I love to write, but my love of writing started with movies. It is my great privilege right now to work in film, and below is my first short film, The Shift.
I recently ran a crowdfunding campaign with the help of VidAngel Studios to turn this short into a full length feature film. The campaign did not reach its ultimate goal of $1M in funding, but the $152k it did get was enough to attract the right kind of attention and I’m extremely optimistic about the film’s chances of getting made. Plus, I’m building a great team around me, with Dallas Jenkins, the creator of The Chosen, and Dan Haseltine & Matt Nelson, the composers for the The Chosen, recently signed on board to lend their magic to The Shift (as Executive Producer and Composers, respectively).
More–and more team member announcements–coming soon!
Hey everybody, just letting you know I’m still out here and blogging–but it’s showing up in other places! Here’s some links to two recent blogs I did about the work I’m doing creating my own films with Tremendum Pictures:
I recently read that 80% of all short film makers never make another film. That’s a pretty terrible statistic. There’s probably lots of reasons for people not taking a second dip into the filmmaking pool, but the biggest has to be that making a film is really, really, REALLY difficult. Earlier this year, I finally finished my first short film as a writer/director, The Shift, after an exhausting year and a half of work. There were times I wondered if I still would have made the film if I knew at the beginning how much blood, sweat, late nights, feelings of self doubt, favors, mistakes, computer crashes, and, yes, tears it would eventually require. That 80% statistic resonated with me in a big way… READ MORE.
I wiped the wet brow under my sweat-soaked cap and shut my eyes tight against the setting sun. The grips barked calls to one another across the city park parking lot while my D.P. presented me with the very real possibility that we might not get the shot. This was, after all, the most complicated scene in the entire film–a tense “oner” that would see a smoking gun, blood splatter, and a character fall to the ground. We needed, probably, at least an hour of rehearsals to get the timing and the performances right.
We had five minutes. Three after arguing for two over whether or not it was even worth trying… READ MORE.
The biggest, most important scene in the script took place in a diner and I had found the perfect location. It was quirkily retro and dressed with colors you don’t see in modern buildings anymore. This–this diner–popped. In a big way. Every angle was a good one, enough so I knew my DP would be in heaven every minute we shot there. And the space–oh man, was it spacious! Not a small thing given how many crew and actors and extras would be assembled for the marathon twelve hour shoot.
I approached the management at the diner four weeks out. They were enthusiastic about us taking over the building after hours and the approval came quickly. All smiles. Four days before we started shooting–after weeks of prep and the aligning of schedules and last minute castings and, and, and–the diner pulled out.
We lost our primary location with four days to go… and I didn’t have a backup. I called Tremendum Pictures head honchos Chris Lofing and Travis Cluff in a panic. First thing they said?