Elisabeth Rohm: why she wanted THE WHOLE TRUTH

As I've mentioned, Elisabeth had done no comedy - and she's incredible as Angela in THE WHOLE TRUTH. After studying the classics (Twentieth Century, His Girl Friday, Ball of Fire, so many more) and the comedic performances of the greats: Carole Lombard, Rosiland Russell, Barbara Stanwyck, Lucille Ball and more, she developed her own classic character for which those women would give her (very) high fives!

Thak you for a near record-breaking May!

I'll find out tomorrow just how many hits my website received over 200,000 in May, the second highest number we've ever received.

UPDATED: May stat: 205,946 hits.

Last October cp.com received 220,511 - that was while we were shooting THE WHOLE TRUTH. I posted updates as often as I could, given that I didn't have time to sleep, anyway while we were making the film...

Of course, I'm sure it was what I had to say about the shoot as its director-writer-producer that drew you here rather than all the photos and gossip and fun we had with the gorgeous Elisabeth Röhm, Sean Patrick Flanery, Eric Roberts, Jim Holmes, Rick Overton, Pisay Pao, Kristina Lilley...

Riiiiight.

OK, it's the stars - and they definitely deserve your attention in this film! They're terrific.

Meanwhile, you're tuning in from 104 countries! 104! Thank you so much for reading my website - I hope you have a translator for your language if you don't read English.

The vast majority of you go directly to my blog when you check in; be sure to drop by the home page for new and exciting stuff, too, so you don't miss anything!

Thank you again for dropping by - I feel a special responsibility to you, so I'll be opining here lots more in the coming year.

For day to day stuff, I'm also on Twitter!

Film distribution

In this still frame from THE WHOLE TRUTH, acting coach Angela Masters (Elisabeth Röhm) coaches a criminal client as lawyer sidekick Brad Sanders (Jim Holmes) approves.

Something special is happening with our movie, thanks to our appearance in the Seattle International Film Festival, my website and blog, the growing numbers of folks watching the trailer on YouTube, the poster for the film, THE WHOLE TRUTH official website, other entertainment websites and blogs, fan sites, word of mouth and "buzz."

We've been contacted by several legitimate film distributors - worldwide (domestic and international), international (outside US) and domestic (US and, usually, Canada).

At this point we're keeping a list of all interested distributors who have contacted us - and will continue to add to that list through our SIFF screenings, as well as including distribution contacts we already have.

We're checking reputations (some promise but don't pay filmmakers their share of the profits, others are spot on fair and honest) and records for supporting and marketing films they have chosen.

Marketing is a big deal. It's a costly endeavor and we can name the films that died because of inappropriate, poor or totally misguided marketing on a roll of toilet paper, there are so many.

I started marketing THE WHOLE TRUTH in a unique way; one that is intended to raise curiosity and promise about the film without giving away the hundreds of surprises contained within. It's also a thriller/screwball comedy whose genres I've turned on their ears, which means that it's, um, different.

I think it's different in a way audiences will love -- but we'll find out if that's true next week, won't we?

We're also looking for a distribution partner, not someone simply wanting to make the most money from just one film, or a "one-off."

We're going to be making films for many years to come, so we want to hook up with a solid distributor who will be with us for the duration. We're only making quality, entertaining films, and we're looking for someone who feels the same way about marketing and distributing quality, entertaining films.

Meanwhile, here is what the SIFF program viewer wrote up about THE WHOLE TRUTH for their catalogue - I think it reveals the tone and texture of the film very well - it's what most distributors unfamiliar with our film are reading:

Angela Masters is an acting coach with an unusual client list.

Instead of catering to Hollywood celebrities, she gives what could be described as personality transplants—“character transformations,” if you will—to accused criminals.

By making her clients appear slightly more sympathetic to juries, Angela has become a specialist in securing acquittals for some decidedly shady characters.

This lucrative enterprise is interrupted when Angela overhears a client she helped set free plan a heinous crime—then she becomes a target for murder.

Portrayed by Elisabeth Röhm, of Law & Order fame, Angela discovers that escaping death and finding who she really is becomes the most expensive—and rewarding—experience of her life.

The plot points resemble those of a pure courtroom thriller, but Seattle director Colleen Patrick, in her feature debut, has turned the genre on its ear to create a fast-paced and hilarious satire about the current state of the legal system.

Billing itself as 'a screwball comedy—with a twist,' the film contains sharp dialogue and strong comic performances.

Filmed at various locations around Seattle and Tacoma, The Whole Truth packs in rapid-fire laughs, but also neatly skewers the sorry state of the American 'justice' system.

Come this weekend, THE WHOLE TRUTH trailer will also be available through the SIFF online catalogue for them to peruse; the official website is already posted.

