Starts with shooting my thesis film.
Technically speaking, I am an MFA candidate in the UCLA film directing program. I have completed all my courses, all my requirements, all my hours. Only my thesis film stands between me and my graduate degree.
What, you may ask, are the requirements of my thesis film? As I have chosen the “narrative” track (as opposed to “documentary” or “experimental” or “television”), my film’s total running time must be less than 30-minutes; I use the term “film” broadly, as I could shoot on one of the many digital formats.
Why am I “technically” a graduate student? Because I left the program to pursue a professional possibility (more about that in a later post). Realizing that Hollywood measures time in geological increments, I’ve resolved to get this monkey off my back.
Where do I stand?
I have a script so close to being exactly what I want that it hurts. In eleven pages, two characters attempt to bury ancient longings that won’t observe the polite trappings of friendship.
Another plus is the page count. Eleven pages equals eleven easy-to-program minutes; having worked for a few film festivals, trust me when I say that the shorter the short film runs, the easier it is to program. Also, a shorter script equals a film I can actually afford to make. There is no way I’d break the bank over a short film.
A talented actor, and a life-long friend of mine, has been pushing me to make this short. Obviously he wants to be in it and I couldn’t be happier to say, “I’ve already cast one of my leads.” That then leaves the female lead. In my many years in Los Angeles, I’ve befriended some talented actresses. I’d love to cast one of them in my film. I just need to grab them before their television careers really take off.
I think I even have a cinematographer (schedules permitting). At first, I was concerned at her insistence in shooting digital over film but 1) it should save me money, 2) it’ll let her “push the look of digital” and 3) it means I get to work with one of my favorite friends, one so talented and tuned to my sensibilities that we practically communicate telepathically.
What are the next hurdles?
First, I need to find a good producer, one with access to some great crews. Second, I have to answer the age old question: shoot a stage or a practical location. Personally, I prefer the authenticity of location shooting (low-budget stage work usually looks fake to me) but if the right production designer convinces me otherwise, I’m game (must also find a production designer). Lastly, and most importantly, I need to set a concrete shoot date. This will force me into preproduction. This will make me lock the script. This will get the ball rolling.
And until then, rest assured that I’ll be shooting this summer. 
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