A short documentary which I shot for Tamara Scherbak in Trinidad & Tobago will be premiering at Hot Docs this May. I am particularly proud of this project because of the “rich cinematography” we were able to shoot came from a very small and limiting camera, the Sony Webbie PM1. We used it because Tamara was competing in a TIFF Talent Lab Emerging Filmmakers competition, and they provided it. It’s a small and low cost HD camera that isn’t really built for filmmaking in any way, but it goes to show that when you use the tools you are given – and know what they are capable of, you can still make beautiful work.

Tamara and I discussed it for a while, and noticed a number of things about the camera. First, the compression is very high, and as a result anything moving becomes jello, or stuttered. Also, it seems as though there is a very high shutter speed when shooting with a lot of light automatically, which I assume is done to lower the light coming onto the sensor rather than stopping down. This is amazingly annoying because it looks as though everything is fast motion (even though it is not) and again stutters and strobes the footage. What we ended up doing to work with that is we went for a super 8 pushed a few stops kind of look (some of that accomplished in color correction) and I think it came out very well. Second, Tamara accented the strobe to add a feeling of desperation in the underwater (or by the waves) shots, which added a sense of uneasyness.  Along with the “haunting musical score” she created, it made the piece really stand out.

We also used an underwater bag which helped us in two ways, one obviously so we could shoot close to the water and underwater, and second, because the plastic of the bag shined from the sunlight and added really interesting lens flares to the footage. The bag itself was about $20, and we got some really nice stuff from that small investment. In fact, we used a bigger brother to that for Mr. Crab’s underwater sequence (and a DSLR), and it worked flawlessly.

Tamara and I will be attending Hot Docs this year in Toronto, so if you are around, please join us at one of the three screenings!

Emmanuelle Francoeur and Bourbon the Bulldog from Dog Sitter (2010)

“Dog Sitter” a short film directed by Adam Reider which I produced will play at the Tromodance film festival in New Jersey April 22-23, 2011. Congrats to Adam, who is very excited to have his first film play at a film festival, and to the entire cast and crew who worked on the project. More details to come once the festival works out their schedule.

Here is a link to my bio Caribbean Tales put up on their site.

http://caribbeantales-events.com/?page_id=3673

I am very happy to announce that I am one of 10 producers selected to take part in the Caribbean Tales Content Incubator program, starting in mid March.

“More than 50 producers applied to this year’s Content Incubator program. The unique program, part of the CaribbeanTales 2011 Festival, Symposium and Marketplace, aims to provide participants with support to develop their new projects through intensive analyses and interventions by international consultants. This year’s incubator focuses on exploring popular local characters and stories that will draw large audiences and funding.Filmmakers will also take part in other events during the festival, like the Symposium, public workshops and screenings, and benefit from networking opportunities with local and international attendees. At the event of the week, they will have the opportunity to pitch their projects to a panel of buyers at the Marketplace that will take place on March 19th.” – from Caribbean Tales website.

I’ll be developing a fiction television series called “Welcome to Trinidad” in Bridgetown with some really talented people, and I couldn’t be more thrilled about it. A trip to Barbados, of course, is icing on the cake.

This comes right on the heels of me finishing up my short film “Mr. Crab”, which is very appropriate since it also features Trini – Canadian culture and caribbean mythology, much like the show I am currently writing. I’ll be posting some film stills here soon, along with any updates about the Incubator or the tv series.

Animation by Eva Cvijanovic for "Little Girl"

Generally the films I make or am a part of take a long time, a great deal of pre-production, and a lot of loving and caring in post. Things don’t always work out that way, case in point, the music video I produced for UrbanHanded Works last month. James Hoffman directed yet another video clip for the United Steel Workers of Montreal, this one funded by FACTOR, and not from the band’s pockets which was nice for a change. The song’s name is “Little Girl” off the album Three on the Tree. Our budget was still quite tight, and we had to call in a few favours, but I have hope that this signals a new stage for the band so next time we can pay our great volunteer crew.

We went from greenlight to production in about three weeks, and James edited the piece in less than 3 days. Our reasons for being rushed were complicated, but basically we had a deadline to send back to FACTOR we didn’t want to try to extend further. It all worked out, and we got the project in on time, which I am very happy about. Deadlines are great because they push us to finally call something “finished” even if we could probably work on it for another few weeks, if not months.

My own short film, Mr. Crab, has taken a long time to produce because I waited for crew to become available and the summer to arrive to shoot. Then in post because I took my time with the picture edit, and gave my musical composer Jawad Chabaan and sound editor Emory Murchison a great deal of breathing room so they could fit in a few other projects. That and festival application season wasn’t upon us. And then… it was.

The result? Rushing at the end. I haven’t worked on a film where we weren’t rushing at the end yet, and I don’t think I ever will. Perhaps it is human nature. We need deadlines to give us a reason to move onto the next project. When you’re an independent artist it can be too easy to work on that project you’ve been nurturing forever, for – well, forever. But there is a bell curve to the benefit that extra time will positively affect the project. Some would argue too much tweaking can hurt a film, and I tend to agree. But where is the healthy balance? I say, make a realistic deadline, and stick to it.

