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“Hello, friends, family, supporters, and strangers, and
welcome to the making of booklet for our short film, My
Silence, My Grave. The production of this film was one of the
most amazing weeks of my life, and I say that with absolutely
no hyperbole. We’re excited to give you a peek behind the
scenes into our process making this film. I hope that we can
transport you onto our set and give you a sliver of the fun,
creativity, and comradery that the cast and crew experienced
throughout this filmmaking process. Thanks for dropping by,
we hope you enjoy your time with us!”
—Donté Larry,
Writer & Director
Foreword Table of Contents
2
Foreword
Table of Contents
Introduct io n
Who’s Who on Set?
Lights, Camera, Action!
a snapshot of each day on set
Inside Scoop
fun facts, trivia, and anecdotes
The Writing Process
• Script
• Pitch Deck
• Director’s Notes
Finding the Look
• Mood Boards
• Shot List
• Posters
Stay in Touch!
2
2
3
4
15
27
29
29
40
46
51
51
58
61
62
Donté Larry and Mapi Bartolomé were student filmmakers at New York Film
Academy, studying Filmmaking and Cinematography, respectively. During
their separate courses, they did not know each other and were honing their
crafts independently.
As they began planning for their final projects, they met each other through
mutual friends and instructor recommendations to talk about their ideas,
artistic styles, and narrative goals. After a wonderful meeting, they decided
to collaborate on their films with Donté as the Writer & Director and Mapi as
the Director of Photography. My Silence, My Grave served as the final thesis
project for both of their respective programs.
Their shared vision and enthusiasm ensured a strong sense of collaboration
and inclusion among the team, and together they led the cast and crew
through a chaotic, enjoyable, and truly unforgettable production.
“My Silence, My Grave: The Making Of” invites you to join the team as
they work together to write, develop, and shoot My Silence, My Grave.
Introduction Introduction
3
Donté Larry
on the set of In the Belly
Mapi Bartolomé
on the set of FLUX
Plot Summary:
In a claustrophobic apartment building, an acquiescent apartment manager
is tasked with cleaning out a unit following a series of gruesome rituals. A
cursed encounter amid the gore finds the protagonist on the run from a
cannibalistic killer, all while her grasp on reality disintegrates.
On the surface, My Silence, My Grave is simple horror story about a woman
trapped between losing her humanity and her life. But under the surface,
where most of society’s pervasive ills lie, it’s a story about one woman’s fight
against a sordid system that pits marginalized peoples against each other.
Through physical horror and psychological unease, the protagonist realizes
that her own inaction has only served to hurt other minorities and to preserve
the power of their oppressors.
below
Who’s Who on Set? Who’s Who on Set?
Who
4
Director
Who’s Who on Set? Who’s Who on Set?
“The Director provides the guiding creative vision
for a production. They aren’t necessarily the
ultimate authority on a given project, but they are
responsible for shepherding it creatively through
the entire creative process, meaning they exert
great influence over all other film crew positions.”
—Loring Weisenberger, Wrapbook
Donté Larry was born in Washington state to a black father and
white mother and was raised in rural Tennessee. He spent his
undergraduate years at the University of Washington, where he
majored in Sociology with a focus in gender and race theory, and
their intersection with crime and policing. His mixed-race heritage
and formal education have given him a unique lens through which
to experience such vastly different communities and has inspired
him to create films that will speak to people who may not see
themselves in their surroundings.
Preparing the table for the big stunt
Donté Larry
Ritual Sacrifice Scene
Donté Larry
5
Who’s Who on Set? Who’s Who on Set?
Director of
Photography
“At her or his core, the Director of Photography is
responsible for recording the images of a film in
accordance with a Director’s vision. That means
that they’re in charge of creating light, bending
light, and capturing light in a way that achieves an
agreed upon look. Technically, the Director of
Photography is the head of the camera
department, but they also guide the creative
decisions made by grip and electric departments.”
—Loring Weisenberger, Wrapbook
Mapi Bartolomé is a Cinematographer and multidisciplinary artist
based in Brooklyn. Originally from Guatemala, and having a
background in Advertising and Graphic Design, Mapi is no
stranger to the uneven playing field set for minorities in creative
industries. Mapi has a passion for exploring new visual
techniques, and creating appealing imagery that captivates,
engages, and represents all audiences. Mapi is always seeking to
collaborate with others to create films and crafts that are both
beautiful and impactful.
Mapi Bartolomé
Planning the shot
from left to right:
Florian Gunzenhauser
Aishwarya Narayanan
Mapi Bartolomé
Alexandra Spradling
Thomas Marchese
Gregory Morelo
6
Producers
Who’s Who on Set? Who’s Who on Set?
