| Blood And Stone | |
| Additional Casting | (Continued from Page 4) |
| This left two rather large parts needing to be cast.
Actually in the first drafts, the part of the passerby was almost a walk
on. One night while rereading the script; however, I realized that we
needed more of a third act. I wrote feverishly and by daybreak had added
this. Once it had been agreed with by Mr. Mendina, We sent out this
revision. Finding someone to play the passerby had now become much more
important. Thankfully an amazing actor named Damon Decker was available
for this part. In fact one of my friends with is own production company
was kind of jealous that I had a chance to work with this wonderful
actor.
That left the father. As shooting approached I became more and more worried about this role. No suitable actor had yet been available. Thankfully Vik, came to the rescue suggesting a wonderful actor named Tim Shane. I was so desperate at this point that I cast him over the phone. Thank God I did. Tim proved to be a fabulous actor. His first day of shooting I just shut up and got out of his way. His read on the character was very different than mine, and he was correct. Tim was a knockout from day one take one. The only remaining part I was concerned about was The Handler. Thankfully Heather Haase, who I had originally envisioned in the role, agreed to play this part for me. Heather has since moved to NY and we miss her dreadfully. |
|
| Equipment | |
 |
Lights we knew we could borrow from ProgreXssive arts. We actually uses halogen work lamps, which perfectly gave us the very mannered, German expressionistic type of harsh lighting with shadows that I wanted. Now a camera.... we had decided to go Digital Video by this point, and thankfully Brad McEntire of Audacity productions agreed to loan us his camera. Thank you Brad remember we still owe you big. |
| Locations | |
 |
There were several locations called for by the script. A single room residence for The Artist, a small house for the statue, a garden for a dream sequence, a cemetery, a gallery, a city square, and a park for an outdoor wedding, I will chronicle each of these locations in a diary entry about shooting in each location. |
| Production Stills and Music | |
|
Thankfully a brilliant local photographer, Misty Maberry,
offered to shoot our production stills free of charge. We also used many
of her photographs in the movie. Misty's work can be seen on her website.
Michael Greybill produced some excellent music for our score. It was a herculean task since the film needed music for every second of its almost 40 minute running time. After late nigths, hard work, and a great deal of revision, the score, and the film, are finished. |
