…she ends up with a film that looks awesome.
That's right. The film is finished.
I just spent two weeks at Rev 13 Films with our rather amazing colourist Tony Manolikakis, throwing in my two cents as he created the last piece of the beautiful puzzle that’s consumed my life for three years. We screened the final version last Friday, and I’m over-the-moon happy.
The colour enhances everything. It takes us on the emotional journey through the film. It defines the story in all its stages. It is integral and stunning. It isn’t just about Tony’s technical skill, it’s about his understanding of the film, his creativity and his collaboration with me and our DOP, Michal Wisniowksi.
I’m so pleased with the whole experience, I made a dorky little journal of what my those lazy crazy colour-grading days in Montreal looked like:
• DOP weighs in. He’s in Poland, but his ideas carry weight all the way across the wide Sargasso Sea.
• VFX guy Nick Fodor does a cool thing for a scene with Sophie and Liam that makes us want to stand up and cheer.
• DOP says “hey, about the final scene! Do this!”
• We do. It is good. No, great.
• Screen final version. High five Tony.
• Take exactly four seconds to think “wow, we did it!”
• Go back to House of Rosé and sprawl on the couch, too overwhelmingly exhausted from this journey to move, speak or comprehend the enormity of what we’ve done, let alone drink wine.
• Get over it. Drink wine.
Who knew sound mattered so much? Okay, probably anyone who saw Valhalla Rising, but really, I’ve been bowled over by the latest development from the murky and mysterious land of post-production.
Our sound mix is done! And it’s brilliant!
When we sat in playback last week and I got to hear what they’d done, I realized that all this time, half my movie had been missing. Jam Post found it, and everything is elevated. Whole scenes have taken on a deeper meaning because of Mark Shnuriwsky’s clever sound design and Steph Carrier’s delicate hand on the mix. (I’m talking to you, anorexic girl dancing scene)
Sound effects, dialogue, music, and foley have solidified the tone of the film and given an immutable shape to this thing that once only existed as an amorphous blob of words on my laptop screen.
Along with Steph and co-owners Janice Ierulli (supervising sound editor) and the aforementioned Mark, there’s a whole big crew that had a hand in our post audio and it looks like this:
Nadya Hanlon ... sound effects editor
Heather Kirby ... dialogue and music editor
Vladimir Borissov ... sound effects editor
Matthew Hussey ... dialogue editor
Dave Johnson ... dialogue editor
John Sievert ... foley artist
Clive Turner ... sound effects editor
Brandon Bak ... foley mixer/recordist
Thank you, gang. We are most pleased.
So here we are, deep in the heart of post-production. So much to tell, but so little time because…post-production.
Everybody keeps asking “when is that movie of yours going to be done?” It’s like when you’re nine months pregnant and everybody keeps asking when that baby’s going to pop. The answer is “Pass me a sandwich, and one of those nice pickles. Oh, and a bucket of coffee, please. Because I haven’t had time to eat or sleep this week."
Been busy looking at stuff like this (eyes right)
So here’s what you need to know about how we're doing...
Yes, post-production takes long time. So do babies. But in the end, they’re both worth it. And unlike babies, The Wasting won’t throw up on you.
I'm the writer-director and more or less the mother of this film.