Okay, regazzo piraña eats here a lot Say hello to Captain Bob, Nancy and Chi when you go. You’ll get extra good service if you tell ‘em Ethan sent you! If we weren’t at Brutti’s or with Martin and Anthony at Pancho Villa – Max and I devoured many a delicious meal here!

Warriors Grill is a family friendly, family-owned and operated Mongolian BBQ Buffet. They deliberately left plenty of open room in the dining room so you won’t feel crowded or cramped. Choose from a superb selection of fresh vegetables and meats, add different sauces for flavor, and watch their chefs cook your meal before your eyes. Nice bar, too offering draft and cocktails.

Here’s one of the first looks at behind the scenes of Atlantis Down. One of things you’ll catch in the opening montage is the original scouting expedition on the West Coast. I had not been part of the production at this point. Max and I were talking about how his project was going, and I was wishing him well. Things were looking great. Though, Max tells an amusing story about looking for one of the producer’s family property out in the desert. It all looked the same, and I don’t think they have distinguished it to this day!



Max and I had met in 2006 at the New York International Film Festival. That’s chronicled in this site. We always knew we would be working together. We had put out news releases, done conferences; Max even helped me promote one of my early shorts, but here was the opportunity. The first calls came in May 2009. He had brought the Italian crew to LA, spent much of his own money, and committed funding was not there. Why are you so determined to shoot West Coast, I wanted to know. I can get it done here for less money, and it will look fantastic. Max was skeptical, but willing to at least be open minded with his brother. We have infrastructure, amazing scenery…. Max could get the space shuttle built, out there. I told him I could get it done here. He had a perfect place to shoot. I built a movie studio here – plenty of places up my sleeve. This went on for a couple of weeks, and then we started living on Skype.

“Brother” he said, can you raise this money?” I answered him in the affirmative, but with the caveat probably not in the timeframe your looking for, “but yes, I can raise the money.” This was fairly bold. This is the worst economy this country has faced since the Great Depression. Raising significant localized money for an independent sci-fi thriller was ambitious. Now there was a time when my family was building Virginia’s Atlantic Film Studios in the ’80’s when raising $1 million could have been done in a week. Those days were long gone. This would be an interesting hill to climb.

Max already had an excellent script, complete story boards, set designs, Adam Rote (a SGI artist who worked with Zemeckis, Dreamworks, and is arguably one of the nicest guys to have on set), Travis Quentin Young and Dean Haglund (X-Files).

We had a serious contender who said he wanted in, and wanted to meet Max. There were locations to see, people to meet, and money to be collected. Max booked the flight. Every heavy hitter we met who had committed – eventually – backed out. One after borrowing liberally from our presentation package. They “wanted to be last money in.” Others wanted to “wait until the second project.” In sales talk I suppose they would be called “be backs.” Some were friends who genuinely wanted to help, but could not afford it with this economy. Max and I took it all in. We were undaunted. I took Max to First Landing, and he saw what I had been telling him; turn one way you’re in the Bayou, turn another you’re in a tropical rain forest, then the Black Forest! He was amazed by both the beauty, and the versatility. Max went back to LA with no money, but a new vision. I went to work, and within a week had our first $20K from one of our Angels. We were on our way. The most amazing thing about the money raised was the faith people had – the energy they gave. Most read the prospectus, and did their homework. They knew what they were risking, but said, we think you and Max can do this. They had faith in me, and because I had faith in Max – that sufficed. To all of you, your faith in us was strength we drew upon throughout the process.

Decades ago I had gone hang gliding off the Kitty Hawk Dunes. Max was planning a West Coast trip for a particular dramatic sequence no matter where we shot. However, we were making budgetary cuts up until the last day of shooting. We both knew we were going to have to save that money somewhere. I had the advantage of knowing what a treat Max was in for on our 90 mile trek South. Kitty Hawk, N.C. would make a perfect desert scene. We have stills and video from Max’s phone, but I wish I could show you Max’s first expression upon seeing those 100 foot dunes. It reminded him more of the Sahara – more reminiscent of what he imagined when writing the original scene. The opening montage shows Max and me on our second visit together to the dunes of Kitty Hawk.

Space ship construction: Part of what Max and I had to consider was set construction. I had known Artists Mike Bell and his wife/business partner Janet Bell for more than twenty years. Mike was capable of anything. I had not spoken to them in years when I put in a call to Janet. Janet said she had just been thinking of me when she heard the message. It was like no time had passed. We arranged a breakfast at Pocahontas in Virginia Beach. It was like old times. This will work. When Max came back for round two I would set up the meeting.

