3.1.1 Access Sacramento's Cast & Crew Call
Another Successful Cast and Crew Call
By Michelle Barbaria
Access Sacramento's A Place Called Sacramento Cast & Crew Call
Just over 200 people filled the courtyard of the Coloma Community Center on Wednesday, May 18th for the 12th annual Place Called Sacramento Film Festival Cast & Crew Call. Local actors, tech people, and community members wanting to get involved showed up. Volunteers and staff of Access Sacramento helped assist the guests as they arrived. The event opened with a welcome message from Access Sacramento Executive Director, Ron Cooper and was then followed by some local filmmakers.
Sacramento Film Commissioner, Lucy Steffens talked to the crowd about the filmmaking process and locations. Jackie from Studio24 spoke about what their studio offers including their movie studio and other services. Former PCS winner and current owner of IT Studios, Ryan McKinney, came to tell this year's winning Producers know about his studio and offer help with casting[^5].
Access Sacramento's A Place Called Sacramento Cast & Crew Call
After the guest speakers were finished each of the ten filmmakers had a chance to tell the community what their films are about and what their needs are. Filmmakers varied in ages from 9 years old, our youngest yet, to older folks with lots of experience.
Film subjects varied as widely as the ages with topics ranging from the paranormal to the fishy. Information for all the films and filmmakers are available on the Access Sacramento website at www.AccessSacramento.org
Access Sacramento's A Place Called Sacramento Cast & Crew Call
Judith Plank for BUDDIES.
After listening to each Producer talked about their needs to the eager crowd, the attendees had an opportunity to meet each of the filmmakers. Ten tables were lined up in a row each with the Producers and their assistants ready and waiting to receive resumes and headshots or just get e-mail contacts and meet people in person. The excitement filled the air as the filmmakers realized all these people are here to be a part this thrilling summer community project.
Don't think you've missed out if you couldn't make it. Lots of acting parts, crew positions, and craft services are still needed for many of these films. It's just the beginning, so log on to the Access Sacramento website and check out the film info. Come out and make a movie this summer. See you on the set!
2011 "Place Called Sacramento"
Ten Selected Film Projects
Stalag Sacramento by Patrick Ardell
Four young musicians ride the rails in their new hometown searching for life-after-dark in Midtown. Do you know the way to Elvisland?
Borrowed Time by Dänna Wilberg
Children's lives are at risk. Dr. Paulsen is frustrated by Suzanne's spiritual beliefs. A life and death story is in need of an intervention from the other side.
the WATERING hole by Gerald Martin Davenport & Rob Tillitz
David finds himself in a strange bar where time stands still and demons drown their sorrows.
CSI: Sacramento by Burt Wilson
Joe Fish is a private sock-eye. If this sounds fishy, you may be following a red herring - Ready for a whale of a tail? Welcome to River City.
The Purse by Erica Ruiz & Dwight Taylor
You can't judge a book by its cover or a purse by its contents. Matthew and Leah search for clues in all the wrong places. Think you know the whole story? Guess again.
BUDDIES by Judith Plank
Brad returns from Iraq only to lose his girlfriend. Depressed, nothing seems to help until a gift re-opens his heart and his new life with Buddy.
Reluctant by Nathan Reedy
We search for heroes in our life. Will, a Sacramento police officer, takes his job seriously. But for this cop, everything is about to change - in a flash.
The Chozen by Claire Elizabeth
New to Sacramento, Mathilde is worried about going to a new school and making friends, but is quickly accepted by the coolest girls in school. At a sleep over Mathilde discovers that being one of The Chozen is not what she expected.
The Breakup by Joyce Bezazian
Being a King's fan is an obsession for Bobby. When his love threatens to leave town, choices must be made and priorities re-examined.
Lucky Shot by Raghni Reddy
Rose takes Rick by surprise. But Rick is accustomed to bad luck. With so little in common, they are obviously off to a great start.
I would love to record people on dvd! Even though I have the PCS DVD, I obviously want people reading my script to be recorded on DVD. Hm. Is this something you could set up? Or just give me Brendan's contact info, and I'll call him.
I've already cast Swede, Carlos, and the mother of the boy. I still need the boy I need to review Adrien in your film, and there are 3 including Adrian that I am auditioning on June 10. But I like that you've worked with Adrien. And I need Brad and Gus. Plus we'll do a photo of a woman and a child (Brad's ex). I have the woman and child for that as well. I don't think we need a scene with all three making dinner or something. The photo should suffice, unless you have other ideas.
I have a few choices for Brad and a few for Gus, and I'm meeting them all on June 10. I could contact Ryan, or I could just get a camera to Access on June 10th. I don't have a camera. Any ideas? Is Ryan's easier to arrange?
Also, do you have any army boots, Marine fatigues, vest, etc. in your closet? I don't have any of that stuff. Let's ask around. Also, maybe the Army surplus in Woodland would have stuff we need.
There is no charge to use Ron's space at Access Sac either.
Just talked to Ryan. I'm auditioning actors Friday, June 10 (6:30) at his studio. He'll have a camera guy. You're welcome to join. Plus I'm sending him the roles I need, and he's doing a big blast to everyone he knows. Awesome! We're rolling!
Hi Ryan McKinney, Here is the info about roles needed for Buddies. Thanks for the studio time on Friday, June 10. I can get there at 6:30 p.m. I'm asking the young actors to arrive at 6:45 for auditions at 7. Then at 7:30 I will audition the adult actors until 9 p.m. Hope that timeline works for you.
Buddies synopsis: Brad returns home from Iraq only to lose his girlfriend. Depressed, nothing seems to help until an unexpected gift re-opens his heart and reminds him that sometimes you need a little help from your friends.
We need: Male, featured role, 25-35, athletic build.
Male, supporting, 35-45.
Female, supporting, 30-40.
I already have enough young actors who want to audition, so I'll invite the ones on my list.
Thanks so much, Ryan!
