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      "body": "![](https://cdn.steemitimages.com/DQmPRieDkzPoGpNJL8ZyRs8z5FjBZQhDeffWAPauEtw7Uhy/image.png)\n\n*Ever Westward*\n\nUnder free and sapphire heaven, I was herding six or seven\nHerds of oxen through the wildland that my father claimed afore,\nAnd the icy wind of morning carried past a wingèd warning—\nSoaring past the hawk aborning Westward freedom I once bore,\nSoaring past the hawk a symbol of the freedom I adore,\n          Absent here forevermore.\n\nAs I watched the hawk ascending, in my soul I sensed a rending,\nLike the Devil's verdict impending on my blameless inner core,\nAnd the bird ascending's croon sent to me a holy tune\nWhich unseen old thought has wrought to earnest longing after yore,\nYearning after simpler seasons when God granted us this moor—\n\tBut that time is now before.\n\nTrailing fast in heart and body marched a covered wagon, shoddy\nYet abiding, hopeful ever riding from the nation's waxing shore.\nKeenly I caressed my bowler, looking to the redding solar\nLight which guided faithful roamer on his calling to explore,\nHoping I might flee the cursed harbinger of war.\n          I—alas—can't migrate anymore.\n\nThough this dream of beauty ending, still my mind with hawk ascending,\nEver Westward bending where my freedom may I restore,\nI await; you'll see my heart descend from hawk and sky and cart\nWhen the despots from this land depart; with the hawk's gay croon I'll soar—\nWhen the rough is plain, every mountain low, with returning tune I'll soar—\n\tAs for now my home is more.\n\n\n***\n\n**Notes**\n\nThe painting is *The Lonely Vigil* (1913) by William Herbert Dunton, [taken from Wikimedia Commons](https://commons.wikimedia.org/wiki/File:%27The_Lonely_Vigil%27_by_William_Herbert_Dunton,_c._1913.JPG).\n\nDon't take the painting to be an accurate representation of the character in the poem. The cowboy in the poem is wearing a Stetson, and the narrator of the poem wears a bowler (which, Wikipedia says, was a more popular hat in the Old West).\n\nHere's how the writing of this poem came about:\n\nI happened upon a website that advertised writing contests with cash prizes, and one could get a free account for this website. I looked through the contests with upcoming due dates, and one was to write a cowboy poem.\n\nIt turned out that one needs a payed account to actually enter contests on this site, so I didn't. I did, however, still have the idea for the cowboy poem, which I developed into this.\n\nThe structure of the poem is borrowed from Poe's *The Raven*, although this poem is shorter. I didn't want the B rhyme (-ore) to be the same as in *The Raven*, but it fit well. I'm surprised Poe came up with so many relevant \"-ore\" words.\n\nThis is my first (public) poem, so don't criticize me too harshly.",
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      "body": "Congratulations @benlabelle! You have completed the following achievement on the Steem blockchain and have been rewarded with new badge(s) :\n\n<table><tr><td>https://steemitimages.com/60x70/http://steemitboard.com/@benlabelle/comments.png?201905050540</td><td>You made more than 50 comments. Your next target is to reach 100 comments.</td></tr>\n<tr><td>https://steemitimages.com/60x70/http://steemitboard.com/@benlabelle/payout.png?201905050540</td><td>You received more than 10 as payout for your posts. Your next target is to reach a total payout of 50</td></tr>\n</table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@benlabelle) and compare to others on the [Steem Ranking](http://steemitboard.com/ranking/index.php?name=benlabelle)_</sub>\n<sub>_If you no longer want to receive notifications, reply to this comment with the word_ `STOP`</sub>\n\n\nTo support your work, I also upvoted your post!\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steemmeetupaachen/@steemitboard/steemitboard-to-support-the-german-speaking-community-meetups\"><img src=\"https://steemitimages.com/64x128/https://cdn.steemitimages.com/DQmeoNp9iCaCfd2D6TqnWa3Aky2mU4Fm3xaSmjTM91YoNBS/image.png\"></a></td><td><a href=\"https://steemit.com/steemmeetupaachen/@steemitboard/steemitboard-to-support-the-german-speaking-community-meetups\">SteemitBoard to support the german speaking community meetups</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "Mostly I'm putting this comment here to see if it improves my chances of getting views.\n\nBut while I'm here, what did you think?\n\nNext post will be about post-production, probably including the awards ceremony.",
