Imaginary double feature, Day 7 recap

I’ve been trying to come up with films that would play with Stomp! Shout! Scream! at the ultimate drive-in double feature in my mind. Of course, any vintage beach party movie would set the mood. Or any 1950’s monster movie would work, especially those in the Roger Corman oeuvre. But of the recent, independent, no-budget films that have broken out to gain a wide audience, I think the original El Mariachi, directed by Robert Rodriguez, would work best. I saw and loved his short film, Bedhead, at the Atlanta Film Festival when I first moved to Atlanta in 1991. And I saw El Mariachi at the High Museum with Rodriguez there to introduce the film and take Q & A afterwards. I remember him admitting that the sped up keyboard-playing scene was shot that way because they were running out of film and wanted to get the entire scene shot. It was a combination of necessity and creative decision making and it played perfectly in the final film. It was an exhilarating, inspirational experience. He created a no-budget, silly, action film that was playing at an art museum. Fun. Funny. And artistic. I’m hoping my film can approach that very high standard.

Here’s another daily recap from the shoot.
DAY SEVEN (Tuesday, October 12)
Location: Coquina Beach, Bradenton, Florida

By far the most frustrating day yet.


It’s our first day in Florida, we have some new crew members and nobody really knows what we’re doing or where they should be. We’re all late getting to location and the production cars are there waiting for us. After a few chaotic minutes of finding everyone and everything, Evan and I scout around and determine that using the isolated beach roadside opposite the original location will be best for our day’s work and we start setting up. After a crew call of 2:00 pm, we don’t get our first shot off until 3:45. The 90 degree heat doesn’t help things. I’m just thankful it’s not worse. We have one visit from the local police, but our permits and proof of production insurance is all in place and they leave us alone after 5 minutes. It doesn’t hurt having a police officer from the St. Petersburg Police Department on set with the vintage police car we’ve rented for the day.
We have 12 pages to cover today and limited time with the production cars, so I have to consolidate my shots lists drastically. Instead of being able to get two or three angles of our driving and talking scenes, I can only get one. I also have to cut three scenes in order to get the more important scenes completed. Luckily Ed Sluss, the owner of the Ford Fairlane, is willing to come back the next day, so we can pick up one daytime scene we don’t get shot. We have to wait for it to get dark to shoot our night scenes, but our dinner order doesn’t arrive until we have to get back to work, so nobody really gets a dinner break.

The actor with the longest day is Travis Young (Hector). He has one scene, where he’s walking down a lonely road by himself and the Ford Fairlane passes him, shining it’s headlights on him. He doesn't even have any dialog. We end up shooting it at the very end of our day, about 12:30 that night. We fake the headlights with production lights since the Fairlane had to leave. Travis was on set for over 10 hours and ended up working-- walking down the road four times-- for 20 minutes. At the end of the day, we still got 10 pages of script shot and no major catastrophes.

from the man behind the mask, 10/13/04

From Ned Hastings.

As both a co-worker of Jay Edwards on Aqua Teen Hunger Force and also as a – shall we say – feature player in Stomp! Shout! Scream!, I am adding my own diary entry on the production of Jay's little opus.

Well, week two of production is under way, and week one was a real blast for me. The first week was shot here in Atlanta, and this second week is being shot in Florida (or what's left of it). As you may know from an earlier diary entry of Jay's (with the accompanying ridiculous picture of me), I am playing the monster at the center of the movie. He is a Florida Skunk Ape, which is the state's native name for Bigfoot. The costume, cinematically, leaves much to be desired, but Jay promised me that he was planning to show the creature only in long shots, and shadows, and such. This I liked because a) I am not an actor and b) as I said, it's a pretty funny suit. Imagine my pleasure when I saw that photo on the Web.

That was sarcasm, by the way.

I kid because I love.

With Jay away for the two weeks of his shoot, I have been helping to hold down the fort at Cartoon Network. This has meant that I have had only two shooting days so far. But I've been to the set on two other days, just because it's so cool. In fact, I've been telling everyone in the office to go watch Jay shoot, because no one quite understands the scope of this project. There is somewhere around 25 to 30 people working or waiting to work at any given time, there's a 35mm camera with operator, there's a Director of Photography and an A.D. keeping the whole thing on track; and it's just really fun and totally cool.

And there's Jay at the center of it all, cool as a cucumber.

I, on the other hand, am usually anything but 'cool as a cucumber.' Besides the fur suit pictured elsewhere in these diaries, I am also wearing a black long-sleeved under-suit like the kind athletes wear. I also wear ridiculous feet (two different versions – the suit is evolving), and some black gunk all around my eyes. I'd like to say that wearing that stuff makes me feel like Michael Keaton in his batsuit, but it's closer to the truth to compare this to Peter Mayhew as Chewbacca. For a variety of reasons.

To put it mildly, that suit is hot as Hell. It's not too bad when I don't wear the mask and gloves, but as soon as they come on the sweat starts to pour. My chin sweats so much that the stuff comes out the mouth of the mask, making the creature appear to drool. Which, come to think of it, is not a bad way to play the poor beast.

Right, Ned – you're 'playing' this character.

Actually, I'm merely attempting to embody the character. I put on the suit, do whatever Jay tells me I'm supposed to do, and use my eyes a little to show what I'm 'thinking.' I knew I should have paid closer attention in those mime classes. So far, I've stormed a stage at a rock and roll show about 30 times, grabbing the heroine lustily nearly every time (perk). I've also killed one character, which is cool. What else? I've sort of 'danced.' Lots of people would say that whenever I dance, it's 'sort of dancing,' but this is different. It makes sense in the movie. OK, no it doesn't, but it was fun anyway.

I've also done a couple of 'stunts,' which involved a good bit of the usual movie-making chicanery to pull off. I will neither explain these moments nor divulge the tricks behind them here – you'll have to see the movie and/or the DVD extras. But, again, it was really fun.

I also had a fun moment on screen in which I do not play a rampaging, hairy, sexually aroused beast. Dana Snyder, who is the voice of Master Shake on Aqua Teen Hunger Force, was in town the latter part of last week. I didn't have to shoot on any of the nights or days that he was here, so I got to hang out with him a lot. I took him down to the set so that he could see how awesome it was and, lo and behold, Jay asked not just Dana, but also me to be in one shot of the film. That was cool. He had a line, and then we peeled out in a vintage car. Cool – my first appearance in a movie in which I wasn't wearing fur and make-up around my eyes. (I was also in The Birdcage. Again: sarcasm.)

I am jealous of my cast and crew mates. Everyone else went down on Monday via caravan, but here it is Wednesday and I am not going down until tonight. In fact, I'm flying in a few hours. Oddly, the guy I "killed" the other night volunteered to pick me up. What a stalwart band of troupers we are! Seriously, I've had such a good time hanging out with everyone that I hate not being able to experience these travel and shooting days with them. All of the actors have been really great to watch and to get to know. They actually treat me as an equal, even though they are all trained professionals and I'm just there because I'm the largest mammal the director knows. They are really great actors and watching them has been fascinating. I hate that I've missed out on these few days of travel, work, and bonding time with everyone.

But, I'm heading down soon to talk Jazz with Adrian, kid with the girls, and prattle on about movies with any poor soul who gets within earshot of me. Of course, I'll also put on the suit, "kill" a couple more people, and continue to attempt to drag off the heroine for my own nefarious aims; and hopefully sweat off a few pounds while I'm at it.

I'm looking forward to getting down there and back on set. This is in spite of the fact that the crew's tendency to call all of the actors by the name of their character means that I am called "Skunk Ape" by nearly everyone.

I thought I'd shook off that nickname back in ballet school, but it's back?


- Ned Hastings
Skunk Ape
Stomp! Shout! Scream!

End of first week of shooting, 10/10/04

At the end of our first week of shooting, I can say, with out a doubt, this is the hardest thing I've ever done. I've been editing for 15 years and I do things a certain way. I get all my source materials right in front of me, figure out what the limits are to whatever I'm doing, and start making decisions based on all the parameters. Directing an indie feature film gives you plenty of limiting factors, but you also have endless options at the same time. I'm essentially trying to edit the film in my head, on set, on the fly. After a couple of hours of this, my brain in mush. Luckily I have people like Evan Lieberman, the D.P., Alex Orr, the Assistant Director, and Reagan Brandon, script supervisor, to help me out. They, along with a very talented, very hard working crew, are helping make a real feature film. We have shot almost every shot we've planned to shoot, which by all accounts is remarkable for an indie film, or any film. I have plenty of stories, but it's very late and I'm very tired. Here's pictures from our first week.

One week to shoot, 9/27/04

One week to shooting. This must be why people don’t make low budget feature films very often. This week has been nothing but stress-- fighting our schedule, worrying over locations and putting out fires. And I'm probably only hearing half of the crises since Arma, the producer on the front lines, solves most of them before they get to me. Occasionally, mixed in with the panic attacks, there are moments of sheer glee.

About 10 days ago, the fine actor we had cast as Deputy Tillis became unavailable. Several harried days of calling Amy, our casting director, and pestering our existing cast for recommendations brought us a grand total of two actors to audition. One of them, Frank Roberts, turned out to be a perfect fit for the role. And he's available. And he likes the script. And he's a great actor.

As of this moment, we don't have a doctor's office to shoot 3 interior and one exterior scene. After driving around most of Saturday through every small town off I-75 with in 2 hours of Atlanta, I have one potential location. That scene has to be shot in 10 days.

Our lead actress, Claire Bronson, hasn't ever played guitar. Due to some previous commitments (like planning a wedding, getting married, and going on a honeymoon), she only has two weeks to become the guitar-playing, lead singer of a kick-ass 1966 garage rock band. Luckily, Jennifer Leavey, singer & guitarist for Catfight!, volunteered her Saturday to teach Claire the chords to all the songs she wrote for the Stomp! Shout! Scream! Claire picked it up beautify and has been practicing every day. We'll put her singing voice to the test next.

Rehearsals. Sunday afternoon, Claire, Cynthia Evans, and Mary Kraft-- collectively The Violas-- read with Jonathan Green who plays John Patterson, the scientist called in from out of town to help identify the mysterious debris that washed upon the shores of this quiet beach town. I left one scene in the film unwritten. It’s early in the film and the girls are diving their tour van. (Actually, now it's a station wagon because that what we can get, but for our purpose here, it’s the tour van.) The main function for this scene is to establish the personalities of the 3 girls. My plan is to have the actresses write, improv, and/or ad-lib this scene, based on the characters that are created from my script and their interpretation of it. We played around with this on Sunday, but came to the conclusion that it’s too early for this. Once we get into shooting and get to know each other and the story lines better, we'll know exactly what this scene is about. It'll all just come together. That's the plan. I hope it works.

Frank, Bill Szymanski, and Chris Hines—the police force for the town—read with Jonathan and Nancy Riggs, who is playing the town doctor, on Monday night. We read by candlelight thanks to the remnants of Hurricane Jeanne, which knocked out my electricity. It's very strange hearing my dialog read by actors who can make it sound like a real, natural conversation, even though it's often completely ridiculous. Only truly gifted actors can take lines like, "This creature is the missing link between man and ape. This is what scientists have been looking for, for decades. If we could capture him! Capture him alive!?" and make them sound believable. Right now, my favorite line is from Deputy Bob, who is a monster movie fan and is excited about there being something going on in this sleepy town. I love it not because it's great writing, but because Chris Hines can deliver it so well. "I don't like baloney sandwiches. Now fried baloney’s OK. Hey, that looks like a skunk ape."

This is the sheer glee part.

pre-production 9/12/04

September 12, 2004
In two weeks, I will be on a feature film set, directing real actors, calling the shots to a real 35mm film crew, and making it all up as I go along. I’ve really never been on a film set. I’m an editor who has made a couple of shorts, been to several film festivals, but really, honestly, I’m more comfortable in a dark room with zeros and ones than out in the bright sunlight with grips, gaffers, best boys, AD’s or PA’s. Actual production has always been a necessary evil to get to post production for me. Maybe that’s how I ended up working in animation where it’s all post production (I edit and produce Aqua Teen Hunger Force for Adult Swim in my day job). I’m as ready as I’ll ever be to leap into my first feature film. Here’s how I got exactly here.

