Monday, August 31, 2015


We are so, SO close to being done with my first feature film.  Throughout the process, I've watched this thing morph into a real movie, and onto it I've saddled all of my hopes and dreams.  I believe in it, and I don't think it's a mirage.  It's hard to stay objective, and maybe I've lost my ability to do so, but I'm pretty stoked to get this film out into the world.

I think now more than ever I like my chances that something may become of MAD.  I think what's really brought that into focus for me has been this last leg of (post)post production.  Jay Keitel has been working on the color, and he's really done a good job making this film look more expensive and "legitimate" than the sum of it's parts.  We shot on Blackmagic Cinema cameras, and while the image quality is fine, the color profile was sorely muted - the raw images felt very... let's say lacking... mix that with a limited budget for lighting and lenses, and the cards were stacked.  He's really milking these images for all they can ever dream to be.  Very happy with the look of the film at this point.  Also, Phil Hirzel's score is absolutely beautiful.  In a prior blog post, I noted that his demos "[called] to mind the scores of Funny People and This is 40(Jason Schwartzman and Jon Brion, respectively)..." but I think that initial comparison was faulty in retrospect.  What Phil has done, the sound and style that he came up with, is something entirely fresh and new.  It's something entirely befitting of what's onscreen, but unlike anything I've ever heard.  He took varying elements, most of which are fairly familiar, and whipped them into what I would call a gently rollicking, emotional score.  Yesterday we officially laid them into the sound edit, and they really take certain scenes to another level completely.  Here is a blog post I asked Phil to write about his experience working on our score, along with a couple of tracks I asked him to make available for people(you) to listen to.

I had an experience while watching a scene from the film with Chris Mack during our sound edit session, after laying one particular piece of score in.  This scene was always an ace in the hole.  It's one of the big dramatic moments in the film, Maryann Plunkett kills the scene and maybe breaks a bunch of hearts in the process - but as I noted above, with the sound mix and score now laid in, this scene fuckin' soared.  I felt a certain electricity.  I really hope that translates to our audience, whoever that may be.
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