A Note To Etienne

Screening Progress

2011-04-12T11:13:00.000-07:00

It’s been a whirlwind with our little French film these past weeks. First, we had a very successful screening last week put on by Luminave Films and we couldn’t be more thrilled with the response we’ve received. We screened with very different types of films – including a very chilling horror short (Singularity) and a cute and endearing romantic comedy short (Brownie Points). We screened to about 160 people and were met with a wonderful applause. Congratulations to our wonderful cast and crew for creating a wonderful story.

We’re waiting to hear back from about 5 or 6 other festivals. However, if you’re in the Los Angeles area and missed this past screening, you still can see our film at the Toluca Lake Film Series. It’s April 17^th at 12pm at the Sidewalk Studio Theater and is only a mere $5 to watch four very different shorts. Tickets are available online at www.brownpapertickets.com or at the door the day of the event.

Merci Bien!

Festivals, Grants... Et Plus!

2011-03-01T10:45:00.000-08:00

As you’re probably aware, us on the A Note to Etienne team have been MIA lately. No, we haven’t abandoned you. We would never! We’re actually playing double-duty by handling Etienne’s festival distribution while in post-production on another short – A Boy’s Life (visit the website for more information & to be part of the action).

As for Etienne – we have exciting news! We’ve been selected to receive the Patron of the Arts film grant to continue to aid us with Festival Submissions! This means we’re prepared and ready to enter the second leg of festivals and get this short film out there for people to see. Thank you so much to everyone at POTA for this amazing donation. This will definitely help us move forward and show people the hard work we all put into this film.

Most importantly, thank you to everyone who 'liked', voted, and spread the word for this competition. It definitely couldn't have been done without your help! THANK YOU!

Stay tuned for more news as we continue the festival circuit! Please check out our other film’s website and spread the word.

Onward and Upwards!

Questions w/ Dylan Jury

2010-11-23T09:03:00.000-08:00

The Casting Director

1) Tell about yourself in exactly twenty words.

I’m a film school graduate breaking into the industry via the casting department on many studio and independent films.

2) How did you get involved in ‘A Note to Etienne’?

Well, seeing that I live with the director, he had no choice but to work with me.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on foreign produced films, but none in a foreign language. Je m'appelle Rachel.

4) What project(s) are you working on next?

I'm the casting assistant on several television series and movies in pre-production (including Nolan’s next movie about a certain black-suited superhero…). I'm also working on Eli's next short, A Boy's Life.

5) What's the strangest casting situation you've ever been involved in?

Casting an "internet sex chat girl" for an independent film I was working on.

Questions w/ PJ Gaynard

2010-10-19T18:28:00.000-07:00

The Executive Producer

1) Tell about yourself in exactly twenty words.

I make movies. I help other people make movies. I'm obsessive, relentless, and demanding of myself. I like Eli a lot.

2) How did you get involved in ‘A Note to Etienne’?

Eli volunteered his services in the art department when I made my film Love Sick Love. It seemed only fitting that I do what I could to help him make his project. I volunteered my camera equipment.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I worked as executive producer in a similar capacity on a separate short film called Sandwich Shop directed by David Haskell which was also in French. It was a fun project to shoot because it was almost entirely one shot and included some serious dolly moves.

4) What project(s) are you working on next?

I’m currently running my production company Goat Milk Fudge Productions. Along with working on a slate of productions as a producer and DP, I’ll be directing a new short entitled My Anne Frank soon.

5) If you could have created any film past or present and claim it as your own, what would it be? And why?

Excalibur by John Boorman. Every time I watch it I learn something about myself.

Questions w/ Hamdija Ajanovic

2010-10-06T08:35:00.001-07:00

The Composer

1) Tell about yourself in exactly twenty words.

Happily married, Tucson based, classically trained composer with a degree in film who plays multiple instruments and speaks several languages.

2) How did you get involved in ‘A Note to Etienne’?

Three years ago, I worked with the director, Eli Benavidez, on Park Bench. Needless to say, it was a great experience, and when he called me (while I was on a vacation) to see if I was available to score Un mot pour Étienne, I agreed even before knowing what the film was about.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Even though English language is not my native one, this was the first time I worked on a non-English speaking film. I could not say that it was any different then usual. All the elements of the film, from acting and directing to lighting, cinematography, editing, etc., were beautifully crafted to convey the intended emotions. The music was already in there; all I had to do is give it a life.

Voilà!

4) What project(s) are you working on next?

I am currently composing music for Grapple Buggy, a video game for Xbox 360 that is being developed by Mommy's Best Games. In addition, my wife, Jodi, and I are collaborating on a modern day opera, based on the Through the Looking-Glass, and What Alice Found There. Jodi is writting the story and lyrics, and I am composing the music. The play is scheduled to premiere next year in July.

5) What's the strangest talent you have?

Being me.

Questions w/ Frank Mohler

2010-09-21T08:34:00.000-07:00

The Editor

1) Tell about yourself in exactly twenty words.

Frank Mohler is a self-proclaimed Beta Male who is passionate about sports, movies, tv, beer, and beautiful, yet unobtainable, women.

2) How did you get involved in ‘A Note to Etienne’?

I had cut a short film for Producer Allison Vanore and Executive Producer PJ Gaynard the year before, so when the Original Editor of ANTE had to pull out, Allison asked if I was available. I told here that as long as she didn't think it would conflict with the other 2 projects I was working on for her, I'd be happy to join the team.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

No. But it wasn't too bad as I had taken French in high school and college, so I knew just enough to feel comfortable matching up the imagery with the narration. Luckily, Caitlin had already pieced together the audio before I came onboard, so that made it even easier.

"Voulez-Vous coucher avec moi ce soir?"

4) What project(s) are you working on next?

I'm currently finishing up work on a couple of DVD bonus features, and enjoying the launch of SOLO-The Series, I web series I edited for ANTE Producer, Allison Vanore.

5) If you could watch just one movie for the rest of your life, what would it be? Why?

I refuse to answer that question. There is no fair answer.... Fine. The Princess Bride. Its got a little bit of everything in it.

Questions w/ Isabelle Giroux

2010-09-17T09:25:00.000-07:00

The Leading Lady

1) Tell about yourself in exactly twenty words.

I am a woman with the spirit of a 16 year old but the mind of a 34 year old. :)

2) How did you get involved in ‘A Note to Etienne’?

I was craving for a French part in Los Angeles so when I actually saw the breakdown online, I submitted myself for the role. Next thing I knew, I was in a play with the director's best friend, which invited him to come see the show. When I was invited to audition, I felt more relaxed since I had been introduced and I could really feel the character without being stressed out... that might be what got me the part... adding to the fact that I'm a born and raised French speaker!

