In total, Poland has 10,167 beds that can serve for people infected with coronavirus, which is 1,098 less than in 2003. The average use of beds in infectious wards is 64.9 percent, and in lung diseases wards 69.5 percent, so there are 3.2 thousand "Free" beds. The situation is also dire with specialists in infectious diseases and lung diseases. The former are 538, i.e. 110 less than in 2003, and the second 1261, i.e. 429 less than in 2003. With a larger scale epidemic, responsibilities will have to be shifted to doctors with other specialties. Fortunately, there are more doctors than 17 years ago.But you know what? 2 weeks ago Law and justice gave 2B PLN for its TV station [You remember Lisocka showing the middle finger?]3
The investment priority does not mean that all welfare spending should be criticised. We should never turn a blind eye on inequality and applaud Korwin-Mikke, a controversial Polish libertarian. The problem with the PiS welfare policy lies in the fact that by making direct transfers it takes the easy way out. It is easier to transfer money to a bank account than to build a well-functioning education or health care system, providing high-quality public services. In a sense, by giving people cash, PiS deserts from the function which an effective state should be performing. If we absolutely need to make transfers, then they should go where they are most needed and most effective. The extension of the Family 500 Plus to cover a benefit for the first child as well, part of the Kaczyński’s Five programme supported by all parties in the Polish Sejm, will mainly go to families that do not require aid. The funds to be spent on this program could allow health care spending to reach the EU average level. There is no shortage of such examples. It is a pity that the opposition did not write up a competition for a smarter way to spend PLN 40 billion. Instead, it would rather take part in the competition announced by Jarosław Kaczyński and shout: „Not only will we not take it away, but perhaps even add some more”.
| Questions | Answers |
|---|---|
| What's the real process for getting yourself on the map to make films like this? Your movie looks like the ones I want to make and I wonder about the inception of this kind of career. | Okay, so what I did can be totally repeated. If anyone out there aspires to make these kinds of films, I cannot stress enough, IT IS POSSIBLE. I'm proof of that. |
| I went to film school, here in Southern California. Spent way too much money on my senior film. It played zero film festivals. | |
| When I graduated, I had a normal desk job. But continued to make short films on nights and weekends. How I worked it-- I knew people in the theatre program at my school. If any actor came to me with even the smallest budget (even $50), I would write and direct something for them to put on their reel. | |
| I made a lot of very mediocre short films that way, but I was working constantly. No lie-- I probably made about 25-30 short films after college. | |
| Some of my collaborators and I decided we wanted to make a feature. That it was time. This rich real estate guy from Arizona had contacted us-- he was going to pay for a horror film. We wrote and wrote and wrote and eventually came up with a script we really liked. | |
| For my job, I was in Utah at a screenwriting workshop (I made copies, and made the coffee), and I was in the back of the room when Stewart Stern spoke. He wrote Rebel Without A Cause. | |
| I remember him very clearly, he said that filmmaking is a real gift. It's a gift to you and a gift to your audience. Make sure you have something to say. | |
| In that moment I realized that all the work I had created up to that point were merely filmaking exercises. They weren't "me." | |
| So when I got back, I told my collaborators this, we threw out the script, and decided that we'd rather make something for no money, than make the wrong movie. We looked at the resources around us, and on nights and weekends slowly cobbled together our first film. We shot all the scenes that were "free" first, and then raised the little bit of money we needed to finish the film through a generous friend of a friend (30K). | |
| In the end, I got very lucky in that the film was accepted into Sundance. We did a small self-release of the film, and it played other festivals. I learned a ton. | |
| At that point I got involved with Save the Date. I had read an early draft of the script to Save the Date years earlier, simply because I was a huge huge fan of one of the writers, Jeffrey Brown (you might know him for his graphic novels, including his latest one "Darth Vader and Son"). I had heard that the director had dropped out, so I just sent a cold email to the producer telling him how huge of a fan I was. | |
| Jordan was at Sundance that year with the film The Kids Are All Right. We met up and hit it off, and they all gave me permission to go run with the script. | |
| At the time, I had a day job making video content for a record label. They started giving me actual videos, and so I was able to work on a slightly bigger scale. All the while writing Save the Date. | |
