#48 Hour Film Project

[byrdierose]

So! @mel-a-art and I did a film jam a few weeks ago, and this is what we made!

This was some of the most fun I've had on a project and I'm so happy we did it! Be sure to check out Mel's vid here:

[sennamaticart]

Aglow, the 48 hr. film I made with my team back in 2021! I found out how to add it to Letterboxd so im celebrating by sharing it again!

[mrspacy]

undefined

Chasing Starlight 

All the animation I did for the “I Can’t Spare Another Moment 48 hour Anthology” All animation from start to finish was completed in 48 hours or less

You can watch the full 48 hour anthology here 

https://www.youtube.com/watch?v=E6eZe70JhsY

Or you can just watch my teams film here

https://www.youtube.com/watch?v=j4j9YkSmqsg&t=16s

Some people that also worked on it: 

@tinikois @beanstalk-nicholas

[johndoescelerat]

Here ready to start rolling on the 48 hour Challenge

[kingrosalani]

My weekend plans consist of filming some BTS for a fun project 🩸

[daveinediting]

Of course I'm writing about this after the fact and posting it to the day. 

What's already occurred is Seattle's 48-Hour Film Project. 

FRIDAY 730PM I was actually on my way home from work and tried to dial into the Livestream of the kickoff during which representatives from each production team draw two genres of which they can pick one. 

We drew Thriller/Suspense and Social Media/Influencer.

Oof. 

Neither of those genres hold passionate interest on our team. I tracked some of the conversation surrounding our choice on Discord, where it was eventually suggested to mash the genres we drew. Don't pick one or the other. Choose both.

Which is how our short film "Killer Content" was born.

A day or so after filming was complete, someone suggested the following log line to capture the essence of what our story's about—

"A social influencer will generate the biggest following, even if it kills her."

—but I'm getting ahead of myself.

SATURDAY 3AM Our writers wrapped the script coming up on three Saturday morning. Eight AM the crew's assembled at a theater on Capitol Hill to begin production. Three PM they're filming in a home in Wallingford. Fully wrapped between six and six-thirty.

As for me, I'm not on the clock 'til footage arrives at my place. So, nothing Friday night (of course). Nothing during the morning's and early afternoon's filming (of course) until filming at the first location wraps and a courier is sent my way, arriving at three thirty with the one camera card used so far.

After a selfie of the two of us doing the hand-off for photos posted to our Discord channel, I plug the card in, transfer all the footage to my workstation and now...

I'm on the clock.

The goal is to finish a first cut before I go to bed so that the producer and director can assess it first thing Sunday morning which they always do.

So. 

How long did that first cut take me?

Thirteen-and-a-half hours.

Yeah. I went to bed coming up on 5AM Sunday morning. The director watched it an hour fifteen minutes later, shot me an email a few minutes after that whilst I was still asleep, and I was up to feed our cats/shower/dress/make coffee for my wife/review my edit and begin the process of endless tweaking before the producer and director arrived a little after ten, five hours after completion of the first cut.

I actually went to bed at 445AM after exporting the cut, uploading to Dropbox, and sending copies to the composer, graphic designer, and sound designer. It was only after I was comfortably in bed next to my wife that I realized to whom I had yet to share the product of my work.

Yeah.

The producer.

And the director.

Woops.

So I got up, crafted a quick email to them including the Dropbox link, sent it, confirmed it was sent, and then went back to bed.

For real this time.

Okay. Let's rewind thirteen hours so I can point out something I think editors of old would've, I dunno... bristled at? Found confounding? Confusing? Distracting?

They definitely would've marveled at how the job's changed. And I'm not even talking about the computing workstations and the software for editing, graphic design, and sound mixing. Let alone the AI-powered tools. We'll file that all under the job of "editing" whether it's done today, ten years ago, or fifty years ago. Somehow the job of editing was completed with the tools at hand. So no. I'm not talking about how the craft has changed. What I'm talking about is what it takes to make a short film in 48 hours.

Of course for those of us engaged in post-production, that number's somewhere close to 24 hours. I don't, for example, start my work 'til the footage arrives. The composer can start as soon as the script is finished and they speak with the producer first thing Saturday. They can't really finish, though, until picture's locked. Same deal for the graphic designer, although since the script was 90% about YouTube streamers, most of the work can be assumed right from the pages of the script. They can't be done done, though, until the producer says they're done because, in this case, we were all still assessing what the film needed after my work was done, after my cut was locked. And again same deal for the sound designer whose work really does depend on my timing. They can get a head start... but they can't finish without my final cut.

So. 

What time did I finish my final cut?

Well, that was coming up on five Sunday morning. After that, say from ten that same morning, it was the producer's and director's cut as facilitated by me. The first of those subsequent cuts finished around twenty minutes after eleven. The second and final of those cuts finished at ten minutes after noon. Leaving about five hours for graphics and sound design to complete the film.

Earlier, I mentioned how editors of old would've been gobsmacked by how their profession's changed.

Here's what I mean.

Even though there are three professionals whose work cannot be completed until mine's complete, there's also no way, no way against a deadline that would otherwise impose a five-hour turnaround on them in this case... no way any of us would fully buy into that. 

So.

As I'm editing I'm also communicating with those other departments.

How?

On my phone through Discord, texting, and email. Any assets that would otherwise need to be couriered are sent almost instantaneously through Dropbox and Google Drive.

So that happened.

Right off the bat, soon as I start ingesting footage, music assets arrive from the composer. Assets called for by the producer as well as assets to cover likely contingencies.

We stay in contact until midnight, tail end of Saturday, regarding a further contingency I identified just as soon as I began laying down Scene 1.

I'm also in contact with the graphic designer until 2 Sunday morning coordinating a number of issues including the first of three element bundles he's sending me, including discussions of how to best take advantage of the opportunities presented by the fact that, in this scripted universe, three of the main characters are YouTube streamers so branding, branding, branding! Also, how are we sending assets back 'n forth? Google Drive. And then he lamented not having set photos of the lead actor so I sent some screencaps his way.

And so on.

Back and forth throughout the night. Not relentlessly, of course, but sometimes a full-blown text conversation would erupt momentarily as we coordinated, as I cut deeper into the script and had questions related to the use of graphics and animations.

I mention the sound designer last here because we had the most involved conversations on Discord regarding, ultimately, four scenes demanding his help. Actually three scenes. I was just curious what ideas he might have for the scene that was already pretty good to go. 

Okay but "demand"? What's that all about?

Well, the choice was made to not use music during any of the streaming segments... which is pretty much everything between titles and credits. One of the four scenes literally has no sound to propel it. Two more need the tension amped up on a mood pivot. And the last is pretty good...

But could be better I'm thinking.

In each case, the emotion of the scene pivots on a dime and we don't want to lose our audience in those moments, so...

Sound design.

It's the first time in this short film challenge across the years that I realize  I'm not the one who'll get this film across the finish line. Sound design's what's gonna get us there in our film's most important moments.

So.

