Texas

“Beyond the Farthest Star” – 00233502

Pathlight Entertainment, LLC – Low Budget

Location: Dallas/Ft. Worth, TX

Start Date: October 1, 2009

“Cameraman” – 00248634

Dixie Films Alpha LP – Low Budget Modified

Location: Longview, TX

Start Date: September 24, 2009

Casting: David Cole  dnc at dixiefilms.com

“Cherry Bomb” – 00246793

Strike Anywhere Productions, LLC – Ultra Low Budget

Location: Austin, TX

Start Date: September 16, 2009

Casting: Garrett Hargrove;  contact at cherrybombfilm.com

“Cowboy and Lucky” – 00247361

Red C Entertainment – Ultra Low Budget

Location: Waco, TX

Start Date: To be determined

Casting:  info at redctelevision.com

Cowgirl Chicks, The – 00248526

Rodeo Films, LLC – Low Budget Modified

Location: Ft. Worth, TX

Start Date: Late October 2009

“Friday Night Lights” – #00246956

NBC Studios, Inc.

Start Date: 9/2/09

Location: Austin, TX

Casting: Beth Sepko  info at bethsepkocasting.com

“God Save the Red, Black and Blonde” – #00246098

Ordered Productions – Ultra Low Budget

Location: Austin, TX

Start Date: To be determined

Casting: Dan Jimenez;  daj5757 at gmail.com

“Jacob’s Edge” – #00246799

Long Distance Freestyle, LLC – Theatrical

Location: Dallas, TX; L.A. CA; Georgia

Start Date: September 15, 2009

“Just Me and Jose” – 00249418

Just Me and Jose, LLC – Ultra Low Budget

Location: McAllen, TX

Start Date: To be determined

“Legend of Hell’s Gate, The” – 00248883

4 Go West, LLC – Low Budget

Location: Granbury, TX

Start Date: October 12, 2009

Casting: Beth Sepko

“Los Scavengels” – 00249412

Demetrius Navarro – Ultra Low Budget

Location: Dallas, TX

Start Date: October 2, 2009

“Mind of its Own, A” – 00248745

Speaking Productions, LP – Low Budget Modified

Location: Dallas, TX

Start Date: September 28, 2009

Casting: Donise Hardy

“Minority Western” - 00220674

FAD Productions – Ultra Low Budget

Locations: AZ & Dallas, TX

Start Date: December 2009

Casting: Victoria Joyce Hernandez; (213) 440-6288

“Predators” – 00249564

Predator Planet, Inc. – Theatrical

Location: Austin, TX

Start Date: Late September

“Pros and Cons” - 00246100

Going Bats Entertainment – Ultra Low Budget

Start Date: September 25, 2009

Casting: Scott Ross,  stross at goingbats.com

“Trysts” – 00248638

Adulterers, LLC – Low Budget Modified

Location: Austin, TX

Start Date: October 13, 2009

Casting: Peter Yoder  peteryoder at bleutuna.com

Louisiana

“Battle Los Angeles” – 002458852

Battle Productions, LLC

Location: Baton Rouge, Shreveport, LA

Start Date: September 10, 2009

Casting: Fincannon Casting

“First Wedding, Then Marriage” – 00248498

First Wedding Then Marriage, LLC- Theatrical

Location: New Orleans, LA

Start Date: To be determined

“Hurting Kind, The” – #00244310

TNC Shreveport, LLC – Low Budget Modified

Location: Shreveport, LA

Start Date: October 15, 2009

“Locked Down” aka “Cage, The” – 00248248

LA Cage Productions, LLC – Low Budget

Location: Jefferson Parish, LA

Start Date: September 11, 2009

“Monster Wolf” – 00249488

Monster Wolf, LLC – Low Budget Modified

Location: Lafayette, LA

Start Date: September 28, 2009

“Relative Strangers” – 00244457

Relative Strangers, LLC – Theatrical

Location: Louisiana (non-specific location)

Start Date: To be determined

Having worked in the film version of Friday Night Lights and having watched the TV show, I thought I had a feel for the process…hand held cameras, a fast-moving shoot, an almost harried pace, but I wasn’t completely sure what the director had in mind with his question. “We don’t rehearse” continued director Reiner and, (to paraphrase) ‘we keep it loose’, confirming my expectations…all except the ‘we don’t rehearse’ part. Even on the film of FNL there was some rehearsal before cameras rolled.

