End of the tunnel and all that

Over the past couple of weeks One Came Home has been edited into a version which can be viewed by distribution company representatives and others who will assist us as we take the movie to market. The comments have been extremely encouraging, to say the very least, and we have only a few minor tweaks to take care of at this point. The final color correction has to be done, the audio mix has be completed, the full orchestral score has to be melded into the film and a few other minor points have to be accomplished for the "finished" version - the version that can be presented to the public - to be fully realized. It has been a long race, and we are very close to the finish line.

As we begin these final processes, we also begin to look forward to our next project. At the outset of One Came Home, we tried to make it clear that this film would be the first of many projects for Bearden/Tankersley and our Memphis group of talented crew and cast. Our confidence has not waned. We are determined to produce films that have strong stories, real characters and production quality that ranks with any city, anywhere. But, One Came Home has to be shown. And we have to prove that our business model is indeed a business model that has a solid foundation. We hope and trust that over the next few months, cast and crew, friends and family will be there for us to help promote the film, to view the film in theaters, to purchase the DVD when it becomes available and to share in our celebration.

Now, we move forward

The film will be completely edited as of this Friday. It currently stands just a tad under 2 hours, so it will have to be cut only slightly to about 1:55 or so. And, we are happy to report that no one has "ended up on the cutting room floor". Some scenes may be a bit shorter than the original footage, but that's the business, isn't it? I can promise you that none of the scenes have been neutered. Their power remains. Once the final editing is done, we will begin to place the edited "screener" version in the hands of those who can help us get the movie onto the screens, if they like what they see. We are confident that they will. And then we begin the finishing touches on score, color correction and the other finer points. As we move into this marketing stage, we have our work cut out for us. As soon as plans begin to solidify we will let you know what's going on. If you haven't seen the trailer, we encourage you to do so, and we encourage you to send it to your friends. The more buzz we have, the more friends we gain, the greater the likelihood that the film will gain important momentum into the marketing phase. Please keep your friends informed about the movie. Encourage them to become Facebook fans.

The trailer and portions of the film have been shown to a host of folks, from writers to film commissioners to other filmmakers. The feedback has been outstanding. Again, thanks for everything you have done and are doing to help make this film a success.

Back On-Line

It's been awhile since we last posted, and for that we apologize. Have been busy building the trailer and beginning marketing plans for the film.

To keep you posted: As most of you know the trailer is now available both on our Facebook site and on youtube. If, for some weird reason, you haven't watched it, please do so. We have gotten nice reviews from our friends and families (which, we expected, thank you very much) and from more neutral and objective sources. In short, people have been pretty amazed at it. Of course, credit goes to the stellar acting, the incredible behind-the-scenes talent of crew, and the editing done by Willy and his daughter Savannah. The trailer has been sent to some national distribution folks and will continue to be promoted. We are within about one week of having the real edited version of the film - a screener version for us and for other interested parties. There are still finishing touches that have to be completed before the film is ready for theatrical release. We hope that within the next several weeks, interested cast and crew will have an opportunity to look at the complete film, and we plan to show it twice so everyone has a chance to see it. We will keep you posted as to the times and dates.

Now that we have overcome writer's block, expect to see more postings as we move closer and closer to premiere.

Young Friends/Bookends

From day one, the One Came Home set was filled with young people. While I like to think that Willy and I have our own youthful approaches to our art, I am very attentive to my Social Security earnings. It was heartening to see so many young folks there, throwing themselves into the fray of filmmaking, many with limited experience but a sincere desire to help in any way they could. All with a desire to learn. Some were college students, some had just graduated, some had an interest in all-things creative, and others were there just wanting to help.

While One Came Home was never conceived as a non-profit endeavor, we knew that we were going to have to count on some unpaid, and even more underpaid, people to help us out if we were going to get One Came Home completed within our limited budget and pay back investors and make money enough money to send us into another film project. Not counting those who lent cars, provided locations, and offered us props and more, there was a slew of young people who served as volunteers or very close to it. They were valuable additions. Let me mention a few here:

Mallory McGhee: From the first day on the set, at the very first scene, Mallory stepped up and took on a very important role - script supervisor. We had overlooked this crucial role in our planning, and in so many ways I am glad we did make this mistake. Had we "hired" someone, we would never have had the chance to meet this young U of M student. Mallory was rarely absent from the set, and when she was, she was missed. And, from her comments, she missed the set. "Oh, I have to work. I would so much rather be here." But those days were rare, thank goodness. Mallory was focused and she was thorough. After the final day, Mallory provided Willy a complete breakdown of the scenes and the shooting sequences, complete with notes and comments. They would be extremely valuable as he began to edit. What a treasure we had in Mallory.

Matt Bearden: The first day on the set offered me my first real introduction to Matt. I had only met him once to take a picture of him and Willy for a publication I worked with several years ago. But, through his occasional visits to his dad's studio and the days on the set, I came to discover that Matt was another one of those quiet, multi-talented folks in the world who simply make their own paths. Already a fine songwriter with a unique voice, Matt impressed me with his down to earth kindness, quiet, and dry wit. Seems like there's something in the gene pool there.

Ryan Howell: I have known Ryan's dad for over thirty years, and I had only met Ryan once some fifteen or so years ago. He was just a kid. He's grown up now, and came to OCH with a college degree and limited experience, but with a desire to learn and with all the intelligence and wry outlook that I know from his father. I watched Ryan as he was punished on the first day by the heat. Even Ryan admitted to me that after that first day, he had no idea that filmmaking was such a physical job. I knew what he was talking about; I'd had such jobs in my younger days. But, he stuck with it. I'm not sure I would have done the same. And he watched. And he learned. His confidence grew daily.

Alex Smythe: I didn't have the chance to get to know Alex as well as some of the other young folks on the set, but what I did see of him impressed me. What a hard worker! The most vivid memory I have of Alex is of his crawling all over that 1935 Ford pickup truck used by Harley the Postman, making sure we got the shot and that everyone and everything was secure as we moved down that little Mississippi back road. His dedication was written all over him in sweat. Those details are never forgotten, Alex.

Joe Fragale: Where would we have been without the ever-present Joe? Maybe Rachel would have found someone to assist her. Maybe we would have found someone else to keep us smiling. Maybe we would have found someone else to be the recipient of a birthday whipping (one that I suspect he will never forget), and maybe we would have found someone else to make our final group shot on the cabin porch so memorable under moonlight on that bright sunny day. (You'll have to ask Joe about that one.) Like Mallory, like Matt, like Ryan, like Alex, Joe is destined to make a name for himself wherever he chooses to go, be it the world of film or some other path.

Incidentally: Matt, Ryan, and Joe teamed up with Alex Smythe to complete an entry film into the Lil Film Fest a week or so after we wrapped One Came Home. From what I hear, the film was an amazing little piece of work for three guys who just happened to really get to know each other about one month prior.

Bonds are developed on film sets, aren't they. And, whether they knew it then, these folks made a lasting impression on one old man who watched and witnessed their work, wit, and willingness day in and day out.

By the way, I'm saving a future blog for two of my favorite ladies of the set, Maggie Bearden and Anna Bearman, our makeup ladies.

Hangin' with Sister Savannah

Making a movie can be a nerve-wracking experience, particularly for a novice such as I. There are so many points to consider, countless people to please, to feed, to counsel, to avoid. And, while Willy and others shouldered so much of the burden in this film, allowing me to remain on the sidelines for the most part, my official title as co-producer still provided me enough anxious moments to last me for.....well, for the time it takes us to get over the first movie and want to do another.

Assuming the anxiety, assuming the fact that I am going to multiply my cigarette habit tenfold, there is still one aspect of film-making that I simply love: hanging out with creative folks - from listening to Ryan Parker's dead-on imitation of some of the cast, to witnessing Corey Parker's dedication to his craft, to kidding around with Matt Bearden and Ryan Howell, to watching Pam Parker Branham do her magic as caterer, associate producer and confidante, to watching Maggie and Anna do their make-up magic, and to having quiet conversations with John Sneed, Gerald Faught, Cookie Ewing. And to hanging around on set with Savannah Bearden, constantly laughing at each other and everyone else, waiting anxiously for action to resume and smoking cigarettes. (Smoking should not be practiced by young people under the age of 21, and should be done by professionals only.)

There are so many memories of standing outside Hillwood, waiting for actors to have makeup applied, waiting for the crew to set the lights, waiting for meals to conclude, waiting, waiting, waiting. But, waiting was made so much easier when I could talk to Savannah.

I have always trusted Willy's instincts and when he told me he wanted Savannah to take the role of Murphy's sister, there was never any doubt as to whether she would equal the task. I laugh when I consider how she must have felt when she learned that she would share her first name with her character. She confessed that it was a bit disconcerting, but I still believe that the name fit her character. Such a good southern name. And so, Savannah became Savannah (there is an essay here for philosophy or psychology students).

I recall so many specific moments watching her professionalism, even after long, long days and nights on set, and while she still maintained a full-time job. The party scene comes to mind. As we waited for the lights to be set, Savannah and I had retreated to the golf cart to smoke, to talk and to wait. I could tell the long hours had taken their toll. Savannah was very tired, as were all the actors and crew, and she still had several very tough scenes ahead of her that night/morning - reaction scenes where only her face would tell the story. No dialogue. Tough stuff. And when she was called to the set, Savannah did her magic, time and again. I was always amazed.

And, then there was the time prior to a happy little scene for Savannah - I can't recall the specific scene - in which her character was to be light-hearted. I chose just that moment to tell her a humorous, albeit poignant, story of a cross-dressing law enforcement officer from Mississippi. After the little anecdote, Savannah looked at me, and laughed/cried, "Tank, why did you tell me that sad story right now?" I just smiled at her and said, "Oh, you'll be fine." And she was. So professional. So much fun to kid with. So much fun to watch on camera. I knew Savannah would become Savannah.

