On Location: Memphis Review – Rattle Basket

It’s been a couple of days since I saw Rattle Basket, the new drama/comedy from Thomas L. Phillips that played at On Location: Memphis International Film festival, and I can’t stop thinking about it. Well, to be honest, I can’t stop thinking about one of the main characters, probably because I have a crush on him, fictional character that he is.

Stuart Clemons, played by the adorable Alex Walters, is that guy friend every girl tends to have in her life. The one that is probably perfect for you but you are so close to on so many levels that you remain friends. He is the one that because you can’t feel what you should for him; you are always fixing him up with everyone else. Stuart Clemons is that friend that will put up with your crap when no one else will but will also put you in your place when you need it. In short, he is the perfect guy.

(From l to r: Cerina ( Amanda MacDonald) and Tabitha Strickland (Gia Franzia), Stuart Clemons (Alex Walters) and Bridgett (Barbara Jacques), main cast of Rattle Basket/ Photo Courtesy of Rattle Basket.)

Friends of Clemons are Cerina (Amanda MacDonald) and Tabitha Strickland (Gia Franzia), sophomoric sisters that revolve their entire world around themselves. Clemons is pretty remarkable (did I mention I am crushing on him already?) and it makes you wonder why he puts up with their crap because no one else does. Yet, they finally push him to the breaking point after devastating a burgeoning relationship with his new interest Bridgett.

Meanwhile, Cerina and Tabitha must learn to handle their own sticky situations forcing them to realize the consequences of their actions and helping to transform them into slightly better people. Although much like real life, they don’t improve remarkably, just become a little remorseful over their past actions.

Rattle Basket is well made and has some quirky writing. The film constantly undercut all of my expectations, which is rare these days for any movie. Any formulaic expectations for a buddy film, a romantic comedy, a sibling drama, a story of relationships and coming of age, were eradicated by writer Jared Tweedie.

And this is why the movie worked so well for me, because the strong characterizations helped me to believe the story from the very beginning. The actors were refreshingly honest. Furthermore Phillips, the director, has a way of lingering on a shot just long enough to make it seem real. A perfect example is when Cerina has an awkward conversation with her professor in his car after she had seduced him to get a B+. Because Phillips stays in the scene and doesn’t cut, we are able to feel for both characters who seem stiff and uncomfortable dealing with this newfound intimacy.

As the story progresses, Cerina introduces Bridgett to Stuart. Bridgett, who meets Stuart by being locked into his bathroom with him as he is showering and she is peeing, (I mean, come on…that is just hysterical writing) ends up agreeing to a date on his rooftop. In one of the funniest and yet most tender scenes, of which there are plenty, is their awkward first date (if you don’t count the bathroom) on the rooftop. As romantic music plays, the camera pans in on a cardboard cutout of William Shatner. Bridgett later asks Stuart, “Is that TJ Hooker?”

In a lovely parallel, Cerina destroys their new connection on the same rooftop by doing something irreparable to her friendship with either of them. Oddly, up until this point, I had really connected with Cerina but her actions angered me so much that I actually shifted allegiance to Tabitha at this point in the film. It had taken me awhile to appreciate Tabitha as I found her to be somewhat uncomfortable in her own skin, primarily with the ex-cop/boyfriend that so violently accosts her. I had trouble connecting with her because she is so afraid to step up and fight and I was surprised when she didn’t immediately go to her sister to fight for her. Yet their reliance on Clemons for those sorts of things is the catalyst to help them mature when he stops helping.

Rattle Basket proves that it is possible to make a movie about immature screwed up characters and if made well, then you find a way to care about them. You are drawn in by good direction, good writing, good acting. Phillips is able to handle difficult characters but put them in a context of situations that anyone can relate. As much as I liked the writing, I did find myself occasionally wondering if some of the self examination was a bit forced onto the sisters at times though.

But besides the refreshing characterizations and storyline, the film quality is also quite remarkable for such a low budget independent film. I asked director Thomas L. Phillips to tell me a little more about the film’s process. The interview is below:

Melanie: I think the film is beautifully shot from the very first image of Cerina. Can you tell me a little bit more about your process in filming and what camera you worked with?

Thomas: Thanks. We have a great director of photography in Owen G. Simmons. He has actually shot everything I have ever directed and I would not trade him for the world. We shot the movie on the Canon XL-H1. We wanted a nice grain structure and a better depth of field, so we shot with 35 mm prime lenses using the PS techcnik adapter. We shot test footage with the standard lense and the 35 mm primes, and the difference was astounding. Although we would have loved to shoot film or true HD, I have no regrets what so ever with the Canon.

Melanie: As director and editor, it appears from the flow of the film that you really have quite the intuition of where the story needs to go. Do you always work as editor on the films you direct? Can you tell me a bit more about the process of editing the film? What decisions did you have to make that may have been difficult?

Thomas: I have edited everything that I have ever directed. It is a process that I truly love. It allows me to be the storyteller not once, but twice, on the same movie. Obviously a writer and a director have to be able to tell a story, but one of the most important storytellers on a film is its editor. Now this is not something that I necessarily want to continue to do, as having an editor who is not so closely attached to the film has its benefits. He or she would lend an open mind to the footage. They would have a new outlook on the movie, and more often than not, that is needed. Luckily for me, I am surrounded by friends and producers who will tell me like it is and let me know when something has to change or go.

