THE MAKING OF UNCLE LOUIE: entry 33

When I think back on the days of making Uncle Louie, I flush with pride. Not for me, but for us. I was part of a astonishing little team made of people who devoted their time and their hearts to a zero budget film with little promise for theatrical release. Achieving cooperation and teamwork like this is a high school teacher’s dream come true especially in a classroom of at-risk youth. Listening clearly and working together made it all happen. I mentioned this to Chad Leiker last night that if one single piece was pulled out or missing, the film would have failed, the mosaic rendered incomplete.

THE MAKING OF UNCLE LOUIE: entry 31

Miraculous multi-purpose gizmos aptly describe the ever-popular tight lite, created by the venerable Carrie Mangelli. Not only do Carrie’s tight lites enrich the Uncle Louie storyline, but Carrie herself debuts as a supporting actor in our movie. She plays the character of Carrie, the fast-talking entrepreneur who convinces Benny to invest all of his money on her get-rich scheme. It is Carrie who puts the ball in motion placing Benny’s life on a collision course with the dark side. She handles her dialogue like a cat paws its prey and speeds the action whenever she is on. The camera loves Carrie Mangelli especially with the chopsticks in her hair.

THE MAKING OF UNCLE LOUIE: entry 30

Susan Senter is an artist whose medium of expression is photography. She possesses a gifted ability to capture life in vibrant display. Her work can be viewed on the Uncle Louie website. She was our photographer and her series of stills tell a stunning chronology of the making of this fractured fairytale. Her shots of the chickens during the voodoo ceremony reveal the depth and versatility of her art. Colorful and otherworldly. Susan is a professional. She walked delicately on the Uncle Louie set and vanished into places giving her optimum advantage for a take. Her work brings the eyes on a frame-by-frame adventure through the making of this cult classic. http://www.unclelouiethemovie.com Don't miss seeing her work.

THE MAKING OF UNCLE LOUIE: entry 29

Uncle Louie works. I didn’t think so at first, but after the last week of editing, I knew in my heart that our movie worked. In fact, I believe it will one day be a cult classic, one of those improbable little films that captures the hearts and minds of the art house movie-goer. Despite its many flaws, our vision pops. Most people who’ve seen it don’t know what to make of it. Some scratched their heads and walked away smirking. But most love it. They see the vision and laugh like hell at the dialogue and the goofy sidebars and Chad Leiker’s singing, and all the business with Fidel and tight lites. Anybody who attends our world premiere in Buffalo will receive a tight lite, described as…a miraculous multi-purpose gizmo.

THE MAKING OF UNCLE LOUIE: entry 28

Every night I speak with my partner Joe Mangelli. Every night we remind each other how fortunate we are to have pulled off the making of Uncle Louie. We are grateful as hell to have actually completed a 90 minute feature, based on a story that we wrote. It wasn’t easy. It worked us to the bone and wrung us out like dishrags. In the end though, we got what we wanted. Uncle Louie works. All the pieces come together. It’s not for everybody, that’s for sure. But it will make you think and that’s what we want our viewers to do, to think, to ponder the ineffable, to laugh in the face of impending misfortune.

A Gathering of Light

Let me speak not as Uncle Louie, but as a DP (Director of Photography) here. Most certainly what I'm about to say has to do with Uncle Louie, or any film, or for that matter, life itself. I have talked about film lighting before, but now if you'll pardon me I'm going to get a little philosophical on you.

Close your eyes. What do you see? Nothing? Open your eyes, and now you see everything around you- unless your sitting in a room with absolutely no light. It doesn't matter if your eyes are open or closed, if there is no light, there is no image. Try it. Go into a pitch black room or maybe a closet, and keep your eyes open. You see nothing- or as Uncle Louie would say- you see "ugots".
Why? Unless we have the horrible and sad handicap of blindness, you won't see anything without light. Not your lovers face, your child's smile, not a flower or a tree- nothing. No light, no image even if you have 20/20 vision. Even an owl, whose vision is acute in dark situations needs a little light.

Light only comes from two sources- it is created artificially with electricity, or phosphorus chemicals, or from nature- sunlight, moonlight, or an astronomical event such as the Northern Lights. That's it. Without one, or a combination of them, you see nothing- and neither does the camera.

