22 Tuesday Jan 2013
Tags
hunter lee hughes, independent film, inside-out-outside-in, screenplay development, screenplay reading
Very excited about our first public reading of “Inside-Out, Outside-In,” scheduled for Thursday, February 7th.
Posted by hunterlh | Filed under Development, The Script
09 Friday Nov 2012
Posted in Casting, Pre-Production
Tags
casting, casting for independent films, director's pet peeve for casting, how do i get an acting part, how to submit to an acting breakdown, indie film casting, inside-out-outside-in, playing gay, risks of playing gay, straight guys playing gay, submitting for acting breakdowns, tips for getting cast, tips for submitting to breakdowns, top five actor pet peeves, top five casting pet peeves, top five pet peeves of director about actors, writing character breakdowns
Next week, I’ll release a breakdown of some of the characters from “Inside-Out, Outside-In” as I cast our December reading for invited guests and potential investors. I’ll be putting the breakdown right here on the blog, as well as on our Facebook fan page a few days before sending it out over traditional avenues like Breakdown Services to give our motivated collaborators and fans a chance to get the one-up on submitting for parts.
What is a breakdown exactly? Well, it’s a summary of short descriptions of characters and their essential qualities for the purposes of casting, along with some contact information. Filmmakers send them into the world with the hopes that agents, managers and quality actors will submit candidates (or themselves) to play a part that matches what we’re seeking. Here’s an example of a breakdown from the web series “Dumbass Filmmakers!” – Fatelink’s last project.
Character breakdown for “Dumbass Filmmakers!”
There are a few questions that naturally come up when writing these breakdowns. First of all, how much information do you reveal about the character? How much plot? I generally think fears of other people stealing your ideas are a bit paranoid. Let me clarify. I do think people might try to steal your ideas and characters, but the chance for them to pull it all off before your film is finished is not too high. And good luck to them! But still, as an artist, one of your assets is knowing what you’re trying to build, while others do not. So while I don’t like to fall into the trap of being paranoid to reveal any information, I don’t want to reveal too much. And plus, at this level, you need people to get excited about the project and become a little curious about it, so giving out a little information works in your favor. If you’re already Woody Allen, well then, you probably think I’m a dumb shit and aren’t reading this blog anyways, but if you are in that position, I don’t blame you for keeping everything about your story an absolute secret.
In terms of actors submitting to breakdowns, here are my pet peeves as a director. So I offer them with the hopes that they might help somebody more effectively respond to a breakdown, mine or anyone else’s.
Top Five Director’s Pet Peeves at Dealing with Breakdowns (and how to successfully navigate them):
1. Receiving submissions that are “way off” in terms of the character description. Trust me, I’ve given a lot of thought to why a character is a certain gender, age, nationality, temperament, etc. So please don’t completely disregard the breakdown and submit yourself if you’re clearly wrong for the part. And if you are going to gamble and submit against the character type, take the time to explain to me why you believe you’re right for it even if it goes against some major part of the description. (In my life, I have changed a character from male to female once based on an actress’ audition, but this is rare and she was right for the part in all the other aspects). If you at least offer an explanation, I know that you have something in mind, rather than just rudely disregarding what I said that I needed.
2. Receiving high-resolution photos that mess up my email account. Please be kind. I’m dealing with an email account that has a limited capacity for space. So if you send me your headshot as a 24 GB file, I’m going to hate you for a minute and may not even wait the requisite time for it to download. And here’s a hint – if you send in a hard copy of your headshot/resume and I like it, I will file it and keep it. And I do go over those files every now and then. Maybe it’s retro, but if hard copy is available as a submission option, I believe it’s worth it. If you don’t know how to size down your headshot to a jpeg of reasonable email size, please teleport back to the late 1990s.
3. Feeling “guilt-tripped” by friends trying to get a part. If you’re my friend, I already think you’re talented and amazing, so don’t ask me to prove it by giving you a part out of guilt. “Hey! You’ve NEVER cast me in anything,” complain some people. Or others, “I came to see both your plays! Isn’t it time we worked together?” I value my friends. I value people who support my work and take time to see it. And I want to work with my friends, all things being equal. But hey! I don’t owe anyone a part. And it’s not fair to guilt me into casting you. If you’ve supported my work in the past only to get a role in the future, well at least be savvy about that and don’t tell me. Know that if there’s ever a part that’s on-the-money for a friend that I know can hit it out of the park, you will likely get the part, all things being equal. If I’m not sure you’re on-the-money for it, it’s just business and we have to see if it will work out or not.