| That job ended (apparently people download music illegally off the internet?) and I then went home to my parents' house in rural Massachusetts, and devoted all my time to working on the script. I had nothing else going on. I vowed to not return to Los Angeles until the script was done. My parents don't have wi-fi, which does wonders for productivity! | |
| A few weeks later, I had a decent draft in hand. But my feature didn't speak to the abilities that I had learned through music videos. I then made a really low budget short film, was lucky enough to return to Sundance with that. At the time, The Kids Are All Right had had been nominated for Oscars. Now that the script was done, the timing simply couldn't have been better. | |
| So based on that, we were able to get the momentum to get the script in the hands of these actors, some other producers jumped on board, and the money showed up shortly thereafter. | |
| The key to all of this is to Just Keep Working. Don't worry about any of the industry stuff. They'll eventually chase you. Opportunities will open up. But more importantly-- keep it personal. If any of these films didn't find an audience, I'll sleep well at night knowing that I made them for all the right reasons. | |
| But lord knows, if I can do this, you can do it too. | |
| Are any of these shorts available online? | The shorts are not, but my first feature can be streamed for free on hulu. |
| Hi. Thanks for doing an AMA. I just watched the trailer and this film feels like a throwback to indie romantic comedies from 10 maybe even 15 years ago (which is not a bad thing). Was this intentional? How are you facing the challenge of marketing a movie like this without some sort of "high concept?" Is it leaning more heavily on your cast? Was this an obstacle you faced in just getting the movie made at all? | Absolutely. To me, I think most modern romantic comedies are so dumb. They feature characters I can't relate to doing things I'd never do. And the guys always look like the kinds of guys that would beat me up in high school. |
| So while we weren't trying to make a "throwback" film, we definitely wanted the film to have the same honesty as films like Singles or Reality Bites. | |
| As for marketing the film, my hope is that this honesty will come through, and the word of mouth will carry it. And these actors! I mean, even if I didn't direct this movie, I would kill to see a movie with all five of these people as the leads. They are SO GOOD in the film too. | |
| Surprisingly though, we didn't have any huge challenges in getting the movie made, but I also was very lucky to have such good producers at the helm. They really protected it to make sure we could make the film we wanted to make. | |
| I swear this is true story. I went to a high school in LA and you crashed our prom after party (Universal Hilton). You ended up taking the virginity of a girl named Roseanne. You didn't call her afterwards. She cried a lot. Do you remember any of this and can confirm or have you been so knee deep in hollywood pooty for so long that this qualifies as a mere blip? /I'm not kidding. | This is the most incredible question I have ever been asked in my entire life. |
| A. I grew up in Massachusetts, so there's no chance I was at your prom afterparty. | |
| B. Even then, I did not go to my prom, but instead went to the mall movie theatre to see the movie DEEP IMPACT with the rest of the nerds. | |
| Thank you for your interest in Save The Date. | |
| This is a joke. That was a question asked to Woody Harrelson during his AMA. | Whoosh. |
| If there was a zombie outbreak, what would be your zombie plan? | I am a wuss. I would not only join the zombies as fast as possible, I would try to find a zombie baby who doesn't have quite fully developed teeth yet, so the bite wouldn't hurt as much. |
| Can you tell NBC to quit being so fucking stupid and let community come back? | SERIOUSLY. |
| Alison Brie. To the frontage you go! On a more serious note, what is your favorite type of scene to direct? | To me, there's nothing more satisfying than showing two people fall in love, or two people fall out of love. I can't get enough of that. Seriously. Anything where the actors have to be as vulnerable as possible. |
| How do you film sex scenes? | Lots and lots of booze. Just kidding-- |
| First thing's first-- you have to make sure that the actors are super comfortable with each other. | |
| With Save the Date, I always wanted Mark Webber to play the role he plays. But I didn't want to cast that role until I knew Lizzy was in. Just because I wanted her to have a say in it. | |
| When we finally met, one of the first things Lizzy said was "Who's playing this one character, and have you considered Mark Webber?" I knew then we wouldn't have a problem. | |
| For a short I did the year prior there was a really intense sex scene, and I actually had brought the actress I cast into the auditions with all the male candidates. That way she could weigh in on it, and help make that decision with us. | |
