Director Jeff Heimbuch, Actor Matthew Blazi, Special Effects Designer Mike Lombardo, and Key Grip J.F. Gonzalez
This weekend, I worked a little bit on The Lost Level and the script for The Last Zombie: Before the After #2. But mostly, I worked in my role as executive producer of Fast Zombies Suck – the first film from Drunken Tentacle Productions. An executive producer basically does two things — finance and bankroll the majority of the project, and make sure all the trains are running on time.
Our budget for Fast Zombies Suck is $1,000. So, as executive producer, it is my job to make that money stretch (and since it’s my $1,000, I have a vested interest in doing my job). That $1,000 pays for everything from the actors fees to the special effects to the catering to the medic on standby to the blanks and blood cannon we’ll be firing. So I’ve got to wheel and deal and make every cent count.
Assistant Director Mike Antonio tests his new camera
An Executive Producer also pays for things not in the budget, like breakfast this morning for Director Jeff Heimbuch (The Ties That Bind), our lead actor Matthew Blazi (Land of the Dead), Special Effects Designer Mike Lombardo (Suburban Holocaust), and J.F. Gonzalez, who didn’t have a title, so we made him Key Grip. None of us are sure what a Key Grip does, but we are certain that J.F. will be very good at it. (Not present at breakfast but also part of the team were Assistant Director Mike Antonio, Post-Production Supervisor Dave Thomas, and Director of Photography Dylan S-C)
After breakfast, we had a casting call for the part of Jessica (who is not in the story, but is in the movie). The casting call was held at Epic Dermis Tattoo Shop in East Petersburg, PA. Actresses — some from as far away as Virginia and Baltimore and others as local as York and Lancaster — showed up to try out for the part, reading their lines with Matt while Jeff and Mike A. filmed them. After the first read, Jeff would give them different directions so that he could see some examples of their range and abilities. Most actresses read two or three times. Then they were done, and at the end of the day, while eating hot dogs and chili at Casa Lombardo, we began deliberating who should get the role.
Mike L. and Jeff test out the casting couch
Which is the part of being Executive Director that I suck at. Because I liked every single actress and every single reading. Each young woman we met today was incredibly talented and charming and enthusiastic, but we can only pick one. And that sucks. That sucks in ways I can’t even articulate. I felt so bad about it that I tried to talk the rest of the team into letting me re-write the script so I could create extra parts for all of them. But sadly, we can’t do that. And I hate it. So far, that’s been the only frustrating part of this gig. (Well, that, and getting permission to fire blank ammunition and shut down city streets. And the fifty-bazillion people who want to be zombie extras when we only need twenty).
Me and Jeff (photo by Matt Blazi)
But pick one we will. And after that, we’re less than two months away from filming. Next month, we test out the blood cannon. If that goes well, then the actual filming will take place August 11th and 12th, provided I keep the trains all running on time like a good Executive Producer should.
So, that’s what an Executive Producer does. I could get used to this. It beats the hell out of writing books and comics. Well, expect for the casting part. I still think they should let me create extra roles…
Thanks to all of the wonderful actresses who came out today, and extra special thanks to Epic Dermis Tattoo for letting us take over their shop. And extra, extra special thanks to Mrs. Lombardo, who fed us well.
Menacing sexual advances aside, I think the day went extremely well, we had a lot of talent walk through that door, and it is going to be a tough as hell decision for casting. I think the most important thing we all learned today is that invading my mom’s house and guilting her into making us all chili was the right choice. Indie filmmaking doesn’t have a lot of perks, but damn could I get used to this!
I think that if enough of these fine folks were to go to Facebook.com/DrunkenTentacle and “Like” the page, I just may be inclined to post a video of the first blood cannon test…What do you think?
Funny that you say Exec Producing a short film is more fun that writing books and comics. I come from the opposite artistic background and feel exactly the opposite. I’d rather spend the time you spent last weekend just to find a single actress and get your financial ducks in a row on writing a bad ass story that doesn’t involve any of the headaches or rigamarole that goes into the production of a film. I won’t waste space here being a cynical ass, talking about how even the best laid indie film production plans will catch fire in front of you like a household pet who’s just chewed through the Christmas tree wire, but suffice it to say, they will, while writing fiction presents only the challenge of tedium. Regardless, good luck, have fun, and don’t let Lombardo near you while you sleep.
Just $1,000? I’m sure this is a question you’ve probably heard a gazillion times already and that you probably have good reasons for not going this route, but I gotta ask…why not Kickstarter? I’m sure there are a lot of your readers who’d pitch in for this (and/or other projects).
BLOOD CANNON! Dude, I have to be there for the test firing.
