EDITOGRAPHY – The study of shooters who edit and editors who shoot.

EDITOGRAPHY – The study of shooters who edit and editors who shoot.

THE EDITOGRAPHY OF J. NITSCHKE

A Case Study in Interdependent Editing & Interdependent Cinematography

A Short Film About Letting Go – a film by sabi, has something special that very few films have – a member of the team that wore hats traditionally belonging to 2 entirely separate artists (whose paths do not normally converge). That is, in the case of ASFALG, the editor of the film was also the cinematographer — and the person that shot the film, conversely, also edited the film. Seems simple enough, but the implications (for the filmmaker that understands both) are enormous.

There is, emerging, a new breed of nano-budget filmmakers out there like those being cultivated at Sabi Pictures – and Joshua Nitschke is among them & a powerhouse of an artist. Give him colored pencils or a camera, and you have someone that can create something beautiful for you, and be humble about it throughout the whole process. The fact that this man is both an editor as well as a cinematographer is an amazing aspect of the new interdependent filmmaker. At first glance it seems a natural continuity – editing what you shoot – but it’s easier said than done. While working on set with scripted improvisational drama (and with the guidance of an artistic producer and a visionary director) Joshua had to learn how to edit the improvisational takes without letting the cinematography take precedence in his mind – that is, he had to cut for what was “most honest” and not for what was always “most beautiful”. Often with dramatic improvisation, an editor sifts through hours of footage to find a moment that is honest… but what about also having to resist the urge to scrap something perfect because of a technical glitch, or a camera movement, or a flaw in the staging of the scene? What about embracing imperfections and playing with the subtle nuances of movements and softened focus planes in one story, and hard, linear staging and perfect focus in another? What about the two styles of the films that exist in Moments – how did this editor/cinematographer reconcile all of these dichotomies? These are secrets we hope to find out in our exploration of J. Nitschke – of which this article is only the beginning.

Joshua Nitschke and Aqua Yost (Jamie) on the set of Moments – a film by sabi

It’s a subjective dilemma – having to choose between ‘how it looks’ and ‘what serves the story’ – and both editors and cinematographers are meticulous about their craft (and must be). But in our case (Moments) the creative project and the brains behind it (Daniel J. Carmody & J. Erik Reese) required Nitschke to be the ultimate diplomat between both halves of his artistic self. There has been several times that people in independent films have worn more than one hat, sometimes its writer / director, or perhaps actor / producer – but once in a while you get a pairing within an artistic individual that stamps itself as new, unique, and incredibly original. A shooter holds a lot of power in being the eyes through which all audiences will experience the story – and an editor holds a lot of power in deciding what dramatic improvisational moments make it into the tale. Needless to say, Nitschke’s hand is present in every frame of this beautiful film experience and thankfully so.
[More about Joshua Nitschke: He has a deep love and appreciation for the photographic and cinematic arts, but also has a mistress for mathematics and academia in general (he is incredibly smart).

At Sabi Pictures, nothing could have prepared Joshua for his experience with Moments - and we hope that he shares his knowledge with us as we release the film. From the pod-casts retelling the editing phase of production – to the filmmaker’s blogs on this site, this single article cannot do not do justice what Joshua had to endure in the creation of this film. He is two halves of the same person that constantly has to work together to discover, uncover and create those beautiful, life changing, weighted and honest moments... Those poignant choices we do or do not make in an instant. Joshua came through for this film and for his friends that made it with him. What he has put together for the rest of us is something compelling, gripping and honest. What Sabi Pictures has premiering soon worldwide is a brief flash of life in front of you that changes everything. Those instances for which the film is named.

COLLABORATION: ARTFUL COMPROMISE

How Joshua did it was the art of compromise (and no one is harder on himself than Joshua). On set, if there was a technical problem with the gear, you could see it in his face, and feel it in his spirit – but he’d eventually shake it off and get back to it. His own system of checks and balances made him one of the hardest working cinematographers I have ever met. If things were going well (as they were during location scouting & production) nothing could bring him down – not even a gash in the palm of his hand so deep it required multiple stitches (just before production). These ups and downs (that are vintage Joshua to the people that know and love him the best) balance themselves out into a hard-working perfectionist. He is a man that passionately presses on when he his most needed, and handles his responsibilities to the story, his team, and his film superbly. And he knows how to collaborate - which is the art of compromise.

