> Behind the Scenes
with La Toalla Productions (2/15/07)
Sean Janzen and
Michael Arkof of Team La Toalla Productions (Irvine, CA)
speak about the making of their film, "Caveman
Chronicles : The Quest for the Eternal Flame".
Their film took home the grand prize in Movie Making
WATCH THE FILM
PHOTOS - Make sure to check out
production photos of "Caveman Chronicles" at the end of the
NYC MIDNIGHT: Were you happy with the assignment
you received (Comedy / Mockumentary about Stealing) or would you
have preferred a different assignment?
Sean: Personally my strengths are porn and midget wrestling. Can
you say midget? Or is it little person? Anyways, I was excited
about the opportunity to explore a dramatic story about man's
hopeless struggle against the cruelty of nature...which is...when
you think about it...kind of funny.
Michael: A Comedy?! OH MY GOD why didn't anyone tell me we were
making a comedy?! Anyways…wait…can you repeat the middle part?
Publicist: Because this was a written interview, with time allotted
for answers, Michael and Sean are not mature enough to handle it…so
you can go ahead and ignore everything that they say in the rest of
the interview. What they meant to say was that we actually
requested Comedy/Mockumentary because it appears to us the most
gratifying of all genres when working with a big group of
filmmakers. Also, it seems that comedy is easier to write than, for
example drama, when you have 5 writers. Everyone just throws out
funny moments and ideas. Then you try and connect the jokes to the
plot. If they fit, great, if not...keep thinking. But either way,
it seems easier to satisfy 5 writers with a joke rather than a
dramatic plot device on which you end up simply compromising and not
NYC MIDNIGHT: It looked like a big production. How many
people worked on the film during the entire production process?
Sean: I don't know. I was in my trailer the whole time. But if I
had to guess I’d say it must have been thousands. I'd say a good
20% of the crew was lost to typhoid fever. But that’s the price you
pay for the immortality of the silver screen.
Michael: I don't know. Sean was in his trailer the whole time. I
was inside the trailer inside Sean's trailer. You think about it.
Publicist: We had 38 (give or take a thousand).
NYC MIDNIGHT: How did you schedule your shoot over the 2 week
Michael: A host of monkeys typing on monkey typewriters for months
before the competition, day and night, and they ended up with some
crap about Shakespeare. So I had them all shaved and shipped to
NASA and my friends and I wrote Caveman Chronicles.
Sean: Early on I could tell this was an important project to
Michael, when crates of bananas appeared on our doorstep. It was
crucial for Michael to find a competent and talented director who
could adapt his monkeys' vision to the screen. But on such short
notice we narrowed it down to me and the kitchen mop. The mop was
set to star opposite Keanu Reeves in the 4th Matrix movie, so I won
Publicist: Once again, what Michael and Sean were trying to convey
was that this project was a huge undertaking and a logistics
nightmare. Between driving up to the Film LA office all week in
wonderful rush hour to secure locations and then finding out the day
before shooting that Bronson Caves pulled out (due to brand new Fire
Regulation codes adapted that week), Michael was ready to explode.
However, even with a budget of only around $350, the talented and
wonderful team pulled through with fantastic costume design, a funny
script, and a rigorously planned storyboard to expedite the shooting
NYC MIDNIGHT: It looks like everything was shot on location at
Vasquez Rocks, California. Did you run into any problems shooting
all exterior shots with the tight
Michael: I called up Lucas at ILM, to use their green screen room,
but they were shooting a "Star Wars: Episode VII: Jar Jar in Love"
- a romantic epic staring Jar Jar and Julia Roberts. They didn't go
for it; even after I told them they didn't have to change the set
design and that the scripts were basically the same (at least the
depth of the romantic scenes).
Sean: Well, there was that brief bout of typhoid I mentioned
earlier. Also, we had a small problem with the actors dying when we
used real lightning and fire. We went through three protagonists
before we figured we could use special effects, luckily we had
ironclad waivers so there’s no worry of lawsuits. Working in the
little person porn industry taught us all about that.
Publicist: Yes, everything was shot in the Vasquez Rocks over two
days from 8am till 5pm (park hours had to be obeyed because the team
couldn't afford a Marshall). We had 80 shots total and filming was
broken up by what actors were available. On Saturday the team shot
the tall caveman group who lived with the fire and on Sunday they
shot the short caveman group who wanted to steal the fire. On
Saturday night, half of the group traveled back home to Orange
County (1.5 hr drive) and the other half stayed at Matt McCabe's
(special fx designer) parents' house nearby. Both days the team had
trouble with weather, inconsistent cloud cover, rain, and a race
against the tall shadows from the rocks. On Sunday a horse
competition provided unneeded strain on the production, as the group
had to maneuver around tourist noise, horses, trailers and rude
horse riders. Given all these things, everyone from the ADs to the
Actors, to the Grips and PAs were completely devoted to the
production and pulled through, running non stop and working
incessantly to finish on time.
NYC MIDNIGHT: You had a tremendous amount of special fx in the
film. Was this something you had in mind before the competition
started, or did the story dictate everything?
Sean: Oh Boy, special indeed. I mean every time I watch a film I
am amazed by this magic little contraption those in the "biz" call a
"camera" and how it manages to hold little copies of the actors
captive and then mystically transmit it for anyone to see at
Michael: Actually we had real fire. Then, after constructing an
army of gerbils on little gerbil bicycles connected to a generator,
I forced them to pedal to create real lightning and real rain. Then
what we did is we digitally removed all the real stuff, because it
looked too real and was by that measure boring, and instead
digitally pasted in fake fire, fake lightning and fake rain.