Judith Plank. Writer/Director
Why didn't you show up at Martin's event tonight? I thought I might see you there. I shouldn't have gone. Quite honestly, the guy is an arrogant bully, and he hasn't changed one bit. I didn't go last year for that reason, and I don't know why I went tonight.
I'm kicking myself for having gone. I thought that maybe he had changed. It was awful. And at one point I finally got a little pissed off, but I'm afraid it only made me look bad. A truly upsetting night. Fortunately, there was hardly anyone there. I just don't want to be around that guy. Take care, and see you tomorrow. Thanks for letting me vent. Judith
The adults come in at 1:30. Right now in my mind for Brad it's a race between Richard Ryan and this guy named Holiday. I sent you his photo. I like the rough edge he has. That's how I wrote the character. And the stuffed cat softens those edges. Richard may be too beautiful. But we'll see. There are 3 or 4 other guys showing up too.
To Gerald, Here's my talent:
Brad: Richard Ryan
Carlos: Dylan Nelson
C.J.: Bryan Jackson
Alex: Enoch Young
(all Iraq vets)
Ernie: Rob Tillitz
Max: Steve Dakota
Charles: Charles Weiss
(all Vietnam vets)
Mom: Laura Luke
Boy: Bryton Berdahl
The ex-girlfriend of Brad is played by Sally Start. In one of Brad's flashbacks, we will show her and Brad arguing and she grabs her stuff and leaves. That is the only scene she's in. She does have a little girl, but the girl probably doesn't need to be in that fight scene. Just a photo of Sally and the girl for Brad's dresser. Still need to credit the girl though. When I choose the girl actor, I'll let you know.
I'll call each one and ask them to send you bios and photos for the Buddies website, or I'll send what I have. Then Friday July 1st I hope to have a meeting with the entire cast and give scripts and the production schedule.
Richard Ryan, the lead actor playing Brad, contacts Gerald about being pleased to work with Gerald again. Richard and Gerald had a brief time together on the film An Ignoble Caper.
12:57:56 PM Richard Ryan: I am pumped, the website is very very nice.
1:00:55 PM Richard Ryan: Have you put the movie on IMDB yet?
1:01:20 PM Gerald: It needs to be put into a festival and all the credits are not set yet... No I have not.
1:01:25 PM Gerald: nor has Judith...
1:02:48 PM Richard Ryan: If you give them the link to the PCS website, press releases and the movie website, it will get up there
1:03:29 PM Gerald: tried that in 09 with detective A, and last year with THE GOLdEN TREE. I had to send it to a festival to get imdb credit, you will have to show me your secret.
1:04:53 PM Richard Ryan: Also put in keywords, similar movies, and as much info as you can, I'll put it up there if you want, it can always be updated.
1:07:25 PM Richard Ryan: Perfect, as I will do the same with this movie link when I get my new website up which will be soon.
1:10:28 PM Richard Ryan: Then for the imdb. In official links put the movie website. Then on misc. links put the pcs website and links to the press releases of the pcs film festival. Then on the imdb site list keywords in the keyword section, the locations, the camera, just as many things you can fill in, the more you fill out the hight the priority it is for the IMDB staff.
1:20:21 PM Gerald: So, you got borrowed time up already?
1:21:01 PM Richard Ryan: Oh yeah, Borrowed Time, yes, 1st day of shooting was yesterday
1:21:07 PM Gerald: Not sure how you did it, but you need to show me... when we see each other, and put up BUDDIES then.
1:21:52 PM Richard Ryan: I'll put Buddies up there tonight, i am an IMDB feen
1:21:59 PM Gerald: Can you play a Floridian who moves to New York and is a sleaze and loves himself? and is eye candy to ladies
1:22:17 PM Richard Ryan: Hell yeah I can
1:22:25 PM Gerald: for Petite Chardonnay
1:22:32 PM Gerald: I figured
1:23:18 PM Richard Ryan: Just saw it, what are your plans for that one?
1:23:48 PM Gerald: You go, we'll talk!!!!
1:25:47 PM Richard Ryan: Thank you very very much Gerald, have a great day, speak to you soon
On Monday, July 4, 2011, Judith forwards and email to Gerald from Marc Gardner from an email he sent to her on the Sunday the 3rd. Marc asks Judith if the role he is doing is even a credited role because he does not see it on BUDDIES IMDb page. What either of them know, is that the IMDb page is not complete. And Gerald did not know Marc Gardener was in the film.
Judith tells Marc that she is not sure she wants to give him line or not, but he would be credited for the role. But the bookstore scene he was in has changed to a Vet's Hall. “I felt a fireman sitting in a bookstore holding a stuffed animal was funny. But it does not make sense to see a fireman in a Vet's Hall.” Later that day, Gerald receives another email from Judith that Marc is back in the movie with a small scene with a homeless woman on a bench. “I'm writing something very brief up for that scene. We can just guerrilla shoot it, on the fly on Saturday when we do the other montages. (Or was that Sunday? I better check my notes). Anyway, it won't take long at all. I'll let you know if he accepts. Sorry for all this back and forth. Hope I'm not making you too crazy.”
During the Access Sacramento 2010 Place Called Sacramento event at the Crest Theater, Judith came up to Gerald and told him she liked the look of THE GOLdEN TREE. She asked him if her film was selected next year, would he be interested in helping her get it made. Gerald did not know what 2011 was going to be like, as he was thinking about submitting something as well. but he agreed.
Once her screenplay BUDDIES was accepted, she called Gerald and started planning the production, but it had to be done after Gerald was done with his film the WATERING hole.
Judith, I am assembling a team for Buddies. I want to discuss visuals and what you are looking for before I spend time doing storyboards, which I already have. But I want to know your vision before sending them to you.
I am honored to be the editor for BUDDIES. BUDDIES and the WATERING hole will be vying for the crown. :). I want to know if you would mind if I created a website for BUDDIES with bios, and other info for the actors and you, that will be on there as time exists, or close to it. I just want to share what I work on and who I worked with, and share their info to help them get other jobs and showcase their talents. What you think? you have a logo, a poster idea for the movie?
