Disco Super Fly Movie Making 2.0

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There are actors that take method acting to an entire different level by getting into their roles so hardcore that they continue to stay in character when on location and off for the entire length of a film shoot. They become those characters on screen until it is a wrap. I dig working with actors like that because I view myself as a polite rebel method screenwriter, producer, and director.

When I commit to a movie project I put my entire creative self into the process. I live and breathe the subject matter and go after absolute realism in what is being written, filmed, and produced for movie viewers. Sure, that completely changes personally for me if it is a comedy like “Due Date” or a lighthearted movie about a talking animated animal. No realism to get into. No actor gets into character to play an animated frog 24 hours a day. If they do, they are crazier than a shit house rat.

But when it is a hard-hitting Slice of Americana Films project that goes all in on strong subject matter it is a totally different story. For good or bad, especially when I write a script, I sin with sinners if that is what it takes to get the story right. It is my Hunter S. Thompson and Big Daddy Kane song Ain’t No Half-Steppin’ approach to movie making. Clearly, I cannot get into everything, but I like to push it to.

I was on the East Coast with Editor Tim Beachum cutting a scene that centered around one strange mota and alcohol fueled mental fight. It was not playing like I wanted at all. Looking for inspiration we hit a few bars along the beach, invited a lot of people to the studio to party. That scene was edited under the influence of red headed sluts (the bar drink), Jack Daniel’s Green Label, Johnnie Walker Blue, Stoli, Corona, and medical marijuana.

That night Slice of Americana Films invented method film editing. Tim cut that scene like a mad scientist poet disco super fly artist. I know that scene would not have been as good without the happenings in the editing studio that night. One of the best times I have had during post.

Last night I am out with a friend that has been working under the thumb of Ameriprise Financial. She has been helping strengthen my film pitch package on the business end. In a lucid moment, I realized with her insight that true independent movie makers that want to play in the big show of studio backed films have to utilize their strengths and learn their shortcomings. She is helping me learn how to mesh a pitch package around a sound business plan that speaks to investors much more used to putting their money into the stock market.

Tonight I am formulating Disco Super Fly Movie Making 2.0 to bridge the all in creative side of being a writer, producer, or director and the essential part of being 100% business to make money from your sweat equity talent. This is indie filmmaker Sid Kali typing read my movie making adventures like a pulp novel.

write by Jasper

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