“Jesus Christ, Alison, he doesn’t look remotely Swedish!”

FIRST RESHOOT required. A little out of focus action means a quick reshoot. Should only take an hour or two, only one main character involved. If you have to do a reshoot, this is the type you want.

EDITING

Editing is getting tough. No end to the chaos. No end to the footage. I have SO MUCH writing I need to do, and it’s impossible with all of this editing to get done.

This is the most editing I’ve ever had to do on a film. This is the “roughest” audio, the “roughest” picture, the “roughest” everything. This just means the film has a long way to go. I’ll get it there, for sure, but it’s going to take a LOT of time and work.

I may have to take a break from the edit and run away for a week or so to write. This writing needs to be done!

TIGERS

No word on anything on the tigers front as far as distribution, etc…but we’re hopeful something will come through soon.

RENEE ST CYR is THE CATERPILLAR in VAMLET

This picture we’re currently calling VAMLET is wrapped as far as principal photography goes. It’s so funny to use terms like “principal photography” to describe what just happened, but technically, that is what it was. When you run and gun and make films for no money, it’s kind of funny to discuss those films in traditional industry terms. But, hey, it’s a movie and production is over!

NOW PLAYING (classic)

On an unrelated note, it’s interesting that, as far as North American English language works go, the best writing and most accomplished storytelling continues to appear on television rather than on the big screen. Dramas like Mad Men, Friday Night Lights, Breaking Bad, and Boardwalk Empire deliver so much more than their watered-down, made by committee, theatrical counterparts. The same is true of comedy (perhaps even more so). Yet, filmmakers working outside of North America continue to deliver theatrical work that equals, or in many cases, transcends the best television has to offer. It would be nice to see a shift back from shit to shine in North American cinema.

IT’S OUR LAST SCHEDULED DAY OF SHOOTING ON “VAMLET”

Whew. It’s been a long time since we hopped into Katie’s car and shot that first day. We’ve seen Dan, we’ve been to TIFF, CIFF, VIFF, and I’ve been sitting in front of this screen editing as much as possible. I’ve made it through 27 minutes up to this point. Normally I would have cut the film as we shot, but with two cameras that just wasn’t possible. Syncing and plowing through all that footage each night after shooting wasn’t possible.

THE NEW. THE NEXT.

There’s something happening, it’s going to be a lot of work and it’s going to take a lot of “attention,” but it could be a big deal after a while. We’re still working out the logistics, but it’s probably the biggest thing you could attempt in the world of entertainment with no money and a dream. It will start “smallish” and grow. More news very soon.

I think it’s probably day TWENTY-SOMETHING.

KRISTINE COFSKY is BROOKLYN

Had a great day yesterday doing some talking head stuff extras (probably end credits or DVD extras, maybe in the film somehow).

The day before that was the BOAT (thanks Matt for the boat!).

Before that…something else…I can’t remember, but I think maybe we were at Kristine’s apartment?

It’s been a long crazy ride, and we’re still not finished. We’ll have to shoot another week or more when we’re back from TIFF.

It’s going to take a prolonged editing trip to get this thing ready for viewing. This will be the most difficult editing project I’ve ever undertaken (strictly from a footage point of view). SO MUCH to log and watch, two cameras, film-within-the-film, etc…

Looking forward to TIFF and Tiger time. It will be nice to take a break from production for a while. I’m really missing writing, and can’t wait to get back to the new script.

Editing and Writing will be everything until after Christmas.