"Berlin" - A Norm Sanders Film - DVD NOW AVAILABLE

[Norm Sanders]

DVD now available for purchase at www.berlin-themovie.com

- Current Festival Awards, Nominations, and Official Selections -

A story of lovers reunited.
One person's act will forever set the course for the rest of their lives.

CAST

KATHERINE - Rebecca L. Dunn
ROBERT - Shan Applegate
EDWIN - Norm Sanders
GERMAN SS OFFICER - Joe Rosanek
GERMAN SOLDIER #1 - Reid Phillips
GERMAN SOLDIER #2 - Aaron Truman
GERMAN WAITRESS - Teresa Decher
CABARET PROPRIETOR - Paul Kisser
ANGRY WIFE - Megan Powers
CABARET PATRON - Joe Grigsby
OLDER KATHERINE - TBD
OLDER ROBERT - TBD


EXTRAS

Orchestra Member - James Donaldson
Orchestra Member - Tim Oakley
Orchestra Member - Alex ____
Orchestra Member - David ______
Orchestra Member - Brady Patterson
Orchestra Member - Clayton Peirce
Cabaret Bartender - Keith Korter
German Civilian - Andrea Krecklow
German Civilian - Garrett ______
German Civilian - Flossy McShane
German Civilian - Lauren Green
German Civilian - Karen Grosskreutz
German Civilian - Donna Rapp
German Civilian- Desiree Mariscal
German Civilian - Ted Grigsby
German Civilian- Tiffany Cook
German Civilian - Sam Kimpton
German Guard - Mack _____
German Gastapo - Matt Dotson
German Police Officer - David Smith

CREW
Norm Sanders .................. Writer / Editor / Producer / Director
Rebecca L. Dunn .............. Writer / Co-Producer
Dan Ayers ....................... Director of Photography
Herman Witkam .............. Composer, Sound Editing & Mix, German Translator
Bree Dennis .................... 1st Assistant Director
Susan Funk .................... Production Supervisor
Amanda Russell .............. Script Supervisor
Ryan E. Walters .............. 1st Assistant Camera - A Cam
Isaak Lane Koval ............ B Camera Operator
Brad Reeb ..................... 1st Assistant Camera - B Cam
Adam Resare ................. 2nd Assistant Camera (A/B Cams)
Jerry Turner ................... Digital Input Technician
Matt Semchee ................ Key Gaffer
Fro Waters ..................... Key Grip
Peter Hermes ................. Swing Gaffer/Grip
James Eubank ................ Art Director, Graphic Artist, Carpenter
Oakley Design Studios ..... Prop Fabricator
Tim Oakley ..................... Prop Master, Graphic Artist, Carpenter
John Kirkley .................... Set Dresser, Carpenter
Valerie Powers ................. Prop Fabricator
Tavia Onstad .................. Art Department Assistant/Runner
Ken Kupelian ................... Sound Mixer
A.J. Brooks ...................... Boom Operator
Erik Griekspoor ................ Sound Designer, Foley Artist, Sound Editing & Mix
Jay Lance ....................... Historical Consultant, Wardrobe, Props
Paul Sutfin ..................... Wardrobe Assistant
Rose Barclay .................. Key Hair Stylist & FX Artist
Miranda Sutton ............... Hair Stylist
Stephanie June Johnson .. Key Makeup Artist
Tarah Shuler .................. Makeup Artist
Kristina Quevedo ............ Production Assistant
Tyler _________ ............... Production Assistant
Denise Gibbs .................. Extras Coordinator
Steve Armenakis ............. VFX Artist
Jeremy Tuttle ................. Graphic Design Artist (Poster, Promotional)
Hans de Koomen ............ German Translator
Amy Asivido ................... Lyrics/Song Writer
Juliana Tobon ................ Onset Still Photographer
Kevin Hayes .................. Behind The Scenes Videographer
Krysta Kelley .................. Catering
Darcy Robertson ............. Craft Services


