Growing up in the 1980’s I remember movies just about more than anything else. I was an active kid during the day, but at night it was movie time. My overall opinion is the best moments of our cinematic history took place in the 80s. The reason for these thoughts is that Corey Haim just passed away. I realize all the trouble he has had since the days of “License to Drive,” and “The Lost Boys.”

But to me he was a 1980’s icon. Anytime I think about all those countless nights hanging with my cousins watching all these great films, it’s hard not to picture Corey Haim. I think he will always have a place in my memory of being a kid. I think we overhype the deficiencies of the people who entertain us, although addiction is a problem, and it was for him, I can’t help but think of him only as that young kid crashing his grandfathers Cadillac, or wearing garlic to bed, b/c he was afraid his brother would bite his neck in the night. Corey Haim was my hero growing up through some pretty rough shit. We all have our personal stories, and we all hopefully had something to turn to. My escape was watching film with young actors like Corey Haim. He made me think being young was cool, or being sort of silly and screwing up was alright. He made me enjoy the moments in my life when things were tough, and I wasn’t sure what the hell was going on or who I was. I am sad to see him go, especially in the light that it appears he went. But his face will always be iconic to me; it will always be the nostalgic emotion of the 1980s. Rest in piece dude, you were great. Thank you!

Soundtrack by Daft Punk.

Well, here we are. It’s our final day with Lawrence Daufenbach. Throughout the week we have learned many things about movie making and all the wonderful little things that surround its developers. I for one believe its easy to understate the beauty and genius behind another individuals creative prowess. But this week was perfect in the sense of giving us a variety of thoughts and information, which introduced us to the ethos behind the curtain of a movie, and the mind of one of its players. I was enamored with the answers coming from Lawrence. He knows his business, and reveals an honesty that only comes from someone who is real. He is  the “genuine article” as they say, and I couldn’t  be more pleased as we turn from this wonderful artist to continue to explore the rest of the worlds offerings. Below you will find the last part of our conversation, and this story will conclude with the premiere of Lawrence Daufenbach’s latest reel. Special Note: This piece comes out today in a local Knoxville Art/Culture Magazine called One Eighty.

Twilight Frequencies

What kind of Character are you in a fictional world? Do you fly? Can you read minds?

Lawrence Daufenbach

I fly the morning skies and walk invisibly through the jungle floor.

Twilight Frequencies

I know you’re really into music, what bands are you listening to right now?

Lawrence Daufenbach

Vampire Weekend, Jay Reatard (RIP), Devendra Banhart, Fruit Bats, MGMT, Trampled by Turtles, Head of Femur, Built to Spill

Twilight Frequencies

Lost or Heroes?

Lawrence Daufenbach

Lost.  I haven’t gotten to see too much of Heroes, but Lost is very cinematic and engaging.

Twilight Frequencies

Coffee or Tea?

Lawrence Daufenbach

Definitely Tea, green preferred.

Twilight Frequencies

Chevy Chase or Bill Murray?

Lawrence Daufenbach

That’s a tough one, but Ground Hog’s Day is one of my favorites, so Bill Murray.

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Hiking or Bouldering?

Lawrence Daufenbach

Hiking

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Morning or Night?

Lawrence Daufenbach

The morning motivates me and I get things done, at night I think, listen, and create.

Twilight Frequencies

The Velvet Underground or The Rolling Stones?

Lawrence Daufenbach

The Velvet Underground

Twilight Frequencies

Before you go, is there any advice you can give to aspiring filmmakers?

Lawrence Daufenbach

It all comes down to the story. You can have a beautifully shot film, but if there is no story, it won’t matter in the end. Focus on your characters first, then let the creative energy flow wild.

Lawrence Daufenbach is the founder of Daufenbach Camera, and can be contacted through www.daufenbachcamera.com. He’s a Director of Photography.

Twilight Frequencies

You own a production equipment company. Can you give us an idea of what that entails, and how you incorporate that in your work on the set of a film?

Lawrence Daufenbach

I started up Daufenbach Camera, LLC in June of 2009. After finishing college and working for a year in the industry, I quickly began to grasp the inner and outer workings of how the business works.  Aspiring to be a narrative DP, I looked into camera equipment that could potentially bring in both jobs and a side income.  I had been following the Red One (made by Red Digital Cinema, founded by Jim Jannard of Oakley sunglasses) camera in its production stages, and when it was released in 2007, I realized filmmaking would forever be changed in the years ahead.  The Red One was the answer as an affordable, yet top of the line camera for filmmakers alike.  It has not only helped me start a business, but has given me a professional tool to create art, tell stories, and move lives.