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Well, indeed I have... I've worked on american movies! :) It was fun to work on a film in my own tongue because I didn't have to worry so much about the way I talked. De plus, mon partenaire dans Un mot pour Étienne était Français de France. Donc, sur le plateau, on pouvait discuter sans que personne comprenne... hahahah rien de choquant ni de personnel!

4) What project(s) are you working on next?

I'm on a revival Musical of a show called "Big Bazar" from a great French Singer, Michel Fugain. We've performed in Montreal during the Francofollies festival, in June, and we'll be touring around the province of Quebec. I've also just shot a co-star role for a new series coming up on Quebec's tv Fall 2010. I'll be in 2 episodes.

5) What's the most random thing you've ever done?

...work at a huge fast food restaurant chain... I won't say which but I'll tell you there's a big yellow letter...

Questions w/ Michaela Pentacoff

2010-09-07T13:12:00.000-07:00

The Sound Designer

1) Tell about yourself in exactly twenty words.

I enjoy working against the elements, squishing into small spaces and listening to ambiences... I'm all about sound.

2) How did you get involved in ‘A Note to Etienne’?

I went through undergraduate with Eli, although he was a year or two ahead of me. We worked on several films together and have kept in touch ever since.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on several films where spanish was the primary language before but ANTE was my first all french film. When it comes to editing production audio, working in a language you don't primarily speak can be very tricky and requires lots of notes and a translated script (with both languages). It actually is quite fun because I begin pick up phrases in the language I would not normally use.

4) What project(s) are you working on next?

I am working on several projects at the moment, all of which are being submitted to the Sundance Film Festival this September.

5) What song describes you best? Why?

There's so much music in the world, how can I choose only one song?

Questions w/ Moira Taylor

2010-08-25T19:18:00.000-07:00

The Makeup/Hair Artist

1) Tell about yourself in exactly twenty words.

I can do it in just one word. COLORFUL!

2) How did you get involved in ‘A Note to Etienne’?

I got involved with 'A Note to Etienne' because I had previously worked with almost the entire crew before on past projects such as 'Hopelessy In June' and 'Solo The Series'. I loved the time that I spent on those sets and would jump at the chance to work with them again!

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I had never worked on a foreign film before working on 'A Note to Etienne.' It was amazing to work with the French speaking actors because the language is so beautiful. When filming, I didn't know exactly what they were saying but the actors were so incredibly talented that I was able to understand the dialogue through their emotions and actions.

4) What project(s) are you working on next?

As a freelance makeup artist it is so hard to know what my future endeavors will be. Although I have been working less on sets and more with individual clients lately which is super sad because I love the energy of movie sets!

5) What's one talent we'd be surprised you're able to do?

I don't really know if this qualifies as a talent but I'm pretty incredible at playing Flip Cup. :D

Questions w/ Gilberto Vega

2010-08-17T08:31:00.000-07:00

The Production Designer

1) Tell about yourself in exactly twenty words.

My name is Gilberto Vega, I am from Tucson, AZ and I have lived in LA for almost 7 years.

2) How did you get involved in ‘A Note to Etienne’?

I got involved with the film through Allison, the producer. She emailed me and asked if I would be interested.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

-Is this a foreign film? I thought the definition of a foreign film is a film that is shot in another country by local residents? Or a film shot in the crews' native language. As opposed to a film shot in another language regardless of location or the crews' native tongue. I don't know. But no, I've only worked on US films shot in English.

-Working on a French film was fun. I enjoyed my job in making the film appear "French."

-Paté

4) What project(s) are you working on next?

At this moment I am finishing up a music video.

5) What's the strangest item you own (clothing, toy, furniture, etc.)?

A sword.

Questions w/ Jorge Urbina

2010-08-02T11:08:00.000-07:00

The Director of Photography

1) Tell about yourself in exactly twenty words.

I'm a dreamer, a wanderer with a goal to make movies. Someone strings them together, I analyze and then wonder.

2) How did you get involved in ‘A Note to Etienne’?

That's a good question. I got in involved through probably the best way to get involved with a project. It all started through conversations about Eli's story. Eli sent me the script, I read it and then we just talked about it. I was unaware that he was pushing to shoot it and before I knew it, we started to nail down shooting dates, etc. It's hard for me to explain but think of it like a couple of people just actively planning a trip to vegas. I hope that makes sense. My point is my involvement just happened naturally. I don't think I answered the question...

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Yes, I have worked on a foreign film before and I prefer those types of projects over english language or domestic US films or however you would classify it. It was a personal journey and I am referring to the question on what is was like working on a french film. I find these types of projects more intimate and enduring in my opinion. Having an opportunity to work on a foreign film or the experience of it to me is like having an intimate encounter with a woman from a foreign country...its strange but yet all the famaliar aspects of being physcial are the same making it a much more intense...if you don't know what I am talking about watch The Red Ballon (Lamorisse) or La Haine (Kassovitz) or Day For Night (Truffaut)....then get back to me...something in French..."cuo meck da flue bac!!!" Lol!

4) What project(s) are you working on next?

Ooo...that is a tough one...uh...I take it back...none right now...I have some personally projects I would like to develop...I might be shooting a spanish language feature in los angeles in the fall, hopefully it doesn't fall through....

5) If you could be any person for just one day, who would it be, and why?

My father...would you like know... ;)

Questions w/ Joslyn Sifuentes

2010-07-28T08:56:00.000-07:00

The Costume Designer

1) Tell about yourself in exactly twenty words.

I am a New Mexican and those from New Mexico are probably the only ones who will understand this term.

2) How did you get involved in ‘A Note to Etienne’?

It was by accident, Eli had asked if I could assist in casting his film since I had been managing actors for several years. While helping Eli cast his film, we were brainstorming on the style of the characters. The brainstorming developed into my involvement as the costume designer.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on a forgeign documentary for the BBC as a Set Dresser. I spent the whole entire time in 110 + degree heat for a couple of weeks it was torturous!

It was fun working on a French film because you could take the wardrobe to another level. The French wear clothing that fit their personality so there is a lot of thought into their look but at the same time it is very effortless and natural. Because the characters were French, I was able to play a lot more with color, textures, patterns, and accessories. It was very playful and whimsical!

As my cousin would say,"Yes I speak French... Champaign!"

4) What project(s) are you working on next?

I will be working again with Eli Benavidez on his next short tentatively entitled, A Boy's Life.

5) If you could watch one TV show for the rest of your life, what would it be? Why?

The Cosby Show hands down and do watch it quite often!

2010-07-23T14:20:00.000-07:00

Since we’ve gotten in the groove with the festival circuit, we really wanted to create a screener label that’s not only informative, but great to look at. Designer Patrick Thomassie created this design and I can’t wait to send these DVDs out!

Questions w/ Allison Vanore

2010-07-20T09:41:00.000-07:00

The Producer

1) Tell about yourself in exactly twenty words.

Storyteller of all types. Particular about logistics but able to toss it all to the wind and have fun. Wink.

2) How did you get involved in ‘A Note to Etienne’?

I have known and worked with the director, Eli, for quite a few years. We both attended UofA and we worked together at the campus television station, UATV. When Eli began developing scripts and getting excited about shooting again I was definitely enthusiastic about being involved. Eli is a great writer and so much fun to be around and work with that it was a given. When Eli asked me to produce I said yes right away.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French.

I haven't worked on a foreign film before however I've worked on films with no dialogue and so this production was a lot like that for me. With most films and with good actors you don't even need to know what it is they are saying specifically to get the feeling and the impact of what is happening in a scene. Isabelle and Lukas were so telling in their delivery, their expressions, their pauses, their eyes, that I didn't need to understand the words.

4) What project(s) are you working on next?

I'm currently finishing production on a feature romantic comedy Hopelessly in June, I'm about to jump back into production on webseries, SOLO The Series, and I'm working with Eli on a new short film, A Boy's Life. All super exciting projects - can't wait to share them with the world!

5) What fictional character are you most like and why?

Out of all fictional characters ever, across all mediums, times and genres?! Leave it to you to ask such a difficult question! Mary Poppins. She comes in, organizes everything, pulls the things you need out of a big bag and then, when that's all in order, you can finally have fun!

Posters and Progress

2010-07-13T15:31:00.000-07:00

Yes, I know. Two months have gone by without an inkling of a progress update. Sure, I could blame it on the 12-hour job I’ve been so fervently working at, or I could just own up to my epic failure and apologize. Sorry for my momentary absence.

That being said, I just wanted to fill you in on all of the juicy progress. We’re entirely wrapped with post-production on the short, and we’ve even screened it to quite a few audiences, and the film has been welcomed enthusiastically!

As far as festivals are going, we’ve submitted to the first eight, and we have ten more festivals looming just around the corner. By the end of the year, we should have 30 festival screeners submitted and, with hope, many acceptances.

For those of you on the ‘Etienne’ team, I haven’t forgot about you at all. We’re in the process of creating DVDs just for you, and I’d like to have a private screening once the dust has settled.

In the meantime, I’d love your opinion on which poster design you like best. If there’s anything about the poster that you think needs altering, I’d love to hear from you. Poster designer, Geo Herrera, would love feedback as well!

POSTER DESIGNS

Poster Design #1: Pink cursive font

Poster Design #2: Maroon/Mustard Yellow papyrus font

Poster Design #3: Maroon/turqoise papyrus font

Status Update

2010-05-04T18:57:00.001-07:00

I just wanted to give you a heads-up on where we're at with 'A Note to Etienne' - that little French short that could. We're finally at the finish line and we're just making very small adjustments before getting the film ready for the festival circuit. We're hitting all the major festivals this coming 4 months and could not be more excited!

It looks fantastic and I could not be more pleased with how it turned out. Again, thank you so much for your hard work, help, donations, and support! This was definitely a collaborative project and can't wait to get this short out there.

Watch for upcoming posts where we'll be discussing festival strategy, post design, and the future of 'A Note to Etienne'!

Cheers!

Eli

The Finish Line's Ahead

2010-03-23T18:12:00.000-07:00

Quick Update: Last week we sent a screener to its first festival! Our first festival being Cannes in France - which was our ultimate goal. It was such a great relief to get it done in time. However, it's not officially completed. Still need to finish up sound design, sound mixing, music, graphic design, and color correction.

That being said, it's been such a great, collaborative team effort within the Post-Production team. Even if we don't get into Cannes, the amount of work we did just to prepare something worth sending was victory enough.

Next stop, we're pulling together a list of Festivals we'd like to submit to. The rest of the year, Etienne will be sent to many Festivals to be screened and hopefully enjoyed. We're unable to show anything on the internet yet, but we're very excited to eventually show you what we've all created.

Stay Tuned.

Production Photos

2010-03-09T15:59:00.001-08:00

Meet the Post Crew - Volume 4

2010-01-18T22:15:00.000-08:00

Meet the Editor

Frank Mohler is a Los Angeles based video editor. He graduated from Appalachian State University with a degree in Theatre, but has been making movies for over 10 years. He currently works freelance; cutting trailers, short films, and DVD special features. His most recent work includes the award winning short film, Rooftop, as well as the DVD bonus features for Transformers and GI Joe the original animated series, and It’s Garry Shandling’s Show. He is currently working on the pilots for two web series.

Meet the Assistant Editor

Born and raised in Manhattan Beach, CA, Caitlin Rafferty attended Loyola Marymount University, in Los Angeles, CA, where she earned her BA in film production. Caitlin also did a semester at Trinity College in Dublin, Ireland, studying on location documentary film production. Throughout college, Caitlin worked as a videographer and founded her own production company, Two Irish Brats Productions, specializing in event and promotional video production. Upon graduation, Caitlin began working on a variety of reality television shows, and currently works as both an associate producer and editor.

Recent credits: Field editor on season 1 of VH1’s “Tough Love”, associate producer on seasons 3 & 4 of HGTV’s “Secrets That Sell”, associate producer for the HGTV holiday specials “Home for the Holidays” and “Carter Comes Home”, post associate producer on seasons 5-7 of HGTV’s “Carter Can”, and post associate producer for DIY Network’s “Stud Finder.”

Other television credits include: Deal or No Deal, Oprah’s Big Give, Age of Love, The Root of All Evil, The Battle of Gettysburg, Lingo, AKC National Championship Dog Show, and Grease You’re The One That I Want.

For samples of work, visit www.caitlinrafferty.com, or www.twoirishbrats.com.

Meet the Composer

Hamdija Ajanovic was born in year 1973 in Derventa, small town in northern Bosnia and Herzegovina (former Yugoslavia). Most of his childhood was spent in music school, where he studied music theory and received a classical music education with guitar as the major instrument. By his 16th birthday, he was well immersed in the local music scene, playing electric guitar and performing with various bands.

