Happy New Year and NEW TRAILER from THE MOUNTAIN THIEF!
Hello,
Wishing everyone happiness and hope for 2009!
If you have 2 mins, please take a moment to look at this NEW TRAILER for THE MOUNTAIN THIEF. I am launching our new website with new info (blog, news, our new project for the scavenger-actors the Mount Hope Project) and I will be posting a series of video about the film. This one is titled “A LIFE OF HOPE”.
Our website is www.mountainthief.com
Hope to see you there!
Thanks,
Gerry Balasta, The Mountain Thief
Before ZERO BRIDGE, how I eventually got started filming once I arrived in Kashmir
Hi Everyone,
First I’d like to say thanks again to IFP for the wonderful support this past year and what a treat it’s been to meet the other Lab fellows and learn about their projects. Best wishes to everyone for 2009.
I’ve been asked lately how I eventually got started on my film ZERO BRIDGE when I arrived in Kashmir, given the difficulties, and I keep mentioning this video to people. So, I thought I’d finally post it on my site. In future posts on my site I’ll talk more in depth about the sound recording process, which I mention briefly in the production notes, but now I’m going to start putting up some samples and tutorials (for anyone in a similar “no crew” situation) which inexpensive-yet-decent microphones and gear I used and why [also in the production notes and tech credits]. I hope this will be useful to people not only about to start production, but also to anyone who’s in post right now and would benefit from spending a few hours grabbing some original, extra sounds to put in your final mix. You’d be really surprised at what you can get away with, even with modest or meager resources, if you plan… which seems to be the DIY creed.
So, I was in Kashmir about four months before we began to shoot the film. The previous four months were spent in pre-production. Mostly that meant I was focused on taking in what was around me — faces, sounds, places, stories — and adapting it into what I had already written much earlier. Even the down-time was spent recording ambient sounds and shooting a few short documentary “exercises.” This I recommend for a number of reasons. You’re filming but without the pressure; you’re out of your writing room and trying to engage with living people. Sometimes it’s good to start by filming people while they are concentrated on something physical, like manual labor, because of its intensity: when a person is engaged in a repetitive physical task he becomes tired and his self-consciousness evaporates. Language differences between actor and director matter less because his face and body tell a vivid story without any words.
I filmed a back-breaking day in the life of a group of masons and called it DAY OF CONCRETE, which is now up for your viewing pleasure. Not only did watching people working allow me to bypass the audition process (at least initially) for interesting faces, but shooting this helped define the look, sound, and feel of what I thought the final film might become. It was a rehearsal, only with non-actors, and also had the benefit of forcing me, in real-time, to both stay on my toes as an operator looking for shots, but also as an editor looking to make the cuts and continuity work.
[At minute 14:46, watch for a brief cameo by Ali Mohammed Dar, who was eventually cast in the leading role of Uncle Ali in ZERO BRIDGE -- Enjoy, and feel free to comment, embed and spread.]
Hello from THE MOUNTAIN THIEF!
Hi all!
Its been a good 3 months after the amazing 2008 IFP Film Week, and the film is very close to the finish line. A few things happened to the project since September. A lot of good updates (below), and some the usual and all expected indie filmmaker struggle, mostly on issues of post-prod funds (good luck with the economic environment) and the exciting but seem to be eternal “when and where do I premiere? question”.
What I did find out is, the subject of the film (extreme poverty) is able to hit a nerve on some folks, most are especially touched by the scavengers (residents of the dumpsite town) who acted in the film— based on the responses from the IFP LAB showcase and offers that I get to help the actors. It has always been my intention to touch the actor’s lives in some manner, and along with trying to finish the film, I’m also starting an effort to do so and affect change in their lives. Please visit THE MOUNTAIN THIEF WEBSITE, updates will come in the next few weeks, as I forge ahead with both of these efforts (see below). Here are the updates for THE MOUNTAIN THIEF for those of you who are curious.
1. Article from ADVANCE MAGAZINE was written about the film.
This is a professional magazine for Occupational Therapist (my day job) and through this article, I was able to get a few emails from people who were just touch with the film. One of which is currently helping me in my efforts to raise money for the actors in the film. CLICK HERE FOR ARTICLE.
2. A very encouraging BLURB from INDIEWIRE on the clip of the film, last September at the IFP Film Week showcase. 
“Back on the narrative side, even the blatantly dramatic works were assembled as crowd-pleasers. Gerry Balasta’s “The Mountain Thief,” set amid the ongoing insurgency in the Philippines as a father and son flee the surrounding chaos, intentionally highlighted chase sequences and other intense moments. The audience roared in approval”.
3. Original Temporary Music has been scored, and all the film needs now is a decent Sound Mix-Sound Design work and of course studio time for all = $$$! I’m currently exploring outlets for the film when it is completed, and audience building. Because of the subject of the film, there seem to be an option for a niche/ grassroots and non-traditional outlet and also presented to us during the IFP FILM WEEK. I do hope I can tap onto it, this time around, as creative efforts for the film is not as demanding.
This is all for now, I would love to hear from everyone! Hope we can keep this site more active. I just realized how key audience building is, although it was stated a lot of times in the IFP lab workshop. CLICK HERE UPDATES, NEWS AND UPDATES HERE or if you want to JOIN US IN OUR EFFORTS.
Saying Hi
I think that my first post here should be rather uneventful so that a gentle crescendo will accent the release of the film. In Lieu of that I think that you my fellow reader should check out the page I set up on Indigogo to see if we can raise a finish fund or two. Until the next time.
T
BTS - The TIFF Talent Lab & Directing Actors
Last week, I had the honor of being the first American filmmaker to take part in the Toronto International Film Festival Talent Lab. I arrived in Toronto two days before the festival to meet 23 other young filmmakers from Canada and the UK, as well as lab producers Sandra Cunningham and Brad Fox of Strada Films.
The lab is intended as a workshop where beginning filmmakers can interact with seasoned veterans, focusing on the craft and the art of making films rather than the business. To oversee the week, the producers assembled a team of four “governors” who would run the discussions and act as constants. They were UK Producer/Director Stephen Woolley (Stoned, Breakfast on Pluto,The Crying Game), Canadian Actor/Writer/Director Don Mckellar (Last Night, Child Star, Blindness), French Writer/Director Olivier Assayas (Clean, Irma Vep, Paris Je T’aime), and New-York based director Alison Maclean (Crush /Jesus Son).
While the guest speakers were as varied as Brian DePalma, Fernando Meirelles, Samira Makhmalbaf, and the Dardenne Brothers, we often returned to the subject of directing actors, particularly nonprofessional or first time actors. As a low-budget filmmaker, I feel the craft of casting and building nuanced performances from first-time is most essential to my career. By learning to do so I can empower myself as a story teller and make the most of the means available to me.
Brian DePalma kicked off the week by reminding us to always be assertive; to seize every opportunity. He spoke of meeting young filmmakers who complained about their lack of money and studio attention, or worse, filmmakers who did not take charge of their own careers. DePalma feels that breakthroughs in video technology over the past 10 years has erased any lingering excuses. “If you can’t go get a digital camera and get some actors together,” he asked, “why are you here?” However, his best advice was regarding clear communication on set. “Be careful,” he told us, “Not with what you’re saying, but what they’re hearing. Red to one means blue to another.” Solid advice.
Next, Samira Makhmalbaf showed a short behind-the-scenes video detailing her work with non-professional actors on “Two Legged Horse.” The film details her lengthy casting process, waking through the streets of Afghanistan to find faces or personalities that will compliment or challenge the ideas she has of the character. It was amazing to watch the physicality of Samira’s directing - fully acting out scenes from the sideline, running in to engage the actor between takes, performing alongside them. When asked how she finds the best method of communicating with a new actors she suggested it is like falling in love. “When you start you don’t know who this person is or how it will go.” Samira feels a director should have several tools to help the actor respond - sometimes through simple explanation of the scene, other times through complete physical engagement. At one point, a non-professional actor is show running laps and being spun around to get him emotionally exhausted before the scene. Like many directors who work with nonactors Samira has a script, but does not show it to them. Instead, she favors a long rehearsal period where the actors learn the role in their own words.
Filmmaker Deepah Mehta described a rehearsal technique based on the ancient Indian holy book, the Natyasastra, which lists 8 human emotions (love, pity, anger, disgust, heroism, awe, terror and comedy), which build toward peace. During rehearsals, these emotions are part of a floor graphic, like a hopscotch board. As the actors move through them, they adjust their performance. Of course, this brings out all types of surprises - a line that was mean to be comedic is now played with disgust, etc. By moving through the graphic while playing the role, the actor is encouraged to explore the character more deeply. When several actors are rehearsing at once, unexpected combinations may come when one actors plays “disgust” while another plays “pity.” The goal is to keep the lines the same, but to try new readings.
After discussing the craft from the director’s side, it was great to have Ed Harris visit. Harris is known for a string of strong performances as an actor, and has also directed the acclaimed “Pollack” as well as “Appaloosa,” which screened at this year’s festival. Harris was pretty awesome and asked if we could talk an extra 20 minutes when told time was up. He suggested that all aspiring directors take an acting class to better understand the process an actor goes through to build a performance. Harris mentioned that he enjoys the rehearsal process, having spent a good deal of time doing theater, but reminded us that rehearsals are for penetrating the script, not perfecting it. Later, “Hunger” director Steve McQueen would echo this, saying of rehearsals, “It’s like the trumpet. You practice, you practice, you practice. But leave it on the runways so you can come back and take off.”
I remember watching “City of God” for the first time and being floored by the first scene, when the kids steal the chicken in the market place. The editing, camera work, and performances were so dynamic and deeply emotional. Because of this we all had questions for director Fernando Meirelles regarding his casting and shooting process, as well as his shooting approach. When working with first time actors it is important to create a space where the technology of the production does not interfere on their performances. 
For “City of God” Fernando looked at 2,000 kids saying their name and some information about themselves on videotape. He then selected 250 and broke them into 6 groups. Rehearsals would run from 8am to 9pm, giving him 2 hours with each group. Initially, he worked on making them less self conscious in front of the camera and building their confidence. While the entire film was scripted, the actors were never given anything to read. Instead, Fernando would give them a scene and have them go work on it as a group. Once they prepared, he would meet with them and shape it, slim it down and feed them lines from the script to throw in. During the shoot, he will often say “keep going” instead of “cut” because actors will often think they are improvising, but resort to the scripted lines making them sound more natural than the initial performance.
His shooting approach is designed to maximize coverage so that the story and performances can be shaped during editing. He continued this working method on “Blindness,” often using four cameras even though there was a professional cast. The A camera would be the 35mm main shot designed to tell the story as decided by himself and the cinematographer. The 35mm B camera is operated by the cinematographer, now freed to try riskier ideas and capture small details because the A camera is their safer shot. The C camera was super 16mm shot by the cinematographer’s girlfriend to gather interesting images that were not necessarily story-related. Fernando also mentioned the importance of mixing male and female operators to bring a more well-rounded look. Finally, the D camera was a small Aton A-Minima which was in a fixed position, often overhead, to get random images and “off” framing. Because of the intense coverage, his cinematographer keeps the lighting flat and shapes it in post production to add contrast and shape.
Of all the incredible guests the lab producers had arranged, I was most excited about the Dardenne brothers. I have only seen a fraction of their work, but am always inspired. Their working methods and story telling process is very pragmatic for low-budget filmmakers. Fortunately, they described this process in detail. They were sure to note that this was a process they discovered by making films, and that it is still developing for them. They described this as a journey to reduce the technological between them and the production - making it leaner and freeing the creative and emotional aspects of filmmaking. Here it is, as they described it:
1. Work with a small budget and produce their own films because they want control. They stated that while they have small budgets, what they invest is time. They often do 7-10 drafts of the script together, working out the structure, before showing anyone. After getting feedback from trusted friends, they do 2 more drafts and begin looking for funds.
2. They cast both non-actors and professionals “as long as they are good.” The find it is easier to find nonprofessionals for younger roles.
3. Rehearse for 4 to 6 weeks alone with the actors, often on location so that potential problems or ideas can be worked out. One of them will play the role opposite of the actor. They also begin dressing their characters during rehearsal - shaping the look over time as the character develops. Both brothers shoot the rehearsals on video.
4. Work with a small crew of friends, many of which they’ve worked with for years.
5. Shoot in sequential order. If a later scene takes place at the same location, break down the set and re-dress it when they return. Their last film shoot was 12 weeks.
6. They usually watch dalies around once a week. If they come up with new ideas or find problems, they go back and reshoot previous footage.
7. Every morning on set, they work alone with the actors to rehearse and block the scene. There is no shot list, instead they find the best camera placement to cover the action. Once the actors are set, they call in the crew. It was important to them that the crew comes to visit the director and actors, and not vice versa.