SPECIAL THANKS/VENDORS

Huber's (Cabaret Set/Location)
City of Vancouver, WA (Officer's Row Set/Location)
Vancouver National Historic Reserve Trust (Officer's Row Set/Location)
Charlotte Swartwood (Officer's Row Set/Location)
Monte's Pump (Old German Barn Set/Location)
Gear Head Grip (Electrical/lighting & Grip)
235 Studios / Ryan E. Walters (Camera Package)
Koval Productions (Camera Packag)
Bryan Edwards / 7th Trumpet Productions (Camera Equipment/Monitors)
Nelson Entertainment (Sound Equipment)
Roosevelt High School (Orchestra Instruments/Props)
Wally's Music (Orchestra Instruments/Props)
Cromwell's (Tuxedos for Orchestra Members)
Portland Roasting Coffee (Craft Services)
Peter Corvallis Productions (Stage Risers/Park Bench)

[Norm Sanders]

"Berlin" was originally inspired by DVXuser's SpyFest, where the storyline & script was initially written in February/March of 2007. One week before production was slated to begin, I pulled the plug & cancelled production because I was concerned that some key elements weren't coming together as I had envisioned. It was an extremely tough call, in fact one of the hardest I've ever had to make, but in the long run it was worth it.

When I told Rebecca Dunn, my Co-Producer & Co-Writer, that I wanted to bring BERLIN back for a late fall production, we both felt good about the timing & how it would turn out. Next up was then to contact all of the original crew & see who was still on board. A major blessing was that not only were most of the original crew excited to see "Berlin" going back into production, but along the way we were able to expand the crew into the impressive list now shown.

Before I continue, I have to give sincere appreciation to two of the biggest contributors in making this film happen, with regards to the production value that it has, at the rock bottom low budget we had to work with: Jay Lance and Gear Head Grip. While EVERYONE brings a lot to the table from the Camera, Lighting/Grip, Art Departments and more, I feel the need to point these two out. If it wasn't for Jay Lance, this simply would not be a believable period film. Jay provided probably 90% or more of the wardrobe, which included TENS of thousands of dollars worth of authentic German uniforms. He has also been a vaulable asset to the production in the way of Historical Consultant. He really knows his stuff. Gear Head Grip has saved us, financially, and has given us insane deals on rentals that just should not exist, including a 3-Ton grip truck, Fisher Dolly, track, lighting, and more.

It seems everyone loves a good period film afterall, and is willing to throw in all kinds of assistance, which also explains how we were able to get our incredible locations!

Our Cabaret scene takes place at Huber's, Portland's oldest establishment since 1887. Inside, it's all original/refurbished 1910 decore really helps to sell the era. While location scouting and scrambling to replace our first location only 3 days before we were to begin filming, I came across an immense old barn, located in Ridgefield, Washington. I heard complaints from a few crew members about the drive out there, but once everyone was on set & saw the place, I never heard a single complaint again. They knew why this set was perfect, and worth the drive. Finally we have Officer's Row, which is a National Historic site. All the homes on this row were built prior to the 1900's, and are all beautifully restored.


ABRIDGED PRODUCTION JOURNAL:

February 2007 - SpyFest is officially announced for DVXuser, and the ideas start flowing for a possible spy themed short film. After looking up the definition & history of "Spy" on Wikipedia, I get the idea of doing a period film, set in WWII. I run the ROUGH concept past some cast & crew from "Where Silence Falls", at the wrap party, and many are enthusiastic about it. Steve Waters contributes some ideas that impact the story ... he'll get additional story credit.



