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Ein leeres, unaufgeräumtes Zimmer in der ersten Einstellung. Hier hat Cory gelebt, der mit 24 an einer Überdosis gestorben ist. Der Film spielt am Vortag seiner Beerdigung, zeigt seine Familie, seine Freunde, deren Leben schon anfängt weiterzugehen, obwohl ihnen noch die Verletzbarkeit, die ein so plötzlicher Tod auslöst, ins Gesicht geschrieben steht. Mit einem fast dokumentarischen Gestus der Beobachtung fängt der Film gleichzeitig eine Stimmung und ein Milieu ein. Teenager, die seltsam erschöpft wirken von den Zumutungen des Erwachsenwerdens, denen ein bisschen Zivilisationsgrün am Fluss oder die Skateboardanlage den einzigen Freiraum bieten; Erwachsene,
die das Leben nicht nur mit Tattoos gezeichnet hat. [aus dem Forumprogramm]
INTERVIEW How would you describe the aesthetics of your film?
A naturalistic, location-based mise-en-scène with locked shots, soft tones, and a rich, ambient sound design.
Why did you choose to shoot on a digital format (was it solely for financial reasons, or did aesthetics play a role)?
Principally financial, though we also anticipated the digital workflow would benefit the documentary aspect of the project and make our turnaround time faster.
Which format exactly did you choose (MiniDV, DVCAM, HDV, HD...), and why?
DVCPro HD
What was special about shooting with Red (e.g. compared to 35-mm or
other digital formats)? Was it your first time with Red / digital or are
you used to it?
This was my first time directing a digital feature, but Jeremy Saulnier, my DP, has plenty of experience shooting HD. For me, the greatest thing about the digital workflow is the nearly immediate access to dailies and the potential to work with an editor on production to cut scenes
the same day.
What was your shoot-edit ratio?
Around 6:1, but it's worth noting that since we combined documentary and narrative techniques, the doc-style reportage comprised most of our footage. A lot of the narrative scenes were shot in a wide master in 1 or 2 takes.
One good word about DV / HDV / HD (or two):
I think it democratizes the production and distribution process and presents an affordable, viable option for filmmakers working on a modest budget.
One bad word about DV / HDV / HD (or two):
Color. The seemingly endless variations, and the inconsistency between exhibition platforms – this is what worries me most about working in HD.
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