Never Annoy The Director

An Interview with Scarlett M.

2011-07-15T15:10:00.000-07:00

Hello everyone! I would like to intoduce Scarlett M., another young filmmaker. Welcome to Never Annoy The Director! We are going to discuss your take on filming in general.

MITZI: What do you want to show others with your films (i.e. beauty, humor, ect.)?

SCARLETT M.:A new take on life. I want to show people a side of life they’ve never known. I want them to taste foods and hear slang they’ve never heard of before. I want to show “average” lives for the intricate stories they are.

MITZI: How old were you when you began filming and what started you?

SCARLETT M.: Hahaha…oy. About 13? I used a digital camera to film moments from a dance competition. I’d seen Peter Jackson’s Lord of the Rings about a year earlier and the complexity and depth of the filmmaking process inspired me to make my own films.

MITZI: Who inspires (inspired) you to film?

SCARLETT M.: Mr. Jackson inspired me to begin filming. Now that I’m considering filming as a career, I draw inspiration from everything from director Steven Spielberg (a living legend) to Imogen Heap’s music videos. Anything visually artistic, any storyteller, whether through words or dance or artwork, inspires me.

MITZI: What kind of camera do you use? What would be your ideal camera?

SCARLETT M.: I use a Canon HG10. It’s a handheld camera, so it’s easy to transport and whip out for a shot. Hmm…ideal camera? Something with obnoxiously clear pictures and great manual focusing.

MITZI: Who would you love to film with? (and we're talking anyone; your favorite director, the Queen of England or the girl down the block)

SCARLETT M.: I would love to film with the Bashaw brothers; I’ve never met them (creeper-sounding, I know), but I admire their YouTube productions. I really would just like to film with young adults my age who are testing out the same waters I am, like you, Mitzi ☺

MITZI: What qualities does a film have to contain for you to enjoy it?

SCARLETT M.: A good story, mostly. An inventive story that preferably takes you off guard. I’m into the cinematography as well. I’m a very visual person, so I like interesting cinematography. And good acting. I love acting that’s so natural you can’t tell if the actor is being herself or if the character is that developed.

MITZI: What qualities would a film you make have to contain for you to be proud of it?

SCARLETT M.: Good character development. A good story. Believability. Honesty. Beauty, even in showing how ugly a situation can be.

MITZI: What (in your mind) would be the hardest thing to film/capture on film?

SCARLETT M.: People’s emotions. Making tension come off strongly seems difficult to me. The actors have to create chemistry that translates to the audience. I’ve only tried to act a couple times and I know it’s hard.

MITZI: What location would you like to film at and why?

SCARLETT M.: Italy? Because it’s beautiful. ☺

MITZI: What is your favorite process of movie-making?

SCARLETT M.: I love filming because I love watching the script and the actors and the shots all come together. Editing is a close second. I love editing; I love organizing the story. I can get so caught up in it that it takes forever, though, which is frustrating.

MITZI: What do you find to be the hardest part of making of a film?

SCARLETT M.: Explaining to the actors what I’m looking for. I’m pretty shy, so it’s hard for me to lay out piece by piece what I want to see from them. I’ve learned the hard way that this isn’t the greatest way to handle directing, so I’m growing in that area.

MITZI: Is there any book you would like to see made into a film and how would you go about the process of showing what the story contains with your own insights?

SCARLETT M.: Hahaha…I’ve always wanted Robin Hood made into a movie. I know a Robin Hood film just came out, but it focuses on what happened before the legend begins, and I’d like to see the legend. I want to make people shiver with the beauty of foreshadowing and love and tragedy. I’d want to tell the story from Robin’s birth in Sherwood Forest to being buried there, according to Roger Lancelyn Greene’s version of the tale.

MITZI: Are there any particular projects you are working on right now? If so, please elaborate!

SCARLETT M.:(Very slowly) collaborating on a project called Chasing Genius, which happens to be your brainchild. ☺ I’ve recently realized that I’ve been into documentary-themed videos since I was little and wanted to make a full-blown one. I’ve also been thinking about making a film of my hometown, or a short documentary about I don’t know what. Just something to jumpstart my inspiration life.

MITZI: How do you progress in filming? Are there any procedures you follow or inspirations you try to capture?

SCARLETT M.: Yeah, usually when I get an impulse to make a film, I’ll discuss story ideas with my younger sister. After she writes the script, we move onto exact locations, casting, and costumes, transportation, etc. I direct; she stars in the film. After we’ve wrapped up, I typically edit. I get most of the score from freeplaymusic.com, which has hundreds of free music tracks for films that aren’t going to be sold for profit, like mine. Keeping up my energy and inspiration is really important or the thing’ll never get done. Reading the script and imagining the finished product help.

MITZI: Is filming going to be your life, or will your life have filming in it?

SCARLETT M.: I don’t know. I wish I did. But I’m waiting on God to give me the answer at the right time. ☺

Thank you so much for joining us today and sharing these fun & thoughtful insights! I hope we can have you back again soon.

Sight in Solitary

2011-06-20T14:33:00.000-07:00

Well, this is it. My first “solo”. A film made by one person; written, acted, filmed, edited and produced by the one and only Mitzi Rowan. A little more than an hour's worth of footage, about three hours worth of editing and post-production and whatever time it took to put it up here.... it was fun. Just one more thing to prove you can do anything (well, almost anything) with filming if you want to. It's no big hit; in fact, it's little more than a ramble. But it is my first one-person film for all to see. A mix of truth and fiction all bundled up in 14 minutes. Enjoy!

http://www.youtube.com/watch?v=W8U6NQciNQU

Chasing Genius!

2011-06-13T15:55:00.001-07:00

Where have I been? Chasing Genius!

Seriously, this is one of the hardest filming projects I have ever done. Filming is the least of it. Gathering all the people involved together, discussing things over the internet, trying to get what I want out of the people as the director.

Due to the fact that this is an international project (as well as spanning many States), I cannot go and individually interview each member. And to me – that would almost defeat what I am trying to capture. I want to show the drive and enthusiasm that these young filmers have – and perhaps the best way to do this, is to make them film it themselves. Their own stories. That's what makes this such an interesting one.

For so long, I watched, communicated and was awed by these young people who are so driven to film, to make stories. Perhaps it is because young people often have such a hard time finding something and sticking with it... and here, I saw no trouble. These people want something, and want it bad enough to work at it. They inspire me to do more with my filming... and with life in general.

Can their story inspire others? That is the question I hope to answer with this documentary.

2011-05-31T15:20:00.000-07:00

SCENE FADE IN

NARRATOR VO:
Once again it looked as if the annoying and annoyed director had vanished off the face of the earth...

DIRECTOR:
Cut!

Ok, so I've done it again. Disappeared, left my poor blog high-&-dry and completely post-less. And I have little excuse other than the struggles one human facing an ever-increasing mountain of schoolwork and an ever-decreasing hour-glass of time before graduation... and the urge to film. It is a completely undeniable fact of life for all of us young filmmakers. You either film through the problems... or quit and admit you're licked.

Fortunately, despite the fact that this blog has suffered, my filming hasn't. I am in the thick of writing yet another script (which is actually advancing), filming my first documentary and brainstorming two more. I also have one short film I am editing and another I am filming. So... things are progressing!

First and foremost in my mind right now, is the documentary project I am filming – presently titled “Chasing Genius” (name courtesy S.T.). It is the story of my story... and several other young filmmakers. Yes, you have it; it is an overview of the drive that makes us film and the struggles and successes we meet along the way. It is presently in the “baby stage”; basically some filmed, some scripted, some brainstorming. It's a lot of work – and a lot of fun!

(If anyone is interested in participating in the project, please email me or send me a message! We would be more than willing to consider you for the documentary.)

...and of course with graduation comes the thought (again) of a film school. Yay or nay? I don't know. Thoughts come and go; I look at schools, consider pros and cons. For me right now... doing a film project is enough. Is it for you? Comment below and give me your thoughts!

Inspiration... (or the lack of it)

2011-01-25T14:00:00.000-08:00

After beginning my fifth script of the past three weeks, I begin to wonder if I have lost my inspiration. Which is really a stupid thing to say or think, because my inspiration always there. If anything I have too much inspiration and not enough in any specific field. Over the past weeks, I have covered ever theme from Medieval to the Second World War and right up to modern-day, paused to peruse a fantasy venture and frantically rummaged through the Civil War and struggled over a tale of grief and loss.

No matter where I go, there is not enough fodder to write. And were there enough, I haven't enough actors to form a cast nor a good enough camera to film it. I try to think of writing a genius film with a one actor cast – but somehow that doesn't ring true... although when you consider the first half of The Black Stallion, that's some pretty awesome stuff with only a boy and his horse.

I guess when it comes right down to it, my filming is struggling. I need to do something more expansive. Some script that gives me the freedom to write – to use my imagination and not always be stilted by the number of characters I can have in one scene.

In a way, I also want to get beyond scripting. With what I have done lately, it has kind of killed the genius for the story before it has really begun. I want to do something daring, something incredible and more than a little stupid. I want to try filming the first part of my NEW script idea without writing it out. With no real script directing me where to go, with no storyboard saying “stand here now”. Just the feeling to guide me.

It's a lunatics idea, but I am trying it all the same. Just watch and see how stubborn I can get. In a way, it isn't as stupid as it sounds because I am filming it and acting it, so I know what will happen. I know where I want it to go and how it should move. The script already is written – in my mind.

And even if this gets nowhere, at least I will have accomplished something. I will have looked through a camera lens and made some footage – be it decent or not. I will not just be standing still, scratching away with my pen on five different scripts.

Do what it takes to DO SOMETHING!

To The New Year

2010-12-27T14:04:00.000-08:00

The meeting with Dave Carlson and his cameraman, Dave Rolls, went great – it was fascinating to watch the methods used to film the show, and pepper both of them with my questions. Which they answered most helpfully. More than helpfully.

The ice wasn't too cold and although they only caught one fish while I was there, it was still a very useful time for me. We discussed everything from the Principle of Thirds to the perspective. It was great.

Probably the most important thing I learned was that I need to contact people who do this kind of thing for a living and talk to them – at very least try to get an interview. I am now doing my research on a guy named Neil Rettig who is: a) an expert cameraman, both still and motion b) films well enough to receive three Emmys c) does documentaries with everyone from National Geographic to the BBC and d) (best of all) he lives within a few hours of me! So that is very exciting. I hope to get in contact with him sometime in the near future.

