You’ve no doubt heard the story about the ambitious would-be filmmaker who grows up far from Hollywood, but manages to put together a short film project that launches an exciting new career. For screenwriter Michael Tove, that’s only part of the story – because his big break came well past most people’s retirement age, and is proof positive that there is no expiration date on your dreams.
Tove’s debut short “Yard Saleing,” a Hitchcockian thriller about a couple whose bargain purchase leads them into a dangerous mystery surrounding a decades-old jewelry heist, has been wowing festival audiences and earning praise. Directed by veteran Tom Logan, and featuring actors Eric and Eliza Roberts in key supporting roles, “Yard Saleing” is the culmination of years of persistence and faith. A lifelong resident of North Carolina, Michael Tove always wanted to be a storyteller, whether it was finding achievement in writing short stories in creative writing classes, or, after graduating college with advanced degrees in biology, finding frequent work as a regional actor and film extra (his first gig was the original film adaptation of “The Handmaid’s Tale” way back in 1990).
Years of patience, false starts, and strategic networking with fellow North Carolinians in the film industry – like former studio exec and veteran producer Thom Mount – would prove fortuitous and Tove continued to work on screenplay ideas while making a living as a financial adviser. Meeting director/actor and veteran acting coach Tom Logan would eventually lead towards a workable production schedule and budget for “Yard Saleing,” which was shot in San Diego. No matter that both Tove and Logan were past their 70th birthday when the cameras started rolling: for Tove, it’s only the first of many steps towards what promises to be a brand new life in filmmaking.
Mike stopped by to chat with us about Yard Saleing.
Your new short film Yard Saleing has been doing great at Festivals; where did the idea come from and how did you work with Tom Logan in putting the script together?
The idea was first developed decades ago. My whole life, I’ve loved story-telling with a particular affection for stories that do not conclude predictably. For many years, I’d wanted to develop the story into a film but lacked the specific resources. I met Tom Logan about 10 years ago through a mutual acquaintance. Teo years ago, in a phone call with Tom, I threw out that I had a short film script and wondered if he’d be open to developing it. He said to send the script and soon after, he indicated he’d be interested with adjustments. I agreed and suddenly we were in preproduction.
Can you describe your writing process from idea generation to final draft?
When I write, I always start with the vision of how I want the story to proceed. I literally “see” the story in my mind first. I have some idea who my main characters are and what are they like. As a writer, I was trained to deeply develop characters – with everything imaginable about who they are, what they love and hate; how they think, etc. Then I write down the major beats; the sequence of events and what each main character is doing in those situations; who they interact with and what happens as a result. Then, I start to write specific scenes, action sequences and dialog. Sometimes, when I’m lucky, I can actually (in my mind) hear the characters talking. When that occurs, I simply write what they say. I don’t try to write the script in sequence. Rather I write whatever scene is foremost in my mind and insert it where it belongs. After the first draft is complete, I then take a step back and assess what needs to be deleted, expanded, relocated, etc. And I do a rewrite. I repeat those steps again and again and again until I have a draft that I’m happy with. Then I let someone I respect (in the industry) read it, make comments, and I rewrite again (and again, and again).
How did you go about casting the film and why were Georgia Van Cuylenburg and Liam Bradford the perfect choices for our two leads?
Casting is, and always should be, the job of the director. In the present case, Tom Logan posted a call for audition tapes. Tom looked at literally tens of thousands up to a half dozen or more times each. Literally, by the end, we’d received about 87,000 audition submissions. The sole & exclusive reason we got the actors (all of them) was because of Tom. Once the cast was cast, Tom spent a considerable amount of time (preproduction) working with the actors, individually and in conjunction with each other to perfect the performances. Nothing was left to chance and the prep work took far longer than the actual shoot. “Perfection” only happened because of very deliberate and painstakingly careful prep by the director.
It’s great to see Eric and Eliza Roberts; how did they get involved and what were they like to work with?
Eric and Eliza were an absolute delight to work with and to this day remain good friends. More than anything, what made working with not just Eric and Eliza but also everyone was simply because nobody came to the set with an air of superiority or privilege. Everyone – from cast to crew to background – literally EVERYONE was regarded equally and with the highest regard. There is a message there – being that when everyone involved is welcomed equally and fully, the result is a better set, a happier set and a much better production.
What techniques do you use to ensure the dialogue sounds natural and reveals character rather than just providing exposition?
Again, anything that involved actors, performances, dialog, etc. was 100% the responsibility of the director. Other than being told what was planned, I have nothing to do with it – nor should I have wanted to. The most important lesson I’ve learned in filmmaking is surround yourself with top professionals and then get out of their way and let them dop their jobs without interference.
Having acted, written and produced do you have any plans to direct at any point?
I’m presently developing two shorts, one of which will be a CG animated short – which I will likely direct. Other than that, sure, some day I’d like to direct but right now, I’m surrounding myself with veterans and being a sponge.
What would you like viewers to take away from Yard Saleing?
I make these stories for people to enjoy and hopefully talk about later. I leave it up to each viewer to decide for him/herself what to take away from the film.
What are you working on next?
I’m currently developing two shorts and a feature. The latter is one that Tom Logan will direct. The first two are micro-budget affairs with no commercial distribution planned other than film festivals. The feature is intended to be a theatrically released full feature which the analytics we’ve had run predict will be wildly profitable. Presently, we’re seeking investors.
Thanks so much and all the best with the film and your future endeavors.