In 1994, Ajanovic moved to Germany and settled in Kassell where he lived and worked as a performing and recording musician, guitar instructor and vocal coach for the next 6 years. Upon his move to Tucson, Arizona in 2000, he enrolled at the University of Arizona and earned a degree in film with highest honors. With extensive music knowledge, musical versatility, ability to play multiple instruments and a university education in film, Ajanovic stirred his career towards a realization of a long lasting dream: creating musical scores for motion pictures. Over the course of the next eight years, he scored several award winning films that had both national and international success.

Nowadays, Ajanovic composes music for films, media and video games, produces own songs and writes scripts… and no one knows if he just may show up on a stage somewhere and sing and play some good blues.

Additional Music

Rob Gokee studied under seasoned composer Christopher Young (Spider-Man 3 , The Grudge, Ghost Rider), where he sharpened his orchestration, mixing, and marketing skills. Rob’s score for the period film Until Next Time won him a Silver Medal of Excellence at the 2007 Park City Music Festival. In 2008, Rob put the finishing touches on his scores for the horror feature “Eyes of the Woods,” comedy “Outrighteous” , and the Lifeline Entertainment thriller "Amhurst" with director Rocky Costanzo, which was also released as a soundtrack on iTunes. Along with “SOLO the Series,” Rob’s latest projects include the features “K-Town” & “11:11”, and the short films “Ties That Bind” & “Thank You Mr. Patterson.”

Meet the Sound Designer

With a bachelor of arts degree in the Aesthetics and Criticism of Media Arts and a minor in Music from the University of Arizona, Michaela Pentacoff strives for unique and solid sound designs for film and video. Her work is a hybrid of electroacoustic music and sound design, most recently present in BICAS WORKS. The question what is sound/noise/music and how can it be used to tell a story?sits in the front of her mind, pushing her innovative use of sound.

As a sound recordist, Michaela enjoys working against the elements, squishing into small spaces and listening to ambiences. And like most sound designers and supervisors, she also enjoys the uncontrollable smile of a director who has finally heard their desired sound design and score.

The Pick-Ups

2010-01-14T13:42:00.001-08:00

Just last weekend, Jorge, the cast, and I had a fun-filled pick-up day in Griffith Park. We're talking limited crew, hardly any equipment, and a vibrant and playful carousel. Suffice to say, it was tons of fun. In fact, we had a mini photo-shoot that created a few memorable images.

Priceless.

Meet the Crew - Volume 3

2010-01-07T13:22:00.000-08:00

Meet the Camera Operator

Raphe Wolfgang graduated with a BFA in Media Arts in 2004 and has since lived in Los Angeles, where he works as a freelance videographer and various crew positions. In 2010 Raphe will be furthering his career in the entertainment industry by directing his own projects. Raphe was raised in Arizona where he developed an eye for photography at an early age, he has been practicing his craft ever since.

Meet the 1^st AC

Jonathan Helms began his career as a photographer and cameraman while in community college in St. Louis, Missouri. Having worked often in narrative series with his still images, he chose to enroll in the film program at Southern Illinois University when it came time to pursue his Bachelor's. He worked as both a director and a cinematographer on his films at SIUC before graduating in May of 2009. After graduation he moved to Los Angeles where he works as a First Camera Assistant and a Director of Photography.

Meet the Gaffer

Brian Patrick Carroll was born into the royal family of San Diego which proved to be quite the privileged childhood. Growing tired of such a lifestyle Brian decided to become a farmer in Humboldt County where he also earned a BA in Theatre Arts. However; all goods things must come to end, and he left the great high north to find himself in the middle of the drama ridden OC where he attended Chapman University. Spending a quick three years there Brian left Orange county after earning an MFA in film production. Now living in LA, Brian has long forgotten his noble upbringing and finds himself just above the starving artist status in the social ladder, being only a hungry artist.

The Film Shoot

2010-01-04T17:28:00.000-08:00

Let's just recap for a moment. We've been finished with principal photography for nearly two weeks now. The film's in the can, being processed, and soon to be transfered as a file to our editor. However, I've yet to disclose much information about the production itself. Therefore, I thought it'd be beneficial to write a lengthy blog about the trials and tribulations of the film shoot. Then I thought to myself, this is a film. A visual medium. If you wanted to read lengthy descriptions and paragraphs of my thoughts, a book would be much more appropriate. But it's not a book.

Instead, I wanted to show you several pictures from the set. Both on set and off, because the bulk of the fun was when the camera wasn't rolling. I'm incredibly lucky to have been a part of such a fun and professional team. So, without further ado...

Screen Shot 1: We had this shot where we film Etienne (Lukas Delcourt) from behind a bookshelf as he plays with his toys. At one point, the action figure wasn't tall enough so I had to call for a "mini apple box" to give him a few centimeters.

Screen shot 2: Etienne, always the couch potato, was shot yet again watching television. Our camera operator, Raphe Wolfgang, frames the shot diligently.

Screen Shot 3: Before we shoot our actors, I needed to peer through the viewfinder to frame the shot as I envisioned. Fortunately, the Director of Photography (Jorge Urbina) and I share a very mutual vision.

Screen Shot 4: With any shoot, there's always bonding during lunch. The cast and crew take a load off on our living room set. Note how everybody's seated exactly the same (with their legs crossed). That's what happens when we're working together for hours on end.

Screen Shot 5: One of our super PAs/Art Assistants (Stephanie Coogan), stands in for one of our actors. Don't let her innocent smile fool you. She's actually a phenomenal producer.

Screen Shot 6: One of my favorite shots. Our actors, Isabelle Giroux and Lukas Delcourt, film a scene of intimacy. Incidentally, they both became very close friends throughout the filming process.

Screen Shot 7: One of our Second ACs, Eric Patton, inserts the slate before we shoot one of the film's beginning scenes. Our Gaffer (Brian Carroll) did an amazing job lighting the set.

Screen Shot 8: Our Amorette, played by Isabelle Giroux, gets into character as we prepare for a very emotional scene. Not only is she our leading lady, she's also our narrator.

Screen Shot 9: Check out a great photograph of our Production Designer (Gilberto Vega) and his beautiful restaurant. The ambience was perfect for this particular scene.

Screen Shot 10: Our Script Supervisor, Maura Concannon, was my right-hand lady throughout the entire production. In fact, we'd have our own little pow-wows off set just to figure out a few shots.

Screen Shot 11: The Queen of the entire production (i.e. our Producer, Allison Vanore) poses for the camera between putting together the entire film. She and I have a lot more work to do...

Screen Shot 12: Love this shot of Lukas. He keeps himself occupied between lighting set-ups by posing with the production slate. Or... we're making him work double time...

