First Time Caller: Reflections
Tomorrow, Charthouse will be hosting a watch party for our short film, "First Time Caller", a coming-of-age thriller about a boy who discovers an old ham radio and soon learns that a radio program hosting a contest may be more dangerous than lucrative. "First Time Caller" is a big step forward for Charthouse, as it shows that although we love making commercials and music videos, we ultimately want to create original films and we're not afraid to take bet on ourselves. While there's still a road ahead to getting the feature version made, we're incredibly proud of this short and can't wait to share it and see how it grows. In this blog, the four owners of Charthouse wanted to reflect on the journey that led us to creating "First Time Caller".
From Nate Allison, Director of First Time Caller:
“Directing is like being a general. You stand on top of a hill and you observe everything, and you try to make the best decisions you can." - Quentin Tarantino
When I was asked to reflect on my time directing First Time Caller, there were so many amazing experiences, (both good and hard) that I found myself struggling to know where to begin. Then I remembered this quote by Mr. Tarantino, and realized how much I identify with what he’s saying.
To start, let’s talk about the idea of being a “general” on set. I completely agree that the Director is certainly responsible for creating, implementing and preserving a vision for the story in the way a military general strategizes how to use each soldier, equipment and terrain to his advantage. But on the other hand, the “general” Director, who in my imagination I see as a battle hardened individual barking orders to the subservient soldiers down below, is not something that I embody. Perhaps to my detriment, I am quieter, more collaborative and VERY aware of how reliant I am on those in our crew who have specialties that I depend on to bring the overall vision to life. I think it's fine to be the “general” Director, but in all my personality tests I’ve always come out as “the thinker,” the quiet observer who is more concerned with the “why” behind the thing than the thing itself. I understand that about myself and tend to direct through that lens. Does this mean I can’t step in and forcibly shift the tide when needed? Absolutely I can, but this will look differently for me than for others and that’s ok.
All of this means that I definitely identify with the “observer” portion of this quote. In First Time Caller, and any other project, the Director is an observer, not only of what is happening in front of him, but also keeping in view the “why” behind the action, the scene, the moment. He is the one with the widest view, and largest understanding of how one moment connects and impacts another. FTC has a somewhat pivotal scene by a pool, and it is the first time the main characters Jansen and Courtney have met since their life altering car accident. This meeting comes with a history that these two characters only allude to, and that the audience doesn’t see, but that they have to inhabit. To put it succinctly, Jansen had received a swimming scholarship on his path to become a professional swimmer and his entire identity was tied to pursuing that goal. Courtney is his best friend and confidant, but is now burdened with being partially responsible for him losing his scholarship and removing that identity from him. He is conflicted because she is the one that he would always come to in this kind of situation, but he is also angry with her, and himself, because he gave into her impulsiveness. There’s more, but I won’t belabor the point. It’s my job to see this history and convey it to the actors so they can also see it and perform a crucial part of the overall vision. This doesn’t just happen on set, it comes with months of conversations and rehearsals, both over zoom and in person, to get the mindset, each facial expression and vocal inflections right. It’s the “why” behind the characters and the scene.
In addition, the quote also rings true that the Director has his hand in each aspect of the production and you have to just “make the best decisions you can”. This includes all phases of the production from pre to post. Sometimes you end up making decisions that fall flat, and you have to make an even tougher call to admit that it was a mistake and course-correct. As an example, there was one scene in FTC that felt like a good fit for the story we wanted to tell, and we thought that it would add some needed levity to the proceedings. This was a fun montage, in which Jansen (now grounded) is attempting to push the limits of his punishment and Mom shows up time and again to push back. It was shot, and well executed by all, but in the editing room we realized that it just didn’t match the flow of the rest of the story. It did more to interrupt than to further, and so we had to scrap it. This was the right decision, but it is also something that I now regret having “wasted” the time and resources to film. Could I have squeezed a little more from another scene with that added time? I ask these questions, because failures like these have the power to fuel future success.
