Movie Lovers Only

Augh, I did it again!  I was just jotting down some notes and playing with my camera, and before I knew it, I’d shot a movie!  Actually, it took a little more planning than that, and I involved some very gracious, talented people.

A brief back story:  In January, I watched Paranormal Activity at my apartment.  This was a bad idea, as I have an active imagination and live alone.  However, shooting a feature film on a single camera with a couple friends and a minimum of effects was an intriguing concept.  The camera in the film is a top-notch professional camera, but couldn’t one tell a story in the same way using a different, cheaper camera?  I conceived of a feature composed entirely of footage from consumer devices: webcams, cell phones, security cameras, etc.  Instead of trying to make the whole movie, I got a Flip Ultra HD Video camera and decided to film what I envisioned being the opening of the film, which I always thought would be a standalone story of its own.  The result is the short film you see here.  (Warning: mature content)

Please share this with friends.    Below is what I call “print commentary”:  some notes about making the film instead of just detailing the whole process.

0:00 – This opening isn’t as creepy as it is unsettling.  Even though there’s no picture, there’s a lot being communicated here with the lack of it.  Not to mention the sound.  This scene immediately invites the viewer to engage by asking questions.

0:35 – A confused man’s face.  A messy apartment.  The audience is being given answers little by little, but there’s a lot being fed with no overt explanation.  Oh, that’s my apartment, by the way.

0:43 – Momentary Batman cameo.

0:47 – This was the most difficult shot in the film.  There’s blue tape on top of a Tupperware bin marking where he’s supposed to set down the camera in order to frame everything correctly.  But he had to do it fast with a very small margin of error.   We have a number of botched takes where something crucial is out of frame.  And this is a long, continuous take.

1:03 – Ronda’s a great sport.  Apparently, she and Abby did something with tape (?) to keep her bra in place, but to this day, I’m not really sure what it was.  They refuse to tell me.

1:36 – This shot was difficult as well, but there’s less to frame.  In fact, the effect is heightened by what little we actually see of the actors.  Plus, we didn’t need a prop for the cocaine this way.

1:50 – The slap is an aural effect, avoiding too much explanation.  We do see his hand fly up, then suddenly, hair hits the camera.  The slapping sound is actually his hand hitting hers, but it sells.

2:01 – This was an unexpectedly unnatural moment for both actors in rehearsal.  It was made a little easier by the fact that they were acquainted before the film.  I think it works well with the abrupt cut.

2:04 – Abby got to say “action” on this scene so I could wait outside to say “cut.”

2:28 – The dynamic lighting in the hallway is just the way that hallway really is.  I love the feeling of movement and eerie quality it creates.

2:51 – Unintentional but very desirable washout.  Again, it helps to have things happening on the screen while we’re in transition here.

3:12 – Sam’s hands are his most ominous feature.  Good thing.

3:27 – One of the best things about this approach was that the way each character handles the camera says something about who they are.

3:44 – I told him to mumble, but not what to mumble.

4:04 – Abby’s cameo.

4:34 – The reflecting red light on the peephole was unforeseen, but again, there’s something about it that just seems right.

5:00 – There are takes that reveal more, but the off-camera slap and brief glimpses of silhouettes on the wall in this take are more effective.

5:02 – Honestly, the rape is less graphic than I’d imagined, but it’s the thought, not the visual, that’s most disturbing.  The shot was written to be Mandy’s leg, but focusing on her face made a lot more sense.

5:27 – Abby’s house.  The doormat says “Wipe Your Paws.”  Which he does.

5:45 – This was a great location, and one of its best features was the changing floors between the door and the basement.

6:07 – He gave Chris a nightlight.

6:14 – By far the dirtiest-looking scene, and I have no problem with that.  Low light isn’t the Flip’s best environment, but I think it suits the climax well.  Chuck’s performance comes through loud and clear.

6:18 - The sound quality of Sam’s voice behind the camera contrasts well with Chuck’s in front.  Sam’s is almost godlike.

7:02 – The tension in this take was palpable.  It’s never more obvious than at this moment.

7:22 – In a simpler version than my original plan, Sam’s shirt was pre-bloodied (new word!), and he charged empty-handed.  When he stood up to walk to the camera, Abby handed him a real knife.  Movie magic.

7:27 – If you pause here, you can see a hand print on Sam’s chest.

7:28 – Sam’s eyes are perfect for this ending.