| Then, prior to shooting, you have to have a real nuts and bolts chat with the actors beforehand. With the short film, I went into detail "we will be doing two shots where we see your left nipple" etc. That way everyone knows. There are no surprises. And everyone can trust each other. | |
| Then in rehearsal, I think it's almost akin to choreographing a dance. Just showing where each person is going to be. And with shooting-- honestly, usually the first take is right on the money. Sometimes a thrust might not be obvious enough, so you have to make them thrust a little bit more exaggeratedly, so it reads on camera. | |
| That's really interesting. How these guys do not get erections when having fake sex with half naked beautiful actresses is the real question... | Because they're surrounded by dudes. All of which are staring at them. |
| Where did you get your start filmmaking? | When I was in college, I went to a school called Chapman University, down in Orange County. They would do a lot of test screenings of films down there, because it was a little bit further out, and there'd be less "industry types" there. |
| I was walking around school and got an invitation to see a test screening of a film called Super Troopers. Now, nobody had ever heard of this film and based on the title, it sounded like something from ABBA. Or a kids film. | |
| I went home and saw that it had played Sundance, and that Fox Searchlight was releasing it, so I decided to go. I had no industry connections at the time, and really needed an internship. Searchlight was kind of the perfect place to be because they were releasing the kinds of films I had hoped to eventually make. | |
| So I got to the theatre early, hoping that I'd be able to talk to someone about applying for an internship. Maybe I could get into one of their focus groups. No luck. | |
| The film played, it was hilarious, and on my way out they handed out flyers that said "if you have any more comments about Super Troopers, email them to so and so." | |
| I now had an email address, so I stayed up all night writing like this massive massive email to this random person at Fox all about how great the film was, and how it could be better, and how they should release it. I was like super confident in the email even though I had no idea what the fuck I was saying. | |
| Oddly enough, one of the things I suggested was to have them re-shoot the ending to bring back Geoffrey Arend's character (he's the guy at the beginning that famously says "the snozzberries taste like snozzberries"). | |
| At the bottom of the email I wrote, "...And by the way, I'm a film student who snuck into your screening, and it is in your best interest to call me tomorrow to offer me an internship." | |
| I went off to class (this was 2000, so I didn't have a cell phone), and when I got home, my roommate was like "Dude, three people from Fox called you today." I couldn't believe it. | |
| Three weeks later I found myself wandering around the Fox lot. An executive had just started a new program to make short films and put them on the internet (pre-YouTube). Two weeks later, I had a job as her assistant, and I made the commute from Orange County to Los Angeles three days a week until I graduated and it turned full time. | |
| Super Troopers came out (with a different ending), and many years later I found myself on set with Geoffrey Arend directing him in Save the Date. | |
| I love this! I hope you have a lot of success. I'm planning to go into movies too (acting, though, not directing). How was working with these famous people when you are pretty much unknown (I hope that doesn't sound bad)? | Honestly, there is really no difference between working with an unknown actor and a known actor. The known actor might have more experience, and therefore their instrument might be more fine-tuned. But it's all the same: motivations, actions, goals. The same language. |
| Where/when can I see it? | Right! The film comes out on VOD November 8th, and in theatres on December 14th. |
| When can we see it in Europe ? | For people outside the US-- we are still in the process of presenting the movies to international distributors. We do know the film will definitely be coming out in Australia and New Zealand, but do not have a date. |
| This is totally random, but if anyone lives in Wroclaw Poland-- I'll be there showing it there at the American Film Festival in just a few weeks. | |
| What is it like to premier a film? What goes through your head as the lights dim and the film fills out the screen? | Nothing compares to it. It is seriously seriously nerve-wracking. In fact, the Sundance Channel followed me around before the premiere of Save the Date. You can see me rehearsing what I was going to say in this little video here: Link to www.youtube.com |
| Really, it's not until I hear the audience audibly laugh that I'm able to relax. I don't know how directors of serious dramas do it. Just wondering if people are having the correct emotional response. At least for films with comedy, if you hear them laugh, you know the film's working. | |