As I work my way through the first cut, I'm communicating with the sound designer, sending him two of the four scenes for his consideration ASAP.

It's how we're gonna get through this together. So because all three departments are waiting on me... I'm gonna communicate as much as I can on the fly as the film takes shape.

That way, they're absolutely not gonna have to start from scratch with five hours to go on a hard deadline.

😐

[stabioproductions]

We sometimes make narrative short films as part of the 48 Hour Film Project, a filmmaking competition that pits over 30 teams against each other with the task of making a film in just 48 hours. This includes all script writing, shooting and editing within the two days.

Well, our team, “Cinema Geeks”, ended up winning in Denver in 2023 and then The Movement went on to compete against 150 other teams from around the world who won in their cities.

We ended up taking third place and securing a screening of the film at the 2024 Cannes Film Festival!

We hope you enjoy the film!

[lynniceberg]

Making movies is fun!

[thedaveandkimmershow]

Dang...

So July.

A definite crescendo of a month. Especially for one that starts off with explosions.

One month after moving back to the house after four years living on the Hill, it turns out the correct answer was...

Moving back to the house.

What can I say?

The reasons that made the choice such a difficult one not even two months ago... weren't so tough to navigate after all. Especially the commute side of the equation. It actually does work better than we would've guessed. Plus... the house is super chill, very quiet. Which makes sense since I-5 doesn't run right in front of it. Plus, though the remodeling of the house wasn't actually intended for us, it sure makes the house more optimized for what we do and want.

So yeah. A great call.

July fifth was our dating anniversary, the date of our establishing being July 5, 1990. Kind of a while ago. We lazed the morning. Went to see Indiana Jones & the Dial of Destiny at the Crest Theater, hit the Ballard GoodWill for some random browsing, derailed a trip to Trader Joe's by going to PCC across the street instead for orange creamsicles we subsequently enjoyed on the roof. Had a picnic on the shores of Smith Cove in front of Expedia. Did a walkabout of the Seattle Center for old time's sake. Finished off at Tapster on South Lake Union all—

On a sunny summer's day.

It was a fantastic dating anniversary.

Moving through the month, the next big event was this year's 48 Hour Film Project competition with the Combat Wombats, the production team that was kind enough to invite me to be a Wombat a coupla years ago for their short film, "Cleaners". This year's effort, "PTAgent" was, yes, hard work and a delight for all of us. It also feels like we're getting better at this having begun the journey at a high level to begin with.

By the way, the 48 Hour weekend was also proof of something Kimmer created: my edit suite. This was basically the shakedown cruise for using the room as intended, including the space for clients.

Initially I was thinking the overstuffed couch should be replaced with something a more sleek. That is... until Saturday night and Sunday during the day when the weary director and producer of "PTAgent" put its overstuffed comfort to good use.

The end of the 48 Hour extravaganza always features a dinner out with Kimmer. It's a tradition we didn't know was gonna be a tradition... but a tradition we started with my first 48 Hour Film Project editing "Cleaners", an experience that kept me up that particular Saturday night until 5AM Sunday morning and then up again by 9... four hours later. I think I finished with the edit around 4 that afternoon? At which point Kimmer offers dinner at Maggie Bluffs, our first such celebratory dinner with this year's, our fourth, at Las Brisas in Edmonds. ☺️☺️☺️

The reward for our 48 Hour experience, of course, was the opportunity to watch our work on the big screen at the Uptown Cinema in lower Queen Ann where, once upon a time as a youngster, I watched Young Sherlock Holmes.

Moving on, the second half of the month was definitely the most incredibly packed half. 

So the 48 Hour Film Project competition began the evening of Friday, July 14 ending on the evening of July 16. Four days later, Thursday the 20th, Kimmer 'n I drive up to the neighborhood behind the Grand Avenue Park Bridge, park our car, and walk down to the Everett Marina where Linzy's performing with the band The Little Lies.

Two days after that, Saturday, middle of the day, we join the band again at their Bite of Seattle performance that's taking place on one of the busiest weekends in Seattle history including but not limited to a Mariners game, the Capitol Hill Block Party, various cruise ship departures, and a Taylor Swift at Lumen Field mega concert. All of which conspired to bring everyone into the heart of Seattle.

Every place in the city was packed, is all I'm saying.

Same deal the next day, Sunday the 23rd, when we return to the Bite to see another band of which Linzy's a member: Midnight High (more on that band in a moment).

The Midnight High performance was around 1 in the afternoon after which we went back to the house as Linzy went on to that evening's Taylor Swift concert which, according to everyone, was a VERY big deal. Certainly for Linzy who basically grew up as a musician with Taylor's career. 🤩🤩🤩

Now, while all these shows were happening, as the world premiere of the film I cut approached, Kimmer was also up to her eyeballs... having officially applied to a doctorate program at her alma mater. And, by the time the screening happened, she was officially accepted.

HUZZAH!!!!!! 😁😁😁

And the doctorate program?

Doctor of Science in Integrative Health from the American College of Healthcare Sciences.

So there it is.

We all three were having a very busy week.

A coupla evenings later, Tuesday the 25th, I'm prefunctioning at the home of the Combat Wombats' director as most of the team gathers for pizza oven cooked pizza and drinks and talking shop and talking life… before heading to the Uptown Cinema for the world premiere of "PTAgent" on the big screen. By the time I get home, it's already a half hour into Sunday the 26th, the morning on which we're leaving for southern California to visit family and check in on Kimmer's aunt. At this point, we've gotta be out the door in six hours but manage to eat one of those hours watching an episode of Madame Secretary, a series that's turned out to be a big deal for us this summer after we blitzed through the eight episode season one of The Diplomat four times in a row.

Yeah. We desperately needed another show to watch.

So credits roll on Madam Secretary and now it's a little after 130AM. The way things work out, we'll be up three and a half hours later at 5AM, ready and on the road to the airport by 640AM, in the air by 8, and so on.

Which pretty much explains how tired we were the rest of the day.

Our California family's family, though, which means they give us a huuuuge shot of energy for four solid days of taking our home life on the road, an essential part of which is about seeing Kimmer's aunt who lives in a memory care community.

By the time we're home again, we're into the first minutes of Sunday the 30th, a day that we figured will be a normal-ish, chores-ish day that suddenly turns into the world premiere of Linzy's music on the radio.

One of the bands in which she performs harmonies and keys, you see, is called Midnight High, their latest gig being that one at the Bite of Seattle. And Sunday evening, our day back from California, they're on the Locals Only show on KNDD-FM 107.7 The End. They're promoting their new album, "Swimming Lessons", showcasing a few songs from that album and sharing some of their favorite music including "I Don't Wanna Know" from Linzy's debut Dream Patrol project EP titled "Made For TV".

Dang.

That made for a very "That Thing You Do" moment for us at home and for Linzy over at her place.

And yup.

After a crazy busy July, that's seven months down.

Five to go.

