BLOOD AND ROSES . THE FILM

[ SYNOPSIS

PRODUCTION NOTES

STILLS

QUOTES ]

Life gets complicated for an assertive female sociopath (Carrie-Anne) when she discovers that the man she tried and failed to kill, Morgan Bane, is himself a serial killer. What's strange is that Bane seems bent, not on vengeance, but on making Carrie-Anne aware of what he calls 'the sanctity of death,' a spiritual path based on an ancient Japanese atonement ritual.
Adding to Carrie-Anne's problems is her younger sister, Suzanne, who just arrived for a visit after being on spiritual retreat in India. Carrie-Anne wants Suzanne to move in with her so they can be a family again, but Suzanne has other plans: She wants her older sister to forgive their father, who sexually abused Carrie-Anne as a teen.
Carrie-Anne wants nothing to do with forgiveness, and she reminds Suzanne of their promise, made years before: No contact with Dad, ever. Suzanne, a peace-maker, continues to push the issue, even as her suspicions grow that Carrie-Anne is caught up with a dangerous man, perhaps involving the railroad serial killer she keeps hearing about on the news.

BLOOD AND ROSES

According to the Old Testament, God took six days to create the world. By comparison, Blood and Roses was shot in nine days. This was partially accomplished by building the film around a video diary shot by protagonist Carrie-Anne Rath with digital prosumer camcorders (Mini-DV Canon XL1s) and clothing-mounted POV cameras (sometimes called 'spy cameras '). The result is essentially a 'video within a film ' similar in style and 'feel ' to The Blair Witch Project.

Scenes inside Carrie-Anne's house were shot with three XL1s mounted on tripods and placed at strategic locations around each room. The cameras remained fixed with no panning, tilting or zooming. To maintain the style of a self-produced video diary, actors were instructed to move through each scene without regard to camera placement (just like"real life"). As a result, actors are sometimes off-camera, or only partially seen in the frame (similar to scenes in two of director Paul D. Schneider's favorite films, Woody Allen's Manhattan and Husbands & Wives).

Scenes were lit as Carrie-Anne would light them: Simply, with only two principle lights. The idea, as with the rest of the production, was to maintain the 'reality ' of each scene. Audio was recorded with the on-board Canon stereo mikes and, in the case of the POV camera shots, wireless lavalier mikes. Like the lighting, the resulting audio is simple and authentic.

Equipment and production values aside, perhaps the most important factor in meeting the film's demanding production schedule was lead actor Robyn Hyden. Deeply committed to the project and fully inhabiting the character of Carrie-Anne, Robyn frequently delivered spot-on performances in -- hang on, Stanley Kubrick! -- two takes. Not only did Ms. Hayden arrive on the set each day fully prepared, she plunged fearlessly into the dark and complex emotions of a character who was alternately angry, seductive, tender and filled with remorse. Her performance is nothing less than titanic, and a critical reason the team was able to shoot the film in a remarkably short period of time.

The film also benefitted from Paul D. Schneider's background as a Telly Award-winning documentary writer/shooter/director. Documentary production requires the willingness and ability to quickly take advantage of unexpected opportunites. Mr. Schneider reacted quickly to a variety of producton challenges such as unprepared actors, a location change (from a restaurant to a public park) and changing light conditions.

Pick-ups were limited to reshooting two scenes inside the video equipment store (the result of a damaged tape). An experienced shooter himself, Mr. Schneider returned to the Fullerton, California Amtrak station to shoot additional footage of the station itself and several passing Burlington Northern Santa Fe freight trains. Robyn Hyden, Lex Hrabe, Corrin Kuti and production manager Travis Ramsey reshot two early scenes (a pick-up truck parks in front of Carrie-Anne's camera as she frames a shot of her house; an unleashed dog knocks over Carrie-Anne's camera and tripod) when the original audio proved less-than-satisfactory.

Production & Post-Production Stuff
Proving his ability to wear many hats, Poduction Manager and all around good-guy Travis Ramsey edited the film with Final Cut Pro on a Mac G5. Ramsey's 'editing suite ' was the floor of his bedroom (which he shared, at the time, with an extraordinarily understanding roommate). Post-producton started a week after producton wrapped and took about three weeks and several bottles of potently caffeinated beverages.

