The video club of which I’m a part has been working lately on finishing some of our first-year projects. One of them, entitled Once Upon a Time on a Dark and Stormy Night, is worth mentioning simply because I’ve invested such a large amount of time in it recently.

In our first year, we adopted a certain operation for our club. Each month, a new member would step up and offer up their own idea for a project. That person would often take on the role of writer/director and the group would rally around them and offer whatever help they could on the day of the shoot. Other responsibilities, especially those that require work outside of shoot dates, would invariably arise, but essentially, participation for most people would amount to an evening planning meeting and a daylong production schedule.

Every project will also have the typical post-production editing, audio, and music related tasks associated with it. What makes Once Upon a Time on a Dark and Stormy Night different is the amount of time we’re putting into extra effects.

Amelia Jenkins is the proud owner of Once Upon a Time on a Dark and Stormy Night and from the beginning she visualized it as animated. We discussed doing stop-frame animation, claymation, and the like, but ended up discarding those ideas because we suspected that they would be too time consuming. I suggested that we plan a normal shoot and use a combination of digital effects in post-production to achieve the animated look-and-feel she was after. Although I haven’t seen the movie Waking Life, I did read up online about how the director supervised the post-processing of the film. I was confident that, after the shoot was behind us, we could find something that would work.

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Last weekend, Boomstick Deodorant showed at the Panhandle Picture Show in Haines, Alaska. Boomstick had already premiered at a Juneau Underground Motion Picture Society show, but with essentially no acceptance policy on what they decide to show, I didn’t feel like it mattered much. The Panhandle Picture Show is an honest-to-goodness film festival – with judging forms and entry fees and everything! – and it marked the first “real” critique of any video project I’ve done.

How did it go? As well as I’d hoped, I suppose. Boomstick got laughs in all the right places and a good bit of applause at the end, and I have to say that, surprisingly, I think it played better in Haines than it did in Juneau. While I didn’t win any awards, at least I did get a bit of superfluous recognition each night when the show’s announcers asked the “film” makers who had traveled to the show to stand up for applause. Since it was only myself, two others from Juneau, and one person from Canada, those few seconds of people craning their necks to look made me feel like a bug on a microscope slide. I guess I’m not the kind of person who craves public recognition.

The show itself was remarkably long – spread out over two nights, there were about five hours of videos and films to wade through. Boomstick was by far one of the shortest entries (clocking in at less than 3 minutes) and it seemed out of place in a show full of films pushing the 20 minute limit. Overall, I still enjoyed myself… despite the ennui induced by so many self-indulgent, experimental videos.
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