🤔🤔🤔

[thatsamovie]

Yesterday evening I attended a Filmmakers Mixer in Café Brasil in Montrose quarter in Houston where gather filmmakers from all over Houston to mingle, schmooze, and watch short movies. They also announced The 48 Hour Film Project. Great night with eye-opening screenings hosted by Alfred Cervantes from Houston Film Commission. It occurs every month on the first Thursday from 8pm-11pm. Check out Café Brasil website with their calendar. Every Monday late afternoons there are film screenings too.

[personal-reporter]

Ecco i premi finali del 48 Hour Film Project Italia

Ecco i premi finali del 48 Hour Film Project Italia

Con la premiazione presso il Teatro Italia di Roma si è conclusa la sedicesima edizione di 48 Hour Film Project Italia, competizione cinematografica che coinvolge 140 città in 5 continenti e Roma come unica tappa italiana. Dopo Los Angeles, Parigi, Shanghai anche Roma, nel weekend tra il 18 e il 20 novembre scorso, è stata invasa da centinaia di giovani e agguerriti professionisti del cinema…

[madphantom]

Okay. Update.

I have not expected for the last 48 hours to be as they were.

I have over a thousand new followers. My inbox is full. I have received the information that I now have the entire local theatre company's prop department at my disposal, apparently. Members of my film club have apparently seen my post on Reddit. This is, for lack of a better word, fucking insane.

So here's what's gonna happen now: I am writing the script for the scene and it'll probably be done by next week. I'll most likely start filming in early December, depending on other stuff because I'm involved in a minimum of three other film projects, one of which has a deadline.

I am gonna film Katya's death scene, because tbh I don't have anyone who looks like Bob de Niro or Al Pacino at my disposal atm, but I do have someone blonde and someone willing to do Sofia.

In the meantime, thank you for your overwhelming support and I don't need any help in terms of script writing or anything anymore.

Toodles.

[fuckyeahizzyhands]

Con O'Neill interview with Awards Radar's Steven Prusakowski 😭😭😭❤❤❤

SP: Busy time of year, but, you know, starting to slow down in just enough to hang out with the family and do all the cooking for, like 48 hours and then.

Con: Are you the main cook in the house?

SP: I am the main cook.

Con: Yeah. So am I. I love it.

SP: I love it, too.

Con: It's my go to place.

SP: Yeah.

Con: Because when I left school, I trained to be a chef.

SP: Oh, wow.

Con: Briefly. Another story.Okay, let's rock and roll.

SP: Well, that passion never leaves you, I think. I think once you start, especially when someone enjoys and says, hey, I really liked your food.I hear from my daughter's friends or their parents, she loved your pasta or whatever it was, I'm like, okay, now I'm...

Con: It's the best feeling, isn't it?

SP: It is. It's wonderful.

Con: And just that kind of inherent, nurturing thing of just going into the kitchen empty handed and coming out with a meal for people is really rewarding. And I love it. It's intoxicating. I absolutely love it.

SP: Same here.

Con: Because I travel so much, I don't always get a place with a kitchen. And that's why I always try and get an apartment when I'm filming because it just gives me a place to be in my head that isn't about work.

SP: Yeah. Yeah. Well, I can talk cooking forever, but-

Con: But we should.

SP: I know we're short on time and I have a ton of questions and I won't get to all of them. So let's just jump into the series and maybe we could pick it back up. Sorry to interrupt, but I love the series. I love your character and your performance.

Con: Thank you.

SP: It's a stellar, and there's so much to Izzy that we see on the surface, but there's so much more to him beneath. How was this character originally pitched you and what did you initially want to bring to him?

Con: The thing about this character was he wasn't in the pilot. So when I spoke to David about it, there was nothing written. So he explained it in very broad terms. But then I quite like specifics when I'm choosing projects. And kind of... he brought up Salieri from Amadeus, and I really hooked into that. Now, I don't know whether we went that way with it in the end, but it was a really good hook for me because Salieri is that guy with a mission who is on the surface wanting, but is underneath something else. And I think initially, Izzy was that, but then we exploded him in several other ways and Salieri diminished to something else. But it was a good hook for me

initially to get in by thinking about Salieri.

SP: Yeah, I like it. I could see that for sure. And to start the season two. So going into that, he's a shadow of himself from this feared, intense, strong man to a broken man. And what was it like taking this character and exposing that humanity and starting to peel away some of that shield.

Con: I mean... David had spoken to me before we started shooting and explained most of the hulk to me, and I'd always played Izzy as a man who was in love but didn't know he was in love. And for me, the key into this season was a. the design, but more importantly, was the Taika's performance. To see a man that I love to be that broken and to be that vicious because of the heartbreak, it was profound for me to see what he did with Blackbeard, and it did break my heart a little bit. So the emotional journey was quite clear that at the end of the day, all hatred of Stede had left him, and all he wanted to do is fix Blackbeard, and he risks his life to do that. He literally puts himself on the line for that because, like always. And what I loved about what David and the writers did was they didn't remove Izzy from season one in season two, he's still there. And what Izzy does is about the crew. He puts his life on the line because Blackbeard is killing his crew, and he risks it all for that. But it breaks him seeing the the man he loves so fragile and broken and angry, it breaks him. So, It wasn't an easy job. It was quite a lonely job. It was quite a difficult job because it was going down that path that I knew inevitably we were going to go down. But I thought it was beautifully written. So most of what I needed to do was on the page, to be honest-

SP: -I'm sorry-

Con: I just had to throw myself into it.

SP: Excellent. And then with Izzy being broken and literally broken, he loses his leg, which is symbolic of much more. It leads to one of the most touching moments of the series, a note with four words: For The New Unicorn. What did that mean to you, and what does that mean to the character?

Con: You know, I've been talking a lot last couple of days - because I'm allowed to now - and, you know, this season is about Izzy coming out. In many ways, he comes out, but that moment, that rest, that beautiful piece of writing again, the writing, where the crew embrace him, and it just releases him. It releases him from his own concept of who he is. It releases him from his own concept of who he has to

be to be a first mate and a brilliant first mate. It released him of concept that he's alone. None of this would have been possible to Izzy pre season one, none of it. And in many ways, it's Stede that brings this into his life. Because before Stede, Izzy never thought of his relationship with Blackbeard as a loving relationship. He never thought of it as being in love. He only realizes he's in love with Blackbeard when he sees Blackbeard lose Stede. That's the only... The reveal is he's heartbroken because the man he loves is broken, and he doesn't know what to do with any of that. He's not emotionally capable. And the crew giving him the letter and calling him the new unicorn and releasing him from all the stuff that he'd done, all that pain that he'd suffered and anger that he'd raged upon them, it's a really accepting moment. So... yeah, I'm waffling a bit now, but it meant a lot, and it was a very beautiful moment to play. And I thought Andy, who directed it, directed it so...Andy was a real shoulder for me to lean on in those scenes, because a lot of those early scenes I'm shooting on my own. And it's quite difficult to play an emotional narrative when you're on your own, because it tends to just be one tone. And he was wonderful, and Alyssa and Alex and all. They were all wonderful in helping me gauge those moments, as were the rest of the cast. But, yeah, that moment touched me enormously.

