There is a common maxim in the world of low-budget, independent film that says to write for locations that you have. In fact, Robert Rodriguez, one our idols and role models in the making of this movie, and wearer of superior head gear, perfected this method, which Stu Maschwitz called “The Rodriguez List.” You make a list of all the stuff you have at your disposal, and then you write your script around those items and locations.
Robert Rodriguez, whose hats are cooler than my entire wardrobe.
This makes sense on a number of levels. First of all, the financial benefit of this approach is obvious. Things that you have equal things that you don’t have to acquire or make yourself. In Grassman, all of our characters arrive at the forest in vehicles that the actors actually drove to set. No rentals, or special needs; just some consideration for who will be on set with what vehicles for an scenes shot around that location.
Second, it is a great way to figure out early on what you have that will make your film uniquely yours. Taking stock of your inventory of stuff and locals lends itself to a level of personalizing of your script in a way to can add to its authenticity. Writing a scene that takes place in a science lab that you don’t have access to, versus a gravel pit that you do because of your connected uncle “knows a guy” may not have the same feel or tone, but if you make it work, it will have production value like a mofo.
Cover via Amazon
Of course, despite our following the Gospel of Rodriguez (Rebel Without a Crew), this was not something I did when writing the script for Grassman. Like the inexperienced, delusional dork that I am, I wrote a film that takes place 90% of the time in the woods. Woods are easy to find, I thought. Hell, if we have to we’ll just do this guerrilla-style, sneaking into local parks and making a Bigfoot movie when no one is looking. Yeah, I know. I was an idiot.
But, that’s what I did. And when I was finished, I had a forest, but also needed a gas station, a cave, a shed, a cliff and a gorge, a large creek. Somehow, this thing seemed a bit bigger than showing up at one of Hamilton County’s fine parks and hoping we weren’t going to get caught. It was a huge feature film, which a lot of action, blood, screaming, fighting, falling, and fire. These thing do not lend themselves to a stealthy guerrilla production.
Rodriguez with people who actually listen to him.
It became abundantly clear that 1) I had not followed Rodriguez’s sage advice, 2) we needed to run this gig like professionals, not idiots running through public parks until we were banned for life, and 3) we needed an alternative to that. Somewhere where we could be both professionals and idiots, which would lend itself to the film seamlessly and not cost us a thing. Essentially, we were screwed.
Until, in one magical moment at my real job, when I had a thought that would change everything. A beautiful, serendipitous, life just falling into place moment that made the movie possible. I had my Rodriguez List after I wrote the script in the form of a gentleman that I had known for 5 years. All I had to do was ask and pray that he said yes.
Next week, I will conclude the tale of Rich, the man behind the non-acting character of The Legend of Grassman: the best location a growing filmmaker could hope for.
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