Short Film, Big City

Short film, long regarded as the best way for filmmakers to get their foot in the door, has since become victim to the seas of red tape that can hinder even the most determined of directors. Had we known the challenges facing us going into the production of Opia, (our upcoming short film) I doubt there would have been as much enthusiasm. Set in Denver Colorado, Opia tells the story of two separate, yet completely connected individuals who, in a brief moment, share a feeling of Opia before going their separate ways. On the surface, this sounded like an easy enough production to shoot, gather your actors and crew, then get as many takes at each location as you can. As it turns out, unless you are overflowing with cash and have the backing of a major company, shooting a short film on location is extremely difficult. The most infamous ball of red tape we came across was Union Station. Unbeknown to us, the policy surrounding media capture inside the station is extremely strict. Those trying to use even a tripod are quickly asked to leave as "No equipment is allowed." While I am no stranger to jumping through hoops, the process to request even ten minutes of shooting time as students resulted in a cold no. Left with no choice, we brought what little paperwork we had and a scrap of hope that we could shoot the critical scene at the station. Had it not been for the generosity of a security guard on duty, we may never have gotten the shot. In hindsight, pursuing the thought process behind, "easier to ask for forgiveness that permission" simply means being bold and pushing the boundaries of what others think you can accomplish.