Complete Director's Cut
Interlude 1: The Road to Damascus
Libertas Picture Company
Thanks, and we hope you enjoy!
We’re having a party and you’re invited!
As a way of celebrating the completion of Season 1 (and the soon commencement of Season 2), we’re going to have a wee shindig.
Held at Planet Altered, it’s going to be a casual gathering of friends, cast, crew, and anyone who would like to see Remnants projected on a bigger screen than their computer. The entire season will be edited into a single feature which will run about an hour (a little under, actually). There will be showings at 8pm, 9pm, and 10pm. So if you can’t make one, come to another. And don’t feel like you have to stick around the entire night. Come for a show, tell us how amazing we are, then head off into the Chattanooga night to get into what mischief you can find.
There may be a Q & A between the showings. I’m not against it but I’m not going to force it on anyone.
If you’re not sure where Planet Altered is located, click here. It should give you some pretty decent directions.
If you have nothing better to do, come on down and support some Chattanooga artists who have a story to tell.
15 days after the bombings and 7 days after the events that took place at the Fisher house . . . the Internet has been restored. People are allowed to travel once again. Phone lines have been reopened. But the safest way to communicate remains delivering messages by hand.
All I can say to those questions is, I know the answers but I’m not telling you.
We’re pushing forward with this story. On Friday, August 13th, we’re going to shoot the next chapter. It’ll be a single episode story arc involving some new faces as well as one familiar, returning face. It’ll bridge a bit of the gap between Season 1 and Season 2, setting up multiple story arcs that we’ll be exploring with the next 10 episodes. And all that can be said about those 10 episodes is that they’ll be bigger, longer, and feature many more characters. Because ultimately, Season 1′s relationship to the overall story is the same relationship your little toe has with the rest of your body.
So here’s to the future. Hopefully it’ll be a bit brighter than the one we’re exploring in Remnants.
You wrote and produced Remnants. How did the writing process lead to your producing role, and what was it like watching your creation without having direct creative control during the production?
It was strange and wonderful.
For as long as I’ve been writing, I’ve found myself in the roll of producer — it was just that this was the first time I actually had the title. When I was in elementary school (and then again in high school) I would write little plays or skits for me and my friends to do for the class or for chapel. And since it was my idea, it was usually my job to put the whole thing together. So I’ve kind of been doing this my entire life.
However, this was the first time I really approached a project as a producer. I had a story I wanted to tell and I wanted it told as best as possible and so I felt the best thing I could do, for the story, was relinquish the role of director to someone else. I suppose that’s when I officially became the producer; when I approached Loren about directing Remnants.
After that, my job became one of making sure we had everything we needed to tell this story. And while it’s always strange to invite someone in and have them critique your writing, I knew what he was doing was trying to figure out how best to tell the story. I had to remind myself of that as scenes got dropped, sequences were changed, and lines were re-written.
Ultimately, it’s probably the role I was meant to play. There’s few things as fulfilling as writing something, giving it to an actor and his director, watching them wrestle with it, and then them coming back and asking for a re-write. Trying to find that magical combination of words that makes the scene work is truly thrilling. It’s not something I could probably do if I was the director and having to make a thousand different decisions on top of that.
You directed all the episodes for this first season of Remnants. You also edited them all. What is your process and how does the one job effect the other?
Since I knew I was going to be the editor on Remnants, it directly impacted the way I directed. Basically, I edited the project in my head as we were shooting. I’d figure out what angles would cut together, or how to stage the action, and how the dialogue would flow as we were shooting, and then carry those directly into the next scene. (Or previous scene sometimes, since we shot out of order.)
It made the directing process easier in some ways, because I didn’t have to cover all the bases an editor would want me to cover. Since I was doing the cutting, all I had to get was the footage I wanted. It was a production that was very much not made in post, but really on set.
The big thing I wanted to do on set was spend my time working with the actors. We had a really short shooting schedule, so we didn’t have a lot of time to work the scenes. So knowing how things would cut let me maximize my time by working on their performances in specific shots, or if I knew the edit would impact their performance in a different way I could bring that to them on set. Also, the performances and ideas from the actors would inform my decisions, allowing me to reshape the edit in my head on the fly.
Post-production was a lot easier since I had directed. I knew what all of the shots were already, so if I was looking for a specific moment for a scene, I knew when and where it had been shot, what reel it was on, and which performances I had liked on set. There wasn’t a second learning process that an editor goes through when they step up to the footage.
So all around, being director and editor had a lot of plusses, and allowed me to work in a seamless flow from my original imagination of the script from pre-production all the way through to posting episodes online.