SP: You know, you have this love triangle that is never really spoken, but it's there.

Con: Yeah

SP: Then it kind of shifts - it's almost like a love square. It's Ed, Blackbeard, Izzy and Stede. And where the love, you know, crosses, it's all... or the hatred is at sometimes, but then it evolves...

Con: Absolutely.

SP: It's so complex.

Con: I mean we all're in contemporary language. We always associate love with romance. That isn't the case here. The love that Blackbeard and Izzy have for each other is deep, man. It's deep, and it's rooted in years of working together, loving each other, saving each other's lives, being constant. This is probably the only constant they both had in their lives, is Blackbeard is Izzy, Izzy is Blackbeard, and then they have this buffoon come in and steal Blackbeard's heart. It's not that Blackbeard falls in love with someone else. Blackbeard falls in love with this guy. This Izzy just can't comprehend, and it's a constant. And then once, I think once Blackbeard hands him the gun, everything changes. And Blackbeard says, kill yourself. Everything changes. And then there's an openness to Stede and Blackbeard that brings him to that place of acceptance-

SP: -It's great to watch also. I'm sorry. Go ahead.

Con: No, that. I mean, I'll waffle again. I'll waffle a lot, because that's what I do. But the more I think about that relationship, the more I go down all these different avenues of what it could have been, and what it could never have been, and what it is and what it wasn't. And as you say, it's layered and complex, and I'm honored to have been able to get to play with those actors, and especially with Taika, who's a profoundly good actor - everyone talks about Taika's director and writer - the man's a fucking great actor to work opposite, and he's... he's exquisite. So, yeah, I could only go where I went because the writers and Taika. Really.

SP: That's great. I... of course, we have to touch upon the end of the season and the end of Izzy, unfortunately, which I'm hoping is not. I'm hoping David has something up his sleeve. But what was your reaction when you learned it and how emotional was shooting that final scene? Because that final scene says a lot between...

Con: It was a... listen, I've been around a long time. The writing was on the wall when I started to read the scripts, and David had kind of hinted at it anyway when we went out for the famous dinner where he told me what the plan was, and I was gutted because I loved playing him so much. But, yeah, narratively, yeah, it makes sense. And I have complete faith, respect, love, admiration for David Jenkins, and whatever he thinks or wants to happen in season three will be the right thing if he gets season three, which I, whether I'm involved in it or not, I really hope he gets it, because he deserves it. And the show deserves it. The show deserves its triangle. It deserves it. But, yeah, it took a few days to sink in, and then I was fine. I was incredibly tired by that time. And I was lonely, as... really lonely because I was so far away from home filming all these scenes, and I tended to isolate when I was filming because of the nature of the work. So when I wasn't filming, I was sword training, or I was working out, or I was learning to walk on that fucking leg, or I was whatever whatever whatever. So I found myself isolating a lot. And in a way, it was a relief to be released from it. The final scene David had sent to me several weeks earlier. And I prepped, as I always do, and I prepped and I prepped and we were going to shoot at the beginning of the last week, and then it got shifted to the middle of the last week, and then it got shifted to the morning of the last day, and then it was shifted to the last thing we were going to shoot in the entire season. And there's always a dark cloud around those scenes because you never quite know how it's going to play. And there's a lot of pressure. And it being the last thing we were going to shoot, put more pressure on. And we were on the ship, which is a huge set, hundreds of crew members, the cast, everyone who could possibly be there was there. And I was getting quite unsettled by the amount of cacophony of noise and people. And then we rigged it all up, and it was still just [noise]. And then suddenly it was just me and Taika and just saying goodbye to a character we both fell in love with. And it was... it was a, I'm saying 'profound' a lot, but it was a profound experience doing that scene because everything else disappeared. It was just me and him. It was just Izzy and Blackbeard. And it was a lovely lovely moment.

SP: It was painful, but-

Con: It was lovely to be held by-

SP: -beautiful to watch.

Con: Yeah. Thank you. I mean, it's lovely to be held by another actor just... creatively and likewise with me to him. And David had a playlist playing and it was... elegant to do. It was nice to do. It was a nice, fitting ending to that chapter of this character. And I'll always be grateful that they shot it in that way.

SP: I do have to wrap. I just want to say before we do, I really enjoyed your rendition of La Vie En Rose. fantastic.

Con: Thank you.

SP: That's beautiful. And I appreciate all the work you did in the series, and I hope we see you again. And hopefully maybe you'll have a cooking show too, along the way, because I'd love to see what you make in that kitchen.

Con: Come on and let's bake together. Oh, I can't bake. I'll cook. It's lovely l ovely talking to you, Stephen.

SP: Great talking to you as well. Have a great day.

Con: Thank you. Bye bye.

SP: Thank you.

[illiterateaffairs]

behind the scenes chapter one | i enjoyed our meet cute

masterlist | next

pairing: jamie tartt x actress!reader (ted lasso)

rating: T

word count: 4,722

summary: you’ve been in richmond one day and you’re already having chance encounters with famous british football players, what are the odds?

a/n: welcome to the first chapter of my new jamie series, behind the scenes! fake dating is a god tier trope and i’ve always wanted to write something for it. it will also be very rom-com-y, just like ted would like. i really hope you enjoy the first chapter, i’m so excited to kick off this new story and can’t wait to hear your thoughts. also wanted to shout out @buckychristwrites​ who wrote an incredible fake dating jamie series called could this be and you should totally check it out if you haven’t already ♡

Your alarm goes off at 8AM on the dot but you’re already wide awake. You’ve been in London for 48 hours and instead of taking in the sights, you’ve been trying to reset your sleep schedule. After landing at 10AM Friday morning, you pretty much passed right out as soon as you arrived at your rented, two story brownstone. 

See, London was eight hours ahead of Los Angeles - your home base. While you were used to traveling for work, you’d never had a job in another country before. And jet lag was a bitch.

You’re an actor. You have been since you were 15, when you got a recurring role on a kids show after an opening casting call. Some called it luck, but you called it busting your ass in theater classes as soon as your mom could afford them. You’d been a “drama queen” since you were in diapers and you begged her to sign you up for every class, camp and play in your small town and she did everything she could to support your dream. She’s your biggest fan.

By the time you were 20, you’d had a sitcom and several supporting roles in films that made you an underrated fan favorite. Your biggest break came, though, when you were 22 and were given the opportunity to star opposite A-list actors in the superhero film of the summer. After that you blew up, you did a few more action movies and a couple other dramas. 

Now, freshly 25, with a lot of credits filling your IMDb page, there was one genre you still hadn’t tackled: romance. And that’s what brought you to London. You were filming your first romantic comedy in the beautiful town of Richmond. Usually when your job brought you to a new place, the first thing you wanted to do was explore it. However, spending the last couple days in and out of sleep was preventing you from doing so. Today was Sunday, your last day before production kicked off tomorrow, and you’d be damned if you didn’t get the chance to get out and do something before you were swamped with work.

You get ready quickly, eager to not waste another second inside. However, just as you swing your front door open, you come face to face with your assistant, who’s hand is poised to knock. 

“Oh, good, you’re already up,” she chirps, brushing past you and into your temporary home as she taps away on her iPhone. 

“Margot, I thought we agreed on no work this weekend,” you sigh, reluctantly following her into your living room.

“I agreed and you agreed, but Harry on the other hand,” she frowns holding up her phone, “He didn’t agree.”

You groan. Harry was your publicist. You’ve worked with him since getting the role in one of the Spiderman movies. He always had some crazy idea how to boost your public image, most of which you’ve shot down, but his most recent pitch he hasn’t been able to let go of. 

“He’s still bugging you about that shit?” you question, flopping down in an armchair. 

Margot perches on the arm of the sofa, “He’s only bugging me because you keep ignoring him. He still thinks it's a good idea.”

The good idea in question was agreeing to a fake relationship with another celebrity - or anyone really. Usually the goal of a PR relationship was to gain attention for one or both parties, or their upcoming projects. While that wouldn’t hurt, your publicist thought the benefit of having a fake boyfriend was that you’d appear more desirable. 

In your previous roles, you’d been typecast as the funny best friend or snarky sidekick. Not only was this movie you were about to film your first as the leading lady, it was the first where you were playing a romantic lead. You also haven’t been known to be seen with many suitors in your personal life as well. Not that you hadn’t had any significant others since entering the spotlight, but they’d been short lived and you tried to keep those relationships under the radar, not necessarily wanting the public’s opinion on your dating life. 

Of course, that didn’t stop journalists and people with Twitter accounts from speaking on it anyway. Since you got cast in this Rom-Com - Hopeless Romantics was the working title - you’d been subjected to criticism over how you couldn’t possibly be seen as a realistic love interest when you’ve yet to be painted as such both on and off the screen. Though, you’d love to point out that just because you hadn’t played a romantically driven character before didn’t mean you couldn’t now. You’ve learned to just ignore trolls like that. 

That didn’t mean from time to time the odd comment didn’t get under your skin. 

Still, you didn’t see the point in faking a relationship just to get these people off your back. You had the best fans in the world, who’d watch you do anything no matter the genre. And your co-star was Charlie Knox, who’d been pegged as this generation's Hugh Grant, so plenty of people would be buying tickets regardless. You could hardly argue, feeling flushed after your chemistry reed with the actor even though he was doing just that; acting. Harry had even previously suggested faking a relationship with him, which would be the perfect scenario according to him, but Charlie was of course already taken. 

“He’s going to have to give up eventually,” you shake your head, “Because I’m not doing it.” Margot makes a weird face and you tilt your head, “Don’t tell me you think I should do it.”

“No, of course not. You should have the autonomy to make your own decisions about your love life, real or fake,” she insists, “I just wish Harry didn’t make such a big deal about it.”

“Yeah, I’m sorry he’s bugging you about it. I can talk to him again.”

“No, don’t worry about it,” Margot sighs, “You should be enjoying your day off. Were you on your way out before? What were you thinking of doing?”

You shrug, not really having had a game plan, “I was thinking breakfast or something to start, and then seeing where the day takes me.”

She nods, once again tapping on her phone, “That sounds nice. Don’t be out too late, though. A car will be here to get you at 6AM for the read through.” As she stands up and starts walking to your door, she glances at you, “And wear a hat please. Last thing we need is you to be stampeded by fans like in The Lion King.”

“Margot, I love you, but there is no need to bring Mufasa into this,” you tease, “I promise I will be discreet, but only if you promise me you will also take time for yourself today.”

“I promise,” she says with a small smile, but before you know it, she's already back on the phone and out your door. 

You can’t be too hard on her. You were also known to prioritize your work over everything else most days. But she was not only the best assistant you could ask for, she was also one of your closest friends, and she deserved some time off. You’d have to talk to Harry at some point tomorrow to get him off her back. And yours. 

But first, food.

It had been one month - one fucking month - since Keeley had gotten back together with Roy. And it was the worst month of Jamie’s life. 

Yes, he still has feelings for Keeley. Yes, it hurt him to see her choose Roy, even if it had nothing to do with him. And it was twice as bad that Roy and him had finally started becoming actual friends after all these years. But that wasn’t really the problem. 

It was the way everyone has been looking at him since it happened.

It started with the apologetic look on Keeley’s face that greeted him when he answered the door one summer morning. Before she could get a word out, he knew what she was going to say. In fact, he’d seen it coming. Despite Keeley insisting she wasn’t choosing between him and the grumpy old fart who was now his head coach, the two had been spending more and more time together. Keeley was around the club more and Roy was less grumpy. That morning, Keeley told him she wanted him to hear it from her that they were thinking of starting things again. His stomach twisted, disappointed that he’d practically lost her for the second time. But, God, the look of sympathy she was giving him felt even worse.

That was nothing compared to the way Roy looked at him when he walked into the locker room later that day. Roy wasn’t one to talk about or express his feelings, but he still managed to somehow convey his guilt and apology through a single look. Jamie just shook his head, eager to not speak a single word about the topic and move on. For the first time he wished Roy would just yell at him like he usually did. 

Then a week later, Roy and Keeley were publicly a couple again. The rest of the team and staff were elated, but the few who’d known Jamie had been pining for the bubbly blonde again looked on at him sympathetically, patting him on the back and muttering affirmations on the way to training. In the grand scheme of things, they were just being nice, but he fucking hated it.

He was Jamie Fucking Tartt. He could be with anyone he wanted. Sure, the only girl who’s liked him for him and the only one he’s truly loved would rather be with someone else; someone else who was one of his best friends now. So what? The last thing he wanted was everyone around him treating him like a wounded puppy. He was fine.

It didn’t help that he saw Keeley and Roy all the time. At work. At team celebrations. At friendly gatherings. They were everywhere. In fact, they went the extra mile to include him in things to make him feel better, though it had the opposite effect. He felt like a charity case. He didn’t need them babysitting him, like he couldn’t spend a single night alone without collapsing into a full mental breakdown. 

To be fair, the last time he’d had a night to himself, he’d made the mistake of turning on The Notebook for the first time out of morbid curiosity and he wept for an hour. But it was The Notebook for fuck’s sake, what else was he going to do?

Things improved little by little as the weeks had gone by. Sam and Colin stopped giving him glances everytime Keeley visited the locker room to drop something off for Roy. Keeley stopped looking at him with guilt riddled eyes, but there was still a weird energy between them when they hung out. And with Roy things felt mostly normal. 

At least he thought so, but this morning Jamie’s been wandering around his house aimlessly waiting for Roy to show up for their regular early morning training. He’d been ready at promptly 4AM but there was no sign of his coach. He waited thirty minutes before calling but no answer. So, he plopped on the couch and watched some cooking show for another hour or so before trying again. It wasn’t until 8AM - four hours later - he got a call back from Roy.

“Hey, I thought old people were usually up early,” Jamie teased upon answering, “Did you oversleep, grandad?”