Paul D. Schneider served as music director. With the exception of two classical music pieces by the acclaimed Jupiter Trio, the film is wall-to-wall power pop (see FUN STUFF folder for more information). Mr. Schneider considered it a personal triumph when Ramsey heard the song Carrie-Anne on the radio one morning and recognized the band as the Hollies.

Sidebar: Die-hard Hollies' fan Paul D. Schneider sent a note to ex-Hollie Graham Nash asking if he'd be interested in making a cameo appearance in the film (the music of the Hollies plays an important role in the film). During location scouting with Ramsey, the fortysomething Schneider said, 'I know it's a long shot, but I contacted Graham Nash about being in the film! ' To which twentysomething Ramsey replied innocently, 'Who's Graham Nash? '

Alex Levy did the film's audio design. Once again, Schneider found himself sitting on the bedroom floor of a talented technician. Levy's cats contributed by laying on Schneider's legs, preventing the director from accidentally floating to the ceiling. Or not, as the case may be.

When asked to contribute his thoughts and memories to this site, Ramsey said, 'Oh, gee, I have to wash my dog that week. ' When Schneider asked, 'What dog? ' Ramsey replied, 'Shit, killer bees arriving, gotta run! '

Alex Levy denied knowing or having worked with Mr. Schneider. 'I don't know who you're looking for, but he's dead, so go away. '

Lucy (Cali Ross), the camera bag sales representative, reads a Rabia poem to Andy (Corrin Kuti) at the video equipment store Carrie-Anne manages.	Suzanne Rath (Alexis Ryan) greets older sister Carrie-Anne (shooting this scene with a hat-mounted POV camera) at the Speed-Rail railroad station.
Carrie-Anne (Robyn Hyden) seduces Blake Baldwin (Robin Mitchell) in her screening room.	Morgan Bane (David Jean Thomas) talks with Carrie-Anne in her living room prior to watching Dear 21, Carrie-Anne's documentary on male sexual fantasies.
Detective Jordan (Zahn McClarnon) comes to Carrie-Anne's house for the first time, asking about Blake Baldwin's disappearance.	Jennifer Baldwin (Minako Aoshima), Carrie-Anne's employee, recuperating at her apartment after her failed suicide attempt. This is the 'inciting incident' that gets the story rolling.
Carrie-Anne (Robyn Hyden) tells Suzanne (Alexis Ryan) to get out of her house after learning that Suzanne has broken her promise and called their father.	Carrie-Anne (Robyn Hyden) runs over a dog in the middle of the street after driving away from her house in a rage.
The crucifix choker, made by Story Consultant and actor Jane Brunette. It represents Jesus Christ as a baby, an innocent soul who could have condemend the people who betrayed and killed him, but chose instead to forgive them.

Cannon XL1S
Camcorderinfo.com Message Board
B&H Photo Video Pro Audio Homepage
Sony

Note - Don't see what your looking for?
Send it to me at suzanne@bloodandrosesfilm.com and I'll list it as time permits. Thanks! - Suzanne

We don't know about you, but we love quotes, especially quotes that make us laugh or think. Here you'll find quotes from thinkers profound and profane, as well as quotes from the film. Enjoy!

'Normally this is where you see the title and the credits, all that crap nobody cares about except the asshole who made the thing. But this isn't a film, this is real. This is me.'
- Carrie-Anne Rath, Blood and Roses.

If I've killed one man, I've killed two The vampire who said he was you. And drank my blood for a year, Seven years if you want to know, Daddy, you can lie back now.
- Sylvia Plath, Daddy, October 11, 1962.

The thing is, this is no ordinary week. My sister Suzanne's been in India on spiritual retreat or some shit for, like, the past year or so...I tell ya, it's so typically Suzanne. Anyway, now she's back, and I gotta tell ya, I'm excited as hell to see her! I have a feeling this is gonna be a special visit, like we're destined for some important shit to happen.
- Carrie-Anne talking about Suzanne's upcoming visit in the first video diary segment.

It's amazing what some men will do when they let the little head do the thinking for the big head.
- Mike Baldwin, referring to a man's tendency to 'lose his head' when it comes to the prospect of sex.

What can I say, I'm a clever girl.
- Carrie-Anne to Mike Baldwin about converting her garage to a screening room.

Forget God, honey, it's just you and me.
- Carrie-Anne responds to Mike Baldwin's 'Oh God!' upon seeing her breasts.

And it's waterproof, so you don't have to worry about it falling into a hot tub when you're otherwise, you know...occupied.
- Sales representative Lucy about her company's camera bags.