Immediately, I was approached by a props person who wanted my attention ASAP (I was being wired for sound) so she could go over use of the blood pressure device and stethoscope I’d be using in the scene. The words “no rehearsal” quickly came to mind.

Fortunately I have a bit of experience with these devices…at least the blood pressure device (who hasn’t had their blood pressure taken in a doctor’s office?). But I also have some experience in taking my 91 year old mother to visit her doctors. With a quick tutorial on placing the blood pressure cuff, etc. some quick blocking to set lighting and one of the cameras that would capture different parts of the scene, we were rolling.

I have to say the whole atmosphere was pure fun. Of course I was a little unsure of how working with props I’d just been handed – working out the action of taking the blood pressure, removing the cuff, placing the cuff out of the way, removing the stethoscope and relocating it and on the fly, incorporating those actions with the dialogue – would all work out.

But there was a real freedom in the fact that there was no rehearsal. There was no established ‘right’ or ‘wrong’ way to get the job done. No marks set on the move from the examination room and out into a hallway for the second half of the scene. So there was no pressure to do it ‘right’. I spotted up my position and got a feel for where I needed to land and that was that. The actor (me) was just free to play the scene and work with the other actors and with the elements (props, physical limits of the space, etc.) that were present.

How fun is that? Well, quite a bit, actually. Add to the mix that the series regulars are very accustomed to this style of filming and understood that, while certain dialogue had to be included to advance certain plot points, there was a lot of freedom to improvise and it makes for a ‘be on your toes’ atmosphere. So, to the new guy on the set (me again) it was important to do what every actor is always supposed to do anyway….listen and react. Just very organic ‘acting stuff’.

I can see how someone with little or no experience could be a bit unhinged in this kind of atmosphere…the uncertainty every actor feels on their first job or two would easily be magnified on this type production. But for a more experienced actor it’s great fun. The appreciation for how hard and well the crew works is amplified as well. These men and women are MOVING FAST and getting the job done extremely well. They have this process DOWN.

I hope this doesn’t come off like the director and crew weren’t doing anything because that is certainly NOT the case. The director was doing what good director’s do…tweaking action and performance issues where necessary between takes…letting the actors know that we were on the right track…just make this slight adjustment and let’s go again. Camera, sound, grips and gaffers, props, makeup, wardrobe, etc. were all there working their butts off to make it all SWING.

Now, I only worked on one scene in this episode so really I have no idea if they shoot exactly this way all the time, every day. But I expect it’s a consistent process. The thing that is interesting to me from the actor’s POV is that I have no idea what the footage looks like. Since there were on traditional camera setups I found it hard to visualize what was being captured.

I mentioned this to Louanne Stephens (Grandma Saracen) and she said something to the effect of “If they weren’t getting what they needed, they’d let you know. They really make the actors look good on this show.” This comports with my own experiences and I mention it here because a lot of less experienced actors are reading these posts.

You may think that if the director isn’t giving you props between every take that he’s not happy with you. Generally that is not so. In my experience on TV and even on film (where there is generally a bit more time to work), if the director says nothing to you, you know you’re on the right track. It’s only when they want something tweaked or changed or if they really don’t like what you’re doing that the director will spend any face time with you between shots.

They’ve got too many other things they’re juggling to ‘atta boy’ all the actors all the time. You may see them giving lots of ‘atta boys’ to the lead actor / actress, but unless you’re the lead, don’t expect it and don’t read anything untoward into the lack of it.

Just do your job and when you wrap, accept the ‘great job’, ‘nice job’, ‘good work’ or whatever comes and move on, understanding that you had a successful turn at bat. Enjoy that and wait for the show to air and see how successfully it all comes together.

Again for the less experienced who may be reading:

It’s always interesting to walk onto an established show to do a day, a few days or even a week. Make friends with the ADs and the set PAs. Make sure you check in ON TIME, drop your gear and get ready to…wait. You’ll probably do a lot of waiting, so get used to it. Find something productive to do. If you’re paperwork is waiting in your trailer fill it out. Go over your lines, read a book, etc. Stay accessible and don’t make anyone have to find you.

You’re an ‘outsider’ to some extent, a guest, and you’re visiting someone’s family for a brief period of time. It’s in your best interest to be the guest everyone wants to have back not the one they’re happy to see leave. As an actor you have a job to do but you have some quick calculations to make. My ‘radar’ is always at a peak in these situations because you need to get in, do your job and not drop the proverbial t**d in the punch bowl before you leave.

