Tag Archives: Timothy David Clark

Stash Gallery

To commemorate the upcoming release of Devil’s Five feature film, here is a Gallery from Stash, which was the first of five segments to go before the camera back in the summer of 2014.

Part of Stash was shot deep in the woods of Califon, New Jersey. In the far distance Stash Writer Tim Clark is venturing into the real world his character “Faith Daniels” would be traveling through later at dusk. Photo Connor Hassler
G. Paul Salvetti (left) and his family allowed the production to shoot Stash on their considerable acreage of wooded land. G. Paul Salvetti, Director Terry R. Wickham (center), Production Designer Michelle Rickert hidden behind Writer Timothy David Clark (in black shirt and hat on right) hold a conference before shooting begins on Saturday 7/12/14.
Stash had an incredibly hard-working crew. Here left to right: Best Boy Kyle Weaver (blue), Gaffer/AD/Associate Producer Michael Fels (white) helps Best Boy/Key Grip Ian Clarkson (red) carry the equipment needed to light up the woods at night.
Steadicam Operator Devon Catucci prepares for a whole night of shooting. Director Terry R. Wickham was told by the first DP he hired for Stash that he would never get Steadicam for Stash because the budget couldn’t afford it. Wickham proved that DP wrong after he fired him. The truth is Devon Catucci accepted the gig less than 24 hours before the shoot, when Wickham had to scramble after the original Steadicam Operator took another gig the day before shooting begun. 7/12/14 Califon, NJ.
Wickham selected young filmmaker Zachary Atlas to document the making of Stash. Look for the behind-the-scenes chronicle to be part of the Devil’s Five release.
Director of Photography Edwin M. Figueroa was a huge part of Stash. Not only was he responsible for the look of Stash, but a year later The Devil’s Five segment, which he also shot for Wickham. Figueroa is one of the three partners that make up the feature film Devil’s Five and directed his own episode called “Choke.”
Production Designer Michelle Rickert (middle right) prepares “Faith’s” (Almog Pail) Stash bag for the movie. Behind them in the woods of Califon, NJ left to right: Associate Producer G. Paul Salvetti, Costume Designer Lindsey Vandevier, Make-Up Artist Sarah R. Cruz and 2nd AC Tiffany Provido.
DP Edwin M. Figueroa sets up a stand for Devon Catucci to rest his Steadicam rig between shots.
Director Terry R. Wickham goes over the first Stash scene with his leading lady Almog Pail on 7/12/14.  DP Edwin Figueroa and 2nd AC Tiffany Provido stand in the distance.  Editor Robert Figueira stands in pink shirt in foreground. 
Near left Production Designer Michelle Rickert (blue top) talks to Costume Designer Lindsey Vandevier (middle in grey), while Make-Up Artist Sarah Cruz listens. In the distance far left Director Terry Wickham talks to his star Almog Pail. Editor Robert FIgueira (middle in pink) observes as well as Gaffer/AD Michael Fels (white) on far right.
Director Terry R. Wickham directs one of the shots that are part of the first item “Faith” (Almog Pail) must find. DP Edwin Figueroa and Steadicam Operator Devon Catucci prepare accordingly in Califon, NJ.
Steadicam Operator Devon Catucci and DP Edwin Figueroa get down and dirty to capture the look of Stash.
Director Terry R. Wickham can almost always be seen with the script for the movie he’s making in hand within his blue protective binder. Here Almog Pail listens to the direction of the next shot as the sun goes down and things are about to get very dark in the woods.
Never one who afraid to get dirty, Production Designer Michelle Rickert wades into the swamp to set up a critter effect she ingeniously created and will hand operate for the shot.
Director or Photography Edwin M. Figueroa really put to use his considerable skills and experience to create the gorgeous look of Stash. Taking full advantage of what the woods offered the production.
As night falls, Steadicam Operator Devon Catucci stands ready for the next shot in Stash.
Filmmaker Terry Wickham helps direct the placement of the critter Production Designer Michelle Rickert will operate during Stash.
The production had to truck-in/hand carry in a considerable amount of movie making equipment (lights, c-stands, mumbo-combos, etc) to light of the environment for the first night of shooting on Stash.

