Tag Archives: Thomas Tissot

I’m going to step back for a moment and thank a couple of directors who calmed my nerves and helped me get ready to direct this short film. Elise Robertson, a wonderful LA director, who told me if I didn’t direct this she’d kick my ass. And one of my closest friends, my collaborator, experienced director, and film directing professor at Chapman’s Film School, Jay Lowi, who loaded me up with all kinds of knowledge I had to cram into my head in about three days. He was the one who told me to edit each scene in my head as I shot it so I wouldn’t forget a shot or to find a shot I hadn’t conceived of to complete what I imagined to be the finished scene. It was brilliant simple advice and it worked.

I spent the few days I had before shooting getting my shot lists together and breaking down each day's shooting schedule. I also looked at the film as a whole to decide what tone, overall look, and recurring themes I would use to advance the story visually. I broke down each character so I could communicate to the principle actors what I wanted each one to distinctly portray.  Again… there was NO SCRIPT, just an outline so this was important.

I was unbelievably fortunate to get such wonderful actors who were open to my sometimes strange ideas and spur of the moment concepts. This film wouldn’t have turned out so well without the great performances and the special things they brought and added on their own.

I’ve also been fortunate to be on sets with some iconic directors as a minor league actor. Coppola (twice), Ron Howard, Clint Eastwood (twice), David Fincher… the thing they all have in common, that I could see, is that they hire good crew people, tell them what they want, and LET THEM DO THEIR JOBS. I saw no micro-managing and that freed them up to direct. To do their job and get their vision on film. Yes, the buck stops with them, but it’s a less crazy buck. I attempted to do the same thing in my small way on this film. And it worked. You trust people and mostly they respond with their best work.

But what I really loved about directing was the rush I got from it on set. How it just opened up floodgates of creativity in everyone. How as a director you can see something in a rehearsal or a first take and that makes you come up with the one thing that makes that scene special. Something you would have never thought of writing the script. This was an eye-opener for me as a writer. And will help me in the future throwing out my preconceived notions and personal ownership of my own writing and trust other directors do what they need to do with it. It was a GREAT letting go of ego lesson.

Once we were done shooting, I realized my job was not even half through. Post production, editing, sound effects, reshoots (yeah, reshoots), original music, titles, color correction, who knows what else.

Editing is surprisingly fun, especially if you have an amazing uber-experienced editor that has been recommended by a great director (who actually puts in a very good word for you with the editor).

Rick LaCompte is that film editor. Not a short film editor. His CV is filled with successful films. The posters from those films cover the walls of his huge work space. He even said, “I don’t usually do short films.” Again, I am amazed and grateful for my good fortune. Thank You God.

He proceeded to give me an eye-opening education on the art of editing. And it is an art. He is patient, understanding, endlessly creative, and honest. It didn’t take but about half a second to trust him completely. He didn’t let me down either. He has an uncanny talent for looking at all the footage for a scene as a whole and then effortlessly manipulating it to make it look better than you pictured it. And then building from there, remembering the smallest things he’d done in past scenes to achieve the tone, the look, and theme threads I told him I wanted for the film. An artist. I cannot recommend him more highly.

Yes, the reshoots. Even though I thought I was so careful with everything, I did not get two transition shots I needed for the final action sequence. Bad me. No one’s fault but mine. The film doesn’t work without these shots and as much a magician as Rick is, we couldn’t work around it. So, in the next three weeks I’ll shoot the scenes. Thank goodness the actors and the DP are game. When you miss shots you recorded on a Red camera, you can’t just film them on your IPhone and hope no one will notice. So I have to rent the camera again for a day, too. I complained to Jay Lowi about my stupidity and he laughed and said, “Happens to everybody. Just chill and go do it.” He’s my hero.

Until the reshoots, I can work on sound effects with Rick and original music with my composer, Thomas Tissot. And baby, am I lucky to get him. He’s a creative, fun musician and I can’t wait to see what he’ll come up with. I’m getting him now before I can’t afford him anymore. He’s got a BIG future. And I’m meeting tomorrow with a title effects guy to do something special with the main title. We’ll see if he can do what I want and how much it’ll cost if he can.

This small experience as a director is going to make me a better writer. It already has.

I had time to do all this because for the last two months, I’ve been unemployed and it afforded me the time to get a lot of the post-production done. Well, unemployed until yesterday. Got word from a production company that a script I wrote with my good friend, Jeff Willis, is heading for production and they need a rewrite. Now. So, after we get the notes next week, we’ll be starting on that. And I’ll leave the composing to Thomas and free up a day to reshoot what I missed while we write.

My goal is a finished film by March first. Ok. Mid-March. (I don’t want to scare Thomas) And to have a director sample I would be proud to show any executive. I think I will.