I have to say that my radar on Friday Night Lights was free can clear of any on-set ‘issues’ that you sometimes encounter…often immediately upon arrival. (Who’s mad, who’s hung over, who’s late…again, etc. etc.) The atmosphere was friendly, supportive and professional. I think that atmosphere shows in the product that these folks have been producing.

For Texas actors and other film professionals, we need Friday Night Lights to continue its run. Here’s hoping that this season will continue the excellence duly noted by the critics and that an even stronger fan base and audience will be forthcoming.

That’s my story from the set of FRIDAY NIGHT LIGHTS: Tami Knows Best. Season 3, Episode 2.

Whatever the case, it’s just another example of the changing landscape for film and TV distribution.

“We’re all grateful that, through whatever corporate machinations that occurred between NBC and DirecTV, there will be a third season of Friday Night Lights this fall. But how exactly is that going to work?

Here’s the deal straight from Sunday’s FNL panel: Thirteen new episodes of FNL will air on DirecTV starting in October, on a channel called The 101. Then, the same 13 episodes will be shown on NBC beginning in February 2009. So, essentially, if you don’t have DirecTV, there is the potential for some serious spoilers. “Just download it [illegally],” suggested cast member Zach Gilford, much to the chagrin of the NBC and DirecTV handlers in the house. “But then it would be in good conscience to watch it on NBC when it airs there,” he added. Helpful!

DirecTV promotional materials indicate that the two versions may actually differ slightly, although executive producer Jason Katims said they haven’t quite established how just yet.

Katims said that “senior year” would be a recurring theme of Season 3, which fast-forwards eight months from last season’s finale. Hence the recent announcement that Jason Street (Scott Porter) and Smash Williams (Gaius Charles) — whose characters would have graduated in the intervening months — would not be returning as series regulars. Porter and Charles will, however, appear in four episodes that will explain their exits. Katims also said he will definitely leave the door open for the possibility of Street and/or Smash to reappear.

Minka Kelly announced that “Lyla’s done with her ‘born-again’ phase, and her relationship with Riggins is now out in the open.” “I didn’t even hear that,” said Taylor Kitsch, who plays Riggins. “I’m interested to see how it plays out.” Aren’t we all?” — Mickey O’Connor

Emmy winning Casting Director Beth Sepko’s office as well as the production offices have been crammed with actors reading for upcoming episodes over the past couple of weeks.

Yours truly is happy to have snagged a role as Dr. Campbell, doctor to Grandma Saracen in Episode 2.

08:49 AM CDT on Friday, July 25, 2008

By JOE O’CONNELL / Special Contributor to The Dallas Morning News
 filmnewsbyjoe at yahoo.com

Don Stokes skipped junior- high classes to watch Warren Beatty and Faye Dunaway succumb to a spray of bullets as Bonnie and Clyde. Now he’s charged with bringing the Texas film industry back to life.In June he was elected president of the Texas Motion Picture Alliance, the voice of a Texas film industry that’s seeing Hollywood take its projects to Louisiana, New Mexico and other states that offer heftier financial incentives.

Mr. Stokes is the third TXMPA president and the third from Dallas. His predecessors helped persuade the Texas Legislature to join the film-incentive race with a 5 percent incentive. He is charged with persuading lawmakers to increase it to a more competitive level, something that may come naturally to a guy whose life has been steeped in filmmaking.

“I saw when Dallas and Texas earned that third-coast reputation,” he says, “and I’ve seen it erode significantly in the last few years.”

His father, Bill, was a photography teacher turned film-industry pro who provided the soundstages and production facilities for Bonnie and Clyde in the ’60s. Bill is said to have been the model for Gene Hackman’s Texas accent in the film.

“It was a great experience,” says Mr. Stokes, now head of Post Asylum. “There was tremendous camaraderie on the set. You knew something different was going on, that it wasn’t the same old Hollywood industry movie. There was a different feel, a fresh feel.”

He’d like to see that feel return to Texas film, and he’s not alone. Close to 100 North Texans traveled to Austin recently for the state TXMPA meeting at which Mr. Stokes was elected. About 20 Austin film professionals showed up, a disparity he attributes to the greater urgency felt in Dallas.

