The Oh-So Important Production Stills

As I charge forward submitting Charity Ball to film fests, I am continuously updating my EPK. How I felt about one thing early this year, I feel differently about it now. I made this film as I was practically exiting Montreal. What possessed me to make this film was the need to tell a story, also a need to leave Montreal a goodbye note that said, “No hard feelings. From here, we grow.”

Anyway, in the midst of this driving need to tell a story and the plethora of work it takes to get a film made with the little resources that one has in the little amount of time available, some things fell through. I had asked a co-worker to be the stills photographer, but on the day he was supposed to show, he didn’t show and I was sadly left without production stills.

It’s always in hindsight that you realize how much weight the little things have. Production stills are an excellent tool to promote your film. Film festivals often demand they be included in your submission package so as to get a glimpse of the dynamic inherent in the production of your film. It also demonstrates your presence as a filmmaker and the camaraderie or animosity or both that you share with your crew and you and your crew share to one another. There is no “I” in team and that saying could not have rung more truly on our set.

I may not have behind-the-scene stills, but I do have screenshots…

 

 

 

 

 

 

 

 

…and crew and filmmaker testimonials…

Production Notes

Hopefully those will add to the value of this film and transmit the bustling dynamic of filmmaking specific to the set of Charity Ball. But, ideally, just get someone to take production stills, be it with an in-phone camera!

Trying to Catch the Wave on the Film Festival Circuit

With the 2011 Cannes Film Festival (long) done and over with, I can safely admit that I did not get in. I’m sure you all knew, otherwise I would have advertised it right then and here. It was a long shot. It was Cannes.

I recommend submitting to anyone because to submit a short film to Cannes costs $0 + mailing costs of your DVD screener to France (~$5 if you are in Canada like me), which is nothing compared to the $20-$100/film + shipping fees you’d be paying to submit to the other film festivals out there. The truth is, you never know what a selection committee will like.

Perhaps I should have put more thought into my submission. Had I scrolled all the way down to the bottom of the festival’s submission page, I would have noticed their Short Film Corner call for entries – an area of the festival completely devoted to short films, outside of the Short Film competition I had submitted my film to. Perhaps had I registered for that, Charity Ball would have had its European premiere. Perhaps.

Shoulda, coulda, woulda, onward we move forward with the other festivals out there. The goal is to get this film seen and I’m playing a bit of a waiting game right now, but hopefully it’ll pay off in the next couple of months. Let’s keep our fingers crossed, people!

“Charity Ball” Trailer Online

Hey. OK. Teaser more than trailer, but there you have it. Below here you will find the official Charity Ball trailer. Enjoy it. Ponder it. Love it. Hate it.

*psst! There is a director’s cut of the teaser (i.e. a version I pieced together that was vetoed by my editor, wanna see it? Vote!)

Teaser Trailer coming soon

Just a quick update: the teaser trailer for the film is on it’s way. In fact, it’s almost here. Prepare yourself for 30 seconds of glory! Until then you’ll have to make due with the above screen cap, which I stole from my editor when he wasn’t looking.

Film Art?

by Daniel Downey

Daniel Downey is a Toronto-based illustrator. His works, news and information can be accessed via his nifty website: http://www.danieldowneyillustration.com

Thanks again, Dan, for anthropomorphizing the gist of my film!

This Is Where It Starts

“Charity Ball” is in the can and ready to set sail on the film festival circuit! News, updates, tidbits, media, etc. related to the film will be posted here and I encourage you to be a keen follower

Spread the word. Read up on the film. Notice the convenient pages I’ve set up to share this with you a little better and share your thoughts! This is just the beginning.

A few things to expect in the next couple of weeks: teaser! poster! featured music! film stills! and more!

Cutting an Improvised Film

Martin Baena (editor):

“Cutting an improvised film is a little like editing a documentary, especially for the first scene, which originally ran over six minutes – more than the final running time of the film – but had to be whittled down to an appropriate length. It’s also very different from editing a conventional, scripted film because it means playing with the action a lot more than one usually would.

Shooting with one camera made it easier and faster for the crew to shoot in a confined space but proved an added challenge in post-production. Each take from each set up differed in tone, emotion, and continuity, which meant hours and hours of time at the grinder (editing suite) getting it just right.

Luckily, however, it also resulted in a sophisticated and layered piece featuring a wide range of emotion, giving the characters and story added depth and nuance.”