Unless you have to break it, so you can slightly change that shot that has been bothering you for a while. Trust me, I’ve been there.

Cafe with Shabella & Lilian

I do a lot of things for work, my favourite ones being writing and directing. But I also edit, act, produce, and do camera. I occasionally cater the sets I work on too, just for kicks. I always have fun being the cinematographer of a film, even though I usually get someone else (like Osheen) to shoot my own fictions to keep my focus on the actors. I also think he’s far better than me, which is why eventually I’d like to stick to the writing/directing angle. That said, right now I am shooting a feature film for Phaz Entertainment, directed by Phad Mutumba. I edited his and Xena Bantarizah’s first feature, the award winning My Policy (Chairman’s Award at the Zanzibar International Film Festival), and this time I am taking on a lot more responsibility.

Girlfriends chatting after dinner

Phad is making films for the (very) low budget African market, centered in Nollywood, although Phad himself hails from Uganda. Nollywood films have a fairly low production value as a result of some of the features are actually made in as little as a week, which to any other standards would be considered insanity. We’re trying to go a number of steps past that though, and make this something special. It takes a lot more time than a week (more like 10 weekends), but so far the movie is looking really great.

I am very involved in this film. I am the screenwriter too – having rewritten a draft Phad and Xena wrote based on their original concept. Add to that I will be editing – so that’s three roles in one movie, which is why I call myself a Jack of All Trades.

Shabella played by Whitsa Jean

We’re only about a third of the way into the production of this movie, and so far I am really happy with the images  we are capturing. The talent is superb and Phad’s doing a great job getting them ready for some really difficult scenes (did I mention that this is a movie about a musical act?). In any case, considering we only have a handful of lights, and roughly 1-2 other person(s) other than myself working behind the scenes, I am happy with what we’re doing.  More on this film as we move along with the production…

Drop off and pick up service.

As I mentioned in a previous entry, I am concerned about my filmmaking’s impact on the environment. I’ve been thinking about electronics and garbage recently because my old 1996 TV has finally decided to give up on life, and I need to figure out what to do with it. Of course, in a way I am happy because after years of shooting HD I am finally thinking about buying a TV capable of showing those images properly. Only thinking of buying mind you, as there is no way I can afford such a luxury right now.

That said, I try not to replace computers or electronics too often also because I know I don’t want it to end up in a landfill.  I actually still have the powerbook 150 my dad bought me in 1996 sitting in a closet.  This same vintage JVC tv on the other hand needs to be disposed of some way, and as opposed to just throwing it on the sidewalk, I am determined to find out where I can bring it so it doesn’t end up trashed and polluting our waterways with more lead and mercury among other things.  What I found was this place: PCRecycle.

The business recycles computers mainly I gather, but other e-waste like printers, scanners, monitors, and of course, televisions.  The best thing is they don’t end up shipping it out to third world countries, which often gets boatloads of this kind of junk – and children end up tearing it up and selling what they can find that is valuable. Needless to say, those kids (and adults) are exposed to terrible toxins, and the parts that aren’t easily sellable are just chucked in a pile.  A very, very large toxic pile, as I have seen in Bangladesh and heard of in many other poor countries.

Even local first world businesses can be guilty of saying they are recycling, but actually burning plastics and other materials to get to the valuable metals (gold, copper, etc) and letting many unhealthy gasses into the environment. I suppose, I like everything, do your research and don’t be so cheap you won’t pay a few buck to properly dispose of an object.

So please, if you are throwing something away that has electronic components, think about bringing it to a place like this in your community. With all of our gadgets becoming obsolete so quickly nowadays, it is a growing problem, and one we can easily deal with sooner rather than later.  It’d be nice if things lasted longer (although I can hardly complain about my 1996 tv) but that is another topic for another day.

Director James Hoffman, AD Adam Reider, DP Tristan Brand (in back), and producer actor Faisal Lutchmedial on location.

We wrapped for James Hoffman’s film this last weekend, while it was raining, and right before it started snowing. I can safely say we are very happy with the results.  A great crew helped us make what we hope to be a pretty funny, occasionally thoughtful, and sometimes disturbing short film.  James has assured me he will try to make me look good.  As good as I am supposed to look, considering I was supposed to be dead the whole way through.

The cold weather and night shooting, along with my not so warm costume has come close to killing me actually – one of those downsides you pretty much accept when you decide to shoot a movie that was originally supposed to take place in the summer very close to winter.  Thankfully my costume changed from gym shorts and a tank top to a black suit, or this message may have very well been sent from the grave.  Did I mention I didn’t go out for Halloween because I was sick?  Very sad days indeed.

In any case, as I sip on my ginger lemon honey tea I am reminded that all good things require sacrifice. I am all about good balance, but sometimes one needs to be all out selfish with their time and energy to move ahead with their projects. It’s a difficult thing to do and still keep yourself happy.  Adam Reider, who was the AD on “Things Worse” and has worked with me on several productions now, just mentioned in his blog that he’s lost a girlfriend and given up lots of opportunities to go out and enjoy himself because he’s been pushing so hard to make a film career work.  I’ve been there too, all too often.  But I keep on telling myself that it’s what you have to do.