Screen Shot 13: This is a prime example of how the entire crew came together to create something magnificent. This exemplifies the work of our Costume Designer (Joslyn Sifuentes), Hair/Makeup Artist (Moira Taylor), Gaffer (Brian Carroll), Director of Photography (Jorge Urbina), and Production Designer (Gilberto Vega) -- and several key people from the camera team. Not to mention Allison Vanore and Isabelle Giroux, prime factors in this entire film.

Screen Shot 14: This is a screen shot of the scene. Amorette tunes out while Etienne continues on and on with his story, oblivious of the his girlfriend's heartache. Pretty shot.

Screen Shot 15: Our last day of principle photography... and a very fun one. Our Crane Operator, Ryan Elliot, showed up and did some fantastic work for our exterior shot.

Screen Shot 16: Jorge and Ryan working hand-in-hand to get this shot as perfect as possible. Well, not literally hand-in-hand. This isn't 'Park Bench' (one of my other shorts).

Screen Shot 17: Unfortunately, the sun decided to work against us this day. We had to figure out a way to make the crane's shadow as inconspicuous as possible. We worked it out.

Screen Shot 18: Our Camera Operator, Raphe Wolfgang, sneaks in with the slate. He looks rather confused. He probably was...

Screen Shot 19: Moira Taylor, our makeup and hair artist, entertains herself (and the rest of us) between takes. This is a fun set!

Screen Shot 20: Since we were unable to get her a desk at this particular moment, Scripty Maura Concannon is roughing it while timing several shots.

Screen Shot 21: We're getting one of our last shots of principle photography. In all actuality, this would be 2nd unit, but we're fully capable of doing everything ourselves with an unbridled level of enthusiasm!

All in all, it was a fantastic shoot, and I'm looking forward to closing up production with a few more pick-ups this weekend and the confessional scene next week. I'm confident our post-production team will be just as fantastic.

Shooting Days 1-2

2009-12-12T20:57:00.000-08:00

Eli here. It’s been quite the two days. We’ve had early morning call-times, 12 hour days, and most importantly – a lot of fun! We’re practically halfway through principal photography and everything is going fantastic. We had a few road bumps along the way (several crew members fell out at the last minute), but a few really amazing filmmakers came to the rescue to round out a fantastic team. We have 3 more days of filming and I’m certain these days will go just as smoothly (knock on wood).

Sure, I can go into the technical specifics of the entire two days, but something tells me most of you don’t care about which lens we used or how Brian achieved a light set-up (aside from the occasional filmmaker). That being said, I have a feeling the film will speak for itself.

Anyway, as much as I’d like to divulge more, my alarm went off at five this morning and I’m falling asleep. This is a narcoleptic update... I don’t even have the energy to finish this

Location - Park

2009-12-02T17:53:00.000-08:00

Finding a park that's remotely interesting and fits the "look" we had in mind was actually quite the task. However, finding the park wasn't the most difficult part. Finding it was easy. It was figuring out how we were going to stage the scene that caused the most confusion. Since I really wanted a location that was adjacent to trees while Amorette rested on a bench, we had to intricately adjust the frame and blue print a plan for the camera movement. Here's the location we scouted. I'm confident, during principal photography, we'll answer the aforementioned concerns satisfactorily.

The Park: I really love how much character this park has. Everything from the unique trees, to the plush grass, to the wooden bridge. I loved it at first sight and can't wait to shoot there!

UPDATE: The Park location has been scrapped for a lovelier setting. The exterior of the house which is just as exquisite, and much less costly.

Meet the Crew - Volume 2

2009-11-30T18:17:00.000-08:00

Meet the First Assistant Director

Derek Oishi is thrilled to be part of the “A Note To Etienne” Crew. Graduate of the University of Arizona (B.F.A. Fine Arts). Derek grew up in Sierra Vista, Arizona, where he discovered his passion for filmmaking and honed his skills in croquet and show-stopping karaoke.

Recent Credits include: Field Coordinator for the History Channel TV Show, That’s Impossible, 2nd 2nd AD for Sport Science for Fox Sports Net, Key 2nd AD for the feature film Yellowbrickroad, premiering at the 2010 Slamdance Film Festival in Park City. Derek was also 1st AD on several short films and commercials including, “Alma” (Best Shorts winner at the Reel Sisters Film Festival), “Junkyard”, “Déjà vu”, “Ruin”, “Solo”.

Film/TV Credits include House, The Office, Pushing Daisies, Hidden Palms, Pros vs. Joes, Beauty and the Geek, Fear Factor, The Big Give, and America’s Got Talent.

To my beautiful circle of friends, thanks for always believing and supporting me no matter what. This one’s for you guys! “One day more, another day, another destiny”

Meet the Script Supervisor

Maura K. Concannon manages the merchandise department of Boondock Saints Productions and also freelances as a Script Supervisor. Prior to joining Boondock Saints Productions in 2009, Concannon worked as a Production Assistant on various television shows and short films. Television credits include VH1’s TOOL ACADEMY, the John Wells episodic drama SOUTHLAND, HGTV’s $250,000 CHALLENGE and MTV’s A DOUBLE SHOT AT LOVE. She has had the privilege to learn from and work alongside talented individuals at Warner Brothers, NBC, VH1 and MTV. Concannon is fluent in American Sign Language and one day hopes to combine her love of film and Deaf Culture.

Meet the Make-Up/Hair Artist

Moira Taylor, a graduate of the University of Miami, is relatively new to the city of Los Angeles. After relocating here from a short stint in Kansas, she decided to follow her passion of all things beautiful and headed to Studio Makeup Academy to specialize in Beauty Makeup and Special Effects. She has spent the last couple of months working on anything she can get her hands on ranging from weddings to feature films and is quite excited to be working with the cast and crew of A Note to Etienne.

Visual Strategy

2009-11-04T11:44:00.000-08:00

In this piece we witness Amorette go through a wide range of emotions and we are also peer into her mind as well. Our overall approach to support this visually is to switch between both Hi Def and S16. We will be using S16 to shoot everything but the scenes where Amorette is recording her message to Etienne, this will be shot on Hi Def.

Visually for these sequences we will be creating a very narrow field of view. The framing will enhance and immediately reveal to the audience how the character sees herself in the world she lives in addition to how she sees her relationship to Etienne.

Lighting wise we would like a sense of a catatonic atmosphere, hollow like a cavern in the beginning but towards the end of her interview a sense of rebirth for Amorette. Sometimes when you are in a room the sunlight, when its not directed at window, can have this barren atmosphere but as it peeks in the edge of a window the feeling shifts to a more hopeful atmosphere. This progression definitely parallels through the emotional journey.