Gruesome Threesome filmed Sunday February 19th

In this screengrab from Gruesome Threesome, “Sarah Peters” (Chanise Renae) is online webcaming with her boyfriend. Photo AVS Production Company

On Sunday January 19, 2017 filmmaker Terry R. Wickham and his production team shot the wraparound segment for Gruesome Threesome.  This is the 7-minute storyline that hosts three of Wickham’s other films; “The Downfall of Johnny Garrett”, “Stalk” and “Hair of the Dog.

Writer/Producer Timothy David Clark and Director Terry R. Wickham made a formidable team on HAIR OF THE DOG

Wickham talks about the shoot, “It was the best experience I’ve had so far on a set in 2017 because it gave me a chance to direct another script written by my long-time friend Timothy David Clark (Hair of the Dog, Stash).  What I love about making films from Tim’s scripts are the qualities he always brings.  There’s no doubt that Tim loves to make things horrific, but it’s his wittiness and humor that separates him from other writers (like myself.).

Tim was smart to design Gruesome Threesome so it could made with very little resources, yet make lots of sense and ultimately be fun for the viewer.  He also quickly figured out a way to integrate the other films seamlessly.  My hat is off to him for doing that.

Gruesome Threesome Production team: (left to right) Sound Recordist Bryan Lopes (standing), Location Manager/Still Photographer Mark Goldberg (kneeling), 1st AC Giorgio Savona (back), actress Linda Collins (middle), actress Chanise Renae (front center), Producer/Director Terry R. Wickham (somewhere way in back), actor John Logan (front center), DP Adrian Popescu (back), PA Nicholas Girimonte (front), Make-Up Artist Regna Tune (far right). Photo AVS Production Company

Plus I got to work with a cast & crew that I hand-selected myself, which is always best for a film director, because these were all my people.

1st AC Giorgio Savona (standing) goes over the placement of lights with DP Adrian Popescu (sitting). Photo AVS Production Company

Speaking of which, it was my third consecutive film with Director of Photography Adrian Popescu.  Adrian and I have developed a chemistry that is undeniable.  It doesn’t matter what outside factors are at play, our trust & communication between each other is special and something I value greatly.

This screengrab from Gruesome Threesome shows off DP Adrian Popescu’s amazing ability to light and cinematically capture “Ray Burns” (John Logan) at his computer. Photo AVS Production Company

What was so cool on this production was aiming at getting quality rather than quantity.  I’m not saying we didn’t try making beautiful cinematic shots on our previous projects, it’s just we had so many more shots/setups to get on those, that having only 10 total shots, allowed us to really focus in on these ten shots.

Wickham took the opportunity between setups to show his three films “The Downfall of Johnny Garrett”, “Stalk” and “Hair of the Dog” to his team. Photo AVS Production Company

I like to take each project as an individual entity and visualize them based on what’s written.  I think it’s a mark of a good director to be able to adapt to each unique tale according to it’s tone, rather than force some kind personal style on a story that may not need it.  To approach each project this way is more fun and leaves more creative opportunity for the filmmaker-cinematographer.

Before the shoot, I did my homework and watched a couple other webcam horror films.  I was strictly watching them to see what I didn’t like about them.  What I came away with was not wanting to waste precious screen time looking at anything that was not important (specifically not seeing characters).  I also totally disliked seeing snowy video screens, Internet delays and other technical glitches.  Is that stuff real, absolutely, but does it make for good viewing entertainment?  I would have to say no, so I wanted to avoid doing anything like that altogether.

DP Adrian Popescu and 1st AC Giorgio Savona make a dynamic duo. Photo AVS Production Company

Adrian and 1st Assistant Camera Giorgio Savona (who was making his third consecutive film with us) were both tremendous in getting beautiful lit, composed shots that maximized the mood and atmosphere we were going for.

Director Terry Wickham (on step stool) gets help from PA Nicholas Girimonte blocking out the daylight coming from windows. Photo AVS Production Company

The film takes place at night, but we shot the entire picture from 9:00am until 7:45pm, so it was done completely during the day.  But with the use of some long black garbage bags and painter’s tape, we had no problem concealing the daylight.