| Do you have any hilarious stories you can share from the set? | So there was one night where we are shooting this really tender, sensitive slow dance scene between Geoffrey and Lizzy. Just an all out romantic moment between the two of them. |
| We were shooting in a loft space in Downtown LA, which apparently was directly next door to a crack addict. There were no doors or locks to this place, and he kept just wandering around set yelling "IT'S GONNA GET LOUD." | |
| Eventually we're halfway through shooting the scene, and we start hearing some of the WORST SOUNDING electric guitar noise from the other side of the wall. He had moved an amp right up against the adjoining wall, and basically made it his mission to ruin our scene. | |
| One of our producers, Jordan Horowitz, just wanted to go over there and punch the guy in the face. Figured with one good punch he could knock him out. Instead, one of the other producers, Michael Roiff, went over there and talked calmly to the guy. He of course wanted money that we did not have, but while Michael talked to him, we would shoot as much as possible. | |
| At one point the man said that he wanted $500. But that if someone got him a beer, it would go down to $400. Michael offered to get him a full six pack. | |
| Long story short, we got the scene. | |
| Awesome story! Not sure if it was asked (also, not sure if this is taboo to ask...), but what was the budget for the film? Thanks for the AMA! | Not taboo to ask, but I could get in trouble for saying. What I will say is that we made it for a fraction of what you think it probably cost. |
| What was it like working with Jeffrey Brown? | So there's an amazing totally true story about working with Jeffrey Brown. |
| So back when I was getting married, I was looking to get the perfect wedding gift for my wife. So I just wrote to the email address on the back cover of Jeffrey Brown's books. I didn't know him at the time, but hoped he might draw something of us. I had no idea if he'd even write back. | |
| But he did! And he drew something that was just super touching. A moment from the middle of my wife and I's relationship. | |
| Cut to the night before our wedding. The rehearsal dinner. I was SO excited to give my wife this gift. And I noticed that her gift to me was the exact same size. | |
| And we started opening our gifts-- it was crazy. I saw Jeffrey's trademark black-on-white drawing peeking out from under the paper. This is when we realized: the two of us, independent of each other, wrote to an artist WE DID NOT KNOW to commission him to draw us. | |
| Her piece to me was from our first date. So we called Jeffrey on our honeymoon, and he thought we might have been playing a prank on him. But that since we paid him, he knew it wasn't. We then asked him to draw a third work of us-- a meta piece-- documenting the moment where we were opening our gifts to each other. | |
| But working with Jeffrey was amazing. He's an amazing artist and an even better human being. I have learned so much from our collaboration. | |
| If you could work with any actoactress, who would it be? | Honestly. There are five: Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, and Mark Webber. |
| Okay, maybe six: Dustin Hoffman. | |
| So tell me what are the biggest difficulty's a typical "indie" director has working with big blockbuster actors? with this i mean to ask if they don't take you as serious as they take a director that works or is associated with a big company. | There was absolutely none. Especially with these actors, I cannot stress enough how sweet they all are. Also, I did have a lot of experience directing actors before-- I wasn't a first timer, and the language is exactly the same. |
| My biggest challenge was in my head. I'm used to working on projects where everybody does a little bit of everything. On my first film, there were moments where I'd be pushing the dolly and holding the boom mic at the same time. | |
| So here, I remember in pre-production, I was asking my AD if I needed to go pick up bottled water for the crew. She was like "You don't do that anymore. You just need to focus on directing." | |
| Could you name a couple of your favorite films? Particularly those that may have inspired your movie (and in what way). | For this particular film, Nicole Holofcener's WALKING AND TALKING was a huge influence. Because it's not your typical romantic comedy, it's about people that actually feel like people. |
| REALITY BITES was another one. Call me crazy, but I think that film totally holds up. The characters actually feel like they're friends. | |
| But visually, the film is shot in this super old school way. A lot of scenes that are done in one shot. ANNIE HALL was a big inspiration here too. | |
| What is it actually like to be a director of a film? Is it terrifying? Exciting? What does it involve and what parts of the process do you enjoy or hate the most? | I could write a book on this. Is it terrifying? Yes. Is it exciting? Absolutely. It involves everything. |