Inner Space: I had been talking to the present owner of the Studio my family built in Suffolk, VA. He was cordial, and welcoming. I asked if he might be open to the idea of our shooting there, and set up a meeting with Max. Everything seemed like it was moving in the right direction, but came to a quick halt. Not to worry I told Max. We were having no luck finding an appropriate facility for set construction. He was worried. I finally received a return call from an old friend Charles Greenhood – he owns Brutti’s Restaurant in Portsmouth. I had another treat in store for Max. Years before, I had been screening my shorts in Charles’ restaurant. He told me he had always wanted to be in movies, and had shown me his future banquet facilities next door. It was a former Masonic Lodge, four stories, built in the 1850’s. I turned to Charles all those years ago, and said, “You don’t know it, but you just got yourself into the movies.” Now, I was going to make good on that statement. Max started up the wide and winding old stair case, and came to the main room on the second floor – 20 foot ceilings! The floor above 27 foot ceilings. The floor above was a wide open studio with kitchenette. Production office. Max stopped worrying, and started handing out hugs! Studio 463 was born.

I spent Max’s first visit on my couch for a week. That was nothing. Second visit, Max enjoyed the couch, and my cat – Tigerlily for the better part of three months. On Max’s third trip, we had a roll away bed, and all the pieces were aligning.

The footage you are seeing is almost six months beyond Max’s first visit to the Beach. At this point our dream was becoming reality. Atlantis Down was taking off.

Read Full Article en Italiano

Letter from Washington DC
News and comments from the Capital of the United States in English and Italian. Video, pictures, Music (pop and classic).

Ogni progetto cinematografico è sempre il risultato di un lavoro di team. Atlantis Down, l’ultima produzione della MaXaM Productions con la regia di Max Bartoli, non fa eccezione.

Alla base del successo finanziario che ha portato a dare luce verde al film, vi è stato il lavoro di squadra del giovane regista italiano con il nuovo acquisto della casa di produzione anglo-americana: il produttore Ethan Marten.

Decennale esperienza, da sempre coinvolto nell’industria cinematografica con ruoli vari dall’attore, al produttore esecutivo, Ethan Marten, è figlio d’arte. Suo padre Albert è stato uno dei maggiori avvocati dello spettacolo degli anni 50-60 e 70 ed è colui che ha introdotto nell’industria cinematografica il concetto del ‘completion bond’, oggi di uso da parte di produzioni di ogni tipo….

Read entire post by Mike Kernels.

Producers hope to create movie buzz with a reality show
Posted to: Entertainment Movies Portsmouth Spotlight TV

A replica of the space shuttle comes to life in a converted sound stage in Portsmouth, affectionately called Studio 463 – above Brutti’s. (L Todd… | The Virginian-Pilot)

By Mike Kernels
The Virginian-Pilot
© November 30, 2009

PORTSMOUTH

Locations have been chosen.

Sets are being built.

The 55-member cast and crew are almost in place.

Shooting starts Dec. 7 and ends Dec. 21.

And still, executive producer Ethan Marten of Virginia Beach wants to emphasize this about his low budget, sci-fi thriller “Atlantis Down”: “It’s a real motion picture.”

We believe you, if only because of the spaceship you’re building on a soundstage here.

Still, this isn’t Hollywood and Marten knows it. This is filmmaking on a shoestring, and he loves it.

There are no stars. No caterers. No five-star hotels. No first-class tickets. Not even a casting couch.

When you’re an independent filmmaker like Marten and Italian director Max Bartoli, even the sky has limits.

“For us, every day is two,” Bartoli

explains. “We all would love to be in Hollywood, but the reality is we are here with a limited budget.”

But money isn’t the only thing that fuels an indie film. There’s also passion. Idealism. Vision.

And most important: a unique idea to promote it….

Auditions for Men, Women, and Children.

November 16 in Virginia Beach.

Please have your agent contact this site to arrange for breakdowns, schedule and directions.

Actors will not be seen without an appointment, resume and picture.

Thank you, and Break a Leg.

Soupy was always slipping things past the censors. This one got him canned. One they missed:
“I took my girlfriend to the baseball game yesterday…we were taking turns kissing…I’d kiss her on the strikes, and she kissed me on the balls.”