Publicist: Matt McCabe, who is our wonderful special effects guru,
is a big part of the La Toalla film group, so we definitely had
special fx in mind when thinking of the concept and story. While
this film didn't actually need special fx, the ability to
save money on fire Marshalls and what not, and create a digital fire
instead is fantastic. Contrary to what the director and producer
claim, the group obviously couldn't generate a lightning storm with
a gerbil machine. Dan Repasky helped Matt out on designing the
dinosaur foot, which adds an ironic "Deus Ex Machina" twist to the
end of the film. Clearly, the lack of a real Dinosaur dictated the
way the writing team approached writing that part. All in all,
there was a good deal of "Hey Matt, can we do that?" heard from the
NYC MIDNIGHT: Tell us what programs you
used to create the effects in the film (fire, dinosaur foot,
lightning, etc..) What equipment did you use during the shoot?
Sean: Did I already mention the magical
Michael: I think I already mentioned the gerbil
Publicist: The film was shot on a Canon XL2-S with a 35mm adapter
on it and a variety of prime lenses (thank you Koa M. Stone for the
equipment). The 35mm adapter decreased the depth of field, giving
it a more filmic feel. Besides the camera, there were about 3
reflectors, and Morgan Swift's (1st AD) blue screen, which was
assembled for the bird pooping scene. The Dino foot was made in 3D
Studio Max and the fire, lightning, rain, and color was done in
Adobe After Effects and Adobe Photoshop. An interesting note is
that perhaps the best special effect is something no one will ever
notice; the digital removal and/or hiding of the boom mic.
NYC MIDNIGHT: Any good behind-the-scenes stories?
Sean: Nothing that I can remember,
especially nothing involving a certain producer, a gerbil, or an
Michael: Its not like we’re completely
anal but we take ourselves with the utmost seriosity…seriously.
Publicist: In a group this large there is bound to be all sorts of
interesting events and humorous moments that bring the entire crew
to a laughing standstill but to this publicist's knowledge there
were no huge gags or drama issues on set. We were running on a very
tight schedule and everyone really pulled things together to get
through the hectic weekend.
NYC MIDNIGHT: Do you and your teammates make your living in the
Publicist: Many of the team members are
still undergraduates at UC, Irvine. The rest are either recent
graduates or aspiring actors. It’s safe to say that many, if not
all the team members would, at some point, like to make a living in
the film industry.
NYC MIDNIGHT: Did you get a chance to check out the other films
in the competition? If so, what were some of your favorites?
Sean: I have a deep and profound respect for people who put their
lives and reputations on the line to do what they love…which is
Publicist: Of course we were very
confidant in our abilities as film makers and were very proud of the
work we did on our film “Caveman Chronicles” but we were all
extremely excited to have won. Having said that, it would not be an
understatement to say that we were also surprised to have won given
the strength of the competition; which makes winning all the more
gratifying. In particular, we remember the good cinematography of
“A Beautiful Debt,” the hilarious concept of “Leftover Lenny,” and
the great set design of “Fwd.”
NYC MIDNIGHT: Do you have any ongoing or upcoming projects you
would like to talk about?
Sean: Well we’ve always wanted to shoot
a remake of “300” with monkeys. But we’ll have to wait until the
original comes out in March before we plan our next move.
Publicist: La Toalla Del Rey is a
massive group of individuals, itself comprised of several smaller
production crews such as Black Lotus Productions (www.blacklotusfilms.com),
Fat Addict Productions (www.fataddict.com),
and Monsterbox LTD (www.monsterboxstudios.com).
The teams continue to work on films and projects independently and
collaboratively, including commercials for business, audition tapes
for actors, and writing feature scripts. Check out the websites for
NYC MIDNIGHT: How do you plan on using the cash and services you
won as part of the grand prize?
Michael: How much does a lake cost?
Sean: I will fill Michael’s lake with
pennies and proceed to swim in it like Scrooge McDuck.
Publicist: Honestly, money is a tough
issue when dealing with this many people. How do you evaluate any
one person’s contribution to a massive project such as this and then
give it a monetary value. Coming into this project, no one was even
thinking of the monetary prize, because straight out of film school
all you think of is building your resume with awards and experience,
not monetary prizes. So I guess there are really two types of
awards – the ones the line your resume, and the ones that line your
wallet. The best and most fair way to think of this is that
everyone now benefits from the former, and those who contributed
financially to the budget will benefit from the latter.
NYC MIDNIGHT: Will you be back to defend your title in 2007?
Sean: I’m not going to let the success of succeeding go to my head,
especially now that I’ve succeeded at ridding myself of
Michael: Yes, provided Brazil sells me
Publicist: All joking aside we really
enjoyed the opportunity to compete in this…uh competition and are
extremely grateful for the award and prizes as well as the
opportunity to share our experiences with everyone. We would like
to thank the fantastic people at NYC midnight for hosting an
excellent festival this year and responding quickly to any questions
we had before, during and after the competition. Having said that,
it would be great if we could manage to keep a group this large
together throughout the year, especially those who are graduating
and possibly moving away. However, the team really enjoyed the
experience and would love to defend our title next year. Had it not
been for this amazing team, this interview would not have been
PHOTOS from the production of "Caveman
Chronicles : The Quest for the Eternal Flame"
captions by Sean Janzen and Michael