Over the past few months, I’ve had the pleasure to work on some really cool projects. It made for a pretty diverse summer of filmmaking, but since it was such a wild ride I want to share some snippets of work to come:
JUNE
“Lost Time”
I’ve known Leo Pfeifer for some time, frequently finding myself running in the same circles and screening at the same festivals. Did I ever expect to be shooting a documentary, alongside Leo, in Seattle? Probably not, but boy am I glad it happened.
Despite the fact that the documentary is quite short, complications with our camera package meant we had to push the majority of shooting from December 2017, to June 2018.
Leo and I felt similar pains about this, but it worked to our advantage in the end, giving us time to focus on how to capture and craft the story properly, a story we had grown particularly close to.
Since the documentary, Leo and I have collaborated on a number of projects (most recently he worked as an editor on my short “Wild (Indomptable)”)
Creatives like Leo are the people I hope to stick close to in the years to come. His work is nothing short of quality, and I’m looking forward to collaborating together again.
Read more about “Lost Time” here
“Petal”
After returning from Seattle, I quickly went into production on “Petal”.
I was brought on board later on in the process, so it made for what felt like a flash of a shoot.
Our budget was tight, and our location was small (a small storefront in Christie), so we made use of what we could to get the striking visuals the film needed. In my opinion, having a small crew only helped this, making things more personal and intimate, instead of a busy rush of bodies.
It was a jam packed few days of shooting with cool people. Definitely excited to see it all cut and coloured!
(Thanks again to my camera department for being kickass on this. You were my support and more)
Petal was directed by Jill Harper, and produced by Rebecca McGarvie
JULY
“Black River”
I’ve known Max Retik since I was 14. As much as he’s a collaborator, he’s one of my best friends. I’m a firm believer that great relationships make great movies, and this is why I’m always eager to jump on board to work with Max.
I’d never been to Kentucky before, I really had no idea what to expect.
What left an impression on me was the people. Everyone was so sincere, so kind, the kind of people who’d take their shirt off their back if you asked.
We spent lot of quality time with these people, and by the time we left, I felt like I had a second family.
This is why this is so important; capturing those relationships, these people, who despite their struggles have the best interest in the wellbeing of others and more. I really can’t remember the last time I’ve met so many people who were genuinely happy to stop, and talk.
I’m ridiculously excited to see how this project evolves.
“A Girl, A Boy, A Penny”
I had the opportunity to do some colour work too! This feature had it’s own challenges, working within one LONG day in the narrative of the story meant fine tweaking from scene to scene.
Julia Beney, who directed the film, allowed us a generous post-production timeline, so we had lots of fun developing the right look for the film.
AUGUST
Last but not least, I finally wrapped post on Wild, doing my final colour / grain pass over the course of the summer (whenever not in Kentucky swatting at ticks).
A year in the making, I can’t express how excited I am with the result. It would be impossible to call out everyone here who helped make this crazy short happen, but the minimum I can do is post some stills.
