MISSION

* Make the best films we can - with the lowest budget, but highest production values possible through resourcefulness - that are fun to film, entertaining to watch, and worth doing. (Strive to be PG-13 or light-R rated.)

- To make serious movies, with serious subject matter - but not so serious that it takes itself WAY too seriously; also incorporate as much humor from the characters as possible.

- To have THEMES - but NOT on-the-nose, hitting-you-over-head speeches, or after-school sermons. The theme may not even actually be spoken about directly. (e.g. A character seeking forgiveness or redemption, we may not even hear the words "forgiveness" or "redemption" come out of their mouths.) SUBTEXT is key in the telling. The character's ACTIONS exemplify the themes. With clever dialogue, blocking, and editing 'tis possible to dispense facts & exposition without being overly-preachy or boring. Having themes encourages audiences to think and feel, not simply passively sit and watch.
HUMOR! Essential to entertaining! Avoid slapstick! Don't rely on jokes, or silly/unrealistic situations - which are more subjective & tiresome; Use CHARACTERS, their personalities, their interactions with each other, and their response to situations as a source for humor. THAT type of humor is more universal & timeless.

- HAVE FUN! The director is doing what he loves! The actors are donating their time for the director to realize his fantasy! Stay focused, but enjoy the bloopers and maintain an on-set light-atmosphere to keep morale up.
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The ultimate GOAL is to gain experience to make movies good enough for film festival entry and/or Amazon Prime, but mostly to have examples of what we're capable of so we could MAYBE gain a following to get funding to make much better productions & to fairly reimburse cast and crew for their time.
We just want to make films. In the end, it isn't about proving ourselves to anyone; it isn't about entering or winning film festivals; it isn't about getting rich or having careers in the field we love. We aren't delusional. The realities of life & all the continuous obstacles make a shoestring-budget independent studio almost impossible. However, it does take money and/or commitment to get a cast and crew together to make a project - that's life. We just want to indulge our passion of making films.
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STORY/PLOT:
It all starts with the story. The story is what will ultimately make or break the film. A script is a blue print - you need a strong foundation for all the other elements to come together. ("Clerks" is a prime example of how a stellar script can overcome any downsides in a low-budget indie film.)
THIS IS ONE OF THE TWO MOST IMPORTANT THINGS IN A GREAT MOVIE!​
Strive to have A UNIQUE story, w/ an intriguing plot point or two! Or, if the story is tried-&-true or simple, then, at the very least, show the story from a fresh perspective with something new to add.
Story involves a cool hook, but may also involve an appropriate twist or two to keep the audience interested (avoid predictability, maintain surprise) and give the protagonist more of a challenge. Characters' motivation & actions will alter (not only modify but add new conflict to) the plot/resolution. A swerve ending, when it makes sense, usually adds to the entertainment.
A huge budget and awesome special effects itself does not make a great movie. The most vital ingredient of a successful film is having a unique and interesting story to tell; and a fresh, bold way of telling it - or at the very least, told in a thought-provoking or entertaining manner. Ask yourself, "What makes this different from anything else?" "Why are we making this particular story?" "What is it about this film that will stand out and make audiences remember it?" "What about this makes it fit for submitting to film festivals instead of a regular Youtube video that anyone can make?" "Are the story and characters good enough that, even if impossible, a known, professional actor would want to be associated with this movie?"
"Why is this movie worth filming?" is the first vital starting point. Is the material/plot/characters WORTH the time & effort that is needed to make it? Will any audience be entertained by this no-to-shoestring budget story? The biggest problem we have with some other indie films is that they blatantly cash in or rip-off big budget films. IF there's something new and unique to say, then go for it! But, otherwise, c'mon!!!, BE A LITTLE ORIGINAL!

