XIXAX Film Forum


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81
Xix & Xax / Re: Know Your Xixax: Donation begging and site news
« Last post by WorldForgot on February 02, 2019, 06:26:07 PM »
Thankz!
82
Xix & Xax / Re: Know Your Xixax: Donation begging and site news
« Last post by Jeremy Blackman on February 02, 2019, 01:27:45 PM »
Alternative method:

If I use the quote function, it goes to a new compose page and shows me this:

Code: [Select]
[quote author=Jeremy Blackman link=topic=9379.msg356333#msg356333 date=1548977276]
The important part is this:

Code: [Select]
topic=9379.msg356333#msg356333
So I could start with this code:

Code: [Select]
http://xixax.com/index.php?
And simply add the "important part" onto it:

http://xixax.com/index.php?topic=9379.msg356333#msg356333
83
Xix & Xax / Re: Know Your Xixax: Donation begging and site news
« Last post by Jeremy Blackman on February 02, 2019, 01:21:51 PM »
Excellent question. I'm kind of sad about that, because as far as I can tell, there is no easy way to get the permalink anymore.

You can, however, get the URL by following this format:

Code: [Select]
http://xixax.com/index.php?topic=NUMBER.msgNUMBER#msgNUMBER
Mouse over the "report to moderator" flag to see the topic # and message #.

So using that method, I could create a link to my post higher up on this page:

http://xixax.com/index.php?topic=9379.555.msg356333#msg356333
84
Xix & Xax / Re: Know Your Xixax: Donation begging and site news
« Last post by WorldForgot on February 02, 2019, 11:58:28 AM »
Hey JB, in the new UI where do we click on a post to reveal its permalink?
85
The Art Gallery / Re: I made a gender bending bank robbery short film
« Last post by Robyn on February 02, 2019, 07:13:46 AM »
that was great!
also very much enjoyed reading the interview and your lengthy post about it.
86
The Art Gallery / Re: I made a gender bending bank robbery short film
« Last post by pete on February 01, 2019, 08:31:00 PM »
hey thank you!
I ended up really not liking the original feature script (withnail's read it he can tell you) I'd written, plus the fact that the rights to that original story was snatched up by Michael Showalter about a year ago, so I don't think I'll be making the feature version of this short. I have been however, commissioned by Topic to turn it into a short series, so we're developing that right now. Although my story really isn't an adaptation of the article in any meaningful sense, I still think it's much easier to differentiate my story if there's not another cross dressing robbery film also on the horizon. The short also has opened some doors for me that was previously unavailable, so I am developing a feature thru a grant and maybe even some studio support but it has nothing to do with Don't Be a Hero.

As for the funding of the project - it was just a cache of favors that was the result of making a shit ton of stuff over the past 7 years with the same crew, and lucking out into having some very loyal and talented collaborators. I also had a production company that set some money aside for the project. The company folded before the project was finished so I had to pay for the last bit of the film out of pocket, as well as all the film festival expenses, which ended up costing as much as doing post. Festival acceptance became a double edge sword: I had to spend money on finishing, DCP, licensing rights, and all that because I got into Sundance; but people also threw a lot of editing gigs, weird set jobs, hookups, and straight up donations my way to help me drag it over the finish line.

The film had two sets of producers - the folks on set were Colin Shane and Judy Craig - who've produced a bunch of stuff with me but they also have done a ton of epic music videos with the Daniels and the Hiro Murais of the world - they scrambled and hustled to make the project happen. At times it wasn't pretty, but they always came thru last minute and we got it done. The EPs were friends of mine from the Bay, who also produced Sorry To Bother You last year. They linked me up with people they trusted - most notably the casting director Charlene Lee who does a lot of TV shows featuring strange white people (like Fargo and Waco) - and that was how I was able to get the cast that I had, which I felt like more than elevated the game.

The DP was Drew Daniels, who's done some amazing work already and has a couple of huge projects beyond the horizon, thru him I was able to get an amazing crew, some of them are just friends of friends who wanna work with him, and some were kids that Drew and I have worked with over the years. He also put his name on the line and got us a huge ass, almost obscene discount with Panavision, and that was how we were able to afford the anamorphic set for a few days. Panavision has an indie wing and they're in the business of investing in relationships with DPs that they trusted. I've seen friends who fucked Drew over by not doing their part before, thus making Drew look bad when the crew stepped on set and the set didn't feel professional or the director was too fragile. I knew I had to be on my best behavior, so Drew really guided me through this process via asking me questions that maybe most directors would've already thought of, or and sharing with me tips and tricks he'd learned from other sets (eg. if we had time, we'd always run a take in which the actors go thru the scene without speaking a word of dialogue, that way we could catch a lot of interesting looks and gestures that we could cut in).