March 2007 - While traveling to Miami for business (the day job), I'm sitting at LAX thinking about the story some more. I run more past Rebecca to get her thoughts/feedback, and she suggests the lead be a singer, perhaps in a cabaret. I warn her of the location challenges that will come up to accomodate that, and tell her if she can find a location, then she's got her wish & I'll write it into the script. Shortly after I arrive back from my week in Miami she approaches me with a possible location. She talks to the owner of Huber's, whom she knew, and presented the idea. He seemed open to it, and was only asking for $200 rental for one day's use, during non-business hours. We go to the location together to meet with the owner, and the place is perfect. I later call the owner and talk him into two nights use for free, in exchange for whatever promotion I can provide for the restaurant with the filming, in addition to having our cast & crew party there. He agrees. Our main location is now secured, and the script is underway.

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With the script written, it'll fit into the six minute DVXuser time limit, but just barely ... but I already know where to edit the film to cut out any fat, and still have it work great. We'll just have to run & gun a park scene for the ending to make it all work. Have also written lyrics to our main cabaret song with the help of Rebecca's friend, Amy, who's proved extremely valuable in poetic writing. Herman, our composer, is writing the music & recording the instruments to it. We'll record Rebecca's vocals in my office.

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Begin casting, and securing remaining crew. I've rec'd a lead from Shawn Nelson (DVXuser's shawneous) to contact a friend of his, Mike, about possible re-enactment people for the soldiers, etc. After contacting Mike, he informs me the REAL person I want to speak with is Jay Lance, a local that outfits most of the period film productions that come to town. This guy's seriously pro, so I doubt he'll want to speak with the likes of me, making a no-budget short film. But following my motto of "If you don't ask, the answer is already 'No'", I decide to check it out anyway. In the meantime, I've also been advised to check with a guy who leads up a Swing Dancing group in town, and may have some people with their own period authentic wardrobe to help fill the cabaret scene at Huber's.

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Have recorded Rebecca's vocals, and sent the audio to Herman for final mixing. He's done an excellent job, and we've got a great mix of the song now ready for shooting to. This will be my first experience shooting a scene like this, much like (I'm assuming) music videos are shot. Hmmm, great idea. We'll shoot a portion of it like a music video & have footage for the film and or some kind of cool extra.



April 2007 - I've contacted Jay Lance, and he's at least agreed to read the script as a favor in possibly offering any technical or historical accuracy advice. I've also contacted the gentleman who heads up the swing dance group. Said he can easily pull people together for it, etc. Seems too easy. Also is leaning heavily towards paying the people as extras (siting how they've been paid for larger budget filmsas extras), which I have no budget for.

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Have just secured the lead for Robert (Brian Ibsen, out of Seattle, WA), the rest of the cast is in place, and all crew is in place with the exception of Gaffer, which is going to be sketchy. It's okay though, as I have some lights & gear we can use, if need be, though they won't be as pro. Regardless, should be a fun & exciting shoot, and all seem to be looking forward to it. The production schedule is planned for the last two weekends of this month, taking up both Saturdays & Sundays, allowing a relaxed shoot with plenty of time. The only major thing pending is rehearsals for the leads, and pulling together the extras & wardrobe.



April 2007 - ONE WEEK BEFORE SHOOTING - I've decided to cancel production. What a tough, gut wrenching decision! I had another trip to Miami, and while there just wasn't convinced that all is coming together. With the potential of this project, I don't want to cut corners and shoot it just for the sake of shooting it, especially if everyone is volunteering their time. Here's a link to the official announcement: http://www.dvxuser.com/V6/showpost.p...&postcount=344

Here's also the link to the portion of the thread with the announcement, and then following replies from the DVXuser community: http://dvxuser.com/V6/showthread.php?t=89647&page=35



July 2007 - In the past three months I've done a few other projects (WITHOUT PROVOCATION - last minute entry/replacement for SpyFest that we shot in one day with little to no prep, and experimented a lot with - also shot three Heinz Spec commercials for a competition Heinz was having), and now feel inspired & ready to bring BERLIN back from the ashes. Have spoken with Rebecca about my intentions with it again, and have began calling all the original crew. Nearly all are on board & excited to see it made. Have lost Brian Ibsen for the lead of Robert, due to him moving to LA, but have found possibly an even better fit from new LA transplant, Shan Applegate, whom I cast in the Heinz spec commercials. Going to set the actual production for October. It'll give us PLENTY of time for pre-production, and I think the fall colors will work nicely as well. Speaking of which, I think I'd like to expand the script some from the original 6 minute concept to get into the story some more.