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      "body": "![Out of Time 2.tif](https://cdn.steemitimages.com/DQmeozhyXQVATGFUDun1QJWnrpqcCDkGbFKekJBh9eti2jR/Out%20of%20Time%202.tif)\n\n\"Hey guys, you wanna make a short film?\"\n\n\"Yeah, sure, that sounds cool.\"\n\nAnd that's how we got into it.\n\n***\n\nBy the way, that movie poster you see—I made it for this post. We never had a real poster. The lack of quality is entirely my fault.\n\n[Here's the film:](https://youtu.be/06ALyF57vTY) https://youtu.be/06ALyF57vTY\n\n(This version includes a post-credits scene that wasn't part of the original release.)\n\n***\n\nI'd long (?) been sucked into the YouTube vortex of screenwriting and cinematography and video essays. Channels like Nerdwriter and The Closer Look showed up in my recommended section every time. \n\nAs such, I wanted to make a great film, and thought I basically knew how.\n\nThat was my first mistake.\n\nOne friend of mine—Thomas, who studies economics, engages with me in philosophical discourse, and teaches survival to air cadets at a military base in the summer—is an actor. In high school, he was part of an alternative to English class called Actors' Studio.\n\nAnother friend, Rian, is a photographer. His hobby is chasing public vehicles and filming them in action for [his YouTube channel.](https://www.youtube.com/channel/UC4uy83r1z85C2Gcmvq4Slrg) He was in a program at school called Arts, Literature, and Communications. He wanted to learn photography stuff, but the government makes you go through this wider program. There's a chance one might never even take a class on what they intend to do. He happened to take filmmaking courses in this program.\n\nIf we can, on weekends we three meet to watch movies. We were sitting in Thomas' basement one Saturday—we might've been watching Terminator 2—when I asked whether they wanted to make a short film. \n\nThey were both on board.\n\nI walked through the hallway at school one day, and on the wall I saw a poster: \"3rd Annual JAC [John Abbott College] Student Film Festival.\" Good timing. \n\nThe first matter was the script. Thomas and I met between classes in a computer lab and talked over ideas. I had a list. Thomas suggested an idea: some guy's life is run by phone alarms, and it turns out his phone is broken, and the alarms are in his head.\n\nSimple enough. Too simple. So we expanded on it. Developed a plot outline. We didn't expand enough, though—more on that later.\n\nI had the most writing experience of the group. I'd read two or three books on fiction-writing, and I'd written more fiction than either of them in the past.\n\nI lay on my bed at home and in one or two sessions wrote the script. I didn't know much about short films, so I gave it something like a three-act structure. I sent the script to Thomas.\n\nHe liked it, he said. But some things needed changing. \n\nI changed some things. Radically. I had several versions of the script with entirely different themes. One script I built completely around the goal of using Bing Crosby's *Pennies From Heaven* in the music. \n\nThis brought Thomas into it. He made his own version. He simplified. His was more like the original story. It lacked the attempt at complex themes. \n\nI resisted at first. I wanted something more ambitious. (I should add that my pride came into play—not publicly, but in my head.)\n\nBut he was right. We needed something simpler.\n\nAlright then. If this is what we need to win.\n\nHis version was by no means perfection, though. For one thing, he'd gotten rid of an entire scene. Structurally, the film made no sense anymore. We added that back in.\n\nHe didn't *always* simplify. He'd added a backstory for the main character, Jack. (He insisted on the name Jack, which he took from *Fight Club*.) Jack was now a man who arrived late to work on a roof, and his partner fell off the roof because he wasn't there.\n\nWell, I said, that's got to go.\n\nThere were problems with individual lines, too. Some lines just plain read bad. Other lines were okay, but I believed my versions of them were better.\n\nThomas resisted. \n\nOkay, I thought, I'm going above your head.\n\nI had Rian give his opinion.\n\nLate at night—the only time we could—we did a video-conference on Google Hangouts. Rian hadn't really read the script yet, which made things take longer than they should have.\n\nI should mention that we were approaching the time of production. The first scene would be shot soon, if we weren't to run out of time.\n\nWe looked for Rian's reactions as he read the script. Then he went into my version and read that. \n\nI looked at my script and Thomas' on two tabs of my laptop in front of me. I breathed and waited for the verdict.\n\nRian told us what parts of each he liked. He agreed on getting rid of the backstory. Too much for a short film, he said. Our time limit was ten minutes, and we had to keep it under.\n\nRian picked out the sections of lines he liked from each. Where Thomas and I clashed, Rian usually picked mine, I think—though not when it involved complicating the theme. And in line with that I'd thrown a poem into the dialogue at the climax. I was the only one who liked that, and I'd named my screenplay after it—*[Invictus](https://www.poetryfoundation.org/poems/51642/invictus)*. That was cut.\n\nRian offered one change that neither of us expected. He pointed out that in one scene Jack has a strong worldview based around order and around his alarms, then the other protagonist, April, offers a single line, and Jack says \"Maybe you're right.\"\n\nWhat's more, I'd realise too late, this is made worse by the line being a cliché: \"But isn't the greatest risk in life to take no risks at all?