Tag: TJ Clark

10 February
ibrews

I mean, I’ve made videos and stuff (check the Slacktory videos on my media page), but this is the first one I’m taking (somewhat) seriously. But I know your first question: why am I posting stuff about a film on my theatre page? Good question friend! Two answers: 1) Because the film is based on my play, ‘The Following is Based on True Events (from a Video Game)‘, and 2) Because I don’t really have a better place to write about this. Sure, I could put it on my media page, but if you look at it, well, it doesn’t really want anything text-based.

 

A little background: from the day I finished writing this play, I thought it could work as a short film. There were a lot of things that that we did in the play with the projector and, well, Dan pretending to be a mouse clicker, that are quite simply better-suited to post-production. I didn’t pursue this for a while, but then one day brought it up to my good friend Alex Schmidt (who introduced me to Nick Douglas at Slacktory), and he said that he’d be thrilled to help me make it happen, so he set off to try to find a director. There were a couple times when it looked like it might happen, but then something would go wrong and we were back at square one. Then in December, something silly happened: Nick Douglas sent me an e-mail with the jist: ‘hey, I love your Sims play. Would you mind if Slacktory made a short film out of it?’ Alex Schmidt and I had to laugh a little; why had neither of us thought to ask him in the first place?

 

Fast forward to Monday January 27th. I’ve recast TJ Clark and Mike Finn who played Mortimer Goth and Bob Newbie, respectively, in the original play. We’re in the apartment of a friend of Nick’s who has a sizable green screen. Nick is running sound. I’m directing and camera-operating. Alex Schmidt is there doing every conceivable other task, from operating B-camera, to fixing falling green screen, to running to Wendy’s to get burgers (for the burger scene). We filmed from 10 AM to 2 PM and everything went great (I think).  We worked out a SAG New Media contract, used two $100 Panasonic Handycams, and I’m thrilled we were able to use nice audio equipment (audio is always the quickest way I’m able to tell if something is professional or not). The only real problem was lighting, since the apartment wasn’t really set up to handle greenscreen so we relied on a skylight, providing inconsistent lighting.

 

Anyway, I’ve got a ton of lead time on this– it’s going to be a 5 minute-or-so sketch video, and doesn’t need to be done until The Sims 4 comes out sometime in the Fall. Since I can take my time and really do this right, I thought it would be neat to chronicle my progress; I’ll articulate my thoughts, problems, and questions as I progress through the post-production process, and hopefully you’ll give me your advice and ask me the kinds of questions that will lead to a better product. It’s also nice to imagine that many of the struggles I’m bound to go through in the coming months will be common ones, and hopefully solutions we find to my issues will be helpful to others as well.

 

Here’s some things I currently know very little about that I’m going to have to learn a lot about:

 

  • Color grading
  • Camera tracking/stabilization
  • Chroma Key (I made this Breaking Bad Parody for my office’s Holiday Party a few weeks ago, but that’s about it)
  • Inserting virtual 3D models into real-life footage
  • Simulating fire/explosions/smoke
  • Simulating stuff appearing and disappearing out of nowhere
  • Matching shots of this with shots from the actual Sims video game
  • A whole host of things I don’t even know that I’ll need to know about yet

To start, I’ve decided to upload all of my footage at private links on youtube so that I can peruse what we captured at my leisure and use youtube’s comment section to call out anything from takes I like to issues that will need addressing. If you’d like to make such comments, you’re more than welcome!

 

Footage from Camera A

Footage from Camera B

Random Photos

 

Here’s some of the software I’ll be using:

  • Adobe Premiere CS6
  • Adobe After Effects CS6
  • Adobe Photoshop CS6
  • Audacity (never really liked Adobe Audition)
  • 3ds Max 2014
  • Vray 2.0

If you plan on following this, thanks~! I look forward to your feedback and hopefully teaching each other a few things. I’ll also be charting these posts over at Filmpunch. So what am I doing right now? Watching all that footage (obviously), but also watching lots of tutorials regarding After Effects and Premiere Pro.