As Gerald assembled the Crew for the WATERING hole, he asked them if they would be willing to work on two films this summer, both part of the Access Sacramento contest.
Wonderful!!!!!! Bring the crew from the WATERING Hole to the Buddies set, all intact, plus go ahead and do post production with your intern. I love it! That saves me a lot of time. I don't have to go looking for key grip, grips, grunts, editor, the whole ball of wax. Thank you!
I'll send you the story for the website, plus my BIO and some photos. I don't have any photos yet of the actors. I'm doing final auditions for actors in about a week. In June we'll scout some locations. Capitol Park, K Street Mall, and the Co-op are easy, but a Midtown apartment isn't. We could probably just shoot in my Davis apartment, and do exteriors in Midtown. Also, we may drop the Co-op so we're not running around so much.
I'd like to shoot the film July 15, 16, and 17. Hope that works for you. I'm interested in your storyboard ideas. I want to shoot the film as close to the script as possible, but am open to all kinds of brilliant shots, angles, any creative wizardry you might come up with, and of course I appreciate magic and risk-taking in the editing room.
I'll start storyboarding and preparing a shot list. Let's compare yours and mine and meet for coffee, or I'll buy you lunch sometime before June 5th. Maybe that weekend? I'll have finished auditions by then too. Thanks so much! Talk to you soon.
Gerald suggest to Judith that he be the First Assistant Director to mediate between the crew and her, so she can focus on the creative actors. Judith tells Gerald that she thought that he was the Director of Photography. She then asks what is the definition of an Assistent Director.
On Monday, June 20, 2011, Judith tells Gerald that the film is cast, but she needs to fine tune the screenplay on a few things. She also has a Production Manager who may have found a Midtown Apartment and will confirm the Capitol Park location. Gerald explains that the title Production Manage may not be the right credit for this person. Gerald explains, “A Production Manager's responsibility is to make sure the production stays on schedule, and within budget. The person you described could be a Producer — more like an Associate Producer — or a Production Coordinator, But if She is finding locations, she could be credited as the Location Manager.”
Judith agrees. “Location Manager is good for her. And Christine Lovette can be Second Assistant Director, helping you out. Proper credits are important.”
Gerald reassures Judith, “I am bringing an experienced team. You will not have to worry about any of the technical parts. Audio will be clean, Brendan and Jim know what to capture. They will not make anyone look bad. Judith, Relax, and put yourself at ease on the crew side.”
Judith explains that part of her anxiety is about the Capitol Park location and not being able to get a hold of the permit lady. Gerald mentions, “We could do Run and Gun, Guerrilla, or renegade, as i call it.” Judith replies, “Yes, I prefer run and gun, guerrilla. Okay, let's do it. Shoot at a small park somewhere, then drive by and get some Capitol and K Street shots just to have them in the film. Good. Agreed? ”
Judith is asking who the Director of Photography is so they could meet her at the locations, and again she asks Gerald if he is the DP. Gerald has told Judith many times who the Director of Photography is and it is not him. He tries to understand why she is confused and calmly walks her through the procedures again about an organized film production.
10:17:00 AM Judith Plank: You're just doing post so do you have a DP to meet me for angles, shots and making the shot list? Or are you the DP too? Who's putting the shot list together? I'm a little confused. And where do you live?
10:18:24 AM Gerald: Okay. Judith, the DP I have is Brendan Brooks. He will come in and do what you ask. He also makes excellent suggestions on lighting, camera angles, and actor's perfomance. He is a visual guyjust like me. But he relies on me to get the bulk of the process organized and pre-planned.
10:18:47 AM Judith Plank: Okay, got it.
10:19:03 AM Gerald: I am you editor, so I am capturing and cutting in my mind from day one.
10:19:17 AM Judith Plank: Yes, sounds good.
10:19:18 AM Gerald: I do not waste time getting shots that will not be used, but will get shots for coverage. So, essentially I remind Brendan what the scene is. We ask you to have the actors do a few rehearsals through it, and we, mostly him, figures out the best place to put the camera and capture typical to interesting angles.
10:20:04 AM Gerald: I know confusing, but it has been working.
10:20:22 AM Gerald: I told the WATERING hole cast & crew, to never get on a picture where the writer and director is also the editor. We are pains
10:20:53 AM Gerald: I know what works with angles, continuity, coverage, give me something to cut away too.
10:21:45 AM Gerald: I think like a final story teller, I direct and write like and editor. it is what I see on screen in my mind that matters. But I like to be surprised when Brendan and Jim give me a great angle or look.
10:22:10 AM Gerald: It is a team thing. Movie making is a team effort.
10:25:51 AM Judith Plank: Sounds very good. Christine and I will get props together. I'll offer her the 2nd AD position.
10:37:50 AM Judith Plank: Sounds good. Thanks so much. We're rockin' and rollin'!
Hi Gerald, feel good about our location scouting on Wednesday. We got a lot done in a short amount of time.
Confirming our tentative schedule: We do Brad's interiors Saturday morning, break for lunch, then do the Mom and kid Midtown exteriors plus Brad and kid exteriors, while the crew is setting up for the Vietnam Vet interior scenes. Sunday morning we're at the K Street Mall for that scene, then over to the Capitol Park for the exterior Iraq vet scenes. The rest of the day we can shoot the montages, and the scene where Brad and his ex-girlfriend argue (the flashback).
We also have a few night scenes in Brad's apartment. Is night an easy thing for you to rig? It probably helps to do night later in the day, or actually at nighttime, yes? Maybe we can do the night scenes on Sunday afternoon or evening, or even on Monday.
Here's the talent setup for the scenes:
EXT. DAY - CAPITOL PARK (Page One)
Brad on the left, C.J. in the middle, Carlos on right.
EXT. DAY - CAPITOL PARK (Page Three)
Alex in the center, Brad on the right. The other guys fill in around them. Carlos can be next to Brad. Holiday and Gus next to Alex. C.J. can be lounging on the bench, and the camera moves to him when he says his only line, or he sits up and we cut to him. Or we do a full shot, and get 'em all in. (We'll try several options the day of the shoot for variety and choices in the editing room).
