Concrete River - Building the Creative Organism
Casting and Pre-Production Ramp-Up
We are building what I like to describe as a creative organism. We are in the process of adding people to the team for this film who will all support each other and provide creative energy. Depending on how you form it, it can either be invigorating or destructive. We’re officially in the thick of it now. Two weeks deep into script discussions and rewrites with Ana, meetings with casting directors Miriam Hoffman and Candice Bernstein ramping up, and the entire production gaining momentum as we begin looking to expand the team. JQ Cole was attached as our lead, Travis, months ago, but this week we’re diving into casting everyone else and filling out our crew. The script is heading into draft 12, we’re compiling our lookbook, creating storyboards, and everything is accelerating in that exciting yet terrifying way which creates this signal: We’re actually making a movie.
THE REALITY CHECK
What’s Working: Everything is running smoothly in a way that feels almost magical. We’re finding the right people, and connections are forming organically - that beautiful phenomenon where you start seeing how everyone knows and meets each other. It’s becoming that living, breathing network of creativity that makes wonderful things happen.
The Challenge: The pressure of everything happening at once has the potential to be overwhelming. I still have the reality of needing to earn a living and grow my business, so my nights are spent working on the script. We recorded all our meetings (three total), and I’m methodically going through them to ensure nothing discussed gets left behind. Plus, there are new creative elements emerging - like the interesting dynamic where Travis’s synesthesia makes him need music to keep the world from being overwhelming, while Alice (the girl he mentors) likes quiet and certain sounds bother her.
Specific Example: Two key positions we’re hunting for - production designer and 1st AD - are proving challenging. We had a great breakdown from a production designer, but he’s currently at AFI with a packed schedule. Meanwhile, JQ is taking on a new job teaching high school drama. His schedule is flexible, but we’re having to completely restructure our shooting plan.
The Solution: Instead of our original plan to shoot everything in November for a full month, we’re breaking it into chunks. October will be anything that’s just JQ alone plus tests (essentially 2nd unit work). In November and December, we’ll ramp up for the main production. This gives us flexibility, time to review and adjust, and respects everyone’s other commitments since we’re asking a lot from people on a low budget. Even though our plan is to give everyone an equal share of our profits.
Lessons For Fellow Creators
Lean into relationship building. This film works because it’s built on a well-established foundation. I’ve known Chris (my producer), my DP, and JQ for over a decade. Even though I hadn’t been in direct contact with JQ, I would send congratulations every time I saw him doing something great. From his roles on Winning Time, Snowfall, and Wu Tang to heading overseas to study drama in London. It wasn't pre-planned, I just wanted to show him support. Because the act of celebrating someone’s success goes a long way.
Record your meetings. Having our script meetings recorded has been invaluable. Ana suggested it from her day job experience. You don’t have to take extensive notes to remember everything, you just review the tape. Plus, you can save it to share later, which I plan on doing.
Always be prepared to shift your plan. We initially wanted to shoot everything in November. With JQ’s schedule, breaking up the timeline is probably better for everyone. This film has a low budget - we’re paying people but not a lot. Asking for 20 straight days is a big ask. The chunked schedule allows breaks, other work opportunities, and will make the creative better as we’ll have time to review and adjust.
LOOKING AHEAD
Next week we meet with Miriam and Candice to begin casting our two main female roles: Alice and Noelle. My goal is to have draft 12 of the script ready by then. We’ll continue filling crew positions while compiling our lookbook and getting key frames storyboarded. For Noelle specifically, we’re looking for a younger female musician (the character is 18) who can bring authenticity to the role and contribute to our hip-hop & soul (with a little sprinkle of jazz) soundtrack. Music is essential to this film, and we want to build an audience authentically through the soundtrack itself, not as a marketing trick.
Production Stats:
Prep days completed: 2 weeks
Budget status: Secured
Team morale: Very high - everyone’s excited
Biggest win this week: Being in the middle of crafting a great next draft
Oh I love getting to see the production journals.