There is a trust and a loyalty that will never be broken and so when Ryan said, “You put it together like you always do, I’ll pay for it," it started a plan of epic proportion.
That demand has evolved into a massive and exciting collaboration that within a week will spill out in explosion of creativity from two guys who have matured in their craft ten fold since 2004. It willl be a weekend not anybody involved will soon forget. From the first scene we shoot of a flashback sequence at Lenoir Rhyne to the last scene we shoot where Henry peers through the doors of Dana's apartment complex, it's going to be the most exhiliating experience since my son was born.
This is what God put me on this earth to do. This is all I know. This is my life.
My wife will never understand my drive and passion for this trade. She calls it "unrealistic." She misses the point. I love doing it. She'll roll her eyes but if I didn't have this I would be dead or in jail. If my father had not given me an opportunity when I was 20 to go out west and go to college and I hadn't had the balls to take off by myself to the big city, I could safely say I would not be the person I am today. With the exception of my kids, it's my happiness, my love, my passion and my drive.
So you can imagine the excitement I have being able to do this and not only that, but do it with the guy who seven years ago made a pact with me to make films together as we grew into old men. I can't sleep. I can't stop smiling and I can't sit still. As this entry becomes emotional for me, I have to thank Richard Deal who generously gave us the rights to adapt his award winning short story. I have to thank my Father and my great friend Colin who have unconditionally contributed start up funds for this venture. I have to think the great cast: Phil, Christina, Mark and all the others for believing in me enough to waive their fee and take a chance on me as a filmmaker and the valiant crew members: Skip, Ennix, Lane, Kelby, Brian, Mark, Freddy, Zak, Adam, and Shane who I threw every obstacle at in the past three months and they just kept coming, determined to help me succeed.
To Freddy Hedrick, who generously devoted his time and expertise in helping me build the massive newsstand needed for the key scene in the film. He then generously donated his whole erray of toys from a camper to a generator for the cause.
To Megan who even after being told she couldn't get paid her fee decided to stick with me and contribute her special effects and makeup genius anyway.
To all the brave people who have agreed to watch Payton and River for the entire weekend so I can stay focused and away from the house for the time needed to complete principle photography.
To all the Extras coming out to do what's referred to in Hollywood as "the most boring job in pictures." I promise I want let it get boring.
And finally, to Ryan who not only is paying for a majority of this film but is also providing his talent behind the camera, the HD Camera, the still camera, the mobile editing bay that are all key elements in giving this film the high production value needed to be a competititor in festivals like Sundance, Telluride and Tribeca. But scratch all the assets and financials he's provided. It goes much deeper than that. I've let Ryan down much more than he's let me down. From not returning to LA to become his business partner to bailing on a job opp in Rhode Island, our friendship has stood the test of time, but somehow we are still collaborating, still dreaming and most importantly still working. I am a lucky bastard to have him as my wingman on this project.
To get him briefed on all the work I've done I've duplicated my Production Notebook. The film was too big to just tuck everything in a back pocket like I normally would so I had to actually do some work and organize all of it. He'll have a five hour flight and everything in that notebook will give him my vision on the film. All he'll have to do is come up with how much color, shadow, and light he wants to use.
The next entry documented on this site will be on the other side of production and every thing will be changed whether it be good or bad. For I always say, "Creating your vision on film is a dream. It's watching the vision you created that is the nightmare."
... I believe this film will abolish that train of thought for me.
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