EXT. DAY - K STREET MALL BENCHES (Page Five)
Brad in the middle, Carlos on left, Holiday on right.
We'll confirm the setup for the rest of the scenes when we look through the camera. Or if you need me to make recommendations now, in order to have a more complete and detailed shot list, let me know. (The mom and kid scene is pretty simple, and the Vet scenes for that matter are too). Thanks, Gerald!
On Wednesday, July 6, 2011, Judith sends and email to the cast about the scheduled filming days on Saturday, July 23rd and Sunday, July 24th. And asks everyone to attend at least one rehearsal day scheduled Tuesday, July 19th and Wednesday, July 20th.
Hi Gerald. Please look over this cast and crew call to see if I left anything out. Thanks. After I hear from you, I'll send it out.
Location for the Saturday shoot to be announced shortly, but it will be either midtown Sac or 40th and Folsom. When you arrive, we will rehearse for half an hour, longer if necessary.
Crew: 7 a.m.
Brad: (Richard Ryan) 8 a.m.
Lunch break 12 noon.
Mom and Son with Brad (Laura Luke, Bryton Berdahl, Richard): 1 p.m.
Homeless Woman and Steve (Christine Lovette, Marc Gardner): 2:30 p.m.
Vietnam Vets plus Dr. Dingle and Brad: (Rob Tillitz, Steve Dakota, Charlie Merlo, Matt Udall, Daniel Roberts, Charles Weiss, Richard): 4 p.m.
Dinner break 6:30 p.m.
Brad (night scenes in apartment): 8 p.m.
It's a wrap, Day One.
There will be no rehearsal for the actors in the Vietnam Vet scene until the day of the shoot. I couldn't find a rehearsal day that fit everyone's schedule. We will spend a good hour going over the scene when you arrive. However, if anyone would like to meet with me for any reason before the shoot, to go over the lines, ask questions, review the scene, let me know and we'll find a time to meet.
On Monday, July 11, 2011, Gerald receives an email from Frank Cosgriff saying he is unable to assist on BUDDIES. Gerald is distraught, but excited that Frank is looking forward to working on Petite Chardonnay in October/
Here's the cast call for Sunday, July 24 for Buddies:
K Street Mall, in front of Crest Theatre
7:30 a.m. Crew
8:15 a.m. cast: Brad (Richard Ryan), Carlos (Dylan Nelson), Holiday (Holiday Higgins)
Next: Capitol Park, white benches in front of capitol steps.
10:15 a.m. cast: Brad (Richard Ryan), Carlos (Dylan Nelson), Holiday (Holiday Higgins), Alex (Enoch Yeung), C.J. (Bryan Jackson), Gus (Jimmy Sidhu)
Please wear jeans, t shirts, casual attire, army fatigues, and anything you might have that represents marine or army attire. Bring a couple of choices. Richard and Dylan bring 3 outfits for the 3 different scenes. Holiday and Bryan bring at least 2 outfits for the 2 different scenes. Jimmy and Enoch bring some choices too, even though you're just in one scene. Thanks.
Lunch 1:00 p.m.
In the afternoon we will do midtown montages with Brad, Sarah (his ex) and various extras. Mpre info will be provided soon about time and place.
Thanks so much.
Also, haven't heard back yet from the Sac Veteran's Hall about using their space for the Vietnam Vet scene. Crossing my fingers. If that doesn't work, I think we can turn an Access Sacramento room into a Vet Hall with proper signage and a few chairs and a table.
Also, Gerald, I've got a few crew members I can send your way, from the PCS cast and crew call. I'll send you contact info asap. PLUS do you think the stuffed cat should be all white or is a dark or different colored cat better for the camera? Or does it matter?
Also, Christine and Marc, we MAY have to move your scene to Sunday. Saturday is bursting at the seams, and I need your producer help, Christine, with food and turning an Access Sacramento room into a Vet Hall on Saturday. Sunday afternoon is more leisurely, and would do justice to your scene. Are you both available at 3 p.m. Sunday?
I just got a call from the Sac Vet's Hall and he said they've done things like film shoots there before, but he needs to get back to me tomorrow. So I won't know if we have the Vet's Hall or the room at Access Sac that I have reserved for Saturday, July 23.
The Access Sac room is very cool, plus we have a separate office for Chas to be talking to all the stuffed animals. If the Vet's Hall says okay, I will go look at it Saturday. But at least we have the Access Sac room as backup. Then we can take some exterior shots of the actual Vet's Hall to pretend that we're there.
Yes, we have to move camera equipment from Brad's apartment in midtown to 46th and T, or to the Vets Hall on Stockton Blvd, but the apartment in midtown has no room for the Vietnam Vets. And we've now got 2 excellent possible locations for them.
Christine, lunch on Saturday will only be Brad, you, myself, Gerald and crew. (How many crew, Gerald?) I'll bring snacks throughout both days. Dinner on Saturday night and lunch on Sunday will be the biggest meals.
So, Christine, we may still need to move your scene with Marc to a Sunday shoot. It makes sense, as we will be in midtown doing other shots. I'll wait to hear from Marc to see if he's available.
Gerald, This is what's up: I'm going back and forth about the Vet's Hall.
The guy wanted some money, which I don't have. (Then he said fine, but he wasn't thrilled). There's no office for Chas. There's a bar right next to the hall which could bring noise in. Plus the Vet Hall is a huge hall like a gym.
We have everything set up at Access Sac: an office to shoot in, a room which can easily represent a Vet hall room for a support group, we can lay out all our dinner fixings and stay as long as we want in case we run over time. BUT someone needs to run over to the Vet hall around 4 p.m. to grab some shots outside the hall and inside: they have a great cannon outside, and great photos inside. Is someone available to do that? (Or we can get the shots on a different day, but we have permission for Saturday, so that is probably best).
