Before shooting "Ranchero," I was unaware of the many "studios" there are in LA. Of course I knew about the majors, like Sony and Paramount, and even some smaller ones like Sunset Gower. But few people I know had ever heard of places like Entertainium.
Entertainum was located east of Downtown in an industrial, warehouse type district. I remember scheduling shoots on Sundays to avoid the clamor of the nearby metal recycling plant. From the outside, the place looked like an old, abandoned warehouse. On the inside, however, was a treasure trove of cool movie sets.
A pool hall, night club, jail cell, and hospital room where only some of the many different sets. Now I don't want to blow the image of the place out of proportion. This wasn't Universal. But for an indie filmmaker looking to get a variety of interiors on the cheap, it wasn't too shabby. As Rich, DP Mike, and I perused the rooms, we figured a lot of films must have shot there. We were right. But most of them were porn.
After a little asking around, we found out that our new found pool hall had been used in countless adult films. So it wasn't a question of not knowing what had been done on the pool table, we knew exactly. Trust me, sanitizer was as good as gold.
But that little trivia aside, the shoot there went very well. We got everything we needed and a lot of joking to get us through a long day. Did I forget to mention that there was another shoot taking place while we were there? We were kind of on the opposite ends of the facility and the other film didn't have much dialogue. I do remember tip-toeing by their set on the way to the bathroom. From inside, the director suddenly yelled, "Cut, cut. Would someone PLEASE lick his balls!"
Wednesday, October 7, 2009
Wednesday, September 30, 2009
One of Many Tales
There were many memorable days during the making of "Ranchero." I'll share one of my favorites.
It was about mid-way through our 18 day production schedule. Yes, the schedule was tight. We were shooting at our main apartment location. It was our one day with Danny Trejo. We knew we had a lot to shoot. We knew we were going to work Danny hard. We knew we couldn't afford any screw ups.
Director Rich and DP Mike were well prepared. We hit the ground running and got wonderful footage from the jump. Danny was the consummate professional and everything was moving along smoothly. Then it began; at first just an occasional screech, then building to a constant, ear assaulting, clamour. Little did I know that Jimi Hendrix lived in the apartment, and this was his practice day.
When working on location, there are always obstacles to deal with. We had, of course, spoken to all the neighbors and gotten their blessings for our shoot. However, there is always one who either wasn't home, forgot about us, or was just yanking our chain. After "assurance" from our sound mixer that the audio was unusable, I set off on the unenviable task of asking our friendly neighborhood ax-man to cease and desist. I couldn't tell him too, this was his home, not mine.
As Rich and I ambled toward the offending apartment, a voice behind us steeled our nerve; "I'll talk to him." We turned to see the most recognizable bad-ass in the business striding up to cover our backs. As Danny stepped between us and led the way to the neighbor's door, my confidence built that all was not lost.
There is no real way to describe our guitar player's look when he came to the door and found "Machete" standing there. Danny, in his most polite tone, explained our dilemma and asked for the neighbor's cooperation. And surprise, surprise, we got it. The shoot continued without a hitch, and a happy neighbor got an autograph. Ain't star power great!
Brian
It was about mid-way through our 18 day production schedule. Yes, the schedule was tight. We were shooting at our main apartment location. It was our one day with Danny Trejo. We knew we had a lot to shoot. We knew we were going to work Danny hard. We knew we couldn't afford any screw ups.
Director Rich and DP Mike were well prepared. We hit the ground running and got wonderful footage from the jump. Danny was the consummate professional and everything was moving along smoothly. Then it began; at first just an occasional screech, then building to a constant, ear assaulting, clamour. Little did I know that Jimi Hendrix lived in the apartment, and this was his practice day.
When working on location, there are always obstacles to deal with. We had, of course, spoken to all the neighbors and gotten their blessings for our shoot. However, there is always one who either wasn't home, forgot about us, or was just yanking our chain. After "assurance" from our sound mixer that the audio was unusable, I set off on the unenviable task of asking our friendly neighborhood ax-man to cease and desist. I couldn't tell him too, this was his home, not mine.
As Rich and I ambled toward the offending apartment, a voice behind us steeled our nerve; "I'll talk to him." We turned to see the most recognizable bad-ass in the business striding up to cover our backs. As Danny stepped between us and led the way to the neighbor's door, my confidence built that all was not lost.
There is no real way to describe our guitar player's look when he came to the door and found "Machete" standing there. Danny, in his most polite tone, explained our dilemma and asked for the neighbor's cooperation. And surprise, surprise, we got it. The shoot continued without a hitch, and a happy neighbor got an autograph. Ain't star power great!
Brian
Wednesday, September 9, 2009
35 or Bust
I'd love to say that my mind set on "Ranchero" was 35mm or bust, but I'd be stretching the truth a little. The fact is that the project evolved from HD to super 16 to 35.
When the project had no money, Rich and I and Director of Photography Mike Bratowski did tests with several "pro-sumer" cameras. We weren't unhappy with the results. Though our range in color correction was definitely limited, Rich and Mike were pleasantly surprised with the picture quality. However, when a little financing entered the picture, we all scrambled to shoot on film. We briefly considered super 16 until an amazing deal for a 35mm camera presented itself. It was an opportunity we couldn't resist.