The key grip a.k.a. head grip, is in charge of all the other grips on the set. The key grip works closely with the best boy who takes his direction from the best boy grip. Grips are an integral part of the production team. it is important the all the grips work closely together. When all the grips perform their duties correctly and efficiently, production is usually flawless. Without the grips it would be mayhem. Hence the term “Get a grip”
Nicole: Because that’s not what we are trying to accomplish, nor does it fit with our mission statement.
Kevin: Novel, stories, and comic scripts also catch on fire in front of you. Give it time…
Yesterday was a great success and i think the energy surrounding this film will propel it to a great finished product easily.
I just realized I’m in everyone of those photos. I unintentionally photobombed them all.
Dear Brian –
1) I bet your director of photography knows what a key grip is! (And tell poor Jesus he better get good at rigging lights and camera gear QUICK!)
2) I LOVE auditioning performers. Reason being, a) I love actors, b) I love finding the person who’s absolutely right for the part, and c) I love meeting actors who aren’t right for this one, but might be perfect for the next film, or the one after that.
Yes, rejecting people is horrible. But it’s the exact same shit you run into when editing anthologies, or publishing lines. You pick the right people for the project you’re doing, and let the rest know that they’re on file for future projects.
And the beautiful thing, when you come to the next project, you can tailor the part to a performer you’re excited to work with. Let their look, their performance style and such inform the writing itself.
So I totally get your impulse to write new roles for all of them. I have that impulse all the time. You just have to channel it over the long haul. Or prepare to totally rewrite, and probably triple your budget (at least) in the process. Cuz more people means more money. More complications. More everything.
As for this one: I assume you’re gonna do callbacks for your faves. That’s when you’ll see who’s bringing ideas to the role, and the story. Who’s responsive to input from the director. Who listens well, and takes direction. Who changes shit up, instead of just giving the same reading every single time. Who is gonna be easy and fun to work with. And who will fucking deliver, in the clinch.
That’s also when you start bouncing actors off each other, looking for chemistry and liveliness. You’re not just casting a role; you’re assembling an ensemble, and a team that will work and play well together.
In the end, the director has to make that call, because he’s the one responsible for making shit play on camera, and he’s the only one the actor should be taking notes from. (All your notes should be funneled through him, to keep the protocol clear, or you’re asking for trouble on set.)
Bottom line: THERE IS NOTHING MORE IMPORTANT THAN CASTING THE RIGHT PEOPLE. That goes both before and behind the camera. You’re assembling an assault squad with a mission. Everybody has to be aces, or it falls apart.
Out of all the excellent women you auditioned, there will be one who can best hold the screen, embody the character, deliver the action, convey the emotion, and make your motion picture rock in every way it needs to.
She is your star.
Choose wisely.
3) Past casting, there is nothing more important than good food. People often perform miracles when properly fed. I know I do! YAY, MRS. LOMBARDO’S CHILI!!!
4) Kevin — The grass is always greener on the other side of the goddam hill. What’s exciting for writers like Brian and I is that we get to step out of the solitary room for a minute and find new vocabularies for telling stories while hanging out with other hard-working talented people. It enbiggens our creative world. Stretches us in new ways.
If you do nothing but work in film, there’s nothing more refreshing than sitting back and telling a story all by yourself. No committee. No money to raise. Just you and the keyboard, making up cool shit.
That’s why novelists and filmmakers are in awe of each other. Because they aim to achieve the same kinds of audience impact from such different angles of attack. Such different lifestyles. Such different talents and techniques.
I love creative crop rotation: using different parts of my brain and personal time management/skill set to make cool art-o-tainment happen. It’s what keeps me lively. And is the best antidote to burnout I’ve ever found.
5) Brian and team — I’m SO EXCITED FOR YOU! Hope this project delivers everything you aim for, and steers you clearly toward the next, and the next.
As a guy who loves movies, I can’t wait to see!
Yer pal in the trenches,
Skipp
I love you Mr. Skipp.
I was thinking the exact same thing when I read this earlier, Lombardo. Mr. Skipp, your words are, as usual, truly inspirational.
Dear Misters Lombardo and Gorebeast –
Aw, shucks, fellers. Thanks! JUST TRYIN’ TO HELP! Andrew Kasch and I are in the midst of casting right now, too — we’re shooting a trailer for THE LONG LAST CALL in a couple weeks, on a similar micro-budget — so all this stuff is very much on my mind.
And incidentally, I now have to write a story called DEAR MR. GOREBEAST. You gotta admit, it’s got a nice ring!
Yer pal,
Skipp
FANGASM!!! I’d read that!
Dearest Uncle Skipp,
My 21 year old son will camp out, at the very least, 3 or 4 years on a sidewalk for the impending release of “The Long Last Call’. If only to hold my place in line. He’s a good son.
Nephew Jeff