\" *Cringe.* And when Thomas offered that line, all I said was \"Alright.\" \n\nThis was a big problem. It made the story ridiculous. \n\nI can't say why we never changed it. \n\nAnd the bad lines never changed, either. Corrections were stuck in footnotes.\n\nThe good thing was that Thomas had managed (or so we were told) to secure Subways as a location, as well as a coffee shop in the basement of our school. He had, we were told, extras and a lead actress in mind.\n\nThat wouldn't exactly go as planned.\n\n***\n\nDISCLAIMER: This is all from memory. Quotes are approximate. I think I've made the conflict look sharper than it really was. This is an okay representation of inner conflict, but outwardly nobody ever said anything to indicate conflict. Our fights were more like:\n\n\"I'm afraid, good sir, that I respectfully disagree. I mean no offense when I say this line is okay, but doesn't sound quite right.\"\n\n\"I suppose we'll have to agree to disagree. I think the line best fits Jack's character, since...\"\n\nYeah, pretty much like that.\n\nI'll post a *[pt 2: Production](https://steemit.com/stories/@benlabelle/in-retrospect-the-making-of-a-sort-of-bad-short-film-pt-2-production)* soon enough.",
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      "body": "![Out of Time 2.tif](https://cdn.steemitimages.com/DQmeozhyXQVATGFUDun1QJWnrpqcCDkGbFKekJBh9eti2jR/Out%20of%20Time%202.tif)\n\n*It was the best of times, it was the worst of times.* Amen.\n\nProduction—the period when the movie is filmed—began without me. It was a weekend morning, and I was asleep. The script hadn't been finalised. Scene one didn't change between versions of the script, so we figured it was okay.\n\nThe first scene involved an early morning routine. Rian slept over at Thomas' house the night before so they could film while the Sun was yet low. \n\nI'm sure they went through a good deal of trouble to film that, so it's a shame we had to throw that footage out.\n\n***\n\nThis is part 2 on the making of our first short film. [Read part 1: Pre-Production here.](https://steemit.com/stories/@benlabelle/in-retrospect-the-making-of-a-sort-of-bad-short-film-pt-1-pre-production)\n\nThe film itself is [on YouTube here](https://youtu.be/06ALyF57vTY), or you can watch it here:\nhttps://youtu.be/06ALyF57vTY\n\n***\n\n*Hold on. Why'd you have to throw out that footage?*\n\nI'll get to that.\n\nThe first thing I was involved in filming was scene 2. In the film, scene 2 takes up 29 seconds.\n\nWe spent four hours on it.\n\nIt, also, had to be thrown out.\n\nWe could all make it to film on a Thursday. We had some elaborate ideas for scene 2, and I wasn't sure how they would work out.\n\nI arrived at school—where we would film—dressed to play the boss. White dress shirt, sweater, tie. I wore a small amount of cologne, because I had some vain idea this would help with \"method acting.\" I had one line in the scene.\n\nThe scene, according to the script, was this:\n\nAfter entering work, Jack walks by a row of cubicles. He greets everyone by name—mechanically. He even greets a cubicle without noticing that it's unoccupied. \n\n(The *original* original script was meant to be comical. In that version, one of the employees was wearing a wizard hat and rolling dice. Jack doesn't notice.)\n\nThen, in his cubicle, Jack gets an alert on his phone. It's time for coffee break. \n\n\"Hey, Jack.\"\n\nJack looks up and the camera pans. His boss is standing at the entrance. \"Meeting in one minute,\" the boss says. \"I owe you a break.\"\n\nI arrived at school and waited by Thomas' locker. He arrived carrying a tripod and camera equipment. Rian had told him what we needed, and he'd borrowed it from the school.\n\nThomas' friend Feng met us. He was our only extra.\n\n\"Well, I guess we can't do the scene where he greets everyone,\" I said. \"Where are we going to film the office scene?\"\n\n\"In the computer lab,\" Thomas said. The same place we'd started writing the script.\n\n\"Hmm.\" The computer lab. Can't feign a cubicle there. \"I don't think that'll work. It doesn't look like an office. Besides, everyone will know what it is. It won't be believable.\" \n\n\"It'll be fine,\" he said. \"You'll see. We have a plan.\" \n\nWhen Rian arrived we set up in the computer lab on the floor above. I couldn't see how this would work. Everyone would be able to tell the place was empty.\n\nI pointed that out. \n\nRian said it would work if we filmed at a certain angle. \n\nWe turned on the camera and tested the audio. The mic on the camera worked, but not the boom mic. \n\nWe couldn't even figure out how to attach the mic to the boom pole. I ended up hooking it on in a sketchy way. It seemed to stay, but if it fell, we'd be in trouble.\n\nThe audio wasn't coming through. Rian played with it for at least half an hour. \n\nIt worked. \n\nThen we filmed. \n\nDuring pre-production Rian had begun a shot list for scene 1. While he wasn't looking, I finished it for the whole film. 80-something shots. \n\nBased on my learning from YouTube, I'd incorporated some distinct cinematographic intentions. Scenes with \"old Jack\" (when he was ruled by his phone) were static, centred, and plain. Shots with April and with \"new Jack\" were dynamic, free, and natural. I'd indicated trouble in some places with Dutch tilts, and kept close ups for important things.