Don't worry, I won't bite.
- Carrie-Anne reassures an uncomfortable Morgan Bane.

Yeah, she's like some kind of Tibetan Wonder Woman. You call on her and she protects you.
- Carrie-Anne explains Green Tara to Morgan Bane.

(B) When you think about what we do, it's strange, really.
(CA) What is?
(B) Shooting video. Capturing life with ones and zeros.
- Morgan Bane (B) discusses the art of videography with Carrie-Anne (CA).

I hope you will accept this prayer as my atonement for causing your death. Your death sustains me, and I am grateful for the gift of your sacrifice.
- Morgan Bane's prayer of atonement, delivered after killing one of his victims.

So a couple of nights later I go back to this guy's house and kill the dog. And to make my point, I cut out its heart and leave it on the guy's front porch. I figure this'll teach him to keep Cujo on a fucking leash.
- Carrie-Anne, describes her response to an attack on her by an unleashed neighborhood dog.

And this Bane guy. He's a goddamn psycho! The problem is, I don't know where he lives, I don't know where he works...Nothing! I mean in a way I'm fucked because I gotta wait for this him to come to me. And believe me, I am not the patient type.
- Carrie-Anne after trying -and failing -to kill Morgan Bane.

(CA) It's a POV camera. I can record video and audio while I'm walking and talking.
(S) You can do both now?
- Suzanne (S) teases Carrie-Anne (CA) after their meeting at the train station.

Everywhere you freakin' go: Whackos!
- Carrie-Anne dismisses two amateur videographers (railfans) shooting trains at the railroad station.

(S) God, this truck is so big!
(CA) I love it.
(S) How much gas does it use?
(CA) Tons. Sometimes I leave it running for days, just to pollute the air.
- Carrie-Anne (CA) teases Suzanne (S) about the fuel economy of her (Carrie-Anne's) sports utility vehicle.

Hey, remember what Dad used to say: Once a Catholic, always a Catholic.
- Suzanne assures Carrie-Anne it's OK to accept her gift of a crucifix choker.

It's not about religion, it's a symbol. For you. Jesus could have cursed everyone who betrayed him, but he didn't. Instead, he said, "Forgive them father, for they know not what they do." He forgave them.
- Suzanne explains the meaning of the choker (seen in the FILM folder of this site) to Carrie-Anne.

(S) The way I see it, the one who has died to the flesh is reborn to the spirit.
(CA) Meaning...?
(S) You have to die to be born again. It's the key to any mystical experience.
(CA) What is?
(S) Death and sex.
(CA) God, I knew you'd eventually bring it around to sex.
(S) Why not? It's all part of the plan, girl.
- Suzanne (S) explains the mystical message behind the crucifix choker to Carrie-Anne (CA).

(S) Even your TV is huge.
(CA) So is my love for you, what's your point?
- -Carrie-Anne (CA) and Suzanne (S) discuss the size of Carrie-Anne's living room television.

(CA) Jesus, what is it with you and the Hollies all of a sudden?
(S) What do you mean?
(CA) Rehashing the whole Sorry Suzanne thing this morning, now this. Give it a rest, would ya?
(S) I was just saying --
(CA) Yeah, I know what you're saying. And I'm saying fuck the Hollies.

- Carrie-Anne (CA) gets irritated with Suzanne's (S) comments about their father's favorite band, the Hollies.

(S) You have a lot of anger.
(CA) No shit! I wonder why, Suzanne. Do you think it has anything to do with the fact that my father had sex with me when I was a kid? I'd like to cut his fucking heart out!
- Suzanne (S) triggers Carrie-Anne's (CA) anger over her (Carrie-Anne's) childhood sexual abuse.

When you left home, I was so confused. You were my big sister and you were just...gone. I asked Mom what happened and she said you went to live on your own, that it was better for everyone. But I didn't think so. I missed you!
- Suzanne on Carrie-Anne's leaving home.

(CA) He has to pay for what he did.
(S) How do you know he hasn't?
(CA) Because he's evil, Suzanne. And there's only one way to deal with evil people.
(S) You have to forgive them.
(CA) No, Suzanne. You have to destroy them.
- Carrie-Anne (CA) takes a hard line with Suzanne (S).

The second victim was also found on an abandoned railroad track near the Speed-Rail train station. Both women had their throats slashed with what police now believe is a machete. The bodