So if you are wondering who is filming this project that’s a good question. We had two cameras going.
For the R&D we hired Paper Rocket Productions cinematographers Jake and Deidra, part of the team who created a short to screen at Sundance a few years back. Paper Rocket helped us to create real interest in this railroad story with their camera work.
Jake is a solid trooper who is a yes man who probably should be telling me “No, you’re crazy lady”. He totally helped save an earlier film when I asked Jake to jump in a car for 26 hours to film a road trip. So again Jake jumped in a car when I asked to film the drive from Arizona to Illinois.
His objective was to film 9001 and catchup with a new hire traveling solo in Nebraska. The new hire was camping out in his car. Unfortunately Jake never found the new hire to film him sleeping in his car. Nonetheless, together we chased after leads to build a strong 15 minute fundraising trailer. It worked!
From these shoots, we found production funds from Vision Maker Media and our timeline shifted from R&D into Production. There is a thin grey line that separates these stages. We found a schedule to deliver a final film and bought a Canon C100.
The first shoot with Kahlil was a trip out to Greasewood, AZ to film the Long brothers roping on their day off. The wind didn’t cooperate and proved to be too much, yet again for an outside interview. When am I going to learn about the wind? I think the biggest mistake and regret I made on Metal Road was not sending Kahlil out to the reservation on his own. Hands down the worst decision I made.
Because what he captures visually is really art and symmetrical.
Later on I hear that Kahlil is making killer short films for YETI coolers marketing their wild Ambassadors on remote mountain tops and far remote locations. And I was afraid of sending him to spend a quick 48 hours camping out on the Navajo Reservation with no electricity. Sigh.