And back to the same old, same old – I am still looking for a camera and trying to narrow down the search. My budget is really about $1000 or a few hundred above that if I really like what I'm seeing. Which narrows it down a lot. I now have all the smaller filming models – none of the professional cameras. However, I happened onto Sony's new creation, which is basically, a professional camera for amateur/private videographers. (link) It's got a lot of what I'm looking for, but at $2000 it's a little out of my range. So for now, I'm just waiting and watching.

Other than that, I am once again struggling with scriptwriting – I want to write, but I'm not sure how to make all my various ideas flow into one script. And of course, I always have to hold myself back because of casting limitations. But it's coming (if slowly) and I am, as usual, learning. I think that the new year will bring a change in the speed my filming stuff is progressing and I will begin at last to advance. So – here's to the New Year!

I read a quote recently that went "talent does what it can. Genius does what it must" That seemed to sum up most of the people I have known who are into filming. So, here's to you!

New Script

2010-12-17T15:36:00.001-08:00

Ok, so I'm writing a new script. Of course my scripts always come better when I don't know what they are going to be about, but somehow, this time – I need to know. I need to know a little more. Sometimes that's how it is.

All I know is – I have a script inside me. I have a story. Waiting, longing, itching, dying, struggling to be told. And my poor stupid fingers cannot take those words from my heart and put them on the page. So I must take them to my brain first and have to look at them, coldly and calculating, find a home for each and every word that screams to be written.

I must be insane to do this.

So I take this feeling, this thing inside me that wants to come out, and I put it in my heart – and it is so empty, so bare-bones. I know what I want out of it – and yet it will not come. It just stands there, shivering, wishing it wasn't in the spotlight of my mind. Because it's not ready to be told. But it must be told. And I force it to stand there, quaking, my flashlight beam on it, as I stare at it, trying to keep it from vanishing. It is so pale and weak, so faltering and covered in ragged holes, I am almost tempted not to continue. Merely to take my light off of it and let it go back to my heart to hide a while longer. But it can't. It has to be told.

Alright. It is so flimsy – I must give it something to brace itself up on. A history of steady evenness and stubbornness... although it is too cowardly to be brave. It is so pale in places – so dark in others. But really very bland. It needs something of color, something of life to let us know it is alive and not just a blade of grass shaken by the breeze. So I will give it a country of great color, with a war raging across it's snowy landscapes and creatures of magnificent power... although their dimness tells me they are fading. And then I see how sad it is, even in the dark spots my flashlight won't show I can see tears and tremblings. So I now I know there is a future that is failing and no one to stop it.

And then it comes to me. The reason for the shaking, the trembling – the reason for the fear despite it's outward steadiness. There is only one being who can stop it. This war that threatens to annihilate everything. And yet, this being is so frail, so cowardly. It has nothing that the magnificent creatures have, and yet....

There is something there. Something lurking beyond the beam of my light. A secret that must be kept and yet longs to be told... a mystery that must be solved and can only end...............

Oh. My flashlight batteries just died. Darn. I guess I'll have to go charge them.

Update

2010-12-15T15:48:00.001-08:00

Hello everyone.

Due to personal issues in my life that have completely stopped me and my filming in our tracks for the last several months, I have not made the effort to keep up with my blogging and I would like to apologize for that. Now I am trying to get back into the groove of it... and film.

I have also been doing NaNo (won it) and so that took up a fair bit of time, too. But the writing itself was interesting because I am considering changing the story into a script, and it was fun to consider the visual, on-screen aspects of my rather weird sci-fi story. Anyways...

Another thing I've been spending my time doing is: sneaking away from Christmas shopping to look at cameras -- they are so tempting! However, prices still remain extra-ordinary and I'm still not sure what I'm really going for, so I just keep comparing prices and measuring pros and cons. However, I think that I may have found something interesting with Panasonic and shall fill in more on that when I have some more news. I am looking for something in a reasonable size with a fairly low weight and good movability. Then I want very good quality on editing and a good downloading mechanism. Next come battery life and ease of use...

Fortunately, I am being shoved back into filming by the fact that I am going to meet Dave Carlson and Dave Roll who are director and camera man for an outdoor Wisconsin TV show. I'll be able to watch the filming for their show on ice-fishing. A little cold, but I am really interested in watching how the cameras are operated and even what the cameras look like! It's going to be fascinating.

I will come back with more news and hopefully some footage of my own for all you guys. Thanks for waiting for me, everyone! Have a Merry Christmas!

Silence Speaks

2010-09-17T15:12:00.000-07:00

One of the most serious mistakes in filming I have ever found myself guilty of is this: I get carried away with dialogue. I concentrate too much on the words that come from the character's mouth and too little time on the character's face.

Part of this is due to the fact that I widely skip storyboarding. It is so easy while telling a story, writing a script, to imagine it in your head. Unfortunately, it is also very easy to forget all those important details while filming on a busy schedule when things aren't working out and everyone (including the director) is getting stressed out.

I am progressively disappointed with my work. It's not that I feel I can't do it; more that I haven't done it. I just haven't taken the time. When I watch old footage from Watch for the Queen filmed a year ago, I can't help but thinking “we could do so much better now”.

The thing that gets me is not that we have to do it over again. It's that there is a good chance I won't have the TIME to do it over again. I love rehashing scenes in my mind, figuring out what should go here and what should go there. Sadly, with the limited time the actors and I spend together, I rarely get that chance.

Someday I am going to escape into the forest, completely lose myself with actors, camera and crew and forget “other world” distractions; phones, chores, school... ect., and FILM. Forget about time. I actually hope to make that plan action next summer.

But back to original discussion, I am now trying to work notes into each of the scripts to give myself reminders not to forget those close-ups, those pans, and shots that build the story. People speak so much with gestures and facial expression, body language and their eyes... if I can capture that, I will be doing twice the job I am now.

I have been taking some extra time to study some good “detailed” movies and watch how a scene is set up or a character's emotions played out – both verbally and physically. It is an excellent exercise. I am always excited when I learn a new thing about my filming, or some one else's.

And now it is quite time enough for my to stop running my mouth off and go and DO something. Action!

Why fill a scene with speech, when your silence can speak louder than words?

I Had A Dream...

2010-09-09T16:31:00.000-07:00

I would like to beg pardon for the fact that this post is long over-due... I was having computer problems and couldn't access my documents. Thank you all for waiting so patiently.

******

The other night I had a dream. I dreamed of a ship, tossed on high-seas and a man with no memory who would risk his life to find the ship he was chasing, The Bounty. I dreamed of his own ship and the inner thoughts that drove the man, and I knew his ship's name was The Dungeon.

Of course, when I woke up, I knew this had to be some brilliant movie trailer... the only problem was, the movie had never been made. I'd just made up a trailer in my mind, which everyone knows is utterly ridiculous cause scripts come first, films come next and last of all come the the trailers.

But this idea was too good to lose so I wasted a whole morning scribbling out Who, Why, When, & Wherefore on my word-document for semi-useless script ideas. It went something like this....

Who? Richard Jenkins, 30 years old, escaped from a London prison after spending 10 years in it, ship-maker

Why? Who knows?

When? 1700's

Where? On the Atlantic Ocean, England and.....

How? Excellent question

However, by noon the dream had advanced from merely the bare skeletons of a idea to a semi-formulated plot, and I knew I was going somewhere with it that I'd never gone before. For the first time, I wasn't trying to make a script that I could film with my limitations of 5 actors, 1 dog and a Wisconsin backyard. I was writing it as it came, brilliant wave upon wave of ideas, not worrying about how to build a clipper ship or find a cast or HOW ON EARTH I was going to get to the Atlantic Ocean to film it.

I got so far as to write two separate scenes for the script and several ideas and half-formed plot sketches before the genius wandered off somewhere else.

Still, I have not given up on my new project. I think it still deserves to be written or at least a real plot drawn up. And that is the brilliance of having a “Scriptwriters Book” or computer document where you can file down all these ideas so that later, when you want something to work on, you can pull up all these ideas that you've had and study them and learn from them. I know that I have already used this in past occasions when I have reached a dead end in a script and sometimes compile bits from three or four separate sketches to finish off the script I am presently working on.

What I'm trying to say in my round-about fashion is: use whatever inspiration you have to write. You don't need to be a genius to write out your dreams.

Eye On The Camera

2010-08-09T13:22:00.001-07:00

Last week I had the opportunity to speak with someone who has spent 30 years in Television. It was amazing; giving me new insights and ideas that sent my mind racing. It was a great chance to learn from someone who actually knows and makes a living doing this kind of job.

Some of the things he discussed were concerning equipment. Cameras have changed over the years, going from a heavier weight of about 20 lbs to 5 lbs. This makes for more compact equipment, although he noted that the sound quality is lower than the older models. He also said the image was sharper and more defined while the quality of the zoom was lessened. You have to learn how to use the camera – what angles achieve the affect that best suits a scene. He said: “When given the chance, use a tripod.”

The major thing to obtain and keep this type of job is to be multi-talented. You must know how to tell a story with the image as well as words. There has to be a flow, a rhythm, a beat to the narration to carry the viewers interest. Therefore you must know how to handle a camera and write a story as well as potentially appear on screen.

Above all: practice. Film everything. Learn from what you do. Experiment. Find out what stands out to you. What stands out to you will stand out to others. Have curiosity about things. Do it, do it, do it. It will pay off. Have Patience, Persistence and Practice.

I was so interested to hear all this that I just sat and scribbled countless thousands of notes into my little “director's book”. It was an awesome opportunity and I really hope to do it again. I would also suggest for all you young people out there who are interested in doing this to find out what TV stations are in your area and call and speak with them. If nothing else, you may gain a little knowledge of how to get your foot in the door.... or rather, your eye in the camera.

The Latest

2010-06-28T14:36:00.000-07:00

Summer has thrown filming back into action with the Time Watch series... we have almost completed the filming of Queen's Choice except for minor re-takes – and the acting was brilliant! I was/am so proud of all you guys!

We still are waiting on the two final scenes from Watch for the Queen, but expect a certain release by 2010's fall. We have spent so much time on this film... we are thinking of re-titling it The Four Seasons. But at last, production and post-production is happening and we plan to release the first two this fall for certain and hopefully the 3rd (Queen's Choice) and the 4th (Blindside) this winter.

Altogether I really feel we are improving as individuals and as a team. Acting is looking up so much; our blooper reel is really suffering! You can expect the Queen's Choice trailer within the next two weeks.

Also, Becca Smith and I are working on yet another script – this time, though, Becca is going to write/act it and I get to sit back and direct. Boy, am I looking forward to that. We are stepping back into a medieval/fantasy setting with a rather Robin-Hood approach. It has been wonderful brainstorming together.

