Short film That Year They Were Bridesmaids suffered the usual Silly Season hold-up, where crew scatter for what feels like forever before returning to normal lives. Even then, other projects are lined up and people get incredibly busy. We still have some 8mm shots to pick up before the editing can be finished. I’m still hopeful for a February 2010 completion, but it might edge March.

Fellow FTI graduate Robin (who has been my First Assistant Director on two shorts now) has joined me in a web-based project Reel Thinker. We launched it December 1 2009 and will persist with it into the new year to see where it goes. We both love to discuss and crituique film, so a joint like this made sense. It’s a project outside of Quarter To Four, which makes for an interesting change.

Speaking of Quarter To Four, the new website launched showcasing some of the short films we’ve produced.  There’s also a facebook page – have you become a fan of ‘Quarter To Four’ yet? Look out for behind-the-scenes images and video clips of That Year They Were Bridesmaids soon!

Here’s a sneaky-peek at me discussing the frame with Danny Clark (Director of Photography) on location.

The task of directing a film in any format is always a challenging journey. This shoot ran for three solid days and pushed the boundaries of every emotion I could possibly muster. From sheer frustration to overwhelming exhilaration — not forgetting tiredness, anger, joy, and jealousy.
Jealousy because I have given the cinematography role a shot before (during film school) and here was Danny Clark, a good mate of mine, producing pure gold in every shot without a paycheque. I’m very happy with how good this film looks.

I got to work with an acceptional team on this independent project. Assembled by producer Sara Horvat, people were dedicated to their roles and delivered fantastic results at every level. Thanks to everyone who donated their time and be part of a wonderful filmmaking family.

Personally, That Year They Were Bridesmaids was all about exploring my abilities to direct some honesty to the screen.  The film deals with topics I’m close to and I felt confident I could tell the story accurately. I cannot wait to see the final product, scoop up everything I learned and muscle it into the next project.

What’s important for me now is to turn the film around in a timely manner.  A post production schedule is in place and some upcoming festival deadlines will keep us in check. Even before That Year They Were Bridesmaids hits screens, I’m already working hard on planning what to do next.  What do I need to practice? What do I need to learn? And how can we go about these things in an entertaining way?

Someone should write a book about this stuff…

Auditions.

I have found auditions to be a tiresome process. Especially when the material — like my current short production That Year They Were Bridesmaids — is so close to home. There are lines of dialogue and certain beats within that screenplay that scream emotional truths to me. And to go through them every half hour over the period of several days starts to wear me down.

What makes it drag out worse is when the magical person I am looking for fails to emerge. Some look the part but can’t handle the material. Others can manage the material just fine but do not look the part (and seemed to have failed in reading the casting requirements, but booked a place anyway).

The film is being independently backed, and while I’m sending talent out the door with a polite handshake and a well-tempered “thanks for your time, we’ll be in touch…”, I’m continually turning to my Producer and getting reassurance that I’m not being too pedantic or picky. Because I really don’t want to settle. Not this time. Far too often I’ve ‘just settled’ on many varying aspects of my productions, and I have sworn that it is time to move forward properly and take it seriously. No longer do I want to say ‘that’ll do’.

There should be no reason why great planning of great ideas can’t deliver a great film. All of that can be tainted if you settle for second-hand options simply for the sake of progressing the film in increments that become incidental once you get the damn thing into post production. I need to remain honest with it. If I do that, I can do no wrong.

I always harboured a daydream that it would get easier. That, once was a paid gig was on offer (which Bridesmaids is) then the talent would come flooding through the door and it would be a struggle to choose who fits. Right now we’re a month from production, I need to start rehearsals in about a week and I still don’t have a main cast.

Wish me luck, won’t you?

Last week I sat with a group of talented and enthusiastic people as we enjoyed some drinks and dip, discussing a short film production that is about to get underway. It’s a screenplay I wrote called That Year They Were Bridesmaids and I will be directing it in August.

Like any idea for a story, this has been swimming around my head for a while. This is evidenced in the numerous files saved in my ’screenplays’ directory containing all kinds of drafts and notes.

While the story itself began to grow from my mind the day after my first son was born, the screenplay didn’t begin to grow until I began studying at FTI the following year. Needing a screenplay to hand in during the course, I chose to flesh out this story ahead of many others I had drafted. I guess, at the time, it seemed like the safest choice.

That Year They Were Bridesmaids tells the story two middle-aged brothers who come together to begin cleaning their family home in preparation for it being sold. They recall old memories stored in the depths of their minds while coming across objects they haven’t seen in years.

I’m enthusiastic about the dedicated group we have on board for this film. They signed on with the knowledge that the screenplay was up for a government grant, and when that fell through (more on that later…) they stayed on. They turned up at this meeting rearing to go, excited to be apart of filmmaking and eager to be involved in every way.

Danny (Cinematographer) and I have started the shotlisting and storyboarding process, while our Producer, Sara, is busy lining up our departments and getting casting ready for auditions next week.

This is the first film Danny and I will have made together since becoming FTI graduates, and our first since Hair Dye in 2006.  Amazing to think we are about to shoot this under private investment, in Perth, with a full crew dedicated to delivering professional results with us. ‘Tis a long way from our small country town beginnings.

(My shotlist notes. I keep a different copy of the screenplay for every different set of notes. Always red pen.)