World Premiere check list

*Examine proof of poster for printing today
*Pick up posters tomorrow
*Deliver posters to places showing them
*Sell out World Premiere June 2 (check!)
*Sell out subsequent screening June 3 (nearly check!)
*Count guest list for private reception
*Finish ordering food for reception
*Make music selections for reception
*Take Seeker in for grooming Saturday - he stinks like a dog and looks tacky ...
*Get squirt guns for Aaron and me to fend off squirrels trying to get into bird feeders
*Schedule quality time with incoming family, friends and stars
*Make sure HD copy is ready for projectionist with Larry
*Check with John Beresford - make sure website is up to date
*Make sure clothes I'm wearing WP night are laundered
*Check with friend to help with makeup for WP night
*Take the hill! (It's a long walk up a steep hill - great exercise!)
*Tai chi to settle the nerves
*Find the present I bought Gary (forgot the "safe place" I put it)
*Get massage and facial Sunday to relax
*Go over schedule with Aaron to make sure I have time for all I have to do
*See a couple films in the festival to support other filmmakers
*Reflect on everything that's happened over the past year for which I am so incredibly grateful
*Reflect on the lessons I've learned about life, filmmaking, art, friendship, love, writing, directing, producing, and cooking. I'm finally learning to cook.
*Enjoy every moment of the celebration for THE WHOLE TRUTH - I've loved even the tiniest minutia of labor, the slightest detail in prepro, production, post and marketing and bask in my new friendships with some of the greatest talent this nation has to offer. I am profoundly humbled.

THE WHOLE TRUTH poster!

We'll have these plastered all 'round for the world premiere and second screening at the Seattle International Film Festival.

We're also using them to decorate the private reception we're having for cast, crew, friends and family!

Isn't that a terrific shot of Elisabeth Röhm?

It's a still frame from the film, so everyone who sees it will recognize which scene it's from!

At the Official website for THE WHOLE TRUTH, you can click on the poster and it gets quite large!

If you need incredible photoshop artist, we were referred to Josh Garretson by photographer Adam Weintraub!

The Gift

Reflecting on what I said about Susan Boyle - that is, being stymied by why she touches me so deeply: truth is I do know what there is about her that connects with so many of us so intensely.

Being someone who has worked with and cast just about every degree of talent over the years, it's not really a je ne sais quoi element. It's a personal energy. It's located within what I consider the soul of the individual, somewhere between the solar plexus and the gut.

I can actually feel it when I'm in the presence of someone who exudes it.

After seeing Amadeus many years ago, I couldn't understand why Salieri wasted his life envying Mozart and others, when he himself had been given such a unique gift: the ability to discern genuine talent. Mozart didn't really excel at his art until he was older - few realized he would create work that would live ... well, forever.

Think of how happy Salieri's life would have been had he adopted Mozart, nurturing his work, protecting him from his father and others who would exploit the man without ever understanding his true genius.

Instead, his jealousy drove him insane - it always does. Jealousy is the fear of losing something we've never had in the first place.

The distinction of a talented person shows up when those who have it work like hell to hone it. To express it, no matter how it comes out, no matter how long it takes.

And it never has to look, sound or feel "perfect."

The Beatles, IMO, are one of the greatest bands in the history of modern music - yet none of its members has a pristine, fantastic or gifted voice. Yet they connected with the hearts of so many regardless of the form their music took along their melodious journey. Their harmony, rhythm, message, joie de vivre; the love of their art and craft was infectious. And they never stopped practicing - growing as artists and human beings.

Which brings me to another subject: what I perceive as cultural differences between (hopefully without being too simplistic or encompassing regarding either group) between UK and US attitudes toward the arts.

We can find a Susan Boyle in the UK because the attitude there is much more respectful of the arts; people pursue their love of an art or craft because it is their passion - without ever considering the possibility of a career as an artist or craftsperson. Sharing it with family, friends and community is reward enough.

I know people in the UK and Europe who love to sing, write, perform, make films, play instruments and more just because their lives would feel incomplete without it. They also have day jobs, have families (functional, even!) and lead "ordinary" lives.

I have sung myself this way for many years, continuing to practice and study just because I love to do it. I sang professionally at one point and didn't like the lifestyle. Too much traveling for this home body. Today I sing for friends, family and special occasions.

In the US, unless there is a direct road or specific career plan - or some path clearly seen as a way to make a living, chances are family and friends frown on the pursuit of an art or craft just for the pure passion of that pursuit.

Been there, done that. When I first stared my film career after leaving journalism, I felt like the lone flea on a very large dog. I have no idea what made me think of that image, but you know, one seldom thinks of an isolated flea. Yes, that's it. On a very large, furry island of that huge canine.

People I knew well - and hardly at all - thought I was crazy. And too old. Support was difficult - if not impossible to come by.

But I couldn't NOT write, direct and produce. It's just a part of me. In the beginning, I thought perhaps I could try to make "something happen" career-wise through ordinary means - like LA. But I soon realized that was something I did not want.

Meanwhile, in Seattle, people were saying that "it" simply couldn't happen here. Go to LA.

