Posts by Jentri Chancey, an indie filmmaker relentlessly dedicated to writing and directing independent films, and sharing her film-related experience(s) with you. www.lostinsunshine.com
Showing posts with label independent film. Show all posts
Showing posts with label independent film. Show all posts
Saturday, February 22, 2014
Still Photography by Hutch Muselessmine
Actors, Olivia Applegate, Chase Joliet, and Matt Roszak (last) on the set of Visible Noise.
Wednesday, November 27, 2013
Visible Noise Dream Team
This year, even though I'm further away from family, there's so much to be thankful for. In addition to being blessed with a healthy family and good friends, I'm doing what I'm supposed to be doing.
This project, in particular, has formulated a dream team that's been heavenly to work with. These actors are a Godsend. Olivia Applegate and Chase Joliet are two of the most professional and driven actors I've ever worked with. I can't wait to watch them soar even more in the world of entertainment. Anyone would be lucky to work with them, and it just so happens the lucky one is ME this time! ** BIG SMILE **
Our cast and crew has kicked butt in pre-production so we're excited to start shooting Visible Noise next week. Our DP, Greg Risley, even flew to CO to do prep work with me a couple of weeks ago. What we lack in $, we make up for in heart. And I think that can make for an even better picture.
Thank you, team, for making this a wonderful experience for me and everyone you're working with. I can't wait to see you in Austin next week!!
Happy Thanksgiving, Friends!
Actors - Olivia Applegate and Chase Joliet, Photography by Greg Risley
This project, in particular, has formulated a dream team that's been heavenly to work with. These actors are a Godsend. Olivia Applegate and Chase Joliet are two of the most professional and driven actors I've ever worked with. I can't wait to watch them soar even more in the world of entertainment. Anyone would be lucky to work with them, and it just so happens the lucky one is ME this time! ** BIG SMILE **
Our cast and crew has kicked butt in pre-production so we're excited to start shooting Visible Noise next week. Our DP, Greg Risley, even flew to CO to do prep work with me a couple of weeks ago. What we lack in $, we make up for in heart. And I think that can make for an even better picture.
Thank you, team, for making this a wonderful experience for me and everyone you're working with. I can't wait to see you in Austin next week!!
Happy Thanksgiving, Friends!
Actors - Olivia Applegate and Chase Joliet, Photography by Greg Risley
Sunday, November 24, 2013
Visible Noise
It's exactly one week until I land in Austin for our cast/crew meet and greet before we shoot our short film, Visible Noise. I'm elated. Working with my dream team is so satisfying. Equal to that of a Thanksgiving meal.:)
Featuring Olivia Applegate and Chase Joliet. Photography by Greg Risley
Featuring Olivia Applegate and Chase Joliet. Photography by Greg Risley
Thursday, November 14, 2013
Film-industry hyphenates: Questions to ask yourself before making your film
Hi, Film-industry hyphenates!
I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.
I've edited the email below so that it will make sense when applying it to YOUR story. :)
1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?
2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?
3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?
4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"
Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.
For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.
Here's a bit of what we came up with for Visible Noise:
"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.
We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.
All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."
This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.
With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!
xo J
I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.
I've edited the email below so that it will make sense when applying it to YOUR story. :)
1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?
2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?
3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?
4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"
Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.
For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.
Here's a bit of what we came up with for Visible Noise:
"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.
We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.
All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."
This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.
With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!
xo J
Wednesday, December 28, 2011
Born Good: Sneak peek at first page of script!
INT. HOSPITAL - FLASHBACK
HOLLERBACK FAMILY gathers around the recent birth of a MOTHER who holds her BABY BOY in a small, sterile room.
STEVEN (V.O.)
This is me. Steven Elam Hollerback is what they decided on, after my dad insisted my name have a western flare.
A MAN cries standing over the baby.
STEVEN (CONT’D)
That’s my dad, Ronnie. All of his hopes and expectations wrapped up into one little bundle.
INT. HOSPITAL - FLASHBACK
FAMILY gathers around the birth of a BABY GIRL crying in a traditional hospital room setting. GRANDMOTHER holds and comforts the baby, wrapped tightly in a pink blanket.
KATIE (V.O.)
