We will be holding our first public screening of The Fine Art Of Falling Apart on Saturday May 29th, 2010 at 4pm at The Fox Theatre on Queen Street. I am looking forward to the reactions as very few eyes have been laid on the film since our first rough cut several months ago.
We will also be selling first run limited edition DVD's at the screening. Tickets will be $10.00 at the door and DVD's will run for $15.00.
Sunday, February 7, 2010
Monday, January 18, 2010
Picture Locked.
Picture is now locked. We're going to begin the sound mix later next week and we're working on colour correction as I type.
That's the update. Savour it.
Ace.
That's the update. Savour it.
Ace.
Sunday, January 10, 2010
In No Particular Order #1
This series of writings will consist of several topics in no particular order. I will randomly move from one discussion to the next and maybe back again.
When I decided that I was going to make a movie regardless of having a script or a fully fleshed out idea I knew it might be a tough sell to find quality crew, especially with no money in the non existent budget to pay for their services. How lucky was I to meet a young cinematographer by the name of Richard Fiander who just so happened to be looking for an untitled project with not only no script but a vague description of what might or might not take place and most of all, and who wouldn't be on the look out for one of these, a project with no pay over the course of six months.
And if that wasn't some luck then luck it definitely was when we found a sound recordist who when faced with the prospect of working without pay responded that "if there's a steady craft service, I'll record anything you say."
And the rest of the crew know who they are and thank you ever so much for your support but just in case someone forgot who they are or in the circumstance that they have told someone they know to read this and their name is not spelled out then I will spell it out. Daniel J Duff did work on this film. He spent 14 hours a day doing anything and everything and sometimes nothing at all to make sure we finished the film. We could have done it without him but we wouldn't have wanted to. Thank you. Again, that is Daniel J Duff, he worked on this film, no, he made this film happen, no, he worked on the film. Much appreciated.
I would like to thank my couch for putting up with our sound man basically collapsing into the corner and causing the arm rest undue stress for hours on end. Thank you so much, I promise no one will ever sit on the left side of you again.
I would like to thank anyone reading these writings. And would appreciate it if you came to see the finished film when we finally have our screening in April or May of 2010.
I am done for now. There will be more later this week, maybe even tomorrow. As for the juicy gossip, well, look for it later this week in a blog that's currently untitled but will probably be titled "Damn Juicy... some of dat insider shit."
Thanks.
Ace.
When I decided that I was going to make a movie regardless of having a script or a fully fleshed out idea I knew it might be a tough sell to find quality crew, especially with no money in the non existent budget to pay for their services. How lucky was I to meet a young cinematographer by the name of Richard Fiander who just so happened to be looking for an untitled project with not only no script but a vague description of what might or might not take place and most of all, and who wouldn't be on the look out for one of these, a project with no pay over the course of six months.
And if that wasn't some luck then luck it definitely was when we found a sound recordist who when faced with the prospect of working without pay responded that "if there's a steady craft service, I'll record anything you say."
And the rest of the crew know who they are and thank you ever so much for your support but just in case someone forgot who they are or in the circumstance that they have told someone they know to read this and their name is not spelled out then I will spell it out. Daniel J Duff did work on this film. He spent 14 hours a day doing anything and everything and sometimes nothing at all to make sure we finished the film. We could have done it without him but we wouldn't have wanted to. Thank you. Again, that is Daniel J Duff, he worked on this film, no, he made this film happen, no, he worked on the film. Much appreciated.
I would like to thank my couch for putting up with our sound man basically collapsing into the corner and causing the arm rest undue stress for hours on end. Thank you so much, I promise no one will ever sit on the left side of you again.
I would like to thank anyone reading these writings. And would appreciate it if you came to see the finished film when we finally have our screening in April or May of 2010.
I am done for now. There will be more later this week, maybe even tomorrow. As for the juicy gossip, well, look for it later this week in a blog that's currently untitled but will probably be titled "Damn Juicy... some of dat insider shit."
Thanks.
Ace.
Saturday, January 9, 2010
Friday, January 8, 2010
No Budget, No Problem.
Glad you're here. Someone had to read this.
One thing I wasn't interested in doing was writing a script and spending the next year or two or more looking for the money to shoot a film. I imagine I'll have to eventually get used to that process but at the moment, I was, and still am more interested in simply making movies. As far as I was concerned all I really needed was a camera and some people to make believe. That was exactly what I was looking for and exactly what I found. Perfect. And so began the process of The Fine Art of Falling Apart.
The title was not my idea which is why I don't like it but when someone asked me what the movie was titled I said "The Fine Art of Falling Apart" they said "cool" and I never bothered to come up with anything else. Titles can be awesome, titles can be shit. Titles can even be "the shit." But I generally don't care too much about or for titles. I understand their purpose and don't know what we'd do without them so although I could go without them I live with them.