CHARACTERS:
Interesting, complex characters - they are each individually motivated and have their own, human personalities: they each respond to a situation in their own way.
THIS IS ONE OF THE TWO MOST IMPORTANT THINGS IN A GREAT MOVIE!
The heart and soul of a movie is the CHARACTERS: what their personalities are, their goals, their flaws, how those flaws cause them to act & interact; how they learn & change (or even if they don't change & the consequences); how the characters FEEL their emotion & deal with dramatic, intense situations; How the AUDIENCE identifies with the characters (either they understand/have experienced what the protagonist/antagonist are going through or they know someone who has).
All MAIN CHARACTERS have an arc, All supporting characters have a dominant trait that showcases their personality, but NOT one-dimensional stereo-type. (A mini-arc for supporting characters would be nice if applicable/appropriate.) Unless they are mentally deranged (crazy/insane) or pure evil, the best, and most tragic, bad guys truly believe what they are doing is the best course of action (even if it's selfish or their means are morally questionable).
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THE VISUAL STYLE,...
Think of video as 24 individual photographs a second, incorporating all elements of composition. It's not about simply "point & shoot"; let's make art, let's make it worthwhile, let's make it as GOOD & BEAUTIFUL as it can possibly be!

Camera movement can add a forward momentum, help express mood, and keep the scene from being boring. But, like character, there should be motivation. Too much movement is distracting. If the camera is too frenetic, it pulls the audience from the the scene instead of adding to the mood. Of course, there must be motivation or a reason for even the camera to move, not simply doing it for the sake of visual style itself.
On one hand, there is the intricate, layered look of Michael 'Bayhem' Bay and Steven Spielberg; on the other hand there is the simple, static look of Quentin Tarantino and Kevin Smith - they have shown the value of mounting the camera to a tripod and simply allowing the actors to do their thang.. Although contrasting, both styles can be extremely useful, employed at the right moments, to better tell the story or inform/manipulate the audience. Keen audiences of our films will see elements from both sides of this spectrum when appropriate.
We are forever learning, forever changing. For instance, moderate shaky cam can be a useful tool in CERTAIN SCENES or situations, but we HATE shaky cam - which is ironic considering, unless it's an effects shot, most of our work is hand-held. It boils down to time management: hand-held is much more efficient to shoot.

Sadly, scenes utilizing the multi-camera set-up makes a moving camera extremely difficult to pull off. Edgar Wright (“Shaun of the Dead”, “Hot Fuzz” “Scott Pilgrim Vs the World”) has a style all to his own with whip-pans and crash cuts (montages that can add excitement - and energy & humor - to mundane tasks), along with the creative use of close-ups that allow the editing to “begin” a scene and get to the point quicker. Seeing how Scott Pilgrim & Shaun are two of Shannon Shaw's favorite movies of all time, it is no wonder that Wright's insight and inspiration have influenced Shaw in a vital way.
Quentin Tarantino's perspective on multi-camera shoots is totally understandable. Using one camera will give an ideal lighting and composition. When we have professional actors with memorized lines and natural performances, MAYBE we would more often use single-camera setups for more dynamic shots. However, using two cameras gets us all the coverage we need in one take - it saves us a LOT of time. But MOST IMPORTANTLY, if there is ad-libbing and improvising (which we encourage), we capture that moment without having to re-do/fake/remember the improvising for the coverage later. Also, it allows the characters to talk and respond to each other in the moment. Thus, as much as we would love the 'perfect' shot set up during coverage for one camera, it is more important to keep a natural performance.

Editing, framing, and transitions should be creative. Many people think of this as amateurish and cliche, but Shaw thinks of it - if used sparingly (when needed) and creatively - as adding to the entertainment value and not being boring. Everyone from Edgar Wright to Ridley Scott (sparingly) uses match-dissolves and other film-making tricks for added entertainment value. Everything's been done before a million times over, how can we begin/stage/end a scene in a new, better, exciting, manner? Also, there are no concrete "rules" in filmmaking, only innovation and personal choices that allow filmmakers to manipulate the audience.

