Another Award for Uncle Louie!

Uncle Louie wins its second 'Award of Merit' at the Indie Fest.
Congratulations to the cast and crew!

"UNCLE LOUIE" WINS AWARD OF MERIT AT ACCOLADE FILM COMPETITION - July 2010

"UNCLE LOUIE" WINS "AWARD OF MERIT" AT ACCOLADE FILM COMPETITION! Results will be posted on Accolade site soon:
www.accoladecompetition.org

Outtakes...

Here's some good outtakes...
Joe was definitely aggravated!
Note: NO animals or humans were harmed in any part of making this movie!

See the New Trailer

Check it out...

It's a Wrap!

Thanks Joe for planning another great event! The Cast and Crew were together again enjoying fabulous food and great company at the charming Madison Street Inn in Santa Clara.

The producers presented everyone with their very own 'Tightlights'. You too can be a proud owner. Joe Mangelli has about 30,000 of them in his garage, just give him a call...it's a long story.


Uncle Louie, aka Nick D'Arpino, had everyone howling with laughter with outtakes from the film as well as a hilarious short film about the "Editing of Uncle Louie" with all it's trials and tribulations. Who knew! Thanks Nick for all your months of hard work that made this film possible.



The next big celebration will be at our first film festival! Keep checking back for details.

The photographer had a little too much champagne, but we still got a few good shots to remember the event. See photos here.

The Selling of Uncle Louie

OK, so we created a film. A full length feature film. It was quite a feat, and turned out quite well for the small budget and novice team we had. Like every independent filmmaker we have one last hurdle, and an intense one at that, selling the film to a distributor. That's what the "independent" part is all about; making a film without a big distributor (read major studio), backing it. It gives the filmmakers a chance to create with freedom. It lets them use their own style, and pick the cast and crew without interference. Independents don't have to worry about some big jerk like Louis B. Mayer, or Sam Warner telling us how to do things or changing the movie to their liking. Nope, we did it all ourselves. But, the down side is now we want them to buy it. We need them to get it to all those theaters across the country. It's the Hollywood hierarchy, and as much as some of us hate it, it works. No distribution systems, and filmmakers end up like starving artists. They'll be lucky to get a thousand bucks for their movie. I, for one, have been around it, and believe me, for the big money the system works. Some say it keeps the little guy out, but if the film is good, you'll find a buyer.

The process involves sending 'Uncle Louie" to as many film festivals as possible, and hopefully get accepted for screening. Once selected it exposes the film to people in the business, and if liked, those people make offers to buy the movie. Now, not all the festivals will choose us, but a few will, and you only need one or two. It doesn't even have to win an award (but I hope it does), just a screening is sometimes enough. Sure there's competition, but like I said, good films will make it. Besides this, the producers can also use all the connections possible to contact distributors, and get them to view it privately. After all, you gotta pull out all the stops. While we can't show the film to the public until after it's bought, the producers can also market the film and stir up interest among the public through a website like this, Facebook, YouTube, etc. As more of the public starts asking to see the whole movie, the word gets out. Distributors pick up the public reaction, and believe me with the Internet today they do, and can approach the producers to buy it. That's even better.

Now, I pretty much laid it out in a couple paragraphs, but it does take work. What I rely on now is "Uncle Louie" fans , to help. Help spread the word. Get your friends to check out the trailer, and become a fan. "Uncle Louie" will sell, but every positive push helps. Of course, if Uncle Louie himself knows you have personally helped, he just might manage to buy you a nice Italian dinner- cannoli's and all!!

Interview with Director Al Russell

The producers, editors and director have been working hard for the last 2 months to complete the film. The music written for the film has been added and the film is about 99% complete.
Watch for a new trailer soon.
In the meantime, here is a clip from a short interview with the director, Al Russell.

The Tree

It seemed only natural that the water scene with Uncle Louie, Benny and Bernice would be shot at Pinto Lake in Watsonville. It's been a special place for director Al Russell and producers Joe Izzo and Joe Mangelli for many years. Al, Joe I, Joe M and longtime friend Todd Anderson along with various friends and family have been making a pilgrimage to the famous tree at Pinto Lake every Christmas for over 18 years. They go to renew their lives, to give thanks and gratitude and to reflect.

