HD technology continues to be more accessible and affordable than ever before. Eleven years ago, we produces a digital feature with a JVC DY-90 professional series camera, which was not HD or 24p. HD technology was not so affordable at the time, it was just not available at a prosumer level. We then produced another digital feature, this time with a JVC HD-100U. The accessibility to this technology allowed us to move from concept to creation with great flexibility. We started the project by selecting a script from Orestes Matacena's own collected writings and the rest is history.
There were setbacks and obstacles and all kinds of chaos with all the productions. This is to be expected with any production, large and small. But we ploughed through and were able to capture relevant subject matter, cast, crew, locations, and everything else that we needed to create the final product. All the necessary elements came together at the right moments. Even the setbacks and obstacles led to better ideas, opportunities and results.
Now we know that all we need is an idea, and we can dive into pre-production, find the actors, locations, etc., and move forward to product. But don't misunderstand our purpose. We fully acknowledge and respect the industry and the machinery that drives it, but for filmmakers like us, it would take years before we could finance our projects the conventional way. And by the time we could even establish a reasonable budget, the ideas might become stale, out-dated, or over-visited by other filmmakers who did raise money quickly enough to make their movies. The industry creates a lot of jobs and carves out incredible careers for so many artists and technicians. Hopefully, this project, and our previous ones, can provoke thought and healthy discussion while entertaining.
Everything we do is about accessibility. The actors are real people whom the audience can access because they identify with them. The technology is affordable and easy to work with and maneuver. We tap into all resources available to us. The concept and script for "Two de Force," as with our other projects, came from Orestes, the writer-director-editor-one-man-army, whose collection of ideas is never-ending. And, of course, my own self-delegated responsibilities and multiple hats (i.e., fill in gaps, fine-tune, develop, feed everyone, pick up trash, and whatever else I can do) contributed to making things run smoothly and getting things done. We know we can always dig through our treasure chest of ideas and embark on another film adventure.
No matter where we turn, we always ask ourselves: do we know what the job is at hand, do we know what we need, do we know people that can be a resource, do we know how much time we need, do we have the tools to execute from concept to creation . . . The answers to all these questions are always "yes." Why? Because we want to make movies.
We shot this movie, and our others, because we know the reality of the industry. No promises, and many an idea lost at sea . . . Whatever happens, we have quite an entertaining and wonderful movie on our hands, regardless of anyone's taste, preferences or political beliefs. There is plenty of audience to go around for pretty much anything under the sun.
Orna Rachovitsky, Producer