So, there is something that I go around and around about in my head–and it can easily be pigeon-holed into a one, non-sentence logline:
art vs. commerce
I want to be an artist, but I also want to eat. The years I spent deciding between toilet paper and food were not pretty, and, luckily, I haven't had to answer that question out loud in quite a while (but I still play the "what if" version of the home game in my head). Still, I struggle between doing art because it moves me and taking jobs because I need to pay my bills. I HAVE made some choices for purely financial reasons (and while I don't regret a one) there are a couple of acting jobs out there that make me turn red with embarrassment when someone tells me they caught them late at night on the Sci Fi Channel–please, God, hopefully late at night when everyone is asleep and my grandma can't see them, yipes!
With that said, I want to talk about something I did for art's sake. Something that makes me really happy when I think about it because the process of getting it made involved a lot of my friends and was just a blast to do. It wasn't about making any money (who makes money in independent film?), but about doing something that I believed in with a really talented group of people backing me up throughout the process.
What the hell, may you ask, am I talking about? I'm talking about DRONES–the best little movie in Texas, for God's sake! Okay, The Best Little Whorehouse In Texas allusion is totally unfounded because we shot the film in Baton Rouge, LA not Texas, but c'mon who doesn't love themselves a little Dolly Parton every now and then? (Well, you might not, but then who the heck says there's any accountin' for taste.)
We shot Drones in 14 days with a budget that wouldn't even begin to keep the pope in shoes for a month. Of course, it was utter insanity–and there WERE a couple of freak outs on my part–but, all in all, I have to say that it was one of the best experiences of my life.
Adam, my co-director, and I spent a good chunk of the summer '08 in Baton Rouge rustling the troops and sticking OMNILINK (our fake company) stickers onto every available surface of our built for shooting office set. There was copious amounts of Kane's chicken eaten (and yes, I am a lapsed vegetarian–wow, that has been bothering me for like three years. Sheez, I don't feel like such a hypocrite anymore. I haven't really had the online presence and ability to correct that factoid until now–thanks Hal at BuzzBuilderz for making me internet savvy!) and Perrier consumed. I lost three pounds in prep and gained four as I consumed every fried delectible Louisiana had to offer once we started shooting. Which means that I can truly say I gained something–other than experience–on the film. (PS: that was a very awkward joke, so no pointing and giggling at it.)
Wow, I've really overblogged here. I guess I better wrap it up, right, Pete? (Uhm, that's a movie "in joke" that only Adam and me and Jonathan and James Urbaniak would really get.) So, keep your fingers, noses and toeses crossed that someone out there in festival land falls in love with it as much as I have. Then I can stop beating myself over the head with this endless art vs. commerce argument, the art side finally having been validated!
Here's hoping that art beats the crap out of commerce where it really counts...in the nuts! (Okay, sorry, another non-analogous allusion, but darn it I just couldn't help myself! Take pity on me.)
From one nut to another. Over and out.