“We’ve been hurt more than others, so we rally because we remember when we were really busy,” he says. “I do think the people in Austin get it, but they haven’t felt the overall loss yet like Dallas and Houston have.”

Regional rivalries need to be put aside, Mr. Stokes says, as the industry unites to convince the Legislature that the film industry is worth saving and growing. The unstated goal is a 15 percent refund of in-state expenditures that would still fall short of the 25 percent incentives offered by Louisiana and New Mexico – Michigan offers up to 42 percent – but with the difference offset by a strong Texas crew base and diverse locations.

“We still are a large industry, but we’re viewed as being fragmented,” he says of the challenge the industry faces in getting its message across. “We’re not all in one building or one area of the state.”

What happens if the Legislature doesn’t act? “Texas is losing infrastructure, and we’ll see an acceleration of that loss,” he says. “To an extent we might see a give-up. We need to not only retain what we have, but to grow it.”

Mr. Stokes, a co-producer of the acclaimed documentary TV Junkie, would also like to see the incentives revised to allow more low-budget, homegrown independents to benefit.

As previously reported, the new season will first air on DirecTV where it will kick off on October 1st.

Exec. Producer Jason Katims told AAS reporter Diane Holloway that the new episodes that air on DirecTV may be somewhat different than the version that finally airs on the network. Expect that to mean more skin and more profanity.

Central Texas film production has declined from 33 productions in 2004, to 27 in 2006 and, per the Statesman article, just 15 television and film projects in 2007. That, of course includes the locally shot FRIDAY NIGHT LIGHTS, recently renewed for another season and still scheduled to shoot in Austin.

If anyone at the state level is watching, that ‘sucking sound’ as Ross Perot was fond of saying is the sound of filmmaking dollars flowing to New Mexico and Louisiana that could have been spent right here in Texas IF we had a competitive film incentive program. Our $20million incentive fund is attractive for lower budget film fare, commercials and video games, but misses the mark in enticing larger budgeted projects that hire more crew, actors and ancillary services and put more dollars into the local economy.

Check out the Statesman article for a rundown on current and possible future productions, here.

Included in the film update piece is this information on the indie KICK THE CAN:

‘Kick the Can’ — A drama directed by Sol Tryon, whose comedy ‘The Living Wake’ made a small splash at last year’s Austin Film Festival. Jesse Eisenberg, star of ‘Living Wake,’ and Mark Webber, who starred in the Ethan Hawke-directed films ‘The Hottest State’ and ‘Chelsea Walls,’ lead the cast. After opening an office in Austin and scouting for locations, the production is now in hiatus, says Hudgins, who adds, ‘We hope they’re able to come back.’

An intriguing upcoming production is WHIP IT! the Drew Barrymore directed roller-derby film based on ‘Derby Girl’ by Shauna Cross. Set to star is the spunky Ellen Page, best known for her breakout performance as the pregnant teenager with the sardonic wit in the title role in JUNO.

Plot Line per IMDB: In Bodeen, Texas, an indie-rock loving misfit finds a way of dealing with her small-town misery after she discovers a roller derby league in nearby Austin.

This film, a raunchy comedy sendup of the video game industry, will be a significant departure from McCanlies’ previous films which were family friendly, character driven projects. THE TWO BOBS seems almost certain to garner an ‘R’ rating based on language alone and is a film McCanlies has described as being similar in tone to THE BIG LEBOWSKI.

Meanwhile, KICK THE CAN, which was scheduled to begin shooting today is currently on hold. The reasons for the schedule change are unknown to this writer as is the duration of the hold. Hopefully this project, which has a terrific script by Blake Dirickson and is to be directed by Sol Tryon, will get back on track shortly.

With THE TWO BOBS and the 113th version of FRIDAY THE 13th as well as KICK THE CAN all scheduled to start shooting on April 21st, maybe there was a lack of available crew or resources or ??????? for the Atlantic Pictures production. KICK THE CAN is a project I would hate to see derailed as it looks like a potential winner that reminded me, in tone, of LITTLE MISS SUNSHINE with a touch of JUNO thrown in for good measure. KICK THE CAN is based on a novel by Jim Lehrer.

As stated above, the latest FRIDAY THE 13TH is also scheduled to start on Monday, April 21st. Based on comments by casting folks at the recent THE ALLIANCE / Austin Actors meeting, this project isn’t doing much local casting….though auditions for some roles were taking place last week.