Today we locked the picture. That means that all of the shots that tell this story are arranged in the order that they need to be. From here on out, these won’t change. The music and audio, however, will change. The audio will get cleaned, sweetened, balanced and music will be added.

Yes, yes, yes, that obnoxious laugh coming from the sidewalk outside our location will be evicted from the film. Certainly, it will not be missed. Dead zones and other audio potholes will be smoothed over. It will sound as pretty as it looks. And let me emphasize that “Sunlight” is visually stunning… it’s hi-def after all. And Jonathan Houser, a gifted cinematographer in his own right, has an amazing eye for composition and creating impressions that lent itself well to the telling of this story. Of course, there was also Tony Tibbetts, the editor, who did a marvelous job of dissecting then assembling the raw footage and Lenne Klingaman, who turned in a remarkable performance every single take; there’s not a shot or even a moment when she wasn’t giving 100%, which, to offer up a bit of insider information, also helped us to use outtakes and b-roll in the final edit of the film.

I’ve always believed in this story and now, looking at our final cut, I know we’ve made something very, very special. It’s beautiful to look at, the performances are strong, the story is sweet and it all comes together in a breathtaking ten-minutes. From start to finish, this is exactly the kind of movie I’ve always hoped to make; it’s elegant, ambitious, ambiguous, sensuous, impressionistic and deeply meaningful.

But that is the end of my feelings for the film. What matters now is that it speaks to others (although to do so, it must be SEEN by others, so that’s where we go next: a festival near you!)

Thanks for your continued support.

Cheers
S