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Daughter of Godcast 003
Wow, Episode 003 of the Daughter of Godcast podcast. This must be a real thing now. Especially since you’re still listening. I’m kind of amazed myself. I wonder how many episodes there are going to be? Maybe 33, to coincide with the known degrees of Masonry, but at an episode a week that would be more than half a year, unless I started releasing two or three episodes at a time.
Let’s not fret about such trivia, let’s talk about the making of the longest little movie ever, Daughter of God!
Episode 003 A Big Boat
In Episode 002, I offered Carmen Althaus the part of Christina. She was super excited to breathe life into the role, her enthusiasm was off the charts. We were more than two people now, we were a project.
Offering Carmen the part of Christina was an act of ecstatic hubris. A magical, sublime and audacious mistake. This was the moment when my first movie went right off the rails of reason and into the electric azure blue sky.
Seemed like the path of least resistance. Carmen had theater and film experience, she was smart, funny and motivated. Christina would fit Carmen like sparkling, silver sequined skin tight zentai. Carmen would loan Christina her flesh. I could just hand over my main character and concentrate on pre-production.
Acting on this epiphany caused a hundred thousand easy realities to wink out and now a lightning streaked vortex yawned open, sucking me in!
Sucking Vortex – excerpt from the Trickster Pictures VFX reel 2011
Originally I conceived Daughter of God to be ultra easy to produce – three characters, minimal props, simple sets. I could do the whole thing in just two rooms. With clever camera coverage, my own narrow railroad apartment in Prospect Heights would have worked fine. The only tricky bit was finding an actress who could play Christina, but with the advent of Carmen, this was no longer a problem. We were under way.
Except… I wanted the project to be legal. I wanted to be able to sign contracts and have clear chain of title which means being able to license the movie to distributors after it’s done. Carmen was a citizen of Switzerland, she couldn’t work in the USA legally without a green card or H2B visa. I immediately applied for an H2B and was denied.
After Tai Chi class one morning, browsing in the South Street Seaport Strand bookstore, I picked up a used copy of Making Your Movie for Less Outside The US by Mark DeWayne, ($8.97). I could sign a cont
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By Uncle Joe
Wow, Episode 003 of the Daughter of Godcast podcast. This must be a real thing now. Especially since you’re still listening. I’m kind of amazed myself. I wonder how many episodes there are going to be? Maybe 33, to coincide with the known degrees of Masonry, but at an episode a week that would be more than half a year, unless I started releasing two or three episodes at a time.
Let’s not fret about such trivia, let’s talk about the making of the longest little movie ever, Daughter of God!
Episode 003 A Big Boat
In Episode 002, I offered Carmen Althaus the part of Christina. She was super excited to breathe life into the role, her enthusiasm was off the charts. We were more than two people now, we were a project.
Offering Carmen the part of Christina was an act of ecstatic hubris. A magical, sublime and audacious mistake. This was the moment when my first movie went right off the rails of reason and into the electric azure blue sky.
Seemed like the path of least resistance. Carmen had theater and film experience, she was smart, funny and motivated. Christina would fit Carmen like sparkling, silver sequined skin tight zentai. Carmen would loan Christina her flesh. I could just hand over my main character and concentrate on pre-production.
Acting on this epiphany caused a hundred thousand easy realities to wink out and now a lightning streaked vortex yawned open, sucking me in!
Sucking Vortex – excerpt from the Trickster Pictures VFX reel 2011
Originally I conceived Daughter of God to be ultra easy to produce – three characters, minimal props, simple sets. I could do the whole thing in just two rooms. With clever camera coverage, my own narrow railroad apartment in Prospect Heights would have worked fine. The only tricky bit was finding an actress who could play Christina, but with the advent of Carmen, this was no longer a problem. We were under way.
Except… I wanted the project to be legal. I wanted to be able to sign contracts and have clear chain of title which means being able to license the movie to distributors after it’s done. Carmen was a citizen of Switzerland, she couldn’t work in the USA legally without a green card or H2B visa. I immediately applied for an H2B and was denied.
After Tai Chi class one morning, browsing in the South Street Seaport Strand bookstore, I picked up a used copy of Making Your Movie for Less Outside The US by Mark DeWayne, ($8.97). I could sign a cont