The Metamorphosis - Raising the Bar
Following several music videos and a pandemic, I was more than ready to begin a new narrative project. Once again, I wanted to make something that is engaged with the “weird”. I didn’t feel I strayed too far from the dream images that I love so much, however, films like No Quiero Verte and Love Bug were both attempts at creating something more grounded. They took place in our world. I didn’t want to do that this time. I wanted to do the opposite. I was spending much of my time during the pandemic writing and making illustrations and paintings, and out of this work, I began to give birth to some very fun ideas. Ideas that shouldn’t live only on canvas or paper.
Admittedly, I had been struggling with the writing of my previous films. I had a lot to learn in writing something that functioned well in short form. I wanted to work with a writer the next time around. I was introduced to Scott Chema, the writer for this project, and quickly I felt I could work with him. His temperament agreed with me. Over a few drinks, we began to throw ideas out there and I immediately told him, I wanna adapt Kafkas Metamorphosis. It doesn't need to stay close to the source, but I like the imagery and wonderful words conveyed in it. There is a setting I can do a lot with.
While the script was developing and casting was underway, I was working with a group of artists to begin gathering and creating props for the film. Concept art from artists Jon Dodd and Justin Lamperski was created as well as a number of sculptures. Makeup artists and visual effects artists were contacted and budgeted into the grand scheme of the film. Scouting the best available makeup artist in the Bay Area was a must, as applying latex pieces to a minor can be very time-consuming or dangerous if not handled to industry standards. With the help of Walter Welsch, we were able to make this a reality.
The era is an uncertain time with elements of the 40's 50’s and 60’s and so everything needs to reflect that generally. With the help of Kyle Kaldhusdal and Zuzu Snyder, so much of this became much easier. The two of them are masters of vintage props, clothes, and prop styling. This became increasingly important while we dressed the sets during production.
I wanted a free playground to mess around in. It was nice to work with Scott. I pushed him to enjoy the creative process of writing and allow us to try and figure out how to make it happen later. There are so many ways to make a film and so many limitations we will face in the making, best not put limitations on the writing where everything begins.
We established the necessities of the plot and stuck to that, otherwise the script was changing often. Scenes would be combined or removed. We did not want to be too rigid with the film. It is common for me to add some ambitious elements into even some of the more simple scenes. We needed a great producer to help us get through this. Reinel Campa was enthusiastic to jump on and help us. She had been there for me on making a music video for Francis Day so she understood my approach and work ethic.
With Reinel onboard she began brainstorming avenues for fundraising. She worked very hard to get our Seed&Spark page together. She extended her reach very far to put as many eyes on the project as she could. In the end, we were able to raise nearly $14,000. With her help we maintained a strong connection between the cast and crew during the slow times between shoots, and she arranged for meetings that kept everyone on the same page.
Simultaneously, as the fundraising is underway, we were focusing on building a cohesive crew. Looking back it seems like it was a very simple task, because, really we were just getting lucky time after time. For this project I wanted to branch out and find another person to head the Camera department. I branched out on social media and made some posts just to see who is out there. So many different styles and artists whose interests can expand the scope of a project. Meeting Christiana Charalambous (director of photography) was a lucky break. We had cheeseburgers. Delicious ones. Melted cheese, and strong pickles. Between bites we talked about our biggest influences; what in cinema draws our greatest appreciation, etc etc. Discussion was light. It was on our second meeting that we discussed the project more in-depth. Speaking about my approach to shooting and the importance of rehearsals. Prep time being extremely important along with my use of storyboards. The film is to be shot digitally, though I was pushing to shoot some of it on 16mm if possible. She has been interested in shooting something in black and white for some time also. Capturing the silver tone quality that I love in older films shot like The Day the Earth Stood Still (1951). She accepted the position that afternoon.
Cast, first meeting for the table reading of the script.
From left to right (top): Bohn Conner, Edward Pieczenik, Jonathan Grant, Joe Schwan, Amada Noel, Margarita Perez-Stone, Reinel Campa, Scott Chema
(bottom) Christiana Charalambous, Julie Masterson, Vasilisa Badeka, Douglas Lawlor, Jackson Horton
February 19, 2023
Casting was a slow process. Knowing preproduction would require a lot of time for character design, monster creation...puppet making....i wanted to be sure that we found the right people. For each character, we saw quite a few candidates, especially for our boy Greg. The role requires a lot of patience and understanding in makeup. The character is transforming into an insect, so whoever we choose would have to know what they are getting into, and at a young age, the child would have to be pretty self-aware. We found our guy in Jackson Horton, who gave an excellent audition but assured me, earnestly, that he is ready to go through the transformation. He proved this when he sat through a full head casting process within the next few months. His mother Jill was incredibly supportive and made me feel that I really did pick the right boy for the part.
I'd say the most important role for the film was that of Lisa, Greg's younger sister. She needed a wonder in her eyes, a fear, to be soft and strong...It took a lot of consideration and we saw more potential in Lisa than any other role. We narrowed it down to two girls and then we had to make a hard decision. Vasilisa Badeka is the girl and an impressive performance was given time after time. She brought a great joy to set that softened many long days. We were lucky to have found her.
In time we gathered the remaining of our cast. Amada Noel (right) for the role of our mother, Phyllis, in memory came easily. She auditioned early and was our best candidate. We brought her in also to perform a scene with two actors auditioning to play Peter the father. We were uncertain about the father character, having seen several candidates, none of which seemed to feel right to me. When Bohn Connor (left) sent in a photo resume, I did not feel he was our guy. I'll admit it, he didn't look the part to me. I imagined a skinny pushover of a man but thats not Bohn. When he sent over his video audition i'll tell ya, I was immediately taken by it. He has a deep commanding voice, and yet his character is a total mess. The contrast is pretty comedic which we have been deciding to lean into.
Getting through Pre-production was a lot of work, but it was so necessary for us to have a firm ground to continue on. The production schedule was drawn out a great deal as we worked with the young cast members’ schooling as well as a seasonal delay for a location requiring Sunflowers in full bloom.
There is so much to cover and talk about, but as the film is only, at this time, beginning to screen in film festivals, I will keep much to myself. Perhaps I will create another post going more in-depth with the creative journey of the insects, puppets, and makeup.
Douglas Lawlor