Instead of Roy’s gravelly voice responding, he hears another familiar voice in the background, “Is that Jamie? Tell him I’m sorry.”

Keeley.

Jamie’s stomach twists. Of course.

“Uh, yeah,” Roy’s voice eventually says, “Keeley was here and I forgot to set an alarm. We were going to get breakfast but then we can meet at the park if you still want?”

Roy grunts as Keeley speaks up again, voice distant, “Oi, ask if he wants to join us.”

Roy sighs into the phone, “Yeah, unless you want to come to breakfast with us?”

Jamie closes his eyes. Another pity invite. “Um, thanks mate. That’s alright, though. Think I’ll get some running in on my own and maybe we can meet up later tonight.”

“Yeah, that works…” Roy says before tacking on, “Sorry, Jamie.”

Jamie chuckles humorlessly, “Not a problem. Talk to ya later.”

He hangs up and tosses his phone across the couch. Not only did Jamie not like feeling like a third wheel, he didn’t like being one because the other two felt guilty. Especially when he was still getting over his feelings for one of them. He groans, forcing himself off the couch, eager to stay true to his word. He needed to run off these feelings. 

You’d been leisurely walking through the streets of Richmond for a little while, enjoying the early fall breeze and the sights as the leaves started to change color. You’ve been trying to keep an eye out for a place to grab breakfast or a snack, but you’ve been distracted by the shops and the people walking around you. For your part, you were donned in sunglasses with a ball cap tilted low on your head. So far no one has stopped you, which was nice. Not that you minded meeting the occasional fan. Most were sweet and you adored connecting with people face to face, but there was always the risk of someone just in search of an autograph or selfie despite not caring about you or your work, not to mention nosy paparazzi who pop out of nowhere to get a photo. So, you’re enjoying the semblance of normalcy while you can. You sense that once filming starts, those in the area will be eager to catch a glimpse of you and your costars any chance they get. 

You’re a little too comfortable with flying under the radar, when as you’re turning a street corner someone runs right smack into you. You both fall to the ground, your sunglasses flying clear off your face. Your heart hammers in your chest, wondering if someone had done this on purpose, but the stranger next to you also appears to be scrambling. 

“Fuck, sorry,” they mutter, grabbing your discarded sunglasses for you before pulling you both up. As he places the glasses back in your hands, his eyes meet yours for the first time, “Oh shit, are you…”

You smile sheepishly, his eyes alight with recognition. You’re still a little anxious from the encounter, as you try to get your breathing to return to normal. You vaguely wonder if this guy is going to ask for a picture or something, when you actually hear the familiar click of a camera and your blood runs cold. 

“Hey Jamie Tartt!” an accented man calls, “Who’s the girl, Jamie?

The man in front of you looks back at you with wide eyes and grabs your hand, “Shit, come with me.”

You can barely process what he’d said as he pulled you down the street, “What? Where are we going?”

“Somewhere private,” he explains as you continue jogging alongside him, “Where there’s one paparazzi, ten will follow. But I’m sure you know that.”

You can’t argue with him. But you do wonder who the hell this guy is that he’s so familiar with paparazzi. You also briefly consider if following a guy you’ve never met through alleyways is a smart decision, but you hardly have the time to dwell on it. 

After a few minutes, this mystery guy, who you can only presume is named Jamie if the paparazzi was right, leads you through an unassuming storefront that ends up being a charming and quaint little café. You look around curiously. It’s not completely vacant, but the patrons don’t bat an eye when the two of you enter. The middle aged barista behind the counter looks at your companion with a warm smile and greets him, once again, by Jamie.

After your heart rate returns to normal, you turn to the man beside you. He gives you a tiny shrug, “I come here when I don’t want to be bothered. Not many people know about this place but it has the best scones in Richmond.”

You squint at him in curiosity, “So, I’m guessing you’re…someone of note then, too? If that paparazzi was taking your picture and you have a secret hideout.”

He chuckles, looking a little bashful, which you have a feeling is out of character for this guy, “Uh, yeah, I’m Jamie Tartt? Premier League footballer for AFC Richmond?”

Your cheeks heat up, “Oh, uh, sorry, I’m not really familiar with…”

He cuts you off, “No need to apologize. Wouldn’t expect an actress from the states to know anything about English football.”

You chuckle, despite yourself, “Well, if it helps I don’t know much about American football either. Or any sport for that matter.”

Jamie’s lips quirk up again, “I know you, though. From that thing.”

You snort, “Well, I’ve done a couple of things.”

He shakes his head, “No, no, no, you’re in that one movie, what’s it called,” he snaps his fingers, “Meet Me in Melrose, that's the one!”

“Wow, that’s a deep cut,” you comment, the film being an indie you worked on years ago; one of your first bigger roles despite the lower budget project.

“Yeah, my old coach? It was one of his favorites, so the whole team became obsessed. We’ve watched a bunch of your stuff,” he explains.

“That’s cool,” you nod with a small smile.

He nods along with you before suddenly becoming very aware of his situation, “Uh, can I order you something? Or, shit, you probably had somewhere to be. I usually try to wait things out for a while here, but if you have to go…”

You once again consider the oddity of casually hanging out in a cafe with a man you just met, but he seems trustworthy enough. And even a bit intriguing.

So you respond, “No, I don’t. I was just out exploring before. I was actually looking for a place to eat so this is perfect. I’m happy to hang out here for a bit.”

“Okay, cool,” Jamie nods again, still feeling a bit unsure of what to do when a Hollywood movie star is suddenly in your midst, “Uh, do you like coffee? Tea?”

You shake your head, “You don’t have to buy anything for me.”

“Well, I was the one who crashed into you and abducted you here so it’s the least I can do.”

You giggle, “Okay fine, I’ll take a hot chocolate. Coffee makes me anxious and tea tastes like a worse version of water. No offense.”

Jamie laughs to himself before walking up to the counter to order for you both. He returns moments later with a hot chocolate for you and coffee for him, as well as two of those scones he mentioned, before leading you over to a small booth in the back of the cafe. 

“So, uh, you must come here often if the staff knows your name,” you say as you blow on your drink for it to cool, “Unless they’re all soccer - sorry - football fans?”

“Actually, Olive, the owner of the café doesn’t know shit about football. It's part of the appeal,” he tells you, “I manage to avoid photographers most of the time, but even if they’re not hounding me, I still like to come here to get away from things.”

“That makes sense. I feel like it's hard to do that in LA. Even the small businesses are overrun with influencers trying to find the trendiest spot nowadays,” you muse.

“Is that where you live? LA?” he asks.

“Mhm. Have you been?” 

“Nah. Been to New York before, but spent most of my time in some clubs,” he tells you, “Have you been to London before?”

“No, actually,” you admit, “I’ve always wanted to come but never got around to it. I’m actually here for a film.”

“Oh, yeah, a Rom-Com, right?” he asks and you nod, “It’s all anyone can talk about around the club these days. We’ve never had a big movie shoot in Richmond before.”