I don't mind working in LA; but I have to live in Seattle. It's as much a part of me as my writing, directing, producing, pets, friends, home-

So I decided I would probably have to spend the rest of my life just being happy. Doing what I love on a day to day basis - making mostly short films while writing some 21 feature scripts - surrounding myself with people who understood what I was doing, with no expectation of 'more.'

I don't think it's a fluke that my closest friend is British, living in Manchester.

Beating breast cancer put a crimp in my style for nearly three years, but it didn't stop me from working on my own films as well as coaching actors, writers and directors until I was finally told to stop or my positive prognosis would change.

Next Tuesday, June 2, my business partner Gary Allen Tucci and I will be attending the world premiere of our feature, THE WHOLE TRUTH, a screwball comedy starring Elisabeth Röhm, Sean Patrick Flanery and Eric Roberts at the Seattle International Film Festival.

Along with Elisabeth and Sean Patrick, several outstanding supporting actors like Rick Overton and Jim Holmes will be on hand to watch it for the first time along with the rest of the audience. Eric is shooting a film with Sylvester Stallone in New Orleans and can't join us - John Fugelsang will be performing in London.

I hope we see you there!

Sound filmmaking!

When you're watching a film, believe *less* than half of what you hear when Foley artist Jamie "Foley Rambo" Hunsdale creates the sounds you hear on the screen. He works with the sound studio we prefer, Bad Animals.

Foley, (pronounced foal'-ee> is the art/craft of creating sounds that actors and objects appear to make onscreen. In some cases no sound at all is actually recorded when we're shooting, in other cases the microphone catching the scene can't pick up the specific noise needed to make the scene feel real.

Waving an old unraveled cassette tape in front of a high quality microphone, Jamie creates the sound of leaves blowing in the wind.

Scrunching the same cassette tape all bunched up sounds just like footsteps - walking on grass.


Jamie says he has to act out each movement just as the actor does in the film so the sound fits the scene and character perfectly.

Turning the pages of a book, handling a basketball - every boom, buzz, cackle, clack, clang, clank, clap, clatter, crash, jangle and rattle needs to be heard to resonate with the audience - pulling you into the scene.


Something as simple as a character tossing keys into a dish becomes a small production: metals used for keys have to sound like they are just the right size, the right number, the right weight and slide as they would from the distance thrown.


Jamie follows the action on the screen to bring scenes alive with Foley effects - I focus on sound quality for my films because if you can't hear the dialogue and all the action, you don't have the opportunity to feel like you're in the scene. I strive to make you feel like you're right there with the characters.

"Body slams" are tough. How high from the ground is the person on screen when she or he falls? Inside or outside? Alive -- or not so alive?

Here's a progression of Jamie taking off for a landing, and plopping on the sofa cushion to make the sound of a hard body landing!

POW! BODY SLAM LANDED!

Something we take for granted - the sound of clothes.

We need to hear someone putting on or removing a jacket, folding his arms in a judge's garment, pulling a coat closely around her neck, cloth rubbing against cloth as someone walks, pants ripping, the sound of a character brushing off lint from slacks or a shirt.

Jamie uses every type of material to enhance your audio experience of a film, helping you imagine you're hearing what you may or may not be seeing. In some cases, we use sound for action off-screen - you'll believe something is happening that you don't see because of the use of sound effects.

Jamie recently had to replicate the sound of a woman walking in sky-high heels for a film.

He understands all too well how much people suffer for fashion!

Restaurant sounds, money exchanging hands, eating, drinking, walking, dancing, just about anything you've seen a character do onscreen has been enhanced aurally by a foley artist.

Here he jumps up and down like a Hobbit to get just the right sound of an actor landing a leap.

My photo caught him just inches before he lands the leap.

What a great time we had shooting his Foley work - I took many more pictures of Jamie creating Foley sounds, but I don't want to make the blog too long and you definitely get the idea by now!

What makes a Foley artist truly superb is his or her attitude.

Well, here's Jamie after doing about a dozen body slams - ready to do a dozen more if it means getting an absolutely perfect sound fit for your film.


Like everyone at Bad Animals, he's a very sound thinking guy.


No wonder we love working with you, Ram- I mean, Jamie!

Your first peek at THE WHOLE TRUTH

Here's a still frame directly from the film.

Elisabeth Röhm stars as acting coach Angela Masters. Here she helps her client and pal Gary Langston, played by Sean Patrick Flanery.

Getting the word out ...

Along with all our post production work on THE WHOLE TRUTH - Friday we're setting up the credits, main titles and subtitles for the film - we are just now starting to develop what we need to show distributors and audiences: namely, websites for THE WHOLE TRUTH as well as Heart Break Productionz, with photos that were taken during the shoot, a trailer, bios of the folks involved, a sample of Ragnar Rosinkranz's amazing music and many more exciting tidbits.

We are starting this process earlier than we planned because distributors have already started to contact us about THE WHOLE TRUTH.