The lighting is purposefully dramatic. Yes, we are well aware of the three-point (key, fill, backlight) technique/rule - along with that cinematic rim/edge lighting. However, Shannon decided he is very open to doing something different with the indoor scenes. He WANTS harsh lighting and harsh shadows. This was a calculated decision, which, some on set say comes off as a "cheap, home movie look." Anyhow, the harsh lighting is MUCH better than a cheery, brightly lit room during dark, dramatic content. However, it all comes down to TONE. The differences between Joss Whedon and Zack Snyder on their distinct interpretations of JUSTICE LEAGUE is proof the lighting palate can make a MAJOR difference.
Hopefully, we can use fog/smoke to add ambiance to the area (exponentially adding dynamic lighting scheme) as much as possible in future productions - time, budget, and crew availability being the only obstacle.
Dynamic lighting - particularly the use of edge/rim lighting - is essential to making a shot look professional. We make the best of what we have and don't complain! Visually, we lean toward a film noir style, but with color (i.e. neo noir). (There is actually a fine line between the looks of "amateur home video" and "film noir" if care is not taken.) On the other hand, the neo-noir style is simply a dynamic way of composition that can add a memorable look to a movie. Thus, even if we had all the best lighting equipment in the world, we would still incorporate the visual style of neo-noir, when appropriate. (And, given the opportunity - and appropriate content, we would have no qualms with shooting an entire film using every aspect of that style in story-telling as well, if the opportunity ever arises. Also, we have no objection to using French new wave film-making techniques or even presenting a non-linear story, again if applicable and appropriate.) Steven Spielberg and his Director of Photography are THE MASTERS at cinematic lighting; while there may be endless debates surrounding Michael Bay, one has to admit, his overall LOOK and CINEMATOGRAPHY can be beautiful.

Just for fun and to add visual production value, when applicable, some unusual, odd angles are thrown in for stylistic purposes - as long as they can be appropriate and do not distract from the characters, plot, or themes. Other aesthetics include a hand-held camera 95% of the time, camera arcing around a subject, several sunrise/sunset or silhouette shots (thank you, Bay!), and several digital LENS FLARES (thanks, JJ!) spread throughout. In the end, when it comes to visual composition & technique - whether it be static or moving, wide or closeup, long take or cuts (with appropriate reactions shots and/or inserts), what truly matters is: we will use whatever shot best serves the character, the mood, and the story.​
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RESILIENCE PRODUCTIONS "MUST HAVES" we STRIVE for in our movies:
- RUNNERS, CALLBACKS! Everything seen (and subjects discussed) earlier come into play - i.e. Chekhov's gun. ("Donnie Darko", "Butterfly Effect" "Doctor Who" and "Back to the Future" are prime examples of this "pay attention or you'll miss out" type of story telling.) When everything comes together in the finale, it gives a more satisfying ending.
- SUSPENSE! Vital to a story! Complications raise the stakes, Allows the characters to show their true quality. Gives audience a reason to anticipate what happens next!
- MYSTERY! Adds to the suspense. (Any beginning to any M Night Shymalan movie. Something extraordinary happens. Really cool, unusual event.. WHY is this happening?)
- TWISTS! Also adds to the suspense and creates more conflict and hurdles for the characters to overcome. We strive to produce twists and setups that are not blatantly telegraphed, but at the same time, do not appear out of nowhere. (At the very least, we can utilize foreshadowing to great effect.) A good twist ending, when appropriate, is always cool.
George RR Martin once said, “Nothing was more delightful, when something different happened, when it suddenly took a twist. As long as the twist was justified. You can’t just arbitrarily throw in twists and turns that make no sense. Things have to follow. You want the thing in the end where you say, 'Oh my God, I didn’t see that coming, but there was foreshadowing; there was a hint of it here, there was a hint of it there. I should have seen it coming.'”
- 1 to 3 segments using “iCarly” lightning-fast, back-&-forth, quick-banter; and possibly 1 segment when two characters are both talking at the same time (ala "Moonlighting").
- MAYBE: RED HERRINGS. You THINK it's related to the main plot, but it's not, yet it's INDIRECTLY related to a minor subplot point or character trait (otherwise it's a waste)
- Clear sound and cool visuals
- Verisimilitude. Realistic (even within its own fantastic context).
- Heart and soul. Humanity.
- THOUGHT PROVOKING! Themes. Ambiguity is acceptable - it allows the audience to form their own opinions. Maybe there are hints sprinkled in or hidden, maybe there is no answer to a question, or maybe there are multiple possible answers. Ambiguity creates discussion!
- BE ENTERTAINING! (When on a low budget, HUMOR contributes greatly to this! An entertaining story & characters can overcome many budgetary hurdles.)