\n\nWhen we did the filming, Rian was holding the camera. He was the only one of us who knew how to use it. And he'd taken a filmmaking class, so we had a high opinion of his cinematographic knowledge. He hadn't looked at the shot list.\n\n\"Here's how I think we should we should film this,\" I said, and outlined the pan I gave in my description of the scene above. The idea was that the audience doesn't see the boss until Jack does.\n\nRian didn't like that. I don't remember why. It may have been because the shot was technically impossible, with our set constraints. No—now I remember. It was because it would have us look for an extended period at Jack's back, and this, he said, is against the rules of cinematography.\n\n(I still think it would have worked.)\n\nThat was the relation between the shot list and the shots for the rest of filming. There was none. \n\nAfter a few takes, Rian played the footage back. \n\nIt looked bad. The frame rate was low. A moving arm might be a blur. \n\nWe hoped this was a problem with the camera's display, and moved on. We had a small montage to film, too. By the time we were done, it was dark out and the school was empty. We'd somehow spent three hours filming. \n\nLater we found out: the frame rate *was* bad. Not just that day, but when the first scene was filmed. \n\nThe footage needed to be re-shot. \n\n***\n\nThe script called for two scenes at Subways. Thomas figured he'd secure our locations, so he was named production manager. He usually could, too. If you asked him, he'd say it was because of his natural charm.\n\nIt was a Friday afternoon. Thomas had been going to the same Subways weekly for the past two years. He walked there—a short walk from school—before catching the bus to leave, as he always did. But this time, as the man behind the counter—Indian, but with good English—did not know, it wasn't for a sandwich. He'd brought food this time. (From what I know of him, probably something with tuna or avocado.)\n\nThomas walked to the counter and looked around. Empty, which was not unusual for this hour. \n\n\"Hey,\" he said. \"I'm not getting a sandwich today.\"\n\nThe man gave a confused look.\n\nIf this didn't work out, the whole project might have to be cancelled.\n\n***\n\nThomas also had to secure the coffee shop in the basement of our school. \n\nHe found his way there one afternoon. He'd only been once previously. The place looked plain. Which was good, since it was supposed to be part of an office.\n\nThomas stepped into line and waited. Once at the end of the line, he asked the lady at the counter about using the place as a location for a short film.\n\nThe owner was out for the day, she said, so Thomas would have to come back tomorrow morning.\n\nSo he did. He arrived at 8:45 and got in line.\n\nThis place was needed to properly set the coffee-break scene. It would work perfectly as a set, if we could get it. And having a good set for this scene might make up for the mediocre office set.\n\nThe person at the counter told him to come back in 15 minutes. \n\nThis place would work perfectly as a set.\n\nIf we could get it.\n\n***\n\nThomas said to the man at Subways: \"I'm working on a short film for the John Abbott [our school] short film contest and was wondering if you would mind if we used here as a location. We'll only take up a small area and it will only be during times when you're not busy, like Saturday afternoon.\"\n\nHe agreed, but only to times when they weren't busy, like weekend afternoons.\n\n***\n\nThomas went on a walk and returned to the coffee shop 14 minutes later.\n\nHe waited in line again. When he got to the counter, the lady called to someone in the back. \n\nThe owner, Candy, emerged. \"What can I do for you?\"\n\nThomas explained the situation.\n\nShe asked at what time and for how long we would need the place for.\n\nHe told her the date, and gave a filming time of about an hour.\n\nShe agreed.\n\n***\n\nThe script called for two leads: Jack, played by Thomas, and April. \n\nWe needed an April. \n\nThomas had an idea for someone, but he doubted that would work out.\n\nI, too, had an idea.\n\nA week or two before, in a church youth group on a Friday evening, we (the youth group, not Thomas and Rian) were playing 'two truths, one lie.'\n\nOne of my truths was that I'd written a screenplay. (At this point, Thomas hadn't contributed to the writing.)  They asked about it, and I told them. One of the people there—Steph, a model studying to be a teacher, who has black hair and is taller than Thomas and Rian and just shorter than I—said she loves acting, and volunteered if we ever needed anyone.\n\nA couple weeks later, I said \"As a matter of fact...\"\n\nSo we had an actress. \n\nThere were two worries.\n\nThe first is that we hadn't seen Steph act. I thought maybe we should 'audition' her first, but we didn't have time.