Halloween 2015 was the production date that Red Skies at Night was to be assembled, complete, and in “pretty good shape.”
On Halloween, I took a long hard look at the progress of the film. A reality check. It was coming out okay, but slow. I was not 100% happy.
From a production standpoint, I didn’t think we would have the version of the film I wanted by December 1, which is the target date to have the film ready for music and sound design. And if we miss that – the deadlines that come after January 1, like submitting to Cannes, could slip. After the time it took to get to get Red Skies to this point, further delay is unacceptable. Not an option.
So, after thinking about this for a few days, I made a few decisions as the Director of the film, including moving the editing back to LA, and getting more hands-on involved in post and editing (putting it mildly). In the month of November, I put in over one hundred hours of work into the film. When I wasn’t working as a lawyer, I was working as a Director, editing Red Skies at Night, simple as that.
And you know what? It was awesome! It was an amazing creative and learning experience … after all those hours of hard work, it’s difficult to believe that V1 and V2 are the same film. I didn’t sleep much this month, but I’m proud of the film and the hard work. I think I’ve never worked this hard.
I’m not saying my film is good or bad, I’ll leave that to the audience and the press. But it’s ready.
I’m going to give Red Skies 2.0 to the production team on December 1 for a round of notes, I’ll make any final revisions, and we’ll have picture lock. My game plan is to start music and sound design, and add special FX in December-January.
Red Skies at Night will be ready to enter competition and release in 2016.