Mike facing the camera as if in a trance, stickmen all around.Mike crucified on a giant stickman with stickmen hanging everywhere. Mike goes down into that creepy-as-fuck brick basement, his camera is dropped, then Heather’s runs down and what she sees before her camera goes down would be one of the following: Photo by Stefanie Sanchezīasically, what Artisan wanted to do was to reshoot the very end. “They want something bigger, scarier, ” he said.įrom left to right: Gregg Hale, Michael C. The audience at the Enzian who screened the Sundance print before it was shipped off sure seemed satisfied. The people at Sundance sure seemed satisfied. “They just don’t think it’s satisfying,” Rob said. “Why the fuck would they want to do that?” I asked. “Artisan wants us to re-shoot the end of the movie,” he said. The Meeting(written by Jonathan Mangum), which I edited on Haxan’s editing system at night while they were finalizing the Sundance cut of Blair, got into the Los Angeles Independent Film Festival (now LAFF), and Jay Bogdanowitsch and I busted our asses to get the 35mm negative cut and film print done.īlair was months and months away from being released. I think that person meant that’s how long it would take to direct a film, but fuck ’em. Rather than speed through it, I over-enunciated every word of that mouthful every time like a radio announcer, and lots of callers thought I was a recording and didn’t know they could talk to me when I stopped.Īt night, just to disprove someone who told me it would take five years before I would direct anything in LA, I directed a not-great play called “Golden Elliot” at a scummy theater in Hollywood (on the corner of Seward and Santa Monica Blvd.) which no longer exists. “Thank you for calling Source Services, a business of Romack International. I was not optimistic.Įvery time I answered the phone (500+ times per day) I had to recite the following: Meanwhile, I got a temp job answering phones at an executive staffing company called “Source Services” in the Sherman Oaks – a pleasant borough of Los Angeles where I live today. Source ServicesĪlicia and I returned to LA and tried to get our new lives on track, knowing full well that The Blair Witch Project was poised to maybe change our lives six months later on July 16 – opening against Stanley Kubrick ‘s final film Eyes Wide Shut(which I assumed would suck all the oxygen out of the room for any other film that week). It would have been considered a massive success if the ride had stopped at Sundance. Having even gotten that far was a giant win. We were a bunch of unconnected newbies from Florida and we managed so can you. Cinematographer Neal Fredericks at Sundance.Īspiring filmmakers, if you take nothing else from all that I’ve written, even if you hate The Blair Witch Project, just remember that whatever it is that you want to do, it can be done.
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