\n\nWe didn't have time. That was the second worry. Our schedules had to line up well enough, with the shooting time left.\n\n***\n\nThe film was due on April 5th—a Friday—and we needed that week for editing. \n\nWe were in the week before, the last week of March. Steph had to leave for the weekend on Friday afternoon. So did I.\n\nOur schedules didn't match for most of the week.\n\nShooting for most of the film had to be done on Thursday and Friday afternoon. These were the last possible dates for filming, and we only had two afternoons. Recall that a 29 second scene (which we later threw out) in our ten minute film took four hours of our time. \n\nThe first thing we filmed on Thursday was the coffee-break scene. Thomas had told the owner we'd be there an hour, and that's how long we hoped to be.\n\nThe first at-least-20-minutes were camera setup. Rian and I talked about how we'd shoot for a bit, then he prepared the camera and mic as I watched the actors rehearse and made acting suggestions. (If I recall, I also debated character motivations with Thomas. We should have outlined in more detail before writing the script.)\n\nLines hadn't been memorized yet, so we took an 'approximate' approach (or you might call it a 'good enough' approach) to lines. The lines as you hear them in the film aren't the lines as written.\n\nAt one point, the actors were saying completely different things. Thomas had printed the wrong version of the script for himself (my fault—I'd renamed the proper version).\n\nTime was running out, and we had to film.\n\nThere were some acting quirks we should have stopped, but didn't. Steph would exhale-laugh after a few of the lines, and Thomas would put his hand to his chin. That happens in the film once, and it's so horribly unsubtle as to render the scene cartoonish.\n\nWe'll remember next time, I guess.\n\nWe went over-time in shooting. The owner came back and asked if we were still filming. Yep.\n\nWe got a few decent takes in, and finished far over one hour.\n\n***\n\nNext we had to re-film the office scene we threw out and had to film the conference scene.\n\n**Easter egg:** If you look closely at the scene where Jack's boss interrupts him, you'll see Jack writing a satirical document about a little red cow named Joseph Cowlin who writes the Cowmunist Manifesto. The office worker in the background has pictures of Marx and Lenin on his computer.\n\nWe found an abandoned classroom in the basement to shoot the conference scene. We set up the desks as a long table. (You can't tell at *alllllllllllll*.)\n\nThomas had gotten us a group of extras, but they'd all cancelled. We only had one left: Fend, who's helpfulness must be commended.\n\nThomas went to the bathroom. \n\n\"If you see anyone in the hallway, ask them if they want to be in a short film,\" I said.\n\nRian and I stayed behind and set up the camera and tried to figure out how to shoot this without people. How could we show nobody and not make it look cheap? We couldn't. It would look cheap either way, but without showing anyone it would look far cheaper. \n\nThomas was taking awhile, so I went out to look for him.\n\nI walked into the hallway, laughed, and ran back.\n\nThomas was walking our way followed by a herd of extras.\n\n\"What is this?\" I asked.\n\n\"It's just my natural charm.\"\n\nTurns out the Dungeons & Dragons club was having a meeting, and he found and asked them.\n\nSo we got to film the scene properly. \n\n**Easter egg:** On the whiteboard we wrote a bunch of nonsense. For example, I made a graph—x-axis: gold, y-axis: $.\n\n***\n\nFriday our time was limited. Steph and I had to leave at a set time in the afternoon. We had two Subways scenes to film.\n\nWe walked to the Subways and Thomas talked to the guy at the cash. Same guy. Friday was not what Thomas had told the manager earlier, so we had some doubts.\n\nThe guy at the cash put Thomas on the phone with the owner.\n\nRian set up the camera. I paced. \n\nI heard Thomas on the phone saying things like: \"I understand. No, that's okay, I understand.\"\n\nI said to Rian: \"That doesn't sound good.\"\n\nRian continued working on the camera setup.\n\nThomas came back to us and said everything was alright. We could film.\n\n\"Then what was the 'I understand' about?\"\n\n\"Oh. He said we have to stop if it gets busy.'\"\n\nSo we began. \n\nThe camera wouldn't cooperate, and that took time. Time, again, wasn't something we had in excess. The main problem was lighting, or colour balance, or something. I don't know. That's why Rian takes care of these things. One scene was shot completely, then had to be re-shot because we needed to switch the lighting.\n\nThere was the same problem with the lines. This time though, there was some debate about the lines we disagreed on. I insisted on changing them, and Thomas thought they were fine. Rian didn't want to get into a screenwriters' conflict. In the end we changed them a bit, but not completely.\n\nWe took a few takes. Things went slowly. It didn't look like we'd make it.\n\nFor one of the scenes Rian had the idea of filming the dialogue freehand. In retrospect (roll credits) that didn't look so good. In the future we'll save freehand for, um, not dialogue.\n\nWe got the last bit of filming done just after we were supposed to leave. \n\n*That's a wrap.*\n\n(Not really, though. Rian and Thomas had a couple cutaway shots to film, but they could do those without us.)\n\nNow came editing, which was pretty much out of my hands. Editing can break a wonderful film.\n\nI'll cover that when the next part of this series comes out.\n\n***\n\n**Disclaimer:** The story is reconstructed from rough memory. Dialogue is an estimation, and pretty much invented by myself. Etc., etc.",