August 2007 - Most all of the crew is in place, except for the 1st Assistant Director, Gaffer, and a couple other fairly key spots. Main Cast is set as well. I sent WHERE SILENCE FALLS into a local film festival a while ago, forgot about it, and found out it was accepted. Niche Film & Music Festival ... sounds cool, it's local, think I'll check it out.

---------------------

Went to the Niche film festival, and clicked pretty well with several of the people, one of which was THE person who set up & ran the fest, Bree Dennis. Turns out she's got an extreme passion for film, loves to produce & 1st AD, and is excited to be a part of Berlin. Met a friend of hers, Matt Semchee, who's also interested in being the Gaffer, though I'll have to check him out further to see if he knows his stuff, etc. Said he may have a friend who could help on Grip, and might be able to swing us some deals at Gearhead Grip, where he works.

---------------------

Dan Ayers, our DP, has just been picked up for the 2nd season of The Riches on FX, and will be shooting in LA during the production of Berlin. He's assured me, however, that he'll fly back for shooting Berlin on the weekends, but he'll be gone during most of pre-production, including working the shot list, etc. Bummer. We'll have to work around that the best we can.

---------------------

Have now met with Jay Lance in person. He really digs the script, and now wants to be more involved. I've told him that while I'll try to take care of him the best I can, this is LOW to no budget, and ultimately it's pro-bono. Thankfully, for whatever reason, he likes what I'm trying to do with the film, likes the script, and is taking a HUGE leap of faith with me. Wow, having this guy on board is going to do insane things for our production value, with regards to wardrobe. In the initial meeting he's already given some great insight & tips we'll need to work into the script to make it as historically accurate as possible. Again, wow.



September 2007 - Doing some camera adapter tests with Ryan E. Walters (working with Dan as 1st AC) to see if Dan feels comfortable with the 35 adapters. Testing will be done at Ryan's house, along with some rehearsal, blocking, etc. Perfect opportunity to test Matt Semchee out as Gaffer and see if he knows his lights, etc.

---------------------

Yep, Matt knows his stuff. Cool guy to work with in person too. He's confirmed his buddy, Fro, should be onboard for Key Grip as well. Seems pretty confident he'll be able to get us what we need from where he works. Sounds too good to be true, but sounds great all the same. Testing went well with the Letus35 Extreme adapter, and Dan was pleasantly surprised with the results. Looks like we'll plan to use them, but now have decided that we HAVE to have a 2nd camera (Panasonic HVX200) to do a 2 camera shoot, due to the massive shot list schedule I've put together, in addition to nearly doubling the story/script length with still only the same amount of days to shoot in. This is one of the main reasons why we opted not to shoot on the new RED, which we could have had a great deal on. The camera is too new for Dan's comfort level, and two cameras for the additional coverage is now a must. But where to get another camera ... for free?

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Posted on Craigslist what we were doing & had a surprising amount of people email stating they own a HVX and would love to be able to work with the production (probably because of Dan, and just the cool idea of doing a higher quality period piece). After interviewing everyone over the phone, looking at reels, etc., I've decided to settle in on Isaac Lane Koval. Seems like he's got a great demeanor, and should be good to work with. Excellent photographer too. So now we've got our two cameras, just need to fill out the camera teams.

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End of September now. We were planning on shooting the exterior scenes, which is also the opening & closing of the film, during the first portion of October. But as I drive around it's apparent the trees aren't changing to fall colors as quickly as I'd originally hoped. It's REALLY important to me to have vibrant fall colors with the leaves exploding in reds, yellows, oranges, etc. So, I'm going to push that weekend back to the very last weekend of October now. Hope my plan works. Dan's afraid we may miss our window altogether & have the trees more winter/barren looking then. We'll see ... I hope I'm making the right choice.