“Hmm, wait til everyone hears how you kidnapped one of the stars,” you joke, finally braving a sip of your drink.

Jamie laughs, “I think I’ll keep that one to myself. Plus, I don’t think they’d even believe me.”

You laugh along with him, thoroughly enjoying his company as well as the delicious cocoa. You also finally try the scone Jamie placed in front of you. Your eyes light up after the first bite.

“Is that blueberry?”

Jamie’s eyes widened, “Sorry, I should have asked…”

You furiously shake your head, “No, no, don’t apologize. I love blueberry.”

Jamie’s lips quirk up, “Me, too. It’s my favorite.”

You smile back, but it drops when you feel your phone buzzing in your pocket. Pulling it out, you see that you had a missed call from Harry along with a few text messages. Instead of responding, you roll your eyes and put it away, eager to forget that the man exists until tomorrow.

“Uh, everything okay?” Jamie asks tentatively. 

“Oh, yeah,” you reassure, plastering another smile on your face. Then you find a part of yourself that desperately wants to vent about your situation to an unbiased party, “Actually, uh, I’m not sure how much pressure football players are under for their image, but have you ever been asked or been in a fake relationship for PR?”

Jamie leans back, processing the question, “Uh, no. I haven’t really had a problem finding my own girlfriends.”

You snort, “Of course.”

“But I’ve heard of it happening with other footballers,” Jamie adds, “And there was this whole reality dating show I did and none of that was real.”

You gasp, “You were on a dating show?”

Jamie nods reluctantly, “Yeah. It was called Lust Conquers All. It was a low point.”

You can’t help but laugh, “Wow, I’ll have to check it out.”

“Please don’t,” Jamie groans, rubbing a hand over his face, wondering what possessed him to even bring it up.

After your laughter quells, Jamie eyes you curiously, “Why do you ask? About PR relationships, I mean.”

You sigh, looking down at your hands in your lap as you answer, “My publicist wants me to do the whole fake relationship thing.”

Jamie’s eyebrows furrow, “Why?”

You shrug, not eager to admit but still wanting to know his take nonetheless, “Apparently, I don’t seem like a romantic person, because I haven’t done a romantic role or publicly dated someone before.”

Jamie continues to look confused, “So? Isn’t that what actors do? Play new roles even if they haven’t done it before?”

“Yes, thank you,” you agree, nodding furiously, “But since I’ve only played cynical or sarcastic characters, that’s how people see me. Apparently, I don’t seem like a good choice for a movie called Hopeless Romantics.”

“But you’re not like your other characters in real life right?” he asks, “You’re not completely cynical about romance.”

You falter, your eyes flitting away from his. Jamie scoffs.

“Oh, come on, don’t tell me you’re anti-romance.”

“I’m not,” you sputter, “I just think dating is a little more complicated than the movies make it seem.”

Jamie doesn’t listen, “Wow, I can see why your publicist thinks you need a fake boyfriend for this to be a little more realistic. You can’t be against love and in a movie about love.”

You gasp, lightly shoving him, “Hey! I’ll have you know I’m not against love. It’s just…hard to come by for me.” You sigh, trying to figure out what exactly you’re willing to admit, “The last few guys I’ve dated weren't so great. They either only wanted to date me for the exposure or connections or money.”

Jamie’s expression sobers, “Oh.” 

“Yeah,” you nod, “My last relationship, if you could even call it that, was so short lived. It ended because he stole this fancy vase thing from my house.”

“Wow,” Jamie whispers.

“And jokes on him, it was from pottery barn,” you huff, “But yeah, basically its not love I don’t believe in. It’s other people. So I’ve been pretty content to be on my own these days.”

“I get that,” Jamie says softly after a beat, “I’ve dated plenty of girls who only wanted me cause I’m a footballer. Or cause I’m great at sex,” you snort, shaking your head, but he continues, “Not that I really wanted a real relationship, but it still hurts when someone doesn’t want you for you.”

“Exactly,” you nod, picking off pieces of your scone, “I’ve never been with someone who felt genuine. Have you?”

Jamie sighs and you sense there’s a story there, “Once, but I fucked it up. Didn’t realize what I had until it was gone. Classic right?”

You huff lightly.

“The worst part is she was kind enough to stay my friend even after the way I treated her,” he continues, “So not only does she treat me with kindness that I definitely don’t deserve, but I have to sit by and watch her be with someone else.”

You frown, “That must make it hard to move on.”

“You have no idea,” he chuckles humorlessly. 

“And you haven’t been with anyone else since?”

“A couple girls, but nothing serious. And no one recently. Haven’t really seen the point.”

“So I guess I’m not the only one who might be a little cynical then, huh?” you ask with a teasing smile.

He gives you a half smile. “Yeah, I guess I can’t be one to judge.”

You study him for a few more moments. After your introductions, you would have guessed Jamie Tartt was another classic playboy athlete, and after conversing with him that seemed to be his reputation. But now you weren’t so sure. He was…peculiar. 

You continue chatting for a while longer. He tells you more about his football team and you tell him a few spoiler-free details about the movie you’re shooting. Before you know it, you’d been camped out in this cafe with Jamie for a full hour. Time flies when you’re enjoying yourself. You had to imagine the paparazzi had to have left the area by now. And while you weren’t in a hurry to cut your conversation short, your hot chocolate was no longer hot and your scone was long gone. 

“Hey, this place is really nice by the way,” you comment, as you gather your trash, “I might have to come back here. That is, if you don’t mind sharing your secret hide away with me for the next three months?”

Jamie chuckles, following you back to the front of the café. “Feel free.”

You smile at him softly, as you walk out the door, “Maybe, I’ll uh, see you around?”

He shrugs his shoulder, “Yeah, I’ll be around. Maybe you could catch a football match while you’re in town.”

“I’ll definitely keep that in mind,” you nod, “Well, thank you again for the rescue. I owe you one.”

“Nah, it was nothing. Get home safe, yeah?”

“You, too. Bye Jamie.”

He bids you farewell, before you two reluctantly turn and head in different directions. You wrinkle your nose, recapping your encounter in your head. What a random coincidence to run into an apparent famed football star on your first day in town. You wonder if you ever will run into him again, but you assume the odds of that are low.

Meanwhile, on his walk home, Jamie is questioning whether or not he should have asked for your number. In a strictly platonic sense, just to keep in touch or to be available in case you needed a friend while you were in town. But he brushes the thought away. Like a famous actress would want to willingly hang out with him if she wasn’t hiding from paparazzi. Yeah right. Odds are this was all a dream and the boys would laugh in his face if he brought it up tomorrow. 

Real or not real, he’d remember your morning together fondly. 

a/n: please let me know any and all those! again, so excited for this story and brand new journey for jamie x reader. also! i will be starting a fresh taglist for this story, so let me know if you’d like to be tagged. the distractions taglist will stay the same for any one shots i may continue to post in that universe. <3

taglist: @respondingtoshowerthoughts-blog​ @royalestrellas​

[ha-bloody-ha]

It's almost official: the Murdoch Quilt, made from costume scraps from seasons 12-14 of Murdoch Mysteries (with a few pieces from earlier years), is going up for auction very soon! Bidding will close on not long after October 2, the date of the S17 premiere. I even managed to get a high-end art auction house involved. I had a Zoom call with them and the Shaftesbury Films publicity people this afternoon to finalize plans. (Yes I am freaking out about this.)

