Cool News
AICN's Cinematic Shrimp #1 - THE SEARCH!!
Merrick here...
...with our first actual Cinematic Shrimp!
In case you missed our initial announcement (many details HERE), Cinematic Shrimp is a new AICN feature with a multi-pronged mission: to find and present interesting short films, to assist readers' understanding of how these films were made by speaking directly to the filmmakers who made them, and to help aspiring filmmakers get started on their own projects via insights and recommendations from independent filmmakers, industry/studio professionals, etc.
We've received a few messages asking what we've been doing since announcing this undertaking over a month ago. The easiest answer to that question is: this is an enormously time consuming, complicated process - more so than we anticipated when we first started out. Many details needed to be wrangled, and there are many yet to to be resolved. For example: we're currently arranging on-camera interviews for this feature in the L.A. area, but need a camera package to make this possible. The faster we pull together the correct camera package, the quicker you'll see some interesting insight from...interesting personalities...who you'll likely have a lot of fun watching. If you can help us with a camera package, drop a line via the e-mail link provided at the bottom of this article. If you're writing from a company, we'd be more than happy to fully credit your tech in our pieces in exchange for its loan/use.
So, this whole thing has been a bear. But a glorious, eye-opening, inspiring bear. We've received films from all over the world - from the rude and crude to the amazingly slick and refined- and the submissions are still coming. We haven't even scraped the tip oif the iceberg yet - having watched only a handfull of the volume of titles that has come in. This said, know that every film is being looked at, and many are being discussed. Just..not all at once. So, patience.
Expect "Shrimp Cocktail" postings every Friday starting this Friday - three featured short films for your consideration, one chosen by myself, one by Nar Williams, and one by Mr. Blaylock. These Friday posts may well include newslets, opinion pieces, etc. - although not necessarily always. And somewhere in there look for technology write-ups, the on-cam interviews mentioned above, the occasional "Shrimp Special" if a particular title demands time-sensitive attention, etc. Please bear with us as we pull all the pieces into this swirling puzzle, and allow room for change and evolution as we determine what does and doesn't work in terms or structure, timing, and format, and why. This is going to be a developing process.
With this in mind, it's my great pleasure to bring you Cinematic Shrimp #1 - and to re-introduce you to my partners in this madness, Nar Williams and Mr. Blaylock.
Enjoy!
Cinematic Shrimp is a new feature on AICN that hopes to turn you onto some great short films, talented filmmakers, and helpful moviemaking tips.
In the coming weeks we’ll be featuring “Weekly Shrimp Cocktails” – a few choice shorts for your Friday viewing pleasure – but to kick things off, we start with our “Shrimp of the Month” for March: “The Search”.
NAR WILLIAMS:
“The Search” is a beautiful film about a man named Bootland, a member of the SETI research team who’s tasked with beta testing a new SETI Homebased System. His search for extraterrestrial life leads to an unexpected connection with a nearby family.
It’s an eloquent and touching piece of work. Director Mark Buchanan chooses small everyday moments – returning a soccer ball to the neighbor kids, a dinner alone, an office meeting – and crafts them into a portrayal of a man yearning for connection closer to home.
The dinner scene in particular is quite brilliant, as is Gregor Barclay’s and Gavin Thomson’s music, and Matt Berry’s (The IT Crowd, The Mighty Boosh, Moon) understated performance as Bootland. Then there’s Flora Montgomery, who blew me away as Bootland’s grieving neighbor… Note to Shrimp Makers: want to dazzle an audience? Beg, borrow, and steal to get good actors!
Buchanan financed the film on his credit card (I sense this may become a recurring theme for Shrimp…) and shot it in 3 days on the Red One camera system. The film premiered at The Times BFI 53rd London Film Festival and has gone on to screen at film festivals throughout Europe. Buchanan produced the movie with Phase VI, a film collective based in Glasgow, Scotland. They have a number of short films and a feature in the works. Keep up with their work at www.phasevi.com.
Read my interview with director Mark Buchanan after you watch "The Search" below!
—> Follow Nar on Twitter HERE!
GLEN ("Merrick"):
I love everything about how THE SEARCH is handled.
It does so much, so elegantly, so effortlessly. It's about poignant concepts, but the film is smart enough and appreciates its audience enough not to beat us over the head with them.
I deeply respect the Carl Sagan-esque poetry of concept running throughout THE SEARCH - and the ironic twist that our protagonist's search for extraterrestrial intelligence...his effort to help mankind find some form of meaning/connection in the cosmos...results in a much more personal effort to find his own sense of connection and purpose.
In it's 11 minute(ish) running time, this film accomplishes more emotionally and conceptually than many feature films of far longer running times - there's a lot to learn about storytelling and presentation here.
My strong reaction to THE SEARCH ins't terribly surprising now that I know more about it's director (via Nar's interview below). Seems Mark was affected by ELECTRA GLIDE IN BLUE, an under-appreciated film from the 70s which resonates with me to this day as well. If you've never seen it, I highly recommend it. It's a little slow, but filled with atmosphere, style, great performances, and its beautifully shot. It's currently making the rounds on MGM HD (April 5, 16, 27). Check it out.
But THE SEARCH - is everything I wish I could accomplish with one of my own short films, although I don't think I could ever come close. A tip of the hat, Mr. Buchanan.
—>Follow Glen/"Merrick" on Twitter HERE!
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
In the coming weeks we’ll be featuring “Weekly Shrimp Cocktails” – a few choice shorts for your Friday viewing pleasure – but to kick things off, we start with our “Shrimp of the Month” for March: “The Search”.
NAR WILLIAMS:
“The Search” is a beautiful film about a man named Bootland, a member of the SETI research team who’s tasked with beta testing a new SETI Homebased System. His search for extraterrestrial life leads to an unexpected connection with a nearby family.
It’s an eloquent and touching piece of work. Director Mark Buchanan chooses small everyday moments – returning a soccer ball to the neighbor kids, a dinner alone, an office meeting – and crafts them into a portrayal of a man yearning for connection closer to home.
The dinner scene in particular is quite brilliant, as is Gregor Barclay’s and Gavin Thomson’s music, and Matt Berry’s (The IT Crowd, The Mighty Boosh, Moon) understated performance as Bootland. Then there’s Flora Montgomery, who blew me away as Bootland’s grieving neighbor… Note to Shrimp Makers: want to dazzle an audience? Beg, borrow, and steal to get good actors!
Buchanan financed the film on his credit card (I sense this may become a recurring theme for Shrimp…) and shot it in 3 days on the Red One camera system. The film premiered at The Times BFI 53rd London Film Festival and has gone on to screen at film festivals throughout Europe. Buchanan produced the movie with Phase VI, a film collective based in Glasgow, Scotland. They have a number of short films and a feature in the works. Keep up with their work at www.phasevi.com.
Read my interview with director Mark Buchanan after you watch "The Search" below!
—> Follow Nar on Twitter HERE!
GLEN ("Merrick"):
I love everything about how THE SEARCH is handled.
It does so much, so elegantly, so effortlessly. It's about poignant concepts, but the film is smart enough and appreciates its audience enough not to beat us over the head with them.
I deeply respect the Carl Sagan-esque poetry of concept running throughout THE SEARCH - and the ironic twist that our protagonist's search for extraterrestrial intelligence...his effort to help mankind find some form of meaning/connection in the cosmos...results in a much more personal effort to find his own sense of connection and purpose.
In it's 11 minute(ish) running time, this film accomplishes more emotionally and conceptually than many feature films of far longer running times - there's a lot to learn about storytelling and presentation here.
My strong reaction to THE SEARCH ins't terribly surprising now that I know more about it's director (via Nar's interview below). Seems Mark was affected by ELECTRA GLIDE IN BLUE, an under-appreciated film from the 70s which resonates with me to this day as well. If you've never seen it, I highly recommend it. It's a little slow, but filled with atmosphere, style, great performances, and its beautifully shot. It's currently making the rounds on MGM HD (April 5, 16, 27). Check it out.
But THE SEARCH - is everything I wish I could accomplish with one of my own short films, although I don't think I could ever come close. A tip of the hat, Mr. Buchanan.
—>Follow Glen/"Merrick" on Twitter HERE!
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
It does so much, so elegantly, so effortlessly. It's about poignant concepts, but the film is smart enough and appreciates its audience enough not to beat us over the head with them.
I deeply respect the Carl Sagan-esque poetry of concept running throughout THE SEARCH - and the ironic twist that our protagonist's search for extraterrestrial intelligence...his effort to help mankind find some form of meaning/connection in the cosmos...results in a much more personal effort to find his own sense of connection and purpose.
In it's 11 minute(ish) running time, this film accomplishes more emotionally and conceptually than many feature films of far longer running times - there's a lot to learn about storytelling and presentation here.
My strong reaction to THE SEARCH ins't terribly surprising now that I know more about it's director (via Nar's interview below). Seems Mark was affected by ELECTRA GLIDE IN BLUE, an under-appreciated film from the 70s which resonates with me to this day as well. If you've never seen it, I highly recommend it. It's a little slow, but filled with atmosphere, style, great performances, and its beautifully shot. It's currently making the rounds on MGM HD (April 5, 16, 27). Check it out.
But THE SEARCH - is everything I wish I could accomplish with one of my own short films, although I don't think I could ever come close. A tip of the hat, Mr. Buchanan.
—>Follow Glen/"Merrick" on Twitter HERE!
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
The Search from Mark Buchanan on Vimeo.
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
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79!! YEARS old- today!.
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cool
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I really enjoyed it. Thanks for sharing it with the AICN community.
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I know some people can't stand the guy (they say he essentially plays the same character every time), but I always enjoy his work. It was great to see him pop up in 'Moon' albeit in a small part. I'll definitely be checking this short out.
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Mar 22, 2010 2:34:18 PM CDT
What a fantastic little movie!
by isleptwithkathybatesandallthatigotwasthi
Thankyou so much AICN!
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Mar 22, 2010 3:01:22 PM CDT
What is it with you and this Sanchez customerrrrrrr???
by brock landers baby
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We set our eyes on communicating with other beings in space even though we can hardly communicate with our neighbours!
Do I get a no-prize?
That was surprisingly good. Much appreciated. I thought this whole project was going to amount to a hill of beans, but you're off to a great start. I agree with whoever said they appreciated the quieter tone. A lot of short films seem to be loud, badly edited and ridiculously corny 10 minute versions of Michael Bay films. -
Seriously.
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Sanchez was Berry's character name. The line is, "What's with you and this RENWICK customerrrrr?"
I hate to be "that guy" that corrects people, but.... -
I wasn't sure what the responses to this would be like, what a nice surprise.
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Hopefully it will pick up momentum.
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Granted unlike YouTube there is a quality control filter in place...but if I want to watch short films I can get my fill at YouTube. I doubt Cinematic Shrimp is doing anything oringinal.
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Good job. I've always loved Carl Sagan's contact, but in the last year I've discovered the writing of Stanislaw Lem (he wrote Solaris) and "His Master's Voice" is a much more profound meditation on the same basic idea. In fact after reading His Master's Voice, Contact really seems like Sagan just jammed HMV and Clarke's 2001 together and dumbed it down a bit.
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what are you talking about? the whole point of this is that Merrick and the rest are wading through the nonsense and crap and finding the gems.it's the OPPOSITE of YouTube, kid.
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Fine choice everyone involved. I liked it. A low key meditation on loneliness and space. Nice. I'm looking forward to the next installment.
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To be perfectly honest I was expecting something with a bit more punch and a bit more geeky for your first flick, these kinda short films bore the absolute tits off me and come across as la-de-da and after agonising through 5mins I ended up just fast forwarding to see if anything remotely exciting happened... guess what, nothing did, how about something cool next time.
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Somebody needed to say it and here seemed as good as anywhere else. They're playing his movies all day on TCM. Happy Birthday Maestro Kurosawa!
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Cause that would cap it off for me.
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And that's why Michael Bay keeps making movies, for people like you. I'm certainly not saying there's anything wrong with that, or with you, but I'm merely pointing out that the very thing that bores the tits off you, entertains others, and vice versa. Actually, you were probably bored reading this, so I'll add an explosion at the end for you to skip to...
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no explosion...you cock tease!
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Ok, this guy can direct actors (or at least cast good ones)and stir up some desolate emotions. But that´s what every other indy fest short does! The net is littered with that. Where´s the cool film making? Where´s the genre? ? The rest of this site gets excited about Tron and Clash of the Titans and Captain America. And here we get to watch a lonely guy with communication problems. Film jurys like this stuff because everybody can agree that it´s an important issue and that´s why these films get awards. But these "depiction of life" shorts and films bore me to death... and aren´t what this site is about normally. I want to see stuff from the next Eli Roth, the next Quentin, the next Carpenter, the next Raimi! Yes, even the next Bay- there was a time when he was cool (ok long ago with Bad Boys 1). The director of this short says he loves Spielberg and Zemeckis... Well, Spielbergs first movie was about a WW2 fighter squad, Zemeckis about a a Killer Lift! (check it out: http://www.youtube.com/watch?v=oDt-EoryNRE ) Not about an inactive lame ass lonely guy. By the way... that lead actor in this short is side-splittingly funny in the IT crowd- any comedian who is that good is bound to be a great actor, so no extra points for directing there, that could just as well be the actor directing himself. So thanks for trying cinematic shrimp but please stay in line with this site... it´s hopefully not a forum for sundance try hard rejects, but for hard hitting next gen boundary pushing Filmmakers.
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Not all of them necessarily have explosions in them.
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Need I say more, need I say more.Darkplace ftw.
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But as harrythehawk says, this site is about cool movie news, were the writers geek out about superheros, genre movies and stuff that goes boom! this sorta shit while no doubt entertaining to the beard stroking brigade that likes a good pipe tobaco I'm pretty certain the vast majority who frequent this site would agree that first effort was boring as fuck, real life drama about lonely people does not a good geek movie make
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Think maybe they haven't posted any geek-friendly shorts yet because all the ones they received were garbage?
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yes, that is quite possible and an obvious reason. I don´t count that out. Directing genre bending cool stuff is really difficult, especially because on a budget it can be thrashy really quickly. But it can be done as seen in e.g the signal, last horror movie or even paranormal activity. If that is the case, ok, maybe they didn´t find anything more "geek friendly". But I´m often disappointed that festival jurys, and this is a jury here, too, tend not to award the outrages, cool, filmmaking stuff but trendy "pretentious" themes- cold city life, fat peoples problems (very en vogue right now e.g "precious" or "lbs") global warming, etc. I´m not knocking those themes, they are important, but they are totally covered by your regular indy film festival. I always found this site to be more about raw, inventive film making... and hope we´ll see some more of that here. But enough ranting, still looking forward to the next installation, I can´t really judge by a one off but was expecting more...
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I really don't want to start this whole initiative with a negative review but seriously this is the film movie you guys put up?! It's sooooooooooooooooooooooooooo boring and completely pretentious. I really want being like this but this isn't good. I went to film school and movies like this were a dime a dozen. Absolutely, no filmmaking balls!!!! Anyone could have made this film. It has no distinction from the rest except it had a small budget of sorts. I wanna see passion and this was soooooooooooooooo boring and calculatedly so. I seriously hope the next one will be better
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Hello everyone - although this is a more contemplative film than some of the folks here prefer, the director has had a couple of previous odditys that may be more your taste:
http://tinyurl.com/y97zdhq
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You make a fair point mate, and despite my hatred for movies of the Transformers ilk, I still love reading about genuine 'cool' news on this site. I certainly think the site has deviated from it's original premise of telling us about 'cool' news, and I miss seeing sneek photos from sets of summer blockbusters, but maybe they're trying to cater to a broader audience now? It's not for me to say if that's right or wrong. Now, if you'll excuse me, I'm off to stroke my beard and smoke my pipe (neither of which are euphemisms).
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I was gonna post about how, w/o decent budgets, any new indie genre work will just be a REHASH of Tarantino/Roth/Carpenter/etc. or more precisely, the 50's B-horror and exploitation genres that those directors pulled from, but now I just want to watch that Zemekis short about the killer elevator. Off to do so, now...
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there are a lot of bad copycats out there, but here´s a conemporary supercool "geeky" short called "The Horribly Slow Murderer with the Extremely Inefficient Weapon" http://www.youtube.com/watch?v=9VDvgL58h_Y But this mightn´t have been eligible because it won all kinds of short film awards anyway already. But that´s the stuff I was expecting here....
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that this feature went down like a ton o shit, id say the vast majority (well from the UK anyways) stuck it on expecting him to be like his absolutely superb character from the I.T. Crowd, watched 5mins then went back to slobbering over some anime chick.. better luck next time
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short & funny that referenced the current Hollywood genre du jour; Comic Books...w/riffs on superheroes & fanboys...oh wait, I DID!
