One Fish films has launched its latest project on Hatchfund for funding. ‘Circle, Michigan’, an hour-long television pilot, is looking to raise $2500 for its initial production costs.
The follow up to Croyle’s feature film, ‘Potential Inertia’, ‘Circle, Michigan’ will also shoot in Venango County, Pennsylvania.
All contributions are tax deductible. For more information, or to make a pledge, please visit: http://www.hatchfund.org/project/circle_michigan_one_hour_tv_pilot
In life we have certain experiences that change who we are, our being, our inner selves, that sculpt who we ultimately become before we take our last breaths on this planet and venture past the unknown threshold of death. And they’re not just major experiences in life. They can be the smallest of things which build our character, break us down, make us hate, make us love.
Love: there’s a affliction for which there seems no escape. No matter our youth or age it will find us in the strangest and most un-looked for of ways. The most recent era of my life has mostly been free of it. I searched not for it in hopes that I could elude those dreaded times that when falling asleep, and waking, my thoughts were consumed with another human being, longing for them, wanting to be holding them in those moments, wishing beyond all hope I didn’t feel like that because I was too frightened to speak of my feelings, my needs, and my hopes.
It has, again, found me. And while I’ve tried my best to sneak away from any thought or moment in which it would reveal its face to me, it has found a way to do so in the guise of someone I wished it not, someone who is very dear to me. Unfortunately, love does not care for your opinions to whom it entraps you to. It simply exists, and you must accept that you succumb to its power – for it is the most powerful force I have ever known, and to think I can be stronger is a waste.
So, here I am – an unfortunate soul to which love has revealed its face, again, in a person I wish not to lose. However, love has a way of ruining things for me. Because with love breathes jealousy, and with jealousy comes hate, and with hate comes destruction, and with destruction comes death. In turn, love breeds death. Love and loss are so intertwined that one can simply not exist without the other. And it is this knowledge that rips my heart out knowing that if I act on this love, choose to move forward with this feeling, it will ultimately be my downfall again – whether it be immediate rejection, a building of a relationship only to fail, or death itself. Something will end this feeling, and loss is inevitable. The death of something so beautiful in my heart is already written, and cannot be undone.
I will go no further. Lennon once spoke of love being all that you need. Unfortunately, in today’s world, this is not the case. Things other than love I have not to offer, and that makes love a more difficult task, as it already is with doomed outcome. So I pause, in hopes that it will eventually diminish in the absence of with whom my heart now lies. Treat it like a death, without it having lived out its natural course. A tragic moment that never had a chance to blossom to fully live, only after such beautiful seeds had been planted in just a few short years. An enduring Winter. A Springtime that will never come.
(OIL CITY, PA) – With the worldwide release of Matt Croyle’s first feature film, his production company, One Fish Films, has released the shooting script version of the original screenplay for the film. People are now able to download and read the screenplay for free.
The screenplay is located here: PotentialInertia-ShootingScriptPDF
The film is available worldwide at: http://potentialinertia.vhx.tv and http://www.indiereign.com/videos/potential-inertia
(OIL CITY, PA) – Matt Croyle’s debut feature film is now available worldwide on VHX. The film, which took over two years to complete runs roughly one hour and twenty minutes. The release is a deluxe edition with over an hour of “extras” including behind the scenes footage, an interview, and a guest lecture by Croyle at his alma mater, Clarion university.
The film is available to purchase digitally for $14.99, and rent for $5.99 at: http://potentialinertia.vhx.tv
With 99.95% of my first feature shot, I thought I would give some personal tips on how to actually get believable performances from your actors. And while this may sound like a pretty simple task — “Just say the lines.” or “Give me a bit more sadness behind it.” — it definitely is not a simple thing at all. I will explain why it isn’t so simple, and then I will give you some tricks I, myself, was able to use on my feature, ‘Potential Inertia’.
SUBJECTIVITY & PERCEPTION
As a director, you have to ask yourself: “What is believable and what isn’t?” The answer is: It’s subjective. I think one has to truly grasp what kind of film they are actually making. Is it a comedy? Is it a drama? All types of films require all types of acting — “styles” if you will. However, regardless of genre, even if it’s an “over-the-top” comedy, all performances must be believable to an audience if the audience is going to be willing to come along with you for a ride.
What is “real” actually starts with the writer. It is how the writer writes the characters themselves. What is real in the world of the character may not necessarily be real to the audience.
For example: In ‘Dumb and Dumber’, Harry and Lloyd are not very realistic characters to an audience. They’re portrayed as cartoonish embellishments of what low intelligence would be — brilliant comedic acting by Jim Carrey and Jeff Daniels, but they seem not very plausible in real-life. However, every other character in the film is just like you and me. These are not only choices by the writer, for writing such fantastic lines, but also the direction that has been given to every actor on set. The normality of the supporting characters embellishes, even more, the absurdity in the direction that was given to Carrey and Daniels — and we’re willing to “believe” them as being “real” because the reality is subjective to the characters themselves.
The actor must make choices — or have those choices made for them — that would best interpret how that character would physically react or vocalize given a specific situation(s). The director’s job is to make sure their vision of said situation(s) translates to an audience in the most realistic way possible. If the audience can’t connect, or buy into the reality of what they are seeing, then it’s ultimately the director’s fault.
THE EXPERIENCE FACTOR
So, how exactly does one go about getting their actors to pull off this remarkable feat of morphing themselves into what you want and need from them? How do you get your actors to be “real”? How do you get your actors to be “believable”?
Every actor is a different monster, and I say ‘Monster’ in a very loving way. I’m also an actor, so I know what it feels like to be molded, scorned, twisted, praised, rewarded, and the plethora of feelings that come with the job. But, as a director I must realize that each person I’m directing is different. Each has different experience. Each has a different process they use to get into character.
In my first feature film, ‘Potential Inertia’, the experience of my actors runs the gamut. I have had to direct people who have been leads in previous independent features, people who have been background and supporting roles in major Hollywood movies, and people who have had no acting experience in their entire lives.
My actors with experience on stage, screen, or both, all have their own processes. For those folks, it was imperative that I made clear what kind of film this was to be — the tone, the level of intensity or urgency for each scene, and the fact that I didn’t want their lines to sound inelastic. And with those experienced folks I was able to allow a level of trust that veteran actors deserve, because they are the ones that can understand the structure of a scene. They are the one’s who you really need to mentor those lacking the time spent in front of an audience. Regardless, each of those actors have individual processes, and as a director it is my responsibility, again, to understand each process by itself, be able to explain what I want to coincide with each process, and be able to find a cohesive way to mesh each actor together with another.
It can be extremely fun or totally frustrating to direct an actor who has never been in front of a camera before. They are extremely aware of the camera itself. They are not sure of themselves, or what to expect from a more experienced actor they have to do a scene with. It is a real test to put someone on screen who hasn’t the slightest clue of what they are doing.
I have knack at “seeing” people. I mean, really seeing who they are. Not all extroverts make good actors. Not all introverts can’t be actors. However, all “passionate” people can. I believe putting someone who is a passionate person in front of the camera for their first role will be a better idea than putting someone there who isn’t one.
The following notes are a bit of advice I have for those directors trying to get believable performances from their actors. These notes are a direct result of trying to make my first feature film as conversationally believable as possible using both veteran and rookie actors. I hope you all find them useful.
- Always remember that every actor has a different process, especially those veterans you have in your cast.
- Let the words in the script work for you, and not against you. If you need to give an actor a line reading, especially the rookies, do not be afraid to do so in the most polite manner possible. Let your actors play, but if they’re not giving you the delivery you want, make sure you show them what you need.
- Make sure your actors understand what each scene is about, and what is happening both on the surface and underneath it. Scene study with your actors can be a valuable tool when your actors are making decisions while the camera is rolling. If they don’t know why they’re saying something, if they don’t know their motivation, then there will be no focus or purpose in the delivery of their dialogue.
- Remind your actors to BREATHE. Breathing is imperative to coming across as believable. People breathe when they speak.
