Film - Sisters

It’s a wrap!

Good evening, dear readers!

I know it may have seemed like I just disappeared from the world for a while: my social media accounts have remained untouched for almost a month, and I don’t even want to think about all the birthdays and events I’ve missed, the dozen Skype-calls I’ve promised to make and the postcards I haven’t responded to. I used to take pride in replying to texts within 10 minutes, but life in film school has forced me to take pride in other things instead — there’s simply not enough hours in a day to be on top of everything. Thankfully I have friends who understand.

Since last time, I’ve spent nearly a month out and about on film sets, crewing on my classmates’ films and–just now–shooting my very own short film. Read more HERE.

Behind the scenes: Here with the talented Lily Brooks O’Briant and Willow Eve. (Lily Brooks just won the award for Best Actress at the First Run Film Festival, and landed a recurring role in Amazon’s new big series THE TICK. Remember the name) Photo: Cinematographer Kai Torres.

As I may have told you already: Our class of 36 was split into groups of six and during the course of a month we’ll all direct the film we wrote and produced earlier this year. Each of us get a maximum of three days to shoot our films.

So far we’ve done two shoots in the lovely neighborhood of Ditmas Park in Brooklyn, one shoot in Upstate New York, another one in Staten Island, a 3-day overnight shoot in Lynbrook, and before we wrap up this year’s production period we’ll shoot one on Manhattan.

I’ve already told you about the preparations for my film; the intense location scouting in crazy traffic and the never-ending rounds of auditions, but I now have the tremendous pleasure of telling you that the production part is done!

Behind the scenes: Here with Willow Eve, who impressed everyone with her unflinching stamina in the tough conditions. This girl has a bright future on the screen. Photo: Kai Torres.

Director Kathryn Bigelow once said that “there’s nothing easy about shooting” … and I must say that I agree.

The fact that I got knocked out by a fever two days before didn’t help, or that half my crew felt sick on the first day of my shoot, or that 75% of all my background actors never showed up because they “had a death in the family”, or that it was so cold on set that I at one point actually thought we’d have to cancel the whole thing … None of that made it any less hard.


Photo: Kai Torres.

But, thanks to God’s grace, the amazing effort of my hardcore crew, the resilient and extremely talented actors and the steadfast discipline from the assistant director, Joe, we were able to complete the shoot — a full day earlier than planned.


Behind the scenes: Here with AD Joe, DP Kai, Sound Narine and parts of the cast. Photo: Mate Vincze.

We actually ended up getting two days worth of shots during that last day, so I’m more than happy and impressed by everybody’s work.

Behind the scenes: Willow Eve, Lily Brooks O’Briant, AC Mate Vincze and DP Kai Torres.

The rush of working under this kind of pressure, and seeing that things start to flow, and your vision comes to life — beautifully — must be one of the most satisfying things a human can experience. I had so much fun that I’m already looking forward to next time. I just now realized I might need to write a separate post about “directing as an experience” … because that’s what it is; an experience.

End of day 1: When you’re tired, have a cold and you’re struggling to breathe because the location is normally a cat-ghetto and you have a severe case of allergies towards those furry creatures, but you’re very happy things went well. Here with cinematographer Kai Torres and the amazing Melanie Little!

A sunburned, windburned and happy trio. We did it!

A very special thanks to the cast:
Lily Brooks O’Briant as ELIZABETH.
Willow Eve as CHRISTINE.
Melanie Little as MOM.
Chynna Holder as BRIANNA.
Ava Lattimore as SOCCER PLAYER.
Ellen Zheng as SOCCER PLAYER.
Sofia Espinal as SOCCER PLAYER.
Alex Wright as CLASSMATE.
Madeline Hettrick as CLASSMATE.
Arielle Nickerson as CLASSMATE.
All the parents, Hope O’Briant & Alison Humphries.

And the crew:
Co-producer and cinematographer — Kai Torres.
1st Assistant director — Joseph Longo.
2nd Assistand director, set dresser and gaffer — Drake Burnette.
Assistant Camera — Mate Vincze.
Sound mixer — Narine Sargsyan.

+ the NYU Tisch Faculty.

Now awaits a month of post-production editing. I do not expect things to get any less busy, but it’s funny how working on set for weeks makes you hungry for the calm of the editing room. I’ll do my very best to keep you posted along the way.

Here’s a screenshot for ya:

Have a blessed evening,
Maria

 

 

They said it would be fun

If you read my previous post, you probably remember how I explained a day at the park as if it was the happening of the year: Two fresh-air-deprived film students who hadn’t seen daylight for weeks + a violently cold day + wet shoes + hours or location scouting in an abandoned park in Brooklyn = FUN!

You see, our complete lack of freetime forces us to find joy and relaxation in things that most people probably wouldn’t even find to be worthy of the three letters “F-U-N” — and that’s how these stories of park-exscursions and other expeditions come to life.

Don’t get me wrong, the most fun thing we do is called filmmaking, and we do it all the time — 17 hours a day, to be exact. It’s just that even film nerds need a moment to breathe sometimes.

