There were also scenes / ideas that we created on the fly. It was always about having a post-apocalyptic vibe on the roof. The key to the flashback scenes -- both the bathroom and the office -- was to push into totally different emotional and visual territory. This helped Harlan, our actor, bring out more colors in the piece, and also allows the audience to fill in the gaps between: a) desolate roof b) bloody hands and c) flicking through photos in the office.
Amen to that Mark!
Yeah, dude. You killed it. Excited for the next one.
Ha! We recorded sound on exactly three shots, and then didn't use any of it. All the sound was done in post.
Let's also add Spike Jonze and P.T. Anderson to your list of lazy and unresourceful filmmakers. Or how about Albert Maysles, Werner Herzog? A pretty distinguished list of bush-leaguers, I'd say.
Or, maybe... You push yourself to make great art.
In case you forgot, I actually led the whole section by suggesting that you produce well enough that stealing locations isn't a necessity. And preparation has been a major theme in all the posts in this series.
Lastly, take a look at the video I posted. Tell me how sneaking into that warehouse hurt the local film community. Please.
That's the beauty of the moment we're in film-wise. Many people dont suspect that a DSLR is actually rolling footage so you're able to get shots as a one man band that you couldn't get any other way. But as Alex points out: be careful.