Overall, my experience on FTC is one that I will cherish. The moments of collective triumph and the people I was privileged to meet and create with are forever imprinted on me and I am deeply grateful. There are so many people I want to talk about (Mico you know) but I have to say I couldn’t have done any of it without leaning heavily on my brothers in CHARTHOUSE FILMS, Andrew, Tommy and Jon, who were in the trenches, pushing this production forward through skill, creativity, sweat and sheer will. This vision was created together and I’m thankful they entrusted me to see it brought to life.
From Tommy Anderson, Executive Producer of First Time Caller:
Working as a producer on a short film is no easy task, but the experience was incredibly rewarding. As the producer on "First Time Caller," I was able to witness firsthand the creativity, teamwork, and passion that went into bringing a unique vision to life on the big screen. One of the most important aspects of being a producer is the ability to be strategic and creative, which are two characteristics that don't always go hand in hand. Producing can be as simple as running weekly payroll but also can be as complex as navigating on-set personalities, unwanted visitors, or demanding work environments.
From helping guide the initial concept for the film to the page, to assisting in developing a budget, to working with the director and cinematographer to discuss shot setups and crewing, creativity is essential at every step of the process. As a producer, I was constantly challenging myself to think outside the box and find new ways to bring our vision to life within very specific parameters. For example, we knew we wanted a visually striking, haunting location for our set-piece third act, but the first five locations we found and fell in love with were either too expensive, condemned buildings by the local agencies, or too far. After months of searching, we finally located the iconic abandoned trains that brought so much excitement to the final few scenes.
But creativity alone is not enough to make a successful film; working as a team is just as important. I was fortunate to have a group of talented and dedicated individuals on our team, including my friends and business partners Nate, Jon, and Andrew. We all brought different skills and perspectives to the table, and by working together, we were able to overcome challenges and ultimately create the best piece of narrative film that all of us have our collective and individual fingerprint on in some way.
Overall, my experience as a producer on "First Time Caller" was a valuable and rewarding one. It taught me the importance of creativity, teamwork, and perseverance, and it gave me a newfound appreciation for the art of filmmaking. I'm grateful for the opportunity to have worked with such a talented and dedicated team, and I can't wait to see what we'll create together next
From Jonathan Austin, Screenwriter, Editor, and Production Designer of First Time Caller:
Obviously there’s a lot I could talk about. I’ve been editing since I was eighteen and I learned more with editing FTC than I have in years and getting to build the world as the production designer was a great gift that grew me into a better filmmaker. But while I’m here and I have your attention I want to talk about the writing, the story, and what inspired it. I’ll start with that by saying I have no idea where the idea originally came from. I remember going over to my parents' house and hearing their radio playing. Suddenly, I had an image in my head of a man with a broken leg hearing a voice on the radio and asking, "Is that you, Lou?" I don't know why or how that thought came to me, but it stuck. I am a firm believer that if an idea is memorable and sticks with you, it's probably a solid idea.
When I pitched the idea and concept to my partners at Charthouse, we all felt that it could be something big. From there, I was tasked with writing the script and had to ask myself what kind of movie I wanted this to be, what I wanted to write, and what I wanted to say. Originally, I wanted our villain to be an ethereal being that haunted radio listeners, but that felt too much like a 2004 campy horror movie you'd find in the dollar bin at Wal-Mart, and to quote our lead character during a pivotal scene ,“This is not a horror movie”. I also thought about making the main character a husband who had broken his leg on a skiing trip and picked up a ham radio hobby while he was recovering. He became so obsessed with the voice on the radio that he ignored his family, and the movie would be about the dangers of ignoring the things that matter. But that didn't seem to have enough stakes, and a movie about a guy being a bad husband and father wasn't something I wanted to make or spend time developing.
I also learned that I cannot approach a story with a theme in mind. I can't just sit down and say, "I'm going to make a movie about redemption!" or "I'm going to make a movie about the dangers of technology." In the first draft, all I want to do is attempt to tell a good story. By the time the story and characters have spoken to me, that's when I know the theme. That's how Stephen King and Paul Thomas Anderson do it, and they're leagues better writers than I am, so I'm in good company. But still, that didn't help me with the development of this story. I had no theme, a villain I didn't know, and an arc I didn't love.
