A Case Study
Narrative | Dramatic Features
Film Name: Jammed
Genre: Dark Comedy
Date: February 2021
Director: Laura Lewis-Barr
Producer: Laura Lewis-Barr
Writer: Vince Gatton
Cinematographer: Laura Lewis-Barr
Production Company: Inspirare Theatre and Film
Budget: $300, mostly for doll clothing. (Only partly kidding.)
Financing: Self Funded
Shooting Format: dslr 35mm
Screening Format: 16:9
World Premiere: NYCITFF
Awards: N/A
Website: https://www.vimeo.com/lauralewisbarr
indieactivity: Tell us about “who you are”?
Laura Lewis-Barr (LL): I’ve worked as a playwright, theatre director and educator for many years. Ten years ago, one of my scripts was chosen to be filmed as an indie feature. I was on set and then able to step in and help edit. I fell in love with editing– especially the power to really craft a moment with such precision. I eventually bought a decent camera and took some filmmaking classes. Stop motion felt like a way to practice with my camera in my basement in Chicago. My doll casts were very patient as I explored the basics of filmmaking. I fell in love with stop motion. When the pandemic hit, I lost most of my freelance work but I was able to use my extra time to keep making stop motion films .
Introduce your film?
Laura Lewis-Barr (LL): Jammed is based on a fantastic script called “Jam” by Vince Gatton. It is really funny but also a very dark exploration of corporate culture and the violence in our culture. I had never produced anything with my dolls that turned that dark. I was a bit nervous about it and until I was finished, I wasn’t sure it would work. The design emerged from separate discoveries – I was pleased to find the opening piece of artwork, and then to have it hover over the action throughout the piece. My “casting” involved finding some new dolls and repurposing older ones that seemed to fit the characters.
The Official Trailer for JAMMED shot and directed by Laura Lewis-Barr
Tell us why you chose to write, produce, direct, shoot, cut/edit the movie? Was it financial, chance or no-budget reason?
Laura Lewis-Barr (LL): I usually produce and direct my own scripts but sometimes it’s good to take a break. I began reading scripts on the NPX site and found Vince’s amazing script. I liked the message of the piece and liked the idea of tackling a new genre (dark comedy).
What are your personal experiences putting on all these hats/responsibilities (simultaneously)? Tell us about story, writing, and production?
Laura Lewis-Barr (LL): My challenge with Jammed was to not only make a stop motion film but to convert a stage play to a film. I was delighted to find ways to keep the “actors” moving throughout the single set. But their long speeches were a dilemma for me. My breakthrough came when I found footage from Prelinger archives and realized I could deepen those moments with found footage.
What worked better in this latest production that mightn’t have worked so well in the last one you did?
Laura Lewis-Barr (LL): I continue to learn what the dolls can and cannot do. I continue to learn to break down each moment visually to help the audience understand the action since the dolls have a limited range of expressions. Many of my test audience understood the subtext of the dolls as they look at each other at the end of the film. I may be getting better at editing for meaning and understanding.
What were the advantages and disadvantages in the way you worked?
Laura Lewis-Barr (LL): I’m used to working alone so I’ve had an advantage during covid. Sometimes I even do the voices but for Jammed I knew I needed great voice actors. I was able to find my cast online but I soon learned that I’d have to work at creating a cohesive voice-over sound, since they each had their own set up and equipment. I found ways in Premiere Pro to adjust compression and other sound qualities. It wasn’t easy but I learned much more about listening to voice-over for quality.
What was the first project out of the gate?
LL: I started with a short piece I wrote specifically for stop motion. I knew nothing about how to get the dolls to stand or how to create a set that wouldn’t fall over if I bumped into it. I realized later that I hadn’t white balanced my shots! But that piece, “The Doctor’s Last Day,” is still very special to me. It has lots of heart and my friends loved it. Soon after that film, my husband built me a stage of metal and I began putting magnets on the bottom of my dolls feet. (This sometimes required surgery first!). Eventually I learned how to create or purchase better backdrops and started using green cardboard as green screens.
What do you hope audiences will get from the presentation of your film?
LL: I hope that audiences get drawn into the story and let it move them. Can’t say more since I don’t want to give away any spoilers.
What else have you got in the works?
LL: I’m planning on creating a series of modernized fairytales for adults and distribute it as episodes on Amazon.
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