Log-line
A black
security guard endures the mind-numbing routine of his job,
condescension from other workers and constant surveillance
from above, until a mysterious act of vandalism helps him
regain dignity and control.
Synopsis
Robert,
a security guard, reports to his first day of work in the
lobby of a Manhattan office building. Davis, his supervisor,
gives him a key piece of advice: ÒYou want to pretend that
you have power, even though you donÕt necessarily have it.Ó Robert thus begins his first day
on the job where the greatest dangers turn out to be boredom
with the mind-numbing routine, condescension from the buildingÕs
white collar workers, and constant surveillance from above.
When the
corporate logo next to his security desk is mysteriously
defaced with obscene graffiti, Robert becomes the prime
suspect and is suddenly in danger of losing his job. As confusion spreads through the building
and his supervisors try to cover up the situation, Robert
manages to gain a sense of control and maintain his dignity.
Production
Notes
In
its first incarnation, ON GUARD was a 70-minute movie created
for the 72 Hour Feature Film Project in Chicago. Under the
rules of the festival, all footage was shot and edited to
completion over a period of three days. This version debuted
at the 72 Hour Film Festival, June 20 in Chicago, where
it took third prize.
Following
the festival, producers Karin Chien, Kevin Lee and Will
Comerford decided to edit the film into a 16-minute short,
focusing on the dynamic performances of stars Kevin Jackson
and Ron Domingo, and enhanced
by the music of Will Calhoun from the acclaimed rock group
Living Colour.
Every aspect
of this movie was created to be consistent with the concept
of speed filmmaking as put forth by the 72 Hour Feature
Project. Speed filmmaking pushes the digital video revolution
to the next step; immediacy, explosiveness and raw energy
are at the root of the production, as well as the final
product:
Statistics
that defy the laws of film production:
Shot
35 pages per 12-hour day for two days
Edited the completed feature in a 24 hour period
on 3 editing systems
How did we do it?
- The script boils down its drama to a single room
and single day, echoing the compact intensity of the production
itself. The
rigors of the long day of shooting is reflected in the
rigors of the long day of work that the movie portrays.
- The dialogue was developed by the actors throughout
a week of improvisational rehearsals, and was further
improvised and developed as the cameras rolled.
- Director of photography Leland Krane proposed a
three-camera setup, to record the long takes, simultaneously,
allowing for easy cutting and continuity in the editing
room.
- The single set was lit from above to avoid timely
setups.