Saturday, July 23rd: Crew meets 7 a.m. at 1520 25th Street, apartment #6 in Sacramento. At 8 a.m. Richard Ryan arrives and we shoot the interior apartment scenes until noon. Break for lunch. At 1 p.m. we shoot the scenes with Mom, her son and Brad. Then we shoot her son and Brad. Then I meet people by 2:45 at Access Sac to start setting up the office scene with Chas and all the stuffed animals. At 3:30 crew has arrived and we shoot that scene.
By 4:00 p.m. crew and cast assemble in the Nevada City Room at Access Sac (a few doors down from the office scene). While I rehearse with the cast, a crew member takes a camera to the Vets Hall in Sac (2784 Stockton Blvd, just a mile or so down the road from Access Sac) and takes all kinds of shots, interior plus the exterior cannon shot. (Or we reschedule this).
At 5 p.m. we start shooting the Vietnam Vet scene. At 6:30 we have dinner.
At 8 p.m. we are back at the apartment to shoot the night scenes (thunderstorm and drenched kitty, etc). Until about 10 or 10:30 p.m.
Sunday, July 24th: Crew meets 7:30 a.m. at K Street opposite Crest Theatre. At 8:15 a.m. cast arrives. Brief rehearsal then start shooting. At 10 a.m. we move to Capitol Park, white benches near front steps of capitol. Shoot from 11 a.m. until 1 p.m. Then break for lunch. Then we go to midtown at 3 p.m. to shoot montage scenes, Homeless Woman and Steve, and the flashback with Brad and his ex-girlfriend. Second day wraps around 7 p.m.
Sounds like it's access then, not the vets hall. I am not trying to understand why you need vet hall shots anyway. If you were going to be there already than yes, utilize it. But it is a waste of time since they are NOT going in or out of the building.
there is no need for any vet hall shots as there is NO scene in front of it and I am not a real fan of showing establishing shots at least on a 10-minute movie each second we can save for the actual story is better instead of showing out side.
Sounds good. We do need every precious minute for the actual story. And we'll already have shots of the Crest Theatre, K Street and the Capitol to show Sacramento locations, which is expected in a PCS film. Thanks.
My DP last year liked those tacky establishing shots. But you're absolutely right. I'll just change the script. Thanks for your good work.
Judith, you can always have a line by dr dingle that mentions they are in the vets hall. A tacky empty shot of a vets hall doesn't do it for the story. It's not a 70s or 80s tv sitcom. You already have dr dingle mention it.
Daniel lived in Hollywood for years. He was in a lot of war movies. Never went to war himself. Lost his younger brother in Vietnam. Was never the same after his brother's death. He doesn't feel like a real man. Compares himself to his brother all the time. Craves the company of veterans. Collects memorabilia about the war. All wars. No room in the rotating winter shelter, so he comes here. That's all I can say. For now.
why not say: "No room in the rotating winter shelter which is why he comes here to the vets hall." Do not over-think it.
BUT I'm thinking maybe just one shot of the Vet Hall sign as you head to Access Sac at 3:30 or on the way back to the apartment at 8 p.m. There needs to be an establishing shot that shows they are at a Vet's Hall. Otherwise, I have to make up a sign that says "Vet Hall" which would be tacky. So let's try to get that one shot. (2784 Stockton Blvd. 916-524-9816) Thanks again. If Christine or I can help, let me know.
Sounds good. We do need every precious minute for the actual story. And we'll already have shots of the Crest Theatre, K Street and the Capitol to show Sacramento locations, which is expected in a PCS film. Thanks.
REALLY? I never read that in the requirements. I have seen many pcs films that do not have a sacramento location. And furthermore, many of the stories can be actually told elsewhere. Not many of them SCREAM Sacramento to me. Ten Minute Ride by Wayne D. Johnson in 2009 was a good one that showed Sacramento.
I think Ron Cooper has eased up on those requirements. But I believe he wanted them a few years ago. We're good to go. Just give me a few guerilla shots of the Crest and the Capitol and let's decide in the editing room if we use them or not. It gives us some choices. Thanks.
Greetings all BUDDIES actors and crew. This is Gerald. My production company, Aria Pictures, and Brendan Brooks company, Double B, is photographing, recording audio, and editing, as well as, most of the post production other than music. I want to introduce you to your crew if you have not seen them on the website please do.
Brendan Brooks and Jim Heck are the: Cinematographers - camera ops - 1AD - DP's - and producers. They will be directing you in front of the camera, where to sit, what to look at, hold still, and so forth, please give them your utmost attention — nothing gets captured if they are not happy.
Krystina Mae is the Script Supervisor. She will make notes on shots that we get for the editor and the director to make sure we have everything we need before going to the next scene or camera set up.
Scott Slotterbeck is Audio A. Scott has been with me since last year on THE GOLdEN TREE as a BTS photographer and his friendship is an important one with me as he is not only a smart cookie but is painstakingly careful with what he does. be patient with him.
Donna Faith Fultineer is the 2nd Assistant Camera, as well as, helping in the editing process. Donna has done 2nd AC for me before and she will step up and do it again.
I, Gerald, will be filling in where needed, Audio 2, 1st AC, 2nd AC, PA, and my real position is Assistant Director.
so I will need you undivided attention to help out Judith the director with her duties. My duties are, but not limited to, calling crew & cast to set, keeping you quiet, calling action and cut, directing the cast & crew to work with each other for the betterment of the scene, work with the director to see if we need to do another take, and so forth.
OUTSIDE the Aria Pictures box you have the wonderful JUDITH PLANK. She earned my respect with her offering last year under the name of BUTTERSCOTCH. I knew I wanted to work with a talented writer as she is. We look forward to working with you this weekend and you will not be unhappy with the results when it is finished. Now as far as the legal and business issues.
We need you to download and fill out the actor contract and release forms before we can even put you in front of the camera. this is for everyone's protection and gives us permission to use you on camera.
3.3.1 Principle Photography
188.8.131.52 25th Street Apartment Interior: Saturday, July 23, 2011: 07:00 hours
On Saturday, July 23, 2011 12:51:33 PM, Gerald received an email from an actor in BUDDIES having concerns with the Actor Contract issued by Aria Pictures. Gerald did not open the email until Monday, July 25th as he was concentrating on BUDDIES production weekend.