I also hope to get my SteadyCam sometime this summer. Becca Smith and I have been discussing the possibilities of getting a full cast – a kids sport group we know – together for a shoot next summer. Right now it is merely an idea... but as the year progresses, we hope to work out some of the angles.

Here are some photos from the Queen's Choice shoot.

Stunts! (haha)

Becca lookin' on

Anthony on location

NO MORE PICTURES!

2010-06-07T17:14:00.000-07:00

I have been reading a lot of scriptwriting and selling books this last week, and I must say, it is getting old! However, among all the forms and rules and suggestions, you can pick up helpful little pieces of information. Overall, the scriptwriting suggestions haven't helped over-much, but I had no idea how to sell a script and that has been very useful.

The suggestions listed below are called the Scriptwriter's To Do List from Colton Lawrence's Big Fat Paycheck: A Young Person's Guide to Writing for the Movies. The book was not overly recommendable although it did have some interesting ideas. I have expanded on each of the suggestions.

1. Always jot down ideas in a screenwriting journal.

This can be as simple as a school notebook you dedicate to scriptwriting and carry it with you EVERYWHERE. You never know when an idea will strike you, or some random piece of trivia will give you the plot for your new script! Even if you only collect tiny little pieces of humorous diologue, interesting facts or bizzare happenings.... it may eventually build up to a script, or at least help you along the way.

2. Find ideas and develop them into concepts.

Even if you just end up with a miss-mash of confusing sentences and half-formed ideas, this exercise will help you to store ideas and make them interesting. If you take five minutes and write down a plot idea, you will always have something to work on even if you are feeling uninspired.

3. Evaluate concepts and strengthen them.

I always find this one of the most enjoyable parts of scriptwriting – where I make a story new and un-cliched. There is nothing worse than a stereotype and nothing more rewarding than confounding one. Find a friend who is willing to talk to you (either in person, on the internet or the phone) and ask them what makes Robin Hood stereotype and how to break the stereotype. The person doesn't necessarily need to be into movies – as long as they are willing to listen.

4. Write character sketches.

You need to know about the person you are writing. It can't be just some teenage girl. It has to be a person with a voice and a personality all of their own. This is one way to break the stereotype. Your scriptwriting notebook can come in handy here. Maybe you noted the queer accent that girl on the bus had. Ok, now your character has that accent. Perhaps you know someone who's nephew is older than they are. The character has now taken a new dimension. Try describing someone you know quite well on paper. Do the same for your character.

5. Jot down the story beats and the story's outline.

Your script may have a hard time progressing if you don't have an outline. If you break the outline into scenes, your work and time spent writing is that much simpler. Also – you have just made sure that your plot stays the same and doesn't wander around. This is quick and simple. Write a little at a time and add more as it comes to you.

6. Work on the beats until the story emerges.

Now that you have all this – the script is ready to form. Take everything you know and start to enhance each idea until it becomes a scene. This is the final step and with all your information, you can write it. Be fun, be unique, and don't rush yourself. You should also know around the length of the film and therefore should also know the page number. Don't worry if you exceed it. That's what re-write is for.

Update

2010-05-03T13:58:00.000-07:00

We have made unbelievable strides with our Time Watch series. The filming on (Episode 1) Watch for the Queen and (Episode 2) Eternal Night has wrapped up and are under-going to grueling process of post-production (my least favorite part of filming), while (Episode 3) Queen's Choice is about to be filmed and (Episode 4) Blindside is struggling under the editor's pen. Plans are being drawn up for the 5th and 6th script which shall be filmed sometime in 2011.

It is amazing, the work that we are doing and I am very proud to say that everyone is improving so much. The re-takes on Watch for the Queen in April 2010 were awesome and the acting has definitely improved.

I am seriously considering handing the post-production/editing over to Becca with Queen's Choice and Blindside. I never seem to find the time and the endless process of watching and re-watching the takes to decide what should go and what should stay is very wearing. I will still be doing the final touches – slo-mo and music – but the major part of the editing work will be Becca's.

The support we have all received while doing this has been super: Mr. and Mrs. Rockafield during Eternal Night, THE Boys acting support and co-operation, Ruth Rynae's acting and easy-going manner (not to mention filming during Eternal Night), Nina R.'s faithful criticism, John Michel's filming, Anthony James' acting and filming and actor support (literally holding us up), Becca's constant support in everything, all the Storytellers who listen to our complaints.... Thanks so much!!!

I view all that I have done on this as excellent preparation for my future career and I am so pleased to see all of us advancing in what we are doing and developing new skills and ideas. This year and the coming year are going to be huge for me with film school and everything. I plan to purchase some equipment – SteadyCam and a mic for starters.

I am also sorry that I have been avoiding my blog for so long – bear with me – I plan to be better.

Dialogue Laughs

2010-03-01T13:53:00.000-08:00

DIALOGUE

Dialogue. One of the most challenging parts of scriptwriting is getting your characters to sound like real people and still say what they need to say. When I was first writing scripts, I knew that my dialogue needed work – so I took 'set' characters (previously invented characters) and using their various stereotypes, I wrote a scene which is completely comprised of their dialogue and not any action.

This was the point of writing it: I wanted to make it sound real – so you could see them moving, interacting and staying true to their characters. Rather worthless otherwise, but good for laughs.

~~~

SCENE ONE

Narrator: In a small dark room all the evil creatures from Middle Earth and Narnia have gathered, in another attempt to over-throw their rulers. The white witch speaks.

White Witch: Is it not bad enough that we must be all here together, but – HOW DARE YOU LET THIS ROOM GET SO WARM!!!!!!!!!!!

Witch King: I will break you. I've a cold. I fell into a ford.

Morgrim: Oh, come on! We're tired and we'd like to kill – I mean, we'd like to get this over with!

Gollum: Nasty, nasty people! And Smeagol so nice, gollum gollum! The precious is mine! It's -- (sob) It's melted.

White Witch: You're having global warming troubles too?

Gollum: No, no! Not global warming! But the precious is still mine! Gollum, gollum! Nasty nasty furry peopleses! They took my precious!

Morgrim: Your frigid majesty, I don't think we're going to get anywhere with these

Lurtz: I hate to break up the party, but everything's as limp as a boned fish!

Morgrim: Fish and chips. That's what I want. That little shrimp would be good with chips.

Gollum: You keep your nasty chips! We take our fish – raw and wriggling!! gollum, gollum! We loveses fishses! (starts singing) Our only wish to catch a fish, so juicy sweet! (claps hands loudly)

White Witch: Take that disgusting creature out of here.

Witch King: I will break you. I agree. Take the shrimp.

Gollum: Nasty, nasty, nasty black creatureses!! Nasty!

Morgrim: You little sneak!

Gollum: Nasty wolf! Nasty, nasty gollum, gollum! He accuses us of sneaking!

White Witch: Then what were you doing?

Gollum: Sneaking.

Witch King: I will break you. I want my black horsie. This is my hour.

Morgrim: Come on! What is this? I wish I had my wolves! Awooooo!

White Witch: Well, I've had enough of this! Morgrim!

Morgrim: Let's go and kill a pussy.

White Witch: Boring. We did that last week.

Witch King: I will break you. I need to take my nap. I have a cold. I fell in a ford. I was pushed in a ford.

END SCENE

~~~

Sometimes you just need to stop worrying about how it all works and just laugh a little.

CONGRADULATIONS!

2010-02-15T14:00:00.000-08:00

We have a WINNER! Congratulations, Matt Andrews! Thank you, Rebekah R. and Rose H. for also participating. It was wonderful to read all your scripts and I hope you will all write for the next Challenge.

Filming on the winning script, Winter, will begin between the last week of February and the first week of March. The completed film should be posted by Easter 2010.

2010-02-01T14:14:00.000-08:00

Please Vote Everyone! These are the challenge entries and voting will be open for two weeks -- until Febuary 14th. The vote is on the upper left-hand side of the page.