As MaXaM Director Max Bartoli and I were working on our upcoming sci-fi motion picture, Atlantis Down, early this morning – he took this photo with his cell phone. You won’t believe this! Enlarge and look upper left. We were so focused looking down, because there we so many more dolphins swimming by than normal that we never looked up at the sky. We didn’t notice the lights to the upper left until after he uploaded onto facebook to show friends oversees our view…. Funny coincidence, our characters don’t know they are being studied either…

Two Peppers Productions

Here’s what some Hampton Roads Businesses are saying about being a Pepper:

“GREAT video you sent…everyone is amazed. Thanks!”
- Duane Cotton, Harbor Pointe Builders

“Thank you for pulling my bacon out of the fire. You didn’t know me from
Adam, but you helped me out after another Video Company fumbled the
ball. You could have easily taken advantage of me but you didn’t. Thanks
so much for your kindness, honesty and professionalism. Great Job!”
- D.R. Middlebrooks, President – Tactical Shooting Academy

“It is with pleasure that from both professional and personal aspects I
am able to recommend to you the talents and services of Two Peppers
Productions. I have experienced firsthand the expertise of this company
in many areas.”
- Buddy L. Chapman, Evangelist Minister

“I think you are fantastic. You have been such a big help to us from the
beginning. I don’t know what we would have done without you.”
- Tabitha, Advanced Water Solutions

As filmmakers we all know that a good film’s presentation package is the most valuable tool a motion picture visionary can use to achieve their financial targets. A strong presentation helps deliver a great impression, turning potential into investment, positive press and even potential distribution.

MaXaM Productions has just launched a new division. We are providing you, the filmmaker, with The Independent Producer’s Toolbox, one of the most effective presentation packages for your budget; helping you earn the money and getting your film produced.

For Immediate Release

Contact: Ethan Marten
Ethan@twopeppers.tv
James R. Johnson
James@twopeppers.tv

Virginia Beach, VA, August 26, 2009 – The crew that brought you Tanners Point and the MTV top five finalist of the Pepsi Rock Band Video Contest, are at it again. Fresh off their three awards from last year’s festival, the producers from Two Peppers Productions were just informed their motion picture, “Dead Men,” shot on location in Virginia is an official selection of the New York International Independent Film and Video Festival (NYIIFVF).

“It took the talents of three Hampton Roads production companies to bring “Dead Men” to life,” says Producer Ethan Marten. The suspense thriller was executed by Screenwriter George Smith of Future Tense Productions. Smith brought on director Scott Hansen, who’d recently worked with Willie Nelson. “To produce, engineer and edit, Future Tense knew of only one production company to help keep our future secure,” Smith says, “Wade Harrington and James R. Johnson of Two Peppers Productions.”

“The energy of crafting a story for the screen from the chaos of pre-production is exhilarating,” says editor Wade Harrington of Two Peppers Productions. “Dead Men had a lively team of all star talent in front of and behind the cameras to pull it off.”

Do “Dead Men” tell tales good enough to bring back awards from New York? If Marten’s track record is any indication, this newest Pepper’s on a hot streak, his production companies have garnered five awards from his last three festivals. “Great story, great cast, great production value from the crew,” according to Johnson, “Dead Men has winner written all over it”

Work hits too close to home for funeral home attendant Doug when his fiancée uses his gun to kill herself on the graveyard shift. Unable to call the police for appearance of foul play, Doug turns to his coworkers Jay and Steve for help. But as complications arise and tensions escalate, Doug’s friends are forced to look death in the face and confront the possibility they may have more to fear from Doug than from the cops. “Dead Men” stars Maxx Hennard, Jay Gates and Frank Edwards.

The Dead Men shooting schedule began summer 2008 and will have its world premiere during the week long New York festival beginning October 22nd. Virginia Beach native, Jay Gates is a headlining comedian who offers up a terrific dramatic performance for “Dead Men”. Maxx Hennard, who is receiving thumbs up reviews for his work in Sorority Row (Summit Entertainment, September 11, 2009) and Dear John (Screen Gems, February 2010), turns in a great performance as the grieving fiancée.

Life doesn’t end there for “Dead Men”. Two Peppers is in negotiations with distributors for limited theatrical release and worldwide broadcast rights.

When called a Yankee – it’s usually by a dear Southern friend – a term of endearment. So when I headed up to Pennsylvania to observe the Pocono 200 I felt a little like a fish out of water. My ride came by the condo to pick me up, and begin the journey. Up drove Charlie Daniels in his limited edition Midnight Black 2009, Hemi-powered Dodge Challenger. This muscle car paid beautiful homage to those from the late 60’s. Not quite as powerful as my Prius, but, you get the idea.

