Inside THE RED ROBIN: The Making of the Feature Film: 12/12/11

Monday, December 12, 2011

WE'RE HALFWAY THROUGH!

So I've been taping and photographing this entire experience and therefore haven't had much time to do any "Blogging" When you're in the middle of it, time in anyone area is scarce. Being a director means you are answering 50 questions at the same time. You start answering this person and another member of the team needs you which means that you simply can't commit any significant time to writing. This is about it for me right now.

Let's say that to those of you who actually survived my first few posts and grievances about how hard it has been to get the film made...well WE ARE MAKING IT!

Did I ever have seeds of doubt that this auspicious day would arrive? I would be lying if I didn't say yes. But after our last false start, I basically gave myself a real "do or die" deadline and said no matter who was onboard as cast/crew, we were green lighting.

What this project has become is bigger and better than I ever imagined. Really. The level of talent both in front and behind the camera is mind boggling to me. What this has taught me, simply, is that great people gravitate towards strong material. Okay, forgive my immodesty but there's nothing else that has been a common denominator that could account for why we have assembled such a strong team except the refrain I most often hear "I joined because of the script or the story" When you have little money to pay people, that's the only way you're ever going to be able to bring aboard peeps with the right stuff. So I credit not only the determination of me and my producing partners but eventually the material married to the right sensibilities. I've never doubted that it's the written word that starts this process off and if it's not well written, the process will have a hard time igniting into anything.

So here we are, 10 days into shooting, 8 days left to go, then another 5 in January for our flashbacks. We still have some very challenging scenes to go but everyone is at their A game and I think the communal sense is that we're making special, something that people will want to see. I am at once inspired by the effort of everyone onboard and moved by any thoughts that this all started in 2005 in my living room, born out of frustration of not having made a movie in over 12 years and knowing my time was running out to do this again. Here we are...the dream has become a reality and I feel, for the first time in many many years, that this is where I'm supposed to be in life....

The Eskimos believed that if you spoke a word, it had the power to grow into something. I hope that anyone who is sitting in front of a computer screen with a story that's inspiring them will read this and take away that words have power.

About The Red Robin

“The Red Robin” focuses on the dynamics of a family whose dying patriarch stands accused of a shadowy past by one of his children. Every aspect of the filmmaking, from the acting to the visuals and editing, are tinted by a traumatic incident from the family’s past that remains unknown to them. As the director of the film, I plan to visualize the damage this buried incident inflicts on the Shellners, how it twists and subverts their reality, and its combustible ability to reap havoc on their lives over the course of one night. The palette of this film could best be described as “Cinema of the Traumatized” and this expression should live and breath inside every frame. Inside the house, the interior design hasn’t been updated for decades with browns, yellows and beige colors popular in the 70’s—though a sanctuary at one time, it’s now tired and depressing. One can’t step foot in the Shellner house without feeling the weight of the world, as if an albatross of despair looms over everything and everyone. Though the story is set in the present, the visuals will have the fragile graininess of aged film from the seventies and the colors desaturated and muted, representing the time which the incident happened. The faces of the Shellners are photographed “unglamorously,” with practicals, giving expressions a raw, real and sallow look drained of all inner/outer beauty. When the accusations of abuse are leveled against the father, the images will retain their yellowish pallor but shot with higher contrast, more areas of darkness to heighten the mystery and confusion. Only when the resolution comes at the end of the film does the image feel contemporary and the faces return to some state of health as if the narrative is able to move out of its trapped past. The camera work will also reflect the emotional burden trauma has had on this family. In the beginning of the story, the action will be kept eye-level, framed in unobtrusive wide shots with little movement, lending a heaviness to the image. The coverage will be minimal and some entire scenes may consist of 1 angle to convey that life has all but come to a halt. Editing will be dictated by the sparce shooting style and will therefore be paced slowly. Many compositions in the house will feature family members framed against enormous windows or the majestic fireplace, giving the image a weight that suggests something unseen is crippling our characters. After the story takes its first dramatic turning point with the son’s accusations of his father’s past, the visuals will become increasingly agitated, unhinged. Similar to movie’s like Roman Polanski’s “Repulsion” which depicts a woman’s mental breakdown inside her modest flat, trauma works its way into the psyches of the family and the sanctuary of home becomes alien, threatening and even dangerous. While the accusing son, Tommy, hunts for the truth escalates and mental state become manic, the camera will mimick his psychology with less steady shots on the tripod, abrupt pans and tilts, erratic zooms, focus-adjustments, and compositions that are busier. Eventually, as Tommy’s siblings begin to have “memory relapses,” the cinema of the Shellner’s becomes “agitated” Camera angles are more assymetrical, exaggerated, closer, and depth of field compresses. Beyond the literal visuals taking place in the house, there’s also the mental “flashes” that Tommy experiences throughout. These are the traumatic “pinches” that give the viewer a sense of his mindset but are also pieces to the underlying past which haunts the family. Because Tommy accuses his father, Nathaniel, of performing government mind control experiments on the children, these flashes should resemble an actual filmed tests. The performances of the family members are equally impacted by trauma. When the story begins, there’s a heaviness to nearly every minute behavior of the characters. Their speech, movements and reactions.are slower than “normal.” Though they don’t realize it, they are paralyzed by their past and not just their present predicament. When one of the children, Tommy, invokes claims of his father’s horrors, the characters undergo a full-fledged identity crisis. With each character experiencing some terrifying recall they don’t understand, they become unhinged, even foreign to themselves, and unpredictable in their minute to minute reactions. The notion that their family history could be a big lie is must be reflected in their behavior. At the same time, there must be a devotional love for their father which complicates their emotions and makes shifting alliances difficult, if not, impossible. Even Tommy struggles with his own premise as it undermines a view of his father as his savior and that must resonate in every nuance of his performance. The patriarch, Nathaniel, will be directed to succeed at saving his children at all costs, no matter what kind of slandering takes place. He rescued and adopted these children from horrible lives and he will not pass until he’s assured they are ok. His frustration with Tommy is tempered with his compassion and he never pulls out daggers to combat what he’s convinced is mental illness. His weapon is his undying dedication even as he struggles with his final hours of life. Movies like Thomas Vinterberg’s searing drama, “The Celebration” and Mike Nichol’s classic, “Whose Afraid of Virginia Wolfe” have inspired me as successful examples of small stories with high emotions told on a large cinematic canvas. Both taking place in one night and in one location with families that undergo seismic conflicts based in trauma, these movies bear mentioning for their wonderful ensemble casts and performances that take us convincingly through some difficult psychological terrain. My approach to directing “The Red Robin” puts the same emphasis on having a cast that can take us to the very edge and back without over-acting and melodrama. Because there are 6 children and 2 parents in a very confined space, the actors must know their parameters and pitch and be careful not to overwhelm each other. As the director, I will make sure that the combustion never becomes theatrical or over-the-top and there’s a realism to the performances and shooting style that keeps us believing. I will encourage my cast to adopt the maxim “Less is more” knowing how easily high emotions in small space can transport us to the stage. Though there’s an abundance of dialogue in the script, I will emphasize silence, restraint and a style of acting that keeps the audience guessing what our characters are thinking and going through.. “The Red Robin” is most engaging at the level of keeping the audience in the dark, taking them out again, then putting them back just when they think they have figured it all out. I would like people to come away from this film not only be entertained by the thrilling plot twists, but moved by the story about a family struggling to cope with a great loss and suffering.

Inside THE RED ROBIN: The Making of the Feature Film

Monday, December 12, 2011

WE'RE HALFWAY THROUGH!

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