Also, I have changed all formats to easy-read.

~~~
Script 1: Dream World Angels

“Scene One”

The camera shows a girl’s peaceful face. She is lying in a bed fast asleep. Slowly the camera zooms in on her closed eyes. Slowly the picture fades and a dark shadow runs across the screen. Then there is a shot of a valley and the shadow disappearing into the woods. Suddenly there is a flash and the girl sits up quickly, breathing hard. A head pops over the edge of the top bunk.

Abby (sleepily): Are you okay?

Lizzy: Yah, I’m fine.

She throws the blankets back and climbs out of bed, gasping as her feet touch the cold floor. She walks over to the window and looks out on a snowy scene of winter wonderland. She sighs and turns back to the room, lifting her clothes off the back of a chair and walking out of the room.

“Scene Two”

The camera shows a few shots of someone putting on out door clothes and walking out of a door. The snow creeks under her feet as she walks along. The camera shows some close ups of her face, feet and hands as she walks along. At last she comes to the valley from her dream. She sits down with a crunch in the snow and her eyes scan the valley. She sighs and leans back, starring up at the sky. Feet can be seen walking up behind her. She sits up quickly and looks over her shoulder.

Abby: Hey! I’ve been looking for you for ages! What are you up to?

Lizzy: Nothing really I guess.

Abby: You’ve been acting really strange these days. What’s up?

Lizzy: Aw, nothing really. It’s just…

Abby: What!

Lizzy: Well, I’ve been having this dream, ever night, sometimes it’s a little different, but every night, the same dream.

Abby: So?

Lizzy: I feel like some things calling me. Something from far way, but at the same time very close.

She looks out over the valley and then back at Abby.

Abby: Right here?

Lizzy nods.

Abby: It’s just a dream Lizzy, it’ll pass.

She stands up and holds out her hand. Lizzy grabs it and they walk off into the woods together.

“Scene Three”

Again the camera shows the girl sleeping and her dream. The shadow running through the valley in the darkness and then disappearing into the woods. Lizzy sits up quickly and throws the blankets aside climbing from bed and starring out of the window into the soft blue light of early morning. Abby stirs and sits up slowly rubbing her eyes.

Abby: Lizzy?

Lizzy (flashing Abby a distracted smile): Good morning.

Abby (looking out of the window with a yawn): Still a little early isn’t it?

Lizzy: I guess so.

Abby (dropping back down in bed): Dream still bothering you?

Lizzy nods slowly.

Abby: You should just go down there and see if you can find it.

Lizzy: I have, there’s nothing, not even tracks.

Abby: Then just let it go! It’s just a dream.

Lizzy is silent for a moment.

Lizzy (hesitantly): Maybe you’re right.

“Scene Four”

Lizzy is sitting at a desk writing. She stops and glances out of the window. She sees the shadow running off into the woods and disappearing over a hill. She looks away and shuts her eyes quickly. When she looks back, there is nothing there. She sits looking out for a moment, then she sets down her pencil and walks over to the front door. She puts on her snow pants and coat and grabbing mittens and a hat walks out of the door quietly. She stands and stares up at the blue sky for a moment, then she starts off into the woods. A little later she is lying in the valley starring up through the canopy of trees above her. The camera shows a close up her eyes as they slowly close. Then you can see a sunset and the darkness coming, then the shadow running through the darkness and snow. Slowly the dream fades out and Lizzy sits up quickly looking around her. No one is there and all is quiet. She stands up slowly, dusting herself off and walks back towards the house.

“Scene Five”

Again the dream flashes acrossed the screen, a sunset, the darkness and a shadow running through the snow. The sound of drums beating out a steady rhythm in the background. Lizzy sits up quickly looks around her, then she lays back slowly and stares up at the bottom of her sisters bunk. The sun is shining in through the window and all is quiet. Then a voice breaks the peaceful silence.

Voice: Girls? Are you up yet?

Abby (sleepily from her bed): Yes.

Lizzy rolls her eyes.

Voice: I’m going into town today. Mr. Carl is going to fly me in and I may not be back till the morning depending on how the weather is.

Abby: Okay, we’ll be fine.

“Scene Six”

Shortly after Lizzy and Abby are sitting in the kitchen eating breakfast and doing homework. Abby leans back and sighs.

Abby: So whats up in quite corner.

Lizzy grins and shoves her sister playfully.

Lizzy: Stop it!

They sit silently for awhile. At last Lizzy breaks the silence.

Lizzy: It has to be at night.

Abby: What?

Lizzy: I have to go at night to find it.

Abby: Find what?

Lizzy: That voice that’s calling me.

Abby: Now come on Lizzy, you can’t do that. It’s too cold out there at night. We have bitter winters here in Alaska because of how far north we are and…

Lizzy: I know! But it’s calling me Abby! I can’t help it! Every night it calls me! Louder and louder! I can’t just keep on pretending that it’s just dream!

Abby (gently): Lizzy, you don’t even know it that’s real! You just have to let it go.

Lizzy (in a low voice): It’s not just a dream, I have to believe it’s real.

Abby: It gets almost 50 below out there at night. You can’t do this Lizzy.

Lizzy: It’s only to the valley and back, I’ll only be out for a few minutes…

They both sit silently for a long while. At last Lizzy speaks softly.

Lizzy: Remember when you became a Christian. How the turmoil and strange feelings came before and you just couldn’t rest and He kept calling you, always calling you to come home?

Abby looks at Lizzy out of the corner of her eye and sighs.

Lizzy: You just couldn’t turn your back on him then.

Abby turns away and looks out of the window silently. Slowly the scene fades and the screen is black for a few moments. Then slowly the next scene fades in. Lizzy pulls on snow pant and a coat. Warm boots and mittens and a mask to cover her face. Then a close up of her hand on the doorknob as it slowly turns and the door opens. Slowly, she walks out and down the porch. Abby closes the door behind her and drops to her knees by the door, placing her nose on the windowpane along the side of the door, watching as the darkness swallows up Lizzy.

There are clips of her feet walking down the snowy path slowly in the dark. At last she stands at the top of the valley looking down into the shadows. Suddenly you can see the shadow run into the valley and stop, looking up the hill at her. Then it walks into the moonlight slowly. There stands a beautiful horse, steam blowing from its nostrils in the cold night air. Lizzy walks down the hill slowly and right up the mighty animal. She places her hand on its neck gently and it nuzzles her. She smiles peacefully and buries her face in it’s warm mane.

“Scene Seven”

Abby is sitting by the door watching the empty path. Then slowly up the trail walks Lizzy slowly. She comes up to the porch and Abby opens the door quickly.

Abby (pulling Lizzy inside): You were gone for so long! Are you okay?

Lizzy (smiling and placing Abby’s hand on her cheek): Yah, I’m fine.

Abby: You’re warm!

Lizzy: Yep.

Abby: So you found it?

Lizzy nods slowly.

Abby: Really? What was it?

Lizzy (pulling off her coat and snow pants): It was an angel.

Abby: It was a what?

Lizzy: An angel.

“Scene Eight”

Lizzy is sitting in her room on the edge of her bed reading. Suddenly she looks up and walks over to the window. Then she turns and looks at Abby asleep in her bed. Then she slowly slips out of the room. The camera shows her walking down the path towards the valley and the words three months later play acrossed the screen.

Then she stands at the top of the valley, then slowly the horse runs out of the woods and walks up to her. She stokes its neck gently and it nuzzles her. Then she grabs it’s mane and hops onto it’s back and it runs off into the woods, the snow flying around it’s hooves.

The End
~~~

Script 2: Winter

EXT. HOUSE SURROUNDED BY WOODS – EVENING

Samantha and Lucy Spencer – two young sisters playing at the edge of the woods.

MOTHER (shouting from house): Ok girls, dinner’s almost ready! Come back now!

LUCY: Awww, already?

SAM: You heard Mom. Aren’t you hungry?

LUCY: It’s the holidays! We should stay out later cause it gets dark early!

SAM: It’s not exactly safe in the dark Luce. Who knows what’s these woods? Woooooo!

Sam waves her hands in Lucy’s face jokingly.

LUCY: Eiii! I’m going! Only cause I’m starving!

The sisters run towards the house.

INT. GIRLS’ BEDROOM – MORNING

Father knocks on the door and opens it slightly.

FATHER: C’mon girls, wakey wakey! Breakfast’ll be ready soon.

SAM: Ffff’sure dad. Giz us a sec…..

Father walks away from the door. Lucy gets up and goes to open the curtains while Sam reluctantly rises from the covers while yawning.

SAM: Why do Mom and Dad get up so early again?

LUCY: I don’t…….. (pause)

SAM: Hmmmm? Don’t what?

LUCY: There’s…..who’s that!?

SAM: What? Where?

Sam joins her sister at the window. The ground is covered with fresh snow. A shape is clearly noticeable about 50 feet away from the house. It’s a young boy sitting on the snow.

SAM: Holy....where did he come from!? Quick! Tell Mom and Dad!

The girls rush downstairs noisily, and into the room where their parents are.

FATHER: What the...? Why aren't you-

LUCY: Dad! Dad! There's a boy outside!

At this point Sam has gone to the window and looked out.

SAM: He's gone Luce.

LUCY: Whaaaa!?

Lucy and both parents also look out the window. There's no sign of him, nor any he was ever there.

MOTHER: Maybe he was lost? Come on girls....get dressed and eat your breakfast...he'll be fine.

EXT. BACKYARD – LATE MORNING

Both girls head outside, fully dressed for the weather, and move to the spot they think they saw him. Sam looks back at the house to check her bearings.

SAM: Yeah....here. But look, no footprints. No sign.

LUCY: Impossible! He was sitting here!

SAM: Luce.....look.

Sam points towards the trees. At the base, peeking round, is the boy.

LUCY: Oh oh. Oh! Hey! Are you ok!?

The boy steps out from behind the tree. He's dressed all in white. Gradually he walks over to them.

SAM: Ok, did you do that?

She points to the fact he has made no footprints in the snow on the way over.

BOY: H....hi...

SAM: Seriously. How did-

LUCY: Sam! Shhh! What's your name?

BOY: I.....don't...know...

LUCY: You lost?

SAM: Wait...did you just say you don't know your own name?

A voice from behind interrupts them. The girls turn to see Father strolling over with the their winter hats.

FATHER: Hey girls! Thought you might want these! (as he nears them) Whatcha doing?

LUCY: We're just talking to-

As she turns back round she sees the boy has disappeared completely.

FATHER: Talking about anything good? Not boys I hope.

He winks as he hands over the hats. Sam is still shocked but takes control of the situation.

SAM: No-no Dad, just stuff.

FATHER: Alrighty! Lunch in a few hours remember. Oh, and if you see that boy again, tell him to come to us. If he's lost, we'll help him.

We follow him back into the house as the girls are left wondering where the boy went. He joins Mother in the kitchen.

FATHER: Need a hand with that?

MOTHER: No...but...dear, I've been thinking. Surely they're old enough to know now? About...him?

FATHER: Know what- (he realises) No. Absolutely not. We discussed this. If I had my way they'd never know.

MOTHER: They're growing up. They need to know about this sort of thing...in case...in case it happens to them...

She appears on the verge of tears. He comforts her.

FATHER: See, this is what happens when we remember it. Do you want to see them sad? Give them a few more years honey. Trust me.

She sighs.

MOTHER: Ok...ok. Fine. But one day they'll know. Whether you want them to or not.

We cut back to the girls who by now are searching around the trees.

SAM: This isn't right Luce. Something's not right here. Surely Dad would've seen him with us.

LUCY: Shhh!

She appears to be trying to listen for signs of him. Sam sighs and looks upwards muttering, and sees the boy sitting on a branch high above, staring back.

SAM: Like that's gonna work...oh. Luce! I found him.

LUCY: Wha? Where!

She searches the branches above.

LUCY: Well I don't see him!

Sam looks back. Indeed he has gone again.

SAM: Ok, this is getting ridiculous.

BOY: Are....

The boy has appeared just behind Lucy. She yells out briefly in surprise at his strange voice, before quickly retreating behind her sister.

LUCY: AH!

BOY:・.you...following...me?

Sam also looks fearful.

SAM: Stop this...stop it now. We just want to know who you are.

BOY: Do...you...know...me?

He starts to walk toward them, arms outstretched. He is still having no effect on the world around them. Lucy grabs onto her sister.

LUCY: Errrr....Sam!?

SAM: Run now! Run!

Before he can get within 5 feet they run like the wind out of the woods and into the clearing, towards the house. Halfway back, Sam looks behind her, before slowing to a halt. Lucy notices briefly afterwards before also stopping. Both are out of breath.

LUCY: Where.....phew....where...?

SAM: He's....ah....not...following...

FATHER: A good finishing point would've been the house girls!

They spin around to see their dad standing on the porch (or just outside the house if there is no porch).

FATHER: Who won? Looked neck-and-neck to me.

Lucy is still in shock, and Sam just laughs.

SAM: Ahehe! Sure Dad....sure....

She shoots a look at her sister, who nods. They wouldn't believe them. Meanwhile, inside the house in the parents' bedroom, the mother is holding a photo of a baby. She looks at it and smiles sadly. A decision is made inside her mind.