Since Kai and I are producing each others’ films and neither of us seem to have the ability to write easy stories, we’ve both been on a desperate location-hunt for weeks. As a final resort, we decided to devote one more Saturday to scouting.

Since it’s highly discouraged to drive in New York City — especially for foreigners and out-of-towners — we decided to rent a car and drive until we found the locations we needed. The fact that I’m a foreigner and she’s from Florida didn’t get to have a say in that decision.

Nevermind our distorted smiles. Surveillance mirrors tend to make your face that way.

But it actually went so well that I didn’t mind spending the entire 12 hours in the driver’s seat. Yes, you heard right; we were on the road for 12 full hours, and must have visited every corner of New York State.

We drove so far upstate that things started to look like Canada, so deep into Brooklyn that we found a Target that looked like a Midwestern one, and spent so much time on Staten Island that we decided we’d never want to move there. Ever.

I looked at it, and it turns out that we could’ve made it to Chicago in that time. Or Indianapolis. Or Charleston in South-Carolina. Or Montreal and back.

As the sun set behind the Manhattan skyline, we headed home and returned the car with one less thing to be stressed about.

Now awaits heaps of paperwork, permit applications, meetings with park managers, acting rehearsals, logistics, budgeting and never-ending stream of problem-solving.

This is filmmaking.

They said it would be fun.

And it is.

Even if it doesn’t sound like it.

It is.

🙂

Breathing Tisch

Good evening!

I just wanted to stop by for a second before I allow myself the two-hour “weekend” I’ve been longing for since my last post, where I plan on watching something silly on TV and go to bed early. Yup, you heard right; I used to be a vocal opponent of TV-shows, but now that I spend every breathing moment thinking about film, I have started to appreciate the low-quality sitcoms that allow me to turn off my filmmaking brain for an episode or two.

These past few weeks have mostly consisted of class, more class, shooting directing exercises, editing directing exercises, thinking about directing exercises, script-writing and pre-production work for my upcoming short film “Sisters,” which is–by far–my biggest project yet. I can’t wait to tell you more about it!


I have made time for some relaxing too — in the form of running my heart out at the track, ahh.

Like I’ve mentioned before, one of the first things we were told at Tisch was to avoid working with animals and children for our early projects, because of the extra challenges it has caused for student-directors in the past.

So, what did I do? Well, as you know, my first NYU-film was about a pigeon — and now I’ve somehow managed to write a script with three kids under 11 years old as the main characters for my spring project. But I’m SO EXCITED about it!


Where the inspiration came from? This. When my sister and I were young enough to rock the 2001-fashion.

Kai and I spent the entire weekend auditioning young actors, which turned into a great learning-experience. The fact that 136 actors submitted applications to be in MY film is just unbelievable. I’m not used to being able to observe, judge and pick actors from a pool this big, and I honestly don’t know how to feel about it. There are so many talented little kids and parents working hard to succeed in the industry, and I wish I could just cast them all.

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Auditions – Day 3🎬

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Yesterday we went location scouting. Again, I could’ve made it easy for myself by setting the action inside one room, but since you know me pretty well by now, it should come as no surprise that I wrote a film that requires no less than three very different suburban locations. Good Lord. I’m praying I’ll find the right spots in time.

Anyway, as two tired grad film students who have lived inside the Tisch building for weeks with no days off, Kai and I found great excitement in traveling into the depths of Brooklyn on an ice-cold, windy and gloomy Sunday afternoon as we walked through miles and miles of marshy park-paths in wet sneakers.

The fact that our conversations started revolving around hypothermia and about how we couldn’t feel our faces did not significantly hamper our enthusiasm for this moment of fresh air.

Blessings,
Maria

Catching Up

Good evening!

I must say that this very moment is a special one. You see, the fact that I’m writing this post means I have 30 minutes to spare, and as a grad film student at NYU that is rare. Very rare. It’s actually so rare that I can’t waste any more time telling you just how rare it is.

Since classes started last week, I’ve spent more time at school than at home, and I’m not joking when I say that we’re talking about 2:1 ratio, but after a very productive Saturday I’ll indulge in a night off; an evening with just Netflix, Pizza and I. Ahhh!

Anyway, besides writing the script for my next narrative project, and attending 29 hours of class every week, I’ve been editing the Viking-documentary I mentioned last time. I don’t know what it is, but editing has a soothing effect on me, and I really quite enjoy the process of piecing together a story, frame by frame. It’s a nice way to relax while also being productive, so even if I’m busy I make sure to enjoy myself.

Follow me on Instagram: Lanoet

But I have taken the time to socialize outside the Tisch building too.

Last weekend I had the pleasure of reuniting with one of my Augustana-sisters, Irene! She goes to grad school in Texas and was in the city for a track meet, so I jumped onto the train and headed for Columbia University where she raced.

