Head Case

Making indie films is stressful. From the money to the production itself to releasing them to arranging the right exhibition spaces for screenings.

But as long as you think ahead (and by "ahead" I'm talking months and sometimes even years) you're in a much better place with getting it all figured out. Deal with the ugly aspects of it, straight on, along with the more fun parts. Don't delude yourself when it comes to money and scheduling.....EVER.

Straight On Til Mourning: Revisiting "Second Star"

The main page for this project is HERE which has a link to the film, photos, the new image used for posters and postcards, the new reviews, and the initial director's notes.

I just watched the film again a few days ago and I actually like it better now than when I first released it online. It's an ugly, flawed, little art film but it's also pretty cool and definitely strange. The concept and the emotions behind it emerged out of a certain wavelength and, if I was going to do that film, I had to do it at that particular point and just go through with it.

Could I make "Second Star" now?

No, actually I don't think so. It came out of a certain time and place. It's a mood piece that belongs to a specific point in the past. It's fine for what it is and when it was made. It's fine as itself. The way it is is the way that it's meant to be.

"Second Star" SHOULD be flawed, queasy, and tilted. That's the film, that's the story.

I know that some people REALLY like this film (thank you!), some aren't into it at all, and/or they're confused by it (me too, by the way....) but I kind of love it for what it is. Clearly, now is the perfect time of year to revisit "Second Star"--to push it out there again, to give it full attention for one more month of repromotion, before we move on to some other things.

"Come, come thou bleak December wind,
And blow the dry leaves from the tree!
Flash, like a Love-thought, thro' me, Death
And take a Life that wearies me."

--Fragment 3, Samuel Taylor Coleridge

"Four In Chicago" collaborative film project

Four independent Chicago filmmakers. Four different stories about love.

"Four In Chicago", a collaborative omnibus film project created and conceptualized by Kyle Romaneck, premiered online in November 2011.

Click on the titles to watch and read about each film within the "Four In Chicago" project:

* "On The Lips" written and directed by Peter Kallstrom
Véronique is a French photographer who has recently immigrated to Chicago with her lover, Olivier. Caught between adapting to life in a new city and her overactive imagination, their true intimacy is revealed when the events of an afternoon cause the lines between reality and fantasy to become irrevocably blurred.

* "Miriam Syndrome" written and directed by Lauren Hearter
When professional counseling and pills galore simply aren't enough, Miriam Weems decides to take a stronger initiative.....

* "Forgive Me, Bianca" written and directed by Derek Quint
An old, dead relationship goes from wrong to worse when a fashion designer rediscovers a very sinister gift certificate.

* "Wonderboy" written and directed by Kyle Romaneck
A young man masquerades as a famous artist in order to impress an aspiring journalist.

"Forgive Me, Bianca"

Mafia, Mayhem, and Couture Catastrophes!

A sinister gift certificate creates (more) chaos in the life of a Chicago fashion designer in crisis.

a web miniseries by Derek Quint

"Forgive Me, Bianca" Part 1

"Forgive Me, Bianca" Part 2

"Forgive Me, Bianca" Part 3

"Forgive Me, Bianca" Part 4

"Forgive Me, Bianca" Part 5


This project premiered online in November 2011.


cast:

Jessica Harris-McGeehan as Bianca Cardone
Joette Waters as Grandma Lucrezia Cardone
Heather Dorff as Ingrid
Michael Marius Massett as Georgie Darvus
Michael Moody as Frankie Manara
Gabe Smith as Tommy McBride
Brittany Collins as Bethany McBride
Michael Centomani as Silvio Manara
Ashley Anderson as Lacey Popowski
Gerald O. Heller as Cesare Cardone
Chad Lee Green as Bethany McBride's Boyfriend

music:

"Prosperina" from "Signor Quel Infelice"
composed by Claudio Monteverdi
performed by Anna Simboli

"Polovetsian Dances"
composed by Alexander Borodin
performed by DHS Symphony Orchestra, 2008

"Le Nozze di Figaro" No. 11 from "Porgi, Amor"
composed by Wolfgang Amadeus Mozart and Lorenzo Da Ponte
performer unknown

