Things I’ve Learned as a Moviemaker

by Ilya Chaiken | Published February 3, 2007

Margarita Happy Hour

Margarita Happy Hour

Film School

I didn't realize until years later that my college experience was not like others. SUNY Purchase at least in the era that I attended was a haven for weirdo artists and misfits. It was originally conceived as a state university for the arts, so freaks were the normal people, no frat boys or rich brats. It was a very healthy place to be in that regard. And there's a pretty vast network of Purchase mafia that continue to work together, live together, drink together...

The Writing Process

Visualizing scenes and hearing words is easy. Sitting down in a chair and trying to map it all out on a piece of paper, or worse, a computer screen, is pure torture. Also, I might point out, writing during pregnancy is next to impossible. No booze, no coffee, no cigarettes... no script.

The Role of Producers

Susan Leber and Michael Ellenbogen became my surrogate parents during the course of making the movie. I was the unruly kid. In fact, they have to manage the entire dysfunctional extended Margarita Happy Hour family the cast and crew who've all been very much stuck in this experience with us to this day. And each parent fulfills different needs for each child. Their roles are countless and continuous.

Directing Actors

Casting, casting, casting. That's most of the battle. If you've cast correctly, much of the time you can let the actors go ahead and do their work. The actors and I spent a lot of time just engaged in conversation in the months prior to the shoot. Then when it was time to roll, we were able to function without having to use too many words.

Shooting on Location

It's priceless to have the authentic ambience and look of a real dive bar, for example, but then use good judgment on whether or not you can tell the local regulars to Shut Up! (In Brooklyn, usually you can't.)

First-Time Feature Moviemaking

Making a feature film will not solve your life.

The Editing Process

It's the most gratifying part. Taking all those weeks, months, years of carnage and destruction and chaos created throughout pre-production/production and sewing it back together. Anything is solvable.

Music in Films

Too much background music is a fake, convenient way to make a scene work. I tried to use songs when necessary, then I worked with Max Lichtenstein, who did the score, to create urban-sounding "music," which were just like subtle accents, enhancements of the ambience, reminiscent of sirens and garbage truck brakes, etc.

Collaboration

I'm not a natural-born collaborator. I'm still learning that when I open up to what others have to offer, it can often trigger a whole new level of inspiration. It's sort of a relief.

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