We’ve had to postpone the VO work on the LJ lines, which is redoing the ones we already have which are ‘ok’ but not really good. This is quality of audio fidelity, not the performance value? And fortunately, SCi CO FILMS has a sound isolation booth being set up specifically for this purpose! But it will be a couple of weeks before it is ready. That’s fine, because that work will be a lot of fun to do once we’re up to wherever we are at that point. And it’s also good news to have a high expectation for the quality of the audio on all the scene work rather than settling for anything or paying for an expensive set of studio takes (which might be inevitable, we’ll see). Eventually, this film might redo most of the dialogue anyway, like if we get distribution with major investment and they offer a nice payment arrangement for the actors to come in for a much more expensive microphone with engineer, all the necessary things to make it a really slicker broadcast for their networking.
We’re moved on to the “Le Jete” still frame editing style insert, which is a lot more of an MTV version with snippets of freeze framing. But we are adopting a French attitude for the murderer here, he is in a surprising moment as he gets revealed to be a transvestite and his celebration, confidence and exhilaration after the kill will meld with the comedic interplay of the French inspired motif. We have work to go on it still but there is a lot inspiring opportunities to add some asides which are not scripted, for the narration of the murderer in a French sort of pontification about the value of his life in this moment, softly speaking to himself in a poetic gesture for his kill to be relished. Woe to him for the moment will become a tragic one with the clam jumping onto him and taking him down!
It’s very nice to be working on this again and SCi CO is seeing the film as matured rather than debilitated by any prolonged editing delays. The scene is becoming a lot more eccentric and comical than we had it before, which was sort of a macho flare to the murderer who was dressed up as the LJ WIFE. This is definitely an advantage for the clam sequence to work since we have just a few very sparse moments with the clam which work.
SCi CO had a serious time constraint that day as our actor was on a schedule which made him on an up to the last second basis, then moved off to another State on a plane right away! No chance for retakes and he nailed it but we had some overexposure issues, we had too short a time to really set up some of the key shots and we had budget limitations of the prop, of course. The brilliant of film maker Paul Bright kicked in with his magical managing of the tasks: the blood, the safety issues, the time frame– and what production we got! We pulled it off though it is a brisk sequence in terms of how it comes across technically. These adjustments will make a huge impact to the smoothness of the scene and it’s added a style already which opened up the scene with some fresh air. It’s very exciting!
We’re going to be hammering away everyday at this at least just a little bit. Today Dana had two jobs to attend to, one is a music job for a project and the other is a composition for his mother on Mother’s Day! Here is a link to that piece: https://soundcloud.com/dana-wana-pskana/quintet-mothers-day-dgphelps