"Colliders in Retrograde"
composed and performed by Chad Nini

"Roman Carnival Overture" Op. 9
composed by Hector Berlioz
performer unknown

"Mulabeatz"
composed and performed by Elijah Vance
MusicLab (Come On)

"Tango de Manzana", "Presenterator", "Hot Swing", "Tiny Fugue",
"Covert Affair", "Hustle", "Matt's Blues", "Cut and Run", and "Niles Blues"
composed and performed by Kevin MacLeod

special thanks to:

Matt Labuguen, James Sommerfeldt, The Quints and family, Pompeii Restaurant Chicago, Potbelly's, Best Buy, Kevin MacLeod, Chad's Nephew, The Chicago Art Institute, Graceland Cemetery, Macy's, SoundDogs, MusOpen, and all "extras"

This web miniseries (well, the short film that I re-edited to be a web miniseries) was originally created as a short film--one of the segments in an omnibus film project called "Four In Chicago" which was a group of Windy City indie directors working within a themic framework (the story MUST take place in Chicago, the story MUST include some kind of romantic intrigue). Four short films, around 20 minutes each, becoming an 80-minute feature film.


But, of course, each segment should be able to stand up on its own as a short film. And then you snap all the pieces of the puzzle together to create a fuller picture.

So everyone did their thing and now our projects are on their own to do with them as we choose.

Originally, "Forgive Me, Bianca" was edited down to a 20-minute version but now I've put up the full story which is closer to 40 minutes.

This project was shot "Quick and Dirty", meaning we all just went for it, dove in, minimum fuss. It was an "experiment" (for better or for worse....) in some respects. Nothing makes me more irritated than overly-precious delicate daffodil imagery (I like my visuals to be at least a little bit rough around the edges) so the wreckless approach worked in the visual respect but, definitely, there were sound issues because we shot in some challenging enviornments.

Do you understand why most productions shoot within sound studios? Now you know.

Audio is extremely difficult and humblingly unpredictable. Sometimes the shotgun microphone was perfect. Other times it's like it said "Fuck you, Derek!" for it's own mysterious reasons. Ugh. And, during the production, my old/reliable/sentimental camera decided to retire out on location (nice!) so I had to get a new camera. What a wonderful experience.

Sometimes these production edges worked by giving the story a noisy realism that helps balance out the over-the-topness of it all but there are moments where I'm concerned that some vital details are clouded by the audio murk. Noisy, chaotic enviornments can be fun to shoot in but they're best left for primarily visual/action scenes or scenes intentionally calling for chaotic audio. Any substantial discussions or longer conversations are best left for more mellow/controllable enviornments.

It's just a small, silly, experimental project so it's not the end of the world but.....for future reference, I have to be more cautious and choosey when it comes to dialogue-heavy scenes and where they're shot.

It was fun being an adventurer filmmaker, all guerilla, but sometimes taking the Whatever Happens Happens approach can whack you in the face (or, in this case, in the audio). So, really, the wildman stuff is best left in small doses. For big, serious projects? Don't even think about it.

For visual stuff, go for it. For conversational scenes, take a safer path.

Okay, the story.

I wanted to do SOMETHING Italian mafia related for my Chicago love story segment. Naturally, right? It plays up the city's history and allows for danger, drama, and (yes) some comedic potential.
So nothing too serious.

Even though "Forgive Me, Bianca" takes place in 2011(ish), I wanted some 80's/early 90's cheese cinema flavor to it. Irreverent, casual, silly, and with people overreacting to situations. Suburban and urban. Grungy but slyly glam.

In my head during the writing and filming of "Forgive Me, Bianca":

"Dynasty", "Dallas", "Married To The Mob", "Saved By The Bell", "Heathers", "Weird Science", "Pretty In Pink", "Goodfellas", "Adventures In Babysitting" (underrated), "Beverly Hills Cop", everything John Waters, everything Gregg Araki (clearly.......), "Escape From Witch Mountain" (the original one), Hanna-Barbera animations.

Cartoony and over-the-top was the order of the day.