Joe Izzo, Joe Mangelli and Al Russell

There is a strong sense of spiritual energy here. It is reported that the Virgin Mary appeared here in 1992 to a mother searching for divine help. On a tree overlooking the water many can see the image of the Virgin of Guadalupe. The image can be seen on the tree trunk on the right.

We gathered up the equipment and hiked down to the tree on the water. Joe Izzo's sister Cynthia traveled from southern California to spend the day with us and lend a hand.

It was a beautiful day with dark blue skies and billowy clouds. The murky waters created a very serene setting with the sound of the ducks, a light breeze and the reeds and clouds reflecting in the water.

Boom Over Uncle Louie

After filming a re shoot of the infamous voodoo scene- the one where forces of magic bring Uncle Louie back- I had questions from extras on the set about sound recording. Questions like, " "Doesn't that poor guy holding the boom (in this case writer/producer Joe Mangelli), wind up with serious back problems?" , or "Why does the sound of an airplane have to stop the shoot", and most importantly , "How come the sound mixer guy (in this case writer/ producer- Joe Izzo), always look so aggravated?". Good questions, all of them, as most people have not seen how location sound is recorded for a movie.

The long black stick-like object, with the mic on the end, is called a boom-pole. It set over the actors to gather sound as dialogue is spoken. Since actors move around, and each location has a unique sound environment to it, this is the best way to capture it. In fact 80% of all the dialogue sound in any film you see, is done with a boom. The other 20% is captured with radio mics attached to the actors bodies. These are used for long distance shots where actors are walking and talking a distance for the camera. Radio mics are great for this, but are subject to interference from everything from other radio frequencies, to the actors clothing, plus are a pain in the butt to hide on an actor. Now, we don't have these for this film so back to the boom- pole.

Everyone says, "Yeah, I could do that boom pole stuff- you're just holding it over the actor(s)".
Wait a minute, 'cause it's not as easy as it looks. Most boomers have a lot of experience, and many are hired just because of that. They have to hold the boom over their heads for long periods, and even at just six or seven pounds, it's tiring. In fact, it's a Hollywood myth that good boom guys are related to orangutans! They also have to hold it in the right position, and sometimes angle it toward or away for an actor for voice control. Most importantly, that have to keep the mic out of frame. They have to visually find a reference point to do this, and keep track of it. Not an easy task. Joe is doing quite well for the little training I gave him. Now on TV talk or news shows, boom mics are on a stand, but the personalities don't move around, plus its a controlled environment. So, don't email me with- "Hey on TV I saw....". This ain't TV, kid.

Now lets get to the sound mixer. The mixer is responsible for getting the sound to the camera, and continually monitor the levels so it's clear and constant. It requires unbreakable concentration, and involves science to understand how sound works. Sound mixers or engineers, on location, never look at the actors. They have to watch the meters on the mixer, and listen. We all listen better with our "eyes closed" - hence why they don't look at the actors hardly at all.
Plane noises, creaking floors, phone, refrigerators, heaters, are all picked up rather clearly by the sound recorder, and that's why we stop for planes, and ask to have everyone shut off their cellphones. Now as far as Mr. Izzo's aggravation coming from his working sound, I can't say, but most pro location sound guys I know are aggravated because it's an exacting skill, and sound guys are usually isolated from the rest of the crew when the cameras roll. Hey, I'd be aggravated too. Sound is important, and good sound helps make the movie even better.

By the way, that voodoo scene went pretty well, and thanks to all our extras who "chanted" along with Benny and Bernice to "bring back" Uncle Louie. We have one more week to filiming, and edit is in progress, so look for some trailers coming soon to the Uncle Louie website.

The Common Thread

I thought I'd bring up a little of my past in order to write about this post. Don't worry- I didn't do anything to animals, kids, or was actually a member of one of the five Mafia families. No, I worked for a man named Sumner Redstone. You may have heard of him- he is the Chairman and CEO of Viacom- the company that owns Paramount Pictures, MTV, Spike TV, TV Land, VH1, Nickelodeon, the parent company of CBS. It goes on and on. Its big. Mr Redstone is passionate about films and his family also owns National Amusements, a company that owns over 1600 movie theaters in the Eastern United States and is the parent company of Viacom.