My partner Gary Allen Tucci and I plan on having serious meetings with quality distributors with whom we can create a lifelong relationship rather than just trying to sell one film.

We have three features already underway, with our first in the final stages of post production, so we want to establish a strong association with a distributor who understands what we are doing and that we only want to create quality films for our audience.

With Larry Estes as our producer and negotiator - who already knows many of these people - we believe this is a reasonable goal.

The trailer will probably NOT feature a scene from the film.

Instead, we want to give you a scintillating visual promise of the premise that should compel you to see the film, with photos of our brilliant leading lady (Elisabeth Röhm) as Angela Masters, an acting coach gone wild who gives personality transplants - that is, "character transformations" - to criminals, so they can influence juries just enough to acquit them!

When you see the film, you'll see why we don't want to spoil your visual surprises.

If you're familiar with screwball comedies, I've taken the genre and flipped it on its ear. If you are not? Sit back, relax and enjoy the ride. This is definitely an original work. If you're a screenwriting or film making student, forget the "shoulds" and see how rules are broken - what fun is it for a writer/director to repeat a "formula script/movie" you've seen a bazillion times?

I also suggest you sip your soda carefully. We've had a few spit take and nose hose incidents during the test screenings, when the film's editing wasn't completed or sound and appearance polished.

If you're so inclined - and of course you find the film as funny as we do - a sturdy pair of Depends might be in order.

Not ... that I ... would ... know ...

Back to work with me!

Progress, progress!

Sound work progresses nicely on THE WHOLE TRUTH.

Now that the color correction is completed, it's time to dedicate our attention on all the sound effects, dialogue and music.

Lots of filmmakers believe that "too much" background sound interferes with the audience's attention to dialogue, I believe all that sound makes you feel like you're right in the scene with the characters.

We have to be cautious to make certain what should be sublime and hinted remain that way and not too loud, distracting us from the dialogue, but sound can also work as a comment on what's happening, clue you in on what's coming up, give a special tone to layer the scene and lend all sorts of character to a scene - in some cases, certain sounds and music become characters themselves in a film.

That's definitely true of TWT.

In LA, I had a terrific, insightful time working with the leads of our third feature, another screwball comedy (but much smaller a production than THE LONELY GOATHERD). I have a basic outline of the logical story and psychological profiles of both leads, so the discussion revolved around how these people came to behave in the way they do as dysfunctional adults and parents.

Being the pro's they are, they came up with all sorts of terrific ideas - and that's all I sought. Ideas coming from the people who will portray the characters.

As I left, one of the actors told me that the few times he has worked with a director this way, he received the most major awards and nominations to which an actor can aspire.

Gulp! My work is cut out for me!

Thanks to the invitation from a very generous friend, I attended THE L-WORD wrap party, where I had the opportunity to meet several cast members, crew, and actors who have guest-starred over the past few years of the Showtime program.

What made it most fun for me was the fact that it wasn't shoulder to shoulder crowded (can't stand crowds, me) so I could actually speak with people and the food was *superb.*

Daniela Sea, who plays transsexual Max Sweeney on the show, told me she is spearheading a DVD project dedicated to the memory of thousands who have been killed because they are gay (or believed to be) - she will be telling the personal story of each victim.

According to Daniela, the group with whom she is working has some pretty grim statistics - like every nine days someone *believed* to be gay (whether they are or not) is killed. Hopefully her project will raise awareness and help stop this lamentable lethal legacy.

I'll let you know when the DVD is ready and where to buy it if you'd care to support the educational effort to promote understanding and awareness of a history long overlooked.

She is so enthusiastic about the project, I have no doubt it will receive the respect and notoriety it deserves. Daniela and the brilliant Leisha Hailey ("Alice") are the only two "out" lesbian actors in the large cast of gorgeous women portraying lesbians in THE L-WORD.

Meanwhile, in the Venice neighborhood (which is quite extensive and extremely diverse), I took the opportunity to hang out with a dear friend and her 10-month baby (my honorary "niece" so of course I had to come bearing gifts), which was lots of fun. One thing about babies and animals - they let you know how they feel about you for no other reason than .. well, that's just the way they feel.

Fortunately, she takes a shine to me - I'm *positive* the toys I brought have *nothing* to do with how she feels!

I did not bring anything for the dog they are fostering, however, but he obviously smelled my three dogs and kitty on me and decided I was O-K!

I also met with our LA casting agent Rick Pagano - one of the all-time good folks in the business and superb at his trade; and had a leisurely breakfast with our editor Stephen Meyers, and fine actor in THE WHOLE TRUTH, Jim Holmes.

All this took place within two days, arriving back home early Wednesday morning when my assistant Aaron dashed me over to Bad Animals Studio to continue our sound mixing!

I'm on to shot-sheeting THE LONELY GOATHERD. This is a tedious, time-consuming, detailed task wherein I (as director) list every shot I have in mind for the entire script, scene by scene.