Christina Jennings, Founder, CEO, and President of Shaftesbury Films gave the quilt and the Urban Alliance on Race Relations, beneficiary of the auction proceeds, a shoutout in her speech to the crowd at the Shaftesbury TIFF party last Monday. (She suggested that someone's grandmother might like it. Me, I want it on permanent display somewhere. It's a work of women's art that was never intended to disappear into someone's linen closet. But that was, uh, not the ideal venue for pushing that argument. Ahem.)

Some of the "best" questions people have asked about the quilt:

How do we know it's authentic? Are you trying to scam people?

Seriously? You honestly think someone would come up with a scam involving the time and coordinated effort of 20 people in three countries to produce something that has fabrics that look EXACTLY like what's in the costumes on TV, in order to raise money for a 48-year-old anti-racism charity? That's... rather a grim way to perceive the world.

2. Why don't you sell the pattern so other quilters can make it too?

There is no pattern. 18 people designed and made their own unique blocks from the fabrics they had available. If you want to stare at pictures of it to reverse-engineer the 30 different blocks so you can make them from other fabrics that didn't come from the MM costume room, knock yourself out.

3. You're making another one, right?

No. This one took hundreds of dollars (gas, postage, longarm quilting) and at least 150 hours of work. "One of a kind" means "one of a kind."

(I have so many thoughts about how textile art is [or isn't] valued, and whom it's perceived to be for, even by people who really should know better. I'm hopeful that this project and the auction will spark some thoughts and conversations about this. Best case, the quilt itself will net five figures, maybe from one of the Bus People who've been on the fancy tours and who Get It about what this kind of fibre art is worth. I can dream, can't I?)

Anyway. Auction closes in early November! October 2! More details coming soon! aaaah!

[daveinediting]

Okay so everything about the 48 Hour Film Project is time management. It's Tetris on a clock that's stuck on fast forward.

This year, however, with an asset-heavy post-production on our hands, Sunday is a crazy super time management day.

The object of Sunday is to finish our film and submit it online to the competition website before before before 730pm. With that in mind, the producer and director are in my suite a little after ten in the morning so we can make the changes we need to make in order to produce a "locked" cut for the sound designer.

By the time we wade into the process, my cut is :46 long. By 11:20, the cut's five-ish seconds light... but the director wants another thirty out of it. So we go again in an effort we refer to without an ounce of irony as the "Killing Our Darlings" cut.

And yeah. We do manage to pull another thirty from the film by 12:10pm. The film's seriously tight now with only one regret (for me) over a shot we had to trim and, in so doing, caused it to lose its muchness. 

No one will know, of course.

But I'll know. 🤨🤔😕

Yesterday I mentioned how editors of old might be gobsmacked by my experience. To be clear, that experience was a combination of, on Saturday, editing a first cut while engaging conversations by text, email, and Discord across the day with the composer, graphic designer, and sound designer as well as managing the assets sent my way on Google Drive and sending assets and review links on Dropbox. On Sunday, the experience became editing further cuts in collaboration and discussion with the producer and director in the room while continuing discussions and requests with the composer, graphic designer, and sound designer, sometimes redirecting a conversation or request to the producer or asking the producer to follow up or coordinate for me.

And then managing assets arriving on Google Drive.

Yeah.

Fortunately, my notification alarm is a low key twinkling sound... but both days involved a lot of twinkling while I edited and, in the most Pavlovian way I can imagine, I always attended to those notifications immediately lest I subsequently forget to respond to a question or request or some asset I'd need.

Everything was absolutely in real- time. Nothing delayed.

So I think that live experience involving interactions with up to five people at any given moment as well as managing assets on the fly would've filled editors of old with trepidation about their own futures where concentration is obviously and constantly challenged.

:-(

I don't know what to tell you. It's what we had to do to keep everyone in the loop, keep them informed, give 'em a heads-up of what was coming before we locked my cut. Up to twenty hours before we locked my cut. We engaged serious projecting, forecasting, as well as considering the shape of the film as it was taking shape. And, with the producer and director in the room, ideas could be inspired and tried out seamlessly.

Looking back on my texts, we engaged the graphic designer like that from 130 to 430, requesting, receiving, and placing their work into the film until the producer proclaimed their work complete.

Looking back on my Discord conversations with the sound designer, those interactions began a few minutes before 9AM with a sort of triaging request to help prioritize what I would inevitably be sending their way... ending a few minutes to five with a heads up of further elements that might prove useful to me as we were wrapping the finished, locked cut.

The space in between, especially mid-afternoon as we started receiving finished sound design assets was pretty magical, I won't lie. Four major scenes to complete that wouldn't, couldn't land without sound design. The first one he sent was the one that had no original sound at all... so it was all his work filling in that scene. And it.

Was.

Wonderful.

Then the scene immediately following in which our protagonist runs into a storage room and—

Yeah.

There's no coverage inside the storage room. We see her go in. We see her come out. And what happens in between those two actions is absolutely "written" by the sound design.

Genius!

They also sent the scene in least need of help (in my opinion), making good on my hope they might hear an opportunity where I didn't. And they did, by the way. Less an act of adding something as it was making good on the logic of what was happening in the scene. What would the sound be doing based on the actions of the protagonist?

The final scene they sent was tricky. It definitely involved a mood pivot. It absolutely involved timing. And the producer and director were still verbally processing what should happen sound wise. They were still figuring it out.

So the sound designer offered and I ultimately asked for him to send over the individual elements of his scene design so we could play with them on my end. Which he did. Which we did. And, ultimately, with a bit of discussion and experimentation, we figured it out.

We figured. It out.

In the end, we got our film across the finish line around five-thirty Sunday afternoon.

Then it's moving the mp4 file onto my SSD drive and the director's thumb drive. Then it's watching that file on the director's laptop where, even through the laptop speakers, we sounded fantastic. Then there's the upload process that never actually fully succeeds through our wifi network. The attempt, though, was validated through something called a checksum...

...and so the director and producer scooted out of my place, to their car, back down to Seattle where the upload completed around 715. Fifteen minutes before the drop-dead deadline. Closest, I think, we've ever crept up to the deadline although, truth be told, the checksum validation allows the final upload to occur after 730. Something like that. The producer and director, though, were still quite happy to be out in front of the deadline.

Rather than behind it.

And with that.

We were done.

Premieres in a week and a coupla days, Wednesday July 24, 9pm, at SIFF Cinema Uptown. The former Uptown Cinema right there on lower Queen Anne.

And tickets?

Glad you asked. 😉

You'll find 'em here. 

Remember: Wednesday, July 24, 9pm.

😁😁😁🤯😊❤️❤️❤️