The Land is a suspense drama about two youths who share the American dream but not the resources to achieve it; Their divergent paths lead back through the Pine Curtain of their native East Texas which hides a truth that will change their lives forever.

The story is about justice and fate which pit luck and opportunity against harsh reality.  An unplanned reunion sheds light on the fork in the road of two young men for whom the world is anything but just.

These days most films are shot using new digital cinema formats.  Presented in rare form, The Land, shot on 16mm film using authentic cinemascope glass has a unique look and feel.  Conceived in the modern era, it was produced using 20th century, conventional methods which lends an extra element of authenticity to the story’s industrial era problem. The production phase is done and the picture has been edited.

Thus far, half of the budget funds have been raised through In-kind donations from the University of Texas RTF department, donated labor from the Austin film tribe and family donations.  The other half, through my own personal credit cards in amounts that total over $20,000.  This used to be the only way to get an independent film made.  It’s high risk because it puts all the financial burden on a single person.  Crowd sourcing solves this problem because it diversifies risk while offering fans unique opportunities and rewards that only these most ardent supporters will ever get!  It also offers skilled professionals of varied talents an opportunity to support fellow artists and build a support network.  For fan type supporters, the unique industrial methods used in this production will give us the opportunity to offer some unique rewards!  This new funding tool combined with developments in digital video technology and D.I.Y. distribution has allowed for a resurgence in independent filmmaking.  It takes a lot of work building a community but direct contact with movie lovers is a privilege that didn’t exist ten short years ago.  Aside from my directorial debut, this film is also my test bed for crowd building, marketing & distribution and the results will be carried forward throughout my filmmaking career.  Thanks for the support you’ve already given by requesting this newsletter.  As I build my career, there will be opportunities for giving feedback along the way and I value your opinion and believe hearing directly from as many friends and fans as possible will make me a better storyteller.

The film negative has been cut to match the 16mm work print and the sound editing is finished.  As the sound team of myself, Joe Mendoza, and Isaac Pena finish up with the Dialogue mix, the FX mix, and the score, the production team (Me, Myself and I) is also working on marketing and distribution, crowdsourcing, crowdfunding to raise the finishing funds.  See the “Project Updates” link at the top for more information on progress.

Thanks for your interest!



December 11, 2017

…..the off- screen dialogue and add it to the main mix.  We have one more work day on this before the holidays. We’ll rehearse and take notes to determine if the dialogue delivers the intended message.  The website is finished so I’ll add newsletter postings there for posterity.  If you like how the project is unfolding, please don’t forget to Share, Share Share.

Behind The Scenes


You may recognize this picture from the movie poster.  This is one of our camera locations that was considered for an establishing shot at the beginning of the film.  In the end, it didn’t make it into the opening scene, but it did make it in for the Third Act.  I loved this shot so much that I decided to use it as a key image in the marketing campaign.



Marcus & Aaron_Ext. Cabin
Here’s Marcus and Aaron hanging out while we work on a new setup.  In the background you can see a 4×8 sheet of insulation that I bought at Home depot as a make-shift reflector frame.  We shot so many exteriors, we needed lots of reflector fill in the shade.  There was no lighting done on the exteriors except for the fill.  This made it a challenge, even on a bright day because of the cinemascope glass which took out about a stop of light.  Shooting with 250 ASA film means we were limited and had to be absolutely sure about the exposure before starting production.  Unlike digital cinema cameras, with film you can’t bump up the ASA without changing film stocks which changes the look.  Aaron made a doc about a 14 year old horror director making her first feature film.  It’s called “Zombie Girl”.




Marcus & Carson_Steadicam Prod Shot
Here’s a shot of Carson our DP working the “steady-cam” rig just before a take.  The story here is that we didn’t have money for a real Steadi-Cam, so we rented this Hollywood Lite from Kevin Triplett at Mopac Media.  Kevin was a true supporter of the indie film arts.  He beefed up the rig with custom engineered parts specifically for this production since our Arri SR with Cinemascope gear overloaded this rig that was designed for small video cameras.  Even after the modifications, the camera rig was still about five pounds too heavy.  Carson is holding up the extra weight with his free hand while operating camera at the same time!




Blake Taylor Marcus_directing Trail Scene
Here, I’m rehearsing the trail scene with Taylor and Marcus.  This scene was difficult to shoot because we had to get about two thirds of it in just two long shots.  The long shot can be a lifesaver because it cuts down on the production schedule.  It can be a nightmare because the actors really have to hit everything perfect, lines, beat changes, blocking marks…pretty much everything that would normally be  broken up into ten or twenty short pieces.  They did a great job on both shots.  Carson and I had to trade off camera operation duties because the operator had to walk backwards, uphill with an unbalanced steadi-cam to get the shot.  After the second take on the second shot, he was worn out, understandably.  I compare the shots now and see that Carson did a better job than me, but hey, we got it done!




Carson & Steadicam
This is the Arri SR with the cinemascope rig.  You can see the silver colored baseplate rods and the cinemascope anamorphic lens bracket mounted on the rods.  I had this support system custom built by Dan Morris at Unique Designs.  Dan was an engineer who designed and built robotic cranes in his back yard only a block away from the UT campus.  One of the projects he worked on was optics for a close up of the moon for a Terrence Malick film.  Shooting The Land in Cinemascope was a huge risk but it turns out that the anamorphics were  the most reliable part of the entire production! 
What’s the lesson here?  




Blake & Carson_Script
Carson, the DP and I go over the shot list for the day.  We lit this cabin with a lot of artificial light, but I wanted it to look like only natural light coming in through the windows.  It’s one of the hardest looks to light for, according to most cinematographers.  In this shot you can see the backlight coming in through the window giving Carson a nice halo.  The rest of the frame looks pretty flat except for a couple bright spots which look like natural light from other windows.  When the first round of dailies came back, I was ecstatic about the results.






The Land Short Film
PO BOX 684831
Austin, TX 78768