SLICK PRODUCER/FLAV/ZEALOUS SINGER’s 7.5 minute scene is pretty much cut now, meaning the video editing is done. We had it all tightened up before with dialogue placement, shot selection, a very refined edit job but it’s never just right until the sound is fitted, usually there’s some small video editing to do. In this case it really opened the scene up! The ZS/FLAV exchange is intense and has a lot of shots pretty fast together. We had a nice set up before with it but a few slight fixes and we’re in new territory with much improvement. The end of the entire clip is the only other place which needed any polishing, a point where our SLICK PRODUCER uses a prop to punctuate the end of the scene and to make a statement about the relationship with FLAV and SP. FLAV is so strong in his performance would imagine it will be well received no matter how the script works onscreen for them. It’s good stuff, the acting here is a really high caliber and we have a lot of control in the film making.
It’s a very interesting scene, the most mature of the film yet by far and it has a necessary slow down effect, like the pit stop needed for the vehicle to make another lap in a race. This is a monologue based scene with SP delivering a 2 minute or so zinger mostly by himself (FLAV has reactions only during this time). Dana is influenced by Tarantino and Elmore Leonard, other film makers with this sort of casual sailor mouth conversation going on. It drives the plot by pushing the appearance of the BIGFOOT and the MYSTERIOUS KITTY into the audience’s mind. SP is eating up the role, really slippery and sliding all over the greaseball producer lines with his much more hip and arty ‘out there’ buddy Flav.
This scene requires very little comparatively for sound, the rest of the picture has had gigantic levels of sound work needed but here we’re finding not much will be fitting in. There’s actually foley work in only a few spots at all and the music is going to be mostly pre-recorded background tracks playing in FLAV’s apartment. We did salvage the in-camera audio for FLAV’s conversations. The music is helping (the music w/out the rap lyrics from VIOLETZ car scene with PASSY on the beach hunting artifacts..). This makes a connection in the audience mind whether consciously or not that FLAV has something to do with the audio engineering of the music VIOLETZ listens to. This film is largely inspired in its screenplay format by the masterwork ‘Short Cuts’ by Robert Altman — a 3.5 hour or so ‘slice of life’ film with no discernible plot line except more than a dozen characters living their separate lives in a location which brings them together in ways where they don’t know each other but they wind up having dramatic effects. It’s held up by glorious acting, lots of improv style and the doc style of Altman. But we’re doing a lot more of a rigid plot line by comparison, which is strange because our movie is not working very hard to drive a plot. We’re sort of getting there by having fun and meandering about.
There will be VOICE OVER added to the phone FLAV is on from the SP voice. We might ask our actor, The Fabulous Jim Ward to pitch in some VO work for us if he chooses but we’ll be able to have one mocked up in the studio if he’s busy, it won’t be terribly audible. This is going to be to mask the few places which have challenging sound obstructions and to fill in the missing audio from who FLAV is talking to. This little scene is a vignette in the larger FLAV ZS SP scene, where FLAV is crouched on a phone with a strange light on him as he discussed BIGFOOT and MYSTERIOUS KITTY in his production work, on a video! The scene was a radical departure from the style of the film otherwise , which has some rather daring camera work and is highly aggressive. In this case we are slowing inching to FLAV with one little zoom at a time until by the end we’re at a closeup from a long shot. And this is with his producer music going on, he’s wearing shades inside and his mind is confused by the strain over what he’s seen. He’s having a moment where he feels connected to something powerful, mysterious, dangerous and exciting…but it’s not exactly fun for him. We got a lot more from this than anticipated though a lot of thought went into this one teensy shot. SCi CO spent for a light projector with artistic prop supplies, then we interacted with a custom device to get this effect on top of the unusual camera work. Rollyn Stafford’s performance is *so* stellar that it’s impossible in SCi CO’s opinion to deny, we can see the talent and skill of this actor really understanding the role, engaging with the audience.
We expect to complete this scene today with original SCi CO Bach Inventions music, which is the counterweight to the dirty slang of the pig-minded PRODUCER who odiously relates a grotesque story about a loogie in his office. The contrast is expected to extrapolate the relationship with FLAV he has which is based on money and gabbing more than anything. We feel we pulled it off as a scene but it is a delicate balancing act so far with much work to get it really to function as a scene wihich is not overlong or too disgusting. It has fun appeal for us and real characterization power from awesome actors. Again, SCi CO has to thank our actors sincerely for their work on this production. It’s been a few years now and the work is not losing anything, it is getting easier if anything to see how good the acting work is.