“So, we’re shooting in an airplane? Why does the pilot have a mohawk?”ĭuring this time, I was also casting for the film. I’m in no way an artist, and I met with Kyle Hardesty to show him what I had drawn. In Jacked, I was having so much trouble describing what I wanted that it only seemed best to create my own storyboards. Early on in my career, I had a knack for outsourcing almost everything I could in order to focus on directing (or editing, or whatever major creative role I was playing in a project). I briefly hired a storyboard artist, someone with very little experience in creating storyboards, yet my lack of good direction nearly scared her away. What are the challenges? What are the complications? How can I keep this thing organized? I decided it would be best to storyboard. I researched the process of shooting inside a car. In approximately 48 hours, this nice guy sent me a complete script. I gave Jeremy free roam to create the characters to his fancy, and only suggested that the banter between them be clever. I had a meeting with Jeremy Fox to discuss the script. I didn’t have to network much to obtain hands to handle the production. I had moved to LA from Florida, and luckily, so did a handful of kids from my film school class.
It took about a year until I was able to find time to do it. “Three burglars try to steal a car – at the same time.” Loved it. Brandon Meyer spit an interesting idea at me while shooting Rough Draught. It’s funny because just as in the industry, stories and ideas formulate early on and can take up to a year to shoot – most, even longer.
Jacked was something I wanted to put together for a long time.
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