The most difficult part of editing something that you have directed is cutting the stuff out that you love. As the director you know how long it took to get that beautiful dolly shot, you know how long it took to get the scene just right, you know how much everyone on set did just to get the lighting perfect, etc, etc, etc. You become so close to the footage that you don’t want to see any of it on the proverbial cutting room floor. But it ends up there in the end.

Melanie: You said one of your favorite parts in putting the film together was the soundtrack. Who are these bands? Where did you find them? I want the soundtrack. Tell me more!

Finding the perfect music for the movie is a great and tiresome process which I love. When you see a scene play out to the perfect song, it is a thing of beauty. It was like they were meant to be together. On the independent level, we don’t really have the funds to have songs written specifically for the movie, so we have to find the song that sounds like it was written for the movie.

However, music can make or break a film. On a lot of low budget independent movies they seem to just throw in whatever music they can get and it is very noticeable. With a little time and work, you can find the perfect song.

the bands we used were all local bands here in Los Angeles, who like everyone else, is trying to make it. Most of the music belongs to the band Check in the Dark and their frontman Michael Frieman.

There is also some great music from Shawn Pander and The Starters.

Melanie: And I notice that one of the songs, Rattle, was by Thomas L. Phillips! ??

Yeah, don’t read too much into this. I have no musical talent. I needed a nice acoustic piece for a certain scene and just could not seem to locate the right track. So, well, I put something together on my Mac. It is nothing really. I think it is like a thirty second piece, but it did what it needed to do.

Melanie: Speaking of songs, during the scene where the ex-cop trashes his apartment, you silenced the chaos and laid a soundtrack over it. Tell me more about the decision on that. I really liked it because it undercut all the classic angry guy screaming scenes.

Thomas: Yes, this was a decision I had made early on. I knew I did not want to hear the chaos, the screaming and the trashing of the apartment. I felt it would be too melodramatic and over the top. But I not only wanted the image to be seen but to be heard as well. Sometimes the lack of sound can be more powerful than the loudest of sounds. I was originally planning on having it completely silent in that scene but after trying that it just felt forced, you know, like I was trying to be mister artsy fartsy. So I was listening to the L.A. band Eating Alice, and there was this opening part to one of their songs that just went perfectly with the scene. It was one of those things that I just stumbled upon.

Melanie: On IMDB, the trivia for your film lists that “On the very first day of shooting, one of the lead actresses dropped out of the film, leading to a quick re-cast and requiring the first week’s shooting schedule to be completely rearranged.” Who was originally cast and for what role?

Thomas: Ah yes, the infamous actress quitting on the first day of shooting. This was probably the worst day I have ever had on any set. We were shooting on a tight schedule with a tight budget which made the entire situation that much more intense. The actress was due to start shooting on the second day and there was no way that I could re-cast the role in 24 hours. So that night I had to reschedule the entire first week of the shooting schedule which was difficult on everyone.

The actress who quit was meant to play Bridgett, the love interest for Stuart, so this was no small role, but in steps Barbara Jacques, who did an amazing job with the part. In fact she brought a whole new vibe and sincerity to the role and made it into something that I had not thought about. In the end her character choices were better for the movie and made it that much stronger.

I will not name the actress who quit as I do not want to sink to that level. Sorry I have no dirt for anyone reading!

Melanie: Tell me more about the shooting schedule.

Thomas: We had a fifteen day shooting schedule. We shot six on, one off, six on, one off, three on.

Melanie: Who did the casting for the film?

Thomas: Well, we do our own casting. We hold our own auditions. I am at every audition and sit through every reading. I have to have a hands on approach, there is no way I could not be involved. I believe it was Oscar Wilde who said, “directing is 98% casting,” and he nailed that quote right on the head. I could not agree more. I have to believe in my actors and they have to believe in me.

Melanie: Amanda MacDonald is the perfect Cerina.

Thomas: Everyone in the film did an amazing job. Gia Natale and Amanda MacDonald were amazing as sisters. They worked and hung out together a lot before shooting as to find that familiarity that sisters have. Amanda has gotten a lot of praise for her role of Cerina, and I think it is well deserved. She is very talented and is working a lot out here in Hollywood. I am sure you will be seeing a lot more of her.

Melanie: Not to mention, I absolutely love Andrew Lauer so it was good to see him again. I loved his role of Charlie in Caroline in the City.

Thomas: Andy Lauer is awesome to work with. He is a character to say the least, on and off camera. I cast him in a short film that I did years ago and we have remained friends and continue to work together. He is always willing to work and help out indie filmmakers.

Melanie: How do you feel the film played at On Location: Memphis Intl film festival?

Thomas: The film played well at the festival. We had a decent sized audience which seemed to enjoy the film. We did have the dreaded 3:30 p.m. time slot on a Friday afternoon, which can lead to a not so big audience. But you roll with the punches and hope for the best. Those that attended enjoyed and had some great questions during the Q&A.

So what is next?

We have a couple things we are considering doing next. I want to shoot a real intimate feature film this summer, something with 2-3 characters with minimal locations. Something very real and gritty. I am in the initial stages of the screenplay but this is something that would be collaborative with myself and the actors.

We also have plans to come back to Memphis and shoot a documentary. While attending the film festival we found a great story and a great character, something we feel audiences would love and something that we feel needs to be told.

Here is the newest music video from Check in the Dark with scenes from the film: