FLICKER is a short meditation on loneliness, the temporary and the everlasting. It's the first film in a 2-part series. The second is titled, "A Beholden Purpose".
This film was really about giving me a chance to perform a kind of visual meditation. I had been thinking a lot about consciousness and the soul's existence in a place like New York City but I didn’t want to make something heady. I wanted to turn this meditation into something more Pop and moody, like an 80’s film or a classic Madonna video. Instead of wanting to tell a story that had a broad, elaborate arc, I decided to focus solely on mood and the idea of the prison of the corporeal. The result was this little film - a kind of mini, modern fairy tale.
I teamed up with a bunch of my creative friends and we executed FLICKER over a couple nights. It was fun, stressful, and rewarding – like all productions. My longtime collaborator Ed David shot it with me with Andrew McMullen also shooting, and the illustrious Veronica Balta produced. Between everyone involved, it was great to be with good friends on this. I can’t thank everyone enough.
We shot on the Red One and the Red Epic MX, both on Ultraprime lenses. It was mainly a one-camera shoot except during the “dance”. I wanted the Red because it was my intent to shoot a lot of over-cranked moments in the lighting store, but we were way behind schedule and most of that got scrapped. The climax moment was slowed down in Post. In retrospect, I kind of dig the steppy nature of the Post slow-mo. Again, it plays right into the 80’s film frame-of-reference. Lighting was mostly Rifa Lights with eggcrates to shape practicals, 1x1 litepanel on the street and an occasional Kino flo here and there. Michael Yetter and I spent a solid day wiring the lighting store, which, by the way, was crazy. We probably saved that place an eventual fire by doing their wiring properly. Michael had the difficult task of choreographing the light effect in the store as we went. With no prep time I think he did an amazing job.
The score is original composition by Explosion Robinson. FLICKER also features a brilliant track by Zola Jesus.
Brad Turner, formerly of Post Millennium, did the initial assemble and then I completed the edit on my own. The challenge was keeping it tight without losing the deathly, languid and vaporous pace that I wanted the film to have until the lighting store.
Both Mikey Rossiter at The Mill and Ed did the color grading. My first pass with Mikey was super electric. I loved it and Mikey is fucking brilliant. But after deflecting Ed’s onslaught for so long, I gave in and he and I tweaked the grade again to bring it back into a more natural place. Ed used the Kodak Gold Impulz Film LUT. I’m still torn on it, but Ed gave his time (and gear) to me and he deserved to feel fulfilled with the imagery. Both versions are top-notch as far as I’m concerned. I can’t thank The Mill enough.
Anyway, I hope someone out there enjoys this. It’s a slow burner, so sit back, relax and go with it.
Writer/Director: Brennan Stasiewicz
Producer: Veronica Balta
DP: Ed David
Editors: Brennan Stasiewicz and Brad Turner/Post Millennium
Assistant Director: Ramiro A. Quintero
Production Supervisor: Amy Vadnais
Production Designer: Allie Avital Tsypin
Art Director: Emma Mead
Script Supervisor: Lisa Edwards
1st Assistant Camera: Andrew McMullen
Gaffer: John Beasley
Electric: John Meese
Lighting Designer: Michael Yetter
Sound Recordist: Rob Corso
Boom Op: Jesse Storm
Media Manager: Nathan Lynch
Key Grip: Juston Amourisi
Grip: Crawford Watson
Swing: Nathalie Kamber
PAs: Noam Benanmy, Gaby Basulto, Gabe Lang
Hair/MU: Samantha Figueroa
Stylists: Arielle Silva, Terry Perry
Choreographer: Vanessa Walters
Casting: Doreen Frumkin
Colorists: Mikey Rossiter and Ed David
Score and Mix: Explosion Robinson
Music by: Zola Jesus “Poor Animal”
Mikal Evans as Candy
Carol Stanzione as The Witch
Erik Frandsen as The Wizard
Nathan Lynch as The Guy