To me, at the time, making a movie was shooting 35mm. When there was talk of the project, I anxiously awaited the inevitable question, "What are you shooting on?" When I quickly spouted back, "35," there was always two distinct responses. One was, "cool" accompanied by a simple nod of respect. These guys are serious was the subtext. They're making a "real" movie. The other response was quite different. "Why?" they'd ask with surprise. "It's much cheaper to shoot HD." True. And there were other valid points to their argument. But purists still run the industry. And the last thing that I wanted to hear about our movie was, "It's good, but... it's a video."
Of course, things have changed since we began shooting. Technology is moving so rapidly, the entire industry is changing before the digital onslaught. But ultimately, I couldn't be happier with our choice. With Michael's amazing photography and the brilliant telecine work of Marc Wielage, "Ranchero's" look greatly exceeds it's budget.
Brian
When the project had no money, Rich and I and Director of Photography Mike Bratowski did tests with several "pro-sumer" cameras. We weren't unhappy with the results. Though our range in color correction was definitely limited, Rich and Mike were pleasantly surprised with the picture quality. However, when a little financing entered the picture, we all scrambled to shoot on film. We briefly considered super 16 until an amazing deal for a 35mm camera presented itself. It was an opportunity we couldn't resist.
To me, at the time, making a movie was shooting 35mm. When there was talk of the project, I anxiously awaited the inevitable question, "What are you shooting on?" When I quickly spouted back, "35," there was always two distinct responses. One was, "cool" accompanied by a simple nod of respect. These guys are serious was the subtext. They're making a "real" movie. The other response was quite different. "Why?" they'd ask with surprise. "It's much cheaper to shoot HD." True. And there were other valid points to their argument. But purists still run the industry. And the last thing that I wanted to hear about our movie was, "It's good, but... it's a video."
Of course, things have changed since we began shooting. Technology is moving so rapidly, the entire industry is changing before the digital onslaught. But ultimately, I couldn't be happier with our choice. With Michael's amazing photography and the brilliant telecine work of Marc Wielage, "Ranchero's" look greatly exceeds it's budget.
Brian
Tuesday, August 25, 2009
It Was About the Acting
Although I wore several hats on "Ranchero," it was always about the acting. When I write, character motivations are primary. I want the "why" for every actor to be bullet proof. And as much respect as I have for the writer (when it's not me) no one knows a character more deeply and thoroughly than the actor.
A great performance requires the actor to walk, speak and think as another person. He or she must embody the nuances of another human being and bring to life that which exits only on paper. The job done properly will bring the audience to feel the raw emotions that the character/actor experiences. It is this bond between actor and audience that makes my heart beat.
I am impressed and moved by all the actors in "Ranchero." From the frighteningly intense work of Danny Trejo to the moving performances of Christina Woods and Roger Gutierrez, the realism, at times, was breathtaking. One reviewer said of the acting that it felt "like I was watching a documentary." It doesn't get any better than that.
But as much credit as I give to the actor, an equal share belongs to the director. All players, no matter how gifted, need a great coach to draw the best out of them. Sorry for the stupid analogies, but Rich guided the team well.
It was a pleasure to work with such talented, giving performers. Their generosity as artists is what made my multi-tasking possible.
Brian
A great performance requires the actor to walk, speak and think as another person. He or she must embody the nuances of another human being and bring to life that which exits only on paper. The job done properly will bring the audience to feel the raw emotions that the character/actor experiences. It is this bond between actor and audience that makes my heart beat.
I am impressed and moved by all the actors in "Ranchero." From the frighteningly intense work of Danny Trejo to the moving performances of Christina Woods and Roger Gutierrez, the realism, at times, was breathtaking. One reviewer said of the acting that it felt "like I was watching a documentary." It doesn't get any better than that.
But as much credit as I give to the actor, an equal share belongs to the director. All players, no matter how gifted, need a great coach to draw the best out of them. Sorry for the stupid analogies, but Rich guided the team well.
It was a pleasure to work with such talented, giving performers. Their generosity as artists is what made my multi-tasking possible.
Brian
Wednesday, August 19, 2009
Diversity
The diverse cast and storyline of "Ranchero" is something that is extremely important to me. Growing up in a middle class area of Sacramento, I was exposed to people of all nationalities. I know as a fact, that though people possess cultural differences, we all have the same basic goals and desires. Everyone wants fullfillment from their job, health, prosperity and loving relationships with family and friends. "Ranchero" is a human story depicted by characters of different races.
That being said, the character's ethnicities are not without significance. The lead character Jesse states that "his parent's were poor imigrants, nothing is expected of me." How does one rise above their expectations, or lack there of? A first generation Mexican-American, Jesse battles with what he feels is his forced station in life; being a ranch hand. Knowing there's a bigger world out there, he resents his father, the epitomy of a low class laborer. It's Jesse's personal and cultural journey to discover pride in who is and where he came from.