This is me, Katie Bloom. Born to fly.
Grandmother drops the baby.
KATIE (CONT’D)
OK... maybe not fly. But Survive. I was definitely born to survive.
TITLE: PART 1: SURVIVAL
EXT. - DOWNTOWN BORNE - DAY
The Texas town is quaint, and still. The ground is dehydrated beneath the handsomely restored historic homes and buildings that combine old-fashioned charm and soft colors.
INT. DANCE STUDIO - DAY
The silhouette of a female DANCER practices ballet. An INSTRUCTOR corrects the dancer’s movements.
INT. HOLLERBACH FUNERAL HOME - DAY
STEVEN HOLLERBACH (25) tall, lanky, disheveled hair, and boyish good looks, quietly eats the last bite of a TV dinner. He wears black slacks and a short sleeved plaid shirt.
He waters his dying tree, then walks over to a DEAD BODY on a table, pulls out his makeup kit and applies powder. He tells the cadaver a joke.
photos by Gabri
WWW.BORNGOODFILM.COM
HOLLERBACK FAMILY gathers around the recent birth of a MOTHER who holds her BABY BOY in a small, sterile room.
STEVEN (V.O.)
This is me. Steven Elam Hollerback is what they decided on, after my dad insisted my name have a western flare.
A MAN cries standing over the baby.
STEVEN (CONT’D)
That’s my dad, Ronnie. All of his hopes and expectations wrapped up into one little bundle.
INT. HOSPITAL - FLASHBACK
FAMILY gathers around the birth of a BABY GIRL crying in a traditional hospital room setting. GRANDMOTHER holds and comforts the baby, wrapped tightly in a pink blanket.
KATIE (V.O.)
This is me, Katie Bloom. Born to fly.
Grandmother drops the baby.
KATIE (CONT’D)
OK... maybe not fly. But Survive. I was definitely born to survive.
TITLE: PART 1: SURVIVAL
EXT. - DOWNTOWN BORNE - DAY
The Texas town is quaint, and still. The ground is dehydrated beneath the handsomely restored historic homes and buildings that combine old-fashioned charm and soft colors.
INT. DANCE STUDIO - DAY
The silhouette of a female DANCER practices ballet. An INSTRUCTOR corrects the dancer’s movements.
INT. HOLLERBACH FUNERAL HOME - DAY
STEVEN HOLLERBACH (25) tall, lanky, disheveled hair, and boyish good looks, quietly eats the last bite of a TV dinner. He wears black slacks and a short sleeved plaid shirt.
He waters his dying tree, then walks over to a DEAD BODY on a table, pulls out his makeup kit and applies powder. He tells the cadaver a joke.
photos by Gabri
WWW.BORNGOODFILM.COM
Wednesday, March 2, 2011
So, you think you can be a great screenwriter?
Howdy, partners!
This post is for all the practicing screenwriters out there, like myself, who aspire greatness!
I've struggled with insecurities about wholeheartedly trusting my talent, and owning my screenwriting craft, since day one. Sure, I've had people compliment my writing ability, but I'm not sure that insecurity ever goes away completely. I know I have it in me to be great one day, but I'm not sure, nor do I ever think I should be sure, that I'm a great writer. That feels like ego to me, yet I know it's important for us to have great writers out there in our society in order for us to learn from. And if they weren't great, why would we want to listen to them? :)
Are you on your way to becoming a great screenwriter? Of course you are! That's why you're here... researching, reading, determined, practicing... and that's why I want to hear from you, too.
Now, go get a scoop of that go-getter spirit, 'cause it's time to spill the beans, Jack! Let's share what we've learned so far on this epic, often introverted, journey so we can keep improving TOGETHER!
Here's my contribution - a list of things (tips to keep in mind while writing!) that have been on my brain lately as I sit to write new material.