I'll refine this at least one more time from beginning to end before meeting with the Director of Photography to share my ideas and then refine it again, incorporating both our ideas.

Then we create whatever inspiration the actual set, scene and actors provide while we are in full-tilt production shooting, using whatever ideas still work from the shot sheet.

The shot sheet is basically a plan so I can create all the pieces of the visual and sound puzzle that I must put together to form the complete film. As we shoot parts of scenes, I "edit" them in my mind, so I know how the film will look when it is completed as I go to work with our superb editor, Stephen Meyers.

One reason to work with an editor at the script stage - while I'm writing the script, before any preproduction - is to get good ideas for special shots and "cutaways," or details of a scene or character that may not seem apparent but that would cut in nicely for the edited film. Stephen gives me a list of them, which I pass on to the DP, making sure we catch them as we are in production.

Writing that list is what Stephen is doing in LA as I create shot sheets in Seattle!

So much to do....

My eyes look like Wile E. Coyote's after he's suffered a self-inflicted dynamite blast - you know, big with red circles spinning?

Spending days in a dark room working with master colorist Tim Maffia (believe me, no one gives him any grief with that name!) at Modern Digital post production studios on our film THE WHOLE TRUTH has been so much fun, but so very much work! Hour after hour, looking for every teeny tiny detail that needs some sort of color adjustment.

Adjustments to things like on screen eyes that have been the victim of shadowization ... the eyes of our actors can't be clearly seen because they're in shadows - they have to be lightened (film acting is all about the eyes!); areas that are too bright that need to be "crushed," or darkened. Matching room color tones that don't match on their own because each part of a room has been shot on different days. There are many more hue, glow, density, tint, saturation and luminosity details that need attention, but those are the big ticket items.

These sorts of things are normal in color correcting a film - and there are thousands of tiny details that need attention - brightened, darkened, even made a different color.

The more experienced your colorist, like Modern Digital's Tim, the faster this extraordinarily tedious, technical and artistic work can be accomplished.

DP Paul Mailman joined us for a few days; producer Larry Estes did as well. The decisions are the final call of the director (um, that's me), but it's always good to have a fresh pair of eyes on hand.

Tim will work all day tomorrow following notes I left as well as taking care of a bazillion technical issues like "dust busting" - getting rid of nearly microscopic pieces of dust that made their way onto the film.

I have to say, the film really looks fantastic. I think all our actors and crew will be proud to have participated in this project.

Meanwhile I started working with our post production sound crew Mike McAuliffe and Dave Howe last Tuesday at Bad Animals Sound Studio.

That's where top folks do their film sound tracks, major musicians and bands record, lots of voice work for movies, TV, radio and all sorts of media, music and personal sound projects are done.

Sean Penn post-produced his soundtrack for his award-winning feature Into The Wild there.

Every sound other than the words uttered by actors our film are infused into the sound track. Sound sources come from recording them live on our film sets, creating "wild sounds" in the areas we shoot, and creating them (called Foley). Bad Animals' Foley artist is Jamie Hunsdale.

Editor Stephen Myers and I also created some Foley (created) sounds for the film while we were editing. I have to say, this is one of the most fun parts of the otherwise incredibly tedious, detailed and time consuming process of post production for me. Coming from a background working in radio once upon a time makes a big difference.

I co-wrote and acted in a daily radio comedy series for a radio station at a Washington state university I attended, which received a national writing award, as well as acted in weekly radio plays when I attended Syracuse University. In addition to performing numerous vocal roles at both places, we had to come up with ways to make sounds of the drama or comedy we were performing.

Time to rest the peepers - I have to get ready for a trip to LA to work with the two lead actors in the new screwball comedy script I'm developing (that means doing research while I'm writing it and putting all the pieces together), SPARE CHANGE.

We'll be shooting it after completing post production on THE LONELY GOATHERD - which we're shooting after we complete production on THE WHOLE TRUTH.

Yes, I'm working on three feature films simultaneously.

Doesn't everyone?

Locking the film

This means the editing process is basically - primarily - finished.

Now it's time to pursue two separate and equally important processes: color correcting and sound mixing.

Color correcting means a technician (in our case at Modern Digital post production in Seattle) "equalizes" and enhances each frame of the film's color in a digital program. In some cases, as in one scene we shot - half of a room was shot on one day, the other half the next. Predictably, each half looks different because the lighting cannot be specifically calibrated to make the picture look exactly like the day before for another location.

I'll sit near the technician, asking for exactly the look I need for the film for every frame of the film. Today there are amazing ways to affect the appearance of a movie. But - if the basics aren't already on the film or video when it's originally made, there's only so much that can help the image in post production.

Fortunately, between DP Paul Mailman, Gaffer Ted Barnes (he's the lighting genius) and Grip Greg Smith, our film is knee deep in production values, depth, color and dramatic detail, highlighting not only our actors but the production design work of Rachel Thomson.

