A Note from the Director:
From its conception, Surviving New Year's has been
a unique experience. This film was shot on digital video,
completely improvised, tailored to each individual actor,
and filmed over the course of only four days. This
results in an unpredictable format that is rare in most
modern films.
To keep the narrative fresh and spontaneous,
Surviving New Year's was shot without a script. The cast
was given scene outlines and they improvised their
dialogue as they went. Due to the nature of improv,
scenes changed, as did slight variations in story,
inadvertently creating a certain reverence for the work
and for each other. Together, we built upon the previous
day’s work, constructing a unique and riveting story that
challenges the definition of conventional film making.
From its conception, Surviving New Year's has been
a unique experience. This film was shot on digital video,
completely improvised, tailored to each individual actor,
and filmed over the course of only four days. This
results in an unpredictable format that is rare in most
modern films.
To keep the narrative fresh and spontaneous,
Surviving New Year's was shot without a script. The cast
was given scene outlines and they improvised their
dialogue as they went. Due to the nature of improv,
scenes changed, as did slight variations in story,
inadvertently creating a certain reverence for the work
and for each other. Together, we built upon the previous
day’s work, constructing a unique and riveting story that
challenges the definition of conventional film making.
Early in pre-production I decided to use digital video
because of the speed and ease of shooting. It was
important to keep the actual production of filming flexible
and spontaneous to match that of the actors'
improvisations. The labors of setting up certain shots
could easily have destroyed the momentum associated
with the organic process of improv. In shooting with
digital video, the cast and crew were able to hold onto
that energy to propel them into the next scene.
Each character was molded with the particular actor in
mind. Months before filming, work began on simple
relationships and character details. Back-stories were
created, including significant aspects of their lives which
are not subsequently shown onscreen. We took into
consideration how each actor spoke, their mannerisms,
cadence, etc. These considerations became largely
responsible for each character's identity. The actors are
not playing themselves, although their characters
develop gradually and naturally, without being forced or
contrived.
because of the speed and ease of shooting. It was
important to keep the actual production of filming flexible
and spontaneous to match that of the actors'
improvisations. The labors of setting up certain shots
could easily have destroyed the momentum associated
with the organic process of improv. In shooting with
digital video, the cast and crew were able to hold onto
that energy to propel them into the next scene.
Each character was molded with the particular actor in
mind. Months before filming, work began on simple
relationships and character details. Back-stories were
created, including significant aspects of their lives which
are not subsequently shown onscreen. We took into
consideration how each actor spoke, their mannerisms,
cadence, etc. These considerations became largely
responsible for each character's identity. The actors are
not playing themselves, although their characters
develop gradually and naturally, without being forced or
contrived.
The house itself is located in the suburban sprawl of
Orange County, California. During the four days of
filming, the actors lived primarily at the location. There
were no dressing rooms, no trailers, no barriers between
cast and crew. Each actor provided their own wardrobe
and did their own make-up. Food for the actors was
prepared in the same kitchen seen in the film.
Surprisingly, this didn't create conflict but rather, a
close-knit, friendly, family-like atmosphere perfect for the
domestic setting of the film.
In closing, I would like to thank all those involved in
the production of this movie. The atmosphere on set
was truly inspiring. Sometimes an actor has to work
really hard to create a history and connection with his or
her cast mates. For this group, a history and closeness
already existed that was palpable and intoxicating. And
the ability to work and create with your friends is what
makes all the difference.
David Beatty
Orange County, California. During the four days of
filming, the actors lived primarily at the location. There
were no dressing rooms, no trailers, no barriers between
cast and crew. Each actor provided their own wardrobe
and did their own make-up. Food for the actors was
prepared in the same kitchen seen in the film.
Surprisingly, this didn't create conflict but rather, a
close-knit, friendly, family-like atmosphere perfect for the
domestic setting of the film.
In closing, I would like to thank all those involved in
the production of this movie. The atmosphere on set
was truly inspiring. Sometimes an actor has to work
really hard to create a history and connection with his or
her cast mates. For this group, a history and closeness
already existed that was palpable and intoxicating. And
the ability to work and create with your friends is what
makes all the difference.
David Beatty
Nino Mancuso, Emily Brideau and Ammar Mahmood
Al Friedman and Sally Norton
Ammar Mahmood and Katie Rubin