&ot » 08. Production The Attic Door

Archive for the '08. Production' Category

Meet the Documentary Team

Danny Daneau
Director

Documentary directors Chris Walker (left) and Roman Safiullin I wanted to take a moment and thank Roman Safiullin and Chris Walker for all their hard work creating the behind the scenes video podcast series, BEHIND THE ATTIC DOOR. It was such a pleasure having them on set in Utah. When they weren’t working on the documentary they leant a hand to whatever department needed it most (usually art). Their dedication and talents show in the seven part series they created about the creation of THE ATTIC DOOR and I am very proud to have been able to showcase their work on the blog.

Documentary director Roman Safiullin hypnotizes chicken to sleep (no joke). Documentary director Chris Walker on set.

If you haven’t watched all seven episodes, you can do so by clicking the video links below. Enjoy:

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Behind the Attic Door – Episode 7 – End in Sight

In this final installment of BEHIND THE ATTIC DOOR, the filmmakers reflect their personal journeys as production comes to an end.


Behind the Attic Door – Episode 7 – End in Sight from The Attic Door on Vimeo.

[display_podcast]

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

How the West was Shot

Erica Harrell
Producer

from THE SEARCHERS (1956). courtesy of Warner Brothers Pictures from THE ATTIC DOOR. Darrell (Actor Jake Johnson) hesitates before stepping into hot Western sun.

In THE ATTIC DOOR, we use the desolate and epic Western landscape, iconic John Ford country, to echo the terrifying loneliness of our two young characters. Though the landscape was at times harsh for our crew with high temperatures, dust storms, and the occasional flooding (seen in Episode 5 of “Behind the Attic Door), we were certainly not the first filmmakers to face these conditions in Utah.

I found this great excerpt from John A. Murray’s Cinema Southwest: An Illustrated Guide to the Movies and their Locations.

“As early as 1925 director John Ford traveled to Promontory, Utah, to film part of his twelve-reel epic film The Iron Horse, shooting at the very place where the historic golden spike was driven, connecting the East Coast with the West Coast for the first time by rail line (which, in a larger sense, signaled the birth of modern America). During the 1930s the area around Kanab in southwestern Utah became known as “Little Hollywood” for the many pictures made there. Later, in the 1950s, the center of gravity shifted to the east, as Moab became the state’s major center for filmmaking. Virtually every American director and actor of note has worked in Utah, from Cecil B. DeMille (Union Pacific, 1939) to John Ford (Rio Grande, 1950) to Steven Spielberg (Indiana Jones and the Last Crusade, 1989); from Henry Fonda (My Darling Clementine, 1946) to Clint Eastwood (The Outlaw Josey Wales, 1976) to Jodie Foster (One Little Indian, 1973). If a film has red slickrock and prickly pear cactus desert, cloudless blue skies, and distant mountain ranges, there’s a good chance it was shot in Utah.”

This article talks about shooting in Paria(h) as well as Kanab, Zion and the Coral Pink Sand Dunes. Theres also a mention of Jackie Hamblin-Rife, our ultimate production supporter, and mentor for shooting in the west.
Check out the entire article here.
Behind the Scenes - Camera crew prepares on the exterior set.
Imagine giant film cameras and huge lighting trucks trying to maneuver down into Paria where it was difficult for us to go with our lightweight equipment, smaller vehicles and sparse crew. The advances in film technology really allow for modern indie filmakers to go to places where previously only huge Hollywood productions could afford to go. It is so humbling to think back on our shooting and all of the famous films that came to that area before us and the many more that will come after.

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Behind the Attic Door – Episode 6 – Something Amazing Happens

As production nears an end, the filmmakers discover the magic in between the takes.


Behind the Attic Door – Episode 6 – Something Amazing Happens from The Attic Door on Vimeo.

[display_podcast]

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Behind the Attic Door – Episode 5 – Monsoon Season

A sudden flood destroys the roads leading to the exterior shooting location. In this episode of BEHIND THE ATTIC DOOR production is at it’s darkest and the filmmakers must rely on faith alone.


Behind the Attic Door – Episode 5 – Monsoon Season from The Attic Door on Vimeo.

[display_podcast]

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Behind the Attic Door – Episode 4 – A Tale of Two Friends

A look into the production design of THE ATTIC DOOR and the friendship at it’s center.


Behind the Attic Door – Episode 4 – A Tale of Two Friends from The Attic Door on Vimeo.

[display_podcast]

You can follow along with Alex’s design journey by visiting his six part series: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Production Design – The Production Begins

Alex Eastwood
Production Designer

Sixth part in a series. Part 1, Part 2, Part 3, Part 4, Part 5

Part 6,

We worked, and worked, and worked.

The future was unwritten and I was afraid of failing, of forgetting some detail, and of being revealed as an amateur. My alarm clock became obsolete by the second day. I was consistently waking up before 5AM each morning, and I would sit outside in the pre-dawn hours and pour over the script, shooting schedule, budget, props list, and construction blueprints to make sure I had everything accounted for. No stone could be left unturned.

Alex Eastwood (left) inspects the work of scenic artist, William Duncan.The Art Department was working hard on the assignments I had given them, and they deserve a lot of credit for the final product. Filmmaking is a collaboration and there is no way I could have done all of this on my own. As they worked together on gathering props and set decorations, and Josh worked in the warehouse all day, everyday, I drove to every corner of southern Utah possible, making sure that we were always three steps ahead of production.

It gets worse before it gets better. Continue Reading »

facebooktwittergoogle_plusredditpinterestlinkedinmailfacebooktwittergoogle_plusredditpinterestlinkedinmail

Next Page »