[More about Nitschke: When it is time for execution – he is a stead-fast, trustworthy creative force to be reckoned with. I hope that he can offer, over time – more insight on the sabiforum and on this site into how he explored the material that he made ASFALG, from the challenges he faced, to what went wrong, to what we can learn from. And most of all, how he was able to (despite everything) craft an honest and beautiful story that resonates with sharp and cavernous chords long after the final cut to black (like the echo of a train rolling across a distant track). We hope to know more about how he settled upon the distinct looks for each story - and how he worked with the footage he shot - and how he helped make ASFALG. And most of all, his fans look forward to his contributions to Sverige in 2009 - A series of films shot in Sweden.]

Fans are thankful for his dedication to ASFALG – a true work of art – and we are grateful for his contributions to the interdependent filmmaking movement.

NANO-BUDGET FILMMAKING: THE NEW SUSTAINABLE CINEMA – PART 2

INTERDEPENDENT FILMMAKING: THE NANO-BUDGET ENDEAVOR

How does one define themselves in the new and constantly updating market? How does one grasp the needs of the audience and provide what they want (as their wants are shifting because of costlier needs)? How does one set themselves above 95% of the content that is available to everyone else and their sister on the internet? How does a film, or series, or show, or company brand themselves in such a way — that first time audiences are retained (and become long-time audiences), and new relationships are built through word-of-mouth and social networking?

ADVERTISING, MONEY, AVAILABILITY: NOT THE ANSWER.

With instant availability on a number of devices, and everything on the internet using these three items (Ads, $, Saturation) to carve their head-space in your mind for their hot new thing – there will be in our common future a profound struggle for cinema as art to survive. Exacerbating the situation is the growing (& willing) mass delusion of giving/getting something for “free” on the internet. Sure, Art (and the creation of it) has always needed benefactors to support the artist (be it a motion picture studio or Van Gogh’s brother), and IMHO truly great art has come out of struggle as well as support. But there has always been (since man began to appreciate creative forms of expression long ago) a historical struggle for art to survive in the marketplace, to become self-sustaining. The future will be no exception.

In this day and age, the cloud of websites available for new forms of thought, expression, and creativity in the medium of film are growing exponentially. The technology has made it so, and above that – the ability to get that little art film out there (and get it seen) will become ever more prevalent as anything becomes possible. And millions of people will get to see these forms of expression that would never have otherwise. This may be obvious – but is it also obvious that the amount of material out there endangers the truly good art films? Shorter, bite-sized attention spans will undoubtedly lead to shockvertising in and around films on an impressive scale, and short films that deserve merit will never be seen for that poster or video thumbnail that ‘made you click’. There is just too much to pick from for the average viewer, and those that would rather be ‘thrilled’ are not the ones we’re trying to build a lasting relationship with. So how do we build a bridge to the ones we want?

With shorter attention spans, and greater amounts of video to choose from and a constant barrage of new things to check out, share, social network about – the question for the interdependent or independent filmmaker alike is: how will your film get seen, how will your artwork float above the deluge of sub-par forms of expression (be it bottom of the barrel YouTube videos or just plain faux-art, hack films emerging everywhere?) So even in a marketplace where everything is available to the masses – we find ourselves asking still: how can our little original passion project rise above everything? … Advertising? Money? Availability? No.

INTERDEPENDENT FILMS = R.G.Q. ; NANOBUDGET = R.G.Q

The struggle for any artist is the same as it always has been. And the same aspiration for any real artist (i.e. to continue to deepen and refine their art-form by fully exploring themselves and this experience of life spiritually — through film) will be the same into the future. And ultimately, how cinema that is art will rise to the top of the web world is the same as it has always been, and will forever be: REAL GENUINE QUALITY.

Just because it’s a inexpensive film that you’re going to likely distribute primarily on the internet, doesn’t mean it has to look cheap, feel cheaply made, be presented in this careless way. Just because there wasn’t enough money to pay the actors up-front, doesn’t mean they can’t give you a performance of a lifetime if you work with them (and not try to puppet them around your camera with brick-wall sentences and dialogue that ‘pops off the page’ but bogs down the acting). Just because you have no money – the interdependent filmmaker knows that having no money is no longer any excuse for not making a quality film.