With this rich tapestry, we can pull all sorts of magnificence out of every picture.

The other process, sound mixing, is a finite, weeks-long creation of every sound heard as you watch a movie. Music is mixed with sound effects and dialogue and natural sound and Foley creations. Foley is creating a sound that sounds like another sound.

Like in one scene, a brush is painting a creamy concoction. To get the rich juicy sound of what this *looks* like it will sound, editor Stephen Meyers and I got a paper towel dripping wet, folded it into a small square, and I dragged my finger across it. When the brush is supposed to tap the concoction, I tapped my finger on the soaking wet surface.

Or there might be a sound created by the same thing as the actual sound, only in a confined space. Like a character walking across a gravel road. We put gravel in a box and wearing shoes identical or similar to the character's, someone steps exactly at the speed of the actor onscreen as it's recorded.

It's way fun. Stephen and I created a lot of sounds and sound effects; he's the master.

In the mix there are many channels of sound that need to be sorted and scaled so each can be heard appropriately by you. Is Ragnar Rosinkranz' fabulous music up enough when it is to be heard along with natural sound (sound that can be heard naturally where we filmed the scene).

It's an extremely detailed and distinctly subjective procedure led by the director. But sound technician Dave Howe at Bad Animals studio provides the best of the best from which to choose.

It's all very exciting to me. Sitting day after day over a period of weeks for incredibly long hours as each minuscule piece of the acoustical program is put into place, just as the color correcting procedure calls for the director to attend to each tiny element as it is finessed.

I love it when people think what I do is "glamorous." It's just many many many hours of hard work, putting a huge puzzle with a couple hundred thousand pieces together, creating what is commonly known as one's vision.

Directing is such a massively collaborative effort, but there is a basic vision that drives all of us in the same direction. With a little bit of luck, the outcome is a film that you find worth watching - again and again.

I'm thrilled to report that many people who have seen the test screenings of the film say that is exactly what they want to do - see THE WHOLE TRUTH again! All I can say is after our final edit, the color correction and sound mix, it will look and sound many times better than it was when they saw it.

New email for the production!

First, I have to report that the response to my script, The Lonely Goatherd, has been phenomenal. Actors and crew.

More importantly, we have a new production office email address: thelonelygoatherdmovie@hotmail.com. So our poor correspondent who has suffered from receiving our errant emails will suffer no more. Whew.

Right now we're working on getting The Whole Truth ready for meetings with distributors; we'll fly down to LA as soon as the film is as presentable as we can get it. It's a little long now, so editor Stephen Myers and I will streamline it over the next four or five days.

Composer Ragnar Rosinkranz' music is sensational - everyone loves it!

Between The Lonely Goatherd, The Whole Truth and our third screwball comedy project, Spare Change - I'm looking into various cloning methods!

At last!

My computer has been in the shop getting its AC adapter connection repaired so I have been without access to my blog!

Traveling, writing, visiting relatives, writing, doing more post production work on THE WHOLE TRUTH and writing have pretty much taken my time.

I get to see one of our brilliant actors from TWT perform a lead role this Friday in BEAUTY AND THE BEAST - the musical is playing nearby. I love the music and this actress, so it should be a great time.

Lots of folks are emailing me about getting work with us, but here's the scoop: it doesn't help to contact me or send me stuff. All crew are hired through the production office - you can email your credentials to -- an email address that can't be posted here because Blogger.com can't deal with similiar emails sent from a blog. The email with our address is similar to someone else's, so it automatically goes to that someone else. Strange. And inconvenient.

But! We have a website that we will be putting up soon http://thelonelygoatherd.com/ that will have all the information that cannot be posted on blogger.com.

Meanwhile, all actors are auditioned through Complete Casting in Seattle; Rick Pagano and Russell Boast handle all the lead actors auditions in LA.

The crew and actors with whom we will work are excellent. They don't take shortcuts, they're consummate professionals who understand it's the minute details that make all the difference.

The start date for shooting TLG has been pushed, but I'm taking this as an opportunity to do more extremely detailed pre-production work *and* to work out. I need to be in fantastic shape because this is a big film, which will require lots of outdoor hiking, moving, working with animals and all sorts of unexpected physical activities.

I'm actually having a pair of shoes made especially for me so my knees and ankles don't scream at me so much during the shoot, which is expected to last seven weeks. THE WHOLE TRUTH took six weeks.

Post production work continues on TWT, and it only gets better. I'm so so proud of the film, the crew and the actors. The final work - color correction, permanent sound lock, attaching the Heart Break Productionz banner as well as the special opening created for the film - will actually make it look up to 80% better than it does now, using the "low res" editing tapes.

Ragnar Rosinkranz' music is so special, fresh and effective - some scenes that could only be considered "very good" now POP. It's being added now.

