Movie making in 48 hours

All day, the ideas people have struggled with how to work in the required line of dialogue. They have avoided using subtitles for almost all of the film, but now they have no choice. They decide to create a scene with two dogs "talking." A cast member's pooch named Loretta is pressed into service. The dog is filmed and then a split screen makes it look as if there are a pair of dogs. Later in the editing suite, Jones will add the lines:

Loretta: Hey, what happened to the party?

Larry (the other dog): I don't know.

Loretta: What's that smell?

Larry: I don't know. It was like that when I got here.

Less than 24 hours after the final scene was conceived at the same table, Jones yells a conclusive "Cut!!!" The filming is finished.

It is 8:25 p.m. and there are hugs and high fives all around. This phase of the project is done. For Botwin and Prediger, it is a major relief as they are a full 3-1/2 hours ahead of their 2004 schedule.

Jones is confident he has what he needs to knit together the film. Not only is he the director, but he will also edit the film back at his production studio.

"The key to telling a good story is to cover yourself really well in the filming. I think especially when there is no dialogue, it's really hard. But it's been really, really fun," Jones says.

He takes off into the rainy Washington night with Lyons and the crew, leaving the cast to their impromptu wrap party.

The goal is a film that is four to seven minutes long. Prediger and Jones work in tandem to identify segments to tighten or cut to get to the time limit. They both are professionals and know it is better ultimately to have a short, tightly edited film.

Lunchtime passes but there is no time for food. They keep editing. Botwin wants to be on the road at 6:45 p.m. to give himself plenty of time to deliver the film in downtown Washington. Jones constantly asks for the time, calculating what remains to be done. At 2 p.m., the opening scene nears completion. They discuss the need for music and the appropriate places for silence and sound effects. By 5:05 p.m., the credits are done. Prediger checks her watch. They have a little more than an hour before they must leave to deliver the film.

At 6:15 p.m., all of the cuts are made and "Awkward Silence" is done.

There is just enough time to make sure the film is actually on the tape. The I See London, I See France team had a close call in 2004 when their first tape had no audio, creating a mad rush to the finish that they don't want to repeat.

The Warehouse Theater buzzes to life as filmmakers swarm back to deliver their films under the deadline. Prediger clutches the film as she crosses the threshold at 7:11 p.m. and waits in line. Filmmakers trade stories about their weekend and looks of relief wash across faces. The mood is celebratory.

Finally, at 7:19 p.m., Prediger hands the film over to Liz Langston and the I See London, I See France film, "Awkward Silence," is officially completed. Botwin and Prediger hug. They have finished with time to spare.

The marquee at the American Film Institute's Silver Theatre in Silver Spring, Md., glows as "48 Hour Film Project" scrolls over throngs making their way inside. The Tuesday evening showing already featured a dozen films from the project and the 9:30 p.m. screening will feature 12 films, including "Awkward Silence."

The I See London, I See France team listens as the audience roars with laughter at all the right moments and rewards them with sustained applause.

Jones says the group had a strong sense of ownership of the film that is different from commercial work.

"When a client signs off on a project, they are responsible for it. There was no client approval for this. It was all of us working together and just saying, 'I think this is good.' "

"The goal was for everyone to feel so much a part of the film that it was theirs, not mine," says Prediger. "I was really impressed with what they did."

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