All the actors were a total dream to work with. Everyone went WAY above and beyond what they needed to contribute, energy and bravery-wise. This was a weird project (tonally) but all the actors completely "got" what I was looking for. Once again, I was LUCKY to have such a generous, deeply talented cast to work with. What more can a painfully indie indie filmmaker ask for? Tons of $ tossed at a project means nothing if the casting isn't right. And, whatever I can bellyache about audio issues, I have to say that the casting for "Bianca" was flawless because everyone involved wrapped themselves in their characters and didn't look back.


"Forgive Me, Bianca" is punk filmmaking and I had a fantastic time doing it. I like it--it's a lot of fun. After watching it with a few small groups here and there, I know that (once again) the pot brownies crowd will be able to sink their teeth into it. Because, apparently, I make films for a few extremely stoned 17-year-old art geeks. That's my demographic according to the emails and whatnot. And I wouldn't change a thing!

"Forgive Me, Bianca" is appropriate for woozy 3am viewing.

But be sure to keep with the theme--chow down on some cheap garlic bread and spaghetti along with your magic brownies.

As Grandma Lulu would say: "Is that too much to ask?"

"Miriam Syndrome" short film by Lauren Hearter

"Miriam Syndrome", the short film by Lauren Hearter--a sequence within the Chicago stories collaborative project--is now up.

Watch the film HERE

When professional counseling and pills galore simply aren't enough, Miriam Weems decides to take a stronger initiative.....

The Most Difficult Part Of Independent Filmmaking

It's not creating the concept and writing it (that's not a problem for me--if anything there are too many ideas).

It's not the funding (Addovolt projects are indie to the nth degree. I can't be wreckless with the money--there's not a ton of it--but it's there and you have to be careful with it or you'll have runaway budgets/production costs--this happens on all levels of filmmaking from Hollywood blockbusters to New York Film Festival entries).

The most difficult part of independent filmmaking?

Scheduling.

Hands down.

That's what seperates intended projects from actualized films.

It takes precision, foresight, ruthlessness, sacrifice, and a bunch of headaches.

The Baby Magic projects

I'm going to call this page "The Baby Magic projects " so that I can have all my video collaborations with the band centered on one page. Everything that I've worked on with them will be right here. As more things come up, they'll be added on this page. Simply click on any of the project titles below to visit their respective project pages and to watch them on Youtube.

*"Don't Mess With Me" music video (2017)

*"Huts" music video (2015)

*"Take It From Me" music video (2014)

* "See Means Yes" music video (2012)

*"Always Be The One On Top: Spending Time with The Baby Magic" documentary (2011)

*Rats!" music video (2010)

*"It's Hard Pissing With A Boner" music video (2009)

Always Be The One On Top: Spending Time with The Baby Magic

The Baby Magic documentary in 5 parts. Click below to watch on Youtube:

Part 1

Part 2

Part 3

Part 4

and, last but not least,

Part 5


Addovolt Productions wants to find out exactly what makes Mary Beth, Patrick, and Jimmy tick. One-of-a-kind, brilliant, hilarious, ocassionally dark, and always subversive, The Baby Magic creates music that no one else would have the audacity to make.

http://www.myspace.com/babymagicmusic

The Baby Magic is Mary Beth, Patrick, and Jimmy.

"Always Be The One On Top: Spending Time With The Baby Magic"

a documentary by Derek Quint. Addovolt Productions, Chicago 2011.

Special Thanks to:

The Empty Bottle

Gallery Cabaret

Caitlin S.

Jon O.

Catherine H.

Matt L.

James S.

This film was first screened at M&J's in Chicago on April 15th, 2011.

Buckles and Bread Bowls Documentary

[UPDATED 02-08-13]

"Buckles and Bread Bowls", the long-delayed documentary focusing on the Renaissance Festival on the Illinois/Wisconsin border, will be up online for viewing very soon. It's really, really fun and a very easy watch but other projects are cutting in its place in line. I'm pretty sure that you'll love it when you see it.

"Salome" production photos (more)

Also, here are more images from the production of the short film "Salome" done by photographer Anna Tzyna.