In California, the African-American and Hispanic dynamic is particularly intense. Areas that were once predominately black are now largely Mexican. This shift has created friction over jobs, services, and culture. The black and white conflicts of the past have been replaced by issues of black and brown. The relationship between Jesse and Lil' Bit carries the weight of these issues without hopefully preaching about them.
This topic can be discussed at tremendous length. I merely wanted to say that though the story and theme are universal, the character's backgrounds and ethnicities add flavor and spice.
Brian
That being said, the character's ethnicities are not without significance. The lead character Jesse states that "his parent's were poor imigrants, nothing is expected of me." How does one rise above their expectations, or lack there of? A first generation Mexican-American, Jesse battles with what he feels is his forced station in life; being a ranch hand. Knowing there's a bigger world out there, he resents his father, the epitomy of a low class laborer. It's Jesse's personal and cultural journey to discover pride in who is and where he came from.
In California, the African-American and Hispanic dynamic is particularly intense. Areas that were once predominately black are now largely Mexican. This shift has created friction over jobs, services, and culture. The black and white conflicts of the past have been replaced by issues of black and brown. The relationship between Jesse and Lil' Bit carries the weight of these issues without hopefully preaching about them.
This topic can be discussed at tremendous length. I merely wanted to say that though the story and theme are universal, the character's backgrounds and ethnicities add flavor and spice.
Brian
Tuesday, August 11, 2009
Working with the Man
With the film "Machete" beginning production, I can't help but think about working with Danny Trejo. If you don't remember "Machete," it was a "fake" trailer that aired during the Quentin Tarantino, Robert Rodriguez B-movie extravaganza "Grindhouse." In anycase, "Machete" is a reality with Robert Rodriguez directing. Back to my point, I remember how gracious and how accomodating Danny was to work with.
We had met a couple of years back when Danny supported us at a fundraiser for inner city youth. Roger and I had written a play, "That's My Desire," that dealt with the harsh realities of prison life. Knowing that Danny was a tireless crusader for keeping kids on the right side of the law, we contacted him hoping he'd make an appearance at our fundraiser. On his own dime, Danny flew in from out of state to speak after the show. It was truly a memorable evening and a testament to a very generous and giving man.
Working a scene with Danny was exhilirating. He brings so much authenticity to his work that all you have to do is react. It's impossible to get in your head as an actor when you have Danny Trejo waving a gun and barking orders.
I'd also like to say, that in the world of independent films, where putting a "name" in your movie is almost a ploy to secure distribution, noone could play "Capone" better than Danny. His face, his eyes, his sheer presense tells everything I wanted the character to be without uttering a single word. But it was his performance that really brought "Capone" to life.
Danny has worked on more than two dozen projects since shooting "Ranchero." That's what I call prolific! It was a great honor to work with him, and look forward to doing it again.
Brian
We had met a couple of years back when Danny supported us at a fundraiser for inner city youth. Roger and I had written a play, "That's My Desire," that dealt with the harsh realities of prison life. Knowing that Danny was a tireless crusader for keeping kids on the right side of the law, we contacted him hoping he'd make an appearance at our fundraiser. On his own dime, Danny flew in from out of state to speak after the show. It was truly a memorable evening and a testament to a very generous and giving man.
Working a scene with Danny was exhilirating. He brings so much authenticity to his work that all you have to do is react. It's impossible to get in your head as an actor when you have Danny Trejo waving a gun and barking orders.
I'd also like to say, that in the world of independent films, where putting a "name" in your movie is almost a ploy to secure distribution, noone could play "Capone" better than Danny. His face, his eyes, his sheer presense tells everything I wanted the character to be without uttering a single word. But it was his performance that really brought "Capone" to life.
Danny has worked on more than two dozen projects since shooting "Ranchero." That's what I call prolific! It was a great honor to work with him, and look forward to doing it again.
Brian
Tuesday, August 4, 2009
Gone But Not Forgotten
I received an upsetting email from my cousin the other day. There was a fire on their ranch up in Northern California. Yes, that ranch; the ranch where we shot "Ranchero." Fortunately, no one was hurt. But the majestic hay barn, where Jesse works at the beginning of the film, is no more. So much for reshoots on that set. It's interesting. In the relatively short time since we wrapped production, several locations have been destroyed, built up, or drastically altered. The parking lot where Tom goes for his drug buy is now a strip mall. The apartment complex where Jesse visits Capone (there were actually two) has been torn down. And even the production lot, which served as several locations, is no longer in business.
As it does for it's stars, movies can immortalize buildings and locations. How can one watch a pre 2001 film shot in New York without seeing the towers and remembering. We all cherish our personal photos of loved ones and special places. But in some strange way, a movie that is released into the world allows others to experience that person and place and miss them along with you.
Brian
As it does for it's stars, movies can immortalize buildings and locations. How can one watch a pre 2001 film shot in New York without seeing the towers and remembering. We all cherish our personal photos of loved ones and special places. But in some strange way, a movie that is released into the world allows others to experience that person and place and miss them along with you.
Brian
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