4. Liking an actor for the part, only to later discover he’s unavailable for the dates required. Listen, I know these sound like basic things. But believe me, actors disregard them all the time (or the agents do by not knowing the schedules of their own actors). Our reading is going to take place in December. So if you’re going home to Nebraska for the entire month, please do not submit! We’ll catch up on the next project, the next breakdown and c’ la vie! I really do understand the desire to expand your network or take an audition just for experience, but when you do so knowing that you are ultimately unavailable to work, you are in bad faith with the casting director/producer/director calling you in and this is a reflection on your character. And to an indie film director, character counts because we often don’t even carry insurance on the actors, so we are relying on you to be truthful and forthright about your schedule. So I say, “Don’t submit unless you are available for the dates required!”
5. Having actors flake because they are uncomfortable with the material. Listen, I have produced a number of projects and films with an LGBT element. I’m also from Texas and a family filled with “red state” Christian conservatives. So I really do understand if an actor isn’t comfortable with material I write. If you see in the breakdowns that it’s a gay character, then it’s a gay character. I’m not going to change it. And if you don’t want to play that character, don’t submit for it in the first place. Or, if you do submit, then read the sides and decide you’re not comfortable, simply call and cancel or email and cancel with enough notice for us to fill your slot. What is not cool is being so uncomfortable that you can’t man up (or woman up) and let us know you’re not coming to the audition. It’s also very rude to your fellow actors. That slot could’ve been filled. There are plenty of amazing actors – gay, straight, bi or questioning – that have no issues playing gay roles. And one of them could’ve auditioned for us in your place. A no-show/no-call is almost a 100% guarantee that you won’t be called in for anything in the future. Again, as indies, we don’t always carry insurance on the actors and I simply can’t risk someone flaking and not showing up on set. If you’re uncomfortable with the character, but cancel your audition respectfully, I might get a better sense of you and might bring you in for something different the next time around, no hard feelings. That’s how we do it in Texas.
Ok, so that’s my advice for submitting for roles and avoiding running into a director’s pet peeves (at least this director’s pet peeves). Now, look out for the breakdown next week, which will be released to this blog and to our Facebook fan page. And hope you all keep making movies.
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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
23 Tuesday Oct 2012
Posted in Development, The Script
Tags
alessandro piersimoni, bohemian lifestyle, developing your screenplay, hunter lee hughes, inside-out-outside-in, justin schwan, rex lee, screenplay readings, shon perun, should i do a reading of my screenplay, themes in screenwriting, thy will be done prayer, zsa zsa gershick
“Help us to see what we need to see, hear what we need to hear. Thy Will, not ours, be done,” is my best paraphrase of the prayer spoken by accomplished playwright and filmmaker Zsa Zsa Gershick to kick off the first reading of “Inside-Out, Outside-In.” (more on the title later).
I’ve written four feature length screenplays before. None of them have been produced. This time, I wasn’t taking any chances and wanted from the start to invoke a higher purpose for the material, especially since the tension between ego-driven and authentic, soul-driven choices provides the core conflict of the movie.
The reading took place at the 5th floor screening room at my communal office. Television’s Rex Lee quickly voiced the question on many minds, “Is this going to be the temperature setting for the whole night?” I looked anxiously at the locked thermostat. I knew a key card wasn’t going to cut it with that thing. What we wouldn’t be hearing was the whirring of an AC at work. Justin Schwan, reading a lead role, shed a modern-day, professorial grey button-down sweater, preferring a white tank top, but Zsa Zsa (in a tailored suit) and Ashley Osler (in a cream, fluffy turtleneck sweater) weren’t so lucky. It was hot.
But whatever discomfort the heat provided did not arrest our progress through the script. I felt torn between the focus on my own role and marveling that living human beings were embodying characters that began as notions, developed into imaginary conversationalists and, now, met with flesh and blood.