The actor states that he did a quick edit of the form and added a line for compensation for the DVD to be delivered within 90 days after initial festival release. And it would ensure the collaborating actors receive media in a timely manner. Something the actor says is often verbally promised, yet seldom delivered. It would also be good word-of-mouth that would spread among the acting community.
I want to clarify a few things regarding the contract and release form. Once you alter a contract that has already been signed, it become null and void. There is no law requiring any production to give a copy of the final product or any media to anyone. I have worked on many shows that did not offer anything free. I had to buy it at a store. And many of my fellow film students who work on films also do not get anything free. I know the hard work and sacrifice the cast and crew of the free, volunteer, and weekend warrior productions do. These are the productions that the up-and-coming talent, like us, must do so we can build our reel.
I would love to tell stories through movies and television for the rest of my life, and I dreamt about what I would do if I ever got the chance to make a movie. I had the chance to put my ideas to the test with my first short film, Paint 2006.
These are the things that I did for the cast & crew of Paint 2006.
1) Fed them really well — a happy and motivated cast & crew is a well-fed cast & crew
2) Made it a fun, relaxed, family feeling on set — I listened to everyone's suggestions and ideas
3) Created a website for the movie to showcase their talents, skills, and put up a bio about them with links, that they could update at anytime. Yes anytime. Free of charge.
4) Created a facebook page for the film which is new to the times of the day. Another place to spread the word and share the movie and them with the world.
5) Gave them a copy of the film on DVD. And not just a copy of the movie, but the DVD was printed with an amaray case — just like they bought it from the store.
ALSO the DVD included additional features such as:
• behind-the-scenes slideshow
• cast interviews
• addition versions of the movie
• a blooper reel
• and Teasers
6) Created variations on the poster 23in x 35in for sale
• movie version
• vanity poster
• combination cast
• entire cast & crew credits and above the line credit versions
7) Gave them a T-Shirt with Aria Pictures logo and the title of the movie.
8) Gave them a .mov file of the movie, as well as, the specific clips or scenes with the actor, in full regalia HD, color corrected with finished audio for their demo reel. Either on DVD or uploaded to a protected server for downloading.
It worked, but I was a very small production with three experienced actors. And I wondered if it will work on something bigger? I got the chance to try it on THE GOLdEN TREE in 2010, and no one had any issues with the contract, everyone was super happy. I now incorporate what I can offer to the cast & crew of each film I work on, depending on my position on the film. Since I am the editor and have control of post production, I added that into the contract at my expense. Judith had nothing to do with my decision.
If I did not add that clause to offer a copy of the movie into the contract we would probably be in a different discussion. Judith would probably ask if I make everyone a copy of the film. And I would have most likely said, "They can buy the DVD through Access Sacramento that has the other nine films on it." Or I might have said, as I have done for other films, "Yeah, I can make everyone a DVD, but it will cost $10 a disk to help cover some the resources like blank white disks, ink, paper, amaray case, and my time making them — about 2-hours a disk. If they do not want all of that and just want a DVD in a sleeve, then it is $5 — still the same amount of time."
But I added it as a FREE offering, because I like Judith and her BUDDIES story. But you want to take it to the limit of the law, as you mentioned, it is under the compensation list. Which is a promise under a contract and you are correct. But there is no requirement for when I have to deliver, and you cannot force that one me. I apologize for the misunderstanding and thank you for alerting us to it. If you do not want to be in the film because you are not going to get a copy when you want it, wow. Just buy it at the event.
Also, I volunteered to get the production team together for this for NO pay production after working on my own, ask Judith about that. We also came from Nevada City and sacrificed our time to be with such talented people as yourself. which was worth missing some time with our families. You never did see any of my crew, Brendan, Jim, and others ask for a break, time off, or complained about being sore because I had to hold of a reflector for hours. :)
So we are in the same boat as you, we are all in this together. I bid you peace, God Bless, and many, many more movies. It was a pleasure to watch you work. It truly was entertaining, and again, to actually be there in person to see it was an honor.
- gerald martin davenport
Hi Gerald, That is all great news and refreshing to hear, I'm looking forward to being a part of it all!
As for the matter of copy, it has less to do with any specific law, and more to do with what the original contract did not cover was the "when" of the DVD compensation. None of this is against you personally, it is simply a bit of protection from possible filmmaker procrastination (just as the release form protects filmmaker from possible actor egomania). A bit of security for all involved.
I never like putting it in such seemingly heartless terms, but until an LA agent takes the seat, I have got to be my own "bad guy". :) I'm definitely excited to see the final film and to reunite with everyone!
184.108.40.206 25th Street Apartment Exterior: Saturday, July 23, 2011: 13:00 hours
220.127.116.11 25th Street Apartment Exterior Night: Saturday, July 23, 2011: 20:00 hours
18.104.22.168 K Street Mall: Sunday, July 24, 2011: 07:30 hours
22.214.171.124 Capitol Park Area 1: Sunday, July 24, 2011: 10:00 hours
126.96.36.199 Capitol Park Area 2: Sunday, July 24, 2011: 14:00 hours
188.8.131.52 Capitol Park Area 3: Sunday, July 24, 2011: 16:00 hours
Gerald usually takes point when editing, but he was willing and ready delegate some of the editing work to Donna Faith Fultineer. This is the first time Gerald handed off editing duties to someone else. There are several productions that he was not the only editor, but those, he was the second or third editor replacing someone else.
Donna, here are the media files for BUDDIES. I am going to explain how I log and prepare the media for editing that has worked on every project I have done.
1) Create a folder named BUDDIES_MEDIA_fcp, and then look at the screenplay or script supervisor notes to see how many scenes there are, and make folders for them, such as scene_01, scene_02, and so on.
2) Open up a clip and Look for the slate and listen to the audio when the slate is called out, if it is loud enough. If the slate shows 8E and a 1 in the take box, and you hear "Scene eight E take one," you will label the media 8E-1_M.mov. the _M signifies master file. Put the renamed clip in the scene_08 folder. Do that for all the video. If you have one you have no idea, let it be. You might find it in the notes from Krystina Mae.