 

Here’s what I’ve learned so far:

 

AfterEffects:

  • don’t use AfterEffects for Camera Tracking. Use Mocha.
  • don’t use AfterEffects for Rotoscoping. Use Mocha.

Premiere Pro:

  • use the shortcut keys while editing to seamlessly switch between ripple edits, sliding edits, double-sided edits, etc.
  • delete that pesky cuda_supported_cards.txt file in the Premiere Pro directory to make everything a thousand times better. Geezum crow how did I not know this?

 

More soon!


10 September
ibrews

B

One of the ways I measure the merit of a play is by how much discussion it generates afterward; my gut reaction after the show ended was B-, but because of how much mileage my wife and I got out of talking about it, I’ve bumped it up!

 

Hoo-rah!

  • Great acting on all fronts. Maretz as Wool pulled off the ‘highly-literate sports star’ swagger extremely well, and Gabriel Wright as his best friend Jason made a huge impression with his short time on stage.
  • I liked the simplicity of the ‘moment of crisis’ that set the play going– simple and compelling.
  • Liz liked the writing… so I’ll put that here.
  • Set design was thoroughly serviceable, which I far prefer over flashy, takes-forever-to-do-a-set-change stuff
  • Loved the radio broadcasts charting Henry Wool’s career that played during set changes. What a cool counterpoint to have the rise of his career play off the fall of it.

Blech…

  • Simple rule of playwriting that I am yet to feel exception for: NEVER make your second act longer than your first. The first act was well-paced and wrapped up a little under an hour. The second act, however, was nearly an hour and a half. This meant I organically felt the show was constantly about to end for the last three or four scenes.
  • The play did feel simply too long. Not that there are scenes I would have cut out or anything– I just think there was too much story to be told for one play. Divide it up into two plays, and make them companion pieces like reasons to be pretty and reasons to be happy! One of the plays could have focused on the reporter trying to get a story then ultimately deciding not to run it for fear of ruining Wool’s life. The second play could focus much more on Wool and all of his interpersonal conflicts between his dad and girlfriend and agent and ‘new rising star kid’, which basically felt like Friday Night Lights-lite.
  • The characters and their means of conflict resolution felt too similar across the board: sarcasm and yelling a lot. I initially blamed this on the writing, but Liz thinks it was a fault of the directing– a lot of the ‘loud’ moments could have been played much quieter with even greater impact.
  • Didn’t like the ending. To start, I think talking ghosts are rarely if ever well done, and it seemed to be a strange choice to have the play devote so much energy at the last minute to the father son relationship, which until that point felt like a B or C plot.

 


30 May
ibrews

The only full-length play I’ve yet finished, ‘Mr. Nice Guy’,  is a play I sincerely believe deserves a full-fledged production. I wrote the original version of the play in late 2007 when, during a slow rehearsal of Vaclav Havel’s The Memorandum, I was pushing myself back and forth on an office chair and realized my abdominal muscles were actually getting quite sore. Then I imagined how ridiculous it would be to try to market an office chair as a workout device. Then I found myself wondering what kind of person might not only feel justified in selling such a thing, but revel in their own brilliance for it. The idea merged with a different play idea I had brewing, one about my dad being a ‘yes man’ who could never say no to anyone, and I used that play’s title as the stage name of the lead character: Mr. Nice Guy (aka Felix Hasselbury).

 

That Christmas Vacation I splurged out 90 pages of what struck me as a fascinating premise to explore: a couple consisting of an attractive no-nonsense female (Sybil) and Mr. Nice Guy’s number-one fan (Michael) seek to sue Mr. Nice Guy when his latest product (the Abjacker 2010) gravely injures Michael. Felix, a master deflector, spins this anger into job offers, and the rest of the play follows Felix’s flailing attempts at seducing Sybil while Michael deals with the crushing disappointment of a childhood hero who has no time for him.