Readings help to reveal how the structure of a piece is working and, on that score, I’m beyond pleased. They also spark challenges to identify the really important aspects of a character – whether you’ve pegged the guy at the right age, the right sexuality, the right archetype. Here, some adjustments will occur. They also start to indicate the range of reactions from an audience. I learned long ago not to attempt to please all segments of the audience and sucking up to the mainstream is anathema to my quirky humor and homoerotic sensibilities. But still, it’s helpful to know which characters they wanted to know better, who makes a shift in behavior that takes them by surprise and assess the universality of the piece. I consider my niche to be creating a surprising universality through characters usually overlooked or stereotyped and feel this script is in alignment with my own authenticity. So I felt grateful that many of my friends voiced support for the script as a success or on the road there.
“I don’t like the title,” said one of the most interesting guys I know in Los Angeles. Alessandro Piersimoni gave up a lucrative career in advertising to pursue filmmaking in Los Angeles and so far has found some success as an actor, appearing in David Fincher’s “Girl with the Dragon Tattoo.” His eye for aesthetics surpasses my own, although my innate if somewhat downplayed competitive spirit challenges me to catch up.
“The title doesn’t do anything for me. Maybe shorten it to ‘Inside-Out’ or change it to something else. Other than that, you’re 99.9% done. Just take it to the literary agent and say, ‘Here.'” He mentioned two or three other problem areas and encouraged me to just get on with it. Compliments from those with developed sensibilities really mean something and I relished Alessandro’s words as something hard-earned and real.
Once the reading broke up, some of the guys, including Justin, the talented and underused Shon Perun and Alessandro enjoyed a beer. Like Christmas coming early, Justin couldn’t believe a professional office would feature frosted mugs in the freezer and beer on tap, but the quirky Tracey Verhoeven was a little late to the party and had to settle for a plastic cup.
Zsa Zsa and her erudite wife Elissa closed it down, talking to me another half hour about the script, its theme and their own experience casting and refining the scripts for Zsa Zsa’s projects. Zsa Zsa generously tried to sum up her playwriting degree in a few minutes and boiled it down to, “Know the theme. Make sure everything supports that. Write your character bios and find yourself in ALL of them.” Elissa, like a big sister, asked if I parked close or if they should wait and walk me to the car.
Soon after, Rex and Richie, an adorable 26-year old techie hipster-who-denies-he’s-a-hipster, texted me. They ordered me to drive to Bossa Nova on Sunset, where they’d ordered me a steak that was on its way. I showed up as the waiter brought my food to the table and noticed the guys had already eaten and their plates had been cleared. Ah, friends. A lovely discussion ensued.
Tracey emailed me at 12:40 a.m. with a concern about the reading. I called her back at 12:41 a.m. and we talked it out, but her note so provoked me that I called Rex at 1:20 a.m. and then Richie at 1:45 a.m. before finally heading to bed around 2:45 a.m. I slept til Richie’s phone call at 11:40 a.m. this morning (save for a catatonic walk with my pug) and felt oh-so-Bohemian for sleeping in on a Tuesday.
The next day, I’m full of enthusiasm and optimism. Seeing and hearing these fifteen beautiful souls – each so unique – pull together for the night to give voice to something new made me truly grateful for this Bohemian life I’m proud to live. As an unconventional artist, you never know if you’re gonna end up reciting poetry under a bridge with some donated whiskey, but this morning, after my City Harvest Black Vanilla tea (you read that correctly), I feel curious for a continuation and evaluation of the story of the life of my movie…and its gallery of characters – past, present and future.
For the record, here was the cast of the first reading of “Inside-Out, Outside-In” in alphabetical order:
Camille Carida, Marilyn Chase, Zsa Zsa Gershick, James Lee Hernandez, Hunter Lee Hughes, Rex Lee, Thyme Lewis, Marlyse Londe, Ashley Osler, Shon Perun, Alessandro Piersimoni, Ann Russo, Justin Schwan, Erwin Stone and Tracey Verhoeven. Guests included Ms. Elissa Barret and Mr. Richard Scharfenberg. The reading took place at WeWork Hollywood, 7083 Hollywood Boulevard, 5th Floor Screening Room.
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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
23 Monday Jul 2012
Posted in Development
Tags
casting, independent film, indie films, inside-out-outside-in, making lists of actors, pre-production, timeline for indie films
Today, I finally returned to tasks relating to Inside-Out, Outside-In after focusing most of my energy on the release of a web series (see below). The two main tasks were to write down a timeline for the project and begin writing a list of potential talent for a key character.
