The Conduits

Maria Knox (Fafnir) prepares for Shot <3.

Kerry Candeloro (lower left) learned to sound mix on the spot and Brian Zapiecki (center) got a crash course on being a boom op. Meanwhile, Alison Hale watches on.

Coraline Wang (Production Design) and I on the first day of filming. I’m very proudly holding our floating brick.

Making a brick fly is hard. In the center, you can see Brian Zapiecki with the c-stand we rigged up to make the effect happen.

Fun fact, in front of the camera you can see the jib we used to get some really cool crane-like shots.

We rented a big silk to diffuse and bounce light in shots. Fun fact: When it’s windy, it makes a great sail. Additional fun fact: Chasing one is a great workout.

Alex Hass (Director of Photography) and I planning a shot. Over the course of the film, we worked out a really cool shorthand of how to figure out what I wanted and how he could make it look good.

The Director (me, center) between Naava Feingold (left) and Alex Hass (right) doing his best impression of George Lucas filming American Graffiti.

The diner scene was shot in Joe Jr’s in Manhattan, a regular haunt of mine while I was in college. Wrote some of the script there!

Prepping for a shot. A fun thing about the bar we filmed at was that they had a small landing outside where we could set up lights, affording us a great deal more control during the shoot.

Juke Bar in the East Village is a wonderful place, another haunt of mine, with great cocktails.

STUNTS!

Drew Leary (left) helped us send Aline Mayne (Cavalier) flying backwards through the air.

We shot the climax at Grand Ferry Park in Brooklyn. There’s a gorgeous view of Manhattan across the East River that we tried to get in to, y’know, take advantage of the New York of it all.

We had some kids watching some of our shots and setups. They were very understanding about being quiet when our AD’s called for it.

Josh Herzog (left) operates the Ronin to get some gorgeous shots while Archie Repin (right) stands by with the slate.

See? The silk made for some really dramatic lighting.

They say it takes a village. I don’t know if they do, but someone probably did. So yeah. It’s a real group effort to make something. I’m forever grateful for the folks who worked on this movie. I couldn’t ask for a more wonderful, talented group of people.