3) Once all the clips have been renamed, you will need to convert them to a format your computer will be able to read faster in the editing program. Rename these converted files without the _M. Keep going for all the other clips and scenes.
4) do that for the audio clips as well, but you do not need to convert them.
5) Once all that is finished, I would say in three to five days, then you can open Final Cut Pro and begin assembling the pieces.
And if we can meet at your place to show judith that would be good. You have until the end of august to finish it.
Donna's computer was unable to handle the size of the video clips to be able to edit using Final Cut Pro, so she gave it back to Gerald who was looking forward to someone else editing and possibly creating a relationship to have another editor he trusts.
12:59:48 PM Gerald: Mr. Gardner
12:59:55 PM Marc Gardner: hello. how's it going?
1:00:00 PM Gerald: You may or may not make the final cut for buddies. I am on scene 10 and it is 20 minutes long already.
1:00:46 PM Marc Gardner: wow.
1:01:03 PM Gerald: Have 10 more scenes to go, not including the scene you are in which itself is over 5 minues long
1:01:54 PM Gerald: I told Judith her 17-page screenplay played over 24 minutes
1:02:09 PM Gerald: Now after the acting is done it plays longer than that
1:02:31 PM Gerald: I have some major cutting to do. she may not like it, but you only have 10 minutes to tell the story.
1:03:16 PM Marc Gardner: yeah well you have to do what you have to do to get it fit for PCS. The pcs festival of course has to be 10 min but will you keep another longer version you can give out to the actors for a copy for themselves?
1:03:44 PM Gerald: That is up to Judith.
1:04:14 PM Gerald: The new release form clears me from giving any DVD's copies to anyone.
1:04:37 PM Gerald: Thanks to one of the actors in the movie who whined about something.
1:05:03 PM Gerald: The longer version will not be coming any time soon, at least not from me. I have Petite Chardonnay I am concentrating on.
1:05:16 PM Gerald: She might have Donna do it.
1:06:07 PM Gerald: And she had all these actors play in a scene as vets, but they may not be in it either.
1:08:09 PM Gerald: My contract, well, not even a contract, but my acceptance was to be the production company and give her a great pcs movie.
1:08:25 PM Marc Gardner: sure
1:08:31 PM Gerald: She then says LONGER version
1:08:34 PM Gerald: I went what?
1:08:45 PM Marc Gardner: wow. hmmm
1:08:48 PM Gerald: As far as what she wants in for the story, the story is BRAD.
1:08:58 PM Marc Gardner: true
1:08:58 PM Gerald: And the stuffed cat.
1:09:20 PM Gerald: No one else, they are just sources of information about brad and his life
1:10:27 PM Gerald: Just wanted to inform you, i am thinking about getting you up to where he leaves and the homeless woman begins talking.
1:10:39 PM Gerald: Just before she starts, end when you take the last swig.
1:10:52 PM Gerald: That is is my goal.
1:11:02 PM Marc Gardner: ok. thanks for the update.
1:12:09 PM Gerald: I mean it has nothing to do with anyone's performance.
1:12:26 PM Marc Gardner: no, i understand. i appreciate the heads up too. hopefully i'll be able to see some sort of longer version with my footage it in eventually.
Gerald started wondering how to credit someone in a movie that recorded scenes, but never made the cut, and is not in the movie. This is a first time he has come across this in any film he has worked on. “I have never had to credit someone that never made the cut. In my films, if you are on camera, you are in the film. And I do not like the credit for background or extra at least for my films at this stage in my filmmaking career.” And I do read all credits in all the films I watch and I have noticed people in the film but not credited, but not in the film and credited.
Gerald Davenport to Kevin Church, Kristian Gabriel, Dan Nelson, Michael Sale, David Billingsley, Jeanette Elaine Dubois, Manny Giron, Paul Petschek, Toi Juan Shannon.
Greetings my Video Symphony Alumni and connections. I am editing a movie for someone that I had to cut out 16-minutes to get it down to 10-minutes for the festival requirements. The people in those cut scenes were only in those scenes. Now that they are not in the final 10 minute version, do they get credit in the movie? No one got paid, it was all volunteer.
Are you talking about credits on paper or at the end credits in that version of the film? If you're talking about the end credits of that version, my point of view is this: They can not get credited if they're not in that version of the movie. But then again I guess you would have to look at what the contract stipulates with each one of them.
I believe the formal approach is to credit those who are actually appearing in the final version, and to thank all the others. Everyone's name appears, but it saves confusion and prevents embarrassment. At least, that is the theory.
Ah, very nice. I know it happens and exists, just never ran into it. I always made sure to have an appearance of all my actors.
Okay, I just had my first look. I will take a walk now, then look at it several more times today and take detailed notes. But at first glance, what stands out for me is:
1) Great scene with men walking on K Street. Loved it.
2) Montages are quick and effective as he tries to get rid of cat.
3) Scene with Mom and her son is very good.
4) Bummer, I miss the Vietnam Vets. But I knew the Homeless Woman and Steve couldn't get in this time around.
At 16 seconds in there is a cut that's bugging me and I don't think it needs to be there, unless you had a reason for it, but when he's looking at the clock there is a cut to a wierd angle and I don't know why. I'm just thinking about time cutters. at .37 no reason to go back to Dylan (again if you had to I understand coming form an editor). I know these are petty little things but I'm trying to save time. When he is talking V.O. and he has the phone in his hand 1.35ish is a little confusing, again. "What's eating at you buddy" don't need it. Good flashback with the picture. Who is doing the soundtrack. Don't take this the wrong way but I totally get the WATERING hole, Buddies I'm a little confused. Alright I talked to Steve about getting a copy of FCP, so we'll see, maybe this weekend, B
Her name is Taylor Helms. I forgot the screen name we gave her. Can we just say “little girl?” Brad's ex says her name at the end of the dream sequence when she gets up. In fact, I think it's Kimmy, but I'm not sure. Did we get Toni the grandma in the credits, as well as the other boy? I have to look again. You probably did.