For a moment, as we sat on the bleachers and talked and laughed, we traveled back to the time when we were both overwhelmed international students competing in our first college meet in the US. We had both arrived on campus a week before the rest of the school that first fall, and as two European girls with American dreams, we shared our joys, frustrations and English-issues in-between the grueling workouts and ice baths. So to catch up, almost four years after, in New York, at a track, was pretty special.

Have a blessed weekend,
Maria

Onward

Throughout this (extra long) Christmas break, I’ve spent a significant amount of time reflecting over the past semester and all the things I’ve learned. And since this blog’s theme is, already, heavily influenced by my life at film school, I want to share some of the most important lessons I learned while directing and producing my first film as a grad student at NYU Tisch. At the bottom of this post I’ll tell you what’s next on my list of projects.

You can read an earlier posts about the film HERE


Starring the talented Sonya Vai. Photo: Avi Kabir.

It turns out that writing, producing and directing a 16mm film without color, dialogue or music, shot outside, without lights, with only two rolls of film and on a budget that barely made it to three figures was … a challenge, and here’s why:

Screenshot of actress Sonya Vai in action. DP: Qiying Lin.

1. You learn to respect the light
Shooting on film as opposed to digital sounds really cool (to film nerds anyway), but it’s actually an art of its own. Not only do you have to pretend to be a blind surgeon doing a heart transplant when loading the film into the camera mag. Because the light will kill your precious (and very expensive) film stock, you have to do the whole loading inside a light-proof changing bag that has decades of grad student-sweat inside it. You can’t see what your hands are doing, and knowing that even the tiniest light ray will ruin your film, your budget and your dignity only adds to the pressure of performing an already hard task.

Lin demonstrates how the infamous “changing bag” works. 

2. The camera shows no mercy
The Arriflex SR camera from the 1950s is a tough cookie, and YOU have to do everything your digital camera does for you. (WARNING! Technical terms ahead) We had to use light-meter to get the aperture right, neutral density filters to control the light and measuring tapes to get the focus right. It was easily a 2-3 person job to just get the camera ready for each shot.

Ready to roll: Getting the camera ready for each take was a mission of its own. Sonya Vai, Qiying Lin and me. Photo: Avi Kabir.

3. Non-human actors …
The first thing they tell you when you become a grad film student at NYU is:
“We don’t recommend you work with kids or animals. They WILL slow down your production.” So … what did I do? Well, I wrote a script with a pigeon in a leading role. Writing one is easy, finding one is not. I think I talked to every casting agency for animals in New York City (yes, they exist), and I must have visited every bird rescue center and every pet store on Manhattan before I stumbled upon Eddie in Brooklyn. As a pigeon enthusiast and with 80 pet pigeons, he turned out to be an angel in disguise. He showed up with his beautiful white dove, Cleopatra, for free, and he didn’t even want coffee or an umbrella in the storm. What a trooper!

Sonya and Cleopatra’s first interaction was interrupted by the sudden rain. Here with Eddie. Photo: Avi Kabir.

4. Adrenalin for days
You only get two rolls of film, which equals 22 minutes of actual recording time. That means we only got two attempts on each shot, sometimes just one — depending on the length of the action. Combine that with stormy winds, crazy rain and a ticking clock, and you have enough adrenalin for a week.

With director of photography, Qiying Lin. Photo: Avi Kabir.

5. Film is expensive
Some students bought extra rolls of film for a more relaxed shooting experience, but I had to prioritize spending that money on food for the remaining part of the semester. Oh well, the life of a starving artist in the big city.

Screenshot of “TENDER” with actors Sonya and Cleo. DP: Qiying Lin.

6. You have to feed your folks
The director pays for everything on his/her set, and there are rules for how often the cast and crew need to be fed. Thankfully I got everything donated from local stores and was able to shave $400 off my budget, yay!

Screenshot of “TENDER” with actors Sonya and Cleo. DP: Qiying Lin.

7. Rain, thunder, wind …
Our $75,000 worth of camera gear, our bodies and our food was soaked. The only dry creature on set was Cleopatra the bird. In retrospect I see that the rain made my film less bad; it worked with the story and I was pleasantly surprised with the effect it had on the tone of the film.

Not even the rain could interfere with the good moods on set. Here with Sonya, Avi Kabir, Lin and Jorge Sistos. Photo: Kai Torres.

I’m forever grateful for the amazing efforts by the very best, crew 7.

Assistant Director: Kai Torres.
Director of Photography: Qiying Lin.
Assistant Camera: Jorge Sistos.
Sound: Pepi Ginsberg.
Set Photographer and Swing: Avi Kabir.

All in all I’m very proud and happy with how it went, and I can’t wait to tackle our so-called “Spring Narrative film” in a few months. First, I just have to finish the documentary I’m making here in my hometown, and start writing a script for the spring and fly back to the US early next week.

I’ll tell you all about how the documentary is coming once I’m done with the final day of shooting — this coming Sunday.

PS! Some of you have asked if I will publish “TENDER” here, and I regret to inform you that it won’t be posted online. I’ll get back to you with more info.

Now I’ll go prep the equipment for this weekend.

Have a blessed day!
Maria

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