Not every day you get chaffeured by a former Stock Car Champion. This was going to be a fun an interesting journey. Didn’t take long before we hit Shore Drive with the new (lowered) 35 mph. The Chevy was straining against the excessively low speeds. Up came the the satellite radio, and my immersion began. Classic Country and Outlaw Country filled the air. I heard more Elvis, Cash, Paycheck, Twitty, and even Minnie’s pearls of wisdom than in the last twenty years.

I learned the color of a John Deere tractor (a must – and, no, just green is wrong!), Spanish Moss, the difference between baby blue and Petty Blue, and many other necessary factoids for my survival. Know your math! Know 3 = Earnhardt, DALE. 14 = A. J Foyt. 43 = Richard Petty…. And, when talking about the Men in Black, down South we ain’t talking motion pictures, but Johnny Cash & Dale Earnhardt!

So when speeds were hit along the journey that might have helped us to a pole position, with the sunroof open, and Hank Williams, Jr. blaring, well, I guess I had arrived. Funny to become an honorary Southerner while heading back up North! Anyone from my NY childhood would have been hysterical if not incredulous.

Meeting the team was educational. Eddie D’Hondt, who heads his namesake team was spotting for his protoge driver Alli Owens; Jerry Pitts – crew chief. These guys had their gameface on all weekend. Easy to know why. Any small error with the car can cost the race or a life. Every inch of a vehicle going onto the track is calculated for speed and efficiency.

Then you learn what a team sport racing is. The spotter calls the plays from the top of the track’s grandstand. This person is the eyes for the team. The crew chief is calling shots; calculating wear on tires and fuel efficiency. The pit crew is responsible for getting a car in and out, gassed, tires changed – all in seconds. Then, there is the driver! There must be smooth communication over the headsets between driver, spotter, and crew chief. It’s now you realize what a thinking man’s game racing at this level is!

So when I was invited into the team meeting, it was quite an honor. Somewhere near the end of the meeting the responsibilities were being called out. Gas Runner, Right Front Tire Setter – Ethan Marten. Silence. Heads turning. Jerry made eye contact; “You all right with that?” I didn’t hesitate, quickly realizing the joke and the hazing. I didn’t do standup for ten years only to be heckled, and have slow reflexes. I shot back; “nobody runs gas faster or more efficiently, and as for tire setting, this ain’t my first time to the rodeo….” Jerry seemed pleased, “Good.”

The benediction ensued, and I started to realize from the startled and pale looks on my hosts faces that this was not a joke. When they came charging up to me after the meeting barking instructions I knew they were not this good a bunch of actors! The race, so to speak, was on.

I ended up on line with an oversized red rider wagon with more oversized gas tanks. Though I had two escorts to make sure I didn’t screw this job up, at the crucial moments, I was alone and performed the job admirably (that’s what I was told, anyway!). “Car 19, two empties and a partial!” As I dropped off my charges for fill up at the Sunoco up drove beside me both Mark Martin and then Kurt Busch in his Blue Deuce (if the sponsor cares to lay some money on the Daniels – I’ll be happy to plug here Even I was impressed. The NASCAR practice for the following day’s race was taking place before the ARCA event.

Once filled, I hurried off to Pit 39. Once there I dropped off the tanks, and moved to where the rubber meets the track. Multiple sets of tires were laid out on the ground on one side of “the wall.” The Wall is a two foot barrier between the crew and where the crew jumps to work on the car. I would be remaining on the safer side of the wall! People with flame retardant suits would be jumping it later. Each tire was being carefully marked so it would end up in the correct position – RF and RB were on one side of the crew chief’s stand, and the left tires were on the other side. In a sport where each tenth of a second during a pit stop could cost the team position or even the race – no one wants to make any mistakes.

People are measuring the tires to the smallest degree for wear, and air pressure. The balancing act is non-stop. When people use the expression “burn rubber,” man, this is where it comes from. The smell of burning rubber, and gas was the incense of the track. The constant pounding, undulating vibrations of motors propelling cars at 200 mph were the OMS chanted by cars whirring past.

Burning Rubber? Tire setter? A thought crossed my mind – GLOVES! Oh yeh, the tires replaced come back steaming hot at 200 degrees. Always a good idea, and since they can weigh 75 pounds, it’s also a good idea to make sure you cover your arms when lugging a tire back over the wall.

The careful direction coming over the headsets comes from Eddie, he instructs Alli, reminds her of what was learned in practice, and coaches concentration. He will turn the direction over to Jerry before the first pit stop. They make their first calculations, and we should be prepared at any moment in case of emergency, but the first expected pit stop is calculated for a certain lap. The adrenalin is kicking in. Everyone is hyper alert as the cars start circling the track behind the pace car. Here comes a flag – one lap to go. some cars are still zig zagging to get their tires hot enough to stick to the track. The pace car pulls into the pits, and the flag comes flying down, and the cars come flying by!

