Filming Patch

Patch has been my first experience directing for film. It was also the first time that something I wrote was produced. So it was a big project and milestone for me. It has been a learning experience and quite a successful project.

I guess the first place to begin with reflection is at the writing aspect. A big problem I have with student writers is that they go too big. They're too ambitious, as if anyone thought there was such a thing, but there is. An attempt at emulating what Hollywood does is going to come off as just that: an emulation. Students must keep in mind what their capabilities are. We cannot have giant chase scenes or complicated shots. Our screenplays must rely on powerful dialogue that can be executed easily. We need to search out the core of humanity. It is at that core that we can most effectively operate. It puts us on the same playing field as the rest of the industry. No amount of fancy lights or tricky shots will make a real, poignant script into anything better than one that is filmed simply. It forces a writer to REALLY write, instead of relying on the technical aspects to carry the film. In my opinion, a good script must be completely able to stand on its own as an enticing work of art. It must be deep and multi-faceted. We cannot afford, as low-budget filmmakers, to skimp on what is ultimately the backbone of the film.

So this is what I set out to do: write a script that is moving, but simple. Small, but big, if that makes any sense. Some of the best films of all time were simple, but had such good scripts that they couldn't help but to become classics. Clerks comes to mind. Family dynamic is something that interests me. I'm constantly exploring it in scenes, plays, and in my studies. When I decided on basing my script off of The Great Red Dragon and the Woman Clothed by the Sun, I was hit with this suspenseful story of the strength of a brother bond in the midst of betrayal. And not to harp on student writers, but SUBTEXT people! I can't stand a script where the characters say exactly what they're thinking. That was another thing that spurred the ideas that became Patch. I wanted to write something where the words didn't matter; that the words only served to act as a conduit to get emotions across. Blake is too closed off to ask for Will's forgiveness, so he does it in a way where he doesn't have to say it. THAT is what communication is actually like. If Blake just came out of the bedroom and said, "Will, please forgive me." it would be BORING. End of film. But I strive for something better, something more.

I found after filming that my words had more meaning than I thought. I chose the title Patch simply because the dog figures so largely into the dialogue. But then, I thought about it. Much like the film Drive is about driving, it is just as much about the Driver's inner drive to do right by Irene. In Patch, Patch is the obvious namesake of the story, but doesn't it mean so much more? Blake and Will choose to put a patch over their relationship both at the time of Patch's death and during the events of the film. Whether knowingly or not, the brothers make the decision to put a patch over their issues time and again for the sake of their relationships. Patches are temporary, but Will and Blake will keep reapplying as necessary because what else do they have if they don't have each other? 

On directing, I was very lucky to get a wonderful cast. Walter and David are experts with their craft. They created and strived for an environment where we openly discussed the implications of the script. I think we were all very much on the same page and I am endlessly appreciative for their work. I would have loved to have my original Mary, Meagan Dyer, do the role, but sickness desired otherwise. She still graciously offered her home for us to film in, which I am extremely grateful for. Bobbie Renee took the role on within hours of the start of the shoot and I can't thank her enough. They say directing is 90% casting which means that 90% of my directing job was flawless.

Decisions had to be made and I am particularly proud of my ability to not become married to my script. Sometimes writers who direct their own shows can become too attached to their words. If something didn't work, it had to go. Nobody respects the guy who holds up filming because he can't find a solution that doesn't involve changing his beloved work of art. I've worked with that guy. He sucks.

All in all, it was a wonderful experience and a relaxing shoot. I had a great crew and cast and couldn't ask for anything more. <3