“The Producer is one of the most fundamental of all film
set roles. It’s one of many film crew job titles that can carry
any part of a wide range of responsibilities, but, primarily,
Producers are responsible for securing funding, setting a
project into motion, and providing high level organizational
guidelines. In other words, without a solid Producer—or
team of Producers—there would be no movie.”
—Loring Weisenberger, Wrapbook
Sandesh Agrawal was born in Nagpur, India into a family
of 16 people. He spent his school years away from home
at diverse boarding schools Good Shepherd International
School and The Aga Khan Academy Hyderabad. He
decided to pursue a degree in film at San Francisco State
University until finally finding his comfort zone at New
York Film Academy. Having spent most of his years away
from home and in diverse environments, Sandesh has
accumulated stories and experiences that now allow him
to have a unique perspective that he can call his own.
Sandesh uses his extensive background to tell stories
using that prerogative, stories that need to be told, stories
that push people out of their comfort zone and encourage
them to inspect their own perspective on mortality and
the comforts of life.
Sandesh Agrawal
Ready to assist wherever he’s needed
Sandesh Agrawal
Grace Ward is a Director, Producer, and
Production Coordinator who graduated from New
York Film Academy. After high school, she started
working in media and marketing in Papua New
Guinea, Australia, and the Philippines for four
years. She now works as a freelance producer
under her production company, Dark Sun
Pictures, and part-time in development for Chick
Entertainment in NYC. She has directed short
documentaries that have aired on national
television and is now in pre-production for her
first documentary feature.
Grace Ward
Ensuring the cast & crew is well fed
Grace Ward
7
Who’s Who on Set? Who’s Who on Set?
1st
Assistant
Director
“The job of 1st Assistant Director both is and isn’t exactly what it
sounds like. On one hand, the 1st AD’s mandate is simply to assist the
director in achieving their vision. On the other hand, their day-to-day
responsibilities stretch far beyond the creative concerns of the
director and are crucial to keeping any production on its feet. The 1st
AD is responsible for crafting the shooting schedule, running the set,
making sure that all other film crew positions are functioning on time,
and dealing with the thousands of daily problems that arise on even
the smoothest of productions. Their minds are both highly active in
the present yet always calculating circumstances in the future
ahead.”
—Loring Weisenberger, Wrapbook
Florian Gunzenhauser was born in Basel, Switzerland. After getting a
bachelor’s degree in journalism at the University of Winterthur, he decided
to take his first steps at the radio station Basilisk in his hometown Basel.
After a short stint at the local newspaper, he took a job at the biggest private
TV station in Switzerland, 3plus. For five years, Florian was responsible for
the casting and directing of shows like The Bachelor and The Voice of
Switzerland. Shortly before turning 30, Florian, now an established TV
director, decided to try something else and see what this exciting life has to
offer. He quit his job to move to New York City and study filmmaking at the
New York Film Academy. He now works as a freelance 1st Assistant
Director, while continuing to write and direct his own personal projects.
Florian Gunzenhauser
Preparing for the next day’s shoot
Mapi Bartolomé and Florian Gunzenhauser
8
Who’s Who on Set? Who’s Who on Set?
Alexia Haick is the founder of "The 35' Club" community founded
last year, with the purpose of creating a plural community
interconnected through the production of photographic material
through the analogic medium. In the last years, she has worked as
a photographer, director of photography and assistant director for
numerous projects, including many such as Vogue Italia and Iconic
Magazine. She studied filmmaking at the Faculty Armando Álvares
Penteado, Academy Internacional of Cinema and Arts and New
York Film Academy. She has now received the Silas H. Rhodes
Scholarship to deepen her photography work at the School of
Visual Arts in New York City.
Alexia with her actors
from left to right:
Andreas Pliatsikas
GeronimoAmos
Alexia Haick
Cindy Xu (bottom)
Alexia Haick
Casting
Director
“The Casting Director is in charge of finding the right
performers for a given project. For obvious reasons, the
casting director’s job is often finished long before physical
production begins, and, in that sense, they operate
entirely outside of the day-to-day film crew hierarchy.”
—Loring Weisenberger, Wrapbook
Editor’s note: Although you won’t usually find a Casting Director on
set, Alexia Haick performed far above and beyond her responsibilities
in this role, assisting wherever she was needed. It would be criminal
not to include such an amazing person in this section.
9
Who’s Who on Set? Who’s Who on Set?
Location scout
Christina Shrewsbury
Production
Designer
“The Production Designer is the head of the art department.
They work with the director and director of photography to
craft an overall look for a film, achieving it with the help of a
wide variety of movie set jobs found deeper within their
department. Given that a large portion of their time is
occupied by high-level decision-making activities, the most
important skills for a professional production designer are
the abilities to communicate and delegate.”