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Thanks for the link to that short. Best short I've seen in a looooong time. My closest friend wrote and played the lead in another of the best I've seen, but it's like 9 years old now, 'The Right Hook'. The script for it is in the book Short Films 101, and while I have a bunch of copies, I can't put them online or anything, but I heard one of the other actors in it has it floating around somewhere online as part of his reel. Luke Greenfield ('The Girl Next Door') directed it with the intention of launching his career... which it did. There's a funny review of the book Short Films 101 on Amazon saying basically the opposite of what you're saying about making ballzy genre shorts, and I'd like to see that person try to get an agent or executive to watch anything resembling a drama. They have a need to fulfill and by doing genre, you show them that you can fulfill that need.Also, I heartily agree with you about festivals and the lack of genre. There's almost no excuse anymore for not doing sci-fi or horror with programs like Carrara 3D, AE, and stuff like Nuke relatively cheap (or free, if you're into that sort of thing), plus hundreds of tutorials online to get good effects for practically nothing. I actually did an indie feature that was the typical navel-gazing stuff but then decided to do exactly what you're saying (also, I saw The Lift during a summer program at USC, AWESOME short, as is Zemeckis' thessis film "Medal of Honor?"), and to do a genre short. Not gonna post a link here, but maybe I'll submit it... it is on youtube. It's already done more for me than anything I've ever done... and you CAN do genre AND have the best of both worlds. I seem to remember that The Exorcist is a horror movie, The Godfather a gangster picture, and The Dark Knight a comic book movie.
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no excuse to not do cool stuff nowadays... but there is still a kind of barrier in the heads of most filmfestival jurys to award genre. I mean, look at the Oscars. So hurt Locker is a good movie. Is it game changing in the film world? No. Is Avatar? Yes, everyone agrees on that. Who wins 6 oscars including best picture and best director? Hurt locker!! Why? well because it´s about iraq and the war and it´s a theme that is important in the world. That´s unfair, Mrs. Bigelow probably even learnt directing from her old hubby James! That kind of inbalance towards themes instead of inventive film making happens on a smaller scale in the indy world and pisses me off.
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Please continue it. Look forward to future installments!
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& I always liked Matt Berry's work in Garth Marenghi's Darkplace. The interview w/Mark Buchanan was insightful. The only thing about the film is I wished there was even a glimmer of hope that she would let him in to her life...it didn't have to turn into a crappy romcom, but as it is, she almost seemed a bit creeped out by him in the end.
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But then again, I'm not sure that the reason is either that those who are making good genre spend all their money on the film and forget to set aside money for a publicist (a must-have nowadays) or if there really aren't that many good genre indies out there to begin with.Because they DO get in and ARE awarded, and even when they're mediocre they stand out among the MOUNTAIN of boring shit at film festivals. There was a horror film a few years back called Salvage that got into Sundance through CineVegas, because they're programmed by some of the same people. I think it's a great little horror film, but I wouldn't say it sets the world on fire. Then you look at 'Frozen' this year and go... ok, is that the BEST of what's out there being done on a budget or is it just that the fest knows it needs a few genre films so it programs the ones that they actually watch and are halfway decent because they already know the filmmakers? In every case (and this goes for those weepy indies as well) you'll find that there's almost no chance of just getting in blindly. I don't know that it's always been like that(maybe?), but to me, all the evidence definitely screams, "Save your submission fee."I think you could submit 'The Shining' and not get in, because it's likely that nobody will watch it or if they do, it'll be someone who really shouldn't be judging these movies to begin with. I mean come on... think about it - what kinds of people volunteer to watch movies for these festival submission panels? I'd gather that you could come up with a composite and I'd be willing to bet without getting into stereotypes too much that they are not true cinema lovers. In the art world, it'd be the equivalent of people who stroke their chin (a fitting motion... stroking) while staring at a blank canvas, pretending to glean some sort of meaning from it. To me, the healthy thing in the next few years will be dedicated genre festivals, but only if fillmmakers step up and give us good genre work. There are SO MANY tools at our disposal these days and to render something like a creature on an alpha channel in DAZ or CARRARA is something anyone can do with the new tools. Hell, they have FREE TRIALS of a lot of these programs. What it comes down to, I think, is that a lot of filmmakers are scared of attempting big FX on a budget, but they really shouldn't be. If you look at someone like Neill Blumkamp, there's no way he'd be where he is if he didn't have a solid FX background to go with his storytelling/filmmaking skills. If you ever want to direct Hollywood films (i.e. - do it for a living), I think learning that stuff is pretty much essential now... and even if not, it certainly doesn't hurt your chances.
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I waited all day yesterday and was very disappointed that there was no Cinematic Shrimp #2. When can we expect it to be posted?
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I'm guessing yes.
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Wow, talked about a short-lived feature. I even submitted something, but apparently nobody really cares about other peoples' work.
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