Or maybe not.  There are those who have great social lives, get married, have kids, and are successful filmmakers or other artists.  It happens, so I have heard.  So I guess there is a balance of sorts to be found, or perhaps its about finding the right people to surround you so that everyone is moving toward the same goal – and they actually get there sometimes.  I’d like to think that that was true.  Someday, the money will come more plentifully, I’ll be continue to be deliriously happy with my social life, and I’ll be making art full time.  That, I think, would truly be sick.

Everyone’s seen this video by now, but I thought I should comment on it regardless.  My first impression is that it’s brilliant.  I have a very soft spot, like about a billion others, for The Simpsons even though I haven’t really seen about 12 of the last seasons.  Anyhow, before going on take a look if you haven’t seen it already.

After seeing it a few times my opinion stays pat: brilliant.  It’s true that I could say that this dumbs the issue of sweatshops down to a homer simpson level, and making black humour over the very serious issues of child labour is not productive.  But I don’t believe that.  I think anything, especially in mass media, that makes people think critically on even a subconscious level about sweatshops and their own personal consumption, is good.  I also think that the whole discussion about sweatshops can be unapproachably dark, and sometimes a joke can start the conversation going, breaking the ice.  How many discussions, serious discussions about sweatshops do you think got started by this viral video?  It’s got 2.5 million hits thus far, so even if 1% of people started talking, that’s a huge impact.

A unique magical taste.

My Cultural Divide tried to do this to a point, but only with a micro fraction of the viewership.  I am proud of my film, and I am glad that people still have the chance to see it online via this website.  But I could never have the viewership a a major tv show on a major network has. Hopefully, people who have begun to think about working conditions for adults and children (and unicorns) because of Banksy and The Simpsons, will seek out more information and more in depth discussions. Maybe some of you found yourselves here because of it.  If that’s the case, you’re welcome to watch my film, start up a discussion, or follow some of the many links on sweatshops connected to this one.

My Cultural Divide Official Site

Shashin at Desk

I have been doing a lot of writing lately, trying to get my next projects in full swing before I have finished my last one, which is either a good idea or foolish, I am not sure which.  Regardless, I thought I would share some thoughts about the writing process, and how I go about working on a new script.

I recently saw an interview with Darren Aronofsky (whom I admire greatly) where he said that the first draft of a script should be written in a burst of energy, not taking time to rework anything, and not worrying about it being a piece of garbage.  I tend to agree, however I find it difficult to do so.  I take a little more time on my first draft because it is where I am crafting the story for the first time, although I would be being generous if I was to say that my first drafts are any good.  On the contrary, they are always terrible.

What I have started doing though is giving first drafts to my trusted collaborator and writing partner before even going through it too much myself.  I used to never do this – partially because I didn’t have someone I trusted enough with my raw ideas to give a script to – and mostly because showing someone a first draft can be embarrassing.  It’s like being naked in front of a jury.  A jury that is very critical, and doesn’t hold back about any shortcomings that you may have.

Finding a collaborator like that is like striking gold.  Certainly you can pay for advice and script analysis, but knowing someone who knows you, and what you are probably trying to do, is so much better.  And not to mention free.  But you have to be open to the criticism, and you can’t take it personally.

I think the key to improving at anything is taking criticism well, and knowing where to look for it.  I have gotten loads of criticism from sources I have ignored completely.  And some  that I have taken to heart more than was intended.  Understanding who the person is that is giving the advice is as important as the advice itself, and it is why I treasure good writing partners.

It’s in the second, third, and subsequent drafts where I like to be in any case, it’s where the real shaping and storytelling happens.  It’s where the idea becomes more than a flash in your mind, but a fleshed out fully thought-out story.  It’s where the magic of writing happens: where the tone and pace start to take form.

The script I am writing right now is a feature drama called “Path of Light”.  It’s a story that’s been in my mind for literally years, but once it came out written down on a page, the idea shifted.  I didn’t imagine this story was the one I was going to tell at first, but over time I realized it is the story that I want to tell, and a much more interesting one than I thought of when I had my initial inspiration.  Initial inspiration is beautiful, it’s kind of a full movie told in splendid moments in your mind, one that no one ever gets to see other than you.  Tragic, but dreams are a personal thing, and as similar as it may feel, movie making is not dream making.  That’s the illusion.

I say all of this knowing my professional experience is limited.  I have made a couple of good professional short films, ones that I am proud of.  This would be my leap into long form, and I hope I am ready for it.  When I was much younger I made what amounts to a medium length fiction on video, and consider it a student film since I was just out of school, and had written it then.  I learned quite a bit from the experience, but the main thing I learned was to not go into production if you are not ready.   Not ready because your script is not working, not ready because your idea isn’t fully formed, not ready because your actors aren’t prepared, etc…  Now, as I embark on a true professional fiction feature, I hope I have learned enough lessons to make a film I can be proud of.

And I know it all starts with the script.