Jason Stringer

It was at the start of the year that I sat-back to re-watch my short film Living with Benjamin and finally saw all the ways I could cut it to create the concise film I was originally aiming for. Over time I have chipped pieces away to eventually settle on this: the absolute final cut of Living with Benjamin. It gets to the point. It doesn’t mess around. And you still feel lonely watching Benjamin slowly lose his marbles.

The film now runs a comfy seven minutes as apposed to the original 12. Five whole minutes removed and it still feels like the exact same film. I’ve learned a great deal from shooting and cutting this — it will always remain dear to me.

This is the version that will be screening at the Perth Night of Horror Film Festival in October. I will be part of the audience and look forward to seeing it with a sizable crowd. That’s both a scary and exciting prospect!

This cut will also appear on the long-awaited DVD, accompanied by some beefy bonus material.

After four months of meetings, auditions, rehearsals and careful planning we have a new short film almost completely in the can, ready for editing. I say almost in the can because, while principal photography is finished, there are still a couple of pickups that need to occur (shots not requiring principal cast).

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…

The Exorcist Fansite

It’s so hard to find the person that perfectly fits an idea you have embraced in your head. Someone who is willing to be opened up emotionally and exposed to an audience based on material that is locked away safe in your mind. How the hell do you find someone both willing and capable of doing that?

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?

I enjoy the feeling of finally being able to put a project to rest. The HOMECOMING DVD is absolutely complete has started distribution to those involved in the project (contact me here to request your copy). I’ve also handed a copy to FTI to keep amongst the stacks of student films they have produced. Hopefully the DVD artwork and disc menu helps it stand out a little against the masses.

So, that’s it for HOMECOMING. Watch it here (if you haven’t already) and also view some behind-the-scenes material!

I’m now putting the final touches on the DVD for HER PARTY, LIVING WITH BENJAMIN & HAIR DYE while also preparing the production of our next short film THAT YEAR THEY WERE BRIDESMAIDS.