For Amorette's memories we will be taking full advantage of S16. Film has this organic feel which parallel's Amorette's experiences which are full of life. Visually we want it to contrast Amorette's interview with vivid color saturation, wide angles with our characters being more prominent in the frame as opposed to withdrawn. The camera will flow and move within the space gracefully which compliments Amorette's analytical sense as she takes us through her thoughts. The light will be diffused with detail in the highlights and shadows. Skin tones will glow. Overall the feeling would be warm which would contrast her feelings of questioning the involvement of Etienne.

The end result will yield a visual experience that will support our central character's plight.

- Jorge Urbina, Cinematographer

Storyboards

2009-11-04T11:03:00.000-08:00

Before I begin describing the storyboards, let me preface this post by admitting my lack of artistry. I'm completely aware of how terrible these drawings are and would be first in line at the scribbles and stick-figure conference. So there.

Storyboard 1: The first sequence is probably the longest sequence, because I really want to introduce both Amorette and Etienne in an honest, yet humorous way. Remember, I want to utilize the 16mm film and include the reds, blues, and green hues as much as possible.

Storyboard 2: Sound cues are important in this short film. Since the scenes move along relatively fast, all the components need to interweave seamlessly.

Storyboard 3: Since the short film is primarily voice-over, I wanted to include interesting camera movements to tell the story (along with production design and costume). Therefore, Jorge and I have a very specific blue-print of how we want the cinematography to translate to screen.

Storyboard 4: Lighting will also play a huge part in the film. Many French films tend to have more theatrical lighting that furthers the inner-thoughts of the characters, so I wanted to subtly include that in A Note to Etienne.

Storyboard 5: Probably the most difficult scene is the park scene. We're incorporating a crane in a specific choreographed shot which will depict the isolation she's feeling.

Storyboard 6: The final scenes will sum up the story of love and loss -- or more specifically, Amorette's feelings for Etienne that never really disappeared. Their relationship was real, but the love they used to share is no longer there. Make sense?

Etienne's Costumes

2009-10-20T15:56:00.000-07:00

The concept behind Etienne’s costumes was basic, simple, and straight-forward. I was aiming for guy’s guy – relaxed, yet comfortable. Etienne’s an oblivious character. He’s the type of man who carries on with his day-to-day activities and appreciates routine – a creature of habit. I wanted his costumes to reflect that. Button shirts, flannel patterns, and jeans. Finis!

Merci Bien!

2009-10-20T15:48:00.000-07:00

A big THANK YOU to our most recent donors and Executive Producers!

Steven Benavidez
Dolorez Benavidez
Joe Hernandez
Rick Campbell
Bev Campbell

We still have ways to go until A Note to Etienne is financed, so please support the film and its filmmakers and make a donation. Remember, every contribution is tax-deductible. So technically, you're lending the film a certain donation, and Uncle Sam is paying you back in April.

Donations of $500 or greater accredits you as an Executive Producer. That's IMDB, baby! ;) (P.S. If you help raise $500 or more from multiple sources (near and far), you get the Executive Producer's credit since you're, well, producing!)

Location - Amorette's House

2009-10-20T15:06:00.000-07:00

In my opinion, finding the perfect location is on par of finding the perfect cast – it takes time, patience, and be prepared to see a lot of duds. However, the search for Amorette’s apartment was much simpler than anticipated. In fact, a friend who recently moved to Los Angeles suggested their place and it just so happened it was perfect. Below are the location scout photos of Amorette’s pad. (Special thanks to Tom Erickson and Kendall Anlian)

The Outside: This house was apparently made in the late 1800's and survived many refurnishes. Like Amorette, this house embodies so much character and personality.

The Entry Way: The green struck me upon entering - it was like being in a different country. Amorette's the type of girl who'd paint every room a different color. Another huge plus, almost every room of the house had a gorgeous chandelier.

The Living Room: When scavenging for the perfect location, it was extremely fortunate to find a space w/ natural light and big windows. DP Jorge Urbina approved - the wooden floors and wide-open space also didn't hurt.

The Dining Room: Another chandelier, another great room. For Amorette's dining scene, it was important to find a space that wasn't completely devoid of personality since the scene's supposed to be light and inviting -- much like the color on the walls.

The Bathroom: This is how we'll be introducing Etienne (yes, through a bathroom). I love this point-of-view aspect and linoleum tile.

The Bedroom: My favorite room of the entire house. This room screams Amorette and embodies her character so much. Everything from the chandelier, the wooden floors, the wall colors and orange blinds -- simply amazing.

Meet the Crew - Volume 1

2009-09-30T14:04:00.000-07:00

Meet the Costume Designer

Joslyn Sifuentes originally from New Mexico & Arizona has been working as an Entertainment talent manager for the past four years. She has overseen the careers of Frank Stallone, Malcolm David Kelley, Clifford Banagale, Samantha Bailey & Trey Carlisle to name a few. Prior to moving to Los Angeles, she also was a part of the Arizona International Film Festival as the Competition & Filmmaker Director. She has had various jobs within the film industry including managing several student films and interning for the BBC & History Channel. She has joined A Note to Etienne as a casting associate and Costume Designer.

Meet the Production Designer

Gilberto Vega, a graduate of the University of Arizona’s media arts program, has lived in Los Angeles for the past 6 years. He has worked on various projects including films and plays as an art director, set decorator, production designer and prop master. He's part of the independent production group, Cove Entertainment, who have produced various short projects and a feature film. Currently, Gilberto is producing music videos utilizing various techniques including live action photography and stop motion animation.

Meet the Casting Director

Dylan Jury moved from Philadelphia to Los Angeles in 2005, after earning a BA in Film and Media Arts from Temple University. He has spent the past 3 years working as the Casting Assistant on many films including The Dark Knight, Drag Me To Hell, and the upcoming Zombieland. A Note To Etienne marks his first credit as Casting Director.

Meet the Actor - Etienne

2009-09-24T13:31:00.000-07:00

Lukas Delcourt was born in Bordeaux, a city in the West coast of France. His earliest recollection of wanting to perform was in Junior High where he was cast as Harpagon in L’Avare (a play by Moliere). From there, he went on to perform in various plays such as Hamlet, Phoebe and the Big Apple, and Grease. In 1998, he made cameos in over twenty movies and television shows including Dangerous Liaisons, Wazabi, and performed opposite Gerard Depardieu and Jean Reno.