 

The play was given a further boost of energy when, during auditions, I asked an actor I had cast in a previous original play to give the part an ‘absurdist’ reading– something wacky and really out there to stretch the other auditioners’ imaginations. I had already promised the actor, Nilus Klingel, that I wouldn’t cast him, so off the simple direction ‘maybe give him a crazy accent’, he came out guns blazing with something totally and wonderfully unexpected. What I had pitched as basically a fast-talking, greasy, used-car salesman came out of him like the lovechild of a Strongbad/Ron Burgundy/Antonio Banderas/Gob Bluth orgy. It clicked– he had the casting room in stitches, and agreed to do the show.

 

Ultimately, the 2008 production was a ton of fun, but unfortunately suffered from a lack of rehearsal time, a refined script, or an audience (I think twelve people saw the play in all). You can see bullet points of that production in this video, as well as the commercial we filmed to open the show here.

 

Over the past 5 years (still can’t believe it’s been that long), I’ve found myself often wondering how the show could be redone. In that time, I’ve taken scribbly stabs at how I might revisit the play,  I’ve written a short prequel called ‘Felix Hasselbury Gets a Job‘, and I’ve edited together a ‘Roofie-Os’ commercial out of 50 minutes of absurd, mostly improvised footage spawned by a song I wrote for my comedy duo ‘A Crooked Boner.’

 

Finally, starting last month, driven by some unknown force, I took an honest pass at reworking the play. Is it improved? Certainly. Could it use further workshopping and refinement? Indeed! But that’s what’s so wonderful about doing a play reading out loud: it instantly calls attention to poorly-worded lines, jokes too-in-love-with-themselves, and dead-end subplots. I had the pleasure of hearing my words read in the middle of a pot luck picnic in Prospect Park (say that five times fast) by Alex Schmidt as Michael, TJ Clark as a Jamaican/French version of Mr. Nice Guy, Elizabeth Bull as Sybil, Beryl Tayte Johnsen-Seeberger as Assistant, and Morgan Shaw reading the stage directions. We also had an audience nearly as large as the one for the original show!

 

So it’s on its way. Onward to the next draft, and soon I’ll start sending this monster out into the world of competitive submissions. Wish me luck.

 

More links:

Photos from the original production
Photos from the reading
Audio from the reading
Script from the reading


15 October
ibrews

B+

Hoo-rah!

  • Loved the format and style of the whole production– particularly the newspaper headlines and the Blood Brothers as MCs with cryptic little introductions to each play. And I appreciated that they acknowledged their debt to the Crypt Keeper.
  • Watching an episode of Community today, Abed says something like ‘we only respect horror films where the characters make choices we would make.’ While I really don’t like any horror films save maybe Cabin in the Woods, I enjoyed these shows because the characters were well-written and made genuine choices. That probably has a lot to do with the fact that these are all based on true stories, but I still applaud the writers for their interpretations.
  • Nice variety of themes is the plays– yes, there’s a crazy killer in each one, but I appreciated the unique nature of each and the forces guiding their stories.
  • The one I enjoyed the most: dating show with serial killer. Loved the way his insane answers and fantasies were reacted to as though they were the typical cutesy adorkable answers typically given on those kinds of things.
  • The one I respect the most: gay porn star serial killer wants to be famous, so films his exploits, obsesses over his Google Alert. Oh, and in a surreal part 2, is tortured by spiky dildos by anthropomorphized  versions of the cute fluffy animals he killed.
  • The one the disturbed me the most (in the most dramatic manner): Bible-obsessed kids show host drugs children, eats them, and uses them as puppets. This is the play that took the most liberties from reality but… Jesus.

Blech…

  • I found a few of the plays shocking, but without much drama. Guy with mental disorder mutilates himself. No thanks.
  • While I liked the idea of the wordless play with only a song guiding it, the story was very unclear.
  • Knowing all of these are true stories, sometimes the Blood Brothers commentaries on the events came off as unsavory and in bad taste.