MOTHER: They deserve the truth about you.

She puts the photo inside her drawer, and looks outside the window, seeing her family outside. She puts on her coat, heads to the door, and heads outside to join them.

THE END
~~~

Script 3: A Doctor's Duty

Scene opens to a winter landscape: a house and a car idling in the driveway. Door bangs: camera pans up to see a young woman carrying a Red Cross bag. She gets in the car, turns it on. CAMERA cuts to gas gauge, which is near empty. Young woman glances at it, then at a red gas can outside. She hesitates, then shakes her head and drives off. Shots of driving through snowy back roads: both of the young woman inside, and of the car outside. Young woman's hands grip the wheel; she is clearly deep in thought. Her eyes dart to a small picture tucked on the dash. CLOSEUP shows the young woman herself, smiling and happy in appearance, standing next to another young woman. CAMERA ZOOMS IN on the other young woman.

VO (unidentified female voice): Ellen, it's Christmas! Why are you going out on calls?

VO: (Ellen): I'm a doctor, Pam! It's my duty. I have patients who need me.

VO: (Pam): I need you more. I need my big sister.

SCENE FADES, camera changes to sepia. Ellen is pulling on her coat. She turns, smiling. CAMERA PANS to show Pam sitting on the floor, cradling her hand against her chest.

Ellen: I'll be back before night. What do you need me for?

Pam (CLOSEUP): I need to tell you something.

She holds out her hands. CAMERA ZOOMS to her left hand. A ring glitters on the third finger. CLOSEUP OF Ellen, a look of sick horror on her face.

Pam: I'm engaged! Jack Mahoney asked me to marry him last night, and I said yes. (She gets up, beaming, and comes over. ) I'm engaged, Ellen! Isn't it wonderful? (Pam hugs Ellen) Merry Christmas!

SCENE FADES back to present, and color. Ellen is staring at the picture on the dashboard. She turns the car into a driveway and parks, without taking her eyes off the picture.

Ellen: I hate Christmas. (she grabs her bag and slams out of the car)

CAMERA shows her walking up to a house. SCENE changes to a kitchen. Ellen sits on the floor bandaging the arm of a young boy. His mother hangs over anxiously.

Ellen (tightening the bandage): Next time, don't wrestle where you can fall against the woodstove.

Boy (sighs): I won't, Dr. Ellen. (gets up and leaves the kitchen)

CAMERA PANS to his mother.

Mother: Thanks so much for coming out, Ellen. I know it's Christmas and all, but the boys were just wild this morning. I knew they'd hurt themselves. But I'm sorry I had to call you out on Christmas.

Ellen: It's all right. (she places bandages and bottles of ointment in her bag) I'm not doing anything.

Mother (CLOSEUP): Ellen, are you all right?

CAMERA PANS to Ellen, who is squatting, back to camera. Her head comes up but she doesn't turn or speak.

Mother: I know it's been a year since Pam died, but with it being Christmas and all...

Ellen (packing her bag): I'm fine.

Mother (nods): Jack Mahoney is back in town.

CAMERA PANS sharply to Ellen. CLOSEUP on Ellen's hand, which snaps shut around her bag.

Ellen: I'm surprised he hasn't got better holes to slither in.

Mother (looking exasperated and troubled): Ellen, he loved your sister. He really did. He might not have been the best husband but—”

Ellen surges to her feet. CAMERA behind Mother's shoulder, showing Ellen's angry expression.

Ellen: He killed my sister. He married her and then he abandoned her. He went with every pretty face he saw. He was never there for her. And when she was dying and all she wanted was to see him one more time, he couldn't even leave long enough to see her.

Abruptly, Ellen backs off, grabs her bag.

Ellen (flat): I told Jack Mahoney that if he ever mentioned my sister's name to me, I'd kill him. I meant it.

She leaves the house. Door slams after her. CAMERA shows Mother in the kitchen, one hand to her mouth, a troubled expression on her face. SCENE changes to outside. Snow is blowing fiercely: Ellen ducks her head as she gets in the car. She grips the steering wheel and does not look at the picture.

VO: (Pam) Tell him, Ellen. You have to tell him.

SCENE FADES, changes to SEPIA. Pam is lying in a bed, clearly very ill. Ellen is sitting next to her.

Pam: I'm dying, Ellen.

Ellen (CLOSEUP): You're not going to die. I'm not going to let you die. (she takes Pam's hand and squeezes it) Just fight.

Pam (smiling): I'm done fighting, Ellen. I'm ready to go. As soon as Jack comes...

Ellen abruptly jumps to her feet and walks across the room. CAMERA shows her hands fisted by her sides. From behind her comes Pam's voice.

Pam: Did you call him, Ellen? Did you call Jack?

Ellen: I called him, Pam. He said he'll be here as soon as he closes the bar at eight.

CAMERA shows Pam sigh, and sink down into the pillows.

Pam (whispering): I wish he would come...

Ellen walks back over to the bed and sits down. CAMERA cuts to the clock on the bedtable. It's 4:30. SCENE FADES and opens. Pam is lying in the bed, Ellen is asleep in the chair next to her. Closeup on Ellen's sleeping face. From behind the camera, Pam's whisper comes.

Pam (weakly): Ellen?

Ellen jerks, sits up. CAMERA pans to the clock, shows that it's eight-thirty. Ellen bends over Pam.

Ellen: What is it?

Pam (barely audible whisper): Tell Jack...tell Jack...

Ellen (gripping Pam's hand): You can tell him yourself. He'll be here any minute.

Pam (shaking her head): Tell him I love him. Tell him I'm glad I married him. I love Jack, Ellen. Tell him I love him. Please. (her eyes start to close)

Ellen: No! Pam, stay with me! Pam, I'm not going to let you go!

Pam: (eyes drifting open): Tell him, Ellen. Tell him I loved him... (her voice drifts off as her eyes close)

CAMERA zooms out to show Ellen bending over the bed.

Ellen: No! Oh God, no!

SCENE changes to show the clock. It reads 10:30. Boots are heard clumping on stairs. CAMERA cuts to door. CAMERA cuts to Ellen, who gets up from the bed, and goes to the door and opens it. A young man is standing outside, looking worried. He grins when he sees her.

Young Man: Sorry I'm late. Things got busy. How is she?

Ellen (CLOSEUP): She's dead.

The grin slides off of Young Man's face. He staggers back.

Ellen: She's dead, and you weren't even there.

SCENE FADES, turns back to COLOR. Ellen sits in the car, then begins to drive. Quickly it is obvious that the storm is out of control. She leans forward, peering out through the snow. CAMERA cuts to gas gauge, which hovers around empty. Something large and dark looms up in the road. CAMERA shows the car braking heavily to a stop.

Ellen (CLOSEUP, annoyed): What the--

She gets out, walks forward. It becomes obvious that the shape is a body. She starts to run, and turns the body over in the blood-soaked snow. The face is recognizable as Jack Mahoney. She drops him back into the snow, and leaps to her feet. Horror crosses her face. CAMERA cuts to Jack's leg, which is smeared with blood.

VO (Ellen): He's going to die out here.

CAMERA zooms out, shows Ellen backing away, back to the car.

VO (Ellen): He killed my sister. He deserves to die.

She goes to the car, opens the door. CAMERA cuts to the doctor's bag, slumped on the seat.

VO (Ellen): I'm a doctor, Pam. It's my duty to help people. It's my duty. It's my duty.

SLOW MOTION clip of Ellen turning, looking back through the snow to the body. She turns. Various shots of her manhandling the limp bloody body into the car. She gets in. CAMERA zooms to the gas gauge, which reads empty. Ellen starts the car and drives on. The snow is blinding. The engine starts to sputter. Ellen glances at the gauge. SCENE cuts to car driving into a snow-covered driveway. Car stops. Various shots of Ellen dragging limp bloody body out of car and into shack. Collage of shots as Ellen sets Jack's broken leg. Jack's eyes open. He stares up, clearly recognizes her.

Ellen: (fastening bandages): Don't move.

Jack (hoarse whisper): Where are we?

Ellen: Line camp five miles from anywhere. Feel like telling me why you were lying on the middle of the road with a broken leg – or were you too drunk to remember?

Jack (shrugging): A car ran me down. Hit and run, I think.

Ellen: I'm surprised it wasn't murder. Someone should have run you over long ago.

Jack (watching her): Then why did you pick me up? (he props himself on his elbows)

Ellen (turning her back): It was my duty.

Jack (with sardonic smile): I'd never risk my life for a duty.

Ellen: I didn't think you would.

SCENE cuts to scenes of her going through the cupboards. Not much food. She makes what there is, they eat in silence.

Jack (staring at his empty bowl): I wasn't drunk out there on the road.

Ellen doesn't reply.

Jack: I stopped drinking. Pam--

Ellen jumps to her feet, scattering dishes.

Ellen: Don't you say her name to me. Don't you dare. I'll kill you.

Ellen leaves house. Various shots of her putting snow into buckets. SCENE changes to night. Various clips of Ellen lying awake. SCENE opens to early morning. Jack is by the woodstack, picking up wood.

Ellen: I'll do that.

Jack (balances on his good leg and doesn't look around): I'm managing fine.

Ellen glares at him. Various shots of Ellen getting more snow, heating water, making breakfast. They eat, then she treats his leg.

Ellen (touching the bloody bruised leg): Well, at least there isn't infection.

Jack: How do you know?

Ellen (head coming up angrily): What the--

Jack: I'm just curious. How can you tell?

Ellen (guarded): I've talked enough for now.

END SCENE

SCENE opens to early morning, to Ellen shivering. She gets up: the fire is out. Mutters under her breath, gets dressed, goes outside, and chops wood. Brings wood inside, drops it into box.

Jack (crawling over): I'll build the fire.

Ellen hesitates, then leaves the house again. Comes back with two thin poles and the hatchet, which she starts to chop at the poles with. Jack watches her.

Jack: What are you doing?

Ellen: Making you crutches.

Jack watches Ellen botch the job, then steps forward.

Jack: You're not doing it right.

He takes the wood & hatchet from her hand and starts working on it. Clearly knows what he is about. Ellen watches, at first hostile, then curious. SCENE melds into CLOSEUP on the crutch, which is nearly finished. CAMERA zooms out to show Ellen approaching Jack with two bowls filled with food. She looks at the crutch.

Ellen: You could make a living working wood like that.

Jack (thoughtfully): I suppose so. Never thought about it.

Ellen (abruptly): You wouldn't. (sets down bowl) Food's ready.

FADE

SCENE opens to Ellen waking up. She rises, dresses, and opens the door of the shack. CAMERA pans over her shoulder to show that the snow has ended.

Ellen: The blizzard's over! (she turns back inside where Jack is getting up) The blizzard's over. We can leave.

Jack: Good. We don't have much food left. And spending Christmas here wouldn't be much fun.

Ellen closes the door slowly and does not reply.

END SCENE

SCENE opens to dark cabin, lit only by firelight. A crash is heard from offscreen. Ellen sits up, listens. The sound of wind and snow hitting the windows is heard.

Jack (offscreen): The blizzard's started again.

Ellen doesn't reply.

Jack (sitting up): We aren't out of this yet.

Again, Ellen doesn't reply. She turns, slowly. CAMERA pans over her shoulder to the food on the counter. There is nothing left. Montage of shots of Ellen lying in the firelight. She reaches into her pocket and pulls out the photograph of her and Pam. Looks at it a moment, then shoves it away.

END SCENE

Scene opens to shot of empty woodbox and dead fire. CAMERA pans to show Ellen dressing and leaving the shack. SCENE changes to outside. Ellen walks through the snow to woodpile. She picks up ax and chops wood. CAMERA zooms in on the ax as it splits through the wood. CAMERA zooms in on Ellen's face. She looks strained, upset. CAMERA zooms in on ax again. SLOW MOTION shot: Ellen raises the ax, then slams it down. It misses the wood and sinks into her foot.

SOUND CUTS

Ellen's mouth opens in a scream. SLOW MOTION pan to her foot. Blood covers the snow. She collapses, clutching her foot. CAMERA zooms in on Ellen's watch. The time is 8:30.

FADE

SCENE opens with a shot of Ellen's watch. The time is 9:00. CAMERA zooms away to show Ellen's face. She is clearly on the edge of collapse. Her hands are covered with blood and so is the snow. She is some distance away from the chopping block, but is too far away from the shack.

VO (Pam's voice): Ellen, you're shivering.

Ellen: I'm so cold.

VO (Pam): Come in. Come out of the cold.

Ellen: I have to stay. Duty...have to stay.

CAMERA zooms away to show Ellen collapse into the snow. Her eyes shut.

FADE

A blurry landscape is seen. A sharp cracking noise comes and the landscape jerks.

VO: (distant sounding) Ellen! Ellen, wake up. Ellen!

Scene clears to show Jack's face bending over Ellen. She opens her eyes briefly, then closes them again. Jack slaps Ellen's face.

Jack: Wake up! You're freezing to death. Get up and hang on to me or we're both going to die out here.

Ellen struggles to her feet and puts her arms around Jack's neck. Balancing on his crutches, he limps toward the house. He falls twice, but gets up and makes it to the shack.

SCENE GOES BLACK

SCENE opens to firelight. Ellen is lying near the fire. Her eyes open. CAMERA cuts to Jack, bending over Ellen.

Ellen: What happened?

Jack: You cut yourself with the ax. You were bleeding.

CAMERA pans down to Ellen's foot. It's bandaged and the bleeding has stopped.

Ellen: How did you stop the bleeding?

Jack (glancing toward the fire): Cauterized it. Probably the wrong thing, but you're the doc and you weren't helping much.

Ellen (smiling faintly): It was a good idea.

Her eyes close. Scene goes black.

VO (Ellen): He abandoned Pam. He saved my life. It's his fault we're here. He risked his own life to save me. He risked his own life...

Ellen (eyes opening): You said you'd never risk your life for a duty.

Jack (smiles): I wouldn't. But I'd risk it if I cared what happened to something. Or someone.

END SCENE

Collage of shots of Ellen delirious and Jack trying to help. Scene fades, then opens. Sunlight is streaming through the window. The blizzard is over.

Ellen (eyes opening): What time is it?

Jack: Eleven in the morning. You've been out for three days.

Ellen (sitting up slowly): Three days, huh?

She glances over at the empty food canisters, then at the sunlight.

Ellen: Ironic, isn't it? The blizzard's over but we're still trapped.

Jack: I know.

There is a moment of silence.

Jack: I want to tell you something. I know what you said you'd do if I spoke of her—and I don't blame you—but I have to tell you. I loved Pam. I know I wasn't as good as I should have been, but I loved her. I'd give my life to be able to tell her that. I know she must have hated me.

CAMERA closeup of Ellen's face

VO (Pam's voice): Tell him I love him. Tell him I'm glad I married him. I love Jack, Ellen. Tell him I love him.

Ellen: Jack, there is something you need to know.

END SCENE

SCENE opens to Jack and Ellen sitting in the cold cabin. From offscreen comes the roar of a motor. Jack and Ellen look at each other. Then the cabin door flies open and the little boy Ellen treated stands in the door.

Little boy (hollering over his shoulder): She's here! She's all right!

Little Boy's Mother (rushing into cabin): Ellen! Thank God you're all right! We thought— (she notices Jack and frowns) What are you doing here?

Ellen (putting her hand on Jack's): He saved my life.

Mother looks from one to another. She looks bewildered, but smiles.

FADE

SCENE opens to Jack and Ellen sitting in the back of a car. He holds out his hand to her.

Jack: Thanks.

Ellen shakes his hand. Jack settles back and closes his eyes. Ellen reaches in her pocket and pulls out the picture of her sister. She holds it. CAMERA closeup of her face. She smiles. Holding the picture in both hands, she closes her eyes.

THE END
~~~