1st AC Giorgio Savona (leaning down) assists DP Adrian Popescu (kneeling) at end of bed. Sound Recordist Bryan Lopes (with boom mic) and PA Nicholas Girimonte (slate) stand, while actress Chanise Renae prepares to do the scene in ‘Sarah’s” bedroom. Photo AVS Production Company

There’s no doubt that Adrian and Giorgio work together wonderfully.  It’s obvious when you see the stellar shots they get, but I also observed it behind the scenes with their working style.  They show a lot of respect for each other and that means a lot to me.  Making movies is hard work.  There’s no reason why it shouldn’t be as pleasant as possible.  Working with these two gentlemen is not only an honor but a privilege.

Wickham leans against wall with blue script binder, while DP Popescu makes a lighting adjustment for the first shot in “Sarah’s” (Chanise Renae) bedroom webcam scene. With all the windows closed and garbage bagged, the room got very hot, which was the reason Chanise kept her sweater off her shoulders between takes. Photo AVS Production Company

I had worked with actress Chanise Renae before on The Devil’s Five segment, and that was the reason I asked her to audition for the role of “Sarah Peters.”  I knew she had the ability to play all sorts of emotions and her fearlessness was why she ultimately won this role.

In this screengrab from Gruesome Threesome, Chanise Renae looks very comfortable playing “Sarah.” The red bra she is wearing is the exact same one she purchased from Victoria Secret and wore during her audition. It was this kind of thought & preparation that helped win her the role.

Chanise came totally prepared and she looked dazzling as “Sarah.”  I loved how nothing seemed too daunting to tackle and she gave me multiple choices in her performance, which is a testament to her acting ability.

It was clearly visible that these two actors enjoyed working together. Photo AVS Production Company

Plus the emotional and psychological interaction between Chanise and actor John Logan was noticeable.  I don’t mean that in an off-set way, but rather how their worked while shooting the movie and what’s detectable on camera.  The fact is these two were having a blast together doing their scenes and this made it believable that they could be “dating” in the movie.

Chanise and John always kept at getting to their heart of their scenes. Photo AVS Production Company

This was my first time working with John Logan and I’m so glad I choose the talented young actor to play “Ray Burns.”  John has a real professional attitude and approach any filmmaker would welcome.  Part of this might be because he’s produced films himself.

At times “Ray Burns” (John Logan) gets a bit spooked by what he sees

What I most admired about John was his ability to do what Tim had written.  The moments where “Ray” was supposed to be scared and frightened, would deflate some actors’ egos.  But John was smart enough that doing those things showed more of his acting range and I pointed out to him will probably garner more fans, especially of the female kind.

You might not want to mess with “Ray’s Mom” (Linda Collins). Photo AVS Production Company

Actress Linda Collins was perfect as “Ray’s Mom.”  The blonde is sort of a southern belle, which really worked for the character.  Linda’s slightly southern accented voice really worked in her favor and totally sounded like a legitimate mother.

In this screengrab from Gruesome Threesome, “Ray’s Mom” (Linda Collins) doesn’t look like the type of guardian you’d want to cross

Linda also looked similar to the “Bloody Mary”actress in Hair of the Dog, which was intentional by Writer Tim Clark.  I also give her credit for the handling of the real-life sharp chainsaw used in the movie.  The chainsaw was not dulled and could have easily carved through the floor, destroyed any nearby prop or person.  I was very adamant about her safety and of the location.  I made sure Linda knew to stop the scene if there was any problem at all, but things went incredibly smoothly and nobody got hurt (including the location).

Speaking of the chainsaw I have to thank Essco Service Co. Inc (584 W. Hoffman Avenue, Lindenhurst, NY 11757 Phone 631-226-7304 www.treeservicesupplies.com)  in Lindenhurst, New York for allowing us to use one of their saws in the movie.  Natalie Raso and the other nice folks @ Essco were incredibly helpful in not only allowing use of the saw, but teaching me how to use it safely for the film.  I’m indebted by helping us out.  Essco is the best company on Long Island to contact for not just chainsaws, but Stump Grinders & Chippers, Timberwolf and Log Splitters.

