All of those - it's a hyper-real, gritty, suspense depiction of the unravelling of two individuals, and the course to potential redemption from the depths of destruction
Martie Ashworth captivates as Julie, a sweet, subdued career housewife that at first glance seems perfectly content in her life with her record player, houseplants, cooking, and even her old, irritable husband of 40 years whose hobbies are sleeping and/or watching football on the couch. Provoked into a state of fear Julies once innocent eyes now become watchful and suspicious, and her perception of reality makes a dark shift. William (played by Larry Strauss in the performance of a lifetime) is both the unsuspecting victim faced with his mortality; and the self-loathing villain guilty of bad decisions and bad karma. Between them is an escalating, unspoken WAR - a self-destroying cloud threatening to ignite the forest with even the slightest friction. If the cycle is to break, both must be awakened to the raw reality of a true life or death choice
INTERDEPENDENT FILMMAKING:
The case of WHITE KNUCKLES a film by sabi. (originally posted in White Knuckles thread)
By Kevin K. Shah
White Knuckles was born out of a deep desire to explore a story with a group of artists through the collaborative medium of film and to explore it as much as possible while the story is happening while its on its feet in production while the characters fully inhabit the actors.
The means of accomplishing this would be a team of artists that could invest themselves personally in the shared vision of the project, and could work as a unified whole that could shift, adapt and adjust whenever the story changed based on the flexible nature of capturing dramatic improvisation. This could only be accomplished by maintaining a collective atmosphere of safety and trust with the crew, filmmakers and the cast. An atmosphere where the actors could feel like they can fully explore their characters without any judgments or self-direction. A creative space where the actors can go deeper in the improvisational present moment, and the filmmakers and the crew can support and guide them along. A truly interdependent process where there are no idle hands on set a place where everyone is involved, and each member on the production is truly critical.
With White Knuckles, we wanted to see what would happen if we wrote a script and then took it away at some point during production when the film begins to breathe on its own. We wanted to see what happens with the characters and we wanted to see where will the story go? It was in a large part about curiousity. Though we had a screenplay that would be great to shoot - we thought that perhaps guiding the improvisation initially, we could fully let go later and produce real surprises and true-to-life dialogue and moments that could not have otherwise been planned.
To do this in a drama that goes to the places White Knuckles does - it took the safety net of the rest of the cast and crew to make this work. Really, it took each other and every individual working together as a unified whole to make this real Interdependent film happen.
There is a point in every soulful, artful film production where the actors seem to fully inhabit the characters, sooner or later. On set, sometimes this happens early other times certain key aspects of the character emerge later depending on the circumstance. But ultimately there is a collaborative search for truth that makes a film by Sabi Pictures and if the film is honest (as I believe White Knuckles is) than perhaps it will be blessed to find its audience.
It is a rare group of talented filmmakers that converged to create White Knuckles. And what we have in this film, is in my humble opinion, a true example of interdependent filmmaking. As filmmakers - we all simply wanted to be able to let go of pages and pre-conceived notions and rather listen very closely to what comes out of (and what comes from within the soul) of the character. We wanted to hear an authentic voice, and wanted to see the story that was the deeper, more meaningful, more real version (than the duplication of the intentions on the page). We want to see the sum that is greater than its parts a piece of real art emerging from our collective creative contributions together.
This is ultimately the collective desire of a collaborative group of artists working on an Interdependent Film. Interdependent Filmmaking is the kind of filmmaking where one uses us and we and our more often than they use I when describing the process of making that film. We think that White Knuckles is unique because of the interdependent nature of the shoot. The WK websites Creative section details examples of how many of us together collaborated on this film, and there will also be some behind the scenes posted to get a look at the faces that made it happen.
As with every interdependent film, there are so many hands on the work that it is hard to summarize or describe the process of each member that took part but each persons contribution made the film possible. And though the credits on the film will generally reveal every persons name that contributed there are so many more roles that were filled by each member than can possibly be listed.
Calling White Knuckles and interdependent film is a way to say Thank You to acknowledge that the film could not be possible without the entire interwoven web of creative contributions, a network of interdependent people, that all get behind one idea. Its a beautiful thing when it works, and it is the most fulfilling kind of filmmaking. And Interdependent Filmmaking is the evolution of the art form, in my humble opinion.
