This weekend White Knuckles – a film by sabi will be playing at the Derby City Film Festival in Louisville, Kentucky on Sunday at 1:00pm Eastern. Both Larry Strauss and Martie Ashworth have been nominated for best actor and best actress respectively for their portrayal of William and Julie in the film, directed by yours truly. It was a labor of love for all involved, and I’m excited to also share with you a wonderful review from industry veteran Carol Green on White Knuckles.

William and Julie. Been Married 40 years. Can't take another day.

“WHITE KNUCKLES took me by surprise and has stayed with me ever since I visited the home of Julie (Martie Ashworth) and William (Larry Strauss) to see how they were doing. At least the way it feels in the aftermath of viewing a film by Sabi that takes us into the world of an older married couple whose time together could have, should have, maybe would have brought them closer after all these years. Instead, they are walking on egg shells, sitting on pins and needles, and closing their fists until their knuckles turn white with the frustration of a marriage gone awry. They are in pain.

Like visiting old friends or neighbors we’ve known for years, WHITE KNUCKLES invites us into a home filled with plants cared for by a wife who tenderly removes each aphid and a husband who could care less. As visitor/moviegoers, we are allowed an intimacy far greater than what is shared between Julie and William. And yet, by our witness, we come to explore the moments, the misses, the what-could-have-beens of theirs and our own lives.

White Knuckles - a film by sabi

WHITE KNUCKLES resonates deep within us. We become lost in our own reverie, falling in and out of the story as our emotions take us to places we often leave boarded up. And yet, we return to revel in Julie’s luminous smile, to support her in her quandary, to rejoice when her friend Dora (Sue Gaetzman) arrives for coffee and a little levity. Dora has no idea that her casual conversation has provided her friend with a DIY scheme that Julie can easily create right there in her kitchen to manifest a relatively quick and dirty resolution to the marriage. Oh, what evil lurks behind the gingham curtains…

Kevin Shah and his collective known as Sabi no doubt created an environment of such trust that actors were comfortable enough to reveal the essence of their characters with brutal honesty. I know these people. I knew these people. We all do. They are our mirrors.

Days after seeing WHITE KNUCKLES, I remember my late mother, my former husband, the road taken and the road not taken. How did I end up here at this chapter of my life? It must have been the kind of little, incremental events and their effect on my path that lead me here. And like, Julie and William, what’s next?

If film is art, what is its purpose? To look at a painting and walk away or to feel something, to remember that feeling long after that moment is gone? With the experience of WHITE KNUCKLES, it is to see powerful actors commit to their characters and their audience, to enjoy beautiful cinematography and music and intimate direction rare in mainstream offerings, and to suffer with these people whose lives reflect our own.

Carol Green Producer, Publicist

BOSS OF ME – A WEB SERIES by SABI

Boss of Me tells the story of a new Creative Director and Producer of Marketing and Distribution that is sent down from “corporate” to manage the newly acquired independent feature film production company Sabi Pictures. What ensues is a systematic restructuring (“Side-Shifting” as the star calls it) by Bret Donovan to the chagrin of the employees. But Bret is also an idea-man, and he alone believes his ideas are the one thing that can keep morale up and save the company.

A WEB SERIES FOR OUR FANS

It was created to be distributed on the web for free for our fans, with a healthy amount of humor and poking at both ourselves and this business we’re in. With all the talk about how Independent Film is dead (which it is not by the way) we felt a show like this couldn’t come at a better time — and setting a show in a production company was ripe for funny material.

Click here for the :60 BOSS OF ME TV Spot:

CREATING THE SERIES: Co-Creating the Boss of Me web series with John T. Woods was a convergence of several factors. First and foremost, we (at Sabi Pictures) were looking for a fun way to connect with fans, and specifically our films and our company and who we are — with those that watch and enjoy our content. Reach out to fans and learn who they are — and at the same time (hopefully) entertaining them. Thus, the series extends out into Facebook, where the star of the show (Bret Donovan) has a very active Facebook profile. Often ideas offered by fans are certainly food for thought for future seasons…

Bret Donovan in deep thought.

We are excited to get some recent press from PopCultureMonster — where the :90 spot is featured exclusively for it’s first week of release. Exclusive interviews, pictures of the Cobb-Boom Helmet in action (see below) — as well as a write-up about the series is featured in the article on their site.

Please check out POPCULTUREMONSTER.COM & the article.

Our hope with Boss of Me is simply to stimulate discussion, interaction and as Bret says ‘smiles.” The entire notion of our having intentionally crafted ‘branded content’ was just a bonus — not the intention or the goal. We certainly do want more attention on the work of Sabi, but practically speaking, we just wanted to create something that wasn’t expensive so that we could offer it for free to our amazing fans without having to justify a return.

THE PROCESS: We shot everything on a Canon 7D, and used the prototype for a Cobb-Boom Helmet (which is an audio booming aid that you wear on your head invented by Jamie Cobb) to record sound. We used Pluraleyes to sync sound & Final Cut Pro to do the rest. Of course, these minimal resources isn’t ideal but it well suited our needs for keeping this small and on its feet. Often the shooter was wearing the Cobb-Boom Helmet to get the sound while also getting the picture — which aside from getting the job done, was a funny sight to see.

BOSS OF ME key art

Much of the dialogue is improvised, and was guided by myself and John T. Woods through several phone calls, text messages with jokes, emails and a rough outline before going in. But it’s all really Bret Donovan. Bret was a find for us like no other, and of course there would be no show without him. His sincerity on and off camera is what keeps me as a co-creator interested in exploring new ideas and avenues while the camera is already rolling. The real investment with this series was our time and energy — so it was important to keep it a fun (and very fast) working atmosphere. We hope this translated into the series.

Boss of Me is certainly not for everyone — and it’s not something we were intending on getting on something like HBO for wide release — but at the very most we hope that fans subscribe & interact and want to see more (and at the very least — we hope they find it funny. In parts, anyway.) We look forward to your feedback!

Click here for the PILOT & entire BOSS OF ME series

INDIE THRILLERS: 3 Things you Likes about Thrillers and 3 Things you Dislike.

As we’re continuing to develop Falling Rock at Sabi Pictures, we’re looking to our fans and audiences for creative input and interaction, in hopes to better guide the creative team  as we embark together across multiple media platforms to tell this story.

We’d love to begin by asking you to contribute to the following list (please add your own).  We are particularly interested in your Dislikes, so as to avoid them with Falling Rock – a Thriller.

For Example, my responses: 

3 Things You like about Thrillers.

 1. Thrillers can make me feel real FEAR in thinking the worst, while HOPING for the best.

2. Thrillers can deeply explore the darker side of the human condition.

3. Thrillers can stay with me long after the film is over through the experience of suspense.

 3 Things You don’t like about Thrillers.

 1.  Thrillers that exploit violence gratuitously, unrealistically, and sadistically – causing trauma and diminishing of our capacity to empathize with real suffering.

2.  Thrillers devoid of any real meaning, hope, or possibility of redemption.

3.  Thrillers that use effects, music and shock-editing to manipulate its audience into thrills rather than suspense, mystery, and a willing suspension of horror & disbelief.

 

I would love to read your list!  

Please reach me here, or on Facebook or @drmental

Best,

 

Kevin

 

www.sabipictures.com

I wrote this in response to a recent tweet from Filmmaker Magazine editor Scott Macaulay, after our NEW BREED panel on ‘Creative Collaboration’ at DIY DAYS Philadelphia.  He wrote re: our panel on creative collaboration:  “I didn’t ask panelists to define it. Isn’t all filmmaking collab? What’s diff now?”  The following is to continue the dialogue: 

 CHANGES IN THE NATURE OF COLLABORATION IN FILMMAKING

 There are presently several ascending levels to degrees in which creative collaboration occurs in the making of a film.  On one end of the spectrum, collaboration could mean a Director communicates his/her vision and the Cinematographer adjusts to make the visuals resonate.  It could be a Director and Composer in a booth changing rhythms of music.  It could mean an Actor suggesting a line on-set. These old-school forms of collaboration are obvious to all – and this is one level of collaboration.   Great films, and incredible moments in cinema have been created this way, and until recently – it perhaps only this way.

Then there is, on the other end of the spectrum – something radically different and altogether new – what I would consider a higher level of collaboration in creating cinema.  To understand this new form of interdependent collaboration, you have to step back a moment and look at how far we’ve come technologically, and more specifically, how technology has shaped and empowered the next generation of young creative collaborators.

 A BREIF HISTORY OF KIDS WITH CAMERAS

 Sabi Pictures co-founder Zak Forsman and started making films with the first generation VHS camcorders at 12.  We worked together with kids in the neighborhood and our families  – taking ideas from everyone and each other – and created the movies mostly as we went along ‘in-camera’.   After us, came a micro-generation of self-taught filmmakers who had access to video cameras as a grade-school toy.  Now, they’re cutting features on their laptops complete with graphics and special effects.  Using the technology, they’ve learned from their mistakes and they’ve learned how to tell artistic stories.  They make movies organically and without a lot of money.  Their film school is watching independent and foreign films, hours of DVD bonus features, the occasional class – but primarily, the act of doing.  They are of any age. 

