John was a featured guest at the inaugural MonsterFest convention, organized by Rob Floyd and Jim Blanton at the Chesapeake (VA) Public Library in October 2004. At that time, he had completed 15 published books on television and film, including critical assessments of John Carpenter and Wes Craven that I read while researching my own book on American horror films (published in April '04).
I would not have introduced myself to John Muir as a writer, because John was a real writer. My book (as one reviewer for Video Watchdog noted) was little more than a college thesis; John was already setting a new standard for pop culture studies. Nevertheless, Jerry Harrell – who was at the convention in full “Dr. Madblood” regalia – did not hesitate to introduce me as a writer... and John and his wife Kathryn could not have responded with more enthusiasm and encouragement for my goal of someday turning a writing hobby into a career. I was thrilled to meet someone so down-to-earth who had managed to do just that.
The conceit was simple: Five strangers trapped in a house with no way out, and no idea how they got there. He said it was partly inspired by his frustration with the
To his credit, John understood that minimal production values did not necessarily reduce the scope of storytelling possibilities. He was determined to explore questions of physics, psychic phenomenon, mysticism, religious fundamentalism, politics, greed and good old fashioned personality disorders… on 2% of the budget of the famously low-budget Night of the Living Dead. Of course, George Romero will be the first to say that it’s much easier, in the digital age, to create your own movie or television series. The real hurtle is distribution. But John had an answer for that too – he is thoroughly convinced that original Internet productions, “consumer-made television,” are the wave of the future. His friends were more than happy to help him test the theory.
A six-member cast and an eight-member crew converged on
From day one, I was amazed by the talent and dedication of everyone involved. It was as if every single person there had been waiting for an opportunity like this, and when the cameras started rolling, they all became consummate – and passionate – professionals. Somehow, John must have known that it would happen like this. The actors learned their lines on the spot. The crew knew exactly how to get around any problem that presented itself. As on any good production, the team simply gelled.
The project quickly became a collaborative effort that relied on everyone there for its continued success. There were times when the production seemed like a house of cards. If any single member of the team hadn’t been fully engaged, the whole thing would have come crashing down. But everyone we needed was there, and giving 110%. By the second day, we were moving forward at full speed. By the fourth day, we were circumventing production problems with relative ease. (Many of the problems stemmed from our lighting equipment, which didn’t weather the 16-hour shoot days quite as well as the actors and crew). By the fifth day, everyone was comfortable enough for wild improvisation – making for a great episode that renewed everyone’s energy for the home stretch. (Truth be told: The lack of sleep was starting to make us all a little loopy.) By the seventh day, our nerves were frayed… but everyone maintained an air of professionalism, and we managed to get the last show in the can just before a summer storm swept into
moody exterior shots.
Before we left
I hope that those who view the finished product will be able to share some of this enthusiasm. A few months ago, John wrote on his blog: “I would prefer to sit in a theater and view something new and exciting and different (even if flawed...) rather than something mainstream and uninventive.” I believe that viewers who agree with this perspective will find plenty to love in The House Between.
Joe -
ReplyDeleteMan, this is a beautiful post.
From the depths of my soul, I thank you for all the kind words and support (and I know the rest of the cast and crew will feel the same way as they read this).
To this post, however, I must add a final notation: I was lucky - EXTREMELY lucky to have an outstanding producer in one Joseph Maddrey. We couldn't have achieved what we did on The House Between without you and your dedication.
Sometimes this meant you had to play the "bad guy," and sometimes I snapped at you or was pissy. Because you were telling me what I didn't want to hear. But what I NEEDED to hear. And you were right, every time.
Quite simply, we couldn't have made it through the week without your understanding of the scripts and storyline, without your eye on the clock, and without your good sense and determination. Not to mention your creative flourishes. For instance, there is a moment (or sequence, I should say...) in the third episode, "Positioned," that totally flies because of your (genius...) suggestion how to shoot it.
Is it going overboard to state that you are a paragon of producerhood?
Cuz you are. Not to mention the kind of friend every guy needs on a shoot like this.
You better come back for Season Two: Electric Bugaloo.
-JKM
I ditto what John said, and then some. I will forever be in your debt for cutting most of the dialog of that kitchen scene with Lee in "Positioned." LOL (I love you, Lee!)
ReplyDeleteSeriously though, you crack the whip and it hurts so good. :-)