Im honored to have been a part of this process at Sabi Pictures. Sure it is an ever-changing and an ever-evolving process with each new story - but the unique way of making each film bears one thing in common between everything weve made: there is simply no room and no time for inflated egos when a group of artists want to venture into the great unknown of making a film together. There is only room to learn from one another, for true collaboration, for support of each other under any circumstance, and for the collective desire to see the story through to the end no matter what.
We had a very talented group of individuals that came together to bring you the interdependent film White Knuckles as well as Heart of Now. We guided the stories to the end rather than pushed them, and what resulted from the process thus far may move you, and perhaps even surprise you.
Kevin K. Shah
Writer/Director/Producer Interdependent Filmmaker from White Knuckles
The case of WHITE KNUCKLES a film by sabi. (originally posted in White Knuckles thread)
By Kevin K. Shah
White Knuckles was born out of a deep desire to explore a story with a group of artists through the collaborative medium of film and to explore it as much as possible while the story is happening while its on its feet in production while the characters fully inhabit the actors.
The means of accomplishing this would be a team of artists that could invest themselves personally in the shared vision of the project, and could work as a unified whole that could shift, adapt and adjust whenever the story changed based on the flexible nature of capturing dramatic improvisation. This could only be accomplished by maintaining a collective atmosphere of safety and trust with the crew, filmmakers and the cast. An atmosphere where the actors could feel like they can fully explore their characters without any judgments or self-direction. A creative space where the actors can go deeper in the improvisational present moment, and the filmmakers and the crew can support and guide them along. A truly interdependent process where there are no idle hands on set a place where everyone is involved, and each member on the production is truly critical.
With White Knuckles, we wanted to see what would happen if we wrote a script and then took it away at some point during production when the film begins to breathe on its own. We wanted to see what happens with the characters and we wanted to see where will the story go? It was in a large part about curiousity. Though we had a screenplay that would be great to shoot - we thought that perhaps guiding the improvisation initially, we could fully let go later and produce real surprises and true-to-life dialogue and moments that could not have otherwise been planned.
To do this in a drama that goes to the places White Knuckles does - it took the safety net of the rest of the cast and crew to make this work. Really, it took each other and every individual working together as a unified whole to make this real Interdependent film happen.
There is a point in every soulful, artful film production where the actors seem to fully inhabit the characters, sooner or later. On set, sometimes this happens early other times certain key aspects of the character emerge later depending on the circumstance. But ultimately there is a collaborative search for truth that makes a film by Sabi Pictures and if the film is honest (as I believe White Knuckles is) than perhaps it will be blessed to find its audience.
It is a rare group of talented filmmakers that converged to create White Knuckles. And what we have in this film, is in my humble opinion, a true example of interdependent filmmaking. As filmmakers - we all simply wanted to be able to let go of pages and pre-conceived notions and rather listen very closely to what comes out of (and what comes from within the soul) of the character. We wanted to hear an authentic voice, and wanted to see the story that was the deeper, more meaningful, more real version (than the duplication of the intentions on the page). We want to see the sum that is greater than its parts a piece of real art emerging from our collective creative contributions together.
This is ultimately the collective desire of a collaborative group of artists working on an Interdependent Film. Interdependent Filmmaking is the kind of filmmaking where one uses us and we and our more often than they use I when describing the process of making that film. We think that White Knuckles is unique because of the interdependent nature of the shoot. The WK websites Creative section details examples of how many of us together collaborated on this film, and there will also be some behind the scenes posted to get a look at the faces that made it happen.
As with every interdependent film, there are so many hands on the work that it is hard to summarize or describe the process of each member that took part but each persons contribution made the film possible. And though the credits on the film will generally reveal every persons name that contributed there are so many more roles that were filled by each member than can possibly be listed.
Calling White Knuckles and interdependent film is a way to say Thank You to acknowledge that the film could not be possible without the entire interwoven web of creative contributions, a network of interdependent people, that all get behind one idea. Its a beautiful thing when it works, and it is the most fulfilling kind of filmmaking. And Interdependent Filmmaking is the evolution of the art form, in my humble opinion.
