Rogue and Peasant Films

“The Five Stages of Fear”, previously known as “The Man in the Black Coat” has been accepted in the Gate City Women’s Film Festival in Greensboro, NC! It will be screening on either March 14th or 15th.

For more info, visit: http://www.myspace.com/gatecityfilmfest

Thanks again to the fabulous cast and crew who made this a reality!

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This weekend, I spent 32 hours shooting material for a five-minute surrealist/scifi film: The Man in the Black Coat (MitBC). It is as much of an exercise in lighting as it is in character, and is perhaps my first real attempt at visual poetry.

It is technically a dream: a young actress auditions for a play but is deemed inadequate and asked to undergo a medical procedure. In the operating room, the doctors attempt and fail at brain surgery. The girl comes to be haunted by a man in a black coat who seems intent on ending her life.

Molly Cornelius (The Housemaid) portrays the young actress and Steve Schmalz (Fall and Rise of a Dictator) performs the title role. They are joined by Dan Quaile, C. J. DeVaan, and Andrew Gingerich.

There were two days of shooting. Production stills from the first can be found HERE

And photos from the second day HERE

Enjoy!

Here is a minute-long demo reel featuring moments from many of the features and short films I have worked on. There are a few sequences from Fall and Rise of a Dictator, which is still unreleased, as well as a few scenes from Andrew Gingerich’s USFG. Enjoy! If you have any employment opportunities, please do not hesitate to contact me! kathryn@rogueandpeasant.com

http://www.rogueandpeasant.com/demo.mov

I am also adding permanent links to completed films on the right sidebar if you are interested in watching those.

“Untitled Search for God”, the crazy feature I worked on in Colorado, has officially concluded production. Definitely the most bizarre project I have worked on. For a plot summary and general overview of the production, visit this article in the Coloradoan:

http://www.coloradoan.com/apps/pbcs.dll/article?AID=2007707210331

Here are some of the main players:

Almost forgot about this little gem. A token of my mathematical abilities, and the only thing I have ever done, or ever will do with flash.

Watch The π Dance

Greetings from Colorado, where I am DP on a peculiar, exciting feature currently known as Untitled Search for God. If you would like to read more about it, visit http://www.exgfilms.com (While you are there, check out Wholesale Souls Inc. and the Exploding Shorts page.)

Before you go, enjoy a smooth, new version of My Brother Michael: http://www.rogueandpeasant.com/Michael15Aweb01.mov
There is still a temp score up until the gunshot, but the overall sound quality is better.

If you think of some comments while watching, please post them here. I need feedback!!

Hey Y’all,

Been getting some requests to see films, so here are links to the most recent edits:

My Brother Michael:

There is a temp score up until the gunshot, but the rest is pretty much finished.

http://www.rogueandpeasant.com/Michael14Aweb01.mov

The Housemaid:

All done.

http://www.rogueandpeasant.com/Housemaid13Aweb01.mov

Charlie Chaplin vs. Darth Vader

This is what happens when you have extra film and a bit of free time.

http://www.rogueandpeasant.com/ChaplinVader01Aweb01.mov

http://www.rogueandpeasant.com/AtTheBarre01Aweb02.mov

http://www.rogueandpeasant.com/ChaplinVaderLighting01Aweb01.mov

Enjoy!

Eat them.

In spite of a hesitant elevator, 1.5 false fire alarms, and a kid babbling about Spiderman during the opening credits, “Duel” had a successful public screening on March 3rd at the Walker Art Center in Minneapolis MN. It was the last film to show in the 2:30 block of the Girls in the Director’s Chair Film Festival.

There were about 150 people in the Auditorium, mostly family of the directors. My parents and aunt came up from Waukesha WI to see the fest and my co-composer Cindy Fischer was there as well, along with her husband and a guest from abroad.

The show had an uneasy start: just as everyone was seated expecting the lights to dim, ushers ran down from the exits urging people to evacuate. The fire alarm in another wing of the museum had been activated. I rose from my seat and left the auditorium, but just as I cleared the threshold, the ushers changed their minds and decided to let everyone back in. Of course, five minutes later, they came down again and called for evacuation. An elderly lady behind me was not amused, “I ain’t movin’ until I see some smoke.” A few minutes later, the alarm was confirmed false. After the big hoopla, the screening was allowed to start.

The color balance on the projector was a little green, and there were auditory bits in the soundtrack which I never knew existed. (I am actually going to remix the score before putting the film out on DVD.)

I am proud to say that “Duel” was the only historical fiction narrative at the festival, and as far as I know, the only film to emphasize dialogue so much. It had a distinct flavor that people either loved or hated. Some approached me afterwards with a bunch of questions, admitting they were transfixed. Others walked out of the auditorium just as Burr was pressing the trigger. Whatever people thought of it, “Duel” ventured out into the world that day.

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