekend were exceeded when we got into post-production, thanks in huge part to our pre-production sessions with Ben Pimlott (editor), Eric Pagel (sound mixer), and Reed Reimer (composer). With these meetings before the weekend, we established a clear and effective post-production plan and encouraged frequent communication. As a result, everyone knew what was expected and each role was executed beautifully. We were able to have the film ready early enough to export safety copies several times before turning in our final, which really helped reduce anxiety at the end of the weekend. Ben and his workmate Cody Rowan, who assisted with visual effects, went on to be nominated for Best VFX—believe it or not, it takes a lot of work to make something look that (intentionally) bad—and Eric P. won for Best Sound! The film itself was nominated for Best Film and screened at the Best of Fest!

The big lesson for us here is to better plan how the three of us are going to collaborate and then reflect that within the schedule. This time around, we isolated ourselves too much in order to address the challenges of the production. When we finally came together to plan shots, we didn’t have the time to make the best of our collaboration. I had spent too much of my time rehearsing the cast off stage, not aware of the need to get the blocking down on stage early enough for Andrew and Eric to work on the shot planning.

In the end, we’re still very happy with the film we made. The 2015 Minneapolis 48 Hour Film Project was a great experience! We keep learning more every time we run a production, and I for one can’t wait for our next film challenge! Hopefully that retrospective will come along a bit sooner…

Marcus

Film Challenge Retrospective: Keeping Up with the Cloneses

Howdy, folks!
 
Thanks for stopping by TwoJackets.com. This is Andrew, here again to share a new story for our Film Challenge Month retrospective series! In this installment, we’re going to delve into the hardest of hard science fiction with Keeping Up with the Cloneses, our entry into the 2014 Minneapolis 48 Hour Film Project.

I was giving some pretty extreme duct tape direction here.

Going into that weekend last June, the Jackets were once again facing a transition: our beloved brother-Jacket, Marcus, was preparing to move to Columbus, Ohio to begin a year focused on his writing. We knew this would be the last time in a while that the three of us would be working together in the same place, so we wanted to make the 48, which is already a special occasion, even special-er. To assist with that, we filled out our team with some of our favorite collaborators (Craig Larson on sound, Sam Johnson on camera, Katie Vannelli performing) and a couple of talented newbies (actress Debra Berger and composer Jack Barrett). For the Jackets’ roles, Eric edited, Marcus wrote and assistant directed, and I directed.
 
Before we get into the real sciencey stuff, let’s watch the film. Please don your safety goggles, hard hats, and oven mitts now…

You can now remove your protective wear. Thanks for watching the film and for following standard safety procedures! (We don’t have insurance!)

As Marcus detailed in his All’s Chair in Love and War article, we carried many excess requirements into that shoot and left most of the assigned requirements in the dust (save for the character). In response to this, we went into 2014 with as close to a blank slate as possible. Two actresses, one house, and the following assigned requirements:

Character: Trey or Tricia Sneaderman, Government Employee
Prop: A bell
Line of dialogue: “I asked you not to do that.”
Genre: Fish Out of Water

With just those elements in mind, we, of course, developed a story involving an inexperienced government scientist creating a bunch of death-prone clones with the goal of teaching one to act like the original person, a swim-shooting dictator’s daughter. (Working title: Putin It Together!) Obviously.

As this and our other work can attest, we are inclined towards complicated, detail-rich stories, even during these time-based challenges. We never intend for this. We actually go in with the opposite in mind: keep it simple, dummies! When Marcus handed me the finished Cloneses script in the witching hours of the night, my weary brain wasn’t thinking logistically. I was pleased with his success in arranging the ideas from our brainstorming, including the required elements, into an engaging, entertaining story. So I approved the script.

However, by the following afternoon, I was beginning to question my judgment.

Wait… How are we going to drop a giant tree branch on Katie’s head? Will that read on camera? How are we supposed to have Katie fall out of a window? Hold it! There’s a DEATH MONTAGE in here?! Ain’t nobody got time for that!

As each of these problems arose, I realized with increasing frustration that I should have considered the reality of these complex scenes when I first received the script. Just because they were possible to achieve, doesn’t mean we had the time to achieve them. 

As a result, several on-the-fly brainstorming sessions were needed throughout the day to essentially rewrite the problem scenes. Every solution we developed harkened back to our original goal: simplicity. We had to look at each problem scene, determine the underlying goal, develop a simpler action, and execute it clearly. A giant tree branch became a large rock. Falling out a window became dying spontaneously. The DEATH MONTAGE… was cut out completely. 

In the midst of shooting the last scene around 9pm on Saturday, Eric, who had been editing along with us as the day went on, came downstairs to drop some knowledge. The cut he had assembled of everything we’d shot so far was only three and a half minutes long. With the scene we were currently shooting, it would maybe reach four - the minimum running time set by the 48. In efforts to concentrate and simplify the story, we had incidentally and ironically over-simplified. I don’t remember being very happy about this. 

Thankfully, as I watched what Eric had cut, I saw how many of the individual scenes were working, but overall the piece felt disjointed. It needed some connective tissue. That was when Marcus got the idea for the dictation scenes. They would bridge the gaps, and we could shoot them in a single camera setup. They would also become some of the best moments in the film. (“I don’t Snead a man! You Snead a man!”)

The rest of that weekend is a blur to me. I remember that the export came down to the wire, and I’ll never forget how Eric thought it would be fun to make a Vine video when the export finished, wasting at least six more precious seconds! I only let him live because we made it to the drop off in time.

A year removed from these events, I still get a little tense thinking about this shoot and all the stop and go and stop and go. Then I watch the film, become very happy, and remember that those breaks weren’t misspent; they just weren’t expected. I’m more open to on-the-fly revision now, but I’m also more considerate of our limitations. I’m very thankful to have had such a patient and flexible team on the Cloneses shoot, who supported the changes - despite the time they took - because we really were improving the story. The way I see it, Eric, Marcus, and company were guiding me as much as I worked to guide them. 

Our extra time and energy was first rewarded at the debut screening. I remember sitting in the Riverview Theater with the audience, watching the film on the big screen, hearing the crowd laugh in all the right places. We couldn’t have asked for a better reaction.

When the film was selected for the Best of Fest screening, the team was giddy with excitement. After the response the film received during the first screening, I couldn’t wait to show it in front of an even larger, more rambunctious crowd. Once again, it didn’t disappoint. Giddiness slowly transitioned into euphoria as the award winners were revealed throughout the night. Best Sound Design (Craig and Eric). Best Actress (Deb). Audience Favorite for our screening block. Best Writing (Marcus). And then…

Best Picture.

I couldn’t process it at the time. When the film’s name was read, it felt like my body was on autopilot for something it wasn’t expected to do. There were hugs and high fives. I stuttered through some kind of an acceptance speech. Eric and I took a selfie with the audience to send to Marcus in Ohio. We went out into the lobby to celebrate with everyone. Then it was over.

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Eric and i really could have looked happier with our mouths way more open.

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Pictured from left to right: Debra Berger, Eric Carlson, Andrew Neill, Katie Vannelli, Craig Larson

As I mentioned in my article for Put a Ring on It, I’ve consciously worked on leaving behind my competitive tendencies. Such thinking was selfish and never got me any closer to the top prize. I have no control over the judges’ tastes and their choices. Rather, my responsibility is to my team and to the story we’re telling. I have to dedicate myself to them with passion, respect, humor, and the belief that we’ll find our way through. The process will always be stressful and frustrating at times, but when I surround myself with awesome, creative people, I know that it’s an experience worth having. That is reward enough.

Though winning 1st place is pretty damn awesome, too!

Andrew