There has been so much going on at Red Fort Films that you sometimes forget that an update is in order. So quick rundown:

Bastards of Kirk played at Fan Expo in September to a packed audience. It was great screening the film again - now that it's the official cut. William Shatner and Leonard Nimoy were at the event - not for our screening - but I'm sure they'll eventually see it. Fan Expo is the largest entertainment event in Canada, so it was wonderful having it there. And it's since been requested for other conventions as well. We'll keep you posted.

The Drive-by Ventriloquist has been picked up for a few more festivals, including one in New York and another in Mexico. You can get all those details on the new revamped website.

We thought we'd add a dash of colour and streamline and cleanup the design. We hope you like it. There's still parts under construction but come back for more details and highlights.

The main reason why we've been busy is we're helping to put together a feature film for Michael Patrick Entertainment. Mike was involved in the development of Sikhs on Ice. The film we're doing with him is Queen of the Zombie Punks. It's shooting in mid-October and as you might have guessed it's a horror film. And a zombie one at that. I will be ADing on the project to help out Robert Toshoff who is a first time director and Bob will be putting together the publicity stuff for the film. We just completed casting for the film this past week and are getting into rehearsals shortly.

You can look for the it early next year.

This weekend began our co-production with Bright Anvil Studios (soon to be Visionwerks) on the fan film, "Bastards of Kirk." It's been crazy and rewarding to say the least helping the group merge their comic book and other multimedia work into film. We've spent the last few of months wrangling over scripts, auditioning, rehearsing, complaining, etc. and so on to get the point of filming.

It was a long day - 19 hours. But that's film and one of the reasons few make them (or at least attempt to make ones that stand out). You just have to have the drive for it. You have to want to see what that finished product looks like. In essence, you have to love storytelling in all its forms.

And one of the problems in transitioning comic books into film is the different languages (i.e. film short-form vs. comic book short-form). There is a certain communication gap we have had to get over. It's not necessarily difficult but it has to be done.

And the key to that may lie in the way film is shot. While a comic strip scene is often linear storytelling - films are rarely if ever shot linear. In fact, they are usually shot out of sequence and re-assembled in editing and post-production into something that matches the comic book frame of reference. So for our director on the project, Logan Lubera (who is doing a fantastic job, btw), this I believe will be the greatest lesson he takes from the project.

To shoot non-linear and assemble all the puzzles later. I think after 7 films its just become a lot easier for me to process because I also edit my work and know what the basics of a scene are - so that even if I don't get those stunning visuals or the dolly shot or jib shot I want during the shoot because of lack of time, money or whatever - I can quickly move the pace by getting my appropriate master shot, mediums, over-the-shoulders, medium close-ups and close-ups from just say a couple of angles and I have my scene. That way you maybe sacrificing some style (which does get harder to want to do once you get comfortable with the medium) - but never the substance of a scene. Especially in a comedy, like Bastards of Kirk, where you really do want the actors to act - adding a lot of fancy camerawork will not necessarily give the same results as letting the camera and the actors breathe life into a scene or a punchline. That's what they are there to do.

If they can fill a moment let them. If it could be better served with an edit or cut to a different shot (i.e. to speed up pace, improve performance) then do it.

This is a real good experience for both Logan, Bright Anvil and Red Fort Films doing this. I think we both will gain a lot from the struggle. Onward and upwards.

M.

Its really strange to think the last blog we posted here was back in December of 2004. Wow, time flew by. We've been extremely busy with a couple of projects. Changes are also a foot.

With us working on our feature film (which is more work than any civilian could imagine), we've decided to change up our logo. That's in the work. It'll be something different since our projects will range in subject matter - we plan to make it a little more sophisticated. That'll launch in the coming months... along with an updated website, so if you don't see many updates on here for a bit - it's because we're extremely busy which is good.

Also our comic book based on my radio series Sectarian Wave is coming along. A tentative launch date is expected in October of 2005. George Athanasiou, the illustrator and I are really proud of the work we'll be putting into making it a reality. And a film or television version of it is probably a few years away after that. It's a great story (modesty aside). We can't wait to share it with the world.

Those are main things we're working on... thus a lot of time being taken up with meetings and what not as we plow into what will hopefully be our best year yet.

M.

Well we wrapped on another short tonight. It was a quick shoot, lasted about four and a half-hours. It's called Diet India, a spoof on all the diet crazes out there. It's a skit left over from the Mixed Nuts days. Oh, the memories.... the thrills of a live audience... the sold out shows.... the fights over what's funny and what's not...