The timeline existed before – just in my head. But it did help to write down all the target dates as I go into high gear finding investors and collaborators. People need to know how much of their time the project is likely to require and when milestones should occur. I found too that whatever knowledge of film festivals that I retain is giving me a hint of how the film’s schedule might affect its initial release and which festivals may be appropriate to target.
Then, I started a list of actresses to consider for the role of Rose Meresh, a key supporting role in the film. Making lists of actors – especially at this stage – is a whole lot of fun. I don’t limit myself based on the actor’s status or how likely they are to do the project. I just think in terms of the archetypal energy of the character and who might be right for it. It also helps to crystallize the character in my mind because such a list inevitably brings up one of several ways to go with the character. By the end of a brainstorming session, I had six or seven names on the list. One is a major movie star household name. Another is a friend I worked with in a play a few years back. And of course, even this list can barely qualify as rough draft territory. The casting of other roles could really impact who’s right for the role of Rose. But she’s one of my favorites in the script, so it’s crucial I know who to approach. Because I believe that it’s approaching the right people that matters most. If you confidently approach the right actress, you don’t just know who the character is in your GUT, you know how to articulate the essence of the character to other human beings. And you better! Because you’ll be approaching agents, managers and actors and communicating with them about the character. Once you’ve approached the right actor, it’s up to the “Casting Gods” whether or not your first choice comes through. But the process teaches you so much about the character that you’ll be able to make maximum use of the actor who eventually plays the role.
Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
26 Thursday Apr 2012
Posted in Development
Tags
Elizabeth Banks, film budgeting, film business plan, hunter lee hughes, inside-out-outside-in, investors for movie, Kevin DiNovis, movie business plan, Slamdance, Surrender Dorothy
Thanks to all of you for supporting this blog so far! I’m thrilled that the last two postings charting my stupidity/smarts with previous projects have both cracked 100 readers! This is quite a step up from the first few postings, which were viewed by maybe four or five people each. Wow. Just like an indie film, a blog gets built little-by-little.
Today, I’m sweating it a little bit because I’ve scheduled my first meeting with a potential investor for ‘Inside-Out, Outside-In.’ And, truth be told, I’m still working on developing the business plan to give him tomorrow. Sometimes life unfolds at a slightly faster pace than you anticipate. Many elements still need to come together and – most especially – the sales projections for my film (will be headed down to the Margaret Herrick Library in a bit to do some research on foreign sales numbers for movies in my category). So for all those who think making indie films is a walk in the park (take note Elizabeth Banks), it all starts with boring business plans and trips to the library.
I would love to report a positive development after tomorrow’s meeting. Until then, since this is a blog about us learning together about indie films, I thought I’d include the tentative list of topics I plan to include in the business plan. They are:
1. Introduction
2. Synopsis (one page)
3. Filmmaker Biography
4. Target Audience Report
5. Budget Synopsis
6. Financing Plan
7. Distribution Plan
8. Marketing Plan
9. Sales Projections
10. Call to Action
11. One Sheet mock-up
12. Statement of Risk
I’ve made the decision to include only a one-page synopsis and a one-page budget summary because – from what I understand – investors are busy people and only have a very limited amount of time to consider your proposal. I will also pull together a packet of supporting material available to email the investor – if interested – that will include the five-page treatment, the full budget and more information/documentation about the performance of my past projects.
Oh and on behalf of my hard-working independent film friends, I’d like to go ahead and note the douchebag-of-the-week: Elizabeth Banks. In a really classless move, she criticized Kevin DiNovis, the first filmmaker to give her a lead role in his indie film ‘Surrender Dorothy’ (which by the way won Slamdance and the NY Underground Film Festival and won praise from Roger Ebert). In an April 19th interview with Slate.com, not only did she describe the film as her worst career mistake, she went on to say she wasn’t even sure of the title of her first feature film. Elizabeth: “Really early on, I did this one film – I think it’s called ‘Surrender, Dorothy,’ I’m not even sure anymore….” Now Elizabeth, you don’t remember the name of your first film??? Really, now. Can we say ‘Passive-aggressive?’ She goes on to insult the director who gave her a big break even further by saying of her experience on the film, “I thought, ‘I’d better go to drama school and learn how to never have this job again.'” Wow.
You heard it here first. Elizabeth Banks sure comes across as an ungrateful 1%’er with little to no respect for the incredible hard work involved in indie filmmaking. If this was 
some student film that truly was awful, maybe I’d understand. But to trash your debut film that went on to win Slamdance? Out-of-touch Hollywood elite all the way. Boo!!!! Have some class and apologize to Kevin and indie film, Elizabeth…don’t worry, we’re a forgiving bunch.
