Back to basics...

Great things are afoot, but today I'm thinking specifically about the feature script I'm developing for The dotUS Project. We're adopting the practical filmmaking philosophy of Marc Price, director of the no-budget zombie film "Colin" that dazzled Cannes this year with its reported $70 out-of-pocket price tag. I read a quote from Price (can't find the article now) where he encourages filmmakers to embrace making a feature with the resources they have access to right now, instead of waiting for the money.

So that's what we're doing. The script I'm developing takes place in one location (the place where I live), has five speaking parts, and doesn't require anything except minimal props and make-up - a thriller, currently entitled "Jacob," that takes place in a residential building in downtown Brooklyn.

Like 'Paranormal Activity' the film focuses exclusively on the interior of that shared living space. We're going for a lo-fi aesthetic, but to bring some richness to that we're embracing the cinematography of early 20th century horror - films also made for minimal budgets (by today's standards, certainly) that used striking expressionist lighting and camera, the kind pioneered and embraced by the German filmmakers of the 20s and 30s.

And you can help - we're making a list and checking it twice - the most striking horror films of that period that we're going to use as our role-models. Any and all suggestions for films we should watch are absolutely welcome. Here are a few lists I've found so far :

Cinematical Seven - The Best Black and White Horror Movies

Filmsite - Horror films

Obscure Horror Movie Categories - Black and White Films

Share and enjoy : )

Tempus Fugit on Twitter

Good grief. Time has flown by since I updated this blog last. I've got a couple of good reasons - one being the ongoing post-production struggle for my most recent short film, the unfortunately titled "Undone" (Larry, my A.D., has long suspected that I've totally jinxed myself with that one... I choose to be less superstitious than that). More on that project later.

The other reason is Twitter.

I doubt I have anything new to say on the subject (of Twitter in particular or social networking in general), but I will say that when I finally embraced Twitter it was with the intention of becoming part of the independent film-making community. And I'm there. I've seen films I wouldn't otherwise have seen, films made by passionate outsiders to the commercial filmmaking industry, driven by passion and commitment to their craft - dream chasers all. And I'm proud to count myself among their number.

I could go on and on about what I've seen and who I've encountered on there... but it's something you have to experience for yourself. Like blogging, or in fact anything in this life, you get out of it what you put into it. If you haven't already, dip your toe in the wide river of flowing information on Twitter. There's something for everyone there... Maybe join me... @d0kk... Everyone I follow on there is absolutely worth following.

And 'Undone'? We're getting there, inch by inch. I approached this project as a neophyte producer, determined to learn from my mistakes. And I've made plenty. But we're nearly there. I'll keep you posted as we approach the first public screenings. Stay with me. It'll be worth it.