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      "body": "![Out of Time 2.tif](https://cdn.steemitimages.com/DQmeozhyXQVATGFUDun1QJWnrpqcCDkGbFKekJBh9eti2jR/Out%20of%20Time%202.tif)\n\n*It was the best of times, it was the worst of times.* Amen.\n\nProduction—the period when the movie is filmed—began without me. It was a weekend morning, and I was asleep. The script hadn't been finalised. Scene one didn't change between versions of the script, so we figured it was okay.\n\nThe first scene involved an early morning routine. Rian slept over at Thomas' house the night before so they could film while the Sun was yet low. \n\nI'm sure they went through a good deal of trouble to film that, so it's a shame we had to throw that footage out.\n\n***\n\nThis is part 2 on the making of our first short film. [Read part 1: Pre-Production here.](https://steemit.com/stories/@benlabelle/in-retrospect-the-making-of-a-sort-of-bad-short-film-pt-1-pre-production)\n\nThe film itself is [on YouTube here](https://youtu.be/06ALyF57vTY), or you can watch it here:\nhttps://youtu.be/06ALyF57vTY\n\n***\n\n*Hold on. Why'd you have to throw out that footage?*\n\nI'll get to that.\n\nThe first thing I was involved in filming was scene 2. In the film, scene 2 takes up 29 seconds.\n\nWe spent four hours on it.\n\nIt, also, had to be thrown out.\n\nWe could all make it to film on a Thursday. We had some elaborate ideas for scene 2, and I wasn't sure how they would work out.\n\nI arrived at school—where we would film—dressed to play the boss. White dress shirt, sweater, tie. I wore a small amount of cologne, because I had some vain idea this would help with \"method acting.\" I had one line in the scene.\n\nThe scene, according to the script, was this:\n\nAfter entering work, Jack walks by a row of cubicles. He greets everyone by name—mechanically. He even greets a cubicle without noticing that it's unoccupied. \n\n(The *original* original script was meant to be comical. In that version, one of the employees was wearing a wizard hat and rolling dice. Jack doesn't notice.)\n\nThen, in his cubicle, Jack gets an alert on his phone. It's time for coffee break. \n\n\"Hey, Jack.\"\n\nJack looks up and the camera pans. His boss is standing at the entrance. \"Meeting in one minute,\" the boss says. \"I owe you a break.\"\n\nI arrived at school and waited by Thomas' locker. He arrived carrying a tripod and camera equipment. Rian had told him what we needed, and he'd borrowed it from the school.\n\nThomas' friend Feng met us. He was our only extra.\n\n\"Well, I guess we can't do the scene where he greets everyone,\" I said. \"Where are we going to film the office scene?\"\n\n\"In the computer lab,\" Thomas said. The same place we'd started writing the script.\n\n\"Hmm.\" The computer lab. Can't feign a cubicle there. \"I don't think that'll work. It doesn't look like an office. Besides, everyone will know what it is. It won't be believable.\" \n\n\"It'll be fine,\" he said. \"You'll see. We have a plan.\" \n\nWhen Rian arrived we set up in the computer lab on the floor above. I couldn't see how this would work. Everyone would be able to tell the place was empty.\n\nI pointed that out. \n\nRian said it would work if we filmed at a certain angle. \n\nWe turned on the camera and tested the audio. The mic on the camera worked, but not the boom mic. \n\nWe couldn't even figure out how to attach the mic to the boom pole. I ended up hooking it on in a sketchy way. It seemed to stay, but if it fell, we'd be in trouble.\n\nThe audio wasn't coming through. Rian played with it for at least half an hour. \n\nIt worked. \n\nThen we filmed. \n\nDuring pre-production Rian had begun a shot list for scene 1. While he wasn't looking, I finished it for the whole film. 80-something shots. \n\nBased on my learning from YouTube, I'd incorporated some distinct cinematographic intentions. Scenes with \"old Jack\" (when he was ruled by his phone) were static, centred, and plain. Shots with April and with \"new Jack\" were dynamic, free, and natural. I'd indicated trouble in some places with Dutch tilts, and kept close ups for important things.\n\nWhen we did the filming, Rian was holding the camera. He was the only one of us who knew how to use it. And he'd taken a filmmaking class, so we had a high opinion of his cinematographic knowledge. He hadn't looked at the shot list.\n\n\"Here's how I think we should we should film this,\" I said, and outlined the pan I gave in my description of the scene above. The idea was that the audience doesn't see the boss until Jack does.