This happens to practically anyone trying to make an indie film anywhere these days. Maybe it's because we're halfway through production that I'm feeling the stress a lot right now. The thing is, when you're making a low-budget film, be it documentary or whatever else, you're always improvising new ways of making the best of what little cash you have, and hoping that things will somehow stay in one piece until you finish.
Don't worry, this film will absolutely be finished. We're definitely way past the point of no return, and Reversal Films has put so much into it. I've never worked with a company like this -- the producers spend all of their time working to raise funds, and the crew gets to work without being disturbed. Nathan pretty much has free reign to work as he does best, and it's yielded some incredible ideas (not to mention footage!) so far.
I feel like we're in a slightly odd situation here. Austin isn't exactly known for its film industry, and the more I deal with vendors and rental places, the more I feel like I have to immediately be firm and prove that I'm not some silly kid putting together a half-assed student film or experimental project. That I actually know what I'm doing and am a professional. On the flipside, a lot of artists view us with wary eyes and sidelong glances. I don't blame them either, usually film crews that roll into town filming bands end up exploiting their image and popularity and leave the artists with a crummy rep and barely any cash.
The more we progress the less I feel like the latter is a problem. Still, it's difficult to prove yourself to someone you haven't worked with. You can tell them what you're all about, but until they see it, you're all lip to them. We're well aware of it, not just for the obvious reasons but because it's yet another topic we're exploring. SOUND Team and the way Capitol Records treated them; White Denim and the images they ended up being a part of unwillingly. White Denim was actually very skeptical of us, until Nathan took James Moody, owner of Transmission Entertainment and the Mohawk into the editing room.
Really, all anyone has to do is talk to Nathan for ten seconds. He has such a strong vision and is so passionate about this project, it's impossible not to get caught up. Every couple of days brings a new revelation about where the film is going and what is should say, how it should say it, and how we can find that moment in real life. Of course, I was on board for this film before I even heard about it, but I've seen others' reactions, so technically, that's an unbiased statement.
Sometimes all I see is how narrowly we can make things happen. Other times all I see is everything we've done so far and everything that lies ahead, and the rest just seems like a technicality - once we can maneuver our way through it, we can get back to focusing on the real task at hand.
Don't worry, this film will absolutely be finished. We're definitely way past the point of no return, and Reversal Films has put so much into it. I've never worked with a company like this -- the producers spend all of their time working to raise funds, and the crew gets to work without being disturbed. Nathan pretty much has free reign to work as he does best, and it's yielded some incredible ideas (not to mention footage!) so far.
I feel like we're in a slightly odd situation here. Austin isn't exactly known for its film industry, and the more I deal with vendors and rental places, the more I feel like I have to immediately be firm and prove that I'm not some silly kid putting together a half-assed student film or experimental project. That I actually know what I'm doing and am a professional. On the flipside, a lot of artists view us with wary eyes and sidelong glances. I don't blame them either, usually film crews that roll into town filming bands end up exploiting their image and popularity and leave the artists with a crummy rep and barely any cash.
The more we progress the less I feel like the latter is a problem. Still, it's difficult to prove yourself to someone you haven't worked with. You can tell them what you're all about, but until they see it, you're all lip to them. We're well aware of it, not just for the obvious reasons but because it's yet another topic we're exploring. SOUND Team and the way Capitol Records treated them; White Denim and the images they ended up being a part of unwillingly. White Denim was actually very skeptical of us, until Nathan took James Moody, owner of Transmission Entertainment and the Mohawk into the editing room.
Really, all anyone has to do is talk to Nathan for ten seconds. He has such a strong vision and is so passionate about this project, it's impossible not to get caught up. Every couple of days brings a new revelation about where the film is going and what is should say, how it should say it, and how we can find that moment in real life. Of course, I was on board for this film before I even heard about it, but I've seen others' reactions, so technically, that's an unbiased statement.
Sometimes all I see is how narrowly we can make things happen. Other times all I see is everything we've done so far and everything that lies ahead, and the rest just seems like a technicality - once we can maneuver our way through it, we can get back to focusing on the real task at hand.
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