As of the night before, or the morning of, we had procured (nice) exactly non of the money we spoke of securing before beginning production. So the crew arrived fashionably late as is always the case when they know they're not being paid and the fact that I specifically made mention NOT to arrive early as I would most likely not be awake prior to call.
I don't know if it was the first or second or third day of production but I know we had some muffins one morning, some fruit, I want to say there were bagels but I can't remember. Its a shame it was a one shot deal on the muffins because everyone seemed to enjoy them. Thanks Jillian.
What I'm trying to say is that budgets are for squabbling 30 something, fairly newly married, perhaps recently impregnated or new parent couples with a home they can't really afford and a family sedan or what have you. What we had was a collaboration of like minded individuals willing to sacrifice some time, some more time, a lot of their time, enegry, sometimes even their own money to experiment and work on their craft and learn about new species? No, there was non of that. But everything else is true.
The money spent on this production was pocket money from our very kind and giving producer who also went all out acting in the picture in what a mediocre film critic might describe as a tour de force because she did a little bit of crying, sexing, and had some angry scenes. I couldn't be more proud of her and what she accomplished and will be forever grateful for her support but a tour de force? She was doing her job and well I might add but lets stop the over use of tour de force, please. It sickens me every time I see that in a review or on a box cover. Give it a break, okay?
This film was never meant to be a Sundance breakout hit or any bullshit like that. I don't want a studio deal (but I'd take one in a fucking instant). It was a way for all of us to continue to work on our craft, to learn, to explore ideas we might not have explored if we had a large budget and pressure to really make something out of the film commercially. And we accomplished what we set out to accomplish and that was simply to please ourselves.
It is truly amazing what you can do when you get the right people on board with the same goals. You don't need a million dollars (but I'd take it in a fucking instant) to make a film. I'm interested in continuing to experiment before looking for that big budget for my "amazing" script that I plan to cast (insert generic B lister here).
In the weeks to follow will be a detailed account of our experience making the film including juicy insider gossip on cast and crew relations and whatever else sells.
Thanks.
Ace.
One thing I wasn't interested in doing was writing a script and spending the next year or two or more looking for the money to shoot a film. I imagine I'll have to eventually get used to that process but at the moment, I was, and still am more interested in simply making movies. As far as I was concerned all I really needed was a camera and some people to make believe. That was exactly what I was looking for and exactly what I found. Perfect. And so began the process of The Fine Art of Falling Apart.
The title was not my idea which is why I don't like it but when someone asked me what the movie was titled I said "The Fine Art of Falling Apart" they said "cool" and I never bothered to come up with anything else. Titles can be awesome, titles can be shit. Titles can even be "the shit." But I generally don't care too much about or for titles. I understand their purpose and don't know what we'd do without them so although I could go without them I live with them.
As of the night before, or the morning of, we had procured (nice) exactly non of the money we spoke of securing before beginning production. So the crew arrived fashionably late as is always the case when they know they're not being paid and the fact that I specifically made mention NOT to arrive early as I would most likely not be awake prior to call.
I don't know if it was the first or second or third day of production but I know we had some muffins one morning, some fruit, I want to say there were bagels but I can't remember. Its a shame it was a one shot deal on the muffins because everyone seemed to enjoy them. Thanks Jillian.
What I'm trying to say is that budgets are for squabbling 30 something, fairly newly married, perhaps recently impregnated or new parent couples with a home they can't really afford and a family sedan or what have you. What we had was a collaboration of like minded individuals willing to sacrifice some time, some more time, a lot of their time, enegry, sometimes even their own money to experiment and work on their craft and learn about new species? No, there was non of that. But everything else is true.
The money spent on this production was pocket money from our very kind and giving producer who also went all out acting in the picture in what a mediocre film critic might describe as a tour de force because she did a little bit of crying, sexing, and had some angry scenes. I couldn't be more proud of her and what she accomplished and will be forever grateful for her support but a tour de force? She was doing her job and well I might add but lets stop the over use of tour de force, please. It sickens me every time I see that in a review or on a box cover. Give it a break, okay?
This film was never meant to be a Sundance breakout hit or any bullshit like that. I don't want a studio deal (but I'd take one in a fucking instant). It was a way for all of us to continue to work on our craft, to learn, to explore ideas we might not have explored if we had a large budget and pressure to really make something out of the film commercially. And we accomplished what we set out to accomplish and that was simply to please ourselves.
It is truly amazing what you can do when you get the right people on board with the same goals. You don't need a million dollars (but I'd take it in a fucking instant) to make a film. I'm interested in continuing to experiment before looking for that big budget for my "amazing" script that I plan to cast (insert generic B lister here).
In the weeks to follow will be a detailed account of our experience making the film including juicy insider gossip on cast and crew relations and whatever else sells.
Thanks.
Ace.
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