I’ve always appreciated strong female characters (Jim Cameron is one of my favorite directors) and I have to say both “Sarah” and “Ray’s Mom” both fit that character description.  Kudos to Tim for creating them.

Make-Up Artist Regina Tune prepares Linda Collins for Gruesome Threesome. Photo Terry Wickham

Make-Up Artist Regina Tune returned for her third consecutive production (Abandoned, Whatever It Takes Trailer) and did another stellar job on the actors looking great.  She’s a real sweetie and I know the cast and crew feel the same about her way of working.  She’s there doing what needs to get done on each actor in almost an invisible way.  I couldn’t ask for more from the person handling the look of my actors.

Sound Recordist Bryan Lopes on the set of Gruesome Threesome 2/19/17 Long Island City, NY. Photo AVS Production Company

Sound Recordist Bryan Lopes was a real find.  He fits perfectly together with Adrian, Giorgio and Regina as highly trained professionals that go about their business the right way.  I like how Bryan doesn’t need to shout to get his point across.  Instead he is respectful on how he expresses himself and that comes across much more impactful.

Chanise, Terry and John on the set of Gruesome Threesome. Photo AVS Production Company

When I’m directing a movie, lots of things are running through my mind.  If things are just blurted out by crew members, it’s not only distracting but unnecessary.  I’m usually juggling the shot that came before, the shot that will follow combined with the actors performances, the look of the shot, lighting in the shot, camera movement (if any), focus, flow of the scene, if the scene comes across as real, good enough or needs to be redone.  If it does need to be redone, what’s wrong with it if it doesn’t work, etc.?

It shows that Adrian, Terry and Giorgio love working together

For these reasons I like crew that respect the process and each other by communicating their problems/concerns in a more subdued professional way and Bryan does that to a “T.”

PA Nicholas Girimonte and Director Terry Wickham

Production Assistant Nicholas Girimonte was incredibly helpful as our PA.  He not only operated the slate for most of the shoot but ran to pick up painters tape for covering the windows and later drove to pick up all important lunch from Chipotle.  Nick was another positive person to have onset and he certainly lent a hand at what needed to get done.

Location Manager/Still Photographer Mark Goldberg (sitting) sets up “The Downfall Johnny Garrett” on DVD for the cast & crew to view. Photo Terry Wickham

Last but certainly not least is Location Manager/Still Photographer Mark Goldberg.  Mark was kind enough to volunteer use of his new apartment for all the locations seen in Gruesome Threesome.

In this screengrab from Gruesome Threesome, Goldberg’s cozy LIC residence was turned into a house of horrors

His apartment worked beautifully, as it was central located and a super comfortable place to film.  I really appreciated Mark being flexible enough for us to move around his furniture and to allow us the best use of his space.

Chanise Renae chills out between takes on the Gruesome Threesome. Photo AVS Production Company

Mark is a professional photographer by trade and as you can see in his many photos that accompany this blog, his work speaks for itself.

Still Photographer Mark Goldberg captures “Sarah” (Chanise Renae) on the monitor during Gruesome Threesome filming. Photo AVS Production Company

I can’t thank Mark enough for all that he did towards making Gruesome Threesome.

Finally Producer David Melanson must be acknowledged.  David helped give the movie enough financial support to get the behind the scenes things needed for the movie and cast & crew.  I can’t thank David enough for consistently coming through and being a true force behind creative endeavors like Gruesome Threesome.

Casting GRUESOME THREESOME

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I’m not sure the exact reason the most of the actresses flaked out during the 2-day period I held auditions for Gruesome Threesome Monday & Tuesday (Dec 12 & 13th) this week, but the fellas (male actors) were a totally different story. Wednesday (Dec 14th) night 8 out 9 guys showed up on Skype (that doubled the total vs. women in one night) and were really killing it. I will be seeing more actors tonight and tomorrow, along with the potential “Mother” actresses. Then I’ll decide who will be cast in the roles over the weekend.