In 2002, Lukas gained commercial representation and landed various bit roles until he landed his first prominent role in La Vie Devant Nous (the season’s finale). A year later, he gained notoriety from Star Academy (the French equivalent to American Idol) where 15 million viewers excelled him into the semi-finals, a 6-month tour, 2 million copies sold from an album created from he and the contestants, and an eventual solo contract with Universal Music. His first album, Tout Est Mal Qui Finit Bien’, was released in 2004, followed by the Prince cover, “Cream”.

At the end of 2005, he decided to devote himself entirely towards his acting career and landed a role in the critically acclaimed series, Sous Le Soleil (Saint Tropez) – a French show airing in 197 countries for an unprecedented 14 seasons. In 2007, he traveled to Guadeloupe to shoot the first season of Baie De Flamboyants, but decided to leave after the first season, pack his bags, and head to Los Angeles where was cast as Christian Audigier in the series West Hollywood among various other jobs including hosting gigs, commercials, feature films and music videos.

Although Lukas is fully aware of the risk it takes to start fresh in a new and unfamiliar country, it’s a risk he’s willing to take. He’s really excited to be a part of A Note to Etienne, and is touched by the passion everyone involved has put forth.

Merci Bien!

2009-08-31T17:07:00.000-07:00

A big THANK YOU to our most recent donors!

Eleanor Dahners
Sally Alberti
Andrew Peralta
Seth Caskey
Connie Benavidez
Sarah Klein
David & Sylvia Fierro
Joe and Debbie Perez
Jimmie & Maggie Vasquez
Frank Benavidez

An Homage to Jean-Pierre Jeunet

2009-08-24T13:23:00.000-07:00

If you haven't noticed yet, a great deal of inspiration has been drawn from the magical comedy Amelie. The camera movement, the colors, the performances - the movie is a modern-day masterpiece and has obviously influenced much of this film's look. In order to merge Jeunet's vision with my own vision, it was important to grab specific frames from the film as an homage as oppose to creating an identical cookie cut-out. Here are some particular frames that really popped out at me, which I hope to recreate in A Note to Etienne with cinematographer Jorge Urbina.

Frame 1: This may be my favorite still of the entire movie. Although the camera movement is moving closer towards Audrey Tautou, I'm particularly fond of the stagnant shot. The dutch angle has a sort of obscurity that's really interesting.

Frame 2: If you haven't noticed, I'm really fond of the high angles looking down. I think a great deal of exposition can be told through body language and production design, and as shown above, it can also be really beautiful.

Frame 3: Yes, another high angle. However, this shot's an over-the-shoulder shot where we see much more than what's being expressed. So much is going on this one screen shot, and you really don't need to know what's actually occurring. Pure genius.

Amorette's Costumes

2009-08-07T17:19:00.000-07:00

While we're still several months before yelling the word "action", it doesn't mean we're at a shortage of work. It seems like pre-production is filled with countless errands and menial tasks. There's storyboards to create, locations to be scouted, rehearsals to be had, and careful decisions to be made. However, I think pre-production can be one of the most rewarding phases during the making of a film. Personally, the more intricate the planning, the better the product.

Which brings us to one of my favorite parts of pre-production. The costumes. Below are some image boards surrounding the look I want for Amorette.

Costumes 1: Amorette isn't your typical character. Her mind wanders, she's overly-analytical, and extraordinarily expressive. Her clothes should represent her individuality and creativity.

Costumes 2: Her wardrobe has a lot of vintage selections. She's the type of girl who enjoys going to hand-me-down shops and "digging for burried treasure". When she finds that certain polka dot dress or laced blouse, it makes her that much more original.

Costumes 3: I love the neutral colors in this particular dress. It's not too flashy, yet it's still extremely unique. Especially paired with black tights and a vivid turquoise necklace.

Costumes 4: I love utilizing patterns for Amorette. She's interesting, yet complicated - just like these skirts. Amorette's the type of person who isn't afraid to pair different patterns together. She's comfortable expressing herself through her style.

Merci Bien!

2009-06-30T17:00:00.000-07:00

A big THANK YOU to our most recent donors!

Joey and Sue Samoy
Joe Hernandez
Dolores Perez
Steven Benavidez
Max and Barbara Ragsdale & Family
Robert and Mary Perez & Family
Wendy's Corporation
Paolo Presta

Meet the Actress - Amorette

2009-05-28T09:22:00.000-07:00

Isabelle Giroux was born in Trois-Rivières, a city in the South of the province of Quebec (yes... French Canada!). As a young girl, she would play with her friends, recreating film scenarios (The Princess Bride mostly -- the French translation of course) and taping diverse ideas/stories/songs/interviews on her Sesame Street recorder. Through her adolescence, she started singing in the Spanish choir and school shows, which eventually allowed her to study music in other cities. She began writing music, became involved with a blues band, and participated in several contests. However, it was her personality and natural presence that would garner the most interest. The way she stood on the stage, delivered a verse, and invoked laughter ultimately allowed Isabelle to shine. As a result, she decided to take the leap and study acting and performance which would fundamentally captivate an audience.

Isabelle has professional training from acting coaches, has auditioned for prestigious conservatories in Montreal and Quebec city, and was accepted into the competitive AMDA Los Angeles (The American Musical and Dramatic Academy). She decided to take another leap and go into the unknown once again, and headed to Hollywood in August of 2007. She graduated from the AMDA Musical Theatre program in December 2008 and has since been leaving her marks within the Performing industry (Short films, Webisodes, Pilots, Music Video, Theatre) -- however, focusing mostly on a Film career. Being a gigantic Amelie fan, she is really excited to be part of A Note to Etienne. She surely loves Audrey Tautou's work, but don't think you'll see Amelie II: She ain't no Audrey: She's Isabelle Giroux!!!

Amelie Stills

2009-05-11T11:23:00.001-07:00

The look and feel for this short was ultimately ispired by the stylized french film, Amelie. True, A Note to Etienne has much more dramatic undertones, however this film will draw Amelie inspiration. With fluid camera movements, quirky costume design and a complex set design (more on each later), this short will be a showcase for everyone involved. Its not simply an actor's piece or director's piece, but allows the entire Etienne family to incorporate a valued participation within the film. It's important to me that this film is a collaboration -- that it's a team effort. After all, Amelie sure was and it's still one of the most visually prolific and mesmerizing film I've ever seen.

Amelie Picture 1: If you remember this shot, the camera starts for birds-eye, then moves downward towards Amelie. It turns nearly 180 degrees and hovers directly above her. It's a really magical shot and really incorporates the entire mis-en-scene involved.

Amelie Picture 2: This is such a memorable scene because of the vivid detailing of the lighting. The blue is really beautiful.