1) Take time to develop characters. Think about how long it's taken you to be comfortable in your own skin. Characters have to do a 180 in 110 pages, so be considerate, before you drive them off the cliff in your ferrari, Spunky. :)
2) Read screenplays you love, screenwriting magazines, and books. There's so many helpful resources out there. I can't tell you the endless amount of times those tips have helped me... if I'm stuck, I'll know that a particular point in the script should be the "play time!" So, I'll go have fun with the character(s) before the big fall! :)
3) When there's not enough tension, consider making your antagonist worse! Make your antagonist be the biggest asshole in the world. Think Karate Kid. Why do you want the kid to win so badly and beat the little shit up? Because he was so awful to him in the beginning, and continued to antagonize him throughout the film!
4) Don't forget to have fun with the characters. Sometimes we get so caught up in drama-drama-drama- or bang-bang-booms that we forget that the audience needs a break. Everyone wants to see the good guys holding hands and skipping along to some fun music, (OK, you can be more creative than this, Sassy pants) at least for a couple minutes! ;)
5) Choose your titles wisely. In a world full of (independent) titles we'll never remember, doesn't Good Dick stand out? That's what I'm saying... what's a good dick? Makes ya think, doesn't it? Is it ironic? See, I'm still thinking about it... wow... seems bold, interesting, something I definitely want to check out. If your title's not at least that interesting, keep trying. Make it count, and make it stand out, among the many, many piles.
6) Write something you'd want to see. What's your favorite genre? If you're bored writing it, then more than likely, someone will be bored reading it. Besides, why would you want to spend a chunk of your life writing something that you'd never want to see translated for screen? Let's make sense out of it before we open Final Draft, Stinker!
7) Put real thought into each characters flaws, quirks, likes, dislikes, name, past, and motives. You will call upon these traits/details to aid you time and time again throughout your story. They will make your story rich, unique, and a stand-out, that any performer would love to sink his/her teeth into! Aren't you a clever jellybean? Sweet... colorful... fun!
8) If the scene doesn't move the story forward, give it the boot! Some of your cutest/funniest/cleverest scenes may have to be cut or moved for the betterment of your entire work. Don't think of it as wasted material, because you learned something, didn't you? You learned how to care for your body as a whole, Sunshine! Scenes cost money to shoot, so on an independent film, especially, every scene should be intellectually accounted for. Don't be afraid of what will happen if you take it out... be afraid of what will happen if you leave it in.
9) "Write from experience," doesn't mean we should write about our boring ass past or extravagant life style that no-one cares about. Sorry, loves! That was frank, wasn't it? How else does anyone say it? :) It means to take pieces of your life that you really know something about, and use it as fuel to guide you. Where has your heart been? Use it to sound intelligent, or unintelligent, on purpose! Use it so that you can speak from a place of authenticity for your characters. Have you been a first hand witness to a spiraling out of control dysfunctional relationship that lead to homelessness and abandonment? Hmmmm... that's pretty awful, but you might know a thing or two about the reactions of those involved. That could be juicy and dramatic for one of your characters to deal with! And, maybe we could learn a little something about life, too, through them!!
10) Respect constructive criticism. More than likely, (or hopefully!) those who give you constructive criticism have read your work, and are coming from a loving place. Don't be defensive. When you open yourself up to improving, and ditching your ego, the sky's the limit! It doesn't mean you have to make every suggested change. Instead, it means you need to consider the good arguments. If one person you trust feels strongly that something must be changed, make sure they have a valid point, and that you understand it. If it's valid... I'm just sayin'... if it's not valid, make an argument back and state WHY!
11) Check and recheck your work for typos, & mistakes especially if you're like me, not the best speller in the world... sloppy work is distracting.
Your turn! What are some screenwriting tips you'd like to share, so we can all eventually become great?
HAPPY WRITING, WITH LOVE,
xo Jentri
This post is for all the practicing screenwriters out there, like myself, who aspire greatness!
I've struggled with insecurities about wholeheartedly trusting my talent, and owning my screenwriting craft, since day one. Sure, I've had people compliment my writing ability, but I'm not sure that insecurity ever goes away completely. I know I have it in me to be great one day, but I'm not sure, nor do I ever think I should be sure, that I'm a great writer. That feels like ego to me, yet I know it's important for us to have great writers out there in our society in order for us to learn from. And if they weren't great, why would we want to listen to them? :)
Are you on your way to becoming a great screenwriter? Of course you are! That's why you're here... researching, reading, determined, practicing... and that's why I want to hear from you, too.