Having a camera rental business also allows me to stay connected and network within the film industry, as I work amongst people day in and day out.

Twilight Frequencies

Recently, Daufenbach Camera received really good news about sponsorship. Tell us a little about what you will be doing for the “Midwest Film Festival.”

Lawrence Daufenbach

The Midwest Film Festival is a non-for-profit organization and is the only film festival in the country solely dedicated to the Chicago and Midwest filmmaker.  It’s a year long festival that takes place on the first Tuesday of every month, showcasing independent film. We (Daufenbach Camera) will be helping sponsor this event; promoting the independent filmmaker as well as our affordable equipment options for filmmakers alike.

Twilight Frequencies

Since the whole world is enamored with James Cameron’s Avatar, what was your impression of the film?

Lawrence Daufenbach

It is a huge achievement on many levels, but most particularly, in technology.  A film of this caliber would have cost many hundreds of millions of dollars more if this was attempted ten years prior.  3D technology has come along way since its birth, and Avatar does justice revealing this feat.

James Cameron was able to look through a camera, which on set consisted of actors in front of a green screen. He was able see the entire environment that surrounded them, all in a live feed. To me, that just sounds insanely complicated, and absolutely incredible.  Your seeing actors in real life and on the monitor they’re Na’vi and in the Pandora environment.

The Simulcam, a process that takes two different cameras both at different viewpoints, allowed the film to replicate what the human eye views in 3 dimension.  It allows us to feel like we are there, and a part of the film, it becomes a reality.

From a story element, I found it very creative and engaging.  The world the Na’vi live in is extraordinary, and as noted in the news, it seems only natural that many Americans are depressed after seeing it.  Who wants to leave such a captivating world?  I also enjoyed the very Starship Trooper esque militant force.  There were a few one-liners I didn’t exactly care for; however, I think generally speaking, it was balanced to appeal to a diverse grouping of audiences.

to be continued…

Photo by Lawrence Daufenbach

Twilight Frequencies

How did you land the job? What’s that process like?

Lawrence Daufenbach

Landing this job and landing any job in the film industry is primarily luck and being in the right place at the right time.  Michigan has been booming over the last two years, as their tax incentives have drawn a large number of films to the state.  Over the last year I had been thinking about changing my Union local address from Chicago to Michigan, since there is more of an incentive to hire Michigan locals.  When I found out about Trust in the Michigan production listings in mid October, I thought I would give Peter Kuttner a call(Peter is a Chicago First AC who I had been talking back and forth with over the last year). It just so happened that he had been hired on as the First AC (camera assistant in top position in camera department) and was looking to hire a Michigan local.  On that note, I affirmed my decision to change my Union (Local 600) address and landed the job shortly after.

Twilight Frequencies

Do you think Hollywood has hit bottom in terms of originality? In your opinion are the best sources of good film in lower budget projects?

Lawrence Daufenbach

Well they say there are only seven basic story plots, but how you reinvent each one of them is what makes each film unique.  However, there are so many factors that go into a film besides the story (actors, lighting, camera movement, production design, editing) that in my opinion it leaves endless means for originality.   It really depends on how you’re looking at a film. I may find innovative cinematography in a film that’s story is quite similar to that of another. While yes the story may be a tougher element to be original, as a whole, films will continue to evolve.

Twilight Frequencies

I believe you graduated from the University of Columbia? What was that experience like for you? Did it square you away with opportunities when you graduated?

Lawrence Daufenbach

Correction, I graduated from Columbia College Chicago, often confused with University of Columbia in New York.  However while both schools have a film program, CCC has one of the biggest, and most involved film programs in the country.  At CCC, I was in their four-year film program where I concentrated in cinematography.  Most of the classes are very hands on, which allowed me to learn both more visually and artistically.  The also have a lot of cameras and equipment, which is what a lot of other film schools are lacking.  I was happy to learn on film and work with a lot of 16mm and 35mm cameras, including Arri, Panavision, and Aaton camera systems.