Sabi Pictures co-producer Zak Forsman and I knew this going into White Knuckles as well as Heart of Now. There certainly wasn’t enough money to work with from the very beginning – but we took a budget and stretched it as far as it could go by working together on the journey, and evolving with the changing experience and with our fellow artists. And it was the effort of every individual involved that made the experiment what it was. It’s an interdependent film if its taking us on a deep, worthwhile experience – that is authentic enough to stand out on its own (rise to the top because of its RGQ). It’s interdependent cinema if the filmmakers are taking a bold creative risk in making the film in the first place and despite everything – giving the film their all. Its interdependent cinema if its a passion project for everyone collaboratively and creatively involved, not just the director or producers. Virtually the same definitions could be applied to ‘nano-budget’ filmmaking — it’s not about making films on the cheap, it’s not about making compromises… it’s about achieving RGQ by working in harmony, i.e. interdependently.

NANO-BUDGET FILMMAKING: THE NEW SUSTAINABLE CINEMA – PART I

THE EMERGENCE OF THE NANO-BUDGET ART FILM.

Independent filmmakers worldwide are presently deciding in huge numbers to invest in their own stories, embark on their own intimate character pieces, and make their own self-funded, fully viable feature films. Some are presently re-writing stories to be made (or refashioned) into original, honest and provocative passion projects that can go into production now – and relatively cheaply (with care). Filmmakers worldwide are realizing that they no longer need to wait for the financial backing of a production company or studio – but because they are in fact intending to make their film small and for the nouveau niche market – it only makes sense to D.I.Y. (And much to the dismay of those understandably wishing to continue to make an honest living from the old model – it’s happening all at once and everywhere).

Once just the realm of documentaries, making a movie with a small, fully mobile, tight-knight crew is the new way to make feature length narrative fictional films. The technology has allowed us to unite as filmmakers and artists (and collaborate on ideas), and it has allowed smaller cameras on set, more intimacy, better post-production work-flow, unlimited social media potential, and has given birth to young tech-saavy artists that are in fact the new breed of movie makers fueling this new kind of storytelling. We are presently witnessing more original and provocative ways that artists are getting their stories to their audiences – and this actually may be the most innovative and remarkable detail to the new world of cinema before us: creative marketing & self-distribution.

I imagine that discussions about film as art, entertainment or product will no longer be pertinent and will eventually fade away (as everything will soon be free and at our fingertips). After this, what (besides the numerous sensory pleasures provided by film) will matter to the world and our audiences more than an original, engaging, good story – honestly told?

Though such a new model is our inevitable future, it will bring perils with it too – as advertising and sponsorship will likely become the sole engine by which many new artists will drive their vehicles – compromising completely the art which they intended to express) but in our current times, it is the present reality that great independent films of today can’t be written or packaged to pedal around the market till someone “buys it” and greenlights it for production. Great independent films (today and those of tomorrow) will have to be made at low-cost, homegrown, self-marketed, and strategically and ingeniously promoted – all in conjunction & in collaboration with everyone involved in the production. The ready availability of the technology worldwide, and a deepening frustration with the content that is out there on the web (far from art) likely will be the necessary final push for those of us on the precipice of the plunge.

I can’t help but celebrate the emergence of a new generation of young artists willing to take the risk for the love of the project and not fame, fortune, or promises of financial return. When Sabi Pictures co-founder Zak Forsman and I were 12 we were already shooting movies on our VHS camcorders and cutting them using two VCR’s. I’m confident that the new breed of filmmakers arriving tomorrow have been shooting HD since grade school, and have a reel by the seventh grade. This is exciting. But the truly most exciting aspect of this creative revolution brought on by all the new liberties granted by current technology – is the emergence of a new cinematic art form from the old – a new kind of filmmaking that has shed itself from the costly constraints of the past. An entirely new process that is fashioned on social collaboration, problem solving, and sacrificing for the love of the project and working “in the moment” to learn from the experience and create something honest and original (and not solely to satisfy individualistic dreams, goals or ideals).

