| finders, keepers... |
 |
Starring: Richard Mark Arnold &
Jenifer Sparks
Crew: James Cormick, Sandra Arau & Akiko Hara
Composer: Daniele Luppi
Photography and Editing: Daniel Bronzite
Location: Manhattan, New York
awards & nominations
Winner "Best Production"
Mesnil-Le-Roi, France - 1997
Nominated "Best Short Film"
Turin International Film Festival, Italy - 1997
Nominated "Best Short Film"
Emden International Film Festival, Germany - 1997
Nominated "Best Short Film"
Antalya International Film Festival, Turkey - 1997
How it happened: by Daniel Bronzite
After a frantic couple of weeks pre-production at the New York Film Academy (which in retrospect was an awful lot for a two day shoot) I
finally secured my cast and locations and with the help of my fellow students started rolling.
They were two very long days which even included reshoots when we found out that some of the reversal film we were using hadn't been loaded properly (I think I was to blame). Because we were going on to shoot one of my crew's films straight after mine there was no room for putting things off until tomorrow, so basically we all worked really hard, especially the actors.
For instance, Richard had to spend a couple of hours in a bath while I got the lighting right and Jenifer was sprawled across the floor covered in Hershey chocolate (fake blood) pretending to be dead for about five hours - without moving! She was a real star!
After all of our shoots we each started stringing our individual films together on the Steinbecks at the Academy. Since there was no way for me to get professional music composed in the time-frame we had, I decided to use Bernard Herrmann's fantastic work from "North by Northwest" and "Vertigo" to cut to until I could get someone to do the real job. It all worked really well and doing the final mix at Magno Sound in New York where "Die Hard 3" was cut (which I actually saw out there when it was released) was a blast.
Back in England:
Since the shoot I managed to get a great young Italian Composer to compose a new soundtrack for the film and it
has since been screened at fourteen festivals around the world and nominated several times, picking up a "Best Production" award in France.
I learnt a great deal through the whole process involved in making this film, and perhaps the most important
thing was due to something I was against at the start.
I had gone to New York with a different script which had dialogue (hence sound) and was aiming to shoot it in color.
When I got there I was told it had to be in black and white and without dialogue. This was probably the best thing that could have happened because it forced me to tell a story through images rather than relying on dialogue and the exposition that comes with it.
View Film Stills
|