For those of us who still have to work in the real world, business plans are very important (even if they come together at the last minute). Will keep you all posted. See you at the library!
Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
11 Wednesday Apr 2012
Posted in Interviews
Tags
Ashley Osler, auditioning, choreographers, choreography, choreography for film, Christos Vass, hunter lee hughes, independent film, independent filmmaking, inside-out-outside-in, Jamie Benson, movement for actors, ojai, Script Development
Once Jamie Benson left for NYC and Nameless Actor dropped out, I was temporarily without a choreographer AND a lead actor to workshop the climatic scene from ‘Inside-
Out, Outside-In.’ Things quickly changed when charming Greek actor Christos Vass stepped in to play the lead role and choreographer/coach Ashley Osler answered her phone and promptly said, “Of course I’ll help you with that!” Ashley, an alum of Larry Moss and frequent previous collaborator (she did the choreography for The Sermons of John Bradley and helped me develop a striptease-type movement for Fate of the Monarchs), is an unheralded gem in terms of understanding how the expression of the body relates to the needs, desires and psychology of a character. We chatted a bit about what it’s like to choreograph movement and help in the development of a project from the ground up.
Hunter: By the time we linked up on this project, Jamie (our original choreographer) had moved to NYC and the first actor had dropped out of the workshopping of the climatic scene, leaving us in a position to bring on a new actor without the benefit of a choreographer. So that’s where you came in! After Ivana put Christos and I together on the scene, I originally brought you in to consult on the movement that we were doing, but it sort of organically grew into more than that. After that first rehearsal, what did you feel about the piece and its potential? And how did that relate to the movement aspect of things?
Ashley: I got so excited about the scene and the characters’ needs. It was so compelling to see it on its feet. I was trying to understand what you had written by exploring some different ways of moving to express the subtext. I left feeling that there was more to find but that a few layers had been peeled by infusing the movement with deeper script analysis. Because the movement/physicality can be so telling….letting the audience know maybe more than the characters do at that point, I felt there was potential for a very dynamic scene.
As we spoke about the scene in the days following I realized that the physical connection had to be so intense…electric…..and that was one of he conflicts both characters. Then on top of it they have to rehearse a hot dance number while trying to be nonchalant because they both needed something so badly. Good scene!!!
Hunter: Sometimes I feel a little nuts workshopping individual scenes from a screenplay – it’s not necessarily the traditional approach for sure. Do you think there’s value in these type of workshops? What can be gained from workshopping scenes? What, if anything, did you think we learned during this experience?
Ashley: I didn’t get to see the scene workshopped yet but wish I could have! All together I think workshoppig is very important for perspective….getting it into your body with the juice of an audience is an important part of the process of understanding what you have written. Even though it’s on the page already it’s still writing itself in this part of the process.
Hunter: The story deals, in part, with characters facing tough decisions about how to navigate the “Hollywood” and “independent film” environments here in Los Angeles. I love the story you told about not feeling right about going to commercial auditions, if you feel like telling that one! 🙂 But seriously, have you seen any friends lose themselves in a struggle to manifest their creative work here? How do you stay true to yourself as an artist while pursuing filmmaking or acting?
Ashley: Oh my goodness I’m having a brain fart…probably an audition where it was like a conceptual art exhibit – one side of the room all blonds and the other all brunette clearly divided and I was lost in the sea of blonds and said, “Yuck!” I just figured I’d rather take the time it took to run to those auditions to read plays or prepare a scene for class….I was lucky to be in a great scene study class back then and I knew that teacher wouldn’t be there forever so that’s were I put my energy. You can die with some money in the bank from an Arby’s commercial, which is selling poison to people…or you can feed your soul with literature and take it with you……easier to audition in NYC. All the driving in LA is monstrous and made it even more absurd. Commercials – Humf!
Anyway auditions can eat you alive unless you make them auditions for life experience. It’s not about getting chosen and you can’t wait to get chosen. When I first started going out I was not prepared at all for the language of the casting process – it was so foreign to the creative process of acting. I learned we can’t audition without being crystal clear on script analysis so the choices are supported and powerful and you can feel your teeth in it.