Choose your favorite and vote before February 14th!

Publicity Pics

2010-01-25T14:24:00.001-08:00

Thanks to the fact that I could get Becca Smith to the studio, we got some lovely pictures the other day which we are now using to publicise the film.

Regina Doctor

Scarlet Kane

Regina & Scarlet (Watch for the Queen)

Regina & Scarlet (Eternal Night)

Challenge!

2010-01-11T13:27:00.001-08:00

CHALLENGE

NOTICE: Due to lack of entries, I am extending the date to Febuary 1st. Please write!

I challenge everyone and anyone who thinks they can write to enter this and write a script, outline, plot or scenes for a ten-page short. You do not need to be a scriptwriter, you do not need to know any more than how to imagine something exciting and type on a keyboard. If you would rather write it in book format, I can translate it into script. m

The finished versions will be posted here and put to a vote. The winner will be filmed, using my own selection of actors and editing it to my needs.

Anyone interested can e-mail me at hobbit-girl2@hotmail.com and get more info and/or send the finished challenge entry. All entries are due by January 20th 2010.

There are a few rules for this:

a) action/adventure script
b) no longer then ten pages
c) set in a winter background
d) using no more than three main characters – no more then six characters total
e) preferably set in the country
f) may have animals (dog, horses, goats)
g) may include cars

Repeat-- All entries are due by January 20th 2010.

This is for fun, to test your skill as a writer, not a trial of who is the best writer. Anyone who participates gets A+ for trying! See you at the finish line.

Interview by Hathaway

2010-01-04T14:15:00.001-08:00

Ethel Hathaway has appeared today to interview Mitzi Rowan, director of the Time Watch series.

***
Q: You said “Watch For The Queen” is “a spin-off TV show of the Doctor Who's.” How so? Is it based off one of the storylines/episodes, or off the science fiction style? Would someone not familiar with Dr. Who relate to the theme/style?

A: Yes. I tried to make it not a “take” on the Doctor Who's, but rather a sideline from the films that was never developed. It's sci-fi, but it is not really based on Doctor Who.

Q: What about Dr. Who inspired the story and screenplay?

A: The marriage of the main character and side-kick and their children.

Q: Did you write the script with the actors in mind? How did you blend their personalities with those of the characters?

A: Oh yes. Becca Smith and I wanted to do something that was more real for her personality and so we created a character that was not entirely her, but had enough similar points and mannerisms for it to work.

Q: You portray Regina, the main character. Describe creating a character for yourself. Do you relate to Regina? Would you react the same way she does in her encounters? Is it difficult to essentially “direct” yourself?

A: I made Regina light, funny. That is one side of my personality and the easiest to convey in a film, so that is what I went with. She is much more out-going than I am, more boisterous perhaps. Directing myself can be quite a challenge, because while in my mind's eye I can see what I want, when I watch it later, it is quite different.

Q: The writer/producer/editor is called a triple threat, but as one of the main coordinators of an indie film, you have several more hats to wear! How much involvement did you have as part of the crew?

A: I pretty much was the crew. Becca helped me unbelievably, making graphics and web-pages for the second one, and figuring out certain parts of costumes, editing the scripts, ect. I made sure everything got done, approved costumes and line changes, wrote the scripts, figured out co-ordination and stunts, length, music,

Q: Wardrobe should play a huge part of character definition, and WFTQ seems no exception. How were the outfits meant to define the characters? Did you find that, once in costume, you felt more in character?

A: Well, with Regina we wanted to make her different, but not wacky, so we gave her an ankle-length trench coat and totally regular clothes otherwise. Scarlet is sort of neat and prim, so we gave her a fitted leather jacket and high boots. Billy is easy-going and un-developed so he got a jean jacket and jeans. Esmerelda was fun. We wanted to make her weird. So she was given a multi-colored plaid trench-coat, ___ shoes, glasses, and a miss-matched tie.

The costume definitely did help make the character, and gave a more realistic feel.

Q: There seem to be a notable amount of stunts in the film. Who choreographed them, and how willing were the actors to participate?

A: I choreographed all the stunts – mostly as I wrote the script. The fist-fight was the most fun and both John and Anthony were more than happy to act their roles. Nina however, was not willing to do the Amphirea death scene, so I dressed in her costume and took the fall for her.

Q: “Some times it will be crystal clear when you get the shot that you want. Everything clicks. It’s like the image in your head has been grafted onto the monitor as if by telepathy.” (Troy Lanier and Clay Nichols) Did you ever have one of those moments? If so, elaborate.

A: Oh definitely. The one that I felt was the most as I (as the scriptwriter) had imagined was in WFTQ when Regina vanishes in the rising sun. It was perfect.

Q: Is it ever especially hard to translate what you see in your head to the screen, or communicate your ideas to your actors?

A: Yes, occasionally. I like to “walk” the script with all the actors – take them to location out of costume and the scripte and show them everything and how the lines will be shot, and where the camera will be placed. But I do try to make the actors feel the part they are playing by telling them it in a storytelling manner.

Q: You are following a tricky, daring method of filmmaking – simultaneous production and post-production! Has this helped or hindered the film? Has this enabled you to change the plot, add shots, etc., if needed?

