We’re deep into the creative heart of pre-production now. Week 7 has been defined by one of the most crucial creative and logistical documents of any film:
The shot list.
It’s the bridge between vision and reality, between the film I see in my mind and the one we’ll actually be able to create with our ultra-low budget constraints. Breakthrough moments came through studying films like Sing Sing and Aftersun. Discovering how powerful scenes can unfold in just 2-3 shots, sometimes even one. For Concrete River, this isn’t just an aesthetic choice.
It’s a survival strategy.
But something deeper is happening here. This film is starting to become something I can actually see and feel. It feels like a film that can be really good and really beautiful. There’s an energy around it that is creating momentum.
THE REALITY CHECK
What’s Working: The look and feel of the film through production design, makeup, and wardrobe are really starting to come into place. We’re having auditions this week for the role of Alice, and we’re close to casting someone to play Noelle, who is an up-and-coming singer. The shot list is complete (at least the first pass), and there’s a synergistic energy building across the team that we can all feel.
The Challenge: The next big hurdle is finding our locations. Much of this film takes place outside, which is great for being nimble and keeping costs down. But it means we have to find the exact spots and streets that have the kind of character we want to show. Outdoor locations also mean more elements outside of our control. An owned location gives you more control, but the cost is higher. We’re making sure we’ll be safe and have permits so we won’t be shut down by authorities. But it’s an element that requires additional consideration.
The Creative Breakthrough: There was a scene in Sing Sing where Divine G and Mike Mike are having a conversation leaning against a tree. It’s a deep and personal conversation, and it all plays out in one angle. You feel like you’re there witnessing their conversation. That helped me see how some scenes could play out in just a few angles, or possibly even one. It also showcased the importance of having one great take in all your coverage.
Our Approach: This being an ultra-low budget film, we have to be very intentional about coverage. With the exception of 2-3 scenes, I’m limiting setups to between 3-5 per scene. This is a documentary-style movie shot on anamorphic lenses to give it a vintage/timeless look. I want longer takes with fewer cuts versus making it edit-heavy, allowing the audience to live within the scenes and characters. We’re dealing with characters who live in a world that can be seen as grim. So we need to showcase the beauty of their humanity.
Color as Character: We’ve settled on a color palette centered around Indigo Blue, which has cultural/spiritual history in Western Africa. It’s the color close to water, which has its own power for descendants of African people. And it’s the color that is calming for Travis when the world becomes too much.
Lessons For Fellow Creators
- Engage in the practice of study. I find it very valuable after watching a film to go back and watch it again as a student. Study how they covered the scene, how they edited it, and how it’s composed. It can lead to breakthroughs. I even watch the end credits. In The Fade gave me an idea of something I’d like to do for the credit sequence of Concrete River.
- For a low budget film, look at what is necessary to cover the scene. Go in with your minimum. This allows you to scale up if you find extra time versus having to scale back. You will have to make compromises no matter what (all films do). But knowing that you have the essentials of a scene to work with will help you make a better film (and sleep better at night).
- Focus on all the details like color and clothing and how people dress. Those little things stand out, especially if there’s a pattern and reason to them. Using the color blue in certain spots shows us how Travis feels about the world. It can help the audience have the same feeling. Film is an art form where the power is in what isn’t said. The moments before and in between speaking are what really stand out. Just like life.
LOOKING AHEAD
The next steps are to begin locking down our locations and our cast. The role of Alice is especially important and represents a big milestone for the next hurdle in our production. We’re starting to put dates on the schedule, which means everything is starting to happen that much quicker. So I’m taking my spare time for preparation and planning all the details. It’s a lot of work, but the good kind of work.
There’s a good pressure that is on my shoulders to deliver. It feels like we are building a supportive family that is coming together. It helps me look at the project and fall in love with it each day. I look forward to the pressure and the work. It’s a reminder of just how much of a privilege I have to be able to do this.
Production Stats:
- Week 7 of pre-production completed
- Team morale: High with synergistic energy building
Biggest win this week: Completing the shot list and getting auditions ready for the role of Alice