—Loring Weisenberger, Wrapbook
Christina Shrewsbury is from Point Pleasant, NJ. However, she also
grew up in Washington Heights and the Riverdale section of the
Bronx. Her Mother is from the Dominican Republic and her Father
is of English, Irish, and German descent. She studied English and
Theater while pursuing a career in the arts as an Actress, Burlesque
Performer, and Production Designer. The diversity she has
experienced in her life has inspired her artistry to provide the
audience with insight into what different cultures, religions,
musical influences, and time periods can offer, and how we can all
learn, experience, appreciate, and partake in these differences.
Building the grave
Christina Shrewsbury
10
Who’s Who on Set? Who’s Who on Set?
Brittney Roberts, or as her friends know her, Brit, was born and raised in
Charleston, South Carolina. In 2006, she moved to New York City, where she
studied advanced character development, fundamental techniques in
beauty and avant-garde make-up, prosthetic application and special effects
make-up. Over the next seven years, Brit lived in Los Angeles, CA where she
pursued her passion for make-up by working in film, television, and fashion.
She was fortunate to have studied under award winning special fx artist and
Academy Award winner, Michael Westmore, whose accomplishments
include Star Trek and Rocky. Back in NYC, Brit continues to apply her make-
up and special fx skills within film, television, fashion, runway and bridal.
Preparing the rat gag
Brittney Roberts and Florian Gunzenhauser
The Witch’s big attack
Brittney Roberts
Key Makeup &
Special FX Artist
“The Key Make-up Artist is in charge of setting the talent’s look for a
given scene. They work closely with not only the Director but also the
Production Designer, Director of Photography, and Wardrobe
Designer to craft a cohesive look that contributes to the film’s overall
aesthetic. The Special Effects Make-up Artist specializes in achieving
looks that go well-beyond the requirements of standard make-up
and hair styling techniques. Whether it’s silicone-molded facial
prosthetics or hidden squibs, the work of the Special FX Artist is
quietly behind many of your favorite moments of movie magic.”
—Loring Weisenberger, Wrapbook
11
Who’s Who on Set? Who’s Who on Set?
Costume
Designer
“The Costume Designer is the head of the wardrobe department. In
collaboration with the Director, they craft the creative drive behind all
clothing that the audience sees on screen. Depending on the size and
requirements of the production, the Costume Designer may preside
over a large number of film crew positions within their department,
granting them creative access to a wide variety of external expertise
that reinforce their own professional skills in the textile arts.”
—Loring Weisenberger, Wrapbook
Sannette Gaia grew up in the valley of Oregon. At 16, she began to
pursue film and photography seriously, working on commercial
photoshoots and short films throughout high school. She recently
graduated from the New York Film Academy and is now heavily
involved on films and music videos in roles such as Directing,
Producing, and the Art Department. She has a passion for
combining multiple art forms and utilizing hardships in each
individual story to create aesthetically enticing frames.
SannetteGaia
Preparing The Witch to attack
Adra Mayer, Sannette Gaia
Brittney Roberts (in mirror)
12
Who’s Who on Set? Who’s Who on Set?
Adrian P. Reyes was born and raised in Madrid, Spain. He graduated
Universidad Rey Juan Carlos in audio and visual communications and
started a career in TV as a camera operator at the young age of 21. Adrian
has collaborated on TV shows such as Master Chef, The X Factor, The Voice
Spain and documentaries like Mujeres al Poder and Retratos con Alma. He
then spent a few years in New York City where he studied cinematography at
the New York Film Academy and worked freelance. Adrian now works full
time as a freelance cinematographer.
The man of the hour
top row: Gregory Morelo, Adrian Reyes, Mapi Bartolomé, Florian Gunzenhauser, and Donté Larry
bottom row: Andreas Pliatsikasand NoWa Clark
Measuringthe light
Adrian Reyes
“The Gaffer is a production’s chief lighting
technician and head of the electric
department. They plan and coordinate the
placement and powering of lights to achieve
the level of illumination desired by the director
of photography. The best Gaffers are also
excellent collaborators, crafting technical
solutions to solve creative challenges.”
—Loring Weisenberger, Wrapbook
Gaffer
13
Who’s Who on Set? Who’s Who on Set?
Sound Mixer
“The Production Sound Mixer is in charge of recording all relevant
sound on the shooting day. That includes everything from principal
dialogue to room tone to wild lines to limited sound effects. On set,
the role of the Production Sound Mixer is quite different than that of a
sound mixer in post. The Production Sound Mixer is concerned with
gathering high-quality raw audio materials that will only later be
layered into a film or television show’s final mix.”