In the fall of 2002, I had my first good idea for Stomp! Shout! Scream!. I’d been watching every ‘60s beach party movie I could find, along with trying (unsuccessfully) to start my own garage rock band (we learned "Louie Louie" and played it over and over). In every one of those movies, Annette would get angry at Frankie and walk the beach singing a lonesome lament. My friends in the Atlanta all-girl rock band Catfight! had written a song several years ago about a girl who has a summer romance that leaves her with more than a broken heart. The song was the perfect marriage of 1960s nostalgia and twisted humor. Place that song into a beach party movie and not only did I have a terrific movie moment-- the kind that makes you giggle and snort with the joy of film making-- I also had a great back story for my main character. In January 2003, I started writing early Saturday mornings, fueled by gallons of black tea.

Certain ideas started to come together: Set the film in 1966 and have it revolve around an all-girl garage rock band. Try to get Catfight! to write the songs for the band in the film to perform. Make it a monster movie because 1) that’s what I know and B) the plot and humor of the actual beach party movies are downright awful. Use the legend of the Florida Skunk Ape (the Everglades' version of Bigfoot). Add a scientist, a Latino mechanic love interest and an insecure Sheriff. After 4 months, I had 60 pages. After 9 months and lots of advice from film making and script writing friends, I had close to 90 pages.

I contacted Arma Benoit, a friend who produces commercials and music videos and who had been involved with the making of my monster movie short films, The Monster Trilogy. She committed to the project in the first minute of our phone call. After she read my script, she admitted that she would do the project based on our friendship regardless of the quality of the script. Turns out, she loved the script and said that we could really have something great on our hands. She said the if I can raise $100,000, we could shoot this on film with a professional cast and crew. Arma’s enthusiasm provided a great boost of confidence that was waning after almost a year of work on the script.

I immediately started researching the financing and marketing of indie genre films. I read all I could about creating a business plan and finding investors. Eventually, the plan was to find 20 people who would invest $5,000 each. At Thanksgiving of 2003 with a 30-page business plan in hand, I pitched my immediate and extended family. I received lots of encouragement, but no actual checks. In February of 2004, I had my first investor meeting with friends of my parents and got my first financial commitment for $5,000. My mom, dad and grandmother soon followed with investment commitments. Over the next 6 months, I solicited advice from anyone that would listen, while working overtime on every project available at Cartoon Network, saving as much of my own money as I could for the film. By August, I miraculously had my entire budget in place. Stomp! Shout! Scream! would be produced this fall.

Jennifer Leavey, Catfight!’s singer and songwriter, was also very enthusiastic about the script and being a part of the film. In March 2004, Jennifer, Katy Graves, and Susanne Gibboney recorded 4 amazing garage rock anthems for fictional band ‘The Violas’ to perform in the movie. Rob Gal, at his Snack ‘n’ Shack Studios, added his recording expertise and Farfisa organ playing to the proceedings.

Arma introduced me to Evan Lieberman, indie film director, cinematographer, PhD of Film Studies and lecturer at Emory University. We immediately clicked and a partnership formed from a love of B-movies, garage rock, and a dedication to well-crafted independent films. Evan lead me to Amy Barratt, a film maker who has worked with virtually every theater group in Atlanta. Amy joined our production team as Casting Director and lead us to the casting of an amazing group of local talent. The actresses who have been cast as the band are currently learning their instruments and the Catfight! songs. There was a considerable amount of debate over weather we should start casting before we had our financing in place. The chicken-and-egg question was: Can you get investments without a cast in place or can you get a cast of sought-after theater actors to commit without financing (or a shooting schedule) in place. We chose to cast first and willed ourselves into production no matter what finances I came up with. So far, so good.

Arma, Evan and I just returned from a weekend in Bradenton & St. Petersburg, Florida finding beaches, motels and an old fort to use as locations. More locations around Atlanta are being scouted. Costumes, props, and someone to make our Skunk Ape costume are in the works. Principal Photography starts October 4. I'll keep posting these reports as we go through production and post.