Around that time, I was preparing to move from Virginia to California and feeling nostalgic. I drove around and thought about all the great times I had there with friends. Then it dawned on me: I knew what type of movie I wanted to write. Growing up, my friends and I always went to the beach, and after a long day of fun in the sun, we would end up at one of my friend's houses to watch a movie. That's the kind of movie I wanted "First Time Caller" to be. I wanted it to be the movie that friends watched after a long day of hanging out. We always ended up watching thrillers, and my dad and I would always watch Steven Spielberg films. That's when I knew this needed to be a coming-of-age thriller about two friends investigating a serial killer. That's a world I wanted to live in for a while. To the point where I named every character after a childhood friend (except for Mr. Bryant and Lou. I have no idea where Mr. Bryant came from, and since Lou was the original name I pictured in my head so I tacked on one of my close friend's last names to it) In a weird way, it felt like I was hanging out with my friends as I was writing.
I started the outlining in January 2022 and I finished and polished up the first draft by the beggining of March 2022. It’s interesting now to look back at that first draft, it’s so different from where the story is now. I’m currently on draft 7 of the feature and the proof of concept short film that we are having a watch party for was draft seven of the short film. So all in all this story has evolved and changed (for the better) over fourteen drafts. Even though the idea of pitching it has changed from “ET meets Rear Window” to more of a “Zodiac meets Ferris Buellers Day Off” (The Stephen Spielberg vibes are still heavy and will always be heavy in anything I write), even though I found my theme (it’s “If you fall down and have the courage to get back up, can you be a better version of yourself?”just in case you were curious), even though I slaughtered some darlings, and even changed the motive and name of our villain, the thing that still remains is that nostalgia. It’s still the movie I want to watch with my friends after a beach day, after all it’s a movie I made with my friends. I hope our audience will not only gravitate towards, but will want to enjoy with their loved ones as well.
From Andrew Lane, Director Of Photography of First Time Caller:
When starting out as a cinematographer, a primary concern is whether a shot is achievable within the given budget and limitations such as equipment, expertise, and capacity. This remains a critical question throughout one's career, but as budgets grow and equipment and crew become more accessible and experienced, it becomes a balancing act between feasibility and necessity. It's important to consider whether camera techniques, equipment, and visual effects contribute to the story, characters' journeys, and visual language of the film. However, some directors and cinematographers with larger budgets may prioritize the "can we" over the "should we" by focusing on exploring the complexity of the shot or novelty of technology, rather than emphasizing the characters and story.
For a larger-scale project like "First Time Caller," there were still many questions centered around feasibility, but there was also the opportunity to bring on a larger camera and lighting crew. When building the best team, it's crucial to consider whether they are the best suited for the project rather than simply the best available. A crew with a positive attitude and hardiness is particularly important for smaller budget narratives, where long days, questionable conditions, and challenging pace of setups can be the norm. It's vital to have a crew that believes in the project and each other, and who can work together towards a common goal.
Choosing the right crew was a critical decision for "First Time Caller." While there were many talented options available, it was essential to choose a crew with that additional quality of camaraderie and belief in the project. Don't get me wrong our First Time Caller crew were very talented, it just wasn't their only quality. As a filmmaker, it's important to never lose sight of the goal of, as Jon would say "I just want to make movies with my friends," and not let the "can we" overshadow the importance of teamwork, camaraderie, and passion for the project. The off-screen atmosphere on set can greatly impact what appears on screen, and this was particularly true for "First Time Caller."
First Time Caller was a labor of love that grew us as filmmakers and friends. We also could not have done it without the hardworking cast and crew who helped make this short be the best that it could be. There are still some open reservations if you would like to join the watch party. Just simply click the link. Until then, hounds happy hunting and see you when we turn this short into a feature!
For The Love Of Movies,
The Charthouse Team
