And in honor of such an incredible technology that allows us to do what we do, I've posted a picture from SnapKnot. By the way, did I mention that posting this picture makes me eligible to win either a D800 or a 5D Mark III? Both nice cameras. And this offer is tempting because I've been reading up on the technical side of cinematography, which in turn justifies my being a sell-out. Ahem...

The book I'm referencing is the second edition of Cinematography by Kris Malkiewicz. Unfortunately, it's from 1992 and doesn't offer any insight into the digital generation, but I picked it up off a thrift store book rack, and you get what you pay for. Nevertheless, it's given me a better understanding of lenses and I'm excited to start applying this knowledge. Hopefully, I'll win that free camera...

I first met Lavrenti in New York at the Lee Strasberg Institute. It was 2007 and we were in our early twenties in a city idolized as the mecca for artists. While at Strasberg, we were cast in a play that offered us an unconventional introduction to improvisation and movement-based theatre. Neither of us really knew what it was, and it's hard to say whether anyone else involved knew much better, but we made the best of it. It was a vessel for experimentation, and why not? We had nothing to lose since the only critics were our peers. Which, in retrospect, can be encouraging and shitty all at the same time.

Despite receiving mixed reactions for our show "E-Dating," we made strong friendships navigating the frustrating charm of New York theater. He's been a close friend and companion in our journey as actors from New York to Los Angeles, and I'm proud to say that his new film "The Mad Ones" (Produced by Aniruddh Pandit, Saurabh Kikani and Jefferson Dutton) is among one of his best performances in an also wonderfully-executed film. It follows three run-of-the-mill office workers who are frustrated with their place in the system and in life. It's about clarifying the difference between artistic freedom and laziness, the difference between a hard-working individual and a "phony" (a la "Catcher in the Rye"), and that the answers to those questions are the meaning people give them. It's funny as hell, but according to Lavrenti it's not a dramedy... so then what is it? Well, if I were to place it in another arguably arbitrary category, I'd call it an Existential Comedy. Really, it's a angsty tongue-in-cheek look at our culture that puts our idea of creativity into perspective. When it comes out, I hope many people get to see this refreshing film. Nice work, buddy.

And keep an eye out for my "cameo" appearance. I sneak in there like a ninja!

...And I'm not talking about just any schedule. I'm talking about a seventy-two hour countdown to write, shoot and edit a short film. It's exciting, frustrating and exhausting. But on a practical level, it's a way for young filmmakers to push themselves to "create," and for seasoned filmmakers to hone their skills. 

For my team of workaholics, it was a whirlwind. To best understand what I mean, allow me walk you through our process. We got the theme at 5pm (PST) on Friday, and began writing the script, putting together a prop and costume list, and for our DP to make a shot list. Now, the theme is important because it keeps all the competitors on the same creative starting point. This year's theme was THE COLOR OF MY HAIR. 

Two and a half hours of sleep later, we were on our way to the location to begin our only day of principal photography. This brings us to Saturday. Before shooting, we had to build the set (we literally built a table and a coat rack), and start doing hair and make-up. We shot everything in the same building, which helped keep the schedule moving and minimized company moves. We finished filming late Saturday night and began editing at 2:30am on Sunday. This was the case until Monday morning around 10am when we were picture locked. And if you're wondering if we slept, we didn't. Our DP and editor Samia Zaidi was a trooper and a saint. Once we had finished editing, we uploaded the film to Vimeo and got our hard copy and forms in the mail before the 5pm deadline.

I spent half an hour at the FedEx in a zombie-like daze trying to figure out how to mail the package. Yeah, it got bad near the end; probably because we were very ambitious with a high-concept idea. Luckily, it paid off. We made it, and we're better for it. It wouldn't have been possible without Jamie Miller, Christina Jun, Matt Mendoza, Samia Zaidi, Vivi Thai and Gabe Andrade on my team. Nor without Lisandro Novillo and Marcus Lovingood who allowed me to use their equipment. Thanks guys!

And I can't divulge too much about the short without risking disqualification... but as you can see from the pictures we were heavily influenced by film noir.

Here are some behind the scene photos of Case File 69.