BJ McDonnell called me on Friday, September 27th, wondering if I was available the following week and interested in shooting a teaser trailer for a horror film that he is directing next year. I was ecstatic to get the call and thankfully, our schedules aligned!
A few years ago, I shared my reactions to BJ scoring the “Hatchet 3” directing gig. Sadly, my schedule prevented me from joining them in the swamps of N’awleans as a camera operator for his feature-film directorial debut. For his second action/horror feature, “Penance Lane,” I’m honored to be his cinematographer. The gritty script penned by Munier Sharrieff centers around a freshly released criminal who takes a job repairing a dilapidated house. As he uncovers the horrors within the building and the measures those around the depressed town take to protect them, he fights to keep himself and those he cares about alive.
Our production timeline was greatly condensed because of the looming October holiday (Halloween) and the fact that BJ is working in Vancouver from the 2nd week of October until Christmas! Nevertheless, the good folks at Mane Entertainment rapidly assembled a top-notch cast and crew so we could get a teaser together in time.
We scouted our main location – the Nate Starkman Building – on Thursday morning (October 3rd). Photography began the following afternoon as the skeleton crew met in Santa Clarita to carpool out to Piru. I had never been to that part of town, but instantly fell in love with the look and vibe. BJ and the film’s star/producer, Tyler Mane, had located a beat up house that suited our needs perfectly. As our luck would have it, the owners had repainted it in the few days that had elapsed since their scout! Nevertheless, we stuck with the game plan, shot the scene at the house, and headed further west to Fillmore.
As golden hour descended upon us, a large train passed us not once, but twice! The second chance was much appreciated, as I had a much better angle on the approaching vehicle and was on my long zoom (Canon 70-200mm/2.8L IS). The picturesque setting provides a great contrast to the creepy nature of the interior of the house that was all filmed the following day (October 5, 2013).
Most of our shots were day-for-night, but we had a few day-for-day shots. BJ and I particularly liked the frosted windows that you see a few times, most notably when Tyler saunters up the steps holding a sledge hammer. On the topic of props, the pistol that Tyler wields is the same one that BJ lent me for the Chali 2na “Step Yo Game Up” video 3 years ago. Thankfully, there were no incidents with the LAPD like there were on that show! I’m hoping to keep the number of times a loaded shotgun gets pointed at me to one…
My primary weapons at the warehouse (provided by Light It Up) were two 4′ 4 Bank Kinos, a pair of 650W Fresnels, and my 2′ 4 Bank KinoFlo. We kept things light and simple so we could move quickly. Grip gear was clutch in controlling the sun from the numerous windows as well. The warm shot of Tyler holding the chess piece was as simple as putting a bunch of diffusion against a window, positioning him perfectly, and letting the sun do the rest! The only instance where we needed the extra firepower of a 1.2K HMI Fresnel was for the shot where Tyler opens the basement door on the ground and he is bathed in a bright light.
Since we only had our warehouse location for 10 hours, we depended on Joseph Channell to get some b-roll, BTS footage, and interviews with the cast and crew. Aside from doing a fantastic job editing the trailers, he generously offered us the use of his 4′ Rhino Slider. Only one of the shots made the final cut, but camera movement is always appreciated. BJ wanted to avoid having everything handheld, and I enjoy the solace that some of the tripod shots provide. I imagine there will be steadicam when we go into production considering BJ’s intimate knowledge and love for the tool.
BJ’s unadulterated vision for the shot of the retreating girl and the knife that comes into frame ideally required a steadicam, but since the trailer moves so quickly between clips, it was a good thing we didn’t hire somebody (BJ’s rig was already en route to Canada) or waste a ton of time getting it perfectly. When you consider how often dollies and other cool camera moves get cut out of narrative work, keep in mind that it gets exponentially harder to keep them in one minute trailers!
It took about 5 seconds for BJ and I to conclude that we would frame the show in the 2.35:1 aspect ratio. We both prefer the opportunities that it affords for framing and blocking. While it may make some shots difficult down the line because our star, Tyler–who played Michael Myers in the Rob Zombie Halloween films–is 6’8″ and he will inevitably be paired with shorter characters, we’ll find creative solutions. In the fight scene between Tyler and fellow giant, Troy Brenna (6’8″), it was I who was vertically challenged. I was on my tip-toes on full apples for one angle and on a 6-step ladder for the other! I’ll say this now, I need a tall 1st or 2nd AC who also has strong operating abilities when we do the feature…
Camera side, we utilized my Canon 5D Mark III package in CineStyle mode. We primarily lived on the 24-70mm/2.8L, but the stairway/sledge hammer shot required the 16-35mm/2.8 Mk II and a few close-ups warranted the 70-200mm. My longtime Colorist, Diego Petrusky, dialed in the looks for the film and we are all excited to share the trailers.
Press releases began circulating on Monday (10/14) everywhere from Variety to Dread Central to Ain’t it Cool News. As things progress, the film’s official website, Twitter, and Facebook pages are good venues for updates as well as my blog.
In the comments section below, please share a time where you felt short among very tall people.