8. The crew then collaborates to improve the shot idea. The crew works very quickly to keep momentum.
9. The actors have enough flexibility in their movement to create tension between the blocking and camera, there are no set marks.
10. They have begun to bracket the pacing of their takes, which is especially important because they often work in long take sequence shots that are uncut.
The best closing advice the Dardenne’s gave was to be wary of enthusiasm during rushes. They emphasized the importance of keeping distance so that you make strong choices throughout the production and do not get carried away.
All in all, the lab was an amazing experience - overwhelming, exhausting, and completely inspiring. A huge thanks to all of those involved.
Ulises’ Odyssey after the Rough Cut Lab
I am one of the fellows from the documentary rough cut lab this year. My film is Ulises’ Odyssey, the story of a Chilean-American woman’s struggle to mend a 30-year rift between her father and uncle who were in opposite sides in the military coup that brought General Pinochet to power in Chile. The film is actually my own personal journey, and it is my family.
Since the lab, I’ve continued working on the rough cut as much as possible in the midst of a major move to Los Angeles from Mississippi with two daughters and a cat. I’ve written several proposals for finishing funds and I’ve heard good and promising news from two of them so I’m crossing my fingers that I’ll get funded this time. So far, the film has been partially funded by arts organizations in Mississippi (Mississippi Film Office, Mississippi Arts Commission, Mississippi Film and Video Alliance, and Arts Council of Jackson and Hinds County) and myself. Ulises’ Odyssey will be a part of the IFP Labs Sneak Preview Showcase on September 17 at 8:30pm at the Pier at Solar One and I hope to meet some of you there.
“Between The Folds” World Premiere, Friday September 19th @ Temecula
This is a brief note to announce that Green Fuse Films’ documentary “Between The Folds” will begin its festival run with a world premiere at the Temecula International Film Festival on Friday, September 19 at 7:00PM. There will be a second screening on Sunday, September 21. Coincidentally, IFP is being honored at Temecula this year!
The film has also been named an official selection of the Savannah Film Festival and the New Hampshire Film Festival.
Visit this link for the official press release with additional details on the film and its premiere:
http://www.greenfusefilms.com/temecula.html
Fair Use in Fiction Film
Quick note: none of the following is legal counsel, but rather an attempt to get my head around and share new information. Always consult a lawyer when dealing with these situations….
Over the past few weeks, producer Steve Beal and I have been getting a crash course in copyright law. Like many truly independent films, The New Year Parade had very little money to work with. When I first approached producers with the script, I was told it could not be shot without a much larger pot of cash.
Instead, we looked at at other independent production models, particularly taking what I learned on Eugene Martin’s The Other America and fusing it with Jim McKay’s approach on Our Song. Both were weaving actors into real life situations, enriching their stories with documentary realism: Eugene placed actor Tobias Segal in a real housing shelter, while Jim McKay inserted his young cast into the Jackie Robinson Steppers Marching Band. 
We approached the South Philadelphia String Band with hopes that we could work with them for two weeks. Instead, they welcomed us in, beginning a two-and-a-half year collaboration. They allowed our actors in on rehearsals and drills, had them build props, and got us press passes to shoot the 2005 parade with 5 cameras.
The doc/fiction hybrid model is as old as narrative film. Edwin Porter mixed actual footage of real firefighters with staged recreations in Edison’s A Day in the Life of an American Firefighter in 1903. I’d suspect his reasons were similar - to build a strong sense of realism while saving money. You can find more on the film here.
Of course, shooting under documentary conditions means the filmmaker has less control over thedetails of their film. This can get tricky when it comes to copyrights, particularly music rights. In The New Year Parade, the South Philadelphia String Band plays a few snippets of music that we had no control over, but which are essential to the story. Generally, filmmakers need to license all work included in their films before securing Errors and Omissions insurance and distribution. This can become prohibitive, especially for low budget projects. For instance, a recent Mummer documentary reportedly paid 150 thousand dollars to clear their music rights.
Fortunately, copyright law recognizes that our culture builds upon the past to make new work. At the same time, it is important that copyright owners be able to monetize their work and have some say in its general usage. To rectify these two factors we turn to Fair Use. Fair Use essentially states that under certain conditions, a copyrighted work may be cited without license. Because I’m still getting a handle on this myself, I’ll direct you to a great post over at SelfReliantFilm.com, which lists several resources on copyright law. I’d especially recommend the Best Practices Handbook and Fair Use in Motion Pictures documents over at the Center for Social Media.
