Filmmaking is Easy If You've Got Ten Arms

The other day, some one told me that filmmaking is easy. Yeah, right. If you've got ten arms and absolute no need for sleep, it's easy-peasy.

I'm a visual thinker, always have been. I remember names, ideas and concepts in relation to an image which I saw or mentally constructed at the time of introduction. And I love mixing images with narrative concepts or poetry. Thus, directing comes more naturally to me than, say, chemistry or medicine.

As the beginning filmmaker, armed with only a student budget and a determined vision, one of the first lessons you learn when embarking on your big project is that you can't do it all alone. There's too many things that could go wrong, money that could be unwisely spent, mistakes that lurk in mental darkness, waiting to happen when you least expect it.

Filmmaking -- well crafted and beautifully told -- is, as far as I'm concerned, NOT easy.
If you're trying to accomplish any form of real storytelling with a sturdy moral premise and visually aesthetic promise, you quickly find that the true filmmaker is also a master delegate and manager and has truckloads of faith and trust.

Case in point: I've been in preproduction for my thesis film for several months, now. I wrote the twenty-page screenplay within a matter of weeks and, certain that it was perfect, quickly proceeded to cast the roles, find the locations, organize the crew and reserve the equipment. And then I submitted it to my mentor for approval.

"It has flaws," he said, "it's too wordy at times and, though it has a solid moral premise, doesn't clearly reveal the protagonist."

Back to the drawing board.

(To be continued next week...)

"Maggie" -- alias Barbara Coven-Ellis

One of the best things about working and training as an actor, prior to beginning directing, is that you understand what the actor goes through, you know better how to communicate with the actor to "pull" out the performance you desire, and -- especially for film -- you have a list of friends and colleagues with whom to work

Such is the story behind my working with Barbara Coven-Ellis, a professionally trained, extremely accomplished and talented actor in the Michigan area.

I first met Barbara while understudying for the play "Honus and Me," directed by Guy Sanville, at the Purple Rose Theatre this past summer. Barbara had a major part and was on-stage six days a week, two times a day. A true professional -- with a big heart. As it was my first time working with an Equity theatre, I was quite nervous. But Barbara gave me helpful advice on acting, professionalism and life in general on numerous occassions. And, most importantly, when I told her that I was going to be going to film school in the fall, she didn't laugh at me.

Thus, I called her up when I wanted to take a crack at my first 1 minute 16mm short. She said, "yes." And, as I had hoped, was the consumate professional and supportive actor -- showing up early, completely prepared, and ready to stun the camera. She did.

So it seemed second-nature to call Barbara up when it came time to finding the lead female role for "Maggie," the dramatic and high strung, yet loving and sacrificing mother, in my 16mm 20-minute short, A FORK IN THE ROAD (which, by the way, has been officially registered at the Writers' Guild of America; I received my certificate today). Thank Heavens she accepted.

I couldn't picture a finer actress for the part.

Barbara has always treated me like a true professional. I'm stretching toward the stars to not disappoint her.