I have my first tire in position, as instructed. Depending upon where Alley stops – I’ll reposition for the right angle so the tire man can grab it and have it on less than 3 seconds! Everyone immitates the sound of the lug nuts being put on “Vrr-Vrr, Vrr-Vrr-Vrr!” Here’s a little trick, the lug nuts are glued on already so they can just be quickly tightened. However, they can pop of the tire easily. I don’t want to be the one to have to hand over a tire, AND, a lug nut. That would create this sound, “Vrr-Vrr, Vrr-Vrr…..Vrr!” Oh no. That lost half-second will not come at my hands. This tire becomes “my tire.” No one comes near it. One of the crew begins to sit on my tire – a hazing of sorts. Uh-uh! Not having any of it. Beat it! My tire. Begrudging respect, and a smile.

No sound enters my head except the sound of the voice coming from the headset. “Here comes the lap,” the smooth voice over the headset cautions. The crew is to be ready and in position. For me, that’s do not have your feet anywhere near one of the hoses that will be dragged over the wall – unless I want to be dragged over with it. Someone on the wall that shouldn’t be is a penalty. Penalties cost laps. Laps cost races. Not only have people been dragged over having been tangled in hoses, (an embarrassment in and of itself) they have been killed on the other side of the wall. It is not a safe place even for professionals. This is serious business. An identifying flag drapes over Pit 39 so Ally know where to land, and she appears. People are jumping and body parts are moving at such a speed that time almost stands still. The car is jacked, and without thinking the tire almost turns itself to the correct position, is grabbed, “Vrr-Vrr, Vrr-Vrr-Vrr!” Within 20 seconds the car vanishes – is back on the track. If I hadn’t seen it with my own eyes….I am now aware beyond the pit. The crowd’s cheers, the motors, and clangs from all around return.

Alli hits the pits several more times, and 200 miles goes by faster than one could imagine. Though running as high as eighth position, a penalty for leaving the pit too fast costs a crucial lap. Still, she ends up in 23rd, ahead of 20 other drivers, and brings the car back in one piece. This has been a thrilling ride for all of us.

I receive a “good job.” Praise from Caesar!

Monter’s Ball Director Richard Keel’s favorite surreal moment of the 48 Hour Film Project (in retrospect) comes when we go to start an actual hearse acquired specifically for a staged scene where said vehicle needs a jump start. (No spoilers before the premiere – that’s all your getting here.) We troupe over to where the hearse is parked; ready for its close up. We had been waiting for the hearse to arrive with great anticipation to get this crucial shot. Ironically, The hearse is now dead. Muerte. Pushing up spark plugs. The darn thing then needs an actual jump start in order that we can drive it to the location so it can look like it needs a jump start! It takes about 10 minutes to resuscitate the battery, and we dare not turn it off on location when it needs to look like it’s broken down. Aaaaand cut! Next stop, the premiere at Naro Expanded Cinema.
According to Heir Director who “Won’t post the film yet, we’ll show our cast and crew first but here’s the music, uncut, set to cast dancing. The singers were amazing. Lyrics were written, one song composed and recorded, tracks laid down and mixed (Erik Watts is a hero) and then matched to film. Oh, yeah, in 48 hours. Singers had to nail lyrics and rythym and tune in minutes.” Enjoy.

Okay, deciding to participate in the 48 Hour Film Festival might sound crazy enough, but deciding the project conceived, written, shot, edited, looped, and delivered is also going to be a musical – that’s insane! Welcome to the world of Richard Keel and company. Apparently he and co-writer James Shearer had already been suffering from sleep deprivation when they hatched this plot. But, as they say in the movies; “This idea might just be crazy enough to work!”

An insanely good time was had by all, and cast and crew had a Monsters’ Ball working with each other.

Hope all my best fiends, and ghoul-friends can come out to the Naro Cinema next Wednesday night at 7:00 to attend the screenings of all the short films, and vote for your favorites. It’ll be a blast and tickets are only $8.00 The winning team will go on to compete in the annual international competition. The Hampton Roads entries will all be screened Aug. 15 and the winning films will be announced and screened the following Saturday, Aug 18.

Okay, where do you go when you want to put together your audition tape on two hours notice? Two Peppers Productions to the rescue – again! Thank you, Wade and James!!

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