—Loring Weisenberger, Wrapbook
Born and raised in the Bronx, Gregory Morelo always grew up with an
interest in music and audio since the age of 13 when he was gifted
an electric guitar. Gregory's interest in film started when he was
accepted to a high school focused in introducing cinematography to
urban youth, The Cinema School. In college, he continued to pursue
music, earning his Bachelor's Degree in Music from Lehman College
in 2020 and was also employed on campus as an audio technician
in the Lovinger Theatre. After the pandemic, he soon discovered
how to combine his two passions and does freelance work as a film
composer and as a sound mixer.
Gregory Morelo
Must get every gruesome sound
Gregory Morelo
14
Lights, Camera, Action! Lights, Camera, Action!
15
Lights, Camera, Action! Lights, Camera, Action!
16
Lights, Camera, Action! Lights, Camera, Action!
17
Lights, Camera, Action! Lights, Camera, Action!
18
Lights, Camera, Action! Lights, Camera, Action!
19
Lights, Camera, Action! Lights, Camera, Action!
20
Lights, Camera, Action! Lights, Camera, Action!
21
Lights, Camera, Action! Lights, Camera, Action!
22
Lights, Camera, Action! Lights, Camera, Action!
23
Lights, Camera, Action! Lights, Camera, Action!
24
Lights, Camera, Action! Lights, Camera, Action!
25
Lights, Camera, Action! Lights, Camera, Action!
26
“I Felt a Funeral in my Brain” by Boris Groh
Inside Scoop Inside Scoop
27
Inside Scoop Inside Scoop
28
The Writing Process Script
Fundraisingpromotional image
29
“Like the foundation that creates the groundwork for a house, a movie
script is the foundation upon which a movie is built. A movie script is a
written document that details all of the narrative and visual elements for
a feature-length or short movie. This document includes very specific
formatting, namely action paragraphs, character dialogue, and in some
cases, visual and sound cues. Movie scripts are used as a roadmap by
the director, producers, crew, and cast throughout the production of a
movie to keep them all unified under a singular creative vision.”
—Andrew Stamm, Celtx
Script Script
30
Script Script
31
Script Script
32
Script Script
33
Script Script
34
Script Script
35
Script Script
36
Script Script
37
Script Script
38
Developing the shootingschedule
Donté Larry, Mapi Bartolomé, and Florian Gunzenhauser
Making the website
Donté Larry
Script Script
39
“The term ‘pitch deck’ emerged from the startup culture of Silicon Valley
as the premier mode of presentation that entrepreneurs used to pitch
potential investors. Hollywood has followed suit with screenwriters
using the format to pitch spec scripts and filmmakers using them to
apply for grants or pitch their projects to potential investors and
distributors. It has become an essential agent to complement a
screenplay, further a film’s creative development, and communicate
ideas, concepts, and imagery to potential collaborators.”
—Sapna Gandhi, We Make Movies
Pitch Deck Pitch Deck
Simbal Karma in In the Belly
(movie still)
40
Pitch Deck Pitch Deck
41
Pitch Deck Pitch Deck
42
Pitch Deck Pitch Deck
43
Pitch Deck Pitch Deck
44
Pitch Deck Pitch Deck
45
Director’s Notes Director’s Notes
46
Director’s Notes Director’s Notes
47
Director’s Notes Director’s Notes
48
Director’s Notes Director’s Notes
49
Director’s Notes Director’s Notes
50
Finding the Look Mood Boards
On the set of FLUX
Mapi Bartolomé
My Silence, My Grave location scout
Mapi Bartolomé
51
“A film mood board conveys the feel and look of a project or specific
scene. You can use the mood board to illustrate how all elements would
fit together to quickly get the aesthetic. Mood boards show you what you
can expect your project to look like...Every filmmaker has a particular
style, from the cinematography, production design, wardrobe, and set,
their goal is to ensure their unique vision is delivered, and mood boards
can help with that perfectly.”
—Risha Kapoor, Paus
Mood Boards Mood Boards
52
Mood Boards Mood Boards
53
Mood Boards Mood Boards
54
Mood Boards Mood Boards
55
Mood Boards Mood Boards
56
Mood Boards Mood Boards
57
Shot List Shot List
Theatre Scene reference photos& storyboard art
by Mapi Bartolomé
58
“A shot list is a document that maps out everything that will happen in a scene of a film,
or video, by describing each shot within that film or video. It serves as a kind of checklist,
providing the project with a sense of direction and preparedness for the film crew. It is
typically made in collaboration with the director, cinematographer, and even first
assistant director. Shot lists are especially critical in managing and preparing for film
scenes. Making a movie demands knowledge of shot type, camera movement, lighting,
actor staging, and much more. Putting this information down in a shot list helps the
filmmakers remember what it is they wanted, and how to execute. With so many moving
parts, having a concrete document stating which shots demand what equipment, and
how long shot setups will take, determine so much of the schedule and budget.”
—Alyssa Maio, Studio Binder
Shot List Shot List
59
Shot List Shot List
60
Posters Posters
61
Stay in Touch Stay in Touch
62
Thanks for joining up on this trip, we hope you
enjoyed your time with us.