Amelie Picture 3: Location is really important for this film and 'Etienne'. I really

appreciate how they really utilized this backdrop.

Amelie Picture 4: This shot was spectacular because it's one of the few still shots in the film, yet still has so much movement. Since it's shot through plexiglass, the director allowed Amelie to write the restaurant specials while Nino watches her intently. Love it.

Meet the Director of Photography

2009-05-06T16:43:00.000-07:00

Jorge Urbina is an aspiring cinematographer from Mesa, Arizona. He began his studies working in theatre production at an early age in both community and school productions. During his college career, Jorge explored all key roles of film production to help strengthen his craft by creating and working on various shorts and features. In 2004, he earned his BFA Degree in Media Arts at the University of Arizona and is now currently employed with The School of Media Arts as a production lab coordinator while working as a freelance cinematographer. His most notable collaborations have been with Benjamin Lopez of Viento Fuego Productions and Patrick Roddy of Amateur Productions. In fall of 2007, Jorge was picked up by Ben to shoot La Venganza, a Spanish language feature, which earned distribution internationally on DVD and broadcast on Cine Mexicano’s satellite network. This past summer, Jorge was hired to shoot Goodboy, a feature film produced and directed by neo noir filmmaker Patrick Roddy. A Note to Etienne marks Jorge’s first collaboration with Elias Benavidez.

Image Boards

2009-05-01T17:26:00.000-07:00

Since A Note to Etienne is a "French film", I'm dedicated to creating the short in a visually evocative and stylized fashion. With visual pieces, it's very important for me to concentrate on the overall picture, yet still put stress on the nuts and bolts of each scene. Obviously nothing is more important than the story, but I'm aiming for the tone and feeling of this piece to be as sincere and compelling as possible. Meaning vivid, enchanting colors (blues, greens, reds) and inviting, fluid camera movements (we'll get more into that later).

Just to give you a visual, here are two other image boards that I came up with to show the "look" I had in mind for this little French film.

Image board 2 - notice how the red from the house pops within the sea of neutral colors. The juxtaposition between the vivid colors against the natural tones is suppose to symbolize Amorette's imaginative character.

Image board 3 - these images are suppose to articulate the very vintage feel I want for this film. Since Amorette is a very analytical character, I want her to have a unique feel to her - she's different, yet engaging.

Meet the Producer

2009-04-30T14:15:00.001-07:00

Allison Vanore is an independent film producer who was born and raised in Wall, New Jersey and now resides in Los Angeles, CA. She has a BFA in Media Arts from the University of Arizona in Tucson, Arizona. From 2004 to 2008, Allison served as the Director of Creative Operations for interactive design firm, Georgopoulos Design Environments, where she oversaw DVD, Blu-ray, Website and Video production projects for clients such as Disney, Sony, and Yahoo! Most notable is her work on Tarzan II which won a Best Direct to Video DVD Award and award winning Yellowtail banner campaign in 2007. In 2008 she produced three short films all of which are hitting the festival circuit. Most recently, Junkyard won Best Film and Audience Choice Award at a Southern Arizona Thriller Contest. Allison is currently in production on a feature romantic comedy, Hopelessly in June, among other projects.

History of Project

2009-04-20T16:00:00.000-07:00

At first, even considering creating a short film that’s spoken entirely in French seemed more of a risk than a feasible project. After all, I’m not fluent in French and Los Angeles doesn’t exactly look like Paris. However, when you think about it, when does art ever come easy?

After watching Julian Schnabel’s Diving Bell and the Butterfly, inspiration quickly transitioned into ambition and the thirst for creating something meaningful, as well as visually evocative, has never been so strong. By the way, Julian Schnabel isn’t fluent in French either ;).

The story idea emerged after a close friend revealed the hesitations behind her long-term relationship. She didn’t feel like she could offer anything else to the already faltering relationship and didn’t know how to tell him – she simply fell out of love.

I knew my friend wasn’t alone in this love stricken society. The city was filled with people going through the same feelings and emotions. Therefore, I decided to take a survey. I asked many close friends, old friends, acquaintances, coworkers, and family members a mere question: What goes through your mind the moment you decide you don’t love someone anymore?

There had to be a “disconnect” from being “head over heels” in love to an absence of that feeling. Through this research, I discovered that the small tics were the catalyst behind many failed relationships. Certain irritations that once seemed insignificant transitioned into a noticeable force behind the break up.

However, that being said, a surprising realization occurred. From the 20-30 people I interviewed, one fact remained the same – they all revealed that they still love their significant other. The love they shared was undoubtedly true. It’ll always be true. They just weren’t in love with them anymore.

Life is filled with unexpected instances. However, an overall purpose is always waiting to be discovered through the seeps of the cracks. Even if the relationship didn’t work out, the love never truly disappears. It may not be necessarily palpable, but it’s true. That’s my intention with this film. That’s my story.

An image board used to express the feel and look of the project.

Synopsis

2009-04-17T11:51:00.001-07:00

Amorette, an analytical and seemingly expressive 24-year-old girl, places herself in front of her camcorder. She maintains a fidgety disposition under the dim half-light above her bed. She begins leaving a message to her boyfriend, Etienne. It’s difficult to convey, but she explains that their love has become disconnected -- a realization that sparked on October 12^th, 2006 at exactly 12:36 a.m.

We flash back to that exact moment. Amorette is awaken from her sleep from a piercing sound, which feels like Niagara Falls crashing through her eardrums. However, after further investigation, she realizes it is Etienne urinating. Thereafter, simple instances such as eating breakfast and watching television became ticking time bombs of irritation about to explode.

At dinner with Etienne, Amorette’s irritation becomes overshadowed by grief – by sadness. How could something that was once so great suddenly just disappear? She continues to analyze this relationship. Through the resurge of all of the bad memories, she begins to recall wonderful memories they shared. She remembers conversations they had surrounding marriage, romantic nights they spent together, and joyous moments spent at amusement parks.

As she continues leaving her video note, she realizes that love can change shapes and forms – continuously transforming into something completely different, or unexpected. Amorette’s eyes begin to tear up as she says her final goodbye to Etienne. She reaches to turn off the camera before her final statement: Je n'oublierai jamais les choses qui m'ont fait sourire autrefois. Which translates to, “I’ll never forget the things that once made me smile”. Amorette turns off the camcorder.

Introduction

2009-04-17T11:46:00.001-07:00

This blog will be used through the different phases of A Note To Etienne - a 16mm short film that happens to be entirely in French. It'll be sort of like a Director's diary -- where I'll be able to share my steps and creative process throughout the film's course.... and perhaps some frustrations.