Now being a DP allows me to play with light. Light will allow you to do this, except it won't let you bend it. You amateur physicists are probably saying, "Wait can't you bend light with fiber optics, or a prism? No. You are reflecting it, not bending it. Plain and simple light can't be bent. Check Einstein out on this. But play with it- oh yeah! I can color it, reflect it, intensify it, dim it, aim it, and turn it on and off. Not the natural light of course, or can't turn it on or off, that happens when it wants to. But I can block it, or it let it through. It can't defeat me, for I am the controller, shaper, and stylist of light. Sounds heady, but that's what a DP does; or any one else that wants to try. Here's a little light trick- take a bottle of water and shine a light through the bottom. The water seems to glow. Add some colored plating or gels to it and have some blue water or red water. Did you know that in a larger body of water like a pool or pond, red lights under the water turn it black on the surface? Yep, there are all kinds of tricks light will let you play on it. Look at the scenes in Uncle Louie where the light created a mood, or a visual effect, like the Louie/Lester garage scene, or the light reflecting off the flowers in the Pinto Lake scene.

So next time you curse your electric bill, or the brightness of the sun, remember, without them, you see nothing. The camera doesn't see either, so no films or TV. As a man who has studied, works with, and makes a living off light, no light means no life. By the way its that light off your computer screen that's letting you read this.

THE MAKING OF UNCLE LOUIE: entry 27

The Karmobello Production team had a meeting on Friday to discuss the shots for our latest project. It was decided that rain or shine we would be filming on Saturday. We all agreed that the rain could underscore our theme. To pull it off we needed to buy a slicker for the camera and an extra lamp in case the sun was washed out by clouds. We drove to each location, Sunbird Park, Payne Elementary School and Moreland Middle School, once known as Castro Middle School. We looked around and mulled things over. We found a cluster of redwoods with overhanging branches that sheltered the ground and kept it dry. Under these trees would be a perfect place to set up the camera. If we angled it right, we could make the rain look like tears suggesting sadness and hardship

THE MAKING OF UNCLE LOUIE: entry 26

Going to Buffalo, New York for the Buffalo Niagara Film Festival is an event of extraordinary synchronicity. Both my parents were born and raised there. I have many cousins still living there. Lately, I’ve been talking to my cousin, Henry and his wife Carol. Though we haven’t seen each other for a long time, we do remember all the fun we had growing up. We talked about hanging out with our other cousin Michael and tying knives to sticks and hunting imaginary monsters. We vacationed in Buffalo every summer through all of my youth and early teens. We’d take the train out of the Union Station in LA to Chicago, then the New York Central to Buffalo. My grandfather, Angelo, lived across the street from the zoo. The animals made noises in the early morning.

THE MAKING OF UNCLE LOUIE: entry 25

Chad Leiker and I would surf in the early mornings watching the sun break the horizon in brilliant hues of red and orange. Most of the time, we’d drift out of the line-up and discuss at length movies and art and music. Collaboration was in the cards for us and Uncle Louie provided the perfect vehicle to do so. Not only does Chad possess a keen ear for sound, but he sings and writes poetic lyrics for his band, The Booty Chesterfield Trio. His ukulele rendering of Guy Lombardo’s Enjoy Yourself serenades the opening of Uncle Louie with a left jab to the sensibilities. His version of Amore plays against the grain with his sweetly discordant voice somewhere between TomWaits and Bob Dylan

THE MAKING OF UNCLE LOUIE: entry 24

I hadn’t seen Michael Senter for awhile. Every now and then after he graduated from my Independent Study Program, we’d meet or talk. When we began the filming of Uncle Louie, we connected once again. Not only did he help on sound and continuity, but he created an unforgettable character as the bad guy’s befuddled bodyguard. Michael nailed the role, playing it exactly the way we he was coached—simple, honest, funny. He knew his lines down to the letter The scene with Lester about eating the dog would impress the likes of Martin Scorcese. Michael has real talent.