| My line producer Nate Kelly said it best. The production of a film is like a giant storm, but the director is in the eye of it. | |
| I enjoy working with actors the most though. That's really where it comes alive. | |
| Were you always a director since your days at Chapman? Or did you dabble at first? How did you fall into the hobby of filmmaking? Was it something you knew you wanted to do from the moment people started pressuring you to 'think of your future,' or did you try a few other things/hobbies out first? | Always wanted to be a director, but when I was an undergrad, I learned all the various facets of filmmaking-- editing, shooting, sound design. There are many days I wish that I did have some other desire, but this is all I can do. |
| My apologies for what may seem like intimidating interest on my part. I'm a film production major hoping to get into NYU by next fall and I can't help wanting to learn from your experiences. =) | As for the wife. She's the most understanding woman on the planet. Always there to bounce ideas off of, or to root me on. She also has the exact same taste as me in movies, so that helps too. |
| Who are some of the directors that inspire you? What is a film genre you would like to delve into on a future project? | I'm most inspired by the directors who tell stories that are personal to them, but who can still work in other genres. Richard Linklater is a perfect example of this. The fact he can make Before Sunrise and Dazed & Confused, but then still bring a sense of heart to films like School of Rock. That's exactly what I'm going for. |
| Any release/event for LA in Decemeber? Would love to attend. | We are still figuring this out, but if there is I will let you know! |
| Just moved here to LA and am looking to get my foot in the door in the industry would love to have the chance to help you with anything I could for experience or advice/direction where to start would be really helpful! Good luck with the movie, looks like it should be successful!! | For sure-- send me a PM? Is that how this works? If any opportunities come up, I will let you know! |
| While this isn't necessarily your area of expertise, I'm hoping from being in the industry you can offer some advice. Would you say that it is harder to break out as a filmmaker or as an actor? I have been acting since I was a kid, and there is nothing I love more in life but it's never really gone anywhere. And now I'm at this point in my life where I have to decide what I want to do, and everything people have told me completely discourages me from being an actor. So do you think from what you've seen in the industry that this is probably true? | I think acting is the hardest job on the planet. It's hard work. And it's even harder to get the work. At least for me, I can direct whatever I want, whenever I want. With a budget, or without a budget. |
| I have two pieces of advice for actors working today, and that's that you've really got to create your own work. Get yourself a camera, even if it's a crappy one. Learn iMovie, or whatever video editing software that came with your computer. And start casting yourself in your own movies. Put them on the internet. Create the tools that allow people to discover you. | |
| The second piece of advice is to involve yourself at the UCB Theatre. In my opinion, I don't think there's a bigger and better hotbed of new talent than the people involved there. | |
| Can you please pass onto Alison Brie that the whole internet wants her to do an AMA? Also, I personally would like to see one from Lizzy Caplan too, I'm a big fan. | I was talking to my producers today-- given the response today (I had no idea!) we are definitely going to approach all of our actors to see if they'd like to do AMA's. |
| 1) Save The Date seems to have good reviews listed in the trailer, but only a 4.8 rating on IMDB. What do you think/feel about that? | Bad reviews of any kind suck. I honestly didn't expect the film to be as polarizing as it is. The people who love it REALLY love it. And the people who hate it seem to want me to crawl under a rock forever. The film is what it is, and whenever I'm feeling down about it, I read this review right here and I feel totally better. |
| 2) Were you at all inspired by 500 Days of Summer? That's the kind of vibe I got from the trailer, the kind of heartbreaking, untraditional but quirkily funny love story kinda thing. | I really like 500 Days of Summer, specifically Geoffrey Arend's performance in that movie. But it's totally different. Our film is not at all quirky, it's actually quite grounded, and the style is more traditional. But I do really enjoy that film. |
| I'm not gonna go see your movie because the trailer made me want to cry because it reminds me of my ex haha, but it does look interesting, so good luck with it! I hope you make millions of dollars from it. | I hope I make millions of dollars too, but honestly, even if I made $10 that would still buy me a really sweet burrito and I would be happy. |
