The Baby Cries - Directing the Rehearsal

(from left Mario J. Novoa, DP Dan Cotreau and Actor Miriam Peniche. Photo by Sacha Barry) 

Learning from previous experiences and allowing enough prep time, I wanted to really pursue the art of cinema from a different vantage point. My primary goals were to allow the actors the space to explore the location we would be shooting in. This would allow the actors to see how best to use and take ownership of their domain. My other goal was to understand how best to use the camera in that same space. I've learned from master filmmakers that allowing yourself to explore the film frame and the performance, will give you the opportunity to shoot what you envisioned. Taking the time for several runs, we began to feel a rhythm for the action within the space. I was able to see all the opportunities.

Another opportunity for rehearsal is between set-ups. Under a gun ("budget and time"), you'll find ways to be creative. 

The Baby Cries: In Pre-Production Mode

Taking The Baby Cries from stage to screen has some fantastic challenges. Last night I had a great session with Production Design and Actor Martin Morales regarding the look of The Baby Cries. For two weeks I've been discussing lenses and cameras with Director of Photography Dan Cotreau and trying to find a look for the film. This is the first time as Director that I've approached a film from a production design perspective and Martin had some great ideas. I listened intently and pictured what the ideas would mean in the scope of a film frame.

I heard about the environment of the room, the color in the scope of emotion and using light to convey a passage of time. Between production design and cinematography, there are elements, ideas and design that overlap. As a director I try to listen to what people are bringing to the table so that I can let them create within the vision I have. My main approach is always about the performance in front of the camera, so I hope that all the elements we are creating now are well defined before we get into production. As more collaborators jump on board, I look forward to orchestrating a heartfelt story about family and love.