After one more secret screening in a regular theater we've rented, we decide what else needs to be "fixed." After those fixes, which take very little time? We work on finishing the locked sounds - sound effects, music, evening the dialogue sound track, etc. That normally takes about three weeks. I won't have to sit in on every session, but for the first several days to get them going and then pop back in toward the end to approve what else is done until it's completed.

Final touches to the picture quality by our friends at Modern Digital post production? And we have ourselves a finished feature film.

I can hardly wait!

Meanwhile, I've outlined the third project we're shooting, SPARE CHANGE, which will be totally different from TLG, which is totally different from TWT.

Joyeux Noel!

What a terrific Christmas.

Despite a forced delay to visit my family because flights were cancelled from snow and ice deluged Seattle-Tacoma International Airport and the entire region besieged with an unexpected snow storm, leaving many of us home bound? (A state of emergency has been declared by governor Christine Gregoire)

I'm celebrating one of my most enjoyable and memorable holidays ever.

First and foremost, everyone - pets and humans - in my world are healthy; my house is lit up for the holidays with a beautiful, glistening Christmas tree hosting 900 lights; fireplace logs flicker warming flames; sweet scents of the season simmer on the stove; holiday music plays, the three pups and kitty are as affectionate and playful as ever.

Because I'm "stranded" and not with my family, many invitations and good wishes have been sent my way; the roads make it treacherously impossible to socialize, however ... AND ... I promised my producers and editor that I would have my page 1 rewrite of The Lonely Goatherd completed by midnight Christmas Eve. Sure enough, I sent it out last night about 11:30pm. A "page 1" rewrite means that the script is rewritten from .. page 1.

The script's tone, characters, comedy and drama have not overwhelmingly changed, but the structure and overall writing is significantly changed and improved. It's much tighter, stronger, clearer, and I think funnier. So I've been working around the clock to meet my self-imposed deadline.

Mind you, we start filming March 30, so it's not the final version that we'll actually shoot, but it is ready for actors to read who want to consider auditioning or meeting with us when we work with LA Casting Directors Russell Boast and Rick Pagano next month. Producer Larry Estes and I will go to Los Angeles for at least a couple days to see everyone we ask to see and actors who ask to see us.

I *love* auditioning because it is an embarrassment of riches - to see and meet with actors who are so talented, gifted and skilled; actors who bring their own special adaptation of the characters - and especially those who bring their heart and soul to the table.

I appreciate interacting with everyone who has obviously worked hard prepping for our session because they want the role. I respond to all they do that is great and give notes (suggestions) when they're close or perhaps to see if another subtext would nail another character. I especially love people who make it clear they are more interested in an excellent performance than assuaging their ego.

As I recall there was only one person I would consider a "pill," but that was at least an entertaining experience.

I *hate* auditioning because I want to hire everyone who is pill-free. It's painful to tell someone who is clearly a special, insightful and great actor they have not been cast. But I always remember people who impress me, and the last time Larry and I were casting in LA for The Whole Truth, some very well known actors met with us even though there were no roles for which they qualified. They just wanted to meet us, let us know what they're up to and listen to what we're doing. As well as sharing our wishes, dreams and goals. Those meetings were memorable.

That being said, with this rewrite of The Lonely Goatherd finished, I'm free to celebrate! I actually have "free time" to do all the other things I love to do!

Merry Christmas! Happy Hanukkah!

The Whole Truth is screened!

I'll just say this: it was incredibly successful.

The response was so positive .. and of course we can actually *hear* people laugh, which is the biggest payoff for a comedy.

How difficult it is to sit through a drama you've filmed as the audience sits there tight-lipped - so you never know if they like it until they leave (or you read about it in tomorrow's newspaper).

Stephen Meyers, our editor supreme, and I locked the film today, cutting bits and scenes here and there to make it tighter, a better paced story and staying true to the characters.

I lost two of my favorite scenes. Ow. It hurt to make those decisions. But it has to be done for the sake of a better film. They were fine scenes but the created a small lull in the otherwise fast-paced story. One was just plain downright gorgeous. The other touching.

We'll include them as extras when we create the DVD.

Some of the comments:

"Elisabeth Röhm is phenomenal. She carries the story from the first frame of the film to the last."

"Eric Roberts was unbelievable. I had no idea he could be so f**king funny!"

"I loved Sean Patrick Flanery. He gave the film a real warmth."

"The film is hilarious - and the characters are still believable."

"Loved the music. It was perfect - in the parts where there was music." (The rest of the music is on its way from composer, who will finish scoring the locked film.)

"The film was actually logical. I liked that. Lots of comedies leave logic behind."

"The actors all felt like they were having a great time - like they were having so much fun performing their roles." ('tis true! We all had a wonderful time and want to work together again!)

There were many comments on the excellent acting - straight across the board, from beginning to end - not a weak link in the group.

The most wonderful comments revolved around how entertaining the whole film is - and how it felt like they were seeing a "real movie" - the first they've seen in a long, long time. Our budget may have been limited, but our imaginations and resourcefulness were not. It has the look of a film with a much greater budget - thanks to the whole cast and crew.