The My Silence, My Grave adventure is far from
over! Please check out the film’s website for more
information and don’t forget to follow our
Instagram page for more updates and content.
Thanks again and we’ll see you for the next one!
Official Website:
https://www.dontelarry.com/my-silence-my-grave
Instagram:
https://www.instagram.com/silenceandgrave/
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"My Silence, My Grave: The Making Of" Booklet

  • 1.
  • 2. “Hello, friends, family, supporters, and strangers, and welcome to the making of booklet for our short film, My Silence, My Grave. The production of this film was one of the most amazing weeks of my life, and I say that with absolutely no hyperbole. We’re excited to give you a peek behind the scenes into our process making this film. I hope that we can transport you onto our set and give you a sliver of the fun, creativity, and comradery that the cast and crew experienced throughout this filmmaking process. Thanks for dropping by, we hope you enjoy your time with us!” —Donté Larry, Writer & Director Foreword Table of Contents 2 Foreword Table of Contents Introduct io n Who’s Who on Set? Lights, Camera, Action! a snapshot of each day on set Inside Scoop fun facts, trivia, and anecdotes The Writing Process • Script • Pitch Deck • Director’s Notes Finding the Look • Mood Boards • Shot List • Posters Stay in Touch! 2 2 3 4 15 27 29 29 40 46 51 51 58 61 62
  • 3. Donté Larry and Mapi Bartolomé were student filmmakers at New York Film Academy, studying Filmmaking and Cinematography, respectively. During their separate courses, they did not know each other and were honing their crafts independently. As they began planning for their final projects, they met each other through mutual friends and instructor recommendations to talk about their ideas, artistic styles, and narrative goals. After a wonderful meeting, they decided to collaborate on their films with Donté as the Writer & Director and Mapi as the Director of Photography. My Silence, My Grave served as the final thesis project for both of their respective programs. Their shared vision and enthusiasm ensured a strong sense of collaboration and inclusion among the team, and together they led the cast and crew through a chaotic, enjoyable, and truly unforgettable production. “My Silence, My Grave: The Making Of” invites you to join the team as they work together to write, develop, and shoot My Silence, My Grave. Introduction Introduction 3 Donté Larry on the set of In the Belly Mapi Bartolomé on the set of FLUX Plot Summary: In a claustrophobic apartment building, an acquiescent apartment manager is tasked with cleaning out a unit following a series of gruesome rituals. A cursed encounter amid the gore finds the protagonist on the run from a cannibalistic killer, all while her grasp on reality disintegrates. On the surface, My Silence, My Grave is simple horror story about a woman trapped between losing her humanity and her life. But under the surface, where most of society’s pervasive ills lie, it’s a story about one woman’s fight against a sordid system that pits marginalized peoples against each other. Through physical horror and psychological unease, the protagonist realizes that her own inaction has only served to hurt other minorities and to preserve the power of their oppressors.
  • 4. below Who’s Who on Set? Who’s Who on Set? Who 4
  • 5. Director Who’s Who on Set? Who’s Who on Set? “The Director provides the guiding creative vision for a production. They aren’t necessarily the ultimate authority on a given project, but they are responsible for shepherding it creatively through the entire creative process, meaning they exert great influence over all other film crew positions.” —Loring Weisenberger, Wrapbook Donté Larry was born in Washington state to a black father and white mother and was raised in rural Tennessee. He spent his undergraduate years at the University of Washington, where he majored in Sociology with a focus in gender and race theory, and their intersection with crime and policing. His mixed-race heritage and formal education have given him a unique lens through which to experience such vastly different communities and has inspired him to create films that will speak to people who may not see themselves in their surroundings. Preparing the table for the big stunt Donté Larry Ritual Sacrifice Scene Donté Larry 5
  • 6. Who’s Who on Set? Who’s Who on Set? Director of Photography “At her or his core, the Director of Photography is responsible for recording the images of a film in accordance with a Director’s vision. That means that they’re in charge of creating light, bending light, and capturing light in a way that achieves an agreed upon look. Technically, the Director of Photography is the head of the camera department, but they also guide the creative decisions made by grip and electric departments.” —Loring Weisenberger, Wrapbook Mapi Bartolomé is a Cinematographer and multidisciplinary artist based in Brooklyn. Originally from Guatemala, and having a background in Advertising and Graphic Design, Mapi is no stranger to the uneven playing field set for minorities in creative industries. Mapi has a passion for exploring new visual techniques, and creating appealing imagery that captivates, engages, and represents all audiences. Mapi is always seeking to collaborate with others to create films and crafts that are both beautiful and impactful. Mapi Bartolomé Planning the shot from left to right: Florian Gunzenhauser Aishwarya Narayanan Mapi Bartolomé Alexandra Spradling Thomas Marchese Gregory Morelo 6
