Actors learn to work on a tight budget

On the set of a low-budget film, many of the amenities granted to Hollywood actors seem as far away as a mansion in Beverly Hills, Calif. On this low-budget set, there are no amenities -- all actors are responsible for their own costuming, hair, makeup and morale.\nRoss Matsuda knows this all too well by now.\n"Do I look disheveled enough?" Matsuda asked, mussing his hair and tugging at the relic of a T-shirt he wears for the role. It reads, "America Don't Worry, Israel is Behind You."\nThis is the scene from the first day of shooting on the set of "Conversations With the Almighty." \nThe "set" happens to be the bedroom, front porch and bathroom of screenwriter David Mickler's apartment, but it serves the purpose of recording the first scenes.\nMatsuda, who plays the lead role of Patrick in the film, runs through the first few scenes of the project with director Adam Carroll. Although the film is due before graduation in May, it is a blustery late January afternoon, and shooting occurs at a steady, if slow, pace.\nEach scene -- a term Carroll said refers to all scripted action and dialogue -- is broken down into numerous sequences. Carroll and Mickler work through each small sequence, rearrange their equipment and move as little as a few feet to reposition themselves to repeat the process.\nMatsuda is the sole subject of the first day's shooting, with Carroll and Mickler directing him through several nonspeaking shots, which later will be dubbed with Matsuda's narration. \nOn the front porch, Matsuda's T-shirt and flannel shirt are of little use on this cold, gray day, as he learns to smoke his first cigarette. \nStaring at his American Spirit cigarette, Matsuda admits he has no idea what to do with it.\nMickler, whose role includes coaching his actors, provides a demonstration.\n"You have to let it hang off your lip," Mickler said, joking. "Then you can do your Keith Richards and go, 'Ba-na-na-na-na'." \nMickler continues the impromptu imitation for a bit longer, then proceeds to direct Matsuda through the intricacies of blowing smoke.\nMatsuda rehearses the scene while Carroll observes from several angles, finally narrowing the number to two or three. While Carroll films on his digital video camera, Mickler holds the microphone above the frame to grab natural sound.\nAs for lighting, Carroll said he prefers a more natural approach.\n"I'm not a fan of (artificial) lighting," Carroll said. "If each scene is supposed to take place at a particular setting, then it should be (lit) exactly like that setting."\nCarroll said his role behind the camera is to make all of the shots look professional. Mickler said he complements that role by working with the actors to bring out their characters on screen.\nMickler spends the afternoon on the set coaching Matsuda between takes, stressing the actor's motivation and direction for each scene.\nIn one scene, Matsuda stares at his reflection in the mirror, takes a shot of "alcohol" -- actually water -- and tosses the shot glass into the toilet. After testing different camera angles, fixing the bathroom lighting and doing several test runs of the action, the 15-second scene takes about 20 minutes to record. \nThis is a result of shooting the scene from an assortment of still angles, creating ample footage to later slice down in the editing room.\nCarroll said other than film and personnel expenses, they have not had to spend much money so far.\n"We used things that we had because we were on a tight budget," Carroll said. "The only main expense was buying food and drinks for the crew and other light expenses."\nNonetheless, when the shot glass inevitably breaks after three takes of being dropped into the toilet, a minor scuffle ensues.\n"It's no big deal," Carroll said. "If we need it, we'll buy another one."\nIn a moment typical of the banter between these two, Mickler's response is filled with sarcastic concern.\n"Hey!" Mickler said. "You're not the one who borrowed the shot glass!"\nAll of this preparation is for an opening scene with no sound -- the first dialogue won't come until five days later. \nWhile filming still lurches forward, Carroll and Mickler said they are both aware of the looming time element.\n"I think (the time limit) is a good thing," Carroll said. "It creates urgency ... in making (a film). If you don't fear time, you're in trouble."\n-- Contact Staff Writer Josh \nKastrinsky at jkastrin@indiana.edu.