DVC 13 - Leprechauns - Lorinda Norton

[Lorinda Norton]

Working with the guys you'll see in the movie was a pleasure; we’re all good friends and all musicians—three of us play in the same band. The five of us spend more time in the music store than we even should, so it was just like heading off with a bunch of bratty little brothers! All of us stuffed in my Tahoe along with my gear and Chex mix spilled all over the floor from slamming on the brakes – there’s a memory that’ll stay with me. :)

There are other stories to tell about the making of “Leprechauns,” but I’ll just mention one more thing: When making a movie with incredible time constraints one should always make sure the light stands are in the rig before heading off to shoot.

[Chris Barcellos]

So thats your secret, you actually use lights !!

[Lorinda Norton]

Heh heh...Yeah, well, because I’m disorganized it had to be an uncooperative orange work light with a hunk of used black foil and one blue gel. I hope you all appreciate the way I managed to miss faces yet spotlight that darn logo on Mason’s shirt time after time... ;)

[Mugurel Dragusin]

I felt quite entertained by this entry of yours. The only thing that got me distracted quite much was the blatant visibility of the tripod and what seems to be the human camera operator's shadows (was a human operating the camera?) :P

Apart from that, I like that you always seems to use several locations, cars and so on which adds to the story nicely! Was your choice to use such hard light on the shots with the second leprechaun (with the green hat)?

[Lorinda Norton]

Yes, the hard light, harsh shadows, misplaced light, camera operator shadow—that was all a creative decision. ;)

Actually, I was running scared. Three of the four guys have good wives who all wanted their husbands home at a reasonable hour because they all had to be up at the crack of dawn on Sunday. We did one-takes, zero reflecting outside (obviously), propped up my old work lights indoors because I’d left the stands to my others at home. To answer your specific question, Mugurel, at Brian’s “workshop” I had to choose between hard light or not enough; and I wanted to see the eyes of at least one actor in this movie.

Even with sacrificing the quality we didn’t finish until 1:30 a.m. I hated shooting like a rank amateur, but despite that I can say we still managed to have lots of fun. And I think if I let enough time go by I may even get the guys out to play again.

[Hugh DiMauro]

I hoped to see these guys again! That Brian is a hoot and the premise is funny. The whole bit about the more expensive leprechaun in a tailored suit having a fancy office was very creative and made your bargain basement leprechaun even funnier. The new guy did a good job. These characters were fleshed out well and the whole thing came together in an amusing and funny package. I thought your use of natural light in the beginning was just right and your supplemental lighting throughout looked natural and brought no attention to itself, allowing me to get involved with the story and characters. I wish you were able to submit this for voting, Lorinda. I've always enjoyed your work, Great job!

[Chris Barcellos]

I agree with Hugh. I always love your ensemble of actors and we have been following them for a while now. Lot of fun again !

[Kris Holodak]

I always love the tone of your stories Lorinda. You can forgive a lot of rushed production and camera shadows on actors shirts with an engaging story. Your stories always make me think you had fun making them.

Smile,
Kris

[Dick Mays]

Lorinda,

I liked the story on this one. Bargin basement luck services. Mason is so dry. He is my favorite actor of all the DVC contests. I smile just seeing him on camera. "They call him the big Kahn." Mason can sell any line.

All your actors were good. I liked Brian's materialization of an Irish accent, when the customer appears. And the little close up of the attempt to button the vest.

"One call, that's all." There is some sleazy lawyer in Atlanta that uses that slogan too. Good to know the legal industry has a common set of best practices that don't vary state to state.

[Lorinda Norton]

Hey, it's like old home week! Four veteran DVCers stopping in for a visit. I really appreciate your nice comments and will pass them along to the guys.

Funny you should say that about the Atlanta lawyer, Dick. Just to cover myself Brian did an Internet search on the slogan. We didn't figure this local guy could patent the phrase (or is it trademark? or copyright?) but thought it was worth checking. Brian called out, "There's a lawyer in Atlanta, Georgia with the same one!" Then he found a few others, too. :) Common set of best practices....heh heh.

This movie bothered me on many levels so I appreciate the generosity in all the comments. For one of my productions it's way too wordy--by DVC 3 I realized the power of fewer words and have employed that ever since...until now. Think I'll be heading back that direction next time.

[Bruce Foreman]

They say "content is king".

I got so wrapped up in the story it took several views before I began to notice any production value problems, and those were minor anyway.

Benji cracked me up. All of your actors did very well but Benji with his "Why don't we just make him show us where his pot of gold is?" gave me more than a few giggles.

Overall lighting, composition, and camera work were pretty good.

[Lorinda Norton]

Oh, that makes me feel much better, Bruce. Thank you! I'll be sure and tell Benji what you said. :)

[Joseph Tran]

Hi Lorinda... I agree with Bruce, and it's something I've started to learn myself... when a story is as engaging as Leprechauns', we don't notice all the problems.

I personally like the hard light in the garage... makes for a better ambience in that regard. Something to try: I've found that whenever I have too much hard shadow casting onto the wall, I will try to shoot tighter shots of the actors. It doesn't always work; but lemme know how it works out for you if you ever think about trying it.

Did I detect a little Independence Day throwback at the car accident? Heheh...

Oh, and how are you enjoying your new camera?

[Lorinda Norton]

Originally Posted by Joseph Tran

I've found that whenever I have too much hard shadow casting onto the wall, I will try to shoot tighter shots of the actors.

Agreed, although, I generally don't like hard light unless I can narrow it down to eye light (which I never get to do anymore because of time). Normally, I like to shoot several takes—safe, close, extra close—and use what I like the best. This “one take and we’re outta here” stuff has got to stop.

Concerning the silliness at the car accident, I just thought the President and Mrs. Reagan slippers that O’Brian sold Benji were funny so tossed them in right before I rendered. When I re-edit for the guys’ copies I’m going to tweak that part.

Originally Posted by Joseph Tran

Oh, and how are you enjoying your new camera?

I am loving this camera! Back in May I helped shoot an event on a large stage, and one of my jobs was to get a shot of a gang tucked away in the darkness. Thinking back on my old camera I thought, “Oh, this is going to suck.” It was beautiful!

Thanks for taking the time for reviews after such a busy week and weekend. It’s very much appreciated.

[Matt McLain]

Lorinda, this was really pretty clever. I liked that you made this whole business world around the leprechaun idea. Sure there were a few production hiccups, but you kinda have to expect that. Very funny though. I thought the storyline really shined through.