  • 7. Producers Who’s Who on Set? Who’s Who on Set? “The Producer is one of the most fundamental of all film set roles. It’s one of many film crew job titles that can carry any part of a wide range of responsibilities, but, primarily, Producers are responsible for securing funding, setting a project into motion, and providing high level organizational guidelines. In other words, without a solid Producer—or team of Producers—there would be no movie.” —Loring Weisenberger, Wrapbook Sandesh Agrawal was born in Nagpur, India into a family of 16 people. He spent his school years away from home at diverse boarding schools Good Shepherd International School and The Aga Khan Academy Hyderabad. He decided to pursue a degree in film at San Francisco State University until finally finding his comfort zone at New York Film Academy. Having spent most of his years away from home and in diverse environments, Sandesh has accumulated stories and experiences that now allow him to have a unique perspective that he can call his own. Sandesh uses his extensive background to tell stories using that prerogative, stories that need to be told, stories that push people out of their comfort zone and encourage them to inspect their own perspective on mortality and the comforts of life. Sandesh Agrawal Ready to assist wherever he’s needed Sandesh Agrawal Grace Ward is a Director, Producer, and Production Coordinator who graduated from New York Film Academy. After high school, she started working in media and marketing in Papua New Guinea, Australia, and the Philippines for four years. She now works as a freelance producer under her production company, Dark Sun Pictures, and part-time in development for Chick Entertainment in NYC. She has directed short documentaries that have aired on national television and is now in pre-production for her first documentary feature. Grace Ward Ensuring the cast & crew is well fed Grace Ward 7
  • 8. Who’s Who on Set? Who’s Who on Set? 1st Assistant Director “The job of 1st Assistant Director both is and isn’t exactly what it sounds like. On one hand, the 1st AD’s mandate is simply to assist the director in achieving their vision. On the other hand, their day-to-day responsibilities stretch far beyond the creative concerns of the director and are crucial to keeping any production on its feet. The 1st AD is responsible for crafting the shooting schedule, running the set, making sure that all other film crew positions are functioning on time, and dealing with the thousands of daily problems that arise on even the smoothest of productions. Their minds are both highly active in the present yet always calculating circumstances in the future ahead.” —Loring Weisenberger, Wrapbook Florian Gunzenhauser was born in Basel, Switzerland. After getting a bachelor’s degree in journalism at the University of Winterthur, he decided to take his first steps at the radio station Basilisk in his hometown Basel. After a short stint at the local newspaper, he took a job at the biggest private TV station in Switzerland, 3plus. For five years, Florian was responsible for the casting and directing of shows like The Bachelor and The Voice of Switzerland. Shortly before turning 30, Florian, now an established TV director, decided to try something else and see what this exciting life has to offer. He quit his job to move to New York City and study filmmaking at the New York Film Academy. He now works as a freelance 1st Assistant Director, while continuing to write and direct his own personal projects. Florian Gunzenhauser Preparing for the next day’s shoot Mapi Bartolomé and Florian Gunzenhauser 8
  • 9. Who’s Who on Set? Who’s Who on Set? Alexia Haick is the founder of "The 35' Club" community founded last year, with the purpose of creating a plural community interconnected through the production of photographic material through the analogic medium. In the last years, she has worked as a photographer, director of photography and assistant director for numerous projects, including many such as Vogue Italia and Iconic Magazine. She studied filmmaking at the Faculty Armando Álvares Penteado, Academy Internacional of Cinema and Arts and New York Film Academy. She has now received the Silas H. Rhodes Scholarship to deepen her photography work at the School of Visual Arts in New York City. Alexia with her actors from left to right: Andreas Pliatsikas GeronimoAmos Alexia Haick Cindy Xu (bottom) Alexia Haick Casting Director “The Casting Director is in charge of finding the right performers for a given project. For obvious reasons, the casting director’s job is often finished long before physical production begins, and, in that sense, they operate entirely outside of the day-to-day film crew hierarchy.” —Loring Weisenberger, Wrapbook Editor’s note: Although you won’t usually find a Casting Director on set, Alexia Haick performed far above and beyond her responsibilities in this role, assisting wherever she was needed. It would be criminal not to include such an amazing person in this section. 9
