It was a gloomy day and the wind had picked up considerably by late afternoon. Production had run over schedule and the sun was due to set in a couple of hours. The 1st assistant director, producer, cinematographer and I gathered away from the crew to quickly discuss if we should “push on”. Should we complete all the shots scheduled for today regardless of elements, or move them to a later date?

We were shooting digitally, but the shots we were discussing were due to be shot on 8mm film. Technically, they were less involved and could easily be shot with a small crew of just four or five people the following weekend.

The cinematographer didn’t like how little light was going to be left, and only black clouds were evident in the sky. The AD added there was still a good hour at the current location before we could move on to the 8mm shots being discussed…

“Scrap it,” I announced. “We’ll easily pick them up later, and we can concentrate on getting the rest of today’s shots perfect.” Everyone agreed, and that’s what we did.

It was an easy decision to make because we were in a great groove on that shoot. People were working well together and there was no reason to doubt picking up 6 shots on another day, outside of what we had scheduled, wouldn’t happen.

I should have known better.

That weekend came and went, and we agreed to move it down one more weekend. Then it rained. Then it rained again the following weekend. Key people started picking up work and, understandably, other commitments had to start taking priority. Weeks went by… and then some more.

Eventually the producer assembled a small team, the required props, talent, the 8mm cameras and stock (which was being kept fresh in the fridge the whole time) on a frisky October weekend. Unfortunately, the elements weren’t right. It was again wintery, gray, windy and cold. The cinematographer was worried it would be a waste of (expensive) stock because there wasn’t enough light. Art Department weren’t impressed with the conditions; they needed as little wind as possible. And I, as director, wanted those things just right if we were to proceed. We once again postponed the shooting of these pesky 8mm shots. We agreed to wait for Spring to settle in better, when the cold would be gone and the majority of days were perfect.

But the weekends kept rolling on. Getting everyone free on a date to lock-in was become agonising while the film sat quietly on a hard drive, waiting patiently to be cut and delivered.

We eventually rolled 8mm film through the gate in February 2010—right in the middle of Summer. The film has been developed and is now being cut into the movie as I had always intended. And it looks great!

This was a lesson I had already learned and that’s probably what stings most. I was blinded by the fact that the shots we would have to pick-up seemed simple enough. Just an 8mm camera and some props… but it’s never as easy as it seems.

Next time I’m directing on an indie set and it is suggested we ‘pick-up these shots on a later weekend’, I’ll refuse.

I’m notorious for projects dragging out far too long and it is something I want to obliterate from my future projects. Post production is now built into all schedules. Submission deadlines for festivals help meet these targets.

So where is this film? When will That Year They Were Bridesmaids be watchable? I’ll have to answer these questions in upcoming posts.

I cut this video to at least try and remain creative, because I’m creatively exhausted lately (as you can probably tell by the lack of posts this year). A very strange time for me. Nothing is coming out. I’m keeping myself busy as a stay-at-home Dad, raising my boys and looking after my wife as needed. In my spare time I’ve been writing and working on the occasional project, mostly Reel Thinker, a new movie web venture I launched with fellow graduate Robin Hare. Apart from that, I haven’t even had an itch to scratch… but I know it’s back there. I can feel it brewing.

Short film That Year They Were Bridesmaids suffered the usual Silly Season hold-up, where crew scatter for what feels like forever before returning to normal lives. Even then, other projects are lined up and people get incredibly busy. We still have some 8mm shots to pick up before the editing can be finished. I’m still hopeful for a February 2010 completion, but it might edge March.

Fellow FTI graduate Robin (who has been my First Assistant Director on two shorts now) has joined me in a web-based project Reel Thinker. We launched it December 1 2009 and will persist with it into the new year to see where it goes. We both love to discuss and crituique film, so a joint like this made sense. It’s a project outside of Quarter To Four, which makes for an interesting change.

Speaking of Quarter To Four, the new website launched showcasing some of the short films we’ve produced.  There’s also a facebook page – have you become a fan of ‘Quarter To Four’ yet? Look out for behind-the-scenes images and video clips of That Year They Were Bridesmaids soon!

Here’s a sneaky-peek at me discussing the frame with Danny Clark (Director of Photography) on location.

They will all be on DVD by December 9.

2010 will see the completion of my new short film THAT YEAR THEY WERE BRIDESMAIDS and (hopefully) a bunch of festival screenings. HER PARTY is also looking forward to some festival exposure while LIVING WITH BENJAMIN enjoyed some great horror screenings last Winter.

With completed films playing on screens and the others finalised on DVD it’ll be time once again to look forward to new projects. And baby, I’ve got a doozie in store for 2010. I cannot wait to get started!!

The audience was there to see the UK horror-thriller picture Mum & Dad (2008) and my local short film was playing as a bonus beforehand.

The lights dimmed, the curtains closed in (they had to mask the majority of the windscreen as the short is 4:3, if you can believe that) and away we went. Living With Benjamin was on the big screen.

While sitting in the darkness watching Benjamin stir his coffee and wash his mug, three hings became very apparent to me during those seven nervous minutes:

1. Kerry was holding my hand. She told me she was equally nervous — and she held my hand for every second it was up there. I appreciated that gesture.
2. In the final act, building up to the big finish, I could feel my heart pounding throughout my whole body. It felt like my chair was shaking. But I wasn’t panicked or worried anymore (the hardest parts were over) — it must have just been adrenaline.
3. The respect from the audience was first rate. Sometimes a screening like this is treated more like a trailer and there’s still occasional chitter-chatter and movement. In this case, the whole cinema went dead silent and watched Benjamin play out. A bonus of screening at an international film festival, I guess– you know the people attending are mostly film enthusiasts.

And so the credits rolled and the audience applauded. Just like that, it was over. The transfer looked fantastic on the big screen and the sound was magic. I’ve never heard it sound or look so good. Taking it from my PC monitor and TV screens up onto the cinema screen was definitely a wonderful experience and one I will always remember.  Best of all I got to enjoy it with my wife Kerry (thanks to ‘awesome’ Uncle Danny for watching the kids!!), Benjamin himself Clint West, and industry colleges including sound designer and co-editor Warren Money, Gemma Gittins and Sara Horvat.

I look forward to seeing more of our projects on the big screen in the near future.

I’m compiling the special features and menu for the Living with Benjamin DVD, which will be available soon.
Watch Living With Benjamin online now

The film now runs a comfy seven minutes as apposed to the original 12. Five whole minutes removed and it still feels like the exact same film. I’ve learned a great deal from shooting and cutting this — it will always remain dear to me.

This is the version that will be screening at the Perth Night of Horror Film Festival in October. I will be part of the audience and look forward to seeing it with a sizable crowd. That’s both a scary and exciting prospect!

This cut will also appear on the long-awaited DVD, accompanied by some beefy bonus material.

The task of directing a film in any format is always a challenging journey. This shoot ran for three solid days and pushed the boundaries of every emotion I could possibly muster. From sheer frustration to overwhelming exhilaration — not forgetting tiredness, anger, joy, and jealousy.
Jealousy because I have given the cinematography role a shot before (during film school) and here was Danny Clark, a good mate of mine, producing pure gold in every shot without a paycheque. I’m very happy with how good this film looks.

I got to work with an acceptional team on this independent project. Assembled by producer Sara Horvat, people were dedicated to their roles and delivered fantastic results at every level. Thanks to everyone who donated their time and be part of a wonderful filmmaking family.

Personally, That Year They Were Bridesmaids was all about exploring my abilities to direct some honesty to the screen.  The film deals with topics I’m close to and I felt confident I could tell the story accurately. I cannot wait to see the final product, scoop up everything I learned and muscle it into the next project.

What’s important for me now is to turn the film around in a timely manner.  A post production schedule is in place and some upcoming festival deadlines will keep us in check. Even before That Year They Were Bridesmaids hits screens, I’m already working hard on planning what to do next.  What do I need to practice? What do I need to learn? And how can we go about these things in an entertaining way?

Someone should write a book about this stuff…