- Remind your actors to NOT RUSH their lines (unless rushing their lines is a character trait, or the scene calls for it).
- Let your actors veer slightly off script, perhaps to say their lines in their own way. Unless a specific line MUST be included in the story fully intact, sometimes letting your actors take a more personal approach to delivering them results in a more conversational result.
- Prepare them for the intensity or lack thereof in each scene.
I think it is important as a director to remember that each set is different, along with each script, and one must always take those two factors into consideration when looking at what is ‘real’ and ‘believable’. Please remember that your actors are an extension of you, and your vision, for what the film will ultimately be. Work WITH them, have fun WITH them, and communicate WITH them.
COPYRIGHT (C) 2014 MATT CROYLE. ALL RIGHTS RESERVED.
(OIL CITY, PA) – One Fish Films has made pre-orders available for the upcoming release of the feature film ‘POTENTIAL INERTA’ written and directed by its creative director Matt Croyle.
‘Potential Inertia’, and its award-nominated screenplay, tells the story of Declan Holmes, a graduating college senior who experiences loss he is not quite ready for, in a time of transition and in need of support from those who care about him the most. This coming-of-age tale is Croyle’s feature directorial debut.
Pre-orders for the film can be purchased at: http://potentialinertia.weebly.com for a discounted price of $9.99 if you buy the film before the upcoming release date.
The film stars Matthew King, and will be widely released on digital VOD in late 2014.
For more information about the film, please visit its official facebook at: http://www.facebook.com/potentialinertia
As I near completion of my first feature film, I’ve learned quite a few things about what not to do while making one. If you’re considering making a movie, here are five important things you must never do.
1. DO NOT SHOOT WITHOUT A FINISHED SCRIPT
While ad-libbing scenes can be a fun and creative way to create scenes with actors, and while there have been some great flicks made by simply having a treatment or outline, this is not how you want to make your first film. Chances are the actors you can afford to cast are not the wonderfully trained ad-libbers they think they are. The more structured — your first filmmaking experience is — the better.
Also, shoot the script. Shoot what is written on the page. Anything else can be done in pickups or re-shoots. The bulk of the performances on your first film will be shaped entirely in the editing room.
2. DO NOT HIRE PEOPLE FOR YOUR FILM THAT CAN’T COMMIT THE TIME TO DO IT
When you are making your first film people will have a tendency to view it as some sort of hobby or extracurricular activity — even those folks you ask to come aboard, to be part of it. Until they see some progress, or a rough cut, most won’t see it as a serious endeavor. Do NOT bring people into your project that aren’t going to be available on days you need them. That family day at the amusement park should have to wait until you get the shots you need. The actress who can’t find a babysitter needs to find one, and show the fuck up when she’s called to set.
3. DO NOT USE ON-CAMERA AUDIO
Audio is the most important part of your first feature, because chances are it’s not going to be a cinematic masterpiece. It’s going to be a stepping stone. Clean, external, audio will make your production stand out next to the kid shooting his on the camcorder. According to one of the board members at SXSW, clean audio makes a huge difference in whether or not a film is chosen to screen there, regardless of what it looks like. In other words: Your movie can look like crap, but as long as it has clean audio, that people can hear, and isn’t distracting, your movie is already better than one that looks amazing except for the fact that people can’t hear anything.
4. DO NOT ALWAYS RELY ON EXISTING LIGHT
This is a given, especially with DSLR technology. Some cameras are great in low light, but sometimes you have to light the shit out of things in order to get that clean digital look. This can always be adjusted in post by adjusting gamma, brightness, and contrast. Light, light, light.
5. DO NOT KILL YOURSELF
Making movies is a very difficult thing to do. Your first flick should be super-fun and engaging, but do not beat yourself up over things you can’t control. Making movies is fun. And if it becomes not fun, then you should probably find something else to do with your time. Relax. Enjoy the process. Good luck.
Copyright © 2014 Matt Croyle. All Rights Reserved.