A: It helped. I was able to change things as I went, do any re-takes pretty much immediately, and alter parts of the script as I needed to.

Q: Approximately what is the ratio of pre-production to production to post-production? Which part do you enjoy most?

A: It takes me about two weeks to write, edit and get feedback on the scripts. Production time really varies. If I have all my actors together and willing, I can film quite rapidly. Post-production editing is most certainly the longest and hardest part with music and special effects. I would have to say I enjoy production most, but editing is fun as well.

Q: Did any other films/TV shows/literature influence WFTQ, story or filming style?

A: Always. Every film I see, I gain a little knowledge from. It is impossible to tell all the films that have affected every scene of my movie. The story was pretty much original, but filming style.... it was very unique.

Q: On average, how long does it take to memorize lines for a scene?

A: That really depends. Some lines just don't seem to stick in the actors memory, while others are wonderfully easy. Becca was amazing in my most recent film, where she had memorized her lines as well as everyone else's. I pretty much learn the lines as I write it. It usually takes at least one recitation and perhaps a dry run to make the lines flow especially with the younger actors.

Q: How do you keep yourself, your crew, and your cast focused during a shoot?

A: That is the hardest part of production. When I say cut in a scene that requires three or more actors, it usually means that the positions get dropped and the younger actors can get really distracted (rolling on the floor screaming). I try to get them to hold and talk to them while I make sure the scene was gotten. I also try to encourage reading the script between lines to keep in the feel of the characters.

Q: How do real-life relationships translate to the screen?

A: I watch people all the time to see what sounds realistic, how people express anger/ fear/ compassion and try to figure that out for the film. Becca and I are very close and that probably comes across on the screen. When working with someone you don't really know, things can get more tense/stilted.

Q: Any memorable moments, funny mishaps, or hilarious bloopers you'd care to share?

A: Well one of the most humorous was when the script called for the villain (John) to grab Scarlet (Becca) and kidnap her. To get a realist reaction, I told John everything except that Becca was going to hit him with a book. Scene went beautifully until Scarlet runs forward and hits the villain, at which point, he drops everything and says, “Ouch!”

Q: How has this film compared to your previous ones? Any specific learning experiences? Is this a genre you'd like to pursue, or have you thought about others for future projects?

A: This is very different than my previous films, because I had been mainly working on fantasy/ Medieval settings and this is modern. It was quite interesting and I am looking forward to doing more. It is much easier to find locations and costumes! However, I am looking at a WWII film that will be very different than these.

Q: Any spoilers or extra tidbits you could share about WFTQ?

A: Spoilers? Never!

Q: What is your advice to beginning filmmakers about to make their first movie?

A: Start small. Majorly small. I have too often made the mistake of thinking I was ready for something big only to lose hope half-way through. It is much more rewarding to finish a short film, than to give up half-way through a long film.

Q: I believe that you intend to pursue this storyline with more films. Is this true? If so, could you expound and share a little on how you plan to do this?

Oh yes. We are thinking that there will probably be a season of at least seven films. I have already written and filmed the second, and am presently working on writing three and four, which will be connected. With these first two, I will be leading up to something that will start to come into play in three and be fully developed in four.

Q:Although it may be a while off, are there any possibilities of more films beyond the Time Watch horizon? Any thoughts on this?

A: Always. I am presently working with Kate K. on a script she is writing and will hopefully film my first short – a Second World War film sometime within the month.
___________________________________
Can't wait to see the finished film!

Eternal Night

2010-01-04T13:50:00.001-08:00

Coming soon... Eternal Night, latest in the Time Watch series.

Eternal Night -- Filming Completed!

2009-12-31T11:21:00.000-08:00

Well, I truly must say I am delighted. I just finished filming my first entire film -- Eternal Night, second in the Time Watch series. The help I received was amazing... I never could have done it without Ruth at the camera and Becca Smith and the R boys co-operation.

***
(note by Becca Smith about the filming)

Mitzi did a great job writing this script and forming the characters to the actors. The other actors did brilliant and Ruth's incredible filming made the acting easier and insured that that section would be taken care of well. We had incredible co-operation from everyone!

***

I would like to thank the R family very much for their support in the four days I spent filming, and Becca Smith's additional help editing the rough drafts of the script. The R boys acting was spectacular, our producer/child-coordinator Josiah Martin was helpful and fun to be around.

This is amazing and I can't wait to see it finished. The expected release date is Valentine's Day.

Script Plots

2009-12-15T15:21:00.000-08:00

These are two plots for scripts that I am going to write and (hopefully) attempt to sell. I would like your idea for which one is better. You can vote in the poll. Please read and vote soon, because this post will be deleted within a week.

**************

PLOT A

1945, Spring
Germany, Europe

Dropped behind enemy lines, things go very wrong when American paratrooper Randy Dean loosed his rifle – and lands between the crossfire. Desperate to survive, he escapes on a farm horse in the field and is taken into the German forests. Alone, lost and scared, he is found French partisan Jean Duvon, who is also on her own.

Caught up in an increasingly terrible war, and unable to find the Allied troops, they begin to use a strike-and-run technique, causing damage and vanishing before they can be caught. During one such raid, they capture a 'German soldier' and escape back to the forest, only to discover their hostage is not a soldier but a woman – a British SOE – recently captured by the Germans.

It turns out Liz Allen was dropped in France almost a year back and has been making her way into Germany. She has important information that needs to get to the Allied commanders. With only the vaguest idea of where to find them, they start out.

Heading cross-country, they come upon a German sniper in a deserted little town, waiting for Allies. They capture him and it turns out he is a 12-year-old German Youth. Jean Duvon is in favor of killing him, Liz Allen wants to keep him. Dean, decides they will take the boy with them, despite the trouble this may cause.

So with a very-unwilling German in tow, they continue and happen upon an actress and her infant daughter, who are fleeing the country. They help her in the little way they can, guiding her through the forest toward the Allies. Dean sees a resemblance in the baby to his little sister at home, and a bond develops.

They are passing near a German camp when they are sighted, and fired at. Liz Allen holds them back with her fire, while Dean tries to help Jean Duvon and the actress escape. Liz is wounded and captured. Dean and Jean with the German sniper get only a little ways before they realize the actress and child, nor Liz is with them.

Liz meanwhile, wounded, is being dragged off when she sees the little girl's shoe lying in a pool of blood.

Dean and Jean hide that night not too far from the camp, in shock about what happened. The information Liz had is now in the hands of the enemy. During the night, they sneak back close to the camp, and find the actress and her daughter. It has a strange effect on the German sniper, who begins to cry.

Jean gets an idea and forms a plan. The next morning, they send the German boy into the camp, trusting him with all they have not to give them away. In a few hours, he returns, with the news that Liz is going to be executed this day. They have a wild plan to escape with her, and in the course of it, Jean is killed.

Dean and Liz with the German boy escape and they can see the Allied forces advancing. However, they will have to get through the Germans. Dean sees their only chance to get Liz and the information through, and single-handedly begins to fight the German troops. Liz and the German boy get to the American front lines, and there, they see Randy Dean shot.

Liz goes back to England with the German boy. (some type of finale – possibly, Randy Dean survived as a POW?)

****************

PLOT B

1945, Spring
Germany, Europe

American paratrooper Randy Dean is dropped across the Rhine with the important mission of finding the Allied commander and giving them important information. Landing in the wild, lost and terrified, Dean gives up his mission and deserts, fleeing deep into German forests.

There he meets French partisan Jean Duvon. She too, is alone and Dean tells her nothing of his mission, feigning only to be lost. Jean Duvon has no more idea than Dean as to where to go – she has been on her own since her husband died, and is moving from place to place, destroying whatever she can of German device.

Trapped in his own lies, Dean must go with her and becomes swept up into the war again. Using their strike-and-run strategy, they struggle behind enemy lines. During one of their attacks, they release a German prisoner, Pierre Gaston – a 12 year message-runner for the partisans, and as tough as Jean.

Number three now, they continue on their plan-less mission, striking and vanishing. Struggling to survive in a harsh wilderness, they are all suffering from private memories.

Pierre dreams of his baby sister prior the war. It is a happy dream, but he wakes up to reality.

Jean remembers her husband the night he was killed.

Dean thinks of his desertion and his own sentence – court martial.

The next day, very close to a German camp, they happen upon three dead bodies. Jean tells Pierre not to look, but he does anyway. He sees an infant's shoe. Dirty. Bloodstained. He recognizes it as his sister's and beginning to scream, he hurls himself forward. Jean grabs him and dragged him off, even as the sound of approaching Germans comes. Desperate that Pierre is not captured, Jean shoves him to Dean and runs toward the Germans, distracting them. Of course, she is captured immediately.

Dean and Pierre escape through the forest before the Germans can start to search. The next day, they form a wild plan to help her escape. In the course of carrying it out, the American troops arrive and in the battle that follows, Dean sees that Pierre will be killed, so he gets in the way and takes it instead. Jean is also wounded mortally and dies.

Pierre, alone, goes back to his village in France. He walks through the empty streets, war-torn. When he realizes that there is truly nothing left for him, he hears the sound of someone calling his name. Distantly. Slowly, he turns, looking. Standing at the end of the street is his sister.

Scriptwriting Blues

2009-12-14T14:40:00.001-08:00

Having trouble getting your ideas on paper? Unable to find a compelling story? Can't write a decent character? (Well neither can I.)

No, that is not what I am here to tell you. Here is where I tell why EXACTLY I have turned out ten scripts and am still scribble in vain. Your characters must be astounding. They must grab you. They must step off the page and write themselves. You must be able to love or hate them, want them to live, know they must die, laugh with and at them, cry when they cry.

This is the secret. Write real people. I am not saying, take your sister or your uncle and write their life-story into a script (unless it's Really interesting). I am saying, WATCH people. STUDY them. LISTEN to them. HEAR them. KNOW them.

Human beings are complex, and movie characters have to be twice as complex as any human you ever met. They have to have depth and backstory, even if it never comes into the actual script. One of my characters can be a compilation of eight people, little bits stolen and woven together to create a character all their own. That is the beauty – if they can stand alone, on their own two feet.

Then you have to find a good story. THAT is hard. I read extensively, so I store up images of scenes that might be good. But unless you are selling the script to some major company, you have to write for your cast.

That is what I have to do, because I have only six actual actors, and they all have their own range of skills. *see Concerning Actors

Right now, I have been doing extensive research in the Americans part of the Second World War in Europe, and have found so many heart-breaking, meaningful stories; so many acts of courage, bravery, fear and love. What a gift to be able to write a convincing story about true facts such as these.

