| | | Preserve the Theatrical Experience: Go See Indie Films in the Theater!! |
| | If you've been reading my newsletters for the past 11 years, you've heard me say this before. Many times. If you want people to see your films in a theater, the way they were likely meant to be seen, then you have to go out and see other films in the theater. And I'm not talking about Star Wars and Deadpool--the studios aren't having any problems getting people to see their biggest tentpole franchises in the theater. I'm talking about the kinds of films we're making--Indie Films.
Day-and-Date, whereby distributors release films in theaters (usually in 10 cities) and on VOD at the same time, might be fine for some films, but it's frankly killing the theatrical experience for most films. Most people for most indie films opt out of the theatrical part and just settle for the home-viewing experience. But I can tell you from experience, these films--even without their big action sequences--play better on a big screen with an audience. Often indie films require more focus and concentration from an audience, and you get this best in a theater, without all the distractions at home.
So, there are two indie films that I want to recommend you see this weekend in the theater. Frankly, they aren't playing anywhere else yet, bucking the day-and-date trend. Each offer different experiences, but I highly recommend both of them. Yes, they are in limited release, but each film will eventually make its way around the country. So if you're not in LA or NYC, be patient. And please, be supportive. |
| | | | | KRISHA
Opening in New York & L.A. March 18th; more cities to come
I'm just going to come out and say it--this is probably the best no-budget film I've seen in a year or more. If you're on this list, you have to see this film. Either see it or unsubscribe, (there, I've laid down the gauntlet!).
I first heard about Krisha when Indiewire reported that the film that won both the Grand Jury Prize and Audience Award at last year's SXSW was shot at the filmmaker's parents' home in Texas, starring his aunt, mother and other family members. Oh, and it was shot in 9 days. I knew from that instant that this was a film I needed to see and a filmmaker I needed to meet.
Then the film got into Cannes--something that happens to films like this about once every 5 years. Then it was announced that A24, the company that released the Oscar-winning Room, had picked it up and signed the young writer/director Trey Edward Shults to a two picture deal. I managed to track down Trey and asked if he could guest speak in my October class, but he was traveling, on a whirlwind festival tour. I finally saw the film at AFI Fest and despite incredibly high expectations, it blew me away. Right from the beginning. I met Trey at the screening and he couldn't be a nicer, more humble guy.
I've since spoken to Trey on several occasions and I plan on writing a longer piece about the film soon, (I've just launched a Kickstarter campaign for my new film DriverX and I've been buried). It turns out, the film is a perfect case-study for the lessons I teach in my class. Here are some of the highlights of our conversation:
- The film opening this weekend is actually Trey's second attempt at making a feature. His first attempt was an abject failure, throwing him into a deep depression and forcing him to question his abilities as a filmmaker.
- After a month or two away from the footage of that first attempt, he picked himself up off the floor and went back to the material and re-conceived it as a short film. That short film won a Special Jury Prize at SXSW in 2014. He was then inspired to go back and reshoot the feature.
- The film was shot in 9 days on a RED Epic (that he borrowed) with a crew made up of: the director, the DP, a sound mixer, a steadicam operator (for 2 days), and 3 producers (friends of Trey's) who did odd jobs. That's it.
- The final result is about 70% scripted and 30% improvised. One of the audiences' favorite characters, Doyle, played by Bill Wise, is just about completely improvised.
- The cast are all locals, mostly friends, if not family. The titular Krisha is played by Trey's 64 year old aunt, Krisha Fairchild. His mother and 90 year old grandmother play substantial parts in the film, as does Trey. Needless to say, there are no "names" in this film.
- There are a lot of long takes in the film that are very effective. The opening shot is a 12 page, 7 minute steadicam shot.
- I'm not really supposed to reveal the budget, but I'm going to tell you it was low. Low enough for me to be reporting it. Trey edited the film himself, which kept his post costs down.
- The film won several awards throughout last year, and this year won the coveted Cassavetes Award at the Independent Spirit Awards.
When I saw the film, I thought, I'm seeing the evolution of American Independent filmmaking, away from the Mumblecore style that has dominated the form for over 10 years, and toward something new. Maybe not entirely new, but for a drama, absolutely entirely new. This film is fresh and BOLD. There is a vision at work here and a filmmaker taking risks. It is small and "arty," no doubt, but also accessible and entertaining, if you like your entertainment on the emotionally brutal side, rather than the blowing shit up side. Shit gets blown up in Krisha for sure, but it's all just under the skin of it's characters. Do. Not. Miss.
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| | | TOO LATE
Opening in L.A. March 18th; playing in over 25 cities throughout the year
Too Late is a very different film, taking a somewhat similar path to audiences. Premiering at last year's LA Film Festival, Too Late's producers decided to buck the current trend of day-and-date by creating event screenings wherever they went. Starting this weekend at the Sundance Cinemas in W. Hollywood, they are offering a whole slew of Q&A's, many geared toward filmmakers and focusing on specific topics, like Production Design, Post Production, Shooting on 35mm, Producing, Acting, etc. Many of their star-studded cast members will be on-hand for these sessions-- which are really like mini-filmmaking workshops--including their lead actor, Oscar-nominated John Hawkes. I saw the film Friday night and had a great conversation with Hawkes after the screening, (he is an incredibly nice, approachable guy, and he's great in the film). A schedule for these sessions can be downloaded below.
Too Late is a terrific example of something I teach--Embracing Limitations. Or more precisely, using limitations to fuel your creativity. Director Dennis Hauck came up with a novel plan to shoot this film--tell a story in five 20 minute single takes. On 35mm film, no less. This has never been done in the history of film. In the past, filmmakers have used 11 minute takes, the maximum length of a typical 35mm film reel, but Hauck used 2-perf film, which allowed him to get 20 minute takes.
The results are what you'd expect--unique. The 5 scene approach allowed Hauck to get creative with his story structure, and the resulting film is not unlike Chris Nolan's debut, Following. There is an unusual rhythm to these scenes, due to the way they're filmed. And each scene is a triumph of technical know-how and will. Imagine, how would you shoot a 20 minute steadicam shot with a 90 pound camera rig?? The filmmakers will go through that particular question in a session at 11am on Saturday, (I realize, either right before or right after you read this!). They have also posted some behind-the-scenes clips online (see link below), and you have to watch the one entitled "Steadicam Handoff." It's remarkable, and it will give you an idea of the challenge Hauck made for himself and met.
Please try to make it to one of these screenings this weekend, (and check their website for future Q&A screenings coming to a theater near you). They are only screening on 35mm and each one is like attending a film school class. These filmmakers are going out of their way to create a unique event out of each one of their screenings. Listen up--you will likely have to do the same kind of thing in this increasingly difficult theatrical environment for indie films.
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