Here is the link to the ENTIRE preproduction package pdf:
Link to the treatment: http://stokastika2.googlepages.com/3worldseasiestcatchzenofrockcrabfina.pdf
Link to the Cast / Crew: http://stokastika2.googlepages.com/4castandcrew.pdf
Link to the Proposed Budget / Timeline:
Link to the Working Script / Sketch for Trailer / Music Video:
Link to the Shotlist: http://stokastika2.googlepages.com/7shotlistdonetobecompleted.pdf
Link to the Talent / Model Release Form: http://stokastika2.googlepages.com/8talentmodelreleaseform.pdf
Link to the Location Release Form: http://stokastika2.googlepages.com/9locationreleaseform.pdf
I vividly remember working on the preproduction package "overtime." Both Maria de Oca and I turned in our package late... then again it's "twice as much work" simply because we were the only ones doing "solo" projects. Last night (March 18, 2008), we watched the three Greenscreen projects, and I had come to realize that larger groups in film production are "random conglomerations" of a film, but if you are solo, or a very small crew, there is a greater likelihood of consistency or flow of thought throughout the entire film.
There are certain things I think in large production groups that are "anti-environmental," sorry to be so extreme. One, large production groups are usually centralized in power, rather than decentralized and fostering more individualized and localized creativity and individuality. Secondly, inclusion of a large group involves high degree of "division of labor," and then each individual becomes responsible for one part of the film, rather than having a more holistic understanding creating a film. This is one point I will make to the Coastal Fund: it's not the zen of rock crab, but it's the zen of film-making. A huge reason why we humans do not relate to environmental problems is that we don't have a systematically holistic understanding of what other humans do; we are overspecialized and do not experience, nor witness the nuts-and-bolts of other people's labor, nor their interactions with their environments. So, I can argue to the Coastal Fund, instead of playing a mocu-carbon-offset game in film production, I will approach environmental problem solving through maintaining "small-scale-zen-film-maker" production operations, such that I will impose as much work upon myself and least on others.
The next round of shooting, I am now honing into "shooting like an editor" (Oscar's famous quote!). I know exactly what I want. As soon as I have a solidified script, I am good to go!
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