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I
KNOW WHAT YOU NEED (2005) While waiting for the response from Stephen King, Rob and I decided to make our first short movie, "Three Piece Combo." After that, we were still waiting to hear from Mr. King and decided to make another movie based on a short story I wrote in 1992 called "The Devil's Playground." We cast a couple of really good actors and started to make it. We met two other local film makers who owned their own camera and brought them aboard as the cinematographers. Then we got the contracts from Mr. King and dropped the Playground and started I Know What You Need. This was around 2002. We cast the movie and started to make it. We cast Kevin Real as Edward Jackson Hamner, Jr., based on a script read he did for "The Devil's Playground." I thought then, and I still believe today that he was the essence of Edward. We also cast a wonderful actress named Keia Booker, who has since moved to the Pacific Northwest. Despite all my best efforts, the movie was not what I wanted it to be. I was disappointed in the performances, in the camera work and in my own script. We dropped it and decided to come back when we knew more about the medium. See, if it was to by my calling card, it had to be perfect. We went on and made Happy Holidays and then sat around for a couple of years. I finally was able to get my own camera (thanks to my sister and her husband), sound equipment (thanks to a friend and a graduation present), and editing software. I could finally do something on my own without relying on other people to make it happen. In 2004, we finally decided to try again. We called Kevin Real and he was happy to come back to help us. We partnered with the 12th Street Kids production team to help out with the sound and cast one of them in a role. We held a casting call and cast Valerie Jobe from a local university film program to play Alice. We cast Megan Harwick, a local theater and commercial actress, to play Elizabeth. We cast both Adam Hale and Kyle Dickinson using Magma Talent Agency, a casting service out of Oklahoma. I also rewrote the script, trying to fix slow moving parts by adding a new character and a couple of new plot twists to replace inner monologue and conversations in the short story. I cast that role with Rob. I then brought aboard Tony Moyer to be my production manager. I had met him in a screenwriting class and he became the most important person on the entire project. He kept all the notes, did all the paperwork and was the person who made sure that all I had to do was direct the movie and not worry about all the other stuff that would have bogged me down. He also brought the man who would be our cinematographer, Boots Kennedye. Boots was invaluable as well, and taught me more about lighting and camera work than anyone before him. He made the scenes look great. PAGE 1 / PAGE 2 / PAGE 3 / PAGE 4
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