We also had our own short hands - for example, we developed a style while shooting Hong Kong style fight scenes in previous short films, where we don't shoot masters, and instead shot only the pieces we needed in each shot and piecing it together in a very precise manner - you obviously can't just transpose that 100% in a dialogue scene, but it became something we had in our back pocket when we were running low on time. Because it was pilot season, we didn't have the best pick of the crop when it came to having a good AD or PAs, so I had to lean on Drew a lot for game time decisions.

And that was just Drew - I could cite similar relationships with the other department heads as well - from the producer all the way down to the colorist. I think a lot of the rapport and good will just came from having done this for so long and how everyone in the community wanted everyone else to succeed. The filmmaking circle in SF is pretty small, and to find good talented folks who like the same thing as you is def much more rare than other cities, so once you find those folks, you gotta hold onto the relationships and continue to find interesting things to do and continue to make each other better.

Absolutely fantastic! Will be sharing this far and wide. This is really something to be proud of, man.

Checked out the NoFilmSchool article and found it very informative, but some general questions:

You said this was culled from a larger story/script - can we assume this will eventually find its way into the proverbial can, sooner rather than later?

How did you find producers/funding for this project? What process or processes were undertaken to get to the point of being in a position to so ably assemble such a crew, and with such a short schedule? How did you build this family?

If these questions have been answered elsewhere to my ignorance please forgive me.  :)

Again, amazing work, sir.
87
Xix & Xax / Re: Know Your Xixax: Donation begging and site news
« Last post by Jeremy Blackman on February 01, 2019, 06:13:52 PM »
I have a decent grasp now on how to block these bandwidth-hogging bots — some (most?) of which are malicious, some of which are spiders/crawlers going overboard. Our host has a tool that shows # of files accessed and total file size downloaded by a certain IP. So I will keep an eye on that and block the obvious ones.

If for some strange reason you get blocked from the website, email me at xixaxfilmforum@gmail.com
88
News and Theory / Re: Theatrical Release Calendar and Projects In Development
« Last post by wilder on February 01, 2019, 06:07:00 PM »
updated
89
The Director's Chair / Lodge Kerrigan
« Last post by wilder on February 01, 2019, 06:03:29 PM »
‘Dark Cargo’: Lodge Kerrigan To Direct, Nick Santora Set As Showrunner Of YouTube’s Pilot From eOne & Ben Stiller
via Deadline

The Girlfriend Experience co-creator/director Lodge Kerrigan is set to direct and Scorpion creator/executive producer Nick Santora is attached as showrunner of YouTube Premium’s drama pilot Dark Cargo, from Entertainment One and Canada’s Counterfeit Pictures and SEVEN24 Films.

The project, written by Adam and Max Reid, is executive produced by Ben Stiller and Nicky Weinstock via their Red Hour Productions banner. eOne serves as the studio. Production is set to start in Alberta at the end of March.

Dark Cargo is described as a high-octane, cliffhanger-driven, neo-noir thriller set in the big rig cab of Joe Dobbs as he traverses the darkest nights of his life. What begins as a random encounter with a disturbed stranger turns into a race against time, the police, and even more malevolent forces. All the while, Joe just wants to get back to his family.

Kerrigan is co-creator, executive producer and director of The Girlfriend Experience on Starz. His previous directing credits include The Killing, The Red Road, The Americans, Bates Motel, Longmire and Homeland. On the feature side, he wrote and directed the 2010 Rebecca H. (Return to the Dogs), which premiered at the Cannes Film Festival.

Santora created, exec produced and ran drama series Scorpion, which aired for four seasons on CBS. He also co-created and exec produced Breakout Kings, which aired for two seasons on A&,E and co-executive produced Fox’s Prison Break.

Kerrigan and Santora are repped by WME.
90
DVD Talk / Re: Criterion News and Discussion
« Last post by eward on January 31, 2019, 10:24:25 PM »
Definitely seeing this at Lincoln Center next week.