\n\nRian didn't like that. I don't remember why. It may have been because the shot was technically impossible, with our set constraints. No—now I remember. It was because it would have us look for an extended period at Jack's back, and this, he said, is against the rules of cinematography.\n\n(I still think it would have worked.)\n\nThat was the relation between the shot list and the shots for the rest of filming. There was none. \n\nAfter a few takes, Rian played the footage back. \n\nIt looked bad. The frame rate was low. A moving arm might be a blur. \n\nWe hoped this was a problem with the camera's display, and moved on. We had a small montage to film, too. By the time we were done, it was dark out and the school was empty. We'd somehow spent three hours filming. \n\nLater we found out: the frame rate *was* bad. Not just that day, but when the first scene was filmed. \n\nThe footage needed to be re-shot. \n\n***\n\nThe script called for two scenes at Subways. Thomas figured he'd secure our locations, so he was named production manager. He usually could, too. If you asked him, he'd say it was because of his natural charm.\n\nIt was a Friday afternoon. Thomas had been going to the same Subways weekly for the past two years. He walked there—a short walk from school—before catching the bus to leave, as he always did. But this time, as the man behind the counter—Indian, but with good English—did not know, it wasn't for a sandwich. He'd brought food this time. (From what I know of him, probably something with tuna or avocado.)\n\nThomas walked to the counter and looked around. Empty, which was not unusual for this hour. \n\n\"Hey,\" he said. \"I'm not getting a sandwich today.\"\n\nThe man gave a confused look.\n\nIf this didn't work out, the whole project might have to be cancelled.\n\n***\n\nThomas also had to secure the coffee shop in the basement of our school. \n\nHe found his way there one afternoon. He'd only been once previously. The place looked plain. Which was good, since it was supposed to be part of an office.\n\nThomas stepped into line and waited. Once at the end of the line, he asked the lady at the counter about using the place as a location for a short film.\n\nThe owner was out for the day, she said, so Thomas would have to come back tomorrow morning.\n\nSo he did. He arrived at 8:45 and got in line.\n\nThis place was needed to properly set the coffee-break scene. It would work perfectly as a set, if we could get it. And having a good set for this scene might make up for the mediocre office set.\n\nThe person at the counter told him to come back in 15 minutes. \n\nThis place would work perfectly as a set.\n\nIf we could get it.\n\n***\n\nThomas said to the man at Subways: \"I'm working on a short film for the John Abbott [our school] short film contest and was wondering if you would mind if we used here as a location. We'll only take up a small area and it will only be during times when you're not busy, like Saturday afternoon.\"\n\nHe agreed, but only to times when they weren't busy, like weekend afternoons.\n\n***\n\nThomas went on a walk and returned to the coffee shop 14 minutes later.\n\nHe waited in line again. When he got to the counter, the lady called to someone in the back. \n\nThe owner, Candy, emerged. \"What can I do for you?\"\n\nThomas explained the situation.\n\nShe asked at what time and for how long we would need the place for.\n\nHe told her the date, and gave a filming time of about an hour.\n\nShe agreed.\n\n***\n\nThe script called for two leads: Jack, played by Thomas, and April. \n\nWe needed an April. \n\nThomas had an idea for someone, but he doubted that would work out.\n\nI, too, had an idea.\n\nA week or two before, in a church youth group on a Friday evening, we (the youth group, not Thomas and Rian) were playing 'two truths, one lie.'\n\nOne of my truths was that I'd written a screenplay. (At this point, Thomas hadn't contributed to the writing.)  They asked about it, and I told them. One of the people there—Steph, a model studying to be a teacher, who has black hair and is taller than Thomas and Rian and just shorter than I—said she loves acting, and volunteered if we ever needed anyone.\n\nA couple weeks later, I said \"As a matter of fact...\"\n\nSo we had an actress. \n\nThere were two worries.\n\nThe first is that we hadn't seen Steph act. I thought maybe we should 'audition' her first, but we didn't have time.\n\nWe didn't have time. That was the second worry. Our schedules had to line up well enough, with the shooting time left.\n\n***\n\nThe film was due on April 5th—a Friday—and we needed that week for editing. \n\nWe were in the week before, the last week of March. Steph had to leave for the weekend on Friday afternoon. So did I.\n\nOur schedules didn't match for most of the week.\n\nShooting for most of the film had to be done on Thursday and Friday afternoon. These were the last possible dates for filming, and we only had two afternoons. Recall that a 29 second scene (which we later threw out) in our ten minute film took four hours of our time. \n\nThe first thing we filmed on Thursday was the coffee-break scene. Thomas had told the owner we'd be there an hour, and that's how long we hoped to be.