This is an essay. This is an essay about being ordinary. This is an essay about being ordinary in a world where you are supposed to be ordinary — a world that teaches you to follow the status quo, to follow expectations derived from centuries of people telling other people what to do — and when and how to do it. This is your life.
Social norms are not written down. You tend to follow them, but they’re not written down. How has this happened? To quote Emerson:
“Is it so bad, then, to be misunderstood? Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood.”
Take a moment and clear your head. Clear your head of everything that surrounds your daily life: your family, your job, your bills, your mortgage — everything outside of your own body that externally defines you. Push it out of your mind. Is it gone? Now, look at yourself without those things. Who are you? Who are you without those external forces in your life? Do you know? Do you recognize yourself at all? A better question: Do you even want to recognize yourself without those things?
You are a person. You are an individual. You came into this world with very little information, with no character, without knowledge, without hope. The mind of an infant cannot process what hope is. It’s only after you’ve been nurtured that you gain a sense of it. And while you’ve been nurtured into a full-fledged human being by your surroundings, you still grew with a sense of wonderment and self. Do you remember seven, eight years old? Perhaps specific instances, a few flashes, but do you remember how you thought, how you felt about the world, how you felt about yourself? Have you forgotten who you are?
First things first. I am NOT you. Do NOT judge me for not being you. I CHOOSE to not be you. I’m not saying there is no merit in being you. You are awesome. I’m just different.
I’m searching for something. I’m searching for something more than just the everyday motions we go through: Get up. Take shower. Go to work. Do “job”. Come home. Hang with kids. Eat dinner. Watch TV. Go to bed.
Life needs to be more than that to me. For some it’s fine, even admirable, but my mind is not content with that. I am not “better” than anyone else, but ordinary lives are forgotten. I don’t want to be forgotten.
When was the last time you truly challenged yourself with some extraordinary task? When was the last time you expressed yourself in a way that truly shows the world who you are and why you deserve to be remembered? I think the everyday motions we put ourselves through has numbed us to the point of complacency in thought and expression, and I think it is up to us to find a way to bring a passionate expression of who we truly are into the world.
I’ve recently started living “on my own” for the first real time in my life. Earlier in my “adulthood” living “on my own” would consist of a significant other. This is the first time I’ve been truly on my own. So, I’ve enlisted a couple of roommates — not your normal household setup for someone in their late thirties — to help on the start of this venture, and we’ll see what happens. I have started my life four times: Birth, my divorce, the split of my son’s mother, and my last fiance. With the recent death of my father, and with my mother not having long to go, it’s fitting that this journey may, again, take a new beginning. This new beginning won’t be a normal one. I will do it with the reckless passion I’ve always had for life and its pleasures, its heartaches, and its overrated expectations.
For those of you who question who you are, what you want and need — I urge you to close your eyes, strip everything away from your life as you know it, and look at yourself. Who are you? Who were you? Who do you want to be? Do you know?
Copyright (C) 2014. Matt Croyle. All Rights Reserved.
An Opinion Editorial By Matt Croyle
So, there’s this saying about knowing the sour before you can appreciate the sweet. I’m not good at paraphrasing, but I’m sure you get the point. After looking at my friends’ Facebook posts on a daily basis, and seeing how miserable most of my younger friends are, I’ve decided to take a bit of my knowledge of the female sex and break things down for them. This editorial could very easily switch genders, and if you feel the need to want to share any bit of it I encourage you to take as much liberty in that department as possible. I’m a straight guy, so this is about girls for me.
I could call this a breakdown, but it’s more designed to be a set of examples of who girls are before they mature enough to actually become women — which in my experience is somewhere around the age of twenty-five. The following examples are not the complex, amazing women that most girls develop into. These examples are the girls you will likely run across while searching for those truly wonderful women out there. And they are out there, but I’m confident you won’t find them nearly as easily as you’ll find these girls. Read on.
These are examples of the girls that I’ve come across in my life, who are considered “red flags” — not because they won’t eventually mature, but because they’re probably not someone who you’ll find meaningful coexistence with before they do.
