— What was the starting point, funding, script, shooting, casting, edit etc.
— After the initial idea was set. Our producer Tori London, Rob Harper and Richard Joel started to pave the way for us to get the physical aspects of the project underway.
It was then time to cast. Tori was already cast in a major role and she did her homework on the character. I gave each actor a background and life of the character that was never shown on screen. A history and moments that led them to this scene that was about to bring them all together.
I wanted a friend of mine by the name of Cory Hardrict who had been in many major films. He was concerned about Covid and we spoke every day so I could answer questions and assure him that we were going to abide by strict rules and assure the cast and crew of the utmost safety. I then called an actor friend of mine Yan Birch. Yan acted in countless films, one particular film was "The People Under The Stairs" directed by Wes Craven. Yan read for me on a feature I directed and I was taken by his audition but was unable to cast due to a producer's decision. I knew that I wanted to get him in this certain role and he wanted to work with me. His biggest worry was Covid and I made sure that his concerns were met. I then brought in another friend and actor Sala Baker. Sala and I met in New Zealand and he moved to the states and created a world of work for himself. Sala has been in such films as "Jungle Cruise", "Mandalorian", "Lord of the Rings", just to name a few. I then cast Dennis Keiffer who has been a stunt man/actor in hundreds of film with an incredible look. I had to have him. I called him and he said "What's my call time?". Two more actors I found; Michelle Allaire and Will Dixon who both attended an incredible acting class.
The night before shooting, I received a call from Cory that due to personal reasons he would not be able to be part of the project. I was not angry as this had happened in the same exact manner in my very first short film and I made it work. So, I called an actor friend of mine whom I have had coffee with at Starbucks, Richard Leacock. I asked him if he wanted to play a major role in a film I was directing and he said; "Yes, when?" I answered; "Tomorrow morning".
It was dead silence and then he said: "I'll be there". All systems were GO!
John Connor and I decided to put the camera on a crane throughout the entire shoot. To John's credit, his idea was to create a feeling of the audience being right there with the cast and experiencing every thrilling moment. John is a master at what he does. We story boarded every shot and John played the film in his head and made sure we stayed on track with the tone and story. The crane shots elevated the moments and created more of a dramatic setting. We both wanted to create a throw back to a film noir feel and I John put his stamp on every frame.
My editor was not available and I really didn't trust anyone. However, John Connor suggested that our DIT technician could do it. At first I was a bit hesitant but Fabricio Di Santo knocked it out of the park. We sat together creating the feel and flow and to his credit, he made it happen.