Any way this hopefully turned out well. I actually took an acting part in playing one of the two leads, Deep Kumar. The other is Sindi Sagoo played by the effervescent Manjit Bumrah. Manjit was in Mixed Nuts with us till the end. And this was an easy shoot because the comfort level was already there. I really didn't need to ask anyone else to do the part with me.

Along to shoot it was Manjit's husband Bob Gundu. Bob's got a lot of talent, plus his own camera equipment and that helped. Along with Bob Thompson, that was the extent of the crew and cast. I find the smaller the crew, the quicker the shoot and that's really been true in the work that we've done. Although I may have to ask people for a little extra voices for an opening -- we'll be piecing together a rough cut this weekend and sending it to at least one festival next week. Mohandas & Bette premiered at the World of Comedy Film Festival last February so we're hoping Diet India will in 2005. Looking forward to it.

M.

I don't know exactly why I'm writing this particular blog. Marlon Brando passed away a couple months back and in so many ways -- as a fellow actor and the godfather being one of my favourite films -- he's had more effect on my direction than Christopher Reeve. But there's a connection between the two actors. More than Superman I and II, they are both icons. Brando to stage and screen, Reeve in his later years to spinal chord and stem cell research. Hopefully that will be his lasting legacy instead of the red cape which he tried for years to shed. Sadly it was tragedy that really proved he was a man of steel.

Over the weekend ironically I saw Superman again. My sister-in-law however tried to annoy me questioning why I was watching a kid's film. First of all I was trying to get my 4-year-old nephew to watch it. It's actually the first film I saw in a movie theatre. And that's probably why Reeve's death was such a shock this morning. There's a part of your own immortality you lose when people that were so intrinsic to a childhood memory fade into the pages of history.

They say that most paraplegics would only last a couple of years with the injuries that Reeve suffered. He lasted 9 and at the end, although unable to walk, he regained feeling in many parts of his body. Parts that would have remained dormant without the funds and manpower to keep him active and going. Money most people with such injuries don't have... and that's why government funded testing of embryonic stem cells is so vital. The critics whitewash it with the bible and ethical jargon, claim it hasn't been proven. But there's hope. And it's the best hope we have. If stem cell research is not allowed to move forward and tests to be conducted, we are accomplices in keeping these people paralyzed for life, giving them a death sentence, confining them to a world of immobility. Even if we find stem cells aren't applicable to growing spinal tissue, then there may be breakthroughs in other regards -- Parkinson's, Cancer, etc.

We owe it to ourselves to keep Christopher Reeve's work and legacy alive.

Rest in peace, my friend.

M.

We finally wrapped up our audio recording on Sectarian Wave tonight. Finally!!! It's been a four month odessy trying to get it all down on tape (actually digital). The script is 300 pages -- 303 with the epilogue. That's about 6 hours.

The story: A young woman, Kaiya discovers she's part of a race of superbeings called Sectarians. The backdrop: The universe is imploding and along with her A.I. and sexually charged ship, Kaiya goes on a journey across vast galaxies to stop it. Adventures along the way of course, but with a tongue and cheek approach to the dialogue and story line. Closer to Hitchhiker's Guide to the Galaxy than the schlock overly serious sci-fi's.

There were a lot of trials and tribulations throughout it. Mainly casting one specific role which we laboured over and went through 4 actors before settling on the wonderful Robert Levine. Although he wouldn't admit it, he had it easier than all concerned with just a two week recording schedule -- the rest have been there for the long haul -- which as the author of the project I hope reflects the script quality.

This will also mean (wrap party pending) that I can finally actually start getting to know the actors on a personal level, something that's been hard because I had to delve into the production manager aspect of it shortly after the start. Thus I really wasn't afforded the time to get to know anyone in depth. Then again that's part of the whole process and what I like about film (although this was audio) -- if there's someone you don't like -- you really don't ever have to deal with them again after a project. But fortunately we had a great cast and they were all a pleasure to work with.

The actors and actresses did a fantastic job all around -- I've lost count but there's about 40-odd speaking parts in this epic. Many of the actors covered a variety of voices. A lot of Olets (those are the bad henchmen in the production). Now I'll dip into my adjective bag and try to express my thoughts on the people involved.

Ramona Katigbak did a terrific job in the lead as Kaiya. She was real trooper despite fighting colds -- miserable nasty coughs and sounds I don't ever want to hear from a woman again. But then nobody said saving the Universe was going to be an easy task. Casting a film? Ramona's your girl.

Dana Clarfield who played LOK, the uh-umm lesbian ship -- was absolutely marvelous in the role. Several girls were up for the part, but Dana had a great mix of mother and sister that we wanted for LOK. Great orgasmatron scene, Dana. Unforgettable. I'm smoking an after-sex cigarette right now just thinking about it.