\n\nThe first at-least-20-minutes were camera setup. Rian and I talked about how we'd shoot for a bit, then he prepared the camera and mic as I watched the actors rehearse and made acting suggestions. (If I recall, I also debated character motivations with Thomas. We should have outlined in more detail before writing the script.)\n\nLines hadn't been memorized yet, so we took an 'approximate' approach (or you might call it a 'good enough' approach) to lines. The lines as you hear them in the film aren't the lines as written.\n\nAt one point, the actors were saying completely different things. Thomas had printed the wrong version of the script for himself (my fault—I'd renamed the proper version).\n\nTime was running out, and we had to film.\n\nThere were some acting quirks we should have stopped, but didn't. Steph would exhale-laugh after a few of the lines, and Thomas would put his hand to his chin. That happens in the film once, and it's so horribly unsubtle as to render the scene cartoonish.\n\nWe'll remember next time, I guess.\n\nWe went over-time in shooting. The owner came back and asked if we were still filming. Yep.\n\nWe got a few decent takes in, and finished far over one hour.\n\n***\n\nNext we had to re-film the office scene we threw out and had to film the conference scene.\n\n**Easter egg:** If you look closely at the scene where Jack's boss interrupts him, you'll see Jack writing a satirical document about a little red cow named Joseph Cowlin who writes the Cowmunist Manifesto. The office worker in the background has pictures of Marx and Lenin on his computer.\n\nWe found an abandoned classroom in the basement to shoot the conference scene. We set up the desks as a long table. (You can't tell at *alllllllllllll*.)\n\nThomas had gotten us a group of extras, but they'd all cancelled. We only had one left: Fend, who's helpfulness must be commended.\n\nThomas went to the bathroom. \n\n\"If you see anyone in the hallway, ask them if they want to be in a short film,\" I said.\n\nRian and I stayed behind and set up the camera and tried to figure out how to shoot this without people. How could we show nobody and not make it look cheap? We couldn't. It would look cheap either way, but without showing anyone it would look far cheaper. \n\nThomas was taking awhile, so I went out to look for him.\n\nI walked into the hallway, laughed, and ran back.\n\nThomas was walking our way followed by a herd of extras.\n\n\"What is this?\" I asked.\n\n\"It's just my natural charm.\"\n\nTurns out the Dungeons & Dragons club was having a meeting, and he found and asked them.\n\nSo we got to film the scene properly. \n\n**Easter egg:** On the whiteboard we wrote a bunch of nonsense. For example, I made a graph—x-axis: gold, y-axis: $.\n\n***\n\nFriday our time was limited. Steph and I had to leave at a set time in the afternoon. We had two Subways scenes to film.\n\nWe walked to the Subways and Thomas talked to the guy at the cash. Same guy. Friday was not what Thomas had told the manager earlier, so we had some doubts.\n\nThe guy at the cash put Thomas on the phone with the owner.\n\nRian set up the camera. I paced. \n\nI heard Thomas on the phone saying things like: \"I understand. No, that's okay, I understand.\"\n\nI said to Rian: \"That doesn't sound good.\"\n\nRian continued working on the camera setup.\n\nThomas came back to us and said everything was alright. We could film.\n\n\"Then what was the 'I understand' about?\"\n\n\"Oh. He said we have to stop if it gets busy.'\"\n\nSo we began. \n\nThe camera wouldn't cooperate, and that took time. Time, again, wasn't something we had in excess. The main problem was lighting, or colour balance, or something. I don't know. That's why Rian takes care of these things. One scene was shot completely, then had to be re-shot because we needed to switch the lighting.\n\nThere was the same problem with the lines. This time though, there was some debate about the lines we disagreed on. I insisted on changing them, and Thomas thought they were fine. Rian didn't want to get into a screenwriters' conflict. In the end we changed them a bit, but not completely.\n\nWe took a few takes. Things went slowly. It didn't look like we'd make it.\n\nFor one of the scenes Rian had the idea of filming the dialogue freehand. In retrospect (roll credits) that didn't look so good. In the future we'll save freehand for, um, not dialogue.\n\nWe got the last bit of filming done just after we were supposed to leave. \n\n*That's a wrap.*\n\n(Not really, though. Rian and Thomas had a couple cutaway shots to film, but they could do those without us.)\n\nNow came editing, which was pretty much out of my hands. Editing can break a wonderful film.\n\nI'll cover that when the next part of this series comes out.\n\n***\n\n**Disclaimer:** The story is reconstructed from rough memory. Dialogue is an estimation, and pretty much invented by myself. Etc., etc.",
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