We are now several bags of coffee into post-production of our latest feature, Lost in the Sun (yes, bags, not cups).
It’s been a crazy journey from inception almost two years ago, to now cutting the 90 plus scenes we shot. A feature is a beast, make no mistake about that, but one that we have every intention of turning into a beauty (I get one cheesy analogy per post, right?). One of the great advantages of editing a film you directed/wrote (although, admittedly, not advised, but I do have a great team this doesn’t happen without) is that you can make adjustments on the fly. After editing the first act, it felt like one character needed a bit more development, and we found a way to add an additional scene to fix that. For that to happen, you also have to have an accommodating cast that is willing to step back into their role, and we’re fortunate — we couldn’t have asked for a more talented and professional cast. Part of that process is that we were fortunate — I was able to write many of the roles for actors I’ve worked with before, cater it to their strengths and casting, so it was a smoother process for them to take ownership of the character.
With that, they also allowed for numerous rehearsals, so by the time cameras were rolling, there was a comfort level, a feeling of “let’s rock this, we got this.” That same feeling translated to production with the crew — they bonded quickly, and we found a rhythm that’s allowed us to complete the production at a high level.
We’re now in the position to say we can target November for a screening in San Francisco, and map out a festival run for the beginning of next year. We’ve had two distributors contact us thus far, but the plan is to be patient and see how the market shapes up for the film, particularly when we attend the American Film Market in November. Fortunately, through the network of Pictoclik, we connected with Ben Yennie, who wrote the The Guerrilla Rep: American Film Market Success on No Budget, which fits exactly into the low budget nature of our film. Highly recommend the book to anyone with a film they want to sell, because navigating the crazy waters of the American Film Market can be one full of blood and tears (metaphorically, of course).