— Production—

A Filmmaker's story

      Since my high school years, I have been fascinated by films that capture the true nature of small town American life. Its remoteness has often played a vulnerable role to outsiders who arrive to stir up opportunities for the unrealized dreamers in the crowd... actors, writers, painters, filmmakers, many of which have been trapped, or unable to leave behind their hometown neighborhood for the pursuit of a lifelong ambition. When Jeff Bridges smashed a coke bottle over Timothy Bottom's eye in The Last Picture Show, it echoed the end of innocence for teenage friends in a windy Texas town. Meanwhile, the yellow caution light that always blinked above the road where their fight was set just kept on blinking. While time stopped for them, their town did not.

      One day, the title Getting Out of Rhode Island came to mind. The thought of it provoked two key images that I could not help but combine: The beauty of small town entrapment with the hype reported in the local press... Providence was being hailed as the new "Hollywood East." While this was far from the truth, many aspiring filmmakers who once called Rhode Island home for all or most of their lives decided to stick around. Films were being shot here, and the boys who once partied through our streets were now men with impressive connections pulling business back to their home state. For them, Rhode Island served as the perfect locations for their projects supported by the great studios of Fox and Miramax. They were proud, and they deserved to be.

      Hollywood East pushed forward with great excitement and anticipation for local artists to get involved. Film parties, press gatherings, fundraisers and location forums were everywhere to be found, but the work was scarce. Many dreamers, such as myself, did an endless amount of work for free, putting our lives second to our aspiring goals of independent filmdom. Years of ideas were put on hold as I labored for the good of visiting filmmakers. While I had met many interesting artists and made some wonderful friends, it was time to break away and find myself again.

      In its story, style and theme, Getting Out of Rhode Island became a Creative culmination of this learning experience and departure. Its main characters emerged from multiple sides of own persona during this time as well as certain individuals I personally encountered. Initially, the story was to be shot on mini-DV over the course of 9-12 days, ending in a film party.

      As the process evolved, I quickly realized that all I wanted to do was live in that party for the majority of the film. So I took the same characters and placed them in one setting - an open house fundraiser for a newly formed production company A Flash of Yellow Pictures, with a focus on films being produced in northern Rhode Island.

      This decision not only changed our schedule, but it enhanced our risk taking factor as artists when I chose to shoot Getting Out of Rhode Island in a two-and-a-half hour timeframe with only two cuts for reloading video and sound as all of the actors would improvise their way through the story. Three cameras would be rolling, two of which were to be operated by cast members. So while I could see them, no one could see or look at me operating the main wide-angle mini-DV camera. The basement apartment of my house was transformed into a last-minute party scene to celebrate the homecoming of Rhode Island's own Jacob Mattison.

      To better enhance the realism of this setting, we adapted many of the rules in the Dogme '95 Manifesto, co-created by Danish filmmakers Thomas Vinterburg and Lars von Trier. While Getting Out of Rhode Island is not a Dogme film, our uses of natural light or light found onset, handheld camera, and no artificial action were creatively utilized.

      With the support of a grant from the Rhode Island State Council for the Arts, Getting Out of Rhode Island officially rolled at 6:45pm on the evening of November 17, 2001 and rapped at 9:18pm that same evening. There were 44 cast members, 8 of which were main characters. The remainder was party guests who mostly auditioned. Upon casting, they were encouraged to create their own characters within the scenario. They were only informed as to why they would be in attendance and nothing about the inner workings of the plot; so all reactions could be realistic. Certain members of the main cast also gave shocking reactions to pieces of news they did not expect in the slightest.

      Our production assistants served as caterers and bartenders during the party, so they took care of the film's needs before your eyes. In addition to the 3 camera-mounted shotgun micas, 6 of the main actors had wireless sets, which have greatly enhanced our sound design.

      Close to one year later, I am proud to say that all of this work, support and sponsorship were voluntary. Following the shoot, we had a party to celebrate its success. Since our cast came from seven states to be a part of the film, it was great to have this time with them. The post-party lasted longer than the shoot itself.

      As we put the finishing touches on Getting Out of Rhode Island within the next two months, I am still proud of and endlessly grateful to my cast and crew for working so effectively as a team. All involved truly believed in the authenticity of this project and welcomed its challenges with courageously open arms.

      The reception of Getting Out of Rhode Island has yet to be seen. Perhaps it will be another learning experience that awaits us.

Christian de Rezendes
Filmmaker
Getting Out of Rhode Island