Im honored to have been a part of this process at Sabi Pictures. Sure it is an ever-changing and an ever-evolving process with each new story - but the unique way of making each film bears one thing in common between everything weve made: there is simply no room and no time for inflated egos when a group of artists want to venture into the great unknown of making a film together. There is only room to learn from one another, for true collaboration, for support of each other under any circumstance, and for the collective desire to see the story through to the end no matter what.
We had a very talented group of individuals that came together to bring you the interdependent film White Knuckles as well as Heart of Now. We guided the stories to the end rather than pushed them, and what resulted from the process thus far may move you, and perhaps even surprise you.
Kevin K. Shah
Writer/Director/Producer Interdependent Filmmaker from White Knuckles
in his book, Sculpting in Time, Andrei Tarkovsky observed:
"It is considered that time per se, helps to make known the essence of things. The Japanese therefore see a particular charm in the evidence of old age. They are attracted to the darkened tone of an old tree, the ruggedness of a stone, or even the scruffy look of a picture whose edges have been handled by a great many people. To all these signs of age, they give the name sabi, which literally means rust. Sabi, then, is a natural rustiness, the charm of olden days, the stamp of time. Sabi, as an element of beauty, embodies the link between art and nature."
Below are some of my own thoughts and what Sabi is becoming for us with the passing of time - influenced deeply by Tarkovsky & my experiences thus far with making films for Sabi Pictures. It will continue to change.
Consider for a moment that perhaps Sabi can also be a cinematic aesthetic. Not a fixed set of principles or a rigid system of rules, but rather a creative flow part of the constant search and need for the natural expressive form of sound and images (to present themselves during the process of making the film). Sabi changes with time. It is an ever-evolving, whole-view approach to catalyzing, nurturing and capturing moments that are truthful in their own beauty, simplicity, structure and emotion - regardless of the complexities of planning and production on an independent film. Sabi is an approach that seeks to create, capture and uncover transcendent moments in life that happen spontaneously and unplanned - fleeting glimpses into something Greater - resulting in those hard-to-describe perception altering experiences as universal as art, music, emotion, cinema - life itself. If one was to consider this as an approach to making and experiencing cinema, then you would perhaps be encountering a film by sabi.
Kevin K. Shah Interdependent Filmmaker
"It is considered that time per se, helps to make known the essence of things. The Japanese therefore see a particular charm in the evidence of old age. They are attracted to the darkened tone of an old tree, the ruggedness of a stone, or even the scruffy look of a picture whose edges have been handled by a great many people. To all these signs of age, they give the name sabi, which literally means rust. Sabi, then, is a natural rustiness, the charm of olden days, the stamp of time. Sabi, as an element of beauty, embodies the link between art and nature."
Below are some of my own thoughts and what Sabi is becoming for us with the passing of time - influenced deeply by Tarkovsky & my experiences thus far with making films for Sabi Pictures. It will continue to change.
Consider for a moment that perhaps Sabi can also be a cinematic aesthetic. Not a fixed set of principles or a rigid system of rules, but rather a creative flow part of the constant search and need for the natural expressive form of sound and images (to present themselves during the process of making the film). Sabi changes with time. It is an ever-evolving, whole-view approach to catalyzing, nurturing and capturing moments that are truthful in their own beauty, simplicity, structure and emotion - regardless of the complexities of planning and production on an independent film. Sabi is an approach that seeks to create, capture and uncover transcendent moments in life that happen spontaneously and unplanned - fleeting glimpses into something Greater - resulting in those hard-to-describe perception altering experiences as universal as art, music, emotion, cinema - life itself. If one was to consider this as an approach to making and experiencing cinema, then you would perhaps be encountering a film by sabi.
Kevin K. Shah Interdependent Filmmaker
Julie had a marriage that was so devoid of life that reason gave way to desperation. After years of despondency, she made the choice to move forward. The path, however, might not include William.
Martie Ashworth - a.k.a. Julie - White Knuckles (2008)
Martie Ashworth (Julie) plays opposite Larry Strauss (William) in Sabi Picture's White Knuckles. I would love for some thoughts to be offered by filmmakers that have had the pleasure of working with her, as well as welcome any questions the character or otherwise. This is from the site -
THE STORY BEHIND MARTIE ASHWORTH & THE BIRTH OF JULIE PARIS - Excerpted from Production Journal - August 2006 (Post Casting Session)
so it turns out Martie Ashworth our first choice from the mountain of headshots and resumes we studied is going to play Julie. Amazing that all of our first choices, Julie, William, Dora (and Zak having found Gabe and Amber for the next film) All of our gut instincts have turned out to be right. ...there are so many talented actors over 45, over 50, over 60 and above in this town-it is astonishing. The talent pool at this age is incredible its truly a wonder why more films arent made with, by and for this age bracket. I think Martie will be one of the great ones Julie was described in the script as being in the autumn of her life Martie is when the leaves are at their most beautiful...
When we brought Martie to improvise with Larry, it was chills all around: suddenly William and Julie were Real. Here are excerpts from a bio that Martie sent to me before she had even read the script.
From an email sent on August 13, 2006 by Martie Ashworth
Its hard when a person wakes up and realizes they are unfulfilled and that they are stuck. Most times the thought that they have choices never comes to mind. This is it, and theres no way out. If a persons soul could curl into a fetal position, Julies had. William had lost his joy long ago, he was unhealthy from sitting around for so long, and he was now experiencing age-related health issues. Worse of all, he was chronically depressed, and forever complaining about how bad he felt. A person who doesnt know that change can be made, has a mind that tends to make up scenarios that ease their angst. The dreams of William miraculously recovering and becoming vital again were eventually replaced with thoughts of his car running off of the road and going over a cliff. The idea that he would suddenly have a revelation that Julie was sad or lonely and that he needed to get his act together, was replaced with William getting food poisoning and dying in the hospital. Dying in the hospital was replaced with William dying in his sleep before anyone could even get to him to try CPR. Such was her desperate and lonely life.
But, in the end, Julie knew that till death do you part was a vow that she must not ignore. So, she clung to memories of how William had supported her, held their baby son, had came home with stolen flowers that she loved so much, and how they fit together so well as they curled up upon one another as they slept. They would find their way
Martie
Martie Ashworth (Julie) plays opposite Larry Strauss (William) in Sabi Picture's White Knuckles. I would love for some thoughts to be offered by filmmakers that have had the pleasure of working with her, as well as welcome any questions the character or otherwise. This is from the site -
THE STORY BEHIND MARTIE ASHWORTH & THE BIRTH OF JULIE PARIS - Excerpted from Production Journal - August 2006 (Post Casting Session)
so it turns out Martie Ashworth our first choice from the mountain of headshots and resumes we studied is going to play Julie. Amazing that all of our first choices, Julie, William, Dora (and Zak having found Gabe and Amber for the next film) All of our gut instincts have turned out to be right. ...there are so many talented actors over 45, over 50, over 60 and above in this town-it is astonishing. The talent pool at this age is incredible its truly a wonder why more films arent made with, by and for this age bracket. I think Martie will be one of the great ones Julie was described in the script as being in the autumn of her life Martie is when the leaves are at their most beautiful...
When we brought Martie to improvise with Larry, it was chills all around: suddenly William and Julie were Real. Here are excerpts from a bio that Martie sent to me before she had even read the script.
From an email sent on August 13, 2006 by Martie Ashworth
Its hard when a person wakes up and realizes they are unfulfilled and that they are stuck. Most times the thought that they have choices never comes to mind. This is it, and theres no way out. If a persons soul could curl into a fetal position, Julies had. William had lost his joy long ago, he was unhealthy from sitting around for so long, and he was now experiencing age-related health issues. Worse of all, he was chronically depressed, and forever complaining about how bad he felt. A person who doesnt know that change can be made, has a mind that tends to make up scenarios that ease their angst. The dreams of William miraculously recovering and becoming vital again were eventually replaced with thoughts of his car running off of the road and going over a cliff. The idea that he would suddenly have a revelation that Julie was sad or lonely and that he needed to get his act together, was replaced with William getting food poisoning and dying in the hospital. Dying in the hospital was replaced with William dying in his sleep before anyone could even get to him to try CPR. Such was her desperate and lonely life.
But, in the end, Julie knew that till death do you part was a vow that she must not ignore. So, she clung to memories of how William had supported her, held their baby son, had came home with stolen flowers that she loved so much, and how they fit together so well as they curled up upon one another as they slept. They would find their way
Martie
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