THE MAKING OF UNCLE LOUIE: entry 23

Michele Mangelli ignited fireworks on the set of Uncle Louie. Her spirit, her charm, her wild sense of humor imbued the character of Bernice with an electric current of unpredictability. She had never been in front of a camera before, but the camera fell in love with her. She lite up her scenes and made the incredible seem absolutely believable. She approached the supernatural like a grocer checking in slightly exotic fruit. Like Craig Ferreira, Michele did her homework and came to the set prepared to work each and every day.
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THE MAKING OF UNCLE LOUIE: entry 22

Other than Nick D’Arpino, no other person in the cast of Uncle Louie had a lick of experience in front of the camera. Craig Ferreira, who played Benny, surprised us all with his professionalism and cheerful demeanor. He came fully prepared and nailed his lines giving his character the hapless, desperate edge we had intended. Between takes, especially when things were going off course, he kept our spirits from sagging with sweet natured witticisms and words of kindness and encouragement. He never complained and patiently endured the tedium of missteps and retakes.

THE MAKING OF UNCLE LOUIE: entry 21

THE MAKING OF UNCLE LOUIE ENTRY 21

On big budget films screenplays get handed around like free ham sandwiches. Scripts are rewritten then handed over to doctors to be rewritten again. Then again. Everybody has something to say. Everybody wants changes. Writers run around like Marx Brothers.. The poor bastards. We had none of this on Uncle Louie. Having no money saved us from the insipid and endless chatter of opinion and criticism.

THE MAKING OF UNCLE LOUIE: entry 20

It doesn’t matter how much money you have in your budget. If your story fails to deliver the punch, to keep the viewer interested from beginning to end, to dazzle the eye, to woe the viewer with powerful dialogue full of real voices and human emotion, your film will fail. Special effects, light shows and million dollar cameras cannot save a weak story.

leiker's lament

THE MAKING OF UNCLE LOUIE: entry 19

Uncle Louie is a very hungry man and spends much of his short time on earth finding and eating whatever he can get his hands on. Having been dead since 1972, he returned to earth with a big hunger. Many scenes depict Louie sitting at tables and filling his empty stomach with Italian delicacies. He seems never to get full. Because of his desperate need to eat, he runs Bernice and Bennie in circles . One of the best food scenes in the movie opens with an overhead shot of the dinner table laden with Italian cold cuts, bread, tomatoes and desserts.

THE MAKING OF UNCLE LOUIE: entry 18

Feeding the cast and the crew was always a challenge. We wanted to serve better food , but lack of money forced us to be frugal in our choices. We went to Chez Safeway most of the time. We took advantage of their donut specials in the morning and bought their pre-made sub sandwiches for the afternoon meal. The food wasn’t bad and everybody seemed to eat it up without complaint. One weekend, I hired Annette Morrison, a professional caterer, to cater a healthy meal consisting of jerk chicken, beans, salad, and garlic bread. The food was delicious and the crew was ecstatic.

THE MAKING OF UNCLE LOUIE: entry 17

I haven’t talked to my cousin Henry in over forty years. When I was a kid we’d take the train to Buffalo every summer. I hung out with Henry then and all my cousins and we’d terrorize the streets of Buffalo. Once we went on a hunt for the monster of the Via Venito. Uncle Louie brings me back to my second home with a gift for all my family. So much of the film is steeped in Buffalo lore, I hope they all enjoy the story which embraces the importance of love and loyalty to family.

Why Uncle Louie Matters

Ok, so I kind of stole the title from a book written by Pete Hamill called, "Why Sinatra Matters", about the great entertainer ( well any East Coast Italian thinks he is), Frank Sinatra, and why he matters to the world. You'll have to read that book to find out, but in this case, and although he is not as much of an icon as Sinatra, I can tell you why Uncle Louie matters. I'm talking about the man here, not the the movie. Of course, the movie matters too, since thats how we find out about the man, but this is about the persona that is Uncle Louie.

Created in the mind of screenplay writers, Joe Izzo and Joe Mangelli, and based upon their real life experiances and plenty of imagination, we find Uncle Louie. He is kind of an everyman, steeped in a life of both good and evil, with an ego that plays big, but is a cover for his shortcomings. He loves big, eats big, talks big, and blankets his personality across the land like the somewhat tattered quilt that covered my late Aunt Edna's large ass. Both can be repulsive, and familar at the same time, and like watching a train wreck, we have to look at it, and acknowledge it. May my Aunt Edna rest in peace, but, haven't we all had an Uncle Louie somewhere in our life?