  • 10. Who’s Who on Set? Who’s Who on Set? Location scout Christina Shrewsbury Production Designer “The Production Designer is the head of the art department. They work with the director and director of photography to craft an overall look for a film, achieving it with the help of a wide variety of movie set jobs found deeper within their department. Given that a large portion of their time is occupied by high-level decision-making activities, the most important skills for a professional production designer are the abilities to communicate and delegate.” —Loring Weisenberger, Wrapbook Christina Shrewsbury is from Point Pleasant, NJ. However, she also grew up in Washington Heights and the Riverdale section of the Bronx. Her Mother is from the Dominican Republic and her Father is of English, Irish, and German descent. She studied English and Theater while pursuing a career in the arts as an Actress, Burlesque Performer, and Production Designer. The diversity she has experienced in her life has inspired her artistry to provide the audience with insight into what different cultures, religions, musical influences, and time periods can offer, and how we can all learn, experience, appreciate, and partake in these differences. Building the grave Christina Shrewsbury 10
  • 11. Who’s Who on Set? Who’s Who on Set? Brittney Roberts, or as her friends know her, Brit, was born and raised in Charleston, South Carolina. In 2006, she moved to New York City, where she studied advanced character development, fundamental techniques in beauty and avant-garde make-up, prosthetic application and special effects make-up. Over the next seven years, Brit lived in Los Angeles, CA where she pursued her passion for make-up by working in film, television, and fashion. She was fortunate to have studied under award winning special fx artist and Academy Award winner, Michael Westmore, whose accomplishments include Star Trek and Rocky. Back in NYC, Brit continues to apply her make- up and special fx skills within film, television, fashion, runway and bridal. Preparing the rat gag Brittney Roberts and Florian Gunzenhauser The Witch’s big attack Brittney Roberts Key Makeup & Special FX Artist “The Key Make-up Artist is in charge of setting the talent’s look for a given scene. They work closely with not only the Director but also the Production Designer, Director of Photography, and Wardrobe Designer to craft a cohesive look that contributes to the film’s overall aesthetic. The Special Effects Make-up Artist specializes in achieving looks that go well-beyond the requirements of standard make-up and hair styling techniques. Whether it’s silicone-molded facial prosthetics or hidden squibs, the work of the Special FX Artist is quietly behind many of your favorite moments of movie magic.” —Loring Weisenberger, Wrapbook 11
  • 12. Who’s Who on Set? Who’s Who on Set? Costume Designer “The Costume Designer is the head of the wardrobe department. In collaboration with the Director, they craft the creative drive behind all clothing that the audience sees on screen. Depending on the size and requirements of the production, the Costume Designer may preside over a large number of film crew positions within their department, granting them creative access to a wide variety of external expertise that reinforce their own professional skills in the textile arts.” —Loring Weisenberger, Wrapbook Sannette Gaia grew up in the valley of Oregon. At 16, she began to pursue film and photography seriously, working on commercial photoshoots and short films throughout high school. She recently graduated from the New York Film Academy and is now heavily involved on films and music videos in roles such as Directing, Producing, and the Art Department. She has a passion for combining multiple art forms and utilizing hardships in each individual story to create aesthetically enticing frames. SannetteGaia Preparing The Witch to attack Adra Mayer, Sannette Gaia Brittney Roberts (in mirror) 12
  • 13. Who’s Who on Set? Who’s Who on Set? Adrian P. Reyes was born and raised in Madrid, Spain. He graduated Universidad Rey Juan Carlos in audio and visual communications and started a career in TV as a camera operator at the young age of 21. Adrian has collaborated on TV shows such as Master Chef, The X Factor, The Voice Spain and documentaries like Mujeres al Poder and Retratos con Alma. He then spent a few years in New York City where he studied cinematography at the New York Film Academy and worked freelance. Adrian now works full time as a freelance cinematographer. The man of the hour top row: Gregory Morelo, Adrian Reyes, Mapi Bartolomé, Florian Gunzenhauser, and Donté Larry bottom row: Andreas Pliatsikasand NoWa Clark Measuringthe light Adrian Reyes “The Gaffer is a production’s chief lighting technician and head of the electric department. They plan and coordinate the placement and powering of lights to achieve the level of illumination desired by the director of photography. The best Gaffers are also excellent collaborators, crafting technical solutions to solve creative challenges.” —Loring Weisenberger, Wrapbook Gaffer 13