Now, as I said Mr Redstone is passionate about film. He told me that he wanted to make and distribute films that the public wants. Not what he wants- not what his studio management wants- but what the public wants. What I did for him, or should I say, his company, was screen films for his theater chain. It was my job to give my opinion on new feature film, and save his theater chain alot of money by not having to lease, shall we say the "crap". He told me one thing to look for called "the common thread". How many people by variety of age, politics, social standing, race and all the other demographics, would want to see the film I reviewed. The larger audience it could attract, the more ticket sales- very simple. "We need to hit the common thread he'd say,- a film that has something everyone would want. The emotions that touch all of us. The entertainment values we all seek".

Hollywood, today, seems to be focused on the younger crowd. Lots of special effects, simple (and meaningless) dialogue, and plots that range in the "thrill ride" emotional zone. It's more about getting the audience to wet their pants than jog an emotion. When it comes to the Oscars though,
thankfully the Academy tries to reach a consensus based on more than just this. We may not always agree, but they try. That's why movies like Uncle Louie are still made. Wondering when I was going to get to that, didn't you.

Uncle Louie, I think, hits the common thread. Enjoyable by anyone over 18 (OK, the language, mostly from me), it hits the thread. It makes us think about what happens after we die. It makes us laugh- not wildly like some slapstick comedy-but in a genuine way because it relates the comedy to real life. It has moments of poignancy, and gives us resolve about issues many of may have experienced. That's what makes it so attracting to me; its a great story.

Now, I don't know if the Academy will cast votes for an Oscar for Uncle Louie when it comes out, but if the production values are there, who knows. Even if they're not, the story makes it a movie that can be enjoyed by all. I call it, a comfort movie. People want it because it makes them feel good.

So, Mr. Redstone, I don't work for you anymore, but I say put Uncle Louie on the exhibition schedule for your chain of theaters. You won't lose- and neither will you audience !

Al Castello

There seems to be a general theme to all of our shoots – FOOD! I guess it’s only natural that a cast and crew of full of Italians and co-producer, writer and former food critic Joe Izzo appreciate great food. Joe Izzo has taken on the task of the care and feeding of the cast and crew and goes to great lengths at every shoot to be sure we are well fed. Thanks Joe!

Last Sunday the crew and cast filmed at the popular Al Castello, a popular San Jose Italian restaurant and ate their way through the entire day. Owner and host Giovanni Rossi prepared a fabulous “breakfast” pizza hot out of the pizza oven when we arrived. Following breakfast, fresh cannolli’s, tiramisu, and a decadent chocolate moose creation were featured in the first scene with Uncle Louie, Benny and Bernice.

The trio ate rich desserts and drank espresso throughout the morning while Uncle Louie filled them in on his new life in the hereafter.

Around noon the crew took a break while Giovanni served a huge spread of some of Al Castello’s favorites; anti-paste with fresh mozzarella, mortadello and Italian olives, fresh green salad, penne pasta and baskets of fresh breadsticks drizzled with olive oil and fresh herbs.

The best scene was saved until last when Uncle Louie orders his favorite pizza pie, half cheese and half anchovies. Giovanni obliges by creating the fresh pies in a flash served hot out of the pizza oven. Uncle Louie was so mesmerized by the sight and smell that he had a hard time remembering his lines. No doubt he’s in for a bit of agita after this shoot. The producers have starting been keeping Brioshci on the set for him.


The producers were pleased to introduce two new members in this shoot, Luisa Koumoutsakis and Carolyn Amerian who played the roles of the waitresses.

We also met the ‘favorite’ Mangelli grandson, Nicholas Mangelli, talented composer and grandson of co-producer Joe Mangelli. Nick has written a special piece for the movie.

The Other 'Favorite' Mangelli Daughter

The producers were pleased to introduce us to the other "favorite" Mangelli Daughter, Carrie Mangelli. Carrie plays the role of Benny's business partner.

Acting

OK , so I lied. But just a little. I said at the the end of my last post for "Uncle Louie" that I would talk about editing some more- and I will. Not just yet though. We'll save that for another time.
I thought I would talk about acting, since I'm not an actor at all!! Stay with me and it'll make sense.

I mentioned earlier that I logged many, many hours behind the camera over the last 25 odd years, but I have never acted. I had a couple of bit parts- a few lines here and there-because the casting people were lazy and forgot to cast a bit part, or I was setting up lighting for a scene, and the director said, "Hey, do this little part for me- I like your "look". Before you know it, I'm being asked to play the lead role in "Uncle Louie". Many of you have commented, "You're pretty damn good at this acting thing"! Well, thanks but I wouldn't know. I guess all the years spent producing, some directing, and setting up shots as a DP, made me aware of what an actor needs to do. Believe me, it ain't as easy as it looks folks.

