The Rose is in post-production. I am not sure what post-production means other than it has something to do with ADR, rendering, Foley, color correction, musical score, and special effects. As producer, I signed off on the director’s rough cut, knowing it was best to leave those pieces in the hands of experts who know what they’re doing. Besides, the rough-cut was so beyond my wildest expectations that I didn’t want to mess with the momentum.
Writing and acting in The Rose has been a real insight into the world of no-budget/low-budget film making. The role of the director is obviously key to the process, and Kenn Crawford’s initial involvement is best described in his aptly titled, A Glace Bay Filmmaker and a Sydney Satirist walk into a restaurant. I must confess, however, that from the moment I sent him the script, the plan was always to have him direct.
The production phase of The Rose was not without problems, but, ironically, the worst day of production turned out to be the best thing that could have happened to the film. The worst day was the first official day of filming. Anything that could go wrong did go wrong: scheduling issues, technical glitches, makeup malfunctions, and curious bystanders repeatedly walking into frame. In fact, if not for bad luck, we would have had no luck at all.
Then we ran out of time. We were filming a crucial outdoor scene at a local park. We had arrived on set later than planned, it was colder than forecast, and the wind turned into a gale. The high winds blew props around and muddled the audio. Midway through the scene a key player announced they had to leave within an hour. Not that it mattered at that point because we were running out of daylight anyway. It turns out, the first day of shooting was also the first day of daylight savings time. The day seemed a write-off.
This was where the rubber hit the road. We had two options: 1) use the remaining time to get as many shots as possible and hope we had enough film or 2) call it a day and reschedule. We knew we had lost the day’s audio and would require another session with the actors to record the dialogue. It was also mid-November, so we could not count on the weather cooperating for a rescheduled outdoor shoot. The director suggested that even if we continued, we might not have enough footage to complete the story or, even worse, we wouldn’t have a final product of which we would be proud.
This was the pivotal moment in the development of the final version of The Rose. As the producer, I may have had the final call on what option to take, but it was the director’s answer that informed the decision. We decided to reschedule the shoot and move the action indoors. As a result, we had to rework the script for an inside shoot. This required an extra scene for context and a retooling of the opening scene, both of which added additional breadth and depth to the main characters. The end result is something I am already proud of, and that is before all the fancy post-production.
Stay tuned for exciting news on the Cape Breton premiere of The Rose in January 2018.
Read pre-production notes here.
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