Stella Adler said something like you have to have the soul of a rose and the hide of an rhinoceros to be in the buisness…well I didn’t know how tough the skin of a rhino was and I just went out with my fragrant rose and got a big surprise.
Hunter: Another big part of the story is reincarnation and karma. Do you believe in reincarnation yourself? One of my struggles is how to delve into a subject like reincarnation without staying on the surface or relying on cliches. Any advice?
Ashley: Yes I do. I have done some past life regression sessions which were amazing. Also had some interesting experiences living on Kauai which took me to a past life there. Karma is created in every thought we have. Most think that it’s only our actions. We are more powerful than we know. Each and every thought is creating Karma. It is great you are writing on this subject. We are very immature in the West about this. I believe until we can teach death as beautiful part of life there will be no peace. I say keep experinecing and studying….read more plays and stories about death to feel the emotions…..check out, “Tibetan Book of the Dead.” (Author’s note: Actually I did – it’s on my reading list here).
Hunter: So for our readers out there who don’t know Christos or myself, how would you describe us as actors or as people? Did you feel there was an interesting dynamic there? Why or why not?
Ashley: Well, you both are so smart and willing and courageous. I would love to spend hours with you two playing. I think you are fine actors!!! Yes, I do think there is a very interesting dynamic……What translates from you both being open and curious and wanting to know could be naturally adopted into your characters. Watching you two as actors was just as interesting as watching the characters.
Hunter: You are big on textual analysis and allowing that to impact the movement. Can you tell me a little about your process here?
Ashley: Oops didn’t know you were going to ask this…well I kind of hit that above. One thing I would add is that for you as the writer/actor it’s a trip because you have to live this parallel universe sort of existence…writing it…thinking you know what it is and then growing in it as the actor writer and watching it change and grow…..what a special experience.
Hunter: Finally, you’ve gotten out of town recently (I have this effect on choreographers….) and moved to Ojai. How’s it going up there and what’s it like?
Ashley: That is so funny. Well at least the first guy is in NYC waiting to embarce you and show you around when you get there!! Not much happening in Ojai as a career move for you as an actor. As a writer, it’s just what I wanted. I really had a hard time focusing in the city. I am sensitive to all that energy. I can write in NYC but not so much in LA. Up here the land feels supportive and we’re in a quiet part of town Private so I can go into my imagination and feel I won’t be disturbed by black hawk hellicopters or the children thay have as slaves nowadays ringing doorbells with magazie subsrcitions etc etc bless their little souls…God and those lousy leaf-blowers…Don’t get me started…needless to say I think Ojai is going to be “berry berry good for me,” as Garrett Morse used to say on SNL.
To contact choreographer and acting coach Ashley Osler, you can reach her at aosler7@gmail.com.
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Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
09 Monday Apr 2012
Posted in Interviews
Tags
artistic self-indulgence, choreography, choreography in movies, dancing in 3d, dumbass filmmakers!, gay film, gay filmmaking, highways performance space, hollywood hypocrisy, homophobia, homophobia in filmmaking, hunter lee hughes, independent filmmaking, inside-out-outside-in, Jamie Benson, Jamie Jeppe Benson, mass transit, microbudget filmmaking, sermons of john bradley, straight guys playing gay
I’ve known Jamie for about four years. Formerly the membership director of Highways Performance Space, Jamie helped support our run of ‘The Sermons of John Bradley‘ at the space. After our show – which included a five-minute segment of choreography with no dialogue – Jamie commented that he liked the intensity and even brutality of the movement between the characters. I felt so grateful that someone noticed the quality we worked so hard to infuse into the piece. After that, I began supporting Jamie’s work in independent theatre when I could and noticed that his original choreography in “Mass Transit” focused more on the unique humanity of each of his dancers rather than a perfectionist aesthetic ideal. And yet, when required, Jamie could choreograph intricately beautiful moments. This was precisely the quality that made me feel he might be the right man to bring the moves to “Inside-Out, Outside-In.” So I brought him on to choreograph the initial workshop performance of the climatic scene of ‘Inside-Out, Outside-In.’ And he did an amazing job. Now, I’m just suffering a bit of Jamie-withdrawl since he’s moved to NYC to pursue his fortunes there, but check out our talk about dance and the movies.
Hunter: OK so not only is “Inside-Out, Outside-In” my first feature as a writer-director, it’s the first time I’m incorporating movement/dance choreography into a filmed piece. Any advice for the newbie?
Jamie: Make sure that you really allow the movement some time in full frame. It seems fast cuts are real popular in the flashy world of feature filmmaking and sometimes the dancing is lost. That and after seeing the Wim Wenders film “Pina,” it’s only a matter of time before we all should be presenting dance in 3D. Just sayin’.
Hunter: Well not sure our microbudget will stretch to 3D just yet. You mentioned that you love seeing people talk and dance on screen, that it’s satisfying to see people work something out through movement. Tell me about that. What are some of your favorite movies with choreography?
Jamie: Dance is designed to reveal simple truths. But if you’re able to add words and a linear scenario or context, you have so much more texture to experience as a viewer. If a couple is fighting while dancing a romantic waltz, there is so much more wit and intrigue to the juxtaposition, for example.
Hunter: I like that. What drew you to help out with ‘Inside-Out, Outside-In?’ Was there anything in the story there for you or did you just basically get roped in because we’re friends?
Jamie: Ha! A little of both – life is layered or something. I was curious as to whether or not I could deal with the challenge of a limited time-frame AND inform the meaning of the script within the script through simple gestures and movements. A bit of a puzzler but that was part of the fun.
Hunter: We had an issue where a straight actor became uncomfortable with dance with another man while workshopping this piece. It brought up a lot of feelings of anger and inadequacy in me because I felt I tried so hard to make him comfortable. Is this a common problem in the dance world? What is your suggestion for working with actors in the future on this? On the one hand, the character himself is straight and unsure about his feelings towards this other male so a little discomfort is interesting, but when does fear of intimacy or even homophobia damage a piece or prevent its full realization? Your thoughts?
Jamie: Most dancers, whether straight or not, are a.) around a lot of gay people because, let’s face it, we’re talking about dance. Cliches, just like a good joke, have some truth to them. b.) Dancers are notoriously underpaid and will usually do just about anything to continue “working” whether that means sidling up to another guy or not. I’ve had to grab a straight guy’s ass in performances before. Honestly I think it was a great chance for the guy to enjoy the flirtation without being totally accountable for it. A sort of, “well that’s what the director wanted” sort of thing. I’ve helped produce a gay-centric play before and the straight guys we’re totally cool about it. There should be some awareness going into it for them and if there isn’t, how can you really combat an actor’s denial during the courting process? They probably want to do what they can to get the part at that point. I wouldn’t worry too much. It’s given you a fire to push forward with the work and material to blog about the movie-making process. Hell, there’s a few press releases there. That’s valuable. In our quick digestion of drama, turmoil can be an asset. Its part of the story and intrigue of the film you’re making.
Hunter: The piece has an element of life-imitating-art-imitating-life. When you choreograph, how do you draw from your own experiences while still staying true to the situation at hand for the characters? In other words, when does your personal expression need to be channeled into something more-or-less objective versus when it is okay to allow your personal story/demons to be expressed in a very raw, direct way?
Jamie: Making whatever story arc I’m presenting complete is of top priority. This is not unlike making a film. Sometimes the best lines or scenes must be sacrificed for the greater good of the storytelling. I fear that being an “artist” has an inherent “self-indulgent” quality to it anyway so I have no intention of running away with the fact. I have to constantly ask myself if each moment serves the whole of the story. “Why would she do that here?” or “Who is this character like and what is my experience with that type of person?” “What do I believe is the truth of the scenario I’m creating?” The scenarios I’m compelled to create are somehow personally satisfying for me to present. It’s satisfying to include personal observations I have into the work but it all has to inform the story somehow. I hate going to shows where there is no sense of editing. I’m sensitive to that.
Hunter: You and I have talked a bit about valuing the exploration of the humanity of – for lack of a better word – “the little guy.” I’m thinking of your piece “Mass Transit” and also the webseries “Dumbass Filmmakers!” on which we collaborated. Tell me about “the little guy” in your own work and how it might apply to ‘I-O, O-I.’
Jamie: I am the little guy – at this juncture – so that P.O.V. surfaces in the work at times. I also find a certain innate hypocrisy in the entertainment world and strive to demystify things because of it. Ballerinas are flawless porcelain dolls, or rappers are so so cool or models so sexy yet at the end of the day, they still have body odor, cry themselves to sleep sometimes, or get insecure. That is humanity and our culture seems to deny or exaggerate/exploit it. My work is often aimed at the reveal of these truths under the illusion of the day-to-day performance we are all a part of. Usually, it’s done in a humorous way to help from being preachy.