MULTI-HYPHENATES: THE NEW COLLABORATORS

 This intelligent, empowered new generation of young artist/filmmakers  are the new collaborators.  They understand intrinsically how to tell stories, and make movies organically – and how to make them engaging and real despite their budget limitations.  They collaborate interdependently rather than independently – they work with each other, not ‘for’.  Their power relationships are shifted in a way that fosters a creative spirit among all.  Any one member’s contribution to whole would be greatly affected if they were not a part of the project.  They are all empowered by the directors/producers – and quite often, they are all friends (or become friends).  This collaborative filmmaking team has learned together by doing – and doing everything together – and no one would dare suggest a particular task is ‘not my job.’ 

This generation of filmmakers (emerging everywhere) feels deeply entitled to more than whatever job they apply for.   They quit jobs that do not engage them – or lose interest in films that they cannot be fully invested in.  They are all, each and every one – a potential motion picture studio unto themselves – but they work together.  For the greater picture of the Arts vs. Commerce – this is a great victory for the Arts, for these emerging artists are not hampered by anything or anyone.  With the internet as an avenue for distribution, those with the clearest and most original voices – finally have a chance.

 These serious writer/director/producer/editor/shooters  understand that creative collaboration is actually working with other multi-hyphenate filmmakers to tell a story – and to share an ever-changing organic experience that is greater than any one person’s vision.  Despite their smaller crews, homegrown style, and simplified locations  – this next generation of creative collaborators work together in a radically new and exceptionally creative way.  By listening to each other, and allowing the possibility of improvisation to occur on set (be it dramatic or comedic) – the new collaborators of today foster a spirit of creativity and free expression from all involved with the project, from the D.P. to sound mixer to the stars.  There is a greater sense of shared pride on projects of this sort, and the results are often more engaging and honest.

CREATIVE INTERDEPENDENCE

 The only way I can describe this method of collaboration is to call it Interdependent Filmmaking. The way in which interdependent filmmakers work is to tell their film with each other – despite antiquated models of hierarchy on-set.  In fact the entire model of above the line and below the line breaks-down fundamentally when collaborating on this high level.   Everyone’s contributions are equally important and under the guidance and vision of a director (whose mission is to explore character, and tell the best story possible with input from the cast and crew) and a producer (whose mission it is to be flexible to change and to create a safe atmosphere where creativity is fostered) and their interdependent team.  Everyone has their roles, but everyone’s contributions are important and valued.  The relationship between the director and the actors are emboldened by these new production practices, and there is a process of mutual discovery during the experience of making the film.  

 These new highly collaborative artist/filmmakers are too smart for one role, and one role is far beneath them – they need to be a part of the crafting experience of the film, they have a tremendous amount to offer it tapped as a resource rather than just a helping hand.  These creative collaborators are empowered by their prior experience and knowledge (regardless of age), and by creating with/for each other.  They seek surprises on-set, they strive for honesty and deep emotion on screen, and ‘real’ performances. In fact, the new stories we see emerging were always written with the intention of being made (and revised to make things possible) .  The characters are conceived with—and fleshed out by—the actors that were always intended to play them.  Creativity is happening on-set while the production is on its feet – not just in the darkness of the writer’s room or editing bay.

 EMPOWERED BY SCARCITY

 Using social networks and the internet as an inexpensive testing and meeting ground for ideas and publicity, this New Sustainable Cinema trend of smaller, more collaborative films is fully empowered by scarcity in funding rather than hampered by it.  This is an amazing thing and different than experiences of the past.  Our limitations are forcing us to tell better, more inventive, more impactful stories.  Producers arrange to shoot guerilla, with DSLR cameras.  Directors and Composers that have never met in person, score an entire film online.   Actors that really care about their craft, seek out collaborative directors that could push their creative boundaries based on seeing their work online.  These nano-budget films are not only being created collaboratively, they are marketed to communities online, with the cast and crew interacting with fans to get the film out there.  It’s from start to finish and entirely interdependent effort. 

 And what has been the result of this changing nature of collaboration?   Nothing short of a resurgence of beautifully executed, meaningful cinematic stories.  These films are emerging everywhere – and without any debate or controversy over who gets the ‘film by’ credit.

END RESULT: FILMS OF VALUE AND MEANING (PAST & FUTURE)

In a way, it’s a throwback to films that were made in an earlier time in the history of cinema where the filmmakers themselves determined which films were made (though present interdependent cinema is comprised of films radically smaller in budget, size and scope).  At the time, most everyone understood that a good film was good because it was at once entertaining, artistic and meaningful.  People went to the movies for different reasons entirely, and as an art form – it was still discovering its voice.   The films that are being polished in the editing bays of many young filmmakers all over the country continue that search.  These are filmmakers making projects that couldn’t have been possible without the help of everyone involved.  The motivating factor is to create a good story and tell it well – and by any means necessary.  And their ideal – is to put the final work in front of audiences and fans in the hopes they someday make another.