Last weekend marked the completion of principal photography on my latest short film, The Beard.Read More
I have often found that during the production of a film, not everything you had envisioned in your mind works on screen. While you may be head over heels in love with a certain element, whether it be a scene, or a certain story arc, if it doesn't work to serve the overall framework of your film, then it has to go. With Inside, I found most of what I had initially envisioned and had included in the final shooting script worked well on screen in terms of advancing story, developing character and most importantly, engaging the audience. One of these scenes however, just didn't work - no matter how much I wanted it to.
The scene in question revolves around a childhood memory that the protagonist of the film, John, is recalling. It subtly depicts the abusive relationship between John and his father. I suppose I initially wrote it as a way of giving some back story to John and his actions, or lack thereof, in his present-day life. I also thought it was interesting to play the idea of memory against fantasy within the film, potentially leading audiences to question whether what they were seeing in the scene was real or just another projected fantasy. I had always intended for the moment within the scene to be part of John's reality, but I nonetheless found the idea of audiences questioning it intriguing.
While pacing issues with the scene included were apparent form the onset, the final decision to pull the scene came down to its content and how it played against the rest of the film. I discovered that what I would be showing audiences so briefly was a rather major facet of the character. Showing this pivotal moment in John's life as a mere glimpse, and then not addressing it further, was doing a heavy disservice to his character development and the film as a whole.
With all that said, the scene has its merits. I enjoy the subtle yet effective performances of both Johnny Quinn (John's Father) and Andrew Besseling (Young John), and Barry Cheong's cinematography, as always, is visually engaging in depicting the mood of the film authentically.
I'm happy to announce that two of my films, Jacques Vassart and X+Y, will be screened as a part of the Big Art For Little Minds 3rd Annual Production Gala.Read More
Filmmaker Raz Anton and my self have just been informed that X+Y, the short film we submitted for entry into Chicago International Film Festival's 'The Human Condition Competition', has been accepted into the competition and will screen and compete amongst other successful entries next month in Chicago!Read More