After shooting scenes for Uncle Louie this past weekend, while I experienced a few moments of frustration on the set, I realized, I should let people know that it's not all fame. fortune, and red carpet walking. It's pretty tough work. I mean, after all, you come here to read about the filming, right? So without sounding lecturous, let me fill you in on a few things.

First comes the memorization. You have to know your lines cold, so it doesn't sound like you're reading them on screen. I've told other would be actors, you have to memorize your lines, then "forget" you memorized them. It has to sound natural. Next, you have to do "the business".
The "business" is the actors natural way of using hands, eye contact, facial expressions, and movements that seem like their own. In natural speech, people always move and give expressions. I'm an Italian-American, and believe me, I know- our hands are always moving when we talk. You see me do this alot in "Uncle Louie". Finally, pacing plays an important part.
I always know a new actor because they deliver their lines or movements too fast. This is due to fear of forgetting the lines or the directors instruction on movement (called blocking). You have to pause at the right times, and give expressions for the proper amount of time to "pace" the dialogue.

Now for some people, acting comes more natural than to others. Anyone can learn, and a good acting teacher can do wonders. Plus it's fun; I had a couple of classes a while back and enjoyed them immensely. Like I said,though, it's not as easy as it looks. Repeating the same lines over maybe five, six, or seven times for each take or camera position can be tiring.

Maybe I'll stay in front of the camera. The technical stuff is fun for me, but it's time for a change.
In fact, there's a joke in Hollywood that all producers want to be directors, all directors want to be actors, and all actors want to be producers. It's the cycle of the film industry. Now , I may be a little old to break into acting, and will probably have to go back behind the camera to make a living- but this "signing autographs", "I'm ready for my close-up", gig of acting isn't half bad.

See you on the set- my agent's calling!

Production Notes- Editing

We are getting down to the last few weeks of principle photography of "Uncle Louie", and editing has begun. We have all seen the title card for an editor on every movie and television show we watch, and more than just "cutting and pasting" the scenes or takes together, the editor can have a major effect on the delivery of the story, and the pace and timing of that delivery.

Editing is considered part of the "post" production phase of the film. Not only is the film pieced together during this phase, but it is also the time that special effects, soundtrack editing, music, and titles are added. While most movies shoot over a period of 25-35 days, the editing process can take months. I usually divide movie production into "eighths" - three "eighths" for pre- production or planning, one "eighth" for shooting, and four "eighths" (or half) for post production. Television production moves much faster due to broadcast schedules, but we'll save that for another time.

It is up to the director to get all the shots needed, and in the fashion he desires to tell the story.
He must get "coverage", or different angles on the actors, not just to keep the visual movement,
but also to give the editor enough "pieces" to put together. Many times an actor will deliver his or her lines better in different shots, and the editor can use that angle to get the better dialogue. Just as importantly, the director must also pick the shots he wants to "hang on an actor", even without dialogue, to add emotion. This is especially important during thought provoking or poignant scenes.

The editor must always be looking at two things, timing of the cut, and making the cut as invisible as possible. Cut too fast, and it looks choppy, cut too slow, and it drags the scene.
Depending on the story, sometimes cutting fast or slow adds to it. A car chase for instance, is cut "fast" to give the heighten the speed of it. As the chase nears its end, the cuts are even quicker, which tells the audience its concluding. Poignant shots and emotion can "slow" the cuts. We want the audience to pause and think about what they see, or make them emotional.

Cuts are made more "invisible" to the audience by the editor, who looks for "matching shots"; in other words were the actors actions or position is the same from the other angle. Also, a different shot all together, or a "transitional" shot, such as interior to exterior can make a cut less apparent. Music or sound effects laid under the cut can also help hide it.

Timing, though is everything. If you ever have been told a scary story as a kid, or to your kids,
you can build fear through the delivery and timing of the words. Bad editing is like listening to a really great story, and then have the story teller have to get up to go the bathroom in the middle of it! The audience loses their emotion, and interest. Story over. Movie ruined. I'll make sure this doesn't happen to the editing of "Uncle Louie" !!

Next time I'll give some insight to the editing system we're using, and how I work with it.