The new independent film is really “interdependent”.

White Knuckles & Interdependent Cinema

White Knuckles was born out of a deep desire to explore a story with a group of artists through the collaborative medium of film – and to explore it as much as possible while the story is happening – while it’s on its feet in production – while the characters fully inhabit the actors.

The means of accomplishing this would be a team of artists that could invest themselves personally in the shared vision of the project, and could work as a unified whole that could shift, adapt and adjust whenever the story changed based on the flexible nature of capturing dramatic improvisation. This could only be accomplished by maintaining a collective atmosphere of safety and trust with the crew, filmmakers and the cast. An atmosphere where the actors could feel like they can fully explore their characters without any judgments or self-direction. A creative space where the actors can go deeper in the improvisational present moment, and the filmmakers and the crew can support and guide them along. A truly interdependent process where there are no idle hands on set – a place where everyone is involved, and each member on the production is truly critical.

With White Knuckles, we wanted to see what would happen if we wrote a script and then took it away at some point during production – when the film begins to breathe on its own. We wanted to see “what happens with the characters” and we wanted to see “where will the story go?” It was in a large part about curiousity. Though we had a screenplay that would be great to shoot – we thought that perhaps guiding the improvisation initially, we could fully let go later and produce real surprises and true-to-life dialogue and moments that could not have otherwise been planned.

To do this in a drama that goes to the places White Knuckles does – it took the safety net of the rest of the cast and crew to make this work. Really, it took each other – and every individual working together as a unified whole to make this real “Interdependent” film happen.

There is a point in every soulful, artful film production where the actors seem to fully inhabit the characters, sooner or later. On set, sometimes this happens early – other times certain key aspects of the character emerge later depending on the circumstance. But ultimately – there is a collaborative search for truth that makes ‘a film by Sabi Pictures’ – and if the film is honest (as I believe White Knuckles is) than perhaps it will be blessed to find its audience.

It is a rare group of talented filmmakers that converged to create White Knuckles. And what we have in this film, is in my humble opinion, a true example of interdependent filmmaking. As filmmakers – we all simply wanted to be able to let go of pages and pre-conceived notions and rather listen very closely to what comes out of (and what comes from within the soul) of the character. We wanted to hear an authentic voice, and wanted to see the story that was the deeper, more meaningful, more real version (than the duplication of the intentions on the page). We want to see the sum that is greater than it’s parts – a piece of real art emerging from our collective creative contributions together.

This is ultimately the collective desire of a collaborative group of artists working on an Interdependent Film. Interdependent Filmmaking is the kind of filmmaking where one uses “us” and “we” and “our” more often than they use “I” when describing the process of making that film. We think that White Knuckles is unique because of the interdependent nature of the shoot. The WK website’s “Creative” section details examples of how many of us together collaborated on this film, and there will also be some behind the scenes posted to get a look at the faces that made it happen.

As with every interdependent film, there are so many hands on the work that it is hard to summarize or describe the process of each member that took part – but each person’s contribution made the film possible. And though the credits on the film will generally reveal every person’s name that contributed – there are so many more roles that were filled by each member than can possibly be listed.

Calling White Knuckles and interdependent film is a way to say Thank You – to acknowledge that the film could not be possible without the entire interwoven web of creative contributions, a network of interdependent people, that all get behind one idea. It’s a beautiful thing when it works, and it is the most fulfilling kind of filmmaking. And Interdependent Filmmaking is the evolution of the art form, in my humble opinion.

I’m honored to have been a part of this process at Sabi Pictures. Sure it is an ever-changing and an ever-evolving process with each new story – but the unique way of making each film bears one thing in common between everything we’ve made: there is simply no room and no time for inflated egos when a group of artists want to venture into the great unknown of making a film together. There is only room to learn from one another, for true collaboration, for support of each other under any circumstance, and for the collective desire to see the story through to the end no matter what.

We had a very talented group of individuals that came together to bring you the interdependent film White Knuckles – as well as Heart of Now (directed by sabi co-founder Zak Forsman). We guided the stories to the end rather than pushed them, and what resulted from the process thus far may move you, and perhaps even surprise you.

Kevin K. Shah
Writer/Director