Historically, Fair Use has mostly been applied to documentary film, although I’ve been told Once used Fair Use to secure their E&O because it was shot under documentary conditions. For me, it’s inconceivable that we would replace the documentary audio with studio tracks. We are hoping to keep the original for several reasons:
1. Cultural Significance: One of the favorite pastimes of mummers, especially around New Year’s, is to play video and audio recordings of previous years. They talk about what worked and didn’t and, more importantly, their memories of the event. I’ve seen guys post trivia clips online asking, “What band and year” and then argue the answer for days. In the film, Charlie tells Jack about a real photo he has of his dad from the 1954 parade. One of the first things he notes is the theme: The Bells of St. Mary.
Right now, the film works as a cultural document. When watching the Edwin Porter film, we can see what real firefighters on horse drawn carriages looked like in action at the turn of the century. Forty years from now, a new generation of mummers can watch this movie their dads were in and see a real “behind the scenes” as SPSB prepares for the 2005 parade. If we replace the music that gets lost.
2. Educational Value: Obviously, the film is fiction and the mummers’ story acts as a backdrop to Jack and Kat’s parents’ divorce. Yet one of the incredible things about playing the film around the country has been introducing a 200 year old Philly folk tradition to new audiences. Half of each Q and A has been filled with excited questions about Mummery and the history involved. As we plan for distribution, we find ourselves with a huge opportunity to bring Mummery to a wide audience. Of course, music is an essential part of this - the authentic string band sound that lives in South Philadelphia.
3. Commentary and Counter-Argument: While the Mummers are well known in Philadelphia, there are many misconceptions in place. When I explain the film to folks from Philly, I’m often surprised by people’s view of Mummery - often thinking of them as guys who get drunk and stumble up the street. It’s a shame, and has overshadowed the value of the tradition. I find myself countering that the string bands work 364 days and spend up to $100,000 to put on a show for the city, and take that very seriously. If any string band member showed up hammered they would be sitting that year out - there are heavy props and sets involved, and they rehearse their drills for months. I’m hoping that the film can bring a new appreciation to what these men and women do in their home town.
We’re currently working with lawyers to determine whether these documentary sequences can be covered under Fair Use. Because of the above, I feel very strongly that they will. Once we have definitive answers, I’ll follow up. In the meanwhile, be sure to consult a lawyer with issues of your own.
Work In Progress Screening, THE MOUNTAIN THIEF, July 17 at 7PM@ G. Village (2008 Narrative Labs)
Hi to all, My name is Gerry Balasta, the Writer/Director/Producer for the narrative film THE MOUNTAIN THIEF. The 2008 IFP Narrative Labs had encouraged and nurtured my film and myself in ways that I could not even express. I was literally just a few days away from shelving the project, after working on it for about 5 years—from the script level, acting workshops for the cast, putting it in the can and months of editing— fatigue started to sink in and basically, I just did not know which direction to go. My inexperience as a first time feature filmmaker also played a huge factor. When the film was selected to the LABS, I knew CHANGE WAS COMING. The week of the labs helped me find once again— my voice, vision as a Director and most importantly, myself as someone who just wants to tell a story. With all the feedbacks from the LABS and after years of trying, we got to this point our FIRST WORK IN PROGRESS SCREENING— this Thursday, July 17, 7 PM @ NYU. INFORMATION BELOW, and you can send me an e- mail if you want to attend, looking forward to sharing and inviting you to join our EFFORTS and ADVENTURES for THE MOUNTAIN THIEF .
- WORK IN PROGRESS SCREENING: THE MOUNTAIN THIEF-Non industry and regular viewers only
- WHEN: Thusday, July 17, 2008 at 7 PM
- WHERE: Greenwich Village, RSVP to inspirechanges@yahoo.com
- Please RSVP to inspirechanges@yahoo.com
- THE MOUNTAIN THIEF-SYNOPSIS: In a world where people live by scavenging in monstrous mountains of trash, a father and son fight for survival as they seek refuge from war and hunger. A story of triumph over unusual circumstances, “The Mountain Thief” reveals the unimaginable realities of people living in extreme poverty, and what happens when their tenuous hold on hope and survival is threatened.
- http://www.myspace.com/mountaincalledhope
- http://www.mounthopefilms.com/
- http://www.facebook.com: type Gerry Balasta