Now, go get a scoop of that go-getter spirit, 'cause it's time to spill the beans, Jack! Let's share what we've learned so far on this epic, often introverted, journey so we can keep improving TOGETHER!
Here's my contribution - a list of things (tips to keep in mind while writing!) that have been on my brain lately as I sit to write new material.
1) Take time to develop characters. Think about how long it's taken you to be comfortable in your own skin. Characters have to do a 180 in 110 pages, so be considerate, before you drive them off the cliff in your ferrari, Spunky. :)
2) Read screenplays you love, screenwriting magazines, and books. There's so many helpful resources out there. I can't tell you the endless amount of times those tips have helped me... if I'm stuck, I'll know that a particular point in the script should be the "play time!" So, I'll go have fun with the character(s) before the big fall! :)
3) When there's not enough tension, consider making your antagonist worse! Make your antagonist be the biggest asshole in the world. Think Karate Kid. Why do you want the kid to win so badly and beat the little shit up? Because he was so awful to him in the beginning, and continued to antagonize him throughout the film!
4) Don't forget to have fun with the characters. Sometimes we get so caught up in drama-drama-drama- or bang-bang-booms that we forget that the audience needs a break. Everyone wants to see the good guys holding hands and skipping along to some fun music, (OK, you can be more creative than this, Sassy pants) at least for a couple minutes! ;)
5) Choose your titles wisely. In a world full of (independent) titles we'll never remember, doesn't Good Dick stand out? That's what I'm saying... what's a good dick? Makes ya think, doesn't it? Is it ironic? See, I'm still thinking about it... wow... seems bold, interesting, something I definitely want to check out. If your title's not at least that interesting, keep trying. Make it count, and make it stand out, among the many, many piles.
6) Write something you'd want to see. What's your favorite genre? If you're bored writing it, then more than likely, someone will be bored reading it. Besides, why would you want to spend a chunk of your life writing something that you'd never want to see translated for screen? Let's make sense out of it before we open Final Draft, Stinker!
7) Put real thought into each characters flaws, quirks, likes, dislikes, name, past, and motives. You will call upon these traits/details to aid you time and time again throughout your story. They will make your story rich, unique, and a stand-out, that any performer would love to sink his/her teeth into! Aren't you a clever jellybean? Sweet... colorful... fun!
8) If the scene doesn't move the story forward, give it the boot! Some of your cutest/funniest/cleverest scenes may have to be cut or moved for the betterment of your entire work. Don't think of it as wasted material, because you learned something, didn't you? You learned how to care for your body as a whole, Sunshine! Scenes cost money to shoot, so on an independent film, especially, every scene should be intellectually accounted for. Don't be afraid of what will happen if you take it out... be afraid of what will happen if you leave it in.
9) "Write from experience," doesn't mean we should write about our boring ass past or extravagant life style that no-one cares about. Sorry, loves! That was frank, wasn't it? How else does anyone say it? :) It means to take pieces of your life that you really know something about, and use it as fuel to guide you. Where has your heart been? Use it to sound intelligent, or unintelligent, on purpose! Use it so that you can speak from a place of authenticity for your characters. Have you been a first hand witness to a spiraling out of control dysfunctional relationship that lead to homelessness and abandonment? Hmmmm... that's pretty awful, but you might know a thing or two about the reactions of those involved. That could be juicy and dramatic for one of your characters to deal with! And, maybe we could learn a little something about life, too, through them!!
10) Respect constructive criticism. More than likely, (or hopefully!) those who give you constructive criticism have read your work, and are coming from a loving place. Don't be defensive. When you open yourself up to improving, and ditching your ego, the sky's the limit! It doesn't mean you have to make every suggested change. Instead, it means you need to consider the good arguments. If one person you trust feels strongly that something must be changed, make sure they have a valid point, and that you understand it. If it's valid... I'm just sayin'... if it's not valid, make an argument back and state WHY!
11) Check and recheck your work for typos, & mistakes especially if you're like me, not the best speller in the world... sloppy work is distracting.
Your turn! What are some screenwriting tips you'd like to share, so we can all eventually become great?
HAPPY WRITING, WITH LOVE,
xo Jentri
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