Keeping the Faith: Surreal Endings and Exposing Yourself

It's now Wednesday July 28. Monday I got the music for the intro. Yesterday I sent my last note to Scott. That was the day he also received the final sound files from our sound editor Richard Ross. The film is now complete, and needs no more direction from me or anyone else. By Saturday July 31, I will have 4 DVDs in my hand. And on Sunday August 1, I will be on a plane to Dublin, Ireland.

While most people might think this is a moment to celebrate, I'm only pondering how and when I'll get the rest of the work done.

Things I still need to do:

• 
  
  finalize and send out the licensing contracts
• 
  
  complete list and schedule of film festivals
• 
  
  prepare film festival marketing material
• 
  
  write and distribute press release
• 
  
  plan cast & crew screening
• 
  
  burn DVD's for cast and crew and investors

These are the little things, but they are still part of the process. As a creator, whether writer/artist/filmmaker, it is our obligation to not only create the project, but to make sure it is seen, that it speaks, and it's allowed to breathe in the light of day.

It would be easy enough to take a photograph, write a book, paint a masterpiece, and let it lie dormant in the closet, gathering dust, left alone and frozen in time for posterity. And in many cases that's what we do and there's nothing wrong with that. But sometimes, just sometimes, our creation takes its own journey and we follow along, or drive the train. It craves to be exposed, revealed.

I don't feel like I'm quite done with this film yet, because it still has an unknown destination, a destiny if you will. So my happy ending is surreal... fluid, unknown, and floating freely forward.

After my return, when I've had some time to digest the production of it all, perhaps I'll be able to write then what I can't write now. Lessons learned. Gratitude unleashed. Goals and forsaken dreams. Promises and commitments. And directing, dear lord, directing.

It has, thus far, been a sweet voyage. And now I shall leave for my own travels - secure in the knowledge that I have accomplished what I set out to do, met my goals, and (hopefully) properly acknowledged and shared the journey with a team that I admire and love.

One thing I can say... I could not have done this film without the team of creative people who pulled together beside me and offered their time, talent and trust, dedicating themselves to this film while asking very little of me. That, my friends, is faith.

Keep the faith, and the world is yours.

p.s. Don't get me wrong. I'll be celebrating -- in Dublin, Oslo, Avignon and London. And I'll keep you posted about our progress later in August. For now, I'm making new memories.  

Visions of Chocolate

It's been raining during the last couple of months, so when the sun finally came out I stopped by the bridal shop to say hello to the ladies. They were bushed, in the middle of prom season, and had spent the morning putting clothes away only to prepare for the 3 pm onslaught of high schoolers once school was out for another day so the girls could tear it all down again.

We still need to shoot the opening sequence. Our original vision was to capture the leads strolling down the walkway, heels tapping along, then tilt up to their faces, expressions full of expectation, then cut to the entry shot. But our day of rain took that shot out. So after some thinking... what will fit, what will flow into the first scene, I went back to my reservoir of films and remembered the opening sequence for the original 1971 Willy Wonka and the Chocolate Factory. There were no characters or scenes from the film, just chocolate, scenes of luscious flowing chocolate, details and images. Perfect lead in. I'll take that.

I told the ladies that I needed about 3 hours to come in and shoot details for the opening sequence and we agreed to come back later in May. Then I headed over to the burrito place to pick up some lunch. On the way, my magical DP Mike called, at the perfect moment of course. We talked schedule, needs, ideas, and agreed to rent a lens to get some of the details and close-ups we needed.

According to IMDB, the opening credits sequence was filmed at a real chocolate factory in Switzerland. So we'll be filming at a real bridal shop in Santa Rosa. Nice.

I'm going to head over to the shop in mid-May when they've finalized the new shop layout to take some stills to plan out the shoot. Fun stuff. And the song for the intro is key. Check it out:  "On the Beach" by Honey Is Cool.


Somewhere Gene Wilder is smiling at us.

Row, Row, Row Your Boat

As we head into the home stretch, we're putting the final pieces in place. This means finding the right crew to make this film come alive. Although we don't have the biggest budget, there are some really skilled people out there -- generous, excited, creative and talented -- all interested in working on this little film. We put out three postings for some key crew and got more than 100 responses. It's interesting to see who responds and more importantly how they respond.

What are the things I responded to? People who actually read the ad. We're looking for specific skills, so don't tell me you can do everything. And positivity. People who were sincere and enthusiastic always got a response. And if you followed up, even better. Don't give me too many links. At least give me a list of your projects and your experience with the right equipment. Sometimes people might not have the time to detour through your extensive projects posted all over the net.

Our DP, Mike Epple, has been a great leader in helping develop a list of skills and helping select his crew -- Gaffer, Key Grip, Head Sound Master, AC. So far, our team looks rock solid.

For the next few days, we'll be checking off the little things to take care of... insurance, food, location details, and creating the schedule and final shot list. It's like planning a wedding, except of course you're marrying 25 people. Nice. So I'm rowing slowly along to make sure I don't forget anything. Frantic rushing doesn't accomplish much, except of course for creating stress and ensuring that you forget things. Merrily.

Illustration © Deborah Cavanaugh

The joy of working in film is that we all do it for the love of what we do. None of us - at least at this level - makes any money to speak of. We are all, cast and crew, just enthusiastic to be involved in creating a visual story and working on a real project. We are blessed to be following our dreams and it doesn't come without some blood, sweat and tears.