  • KEEP IN MIND: We STRIVE to include as many of these aspects in our productions as possible, but may not always be able to. A unique quality of film-making is the ability to "break the rules" and be "different." The structure of some projects may demand we veer from the norm, which is fine, as long as it serves the story or characters.

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DIALOGUE:
Although great care is instituted in writing every word of dialogue in the script, ad-libbing and improvising of the dialogue is not only allowed but encouraged to ensure natural performances from our non-professional actors. We do have a fully-written script on hand for ideas just in case they need inspiration. The exact words are not always as important as the MEANING behind the words. Although, sometimes, one word has the power to change the meaning of the entire conversation or even impact the plot. The actors can phrase their lines in a way they feel comfortable reciting or is closer to what they envision their character - as long as the OBJECTIVE is completed.

The director listens & acts upon EVERYONE'S opinions when appropriately elicited. If a member of the crew has an observation or suggestion during pre-production, we WILL listen. But, there IS on-set etiquette, both to limit chaos, adhere to time constraints (which helps with morale and patience), and for other political reasons. The camera operator or audio technician may notice something the director didn't (like a production error) so they will speak up immediately. The actors may have a spontaneous, in-the-moment thought which will be tried in order to help the performance. RESPECT is key - for cast and crew.
Remember that the director knows the story and character arcs inside and out (while respecting the actor's invaluable, vital contributions to the character). The director also has experience in what works and what doesn't. Everyone's contributions are welcome, heard, acknowledged, and appreciated, but there is a time and place for everything.

NO EGOS! Everyone - the cameraman, audio engineer, production assistant, lead actor, every member of cast and crew - is treated with the same amount of respect. (Be aware, if you diss someone, it must be dealt with so as not to affect production. Don't get your feelings hurt, but don't be a douchebag either.) Granted, we are all human. We all have good days and bad days. Keep in mind, the PROCESS for setting up and fulfilling specific duties vary: especially actors, whose job - becoming a character, being in the moment, giving a natural performance - requires the utmost respect, as it is much more difficult than most people give credit for​.​ ______________________________________________________

IN CONCLUSION,...
We will make ALL KINDS of films. We have nothing against any genre. From out right horror films to very family friendly fare.
Probably the best test of one's creativity is how to entertain without being profane or vulgar. It IS possible to make a movie without a sentence containing four letters every other word!! To do otherwise is just lazy writing. For example, 'Paul' is a very funny movie that could have had a much wider audience had they cut out 99% of the completely unnecessary profanity. However, this doesn't mean you may N-E-V-E-R hear a curse word when absolutely APPROPRIATE or harmlessly funny in our films, but it will be at a bare minimum.
And, VIOLENCE is a touchy subject. Blood and gore can add to realism, "cool" factor, and/or shock value. Regardless of how graphic a scene may be, it's all in the context of how and why it is portrayed. Also, one must consider the 'cool' factor vs being out right 'unnecessary.' (Pulp Fiction, notable as a violent film, is a prime example of how much on-screen violence is necessary or not to further the story or focus on the character). Excess can lead to laughable results (whether by accident from ill-conceived over-indulgence, or on purpose from satire.)
If ALIEN, JAWS, & even PULP FICTION has taught us anything, it is that, sometimes, what we DON'T see can be just as frightening as what IS seen.