It's obvious that “Buddies” is a winner of the Place Called Sacramento Screenwriting Competition. We just need to say “Thank you Ron Cooper and Access Sacramento for your support.”
I don't remember the name of the store where we put the cat in the window. I should have written it down. I wonder if your Script Supervisor has it. Props? All the stuffed animals were mine and Laura's, who has been credited. I can't think of any props that weren't either mine or Laura's.
Thank you for the reminder about thanking all the other actors who didn't get into the ten minute film. Let me know if you want me to send you the list, if that makes it easier for you, even though you already know the names.
I just looked at Cut #5. It's fabulous. The audio is better in most of the film too. A few notes, however:
1. After Brad says “No party, no cakes, no nothing” at Capitol Park, there is a gap in sound. It's like the mic goes silent or something. It's a little strange and very noticeable.
2. Brad's monologue about Sarah swimming, cooking meatballs, and rice for the girl, etc. is not loud enough. Anything we can do? It's not the end of the world, but the sound is pretty low.
3. I wish the footage of him losing it in the end (without a shirt on) were longer. This is also not the end of the world, because what you have is amazing, with all the fast editing and war pictures, etc.
4. Not sure we're going to need all that black credit space in the end. If not, then the very end (© 2011 Judith Plank/Aria Pictures) can stay up on the screen just a bit longer.
I love the pan in the very end as he sleeps on the couch with Buddy! Great work, Gerald! Talk to you soon.
Okay, Gerald, I like that you got Steve and the Homeless Woman in, but I think the scene is in the wrong place. Brad tells Steve he's going to give it to a little girl, then he sticks it in the store, on the dumpster, etc. We should see those scenes first, THEN he walks by Steve and says he's going to give it to a little girl, then he runs into the Mom and boy.
I watched it twice, and it's a little jarring, that he says he's going to give it to a little girl then puts it in the store, on the dumpster, etc. It should be very easy to switch the Steve/Homeless Woman scene to just before he runs into the boy and Mom. Hope so. Thanks.
The audio for Butterscotch cutting in and out? Sounds intriguing. I look forward to getting my DVD copy on Thursday September 1st. Thanks for making me a copy. If you can also send me a link when Laura finishes, great, but I don't want to rush her creative process. I think she needs the deadline of August 28, no sooner. At least that's what I gather. So at least just giving me a copy of the film to take home with me on the 1st would be super.
3.5 Access Sacramento Deadline
PCS filmmakers. The deadline is rapidly approaching. Here are the guidelines for turning in your final film. Previous years we asked for mini-DVD tape but these tapes and recording devices are now difficult to find. Therefore, these specs may be different and please forward to your editor asap.
Ron Cooper, Access Sacramento
All final screening copies must contain the following elements for acceptance.
Final prints must be file-based on a DVD format. Please shoot and edit using HD (16X9) formatting.
Here are more specific guidelines to share with your cameraperson and editor. They need this information right from the beginning.
- Final Master should be a .mov on DVD.
- Format only 1080/60i. Nothing else will be accepted.
- Only file-based DVDs (the final product in 1080/60i .mov format) will be accepted.
- Nothing recorded in standard definition or DV format and then bumped to 1080/60i after editing. This is not high definition.
- Your film should not be recorded in 24p.
To sum up, the only acceptable format will be DVD with a .mov file at 1080/60i codec. No tapes.
Your camera person and editor need to know and accept these specifications to be successful.
Final screening prints must contain one minute of color bars and tone at the head of the tape followed by a slate containing Title of film, name of producer, name of director, and Total running time (TRT) for the film. This time must be exact.
All films must be ten minutes total running time (TRT) or less including all credits. No exceptions will be made. If more than 10 minutes are turned in, we will only play ten minutes at the Crest.
DVDs must be clearly labeled on the case or face with film title, producer and TRT information.
The deadline for turning in the films is Friday, September 2, 2011. Gerald must have forgotten, or thought it would have been the 9th considering that the 3rd was the weekend for Labor Day. Gerald looked into last years deadline and saw that it was also Labor Day Friday. That put extra pressure on Gerald to finish BUDDIES (2011) and the WATERING hole.
Judith Plank … (screenplay by) and (story by)
Judith Plank … executive producer
Brendan Brooks … producer
Gerald Martin Davenport … producer
Jim Heck … producer
Christine Lovette … producer
Gerald Martin Davenport
Film Editing by
Gerald Martin Davenport
Set Decoration by
Christine Lovette … key set decorator / prop master
Laura Marie Tapia … key makeup artist
Gerald Martin Davenport … post-production supervisor / production manager
Second Unit Director or Assistant Director
Gerald Martin Davenport … assistant director
Gerald Martin Davenport … sound editor
Scott Slotterbeck … boom operator / sound recordist
Camera and Electrical Department
Brendan Brooks … camera operator: "a" camera / steadicam operator
Gerald Martin Davenport … grip
Donna Faith Fultineer … second assistant camera / still photographer
Jim Heck … camera operator: "b" camera
Christine Lovette … location manager
Azarius … composer & performer
Belle Francisco … composer & performer
Script and Continuity Department
Krystina Mae … script supervisor
Laura Luke … production assistant
Christine Lovette … craft services
Heart is the Wheel
Written and Performed by Azarius & Belle Francisco
Ron Cooper … Access Sacramento
April Luke … location - Apartment - Sacramento, California
Pacific Market … location - 25th and P street - Sacramento, California
Jan Shepard … Veterans Memorabilia
Reverend and Mrs. Henry Wells … special walking stick
Aria Pictures (presents)
Aria Pictures (2010) (USA) (theatrical)
Aria Pictures (2012) (USA) (Blu Ray)
Aria Pictures (2010) (USA) (DVD)
Brendan Brooks (camera, dolly, crane, lighting, audio equipment)
Jim Heck (camera equipment)
Scott Slotterbeck (audio equipment)