Best Laid Plans: Milestone Part 3

Every writer says to write what they know. So this past year or so, that’s what I’ve been trying to do. Writing about what I know has certainly brought on Best Laid Plans, for example. It’s brought on my first effort at a novel and it also brought on Milestone. While the circumstances surrounding the plot in Milestone are certainly not autobiographical, the emotional place the story lives in is. So then, the question becomes, how do I direct a story that comes from such a familiar emotional place? Truth is, I had no idea.

In watching Becky's and Brian's audition, I realized that it was so helpful to see great actors interpret the script in their own personal way. They brought certain moments and ideas to their performance that struck me as both interesting and different. So while I was entering territory I’d never really been in before with regard to directing a film, the one thing I did know was that I wanted to hear from the actors. I wanted their ideas and thoughts about who they were playing. This could not only broaden the story in that three heads are better than one, but it could also move me further away personally from the story – which I thought was vital. Nobody wants a director that is too tied in emotionally to a story that they can’t see the forest for the trees, so talking to them – getting their point of view was amazingly helpful.

Rehearsals were a blast. Brian and Becky were so much fun to work with and I got lucky in that they were open to any and all ideas. Whenever you’re trying something new – and even sometimes when you’re doing something you’ve done a thousand times before, you’re always waiting for someone to call you out as a fraud. You’re always anticipating that someone will tell you that you don’t know what you’re doing. Thankfully, both Becky and Brian never looked at me sideways, never called me out as a first-time writer/director and always added on to my proposals. I realized I loved directing and the push and pull of knowing when to throw your two cents in and when to let the actors run with it.

I know that some film directors do very little rehearsal, but for me it was essential. Playing a new role on set meant that I wouldn't have the space in my wee brain to really give the actors my full attention once shooting began. I didn't want to be in the position of debating moments on set while the rest of the crew was waiting around. I knew that ideas would still be percolating but I wanted to make sure the actors had a solid foundation to work from (and me too for that matter). Although I can't speak for them, I think the actors were pretty keen on the rehearsal process as well - or - being good actors, they surely hid it very well! By the time the production dates approached, I felt pretty damn good about the performances and could make room in the 'ol noggin for everything else I needed to be thinking about... like say... the shot list.

Yikes.

Best Laid Plans: Milestone

Finding Billy.
How about this order at a drive-thru window: I'd like a male prostitute between the ages of 25 and 30, with a great body and more specifically, a six-pack; who is not a street thug, but more like a sensitive, high-priced escort who can give you the best sex you've ever had? And can I have fries with that?

When one writes a short film that includes a man with a six-pack, it means that when the director has to cast said man, they have to ensure that said actor has said six-pack. Needless to say, I had girlfriends offering to volunteer for the casting session to help me make such a difficult decision.

I've helped On the Leesh cast stuff before but, while we may have been seeking actors with a certain look, we've never had such a specific body requirement as this story called for; and I was never the director. So beyond making sure that they had the physical requirements of the role, I had to make sure that they were also able to make the emotional connection to the part.

Obviously, I'm usually on the side of the actor. Going into auditions and getting notes from the director and/or casting director and trying to suss out what they wanted. With me on the other side of the table, I wanted to make sure that I was clear in what I said; that my notes made sense. That I wasn't putting any actors in the confused position I've occasionally found myself in when getting a note. I was incredibly nervous, actually. I wanted an actor that came in and seemed to be in the same ballpark as how I'd heard the role in my head, but was also able to change it up if necessary. And I knew that I needed to give myself room for error, so I also wanted an actor who would be able to bring their own ideas to the table as well. And I needed the actor to work for no pay.

Hmmmmm... tall order.

Half-way through the auditions, in walked Brian Patacca, an actor On the Leesh knows quite well since he's a regular on one of our webseries, The In-Betweens of Holly Malone. He had seen the ad for the audition and asked if he could read for the role of Billy. Now, just to be clear, we saw a lot of guys that day. We were sent A LOT of headshots. Apparently, there is an abundant amount of six-pack-having male actors in NYC. Who knew? So we saw a number of guys who gave great auditions, but Brian walked in and nailed it. For me, it was like the directing gods were giving a little gift to the newbie. He made me interested in the character in a new way. We called him that night and he accepted the role.

We had our Billy. We were half-way there in this two-person story.

All that's left was finding Denise...