| Are you the same guy that made the short film "Salt"? Met you once through a mutual friend. Congrats on the film, looks awesome! | WHOA. "Salt"?!? You've seen SALT? |
| For people who don't know-- my very very very first film in film school was a documentary about salt. That turned into an action film. About a guy who was half man-half tripod. It only exists on two vhs copies. The fact that someone on here has even heard of it is mind-blowing. | |
| Hi, Michael. CONGRATS on getting your feature made with multiple ways of distribution!! Fellow SoCal indie vilmmaker here. :) | For Save the Date, we shot on the Arri Alexa. Primarily with a 25-250mm Angenieux (there are a lot of zooms in the movie), though we did use Ultra Primes for one day. |
| Could you give any insight on the equipment you used for your feature? Full frame DSLR? Shot on Red? Film? Lenses? | I have no idea what our sound mixers used, but I'm pretty sure it was solid state. |
| For audio do you/your sound recorders/mixers use solid state recorders or something different? Mix in ProTools? | When I worked on the script-- I had Martin Starr in mind for that one role, but for the others, I wasn't thinking about specific actors. Eventually I saw Party Down the same way most everyone saw it (in one long binge on Netflix) and was like-- Lizzy's it. |
| Did you write with Lizzy in mind? If not, how did casting her come about if you didn't hold auditions? Was it a matter of someone who knows someone who knows Lizzy? | We were able to reach out to Lizzy through her agent and then through her manager. There was actually one girl who was particularly helpful at her management company, who had been a fan of mine, and she's the one who really stood up for us by vouching for me. And then we just met for beers and talked about the script. |
| Last question - With much easier access these days to editing/post production and special effects programs (After Effects, Premiere, 3D Studio Max, etc), how much, in your opinion, of an education do you think a modern day independent filmmaker needs to know about these types of programs, as opposed to hiring a freelancer or studio to do this kind of work? | As for your last question, I think it is important for every filmmaker to know how to shoot and how to edit. Save the Date was actually the first film in a long time that I didn't edit myself. And if you're coming up in the no or low budget world, knowing how to edit is so clutch, just because you can make things happen faster. You don't have to wait on someone else's schedule to put your movie together. Most of my first feature film was edited at 2 in the morning in my bedroom-- it got done. |
| Thanks for taking the time; I look forward to seeing Save the Date. :) | Similarly, then when you start working with collaborators-- I think having a deeper understanding for their craft really helps you be able to communicate with them in a better way. I remember working with our awesome sound guys on this (at House Blend sound-- seriously if you ever need post sound work-- use these guys!), and just talking about the ways in which we wanted to EQ the music to sound like it was actually coming out of the club speakers... it was great to be able to talk about it in a more specific way. |
| What can you tell us about the soundtrack? All this talk about Singles has piqued my interest. | Wilco, Minus the Bear, Daniel Hart, Giorgio Moroder, Houses, Charles Bradley, Nick Waterhouse, Arum Rae, Class Actress, The One AM Radio, The Dears, The Blue Hearts, Mika Miko, Friends. |
| You can actually stream a whole bunch of the songs in the movie here. | |
| Hey! Thanks for taking the time to do this AMA. As an aspiring director who just submitted his debut feature documentary to Sundance. In the obscenely unlikely scenario that we are selected, is there anything you would've done differently at you first Sundance premiere? Any big regrets? Thanks again! | When my first film played Sundance, we had decided going in to the festival to self-release our film. We had looked at all the other films that were made on our scale (30K with unknown faces) in recent years, and none of them had really come out. So we built a website where people could buy the movie, we sold dvds, we did everything we could so that Sundance would be our big press push. |
| Looking back, I'll never know if this was the right decision. Part of me thinks we should have waited until the end of the festival just to see if there was any interest from distributors. Because ultimately, just putting the Sundance logo on your dvd cover doesn't necessarily mean that people are going to instantly buy it. But given that it was a black and white comedic drama about a young alcoholic -nothing against the film- but the audience for that kind of film is also only so big. | |
| 1.) Do I need to move to LA to properly shop these? 2.) Is it really a "miracle" that your movie got made? After watching a documentary on the guy who made "Broken Kingdom" showcase how difficult it was to make his movie, do you feel that you're part of some impossible to imagine project? | As for whether or not you need to move to LA-- I can only speak from my own experience. I moved here, and it worked out. I don't think I'd have had the same opportunities anywhere else. But that's not to say it's impossible. |