And, so dependable:

"Hey, Savannah, you got your lighter with you?"

"Sure, Tank, if you have a cigarette." DT

Mr. Reliable

Don Meyers has perhaps more credits in local films than just about anyone around these parts. While Don auditioned for a role in One Came Home that was eventually deleted from the script, he didn't let that prevent him from stepping in and helping out wherever he could. Don was there at the table reads to lend a voice for the roles of actors who couldn't attend, for one reason or another. He was also the designer behind several products: the Rolling Fork Beer in the Mississippi bar scene and Delta Gold cigarettes. And he was a valuable member of the party scene, showing everyone else a thing or two about country dancing. Don's own acting experience goes back to his younger days in L.A. and even his hometown of Chicago, where he also learned his design skills (even serving as an artist for Playboy Magazine and a cubicle mate of Shel Silverstein). He was a valuable member of the One Came Home team. The following is a quick note he asked me to share with everyone. DT

Thanks, Tank and Willy for giving me a chance to be part of this fine production...as an extra, we're used to cold food, long hours and perhaps a chance of seeing a fleeting glimpse of ourselves in a movie. Well, with this production, the food was hot, the performances were hotter and yeah it WAS the hottest because it was shot in the middle of the summer. Throughout my little efforts in the film I was impressed with the level of professionalism that surrounded me...from the detail of the sets, the selection of props, the positioning and organizaton of extras and the incredible performances of the actors. I could tell at the outset that this wasn't just another movie. As the production progressed, one thing impressed me overall, and that was that everyone was so damn eager to participate. On most productions a lot of folks grouse about the petty stuff, but I didn't see any of this. Instead, I saw folks coming together to form a kind of bond, if you will, to see that this story becomes a proud achievement brought to life through the lens of an incredible cinematographer, Ryan Parker, and the direction and writing of both Willy and David. The fact that I could contribute a rusty ‘ol two step in the country dance scene is a memory I’ll always cherish together with all the friends that I met who were eager to join in and have some real ‘down home’ fun.

Thanks, Jenkins

From the first day of auditions when I met John Locke, the man's energy and enthusiasm for One Came Home has helped keep me going. His brief emails, his postings on Facebook, and the occasional personal meetings have consistently provided the necessary buoy to keep my spirits afloat. Obviously, there have been others in the cast and crew who have done the same, but John Locke aka Mr. Jenkins has been a constant reminder of all the wonderful people who worked on this movie. He has been the number one cheerleader for this film, at least from what I have witnessed. I'm sure there are others out there speaking it up, but John has always been there for me personally.

As with any project of this magnitude, there are highs and lows. There are days when a writer, director or actor will ask, "Why in God's name did I get involved with this project? Will it be successful? Is it a huge waste of time and money? Will the audience appreciate the story?" There were countless long nights/early mornings standing in front of Hillwood and looking at the set lights in the distance when I asked myself such questions. And, of course there have been those moments when I watched the magic and really believed we were creating something special. Throughout it all, the rollercoaster of emotions, John Locke's voice would resound: "You betcha buddy. This one here's a winner!" Even if the voice didn't totally quell my anxiety, it did make me smile and gave me hope.

And John certainly kept people laughing. You can't help but be in good spirits when standing alongside "Mr. Jenkins." Willy tells a story of working with John on a corporate training video several years ago. For the sake of the video, Willy needed John to "do something" - anything - just something to keep the video from becoming static. So, together with a company representative, they decided that Locke should loosen a particular valve on a particular pipe. "Sure," said the corporate type. "Okay, let's do it," chimed in Bearden and Locke. And, as Locke turned the valve, oil, lubricant, or some mystery fluid sprayed him and his wardrobe. I can imagine Locke's shock and quick grin. I can also imagine him saying, "Let's do another take; I don't think my reaction was right, Willy."

Most know that John had a role in Oh, Brother, Where Art Thou and did a magnificent job. And, how many times did I ask him to run those great lines to some new cast member or extra to lighten the mood? He always had them laughing. He always made them feel at home on the set.

And, while John's antics, fun-loving spirit, and recitation of his "Oh, Brother" lines made me laugh and saved my spirits when they most needed saving, one memory always makes me laugh: The night of the big party scene, John had a slight glitch in some of his lines, and he was so upset with himself. But, as I stood on the perimeter of the crowd listening to him deliver a magnificent performance, I recognized that the script issues that tripped him were not his fault. They were mine as a writer. This portion of the script had been over-written. There was redundancy, and bad lines cause actors problems. I know from both sides of that fence. And, when John later apologized for "his" problems, I had to smile to myself and say, "No, no, John, that won't do! You were right on the money." Locke/Jenkins being anything but professional? Don't make me laugh! DT

Thanks, Mr. Jenkins. See you at the premier. DT