THE SLUTTY PARTY GIRL
We all know the girl that likes to get her drink on a little too much. She’s the one at the party who is always a little too wild, a little too flirty, and a little too ready to take off her pants. Bottom line on this girl is that drugs and alcohol, more often than not, seem to just go hand-in-hand with sex. Sure she’s a blast to drink with, but she’s always looking for the most fun time she can have — and that’s usually the guy with the biggest sausage or the most money (because she’ll need more alcohol or drugs later) — so, you best be packing a fire hose down there, and have a wallet full of mommy and daddy’s credit cards, or she’s going home with someone else. This girl knows no emotional attachment because she’s constantly hammered. Feelings are drowned by liquid horniness.
THE DADDY’S GIRL
There are always those girls you come across that will constantly compare their current boyfriends with their past boyfriends. Guys having to live up to other guys’ experiences are doomed from the start. Well, The Daddy’s Girl is kind of like that except you have to live up to unattainable expectations that have been planted into her head by her father. Creepy. If a girl is constantly, subconsciously comparing your success — or lack thereof — to her father’s, turn around and run away. Run fast, because this will be something she will do for the rest of the time you are together. It’s not fair to you, and it’s definitely not fair for her to do that to herself.
THE NO SENSE OF SELF GIRL
This is the girl who defines who she is, as an existing human being, by whether or not she’s in a relationship. The “single” status defines her being every waking moment. She obsesses about it, she complains about it, and she longs so much to be in a relationship that she doesn’t even know who she is without one. She needs someone ELSE to define HER. I’m sorry, but if you don’t know who you are, or can’t be happy with yourself being alone, there’s something going wrong up in that noggin. Find a hobby.
THE OVERLY-ATTACHED GIRLFRIEND
Okay. I’m sure you’ve seen her on YouTube, but people like this exist in real-life. She’s super-clingy, and shares the whole “defining who she is” thing with the No Sense of Self Girl. Here’s one that won’t let you out of her sight. Not because she’s psycho, but because she’s REALLY psycho. If you’re lucky enough to find time to be by yourself (to read, work on returning emails, check out some awesome porn sites) it won’t be for very long. This girl has built-in sonar when it comes to finding you, and wonders why she isn’t included in your every waking moment of existence. If you have any sense of individual freedom, this is not who you want to be with. If you’re looking for someone to be up your ass twenty-four seven, she’s your soul-mate .
THE OVERLY-EMOTIONAL TRAIN WRECK
This girl is pretty self-explanatory. She’s the girl constantly in question of whether you actually want to be with her, getting either really sad or really pissed-off if she doesn’t know. You will constantly have to tend to her emotions and reassure her that you want her, or that you’re happy, or that you remember where you were the first time you kissed her. Remember that women are emotional beings, but this girl can’t keep her emotions in check at all — at all. If you make her too upset, she may burn your clothes or break windows in your house. Probably best to steer clear of this one altogether.
THE MANIPULATIVE HOT GIRL
The femme fatale of all girls. She knows how hot she is, and will use it to every advantage she possibly can. Sex is a powerful thing, and if you’re willing to put up with someone taking your pants in the relationship (literally) for a little bit of action (when she feels like it) then she’s your girl. However, you must remember that she will only put up with you as long as she’s getting what she wants. She can get it anywhere else, and she will — along with more pants. Nobody needs a mind-screw like that.
What to do?
The thing about all of these women is that they all exist (in one form or another) in combinations. Some will have aspects of a few of these women, and some may have aspects of all of them. The point is to find one that has the least amount of these qualities. These qualities will kill a man’s soul — not to mention any sense of self-respect.
The point of “pointing out” these traits is not to rag on women, or degrade them, it’s to be aware that there are things that you should and shouldn’t accept when dealing with the opposite sex — especially in dating/marriage. Relationships are a difficult thing, and finding one can be even harder. The point is: don’t give up, shoot for someone you think is out of your league, and don’t let your past relationships dictate your current ones. Happy hunting.
Copyright (C) 2014 Matt Croyle. All Rights Reserved. No reproduction of this article, in any form, without permission by the author.