PROJECT SUPPORTERS:

SUPPORTERS:

ERIC MOFFORD
LISA NAPOLI
PAMELA PENNEY
MICHELLE INGRAHAM
PATTI KNOX
DALE POTTER
KEITH KURMAN
ABEL SAENZ
JANET JOSSELYN
LYNN COULSTON
BURNEY JAMES & LUELLA ELLIOTT
LINDSAY MOFFORD
SAN SHOPPELL

ASSOCIATE PRODUCERS:
MIKE GROVER

HEIDI BLISS
DEB EDMONDS
MICHAEL WEST
KELLY LAMIE
JEFFERY CRAIG & LORNA ASHE

EXECUTIVE PRODUCERS:

MITZI PRATT
EDITH P. OPPENHEIMER
KJOSE ELLIOTT
MATT BUCY
GARY THOMPSON (aka JONNY TUNA)
DAVID LEIBERT & CINDY WOOD

SPECIAL EXECUTIVE PRODUCERS:
AMANDA MACK
LARRY & SARAH ELLIOTT

SPECIAL THANKS TO THE PALMS HOTEL

THE PROJECT:

THE FILM

This short film will be made by and created for those of us who love classic films. It is to be an exercise in the art of film making, utilizing the collective vocabulary of imagery and language that has created such films as Casablanca, Blazing Saddles and Chinatown.

Using new technology such as the iPhone4 as our primary recording a device has proven to provide high quality imagery and sound on a past project (SOMETHING IN THE DARKNESS) and will be implemented on this project as well.

The location of the desert was selected THE DAY WE WERE for its drama, timelessness, and "bang for the buck." There is a reason Hollywood made so many westerns in the old days (and later spaghetti westerns), and much of it was cost-savings. Again, a nod to the films of a different time, there will be expansive horizons and, undoubtedly, a heart tugging sunset.

Just as the brilliant Robert Evans says in the movie The Kid stays in the Picture, "If it ain't on the page, it ain't on the screen". We believe in starting with a solid script that moves, entertains and tells us something about life. The 10 page script for THE DAY WE WERE has those qualities and that's why we are eager to bring it to the screen.

THE CREW

We are not interested in casts of thousands behind the camera. We've all been there and done that on big budget projects we have worked on. And have seen not only lots of time and money wasted, but more importantly lost momentum. Our crew will be purposefully small (3-4). This intimate shooting scenario will facilitate a more personal artistic experience which we hope translates onto the screen.

PETER HERMES: Director of Photography
JEANNIE GALIOTO: Costume Design
ANN KENISTON: Production Supervisor
THOMAS ANTEL: First Assistant
LINDSAY MOFFORD: Post Production Supervisor
TIMO ELLIOTT: Writer/Director

THE FILM

PRE-PRODUCTION: We have had our initial table reading of THE DAY WE WERE with the principal performers LYNN REINSTEIN and TIMO ELLIOTT. The straight read-through takes about 8 minutes, so we are on target with action, titles and credits for a tight 14-16 minute film. The location scouting went well with the DP, and most sites have been selected. The costumes are a key component to this picture and some care is going into selecting just the right elements.

PRODUCTION: We will be shooting THE DAY WE WERE in the Anza Borrego Desert in the Spring of 2011. Although it is a short film, we plan to shoot only during the golden hour of light and also use multiple locations, so the shooting schedule allows for a 2-3 days. As mentioned above iPhone4, and hopefully iPad2, will be used for shooting.

POST PRODUCTION: The editing of THE DAY WE WERE is expected to be the most labor intensive aspect of the project. We plan to include an original score and music by talented emerging artists. Title design will also be a considered factor, as it is a necessary component to the storyline. Poster design, promotional materials and social media interfaces will be developed. These things will be key as we then prepare for and launch THE DAY WE WERE into the film festival circuit.

The Making of "The Day We Were"

Friday, April 20, 2012

THE FILM