To get a feel for what is good on screen, read books and mark the pages that would make good movie scenes. Watch people and write down anything good/funny/scary/amazing/wise that you hear. Who knows – they may someday be made into a movie! J.R.R. Tolkien wrote the first line of The Hobbit during a lecture and found the page five years later... and decided to write more. It was the beginning of a book that would never be forgotten. It was the beginning of what is now a SUPER-successful film trilogy.

Your mind is always moving... make it work for you! Everything around you is a story... just waiting for you to write it.

Happy Script-Writing!

Concerning Actors

2009-12-14T14:39:00.000-08:00

It is amazingly time-consuming to work with the various different actors I have and get them to show the character I imagine. In Watch For The Queen, I took four main characters for the film (or four prominent characters) and made them like their actors. I wrote it funny and serious, with a lot of scenes and character interaction.

With Becca Smith, it was fairly simple because we co-wrote/edited the script long before we actually filmed it. I have now cast Becca in over three films – none of which were exceptionally good. However, over that time, and because I know her personally, I can write a character that is more simple and natural for her to act.

I am constantly amazed by Anthony James, who is only 12 years old, and a most capable actor. His skill is undeniable, and the range of emotions I can get him to either convey or actually feel is spectacular. He enjoys acting and that is fun for me.

John Micheal is so much harder. He is good at comedy, and good at certain drama, but he has to be moving. All his believability is in his motions, not his facial or vocal talents. I have attempted for two years to write a character that he can act and enjoy. As of yet, I have not hit on it and he has a passionate hatred for the word “act” and “actor” associated with his name.

But actors in general can be hard to work with. I try to allow for their individual ideas, and I always encourage the actors to read through the script during the writing to edit their own lines. This gives it a better “real” feeling. I am thrilled with the way some of the scenes we filmed in our recent filming (Watch For The Queen) turned out... and very downhearted by the way a lot of it flopped. Working with limited time is very difficult.

I love watching characters react to each other, whether in books or in films, and that is what draws a good story together. The characters reactions and emotions, developments and downfalls, goods and evils... they make the story become something more that just words on a page. They make it real – living and breathing real.

That is the greatest gift to watch that happen. And to know that somehow you captured those moments for a world to see.

Little Movies

2009-12-14T13:51:00.000-08:00

Here is where I am going to post my "little" movies... mostly attempts at editing and music inter-layering. I will keep adding to it as I want, so please comment on the movies and enjoy!

TV Hotspot

2009-11-30T14:42:00.000-08:00

This is the TV Hotspot for the film, Watch for the Queen! Enjoy!

Theatrical Trailer

2009-11-30T14:23:00.000-08:00

This is the theatrical trailer for Watch For The Queen, coming Christmas 2009. Enjoy!

Interview for Watch For The Queen

2009-11-28T11:11:00.000-08:00

This is an interview for the director of the “Time Watch” series, Mia Rider. Special thanks to interviewer Kate Kracklin.

Q. What's "Watch For The Queen" about?

A. It is a spin-off TV show of the Doctor Who's. It's basically the story of a young woman who finds a watch among her deceased grandmother's things when everything seems at it's worst in her life. To her great surprise, the watch carries her through time and space to an old house. As this repeatedly happens, and Regina (the young woman) learns about the strange history pertaining to the house, she doesn't know what to do. Upon meeting the insane detective, Esmerelda Smith, she learns that she herself has an unknown past... unknown to her.

She has to make the decision to face her past -- and future -- or throw away the chance of a lifetime.

Q. Who are the actors?

A. Regina, the main character is acted by Mitzi Rowan
Scarlet Kane, the companion is acted by Becca Smith
Amphirea, the villain is acted by Nina Zamphir
Roger Milton, the secondary villain is acted by John M.
Billy Forster, the tin-dog is acted by Anthony J.

And I think that pretty much sums it up!

Q. What made you want to direct scripts?

A. I've had the urge to do that since I was old enough to remember. I've always liked cameras and the desire to show others beautiful, artful, amazing things is absolutely awesome in the true sense of the word. Lord of the Rings has made a big impression on how I do it, and The Black Stallion's filming was the thing that really got me moving. Since then, I have pretty much decided to try to become an independent director/filmer.

Q. What's your favorite movie(s)?

A. Lord of the Ring, The Black Stallion, Saints and Soldiers, Bella. All beautiful wonderful movies.

Q. What do you use for putting movies together and where do you find places to shoot?

A. I use whatever camcorder editing equipment my library can offer -- other than that, I use Windows Movie Maker. Special effects can be gotten off the Internet, and most libraries have special effects sound CDs.

I find the places to shoot around my area, or ask the other actors for places near them. For Example -- I am using the outside of an old closed school for the exterior scenes, a library 50+ miles away is used for the interior.

Q. Who helps make the movies?

A. I have all the actors watch the scenes and tell me what they think. I do all the actual editing, although I occasionally need the assistance of Ruth Rynae for technical support.

Q. Do you have a certain time each day or week to get together with the actors and to shoot the movie?

A. Unfortunately no. Because of the distance that separates us, we had to plan to stay in the same location for a number of days. Most of what you will see in the film was shot in three days in October, 2009. After that, we shot sporadicly whenever we could get together. Presently, we are still waiting for a coinciding of Ruth Rynae and Mitzi Rowan to shoot their scene.

Thanks for appearing for the interview!

Getting In

2009-11-20T15:41:00.000-08:00

I have been reading a lot about how to sell scripts, and I'm starting to think that is the way to go if I want to get known at all.

Actually, I want to do what Ryan Little does and direct/film independant movies. He is a genius. What I would do to be able to get in touch with him.

So right now, I am working on getting the details to make a brilliant script. After watching some good films like Bella and Saints And Soldiers and others like that, I think I know what to write. I am working on trying to make it easy to film. Less complicated effects needed=the better.

I hope this works out! All prayers are welcomed for me. I will probably begin writing the actual script sometime in January.

Watch for the Queen

2009-10-30T11:14:00.000-07:00

Right now, my greatest success is my script, Watch For The Queen in the potential TIME WATCH series. I wrote it in late September over a week, edited it with the help of Rebeckah and filming began on the 25th of September. Since then, production has been on and off, depending on when I can get all the actors together.

So far, we have almost everything filmed, half of it downloaded and about one-fifth of it partially edited. I am still looking for an opportunity to film the remaining scenes with Esmerelda, but the chance has not arisen yet.

The story is a spin-off of the Doctor Who TV show, centered around the main character Regina and college student Scarlet, the strange fate that is drawing on their lives and the lonely house that keeps drawing them back...

I am trying to keep it from getting too similar, which is fairly simple since the characters are extremely different from the Doctor Who leads.

(brief excerpt from the rough script)

Billy: Something bothering you?

Scarlet (shakes head): Not really. Weird day, that's all.

Billy (pause):What happened today? It's more than just a weird day.

Scarlet: You're right; it was more than that. (pause) Well, this strange girl showed up in front of the school today and latched onto me. Then before I knew what was happening, a really strange guy was chasing us around the block.

Billy laughs.

Scarlet: No, I really mean chasing us! And then we lost him somehow and the girl just sorta walked off.

Billy: What, no name or anything?

Scarlet: Regina. Weird name to go with weird girl on a weird day.

Scriptwriting

2009-10-30T11:12:00.000-07:00

Every bit as important as directing is scriptwriting. You can film beautiful shots and get brilliant actor, but without a meaningful story – it is nothing. The plot is everything.

For me, scriptwriting is fun because I can envision every scene and every camera angle. It never takes me long to write a script because it is really just the skeleton – the bare bones of the story. That is why you need good actors to flesh it out, bringing it to life.

The first scripts I ever wrote were Western parodies, based on real people and using only a few characters. It was simple and fun, focusing more on humor than filming techniques. The next scripts were much more difficult. When the setting was a medieval castle and it required guards and extras besides main characters – it always resulted in each actor acting 3 or more roles. (not to mention the castle....)

Locations are more or less easy. I can write almost any location and find a place to film it. I have lakes, forests, cliffs, highways and towns at my command. Houses are always more of a problem, but public buildings (like schools/libraries) can usually be used.

Script are easy to read, although I prefer not to show people what I write because scripts can give you a very different idea of what it will become. Each actor makes his/her own character. At the same time, the lines have to be great. Superb. Otherwise, it's not going to work. Flowery lines and long sentences may be ok in books, but they have to feel real in films. They have to have power. They have to be able to make you laugh or cry. They have to be good enough for you to watch it 3 times and still like it.

Description should be clear – good enough so actors can understand what is expected of them, but not so much that it can't be changed for the actor's own personality. Scriptwriting may be easy, but it certainly isn't without it's little... aspects of the trade, should I say?

Fast-Forward

2009-10-19T17:23:00.000-07:00

Somedays are the days I would rather fast-forward. Like the fact that my movie is never going any farther forward, due to the fact of -- no computer (to download), no actors, no more camera space and TOO MUCH SCRIPT LEFT!

It is slightly depressing to have actors that hate their roles (can I help it that the other character murders them?) and hate acting/filming in general. I am passionate about filming, see everything through a camera lens and expect everyone else to have my enthusiasm.

There are people out there who would probably greatly enjoy the chance to act (and work with such a esteemed director) but I never seem to find them. I am trying to come up with ways to get new actors...

*hits fast-forward*

Introduction

2009-10-16T14:20:00.000-07:00

Hello. This is me. THE Director.

I'm starting this blog to record my road to fame. :P Yeah, ok. I'm starting this blog to plague all my friends by giving them the link and Demanding they come and look. Still don't believe me? Fair enough, I'm doing this to get a little more comments on my work and to make contacts and show what I have done. And to organize all my most random thoughts about what I'm doing.

That aside, you should know that I direct enterprising films, using only the barest supplies and a limited cast and crew. I should really introduce you.

John Michel – camera-man, actor
Anthony James – actor, extra, secondary-camera-man,
Nina Rose – (bad) actor, producer, (forceful) co-director
Ruth Rynae – actor, computer tech
Rebekah Leah – actor, general support, script editor, producer

and last, I should introduce the brains of the operation – Me, Myself and That Other One

Mitzi Rowan – actor, producer
Mia Rider – Director, camera-man
Peregrin – scriptwriter, technical advisor

Of course there are occasional extras...

Caleb
Ezeckial
Josiah
Ameretta Fire
Easter Lily
Lea

You really don't need to worry about anyone else, because there is no one else.

Now, if you still are reading and/or alive... please give me all and any thoughts!