  • 14. Who’s Who on Set? Who’s Who on Set? Sound Mixer “The Production Sound Mixer is in charge of recording all relevant sound on the shooting day. That includes everything from principal dialogue to room tone to wild lines to limited sound effects. On set, the role of the Production Sound Mixer is quite different than that of a sound mixer in post. The Production Sound Mixer is concerned with gathering high-quality raw audio materials that will only later be layered into a film or television show’s final mix.” —Loring Weisenberger, Wrapbook Born and raised in the Bronx, Gregory Morelo always grew up with an interest in music and audio since the age of 13 when he was gifted an electric guitar. Gregory's interest in film started when he was accepted to a high school focused in introducing cinematography to urban youth, The Cinema School. In college, he continued to pursue music, earning his Bachelor's Degree in Music from Lehman College in 2020 and was also employed on campus as an audio technician in the Lovinger Theatre. After the pandemic, he soon discovered how to combine his two passions and does freelance work as a film composer and as a sound mixer. Gregory Morelo Must get every gruesome sound Gregory Morelo 14
  • 15. Lights, Camera, Action! Lights, Camera, Action! 15
  • 16. Lights, Camera, Action! Lights, Camera, Action! 16
  • 17. Lights, Camera, Action! Lights, Camera, Action! 17
  • 18. Lights, Camera, Action! Lights, Camera, Action! 18
  • 19. Lights, Camera, Action! Lights, Camera, Action! 19
  • 20. Lights, Camera, Action! Lights, Camera, Action! 20
  • 21. Lights, Camera, Action! Lights, Camera, Action! 21
  • 22. Lights, Camera, Action! Lights, Camera, Action! 22
  • 23. Lights, Camera, Action! Lights, Camera, Action! 23
  • 24. Lights, Camera, Action! Lights, Camera, Action! 24
  • 25. Lights, Camera, Action! Lights, Camera, Action! 25
  • 26. Lights, Camera, Action! Lights, Camera, Action! 26 “I Felt a Funeral in my Brain” by Boris Groh
  • 29. The Writing Process Script Fundraisingpromotional image 29 “Like the foundation that creates the groundwork for a house, a movie script is the foundation upon which a movie is built. A movie script is a written document that details all of the narrative and visual elements for a feature-length or short movie. This document includes very specific formatting, namely action paragraphs, character dialogue, and in some cases, visual and sound cues. Movie scripts are used as a roadmap by the director, producers, crew, and cast throughout the production of a movie to keep them all unified under a singular creative vision.” —Andrew Stamm, Celtx
  • 39. Developing the shootingschedule Donté Larry, Mapi Bartolomé, and Florian Gunzenhauser Making the website Donté Larry Script Script 39
  • 40. “The term ‘pitch deck’ emerged from the startup culture of Silicon Valley as the premier mode of presentation that entrepreneurs used to pitch potential investors. Hollywood has followed suit with screenwriters using the format to pitch spec scripts and filmmakers using them to apply for grants or pitch their projects to potential investors and distributors. It has become an essential agent to complement a screenplay, further a film’s creative development, and communicate ideas, concepts, and imagery to potential collaborators.” —Sapna Gandhi, We Make Movies Pitch Deck Pitch Deck Simbal Karma in In the Belly (movie still) 40
  • 41. Pitch Deck Pitch Deck 41
  • 42. Pitch Deck Pitch Deck 42
  • 43. Pitch Deck Pitch Deck 43
  • 44. Pitch Deck Pitch Deck 44
  • 45. Pitch Deck Pitch Deck 45
  • 51. Finding the Look Mood Boards On the set of FLUX Mapi Bartolomé My Silence, My Grave location scout Mapi Bartolomé 51 “A film mood board conveys the feel and look of a project or specific scene. You can use the mood board to illustrate how all elements would fit together to quickly get the aesthetic. Mood boards show you what you can expect your project to look like...Every filmmaker has a particular style, from the cinematography, production design, wardrobe, and set, their goal is to ensure their unique vision is delivered, and mood boards can help with that perfectly.” —Risha Kapoor, Paus
  • 52. Mood Boards Mood Boards 52
  • 53. Mood Boards Mood Boards 53
  • 54. Mood Boards Mood Boards 54
  • 55. Mood Boards Mood Boards 55
  • 56. Mood Boards Mood Boards 56
  • 57. Mood Boards Mood Boards 57
  • 58. Shot List Shot List Theatre Scene reference photos& storyboard art by Mapi Bartolomé 58 “A shot list is a document that maps out everything that will happen in a scene of a film, or video, by describing each shot within that film or video. It serves as a kind of checklist, providing the project with a sense of direction and preparedness for the film crew. It is typically made in collaboration with the director, cinematographer, and even first assistant director. Shot lists are especially critical in managing and preparing for film scenes. Making a movie demands knowledge of shot type, camera movement, lighting, actor staging, and much more. Putting this information down in a shot list helps the filmmakers remember what it is they wanted, and how to execute. With so many moving parts, having a concrete document stating which shots demand what equipment, and how long shot setups will take, determine so much of the schedule and budget.” —Alyssa Maio, Studio Binder
  • 59. Shot List Shot List 59
  • 60. Shot List Shot List 60
  • 62. Stay in Touch Stay in Touch 62 Thanks for joining up on this trip, we hope you enjoyed your time with us. The My Silence, My Grave adventure is far from over! Please check out the film’s website for more information and don’t forget to follow our Instagram page for more updates and content. Thanks again and we’ll see you for the next one! Official Website: https://www.dontelarry.com/my-silence-my-grave Instagram: https://www.instagram.com/silenceandgrave/