|1922 color film test, with Mae Murray|
It's worth spending time to properly process test audience comments. What happens is you hear from person A, person B, and person C. And while A and B love everything except for one little bit that really bothered them, person C thinks that one bit is the best part of the film.
All very smart people, just different aesthetics. How does this film fit into that? And what's person D going to say that's going to affect what A,B, and C said?
That said, person Z, who I talked to last week in real life, had just one major comment and a suggestion, and that suggestion actually addressed a major element across the film that I'd been stumped on. Digging into the film now, the changes I've made based on this new suggestion have been coming out great.
I watched a few other films over the week, specifically to see how they used their score music. I haven't done that in a while, it's always very interesting.
I'm also thinking a lot about color in this go-round, hence today's picture, which is not from our film, but of lovely Mae Murray, in an early color film test (1922!). A long time ago I thought it might be cool to shoot a beach movie in black n' white, but calmer heads prevailed and instead we have glorious Kodak color. Everyone knows that B&W is great -- hell I've made as many film that way as in color -- but sometimes you wanna use charcoal, and other times you need oil paint. Whatever's best for the project. Right? Right!
Sightings: Anna and I saw Kenna Kettrick at the theater over the weekend, and just a few hours ago I ran into Riley Neldam out on the street, working on commercial shoot. It was great to see them both!