Folks left feeling like they were genuinely entertained by a film that didn't take shortcuts or "write down" to its audience or stupid-up the script to get a cheap laugh, even though there are many "over the top" moments.

Producer and hyper critic Larry Estes was in the audience and was *heard* laughing! Executive producer Gary Allen Tucci laughed all the way through the feature. That was *good* news!

Other things viewers loved:

The wardrobe! Rebecca Luke is the general of our clothing batallion in our "aesthetic army!"

The look of the film! Rachel Thomson is our production designer; Ted Barnes the gaffer (lights!)Paul Mailman the DP (camera!), and Greg Smith our grip (action! Moving and coordinating all the electrical cords and stuff).

We can only hope the audience we invite to the January screening feels the same with all the cuts and improvements we've made. We'll also have an elementary sound mix, the proper opening, color correction and special effects included. After that, we have one more go at the edit, proper sound mixing and the film is ready for you to see!

Whew.

Now back to work on pre-production for our next feature, The Lonely Goatherd!

The post production process is going *well!*

I can't say any more than that ...

It's rewarding and exciting.

When I am able to tell you all the things going on behind the scenes, even in retrospective, I shall. Until then, I'll just let you know how it's going overall.

And that is .. very well!

Opening, closing and credits

We're filling in temporary titles, credits and other written information that will cross the screen starting and ending the film. The permanent titles and credits are added after everything else is finished in post production.

Both are meant to be entertaining ... drawing you in right away and keeping you excited to see what's coming next during its screening and after the film ends.

Editor Stephen Myers and I are looking at it from beginning to end more often now to catch everything we can to tighten, correct, improve, brighten, enlighten, punch up and accentuate.

It appears we will not have to have anyone 'loop' lines .. that is, bring cast members into a sound studio to repeat lines that were somehow lost in the filming process. Our sound mixer Bob Marts is one of the best, and I'm a sound *nut* so while I wasn't counting on it (I've never had to loop any film I've made), I was hoping we wouldn't have to spend the money on looping, but instead on other things that will spice up the look of the film.

The time to have a private screening is coming up .. probably about mid-December .. then last minute touches and it goes in for sound sweetening, color correction and special effects touches. That may all be done in January because of the holidays and scheduling considerations.

Then?

Then it is unleashed on you!

Meanwhile, I'm simultaneously doing my usual director's image detail work and script finessing for our next feature, which is starting to feel pretty exciting to me. I've never worked on fewer than three projects at a time - it keeps me excited, focused (believe it or not) and organized. It also keeps me from going into a funk after I finish a project - at least for too long.

I'm so looking forward to casting the new feature - it's going to be so much fun and I'm going to meet such wonderful, skilled, talented actors as well as welcome back at least some of the folks who starred in THE WHOLE TRUTH! But who? We don't know yet, except for Elisabeth Röhm, who will portray one of the most unusual supporting characters ever to grace the silver screen.

Editing is rocking!

Editor Stephen Myers and I are spending our days finessing THE WHOLE TRUTH rough cut - we shipped the version we're refining to our composer Ragnar Rosinkranz in LA to flesh out the score.

We added the cues he sent us to our copy and they're perfect.

Opening and closing themes fit like a glove. Capturing the film's essence in about :30 seconds for the opening is amazing; the closing is longer because it features the credits and a lot of folks worked on the film.

Plus there's a special surprise included with the credits ... and no, I'm not talking about outtakes -- they are so yesterday!

I'm talking about something very fresh, fun, new and a first. Which I think we'll include in all our Heart Break Productionz feature films.

I start finessing the script for the next feature (a comedy) I'm directing this coming weekend. We may be in LA casting the first part of December, heading for pre-production in January.

Back to work!

The music arrives!

Ragnar Rosinkranz's music arrived over the weekend, which means we start working it into the film tomorrow morning!

We'll take a look at the entire rough cut of The Whole Truth, share notes on what we (editor Stephen Myers and myself) need to do to improve it through editing, including inserts of sound effects, tightening, changing what we can. Then we start adding the musical riffs Ragnar sent us.

That will be day #4 of editing.

Day #5 (Tuesday) will be more of the same .. refine, refine, refine. Focusing closely on every visual detail and movement with each pass, listening to every sound - electronically drawn out to catch every minuscule audible modulation.

This is where the film actually gets made ... and of course we can only work with what was actually shot. "Fixes" in post production are, while having much more potential than they did even a few years ago, are still fairly limited unless the film is shot properly.

We have one action scene that will have special effects, but we had to shoot it a specific way and at a certain speed, prepping it for the special effects folks at Modern Digital to modify after we've finished the editing process.

It's all pretty exciting. But our film is not really changing in editing - it's the same story we shot in the same way it was shot. Some films change drastically in editing because there were problems on the shoot. One such film was the award-winning Annie Hall. Most films that undergo such extensive changes in editing are not as fortunate.