Opinionated, and at times brash, the Uncle Louies' of the world always have a story to tell. Embellishing at times, we listen, laugh, cry, and miss guys (or maybe girls), like Uncle Louie when they're gone. Why? Because they give the world character. They create a little light where it may be dark, and they make us think about what a bland world it would be without them. If Shakesphere was right right about all the world being a stage, then Uncle Louie is like that one character actor you see in every movie, that makes you say, "I'm not sure of that actors name, but he really lit up the screen for the time he was on".

So that is why he and every Uncle Louie matters. They are the spice in life. I was fortunate enough to have two Uncle Louies, both who have passed, and that big Sunday Italian dinner has never been the same.

THE MAKING OF UNCLE LOUIE: entry 16

Being selected to The Buffalo Niagara Film Festival proved a stroke of meaningful coincidence. At first the rejections poured in. One right after the other. We were on the ropes when finally we got into Buffalo Niagara. I had to laugh. Both my parents were born and raised in Buffalo. I have many cousins still living there, many, and hopefully they will attend the world Premiere of Uncle Louie.

THE MAKING OF UNCLE LOUIE: entry 15

Being selected to the Buffalo Niagara Film Festival came straight from heaven. That's how it felt anyway. I knew when we finished Uncle Louie that there was a greater power working out there. Now I'm convinced.

THE MAKING OF UNCLE LOUIE: entry 14

THE MAKING OF UNCLE LOUIE entry 14

Every single day on the set of Uncle Louie we were challenged. Light was always an issue—sometimes too much, other times not enough. Rain clouds drove us crazy. Windy days were catastrophic. One day at the Rose Garden the wind was so strong it blasted through the microphone like locomotives going through a tunnel. And then there was Fidel. Using an untrained Chihuahua involved its own unique set of problems. SEE the outtake video and check it out. We laugh when we see it now, but we didn’t laugh then.

BUFFALO NIAGARA FILM FESTIVAL

CHECK THE UNCLE LOUIE POSTER...http://www.buffaloniagarafilmfestival.com/

THE MAKING OF UNCLE LOUIE: entry 13

Making a movie is hard work. Don’t let anybody tell you different. The work is long and repetitive and can get tedious when mistakes are made. When there is little money in the coffers, mistakes, miscues are more apt to occur. On Uncle Louie, we had our share of problems. On our second weekend of shooting, we dropped an entire day of work. A tiny glitch with the camera turned into a major beat down. In hindsight it proved better to redo the scenes, but it sure didn’t feel good when it happened.

THE MAKING OF UNCLE LOUIE: URBAN CHICKENS

LA FABBRICAZIONE DI ZIO LOUIE
Louie di zio ritorna dai morti per rivelare i segreti dell'universo. controllare http://www.unclelouiethemovie.com

Craig Ward

THE MAKING OF UNCLE LOUIE: entry 12

Bringing Uncle Louie back from he grave was no easy task. If we didn’t make the “how he came back” believable, nobody would buy it. We turned to the supernatural for help and were able to raise him from the dead with ease and credibility. When it came to casting the role of the voodoo priest, I turned to my friend Craig Ward, known on FB as Mustapha Craig. He used to teach music to my students at Bill Wilson. Seeing his face made it easy to write his parts and his dialogue. You’ll see.

THE MAKING OF UNCLE LOUIE: entry 11

One of the challenges in writing scripts is developing characters that live and breathe and speak in voices of everyday man. It takes a good ear and a willingness to listen to all sorts of conversations from intelligent to ridiculous. Being teachers as well as writers gave Joe and I the opportunity to hear every manner of dialogue. Colleagues and students all had something to say. And we listened.

THE MAKING OF UNCLE LOUIE: entry 10

THE MAKING OF UNCLE LOUIE (Entry 10)
Every script needs a sprinkle of star dust. Mechanisms that stitch the story together with compelling transitions. Most of all, the story must roll swiftly or nobody will pay attention. You've got to keep people asking " what's going to happen next." Our sprinkles of star dust came in the form of Fidel, our chihuahua, and Tight Lites. These two additions accelerated the plot of Uncle Louie.