This week brought one of those unexpected moments that reminds you why independent filmmaking is equal parts art and alchemy. Chris, Anna and I sat down with JQ and his childhood friend/music producer (Tubbyoung) at Sweetsalt in Toluca Lake to discuss the sonic landscape of Concrete River. Because it’s a film that will be experienced both visually and aurally.
But we walked away with something much more powerful.
The conversation centered around Travis’s musical journey throughout the film. Rather than traditional scoring, we’re building a 4-track EP that Travis creates organically as his story unfolds. Each track becomes a narrative checkpoint – moments where Travis processes his journey through music, giving audiences an intimate window into his emotional evolution.
This isn’t just about having a killer soundtrack (though that’s an intentional plan for our marketing).
It’s about authentic storytelling through the medium Travis knows best.
Seeing People, Not Conditions
Our meetings with the makeup artist and wardrobe designer revealed something crucial about our approach:
We’re creating characters who happen to experience homelessness, not homeless characters.
Travis will carry a signature piece , likely a jacket, that serves as a tangible connection to his previous life as a music producer. It’s not just wardrobe; it’s a physical reminder of who he was and who he’s fighting to become again.
Alice wears her defiance. Her worn-down clothes and makeup aren’t just about her current circumstances. They’re the armor she chose against parents and a society that tried to put her in a box. Even experiencing homelessness, she maintains her identity through how she presents herself to the world.
These details matter because they make our characters individuals first. We see people with histories, personalities, and agency.
Not just their current condition.
The Script Evolution
Another pass through the script brought us to 107 pages. Ana and I are working to trim it to 105 – those two pages might seem insignificant, but they could mean the difference between a manageable shooting schedule and an impossible one on our budget.
Our AD is already working on the schedule, which will inform our casting directors’ outreach to actors. It’s a beautiful example of how filmmaking is a truly interconnected artform:
Script length affects schedule, schedule affects casting approach, casting affects performance, performance affects the final story.
The Circle of Production
As we wrapped up the music meeting and headed to the parking lot, something magical happened. Calvin (aka Tubb) noticed we had naturally formed a circle and called it out:
“The Circle of Production.”
In that moment, he saw what I’ve been feeling but couldn’t name . The organic chemistry that separates a real creative team from just people working on the same project. We put our hands together, counted to three, and shouted “CONCRETE RIVER!” into the Toluca Lake evening.
To anyone watching, we probably looked like 5 people having a breakdown in a restaurant parking lot. To us? It was the moment our team truly bonded.
What This Means Moving Forward
Questions I’m pondering this week:
- How do we maintain this collaborative energy as the team grows?
- How do the character details we’re developing inform our casting strategy?
- What other story elements need this level of intentional detail?
Next Week’s Focus
- Finalize the script at 105 pages with Ana
- Review the production schedule with our AD
- Continue refining character looks with makeup/wardrobe
- Support casting directors with updated materials
The Web Keeps Growing
Every decision ripples outward. Travis’s jacket informs the wardrobe budget. The 4-track EP affects our sound design approach. The script length determines our shooting days.
This interconnectedness used to feel overwhelming. Now it feels like creative alchemy.
Following the journey from $2.5M to $300K to something that might just be magical. Previous entries: CR Journal 1 | CR Journal 2 | CR Journal 3 \ CR Journal 4