It's nearly 2010. My hope is that everyone follows their dream, whatever it may be. It's not easy to follow the right path and stay the course. It never is. But the reward is that much greater. Happy New Year to everyone.

Climbing the Tree

As we have moved forward with production of this film, we've written two grant proposals, but really relied on people who have known about the film and close family friends for funding. The budget isn't high-cost. I was hoping to get $8500 from 3 investors. And with each request we have heard great supportive words:
- Sounds wonderful
- Can't wait to see it
- Great work
- Impressive
- What an amazing script

While I wish each of these words came with a dollar value, they don't. My DP is very concerned that we won't be able to have the equipment and crew that we need to make this film look decent. And I agree with him. We are concerned. Times are tough. And it doesn't help that our production schedule was pushed up three weeks, which means we're doing heavy fundraising around Christmas. Not an easy time for anyone.

But I think we've developed a fantastic Investor Prospectus. After reading this, who wouldn't want to be a part of this amazing film project?

The script is great. The cast is amazing. And we have a talented and skilled production and post-production crew. But ultimately, it's all about the story, which is inspiring, funny and bittersweet. The little film has the potential to go ALL THE WAY. We just need one person, or 3 people, with enough faith in that. $20,000 worth of faith. Better yet, can 100 of our film followers donate just $50 each to get us going?

Our first (and so far, only) investment has come from a single parent with 3 kids, who's working PT as a teacher at CSU Sacramento. That is true giving. And when I'm rolling quarters to buy bread for my daughter's lunch, I wonder about those NO's that I have gotten. It's disheartening. At the same time, I know that it's all relative and I can't begrudge those who have their own lives, their own families, and their own travels they're involved in. What is their motivation to invest in this dream?

I have done my fair share of fundraising, and film has always been the most difficult. People will give to charities, to cure diseases, even to performance groups and art museums, but film is its own beast. At some level it's perceived as a luxury. People love movies, going to movies, fantasizing about movies. But even experienced investors know it's a huge gamble, and for many potential investors, they just see a big black hole. But film itself is bigger than that. It's the place where dreams are made. Everyone loves a good movie. It's like good music. It touches something deep inside our humanity, going back to drawings on cave walls.

So I am climbing the tree, and moving forward with faith that someone, somewhere, will believe in this film and help bring it to life. I do truly believe that it will be good enough to recoup everyone's investment, including my own, which is substantial already, not counting the soul points I'm paying out. It's wicked funny, which in the end I think life should be... full of laughter.




May everyone be blessed this holiday season,
Maria Collette Sundeen
Producer/Director/Co-Writer

CASTING... the big puzzle piece

We've officially finished the details for the casting notice. I'll be spending the next 10 days getting it out and filing forms for SAG. After that I'll have to spend the following two weeks looking at pictures and video clips.

Casting can be a tricky dog. Sometimes you have a great actor, but they just don't fit the part. Or you have the perfect look, but he doesn't have the gravitas you need. I have casting heartburn sometimes when I watch movies (which I do A LOT). What the heck was Samuel L. Jackson doing in the Star Wars films anyway? Hello? He couldn't event say the dialogue right...

Some interesting movies have been ruined by poor casting, like Eyes Wide Shut. Or even mediocre movies made pathetically weak, like The Da Vinci Code. I loved Tom Hanks in Philadelphia, in Forrest Gump, and especially in Splash. But isn't it weird when actors "mature" how they take themselves so seriously and forget to explore? Think Harrison Ford. If he plays one more presidential-like hero I think I'll hurl. And I would have loved to have seen Sam Elliott in that last Harry Potter flick. Don't say you can't picture it!

Okay, enough about casting. You get my drift, so let's get crackin'. Check out our Facebook link or the details below.
ROLES:

LEAD ROLES
Helen- Age 30, female (Bride from the title)
Tall, reedy, classic-looking, a little nervous (5’6” – 5’9”)

Joan- Age 55+, female (Mother of the Bride)
Upper middle-class, reserved,
opinionated but kind demeanor, must resemble Helen

Katie- Age 30, female (Maid of Honor)
Dark hair, street-wise, voluptuous, likes to drink a bit, PR gal

Mary Jones- Age 19, female (Bride #2)
Pale skin, black hair, goth-looking pregnant teen

Gil Jones- Age 45-50, male
Widowed father, slightly gray, post-hippie dad, resigned to fate but warm & protective of Mary

Bridal Assistant- Age 35, female
Discreet, thoughtful. Insightful re. customer needs

Concepción Salinas- 55+, female (Carmen's mother)
Modern Hispanic mother, tolerant, sports-loving, wise and patient

SECONDARY ROLES
Carmen Salinas- 21, female (Bride #3)
Hispanic or mixed ethnicity, fairly pretty, wants traditional wedding

Lucinda- 20, female (Carmen's cousin)
Hispanic or mixed ethnicity

Carlos Salinas (Carmen's father) - 55+, male
Hispanic or mixed ethnicity, traditional, boisterous

Hostess-28-38, female
Friendly friendly

DATES:

CAST Table Read - Sept 26-27
CAST Rehearsal - Oct 3-4
Set-up & Blocking - Oct 11
Shoot - Oct 12-15 (Santa Rosa, CA)
* Possibly one extra pick-up day for two characters

SUBMISSION INFO:

Send resume, headshot & DVD/links to: 1759 Stone Creek Drive, Petaluma, CA 94954
Or email to: museworks [at] hotmail [dot] com

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