“From Pocket to Projector: Discover How Jamie Grefe Filmed Two Movies on His Phone!”
And then I got in contact with this model who was, um, she’s in Arizona, but she was said, well, she said, well, I’m going to be in LA for a few days with a friend of mine. We’re doing all these little shoots, all these kinds of photo shoots, video shoots. She said, I have an Airbnb. If you want to come. over for a night and shoot, like let’s work out a price, you can come over and shoot. So, we worked out a price. I never saw her stuff before. I never, I didn’t even know who her friend was. I drove to the place. I had a shot list. Now for this one, after I did Black Static, I saw the possibility that I could actually make a slasher movie and it didn’t need to have like Black Static, it’s sort of your own massacre, Black Static has no violence. There’s no violence. I’m never in the same room as one of these actors on camera. And I thought, well, that’s really fascinating that we can show the slasher from a POV. Because there was that, there’s that one movie in a violent nature that came out this last year. And I think it shows the slasher, like it follows the slasher through the woods, through like the entire movie. I thought, well, why don’t we do that, but we remove his body. What if he’s just a presence? What if the camera is the slasher? Okay, so that was Black Static. Now then I thought, so I knew I was going to shoot with Ziva and I thought, okay, let me just, I want to do another movie. It just was like, it was like just itching it within me. I was like, I just, I got four hours. I got two, two girls are going to be in the same house. God, I want to make something. I really want to package this into something. And so I went to the coffee shop. I would start just making shot lists, notes, sketches, whatever, like not even a proper screenplay. Like I haven’t, I did not write, I have not written a screenplay since that last script I wrote, Swordy Girl Massacre. But I started making lists of things that I wanted to capture. That’s all I did. I just listed it out. Not even like as a narrative, but I knew I have a house. I have two people, I can make a movie. There’s a movie there. So I showed up and I shot Ziva for two hours. And as I was shooting her, I started to feel the movie take form. And it was like, it was revealing itself to me as I was shooting her, doing all of these different things. And then after two hours, I shot her friend, another model who was there, Autumn. And by that point, I knew what I had shot with Ziva. I had my shot list and I started shooting with Autumn. And the cool thing that happened was, Autumn is a big horror fan. And so she would even say like, well, how about I crawl out from under the bed? Like, how about I do this? How about I do that? Now I wouldn’t listen to all the suggestions, but like anything good that was relevant to what I was doing, I was like, yeah, yeah, yeah. Let’s feed off of that. That’s very interesting. Let’s do that. And what happened was that night went on, went on, went on. And I ended up, I went home the next day and I put all the clips into the computer and I shot about 82, 82 different little clips, little scenes, right? 82 in four hours. And I put it all together, almost just verbatim from like shooting, you know. Oh, and I had them do some monologues. And in that whole movie, there’s only two scenes where they actually talk together. But those two scenes are placed in such a way where it’s almost like this could be like, you know, act one bridging into act two. This could be, you know, it’s somewhere around act three, act four, like something’s going off the rails a little more. So, there was an arc, there was an arc, but I didn’t insert my voice into that one. I didn’t need to. I did a little overdubbing, a little producing where I’m in the background of a couple of shots, but that’s just superimposed.
