Damn Fine from Outer Space

Q. What is this movie about?

a. It's about how silly I think everyone is, myself included. Every character in the film is ridiculous, and fortunately, they are also often very kind to one another. I wish the real world were a bit more like the one in this film, which amuses me to muse on because I see them as nearly identical already. The gay transformation metaphor is somewhat arbitrary, the aliens already represent the other. But people do seem especially phobic of the queer communities, so it's tragically perfect for satire.

Q. Why did you make this movie?/Why parody "Plan 9?"

a. It's a goofy old movie, what's not to love? I sometimes have a hard time taking reality seriously, or at least humanity, and perhaps the absurdity of old horror classics speaks to me as an honest view of the world. Life doesn't make sense and can be very messy, many problems can arise from demanding things to fit into an arbitrarily ordained system. I've tried to have that relaxed mindset affect my filmmaking approach, especially for this piece.

Q. Did Ed Wood inspire you?

a. Yes! I have, due to usually acquiring fewer resources than ideal, found myself becoming much more of a completionist than a perfectionist. I don't go to the extremes of doing only one take of a shot as my predecessor would, but for this project, I did maintain a mindset of "just get it good enough to move on." I was blessed with above and beyond "good enough" performances. Additionally and coincidentally, I also prefer to wear clothing associated with that of opposite my birth gender. I would like to think Ed would have gotten a kick out of this adaptation.

Q. How much is this film like the one upon which it is based?

a. The script comes from dubbing over the original, so what is preserved at a minimum includes speaking order and staging. I also enjoy adapting elements of the original dialogue into the new context, especially mundane things like "yeah."

Q. How is this project similar/different to other Cowe Films?

a. This is my second green screen project. I got the idea to do so for my last one as I wanted to play every character, and so I continued that tradition by having actors also play multiple characters. It is a sort of ensemble of clowns and I applaud the versatility of my actors. It also allowed me to create miniature sets instead of lifesized ones. And it is ever so silly with the rules of the game often in question.

Q. What was filming like?

a. Much more fun than my last green screen excursion, as I invited other people to join me this time! Shoots were generally rapid fire but without ever feeling rushed; the nature of filming small segments in a blank environment saves lots of time on setup. For the record, this is not my preferred way to make movies. I would always prefer real environments with real people and practical effects. That said, I tried to compensate and have fun with the air of mystery and leaps of faith the actors took with me.

Q. What was the editing process like?

a. It was the most extensive and exhausting experience I ever put myself through. I am glad to have done it but wish not to repeat it exactly. Among the advantages of filming everything practically in-camera, one finds their editing timeline typically limited to one video file per shot; every character and set element is present. An individual shot from this film could range from four to eight or twelve layers, even reaching as many as two dozen. There are ways to combine layers and reduce the stress on the computer and your brain. Still, it inevitably creates extra levels of coordination required between elements. It took a long time for me to start enjoying any individual image because each one required so much interweaving.

Q. What inspired the music?

a. I listened to nothing but 80's hits and newly found hidden gems for probably a year. I can't say I feel successful in my attempts to emulate the spirit of the time. Does this story have to take place in the 1980's? Not really, but maybe there is something to the allure of exploring the decade that preceded one's birth. It's like putting a shell to your ear to listen for the ocean.

Q. What are some successes from Damn Fine?

a. I most succeeded in putting my faith in the actors to create a world inside themselves from a handful of my words in the dim basement set. I engaged them, respected them, cheered them on, stayed on book, was always their various scene partners, and they gave me more than I could have hoped for. It was most rewarding hearing my characters come to life and take on subtleties of their own. I also reaffirmed my skills in self-pacing; never before have I announced a premiere before finishing the project, but I stuck to my schedule and finished with plenty of time to spare. Regardless of the content, I have disciplined myself to consistently finish what I start in the time I need to.

Q. What are some lessons learned?

a. I spent a great deal of the process not feeling confident about what I was doing. This can be a double-edged sword, as maybe it feels like a long, drawn-out, impending failure. It is also good to go outside one's comfort zone. I worked on preproduction with additional creators, but I struggled to trust the process and eventually asked them to step down. This was not an easy decision and part of me will always regret it as I know it would have been more fun to make the film with others, and the film would look much better too. I do form positive working relationships with others, but I think I need to do my homework to know exactly what I expect out of a process before involving others.