INTRODUCTION
'Welcome to America, so you're a filmmaker and you have no camera,' they asked with a hint of intimidation that made me wonder if I even had a camera. 'That's right, sir, I have no camera,' I replied firmly. After living 15 years with an intimidated father, you either become submissive or you learn not to be easily intimidated. They let go of the filmmaker with no camera. Since then, it's been one adventure after another. Today, I want to share with you my experience of shooting 'Little Dog,' my first short film in the USA—correction, the second one, because the first one was no good, so I tossed it down the drain.
Little Dog had four versions: the one I wrote, the one we shot, the one we re-shot, and the one you will get to watch. Each time I viewed the version that you'll experience, I arrived at the same conclusion—it should've been called 'Miracle.' Yet, 'Little Dog' was 'Little Dog' before 'Little Dog' was 'Little Dog'—a short film with a big heart.
Little Dog was initially inspired by my old friend, whose life was confined to a wheelchair after a second heart attack. His dream of becoming an actor placed me on the spot. I told him, 'Let's make a short film; in case you die, you'll be displayed on screen eternally.' He couldn't resist the idea, but doctors refused, presenting me with a massive challenge. That's when I set out to find my own Mr. Larry.
THE SCRIPT
The script for Little Dog swiftly took shape during a single session at Gold's gym in Austin, Texas—a curious kid challenging an old man about the absence of technology, with the old man vexed by the child's simple perspective. This image emerged as a crucial hook. However, it wasn't until the arrival of the third character that the narrative delved deeper, transforming a straightforward concept into a more intricate exploration of interpersonal relationships. How characters evolve, emotions run deep, and unexpected bonds shaped by invisible strings.
The necessity of learning for the young character's literary journey was non-negotiable, and I was adamant about not opting for a children's book. In my quest to find the perfect literary companion, I recalled the profound impact of "On Earth We're Briefly Gorgeous" by Ocean Vuong. My decision to draw inspiration from Vuong's novel is deeply personal. His prose, steeped in emotion and nuanced storytelling, resonated with me on a level that transcended the pages. The novel's unparalleled ability to capture the essence of the human experience became a driving force, inspiring me to infuse those same emotions into the visual storytelling of "Little Dog."
ON SET PART I
No on-set adventure is without its challenges, unexpected twists, the last-minute changes, and the collaborative problem-solving that define the true essence of filmmaking. It's not just about sticking to the script; it's about embracing the spontaneity that makes every shoot a unique adventure. Little Dog's story became an unexpected twist in our narrative. Planned as a two-day shoot, our adventure was abruptly cut short to just one. The homeowner, discovering a broken toilet from the first day, firmly declared, "Your production is over." As the lone producer, navigating this unscripted challenge became an internal dialogue. Little Dog limped away, leaving us to redefine our storyline in the face of unforeseen setbacks.
ON SET PART II
Back to my hotel room in Portland, Oregon, where I put together the project, I realized that we had to get back on set to find the missing piece. But money was running out. So the challenge was to fly back to Chicago, rent the location for three hours under a different name, and finish the short with a crew of 2 people and actors. Upon our arrival, the cinematographer asked, where's the sound guy? And, I said, no sound guy. His face was priceless.
EDITING ROOM
Returning to the editing room wasn't the exhilarating experience I had anticipated. The alternative ending I envisioned didn't come together as expected; visually, it lacked allure, and the missing piece I sought was replaced with something different, something I couldn't resonate with. The truth? I didn't like it. When I work, I must find satisfaction in what I create, something worth talking about. If I don't like it, I won't talk about it.
So, I let it sit for two months, but the memory of the powerful scenes lingered — the emotions, the fights, the tears, the learning, the curiosity, the looks, the eyes, the gestures. It was a feast of experiences, overwhelming yet inspiring. However, with such a rich tapestry, I struggled to figure out how to weave it all together.
Then came a breakthrough. I made a list, capturing the raw emotions and clever dialogues, and meticulously organized them on paper. With a newfound clarity, I embarked on the editing of Little Dog from scratch. No longer bound by the initial script, I let the material guide me. No rush, no constraints, just a focused effort, allowing the character to speak for itself. And voilà!
CONCLUSION
What excites me most about 'Little Dog' is its commitment to going beyond the surface. This film is not just a cinematic endeavor; it's a personal project—it's my way of sharing a piece of my soul with you. I invite you to explore your own connections and reflect on the transformative power of human relationships..
As a director, I want to create an experience that resonates with your heart and stays with you long after the credits roll. If I achieve that with just one person, I would consider our work well done.
Thank you for being a part of this personal and heartfelt venture of discovering the beauty that emerges from the unlikeliest of circumstances. I can't wait for you to experience the magic of Little Dog.
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