There are definitely opportunities that I had coming out of college, and it was primarily because of the work that I put in at school.  The more projects you work on and the more involved you are with the film program, the more you network, and the more likely you’ll continue working.  My first feature film, Chicago Overcoat, I got onto as a film loader and I would say that was primarily because I had been working on a lot of films at Columbia and building a network of friends and co-workers.

Twilight Frequencies

What’s it like filming in Chicago?

Lawrence Daufenback

Cold, bloody cold.  No, but Chicago is a great city.  There are a lot of interesting and diverse locations.  I find there to be a certain passion and aliveness here that I haven’t found in a lot of cities.

Twilight Frequencies

What films have you written and developed?

Lawrence Daufenbach

The last short I Co-wrote and directed was in college, titled, “My Friend Leopold”.  You may be able to hunt down a low-res version on YouTube.  I do have a project that I will be developing over the next few years. However, for now I mainly spend most of my time focused on cinematography and expanding my career as a DP (director of photography).

Twilight Frequencies

Is there a particular genre of film you’re partial to, and why?

Lawrence Daufenbach

I enjoy watching all genres of films, however I am probably most drawn to dramas and human-interest films.  The types of films that make you stop and think about different aspects of culture, society, and life.  From a more visual approach, dramas also tend to allow for a more artistic and creative style.  As a cinematographer, this is where I can push boundaries and create certain looks for a film.

Twilight Frequencies

What is the one thing vital to your work on a project other than gear? Is it     communication, solid direction, a lucky charm, etc?

Lawrence Daufenbach

It’s always good to have some inspiration with any given film, commercial, etc.  While working with a director, I like to find artwork (often paintings) that help inspire a certain look, mood, or style any given film is going to have.

to be continued….

Drinking my coffee this morning I was checking over my emails, working the site, prepping new stories, and I had a new message from Lawrence Daufenbach, who is our featured Artist this week for film. In yesterdays post we introduced him, and showed his Reel & Bio. Today we look at part one of the interview and as it turns out, he emailed me to share his latest Reel. We will premiere his new montage on Friday as the finale to this amazing week. Also, this story will be in print for 180 magazine which hits the streets on Friday with a big release party. This has been a tremendous time for me to share with all of you, and to get an insiders take on the process of movie making.

Part 1

“I fly the morning skies and walk invisibly through the jungle floor.” Lawrence Daufenbach

While talking with Lawrence Daufenbach, it was easy for me to tell how much imagination and insight he has on the world of film. On an individual level he is doing plenty to make a name for himself. He is clearly not against the system or the grain of Hollywood, but rather he embraces the reality of the industry he is a part of. This is one of the many qualities this young filmmaker has to offer. He is a creative person first, not getting lost in opinion or chatter, but seeming to believe that any situation has potential to be something wonderful.

Recently he finished work on a new independent film called “Trust.” Among the several topics we cover, Lawrence shares what it was like working on the film, and gives us a brief rundown on his camera production companies (Daufenbach Camera) official sponsorship of the Midwest Film Festival. Along with his own personal work, he also talks about Avatar, music, and his preference between Bill Murray and Chevy Chase. I was impressed with the amount of knowledge I took away from my short moments corresponding with Lawrence. It was a pleasure I will not soon forget.

Twilight Frequencies

This new film has yet to be released, what can you tell us about story, and who’s in it?

Lawrence Daufenbach

“Trust” is a story that was co-written by David Schwimmer and Andy Bellin.  The film takes place in a modern day setting and is about a teenage girl who is targeted by an online sexual predator.  Liana Liberato plays the lead girl and Clive Owen and Catherine Keener play her parents in the movie.  Much of the film deals with the aftermath of rape, and the psychological effects it has on the family as they struggle through the traumatic event.

Twilight Frequencies

Clive Owen? Being a big fan of the film “Children of Men” I have to ask what he is like in person. I think he’s such a good actor.

Lawrence Daufenbach

Clive takes his job very seriously.  On set, he very much is in a zone and doesn’t spend too much time interacting outside from that.  He is however a very friendly and approachable person.  At our wrap party he spoke highly of “Children of Men”, calling it an “incredible film”.

Twilight Frequencies

Did you get to work with David Schwimmer? How was it?

Lawrence Daufenbach

Yes, I was on set everyday with David, who was really great to work with.  David was a very friendly director, and had a genuine passion for the film. He is a director and spokesperson for the Rape Treatment Center in Los Angeles. I can only hope this film aids both his work and helps many women who are put into these situations.

Twilight Frequencies

What do you do on set? Being young and relatively new do you feel pressure, or does that motivate you even more to do well?

Lawrence Daufenbach

I was part of the camera department as the film loader, and would often step in to help 2^nd AC (assistant camera) at times.  I definitely have felt pressure towards the beginning, however it does motivate me to do an even better job.  It is amazing to see the level of professionalism and motivation that goes into a film set, and working under Director of Photography Andrzej Sekula (Pulp Fiction) and 1^st AC, Peter Kuttner (Betty Anne Water, The Express) was inspiring.

Twilight Frequencies

Walk us through a day on the set of “Trust.” Lets say you were documenting the making of the film, what would that look like? How would you approach conveying the experience?

Lawrence Daufenbach

“Trust” was shot mainly in Ann Arbor and Plymouth, MI.  It was a fairly low-key shoot with a friendly and enjoyable crew.  At the beginning of every day we take the shuttle in from our hotel and get to set by call time, which changes on any given day, depending on the hours prior.  You’re pretty much locked into the schedule the film makes, which can change on a day-to-day, or hour-to-hour basis.  Being part of the camera crew, it’s our job the get the camera built and ready to go for shooting.  This means making sure we have film loaded on the camera, the first lens of the day up, and all the necessary back up equipment and film ready and standing by.  Generally most days last twelve hours, however we did have a number of long 13-15 hour days as well, which is pretty awesome in comparison to a lot of films.  It’s always part real, part dream, anytime I am away working on a feature.  You live day in and out on set, and are creating a story, often unaware of the world during that time, except for the few hours of sleeping in between each busy, packed day.  For the most part spirits were high throughout the film; with a majority Michigan based crew.  Most of our days ended conversing and enjoying a local brew in downtown Ann Arbor.  I find that movies in the Midwest are a lot more enjoyable to work on in general.  There a different attitude about movie making then you get in L.A.

to be continued…

A few weeks ago I contacted Lawrence to ask some questions about the film industry, and what he’s doing currently. Our conversations were nothing if not informative. I learned about Clive Owen, and the new film directed by David Schwimmer called “Trust.” Among many other things, I learned what it’s like to work in the film industry. I encourage all of you to follow along throughout the week and learn something too. If your curiosities have made you ponder what its like for a member of the film crew community, this interview goes plenty far in unveiling the mystery behind the quasi-esoteric nature of film making.

Since the interview is relatively long, I will break it up in several parts. Today we will show his Demo Reel and Biography. This will give us look at a some of his older work. In our discussions Lawrence told me he was in the process of updating his Reel to include newer shots. Regardless, It expresses the exceptional talents of this young film makers point of view, and reveals the beautifying quality in which he films things.

Tomorrow we will post part one of the interview.

Introduction: The Reel & Bio

“At a young age, Lawrence began exploring his creative talents as an artist. After moving from Kalamazoo, MI to Chicago in 2004, he decided to pursue his visual approach in cinematography. While attending Columbia College, he gained experience shooting on both film and video and output a good number of shorts. He is now a freelance cinematographer and camera assistant.

While taking inspiration from paintings and various art forms, Lawrence composes creative choices in both camera and light. He has shot a large variety of films and has explored a plethora of palettes and styles of visual storytelling. His work consists of many award winning films with visual elements that have moved both the story and the audience. Lawrence is primarily based out of Chicago, IL and Los Angeles, CA.”

To Be Continued….

“Three San Francisco-based musical acts – Devendra Banhart, Joanna Newsom, and Vetiver – tour the country performing their genre-defining music in the summer of 2004. They help each other overcome family tragedies and car accidents, and meet colorful characters, forgotten musical heroes, and folk luminaries as they travel across the country.

The film is an intimate portrait of life on the road for these young musicians early in their careers, playing tiny, obscure clubs and art galleries, but on the verge of larger success where small vans are replaced by large, impersonal tour buses. Here music is a creative, organic, inclusive endeavor. They not only sing about – they create – the world in which they want to live.”

TheFamilyJams.com

Still waiting for a release date to the masses.

Animal Collective’s ODDSAC is premiering at the Sundance Film Festival.