Simon Craig played TOS-5000. Now Simon was originally considered for the part of the male lead, Kel but during the audition I had him try TOS in a high pitch voice and it really connected. There was no doubt after that who should be TOS. If I had to admit: I think I liked his character the best mostly because he went through a lot of emotions being the Ford Pinto of A.I.s in this little Universe.

Together these three were really the linchpin of the series. Their chemistry fuels the saga. This last night of recording it was highly evident. We had to re-record one scene (no. 2 of 184) and at this point it was old hat. All the takes were great. And I think TOS and LOK could eventually take their part next to the great squabbling couple pantheon of history: Ralph and Alice, Lucy and Ricky, oh yeah they were that good.

Richard Todd played Kel. Kel is Kaiya's love interest but unfortunately as first loves go it doesn't really work out, especially when the guy's an ass-****. Not that Richard is one, just the part he plays... well you know what I mean. Richard did a superb job in the role. He also threw in some great work on the opening scene in a skanky bar in the nether regions of space as an Olet. Olet by day, juggler by night.

Robert Levine: 72 and still going strong, Robert brought the stoic charm of Master Pial to life. It was a long time finding him, but he had some awe-inspiring deliveries on many lines, especially the softer moments during the last days of recording. Glad you came on board, my friend. But enough with the Yiddish accent. I kept my Indian accent in check during the recording... and if you know me, you'd know how hard that was... fantastic job.

The Sectarians:

Bob Thompson plays Addis the lead Sectarian. Yes Bob is a producer with Red Fort Films, but he has a lot of talent for voices as well. He's narrated a couple of films I've done and did some fine work here with Addis, but also as an Olet and a bunch of Yurgis (pixie-like flying cannibals).

Lloyd Penney is a self-professed sci-fi nut. So this was right up his alley. Not an actor by profession, he did exemplify one of the qualities of professional actors -- being on time. Damn it was a chore to show up before Lloyd to a rehearsal or a recording session. The boy is punctual. Lloyd, confess: you were one of those kids who got those perfect attendence certificates at the end of the school year.

Larry Rex should be in porn with this name. In fact I think he is -- but they're all short films (get it?). Larry did the part of Victor, an obnoxious, self-indulgent, skilled but reckless Sectarian. He did a stunning job staying in character throughout the scenes adding the occasional reactions that really made scenes pop.

Jeff Orchard is insane. Okay, he's not, but I'm running out of adjectives... let me go get my thesaurus... (long pause)... let's start that again: Jeff was good. In fact he was super good (all right it's a pocket thesaurus it doesn't say much). Orchard has a very commanding voice, very deep, very rich -- made for radio. He did the part of the Indian Sectarian. Yes I love my people and they belong in space. With one billion of us, there's just not enough room for them in India... we should be exploring new territory... ah, hum.

There were a couple of people really in the running for Lulliput. But Shawn Beatty went all out in his audition, actually getting on the floor and delivering his lines lying down. "A" for effort -- although effort does begin with an "e" (never understood that saying). I hope Shawn's nasal passages clear following all that high-pitch squealing.

That's it. Oh, wait, I feel like I'm forgetting someone... who am I forgetting... ah... let's see said Ramona, Dana, Richard, Robert, Bob, Larry, Lloyd, Shawn, Jeff, Simon... so who am I forgetting here....

nobody.

Oh, wait, Jackie -- yeah, yeah there's Jackie or Jacqueline to her minions. Jacqueline Leung played Dronicess. The mother of all mothers. She milked the part, so much so that she's become lactose intolerant. Jackie also did a dual role as Vonya, a highly neglected ship who gets a short-lived renewal on life with the arrival of Wan (played by Lloyd), a Sectarian who appreciates the finer points of lonely space travel. Jackie was splendid to work with even if she did attempt to try and put together a book of quips to come-back to my strangely crafted put-downs. It never worked but "A" for effort -- and you already know my feelings on that saying.

And her co-conspirator in the meelee to build a collection of insults to me -- Johnathon -- the producer of the series. I know I picked on you to no end and will continue to do so -- but your efforts were and still are appreciated.

And of course David for putting up the cash and Eva for putting up the goodies. The food was terrific. Loved the chili. You should give me the recipe. Who am I kidding? Just make it for me when I tell you to.

You were all wonderful. Thank you for putting up with all the delays and headaches that came along with a gigantic project like this. We went twice over budget, but in some ways it was worth it just to spend a little extra time with you.

Plus you got to bask in my glory, so I'm assuming it was good for you too.

God (of your choosing) Bless,

M.

If you've ever been on a union shoot then you know the money is better and the food tastes sweeter, but is the project??