| I don't think it's a "miracle" that it got made. That's a bit hyperbolic. What I did, pretty much any human being can do-- it just takes time and energy and hard work and luck. | |
| So how did you end up working with Alison Brie? Have you seen her on community? | Absolutely. Alison was the last person to come on board, simply because we needed to make sure Lizzy was locked in before finding someone that somewhat resembled them. It all happened quite traditionally, we sent her the script-- I then skyped with her while she was in Michigan shooting Five Year Engagement. And we really lucked out that our shoot was exactly between when Five Year wrapped, and when Community started. There was this two week period that was free, that our shoot happened to coincide with. |
| Two weeks to shoot a feature?? Did I read that correctly? Or was that all Allison was needed for? Also, the trailer looks awesome - love Martin Starr & Allison Brie. Congrats! :) | We shot the whole film over 20 days. But weaved our actors in and out depending on their schedules. We lucked out with Geoffrey too, as he started work on the following season of Body Of Proof halfway through our shoot as well. It was a puzzle, but the pieces fit miraculously perfectly. |
| Do you work closely with the editor? | The editor of the film, also a friend from college. Christian Masini. He actually makes a living as a trailer editor-- working on campaigns for Avatar and Green Lantern and such. |
| But for the five weeks we had to work on this thing, he and I would just sit next to each other in his apartment, and just keep going through the scenes over and over again. Pretty much everyone on the crew was a personal friend of mine, and I think that makes it easier. | |
| Why did I feel so depressed after watching the trailer? :( | Because you have to wait three more weeks before the film comes out? :) |
| Thanks for doing this. Ever since I was a kid, I've wanted to be involved in films, and recently I've decided that I would like to pursue a career in film production. But I really have no idea how to break into the film industry. Any advice for someone aspiring to get involved? | I listed up above some of the stories from when I first started. I think the best thing you can do is to just stop thinking about making movies and just Start Making Movies. If you don't have an awesome camera-- that's totally fine. Shoot on a flip cam if you have to. Just start doing it. |
| Do the archetypal "casting couches" exist in Hollywood? | For the five leads, we didn't even audition them. There was no need to. You look at any of the performances these actors give in their prior films, and it's so full of nuance. |
| Lizzy and Alison especially. Yeah, I know that most people are like "what was it like working with two hotties", but they are ACTORS with a capital A. All of the characters they've created, from Mean Girls to Party Down to Community to Mad Men-- it's all so mannered, and they make such precise decisions. It was really just so wonderful being able to work with such talented artists. | |
| Haha actually this isn't Joel, it's his roommate, but I loved the film and can't wait to see what you do next! In fact, do you have anything in the works? | Thanks so much man. Yes, I do, but I can't quite speak of it yet. |
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Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. The real estate market in Poland and CEE is still incredibly dynamic and fast changing, just like the economies themselves. But how much growth is left in th... Realizacja filmu promującego zapierający dech w piersiach pałac nad Zalewem Szczecińskim, otoczony zabytkowym parkiem. Największym atutem jest bezpośrednie p... Jakub Adam, Partner, DLA Piper, CEE looks at whether there are macroeconomic factors effecting the CEE real estate market. © PropertyEU, Central & Eastern Eu... East West Reals is the real estate agency in Warsaw which works exclusively under the requests of foreign customers-buyers.We specialize in sales and rental ... Sofitel Wroclaw, Wroclaw, Poland. For hotel reviews and holiday reviews visit www.RealHolidayReports.Com Diamond Group Real Estate Kraków. Diamond Group Poland. Presents Luxury apartment in Cracow Poland.Apartment:3-room apartment with a usable area of 138 m2,... Property: 48.000m²Living Space: 1000m²Bedrooms: 9Bathrooms: 9Castle Price: 3.900.000 EuroHistorical, charismatic and affectionately restored – make your drea... We sat down with luxury real estate agent Rafal Wazio, who was Bens agent when he bought Ryan Howards Belleair Shore mansion. We did this podcast on the 5,00... House, luxury property for sale by owner Poland Wrocław - International real estate https://www.immovitrine-international.com/property/vente-propriete-de-pre...
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