The film itself is HERE and the main information page for this project is HERE.

More "Alice" Images

The look on Alice's face above sums it up pretty well.....

I found a bunch of images from "Go Ask Alice In Wonderland" in some ghetto within my computer, so here they are to make your evening even more amazing. And if you haven't seen that mess in a while, go ahead a relive the magic by watching the short film HERE while the "Go Ask Alice In Wonderland" information page is HERE.

Notes on "Second Star"

I don't want to give away too much info or clues because I want the story within the film to remain open to interpretation.

Reactions have been mixed towards this project. Not many people have seen it yet (under 100? as of this writing) but I know that some people have enjoyed it, "got" it, and some people it's not making a good impression on.

Fair enough.

It was meant to be the film equivalent of a punk song--not something polished, lovely, and sugary. The ragged edges, for this project, I think make sense. The film came out feeling the way it was supposed to.

"Second Star" is an ugly little film and it was created to be as such. I value the fact that viewers (some friends, some not) have been honest when it comes to praising it or saying "Ugh! No!" to it.

The story.

More than anything, people have asked about the story. "Second Star" is full of references and allusions (both painfully obvious, obscure, and some double-meanings). If you want to go full-out "Di Vinci Code" with this ragged, little indie short, you could have a field day in that respect. The symbols and allusions are very much there and this film, when it boils down to it, is much, much darker than some viewers may initally realize. What exactly does the film mean? And what happens it in?
If you like the film or you're about to watch it or you want to watch it again, consider these questions:

Does The Girl actually have an encounter with the supernatural or is she just hallucinating? Is it a bad drug trip? Or, maybe, was she just dreaming? Or, maybe, a mixed up combination of all the above?

The Boy......is he actually a real character in the story? Or is he just a memory or amalgamation of past lovers; an idealized synthesis of long-lost boyfriends? Is he an interactive flesh-and-blood person or is he just a symbol? Is The Girl just imagining that he's there with her? Was he ever there at all?

The fairies....or demons....or figments of the imagination.....or people that The Girl knew in the past who reminded her of storybook characters from her childhood, who now, have morphed into confusing outside entities?

"Second Star" is lost in a narrative haze. What do you see in the fog?

What happens to The Girl? Does she freeze to death, alone, in an alley in the middle of winter, in the middle of the night? Is it all nihilism, doom, and gloom? Is her life over? Or are the bells chiming to wake her up--to strip away the past--to move on? Is a period of her life over?

And what is the film about? Aging? Fighting emotional demons? Regret? Drugs? Lost innocence? Lost potential? The cruelty of nature? Of occurance? Of history? The supernatural?

Is it all metaphor? Or should the scenes be taken literally? A mix of both?

I can definitely tell you this but I won't constrict the storyline into my own interpretation:

"Second Star" is about endings. Endings also lead to new beginnings as they always have and always will. A huge inspiration for the project, I've come to realize, is The Velvet Underground song, "All Tomarrow's Parties". The film is not about a party, but about the end of a party. Or the end of many parties. It's about disasters of conciousness and fallouts of the human heart.

The gradual, ugly decay of a personal civilization--an internalized Fall of Rome.

The film created itself. A muse came to me, punched me in the face, and said "Hey! I want you to make a short film, using Peter Pan as the basis, and have it be about......". I needed to make this film, to tell this story. It's actually helped me deal with some things that happened to people that I knew, some things that have happened to me, people that I had in my life, people who changed, things that I've felt or feared and things that others close to me have felt or feared. When an idea comes on that strong, and that clear, the right thing to do is to honor it and aid it into creation, whether it's nice, sweet, polished, and filled with story hooks OR if it's gritty, weird, awkward, a bit mean, a bit silly, with a multifaceted narrative ax to grind.

Sometimes you have to do what you're told. And now there's the short film, "Second Star", out there for you to see and for you to see in it what you will. The story doesn't belong to me or my friends or J.M. Barrie or to Greek mythology. The story in "Second Star", this ugly little modern fable, now belongs to you for you to tell it to yourself in whatever way makes the most sense to you.