Hunter: Now, you moved to NYC! And so…..we’ve had to pick up the pieces without you. 😦 How’s it going out there?
Jamie: Hectic! But good! Internship in the marketing department of the Paul Taylor Dance Company, performance of my satirical ballet “Bowel Movement” in a couple of weeks, just won a Martha Graham video contest and more to come. I’m really enjoying my time here. We shall see. Thanks for your time here!
To learn more about Jamie and his dancing and choreography, please visit www.jamiebenson.com. His latest piece – “Bowel Movement” – runs April 12th and 13th at the Triskelion Arts Aldous Theater in Brooklyn. Take a look at the trailer here.
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Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
20 Tuesday Mar 2012
Posted in Development
Tags
all that jazz, betty jones, bob fosse, dumbass filmmakers!, inside-out, inside-out-outside-in, ivana chubbuck, meditation, meditation retreat, private equity investor, Script Development, webseries, winner takes all
In January, 2010, I went on a meditation retreat, led by local spiritual guru Betty Jones. Sandwiched in between the production of a short (“Winner Takes All“) and a webseries (“Dumbass Filmmakers!“), it was designed to be a much-needed break from the demands of the material world and, especially, Los Angeles. And I can honestly say that all the meditating…and sleeping…and gentle contemplating…restored at least a portion of my sanity. Of course, I also walked away from the weekend with a killer idea for a feature-length movie.
A little over two years later, I’ve written the screenplay of “Inside-Out, Outside-In.” This January, after some drama, we workshopped the climatic scene of the piece in Ivana Chubbuck‘s master acting class (more on this in a future post). And I’ve managed to do some rewriting based on that experience. We’ve already had interest by some private equity investors. One of my investors for the webseries saw a rough cut of that project and immediately expressed interest in signing up for the feature. That was a fantastic feeling…and a moment when my brain started generating things-to-do-lists and attempting to re-trigger an addiction to coffee. So I’m simultaneously refining the script and putting an investment package together while interest remains high.
But, for now, a huge part of the process is purely creative. Jotting down ideas for shots. Mindmapping the characters and scenes. Brainstorming about everything from character names to color palettes to costumes. And rewriting, rewriting, rewriting. That may bring you to the question – so what is the script about anyway? Well…I’m not ready to tip my hand on the story just yet…BUT…I will include a trailer here of one of the two films that have inspired me in the development of the film. I absolutely LOVE Bob Fosse’s brilliant take on a choreographer’s descent into that great twilight set against the backdrop of the fast-paced, experiential task of putting together a Broadway show. I’ve seen it easily 25 times and if you realize later on that I stole a shot or two from it…well…you read it here first.
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Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).
19 Monday Mar 2012
Posted in Development
Tags
acting career, development, fatelink productions, filmmaking career, hunter lee hughes, independent filmmaker, indie filmmaking, inside-out-outside-in, micro-budget feature film, pug
Photo by Jason Fracaro at Soda Pop Jerks
And so it all begins…with a pot of wild green tea, a prayer (yes, on my knees and I’m not even religious) and a decision. I could spend the next two years focused on getting co-star parts. And hopefully, from co-star parts to guest-star parts to who knows. I could spend the next two years going to film school or earning an M.F.A. in acting, maybe with an eye towards teaching. I could spend the next two years trying to get re-hired in the studio system where I was a freelance story analyst for eight years. But no, I’ve said my prayer(s) and decided on something even more ambitious and nuts. Something that could bring on the pinnacle of my creative accomplishments or financial ruin or maybe both…
I’ve dedicated the next two years of my life to creating a micro-budget independent feature film and finding an audience that connects with the project.
It’s a weighty decision, but I know I’m not the only filmmaker-with-a-dream-and-a-pug-to-feed out there hustling. With this blog, I seek to chart my experience and – hopefully – create a successful template for others to use as a guide with their own micro-budget indies. So please read about my adventures, my lessons, my mistakes and, with some luck, my successes along the way. And if you have any wisdom to share or a just a great filmmaker-making-a-movie story, by all means, share it! Just don’t deter me from my dream – it may be distant but like the go-to guy in a good rack focus, it’s coming into clear view. See you all at the premiere (in a year or two!)…
Your excited writer-director,
Hunter Lee Hughes