CLICK HERE TO CONTINUE THE JOURNAL

[Norm Sanders]

October 2007 - I don't think I've EVER watched the leaves change in fall as much as I have been now. Daily, if not hourly. So far, the bet's paying off. They're still taking a while to change. Problem is, I've still not officially nailed down our exterior location, or the interior home we'll need, though I'm working on a lead with the historic Officer's Row area, that dates clear back to the Hudson Bay Trading Post Days. This area's a national historical site with gorgeous homes owned & maintained by the City of Vancouver. Hopefully the lead works out. I've also got ads out for the elderly versions of our leads that we need, but no luck yet. I'll keep looking.

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Rebecca has recently stepped up some to help with getting the extras on board. We've also decided on our remaining cast from auditions we had at the end of September. All looks good & I've got mp3's online for the people to learn their roles in German, thanks to translation from our composer & his mother. Rebecca's also rec'd a lead with a local antique store that NEVER rents their dresses, but they liked her & will make an exception for us. On that front, things are coming together ... however, I just rec'd word that our German Torture location is now falling apart, only a week+ before having to film there. Dang it.

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It's now three days before we film the torture scene, and it's dawned on me that we don't have to have an underground bunker scene ... instead, we'll make it an old barn, like a place in Holland, or something. Out into the country I drive, as I start scrambling looking for a barn that'll not only fit the look & size for cast/crew, but also be available. Found one! And it's beyond anything I probably could have hoped for. Again WOW! Only two days before filming I work out an agreement with the owners & then notify cast & crew immediately of the location & confirm call times.

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There's a little bit of grumble from folks about the drive, but once they're there everyone acknowledges the location is incredible & spirits quickly improve. Not to mention I think people got a sick satisfaction out of seeing me freeze in my underwear as I sit tied to a hard wooden chair in wet, 38 degree weather. Rose Barclay did an EXCELLENT job on the FX makeup, making me look all beat to hell. Matt Semchee & Gearhead Grip REALLY came to the rescue for us. Matt shows up with a 3 Ton Grip Truck because it wasn't being rented that day. No guarantees he'll be able to get it again, but today we had it all. Awesome ... another WOW moment. Shooting goes without any hitches, other than we realize that we need EVERY ounce of light available, and end up having to scrap the idea of using the Letus35 Extremes (SUCH a nice adapter!), in addition to the time it was taking to change lenses, get measurements for focal points, etc. Call time was 7am, and we wrapped on time by 3pm, with everyting packed & everyone ready to leave the site. All are to go home, sleep for a few hours, and report back to set at 1am for a 12 hour shoot at the Cabaret scene. It's going to be grueling, indeed.

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Huber's, 1am. Huge learning experience this shoot was. It was a bottle neck as all of the extras & cast showed up at the beginning (now I know better), and makeup & hair were trying to get everyone through as quickly as possible. Nearly 6+ hours later, all are through. Thankfully we're able to start shooting angles & sections of the Cabaret scene in advance, as the extras come out. This was by far our most complicated set to light, shoot, work around the restaurant closing hours, number of cast & crew, etc. This particular scene has over 60 people, cast & crew, on set at once. HUGE for a low/no budget short, in my opinion. Again, a testament to everyone's excitement about the subject matter, the shooting location, and the networking opportunity with each other. Thank you, God. We had to cut plenty of angles, and re-work some planned shots based on getting the maximum bang for the buck, but we end up getting out on time with everything cleaned up. Incredible ... it's been a HARD shooting weekend with a TON of people & activity involved ... but the bulk of the actual story takes place NEXT weekend ... this weekend was mostly about the look & filling the scenes.

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It's mid week, only three days before we shoot our exterior scene & we still don't have any elderly talent to play the roles we need filled. Augh! That's it, I'm hitting a local assisted living center & I'm going to just start walking through the main areas, interviewing & asking as I go.

