The
making
of... Indie TV ?
Commandment
VI : One
shall seek freedom.
THE MAKING OF…indie television? portrays how a low-budget, independent television
program is made without compromising one’s creative freedom.
Using Granite Forks, a
television series filmed on location in Stanstead, Canada as a case study,
along with footage from some of independent filmmaker Bashar Shbib’s
other films, this full-length feature gives the inside scoop on the
challenges of independent media production and why it is such a driving
force in one director’s life.
Story Outline:
It was during the filming of Granite Forks, a television pilot done earlier this year, that independent film maker, Bashar Shbib, came up with the idea of making a full-length, digital feature film depicting the allure, the challenges and the pitfalls of independent filmmaking.
Having made his first film at the age of 23, and with more than 30 films now under his belt, Shbib has never looked back. He is well versed in the world of independent filmmaking and highly qualified to give an insider’s view of this passion.
Shbib’s unique directing style attracts and inspires actors to follow him from project to project, although frequently one is heard to question ‘Remind me again -- why am I doing this?!’ You either love Shbib and his tolerate quirky style because you recognize the drive behind it, or you hate him because you simply can’t function under his rather unorthodox, experimental and slightly chaotic methods and approaches.
By using film clips from Granite Forks and some of his other films, along with poignant and funny interviews with various members of the cast, crew, and Shbib himself, THE MAKING OF… paints a very vivid and accurate picture of life in the ‘indies’.
Filmed in various locations in and around the Stanstead area of southern Quebec, GRANITE FORKS is the result of many months of collaborative work amongst the 50 or so actors involved with the production. Director Bashar Shbib put out a casting call for interested people (“no experience necessary”) between the ages of 20 and 60, hoping to get adults around 40 years of age. What he got instead was an overwhelming response from young teenagers eager to partake in the chance to appear on television. Working only with a germ of an idea, Shbib wasn’t fazed by the ages of his new actors. Instead, he decided to work with what he was given and the story line slowly developed into one that could and would incorporate his existing actors.
The core cast of about 25 slowly grew to include more and more people for bit parts and extras, until the final count was over 200 with 50 recurring characters. Some people had theatrical experience; many had none. Under Shbib’s tutelage, all would learn to use the right techniques to portray true-life characters under the scrutiny of the camera’s eye. Voice coaches and guest directors visited to work with the cast. Improv was frequently used and people regularly worked with a different partner each week in order to develop an easy rapport and a level of trust and comfort between each other to make filming easier and interactions seem more real.
Most of the filming took place in an old, unused school. When Shbib first saw the school -- with its spacious, wooded grounds, weight room, ample space for costume and prop rooms, gymnasium complete with stage, empty rooms available for set locations and plenty of private living space -- he immediately saw its potential and leased the complex; the old Notre Dame School was transformed into a production studio.
After ten weeks of acting lessons that took place on the crowded little stage surrounded by boxes and bags bursting with various props and clothing from previous films, the parts were handed out and rehearsals for GRANITE FORKS began in earnest.
Normally Shbib dislikes using a script when making films, preferring instead to have only a general outline of the plot and a germ of an idea for the characters. He is very flexible in what an actor is allowed to do, but knows when he doesn’t like something. Improvising along the way is how the actors develop a character’s depth. As Shbib explains, “Each actor is well aware before the start of production of what to expect. We discuss the story and characters and improvise. It’s a challenge to all, but the end result is that I have a unique story and natural performances from the actors.” According to Shbib, the limitations of using a script are evident in the shooting style used in Granite Forks.
For people who have had theatrical training and are accustomed to having scripts and full plot lines in their heads, this unique approach can be rather daunting and can take getting used to. Not having a full character to work with is also sometimes difficult for people who are just learning the craft. One has to learn to relax with it and let the action take place as naturally as possible, something that is sometimes easier said than done. Editing this type of footage also becomes very difficult; often there aren’t multiple versions of an action or a speech to pick and choose from.
In Granite Forks, the approach was different. A script was used, and therefore, character development was a little more formal. According to Shbib, the limitations of this technique are evident in the shooting style used in Granite Forks because a script limits the actor to the interpretation of the vision of the writer. “It doesn’t give the actor the opportunity to improvise and expose his inner-most being,” said Shbib. “Rather, he’s forced to mimic the dialogue of the writer and you can see the difference in the acting. It’s less natural and it would normally require a professional actor to portray the otherwise spontaneity of improvisation.
One has only to hear the comments from his actors to come to understand Shbib’s charisma; the comments all reflect the same crazy experiences (and frustrations) associated with Shbib. Yet, as THE MAKING OF… shows, people participate with him time and again, for very little in return, except the pleasure and satisfaction of creating something out of nothing together.
Shbib is also known for the ‘family-like’ atmosphere of his projects. Indeed, the cast and crew mingle and socialize together, working, cooking and eating together on a regular basis. There is a definite feeling of community that evolves with each production that adds a richness to the experience -- although cameraman doubling as toilet-washer wouldn’t necessarily be considered appropriate in other companies.
Using all the manpower available to him, Shbib sometimes seems to take advantage of people’s generosity with their time, asking them to do a job of momentous proportions that sometimes seems to have no relevance to the film itself, but instead is just a chore that needs to be done. A familiar complaint illustrating this fact was the famous “log run” in which Shbib had the cast of Granite Forks go out into the woods behind his house and carry in all the logs that were lying on the ground. Many thought his rationale for the task was a warm-up for the actors and there were many people grumbling about Shbib just needing his firewood brought in for the season instead! However, Shbib swears that the log-run was an hommage to a character in Twin Peaks and he thought someone in the cast would notice! Obviously no one did. The logs never did get picked up and continue to lie outside the school building, unused.
Going off to Europe for a business trip and leaving the entire cast with instructions to re-paint the whole production studio on Easter weekend (with about 75 gallons of different mix-matched, partially-used, varied coloured paint -- from lime green to salmon -- is just another example of his chaotic work methods. “Just mix the colors you need!” were the vague instructions given as Shbib walked out the door. He supposed there were ample supplies to use, there must be extra drop clothes somewhere and surely there would be enough paint with all THOSE cans -- and off he went. Of course, this calm acceptance of “what will be will be” does indicate Shbib places a great amount of trust and affection in his cast and crew.
Dealing with malfunctioning equipment, poor lighting conditions, actors that have disappeared or failed to show up at the appointed time and place, unexpected weather conditions, personality conflicts, tender egos and boisterous personalities, are all taken into stride. The actors’ enjoyment and satisfaction “in spite of all the craziness!” shines through the production. As frequently happens in a Shbib film, the crew members also took small roles in the show. Their points of view about this practise are quite varied although most admit they hate being in front of the camera. No one can deny it: their footage certainly provided some of the funniest scenes in the show.
The writing of Granite Forks involved a lot of brain-storming on the writers’ parts. Eventually each character in the show had to find an alternate voice to use as an alter ego. Most actors hated doing these voices, although some of their choices were extremely humorous and very well done. Originally these caricatures were only supposed to be used to portray the warped memories of events as they replayed inside Murray’s mind but gradually this idea fell away. Instead it was replaced with the idea of using the caricatures in the introduction of each new episode to recap the events of the previous week. In THE MAKING OF…, the caricature voices are the only voices used in the entire film.
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2008
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