LOCKED

I’m going on 22 and a half hours straight, but hadda sit down before
shutting off the computer to put out a quick update. Eric and I worked our
asses off today, and locked the edit on The Bunker, my first feature film,
about ten minutes ago. L-o-o-o-n-g day, but unbelievably productive.

Working with stage actor Robert Feigenblatt on his voiceover role for The Bunker.

Robert came over around 5, knocked out his voiceover in three takes. Thing
fit into the final scene in the film seamlessly. We even got to work in a
product placement, which was way cool. Eric was a cuttin’ fiend, doing both
sound and picture, and the footage we shot two weeks ago in Los Angeles
required some careful editing, but save for some color correction that’ll be
handled by Skrubahl, Inc. when Adam puts on the film look, the new shots
work perfectly with the existing footage. Shout outs to R-Dogg and Jim
Powers for helping make that a reality.

And, the track I just secured from an Atlanta-based punk band (with a
well-known lead singer, announcement coming soon about that signing),
dropped into the opening scene like it was written specifically for the
movie. It blows away the Tattooed Millionaires song we ditched
way-back-when, and both lyrically and musically, it fit like a glove. I am
so glad I stumbled across these guys, and was able to get in touch with them
about their music. Definitely, an upgrade.

We’re still gonna tweak the credits roll, and then Eric’s doing the final
sound mix, but locking the edit is like throwing a 400 lb gorilla off my
back. My distributor’s gonna be thrilled when I give him the good news
tomorrow-that he can begin banging out the media kit and more film festival
packages. He and Tracie, our publicist, have targeted some high-profile
fests. Not sure if we’ll get into any, but the push is on in a big way. Will
post about possible festival screenings when the info becomes available.

All right, that’s it for me. Still gotta get up early and hit it hard, see
if we can’t get Eric on the road by the afternoon for a shoot he’s been
hired for for Monday. When you work with top-notch people, they’re always in
demand.

Keep checkin’ in for news about what’s happening, and thanks again to
shoppers who’ve been buying from our online store and those who supported us
via Kickstarter. You guys put us over the hump, and I appreciate it greatly.

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Currently listening to: Keelhauled by Alestorm

It’s all about the weekend…

When, if all goes well, we should pretty much wrap up The Bunker festival
cut. Sure, the film look is yet to come and Eric will be taking back a drive
with him to polish the final sound mix, but those things are entirely out of
my hands. I’m also still waiting on word from Metropolis Records about song
licensing for a track by one of their bands, but even if I can’t get the
song I want, I have several others to choose from, and will have more next
week through one of my distributor’s contacts.

Meeting with Tuna and Knuckles, dogs not-quite-ready for still photography.

So, this weekend is pretty simple stuff. Eric’s going to be editing in the
footage we shot two weeks back in Los Angeles at Jim Powers’ place, which
will transform the original wraparound sequence-which was something totally
unrelated-into part of the main story. The whole sequence has been
transformed with the new material, all the plot devices have been altered to
fit in with the original Bunker screenplay (which didn’t have a wraparound
when I first began working on the film), and I’ve replaced the music. The
new story now wraps up the feature with a nice, neat bow.

I was happy to get the chance to work with Adam and Charles and Ms.
Veronique again, those guys are true pros. And, getting to meet up with Jim
(whose work I knew from my previous gig), R Dog and Molly was a blast. Sure,
we shot for a couple hours longer than we’d planned, got a bit of a late
start, but…it’s moviemaking. When does *anything* ever go off on time?
Thanks to those guys for stepping up and really making the reshoot as
painless as possible. Believe me, I’d been toying with options that ran the
gamut from writing an entirely new framing sequence, to inserting additional
scenes with other actors, to simply dumping the wraparound and adding a
short and selling the pair together on a self-distributed disc.

But The Bunker had too much going for it. Once we got rid of the crap sound
design and film look, I still had a film with a lot of potential, which had
gotten exceptional reviews. I had solid performances. I simply needed to
figure out a way to make what I had work. That still required shooting
additional material, but it was a lot less daunting than the alternatives I’d
considered.

This weekend? I’m hoping that as the last few pieces fall into place, I can
finally breathe a sigh of relief, hand it off to Eric and Adam and Charles
for sound and film look, and move on to what’s next.

What’s next for The Bunker is film festival screenings and distribution,
both foreign and domestic. What’s next for me as a director? Well, you’ll
have to keep checkin’ back for updates on that.

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Currently listening to: What Do I Get? by The Buzzcocks

Latest Bunker update & announcements

Hey gang-the new Sight Unseen INSIDER is up (yeah, yeah, I know, about
time). In it, I cover the recent trip to Los Angeles to get the necessary
footage reshot to complete The Bunker, my casting choices, the elimination
of a wraparound sequence in favor of one (reasonably) linear storyline, and
who’s now handling the film look and various post-production details. I’ve
got an award-winning filmmaker handling the final sound mix and engineering,
a post house that’s also taken home some hardware at award ceremonies for
their creative work, my composer is putting the finishing touches on the
last ninety seconds of score to round out the flick, and then it’s into the
hands of my distributor and off to several festivals-both foreign and
domestic.

Thanks to all the folks who pledged and helped out via Kickstarter, or who’ve
been buying our merch from the online store. This, folks, is what your money’s
been going to, and trust me, every penny’s being well-spent. Check out the
latest Sight Unseen INSIDER here:

More announcements comin’!

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Currently listening to: Hang Him Higher by WUMPSCUT

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You following the world’s only blind feature filmmaker on Twitter? Here’s
how if you aren’t already:

http://www.twitter.com/josephmonks

And while I don’t do the Farmville thing, you can still join me on
Facebook:

http://www.facebook.com/joemonks

A brief scare

And luckily, not much of one. Still, gave us a moment or two of concern this
morning.

Had to go over to my parents’ today, celebrate my sister’s 40th birthday. It’d
been put off from last week ’cause her kids were sick, and since I was out
of town for most of the week, it came down to today to get us all together.

So, this morning, I’m trying to wrap up some final stuff from the reshoot.
Organizing some paperwork, shelving the props, unpacking the final few items
from my laptop and camera case, etc. After removing all my tape stock, my
various chargers and flotsam, I discover that the actual mini DV tape isn’t
where I expected it to be. I’m talking *the* key tape from the reshoot. The
main footage.

The good thing, I reminded myself as I scoured my laptop bag, (in case it’d
gotten stuck in there instead)-was that after we shot the footage on
Tuesday, I had the good sense to have the tape captured, so that Eric and I
weren’t transporting the only copy with us. In the event anything went
wrong, baggage got lost or destroyed, whatever, it made sense for us to dump
the tape to a drive before headin’ home.

Things turned out fine, however. Stuffed between foam layers in the camera
case-literally the last possible option for it to have been-was the tape.
Well-protected, in fine shape. Eric and I had a good chuckle over that,
having spoken earlier in the day about when he’d be coming out to do the
editing necessary to insert the footage into the final cut.

So, all ended well. But it did remind me that sometimes (more often than not
I’d say), it pays to be a bit of a megalomaniac. I pay attention to detail
to the point of being anal about it. But it’s served me well. And I think
that’ll be evident when you guys get to see the final product. We’ve done a
lot with a little, and the closer we get to release, the happier I am that I
always gave myself room to work out of a bind if necessary. Trust me…the
wiggle-room? I used every millimeter of it!

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Currently listening to: Crazy Bitch by Buck Cherry