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Found 'em!! Mack & Marge McClintock. Cute couple, married 60+ years, and will fit the bill nicely. They thought it sounded interesting (Mack especially thought so), and agreed to come down & meet us on set in a couple of days. I checked to make sure they have transportation. Hope they don't forget!

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Saturday, 8am call time. Charlotte, the lady who was kind enough to let us use her Condo she's renting at Officer's Row, asked if her Grandkids could be in the film. Absolutely, I'll put them as kids playing soccer behind Mack & Marge in the park. Yay, Mack & Marge showed up! Put them straight into makeup. Jay Lance can't be with us today, but he was kind enough to drive to set & bring the uniform my character, Edwin, is to wear. Makes sure everything is tip-top before he takes off. Shooting with Mack & Marge goes well, though we're a little behind schedule. We're going to break for lunch, and then tackle the circle shot that Fro & Peter have been workingon setting up for the big "Michael Bay" embrace I've got planned for Edwin & Katherine. The track & set looks impressive, if nothing else We come back from lunch & rehearse the shot a couple of times for timing. Once finished, Fro and the others said it was magic. I can't wait to see it in the editing room! We finish the day, on time thanks to Bree - our Clock Warden, and everyone leaves to go home & get a few hours sleep before call time again at 1am for another 12 hour grueling day.

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Final day/night/morning of shooting. We're all beat. The art department does a FABULOUS job on building the dressing room scene ... RIGHT there in a corner of the restaurant, inbetween our shots. Amazing. There's never really been any drama on any of my past sets, but this one got the closest ... still nothing compared to what some productions have experienced. Everyone is dead tired, so the crabbiness starts to show from time to time. However we actually end up wrapping several hours ahead of schedule, and to everyone's delight they get to go home early. Except for the Art Department who I later discover goes out drinking ... at 10am in the morning. Unfortunately, there is ZERO way to completely lock up Huber's without a key, and I don't have one. So I've got to wait there by myself until someone shows up ... at 2pm. It's 10am. This sucks. I sit at the restaurant for 4 hours, in & out of conciousness as odd squeeks & noises keep me awake. Finally someone shows. Nice. Sleep is around the corner.


November 2007 - Folks are eager to see what the footage looks like, so I take select cuts from the film & set it to the main cabaret song, "Berlin". With little to no color correction folks love what they see. Back to working on getting the locked edit to the sound team, ASAP. My initial goal is 2 weeks. Let's see if I can stick it.

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Um, again, WOW! A gentleman named David that I met on MySpace.com dug what was going on with BERLIN, and was inspired by some of the pictures Juliana had taken. On his own accord, he put together a splash page and said I could use it if I wanted at no charge. I later find out that this guy one the KEY ART AWARD for his work on Miami Vice! He's also been involved in the new movie, WANTED, that's coming out, and more. Seriously pro guy inspired by what was happening with BERLIN!



December 2007 - Nope. Missed that deadline. I end up getting the locked edit to the sound team at the beginning of December, about two weeks later than I had hoped. The holidays can play havoc on your plans. In addition to this, I've found out that the person who was going to handle all of the BTS work (featurettes for the DVD, etc.) hasn't edited frame one of the footage yet, 5 weeks after we wrapped production. I opt to go ahead & take it over myself, and drive out to get the tapes. More work on my plate now, but still hope to have the DVD out to folks by the end of the month, if at all possible. I schedule interviews for the BTS material, and we quickly tape those at the beginning to middle of December.

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Sound team is running behind as well, due to location/studio availability issues, and again, the holidays. It's understandable. The DVD won't be out until at least January now, and I let the cast & crew no this.



January 2008 - Things are starting to crawl more. Sound is starting to come together, as is final score. I've got the title & VFX being completed as well, while I chip away at the BTS featurettes.



February 2008 - My position for my day job changes within my company, and I'm flown back out to Miami for a new roll-out. The additional travel, as well as extra time I'm having to put into the job is seriously setting me back with the extra DVD features, though thankfully all sound & the film itself are completed.



March 2008 - Putting out bids now for the DVD replication as the DVD is coming closer & closer together. The day job is taking a HUGE beating out of me with regards to how much time I'm able to put into the finishing touches, while still trying to be a husband & father. Yikes ... lots of pressure I'm putting on myself, however, as I've got cast & crew that are anxiuosly waiting the finished product, a wrap party, festivals to submit to, etc.



March 29th, 2008 - Damn it. My dog of 13 years, Bailey, the only dog my kids have ever known, dies. Well, not really, yet. I find her in the morning crumpled, and a mess is everywhere. It's apparent she had a stroke, is now blind, paralyzed, and in agony. I tell my wife, and sneak out with her so the kids don't notice. I have her put to sleep that morning & I cry like a little girl. Was going to try & really finish up on the DVD today ... just not in the mood for it now.



April 1st, 2008 - Just three days later since Bailey died, and are heading up to Seattle for a few days with the kids for spring break. On the way I get a call from my company stating there's a major RIF (Reduction In Force), and they're getting rid of 2/3 of the company ... including me. Ouch. Well, at least I've got time to finish up BERLIN when I get back! Well, that, and look for another job ASAP. While balancing all of that out, I'm going to get cracking on a new website as well. I never did finish the old one, and with the new look that David put together, I want to redo it & finish it this time.



May 1st, 2008 - The DVD is done, I'm waiting on the FINAL last changes I've had Jeremy Tuttle do on the artwork for the cover, label, etc. However, I've rec'd a voice mail this morning from my step-father. My mom just died. It was unexpected. Wow, the kicks just keep on coming. Needless to say, a lot of things come to a halt right now as I prepare for the funeral, travel, etc. At least, as far as BERLIN goes, I've been able to submit it out to 10+ festivals by now. Still no job yet, either. They say things come in 3's ... this had better be it for me. I'm ready for a turn-around, get BERLIN out the door & completely done, and start seeing some positives happen again.



May 15th, 2008 - 2:14am - I sit here updating this production journal as my last entry on this journey, BERLIN. The DVD is at the replication factory (Discmakers), and I'll be approving the final proof tomorrow. Jeremy's done an incredible job on the art work, and the proofs really make his work shine. The website is up (www.berlin-themovie.com), and the film has already had it's first official sale (pre-order). Email is going out to the cast & crew before I hit the sack. Also, not much more than 10 hours ago, I accepted an offer with FedEx Kinko's as a National Corporate Account Executive, working with a portfolio of 15-20 accounts on the West Coast. Things are turning around, and looking positive again; thankfully. Can't WAIT to see how BERLIN does at the festivals. The film is solid, and the DVD is seriously pro in almost everyway. Folks will dig it, I'm sure, and I'm looking forward to the feedback.

[Norm Sanders]

[Norm Sanders]

Reserved.

[Brandon Rice]

Right on! Been waiting for you to start a thread for this! Can't wait to check it out Norm!!

[Simon Höfer]

That looks like a big production. Looking forward to hear about it.

Do some parts play in germany?

[Michael Anthony Horrigan]

Looking forward to this one! Can't wait to see to see some screen grabs.
The poster (as seen during SpyFest) looks great!

Keep us up to date...

Cheers,

Mike

[Edgen]

Looking fantastic norm! Can't wait to see some BTS grabs and anxious to watch the film grow and evolve.

Cheers!
/j

[Norm Sanders]

Thanks folks, I'll try to update this as I can. I'm incredibly swamped right now as we're preparing for this coming weekend as well, so thanks for bearing with me!

Nomis, this is all shot in the U.S. Oregon & Washington, to be exact.

Anyway, some pics posted up above, with the top one being a downrez from the actual 720P frame grab, direct from the HVX200.