Recently while we were re-casting for Sectarian Wave I went into a bit of an email exchange with an actor who asked if there was any chance of the project would turn ACTRA. I said no and gave my reasons which are contained to a degree below. I thought it interesting to post just because a lot of actors are prevented from working due to union wranglings of this kind. I have of course deleted his/her (won't say which) name from the email to protect their identity and also chronologically arranged the email to make it easier to follow. Any comments??

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>>>>I read your posting and am certainly interested in auditioning, but am wondering what the chances are that your production might become a union one (you mention it is non-union). I am a full ACTRA member and cannot work on non-union projects, but have found, in the past, that quite often the projects have gone union because the producer has liked the professional skills that Actra members bring to movies.
Just a thought, so if there might be a change of heart, I would certainly like to audition.
>>>>Kind regards (NAME WITHHELD)

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Hey (NAME WITHHELD)>>>
>>>There's really no hope this going union. We're already half-way completed the project and we're just recasting this one role... I don't think the producer has problems with ACTRA people but that's your call.
>>>Regards,
>>>M. Chana
>>>Writer/Director
>>>Sectarian Wave
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>>Hi there,
>> >>Thanks for the speedy response. It is a pity really as this is just the sort of job I like. I have done VO and narration work before so it would have been fun to audition for this role.
>> Regrettably without it having union designation, it is a job that I cannot undertake, with great reluctance on my part. I was the (REMOVED TO PROTECT AUTHOR IDENTITY), so have a higher profile than a lot of people. To engage in non-union activities would be catastrophic if I were found out, so it is not worth the risk.
>> It is just a pity that Actra will not allow us to undertake non-union jobs if we want to knowing that on those occasions, we would not have union protection - so we would be going into the job with our eyes open, so to speak. I wish you well with your venture and if another opportunity occurs in the future when we might be able to work together (subject to auditions of course) then please let me know.
>>Regards
(NAME WITHHELD)

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>Thanks (NAME WITHHELD) >
>Unfortunately, ACTRA doesn't realize that some independent projects are much more artistically rewarding than commericial ones. This one being one -- judging by the response we've had. -EDIT FOR CONTENT-
>There is the TIP agreement, but even that means a lot of hassles of delaying projects by a month on the outset to follow guidelines and deal with the paperwork that we couldn't afford to cover. If it was easier, more people would probably go for it.
>Everyone has a cut of CD sales on this project which we already have distribution (internationally) for and market interest from sci-fi venues... so it will be seen and heard and make money.
>Unfortunately, had we had to deal with union stuff, there would be no way on the upfront costs (even under TIP) that we could of got it up and running. That's just the facts.
>I would love to have ACTRA people audition, but there's just as good of a pool of non-union people out there with great talent as there is in union circles. I've auditioned just as many bad union actors as I have non. That's another sad fact. I find the union tag doesn't mean all that much.
>Plus with increase in rates and even the apprentice fees -- I think a lot of actors are avoiding the union even more. Sadly ACTRA's loss here is our gain. >
>Best of luck out there and we'll keep your stuff on file for the future.
> >Regards,
> >Maninder Chana
>Writer/Director
>Sectarian Wave >
>p.s. you have a perfect look for a feature film I'm doing next summer. But there again its non-union.

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Dear Maninder, I agree with you that there are many independent projects out there with which many Actra members would love to get involved, and, to my mind, just because they are labelled as "independent" or "non union" doesn't make them any the less professional. In the US SAG allows actors to participate in non-union projects. I think you have to get 'permission' first, but it is certainly a way of keeping in front of the camera. I have tried to get Actra interested in doing the same here but their comment is that companies would then just have non-union projects and scoop union people at a lower daily rate to take the roles, thus undermining the hard work that Actra has done to date to get fair wages. I should be more aware than others about that as I was involved with -EDIT TO PROTECT AUTHOR IDENTITY - when we were negotiating the new agreement. TIP is a good idea and the plus for producers is the payments are below scale but there are back-end payments if the project makes money or is sold etc etc. That enables producers, particularly the new ones, to get 'union' backed projects off the ground but at a lesser cost. There are some well know names who have worked on TIP movies. As for the quality of actors, I agree entirely. Just because you are Actra does not mean you can act. There are many who slide into full membership without ever having been on a professional movie shoot. A few SOCs in commercials, a couple of student movies, the Actra education course and bingo, full membership and never seen the inside of a pro shoot. I find that disturbing.
-EDIT -
Maybe by next Summer when you get around to your own movie, things may have changed. I wish they would make life easier for movie makers instead of trying to strangle them at birth. The only way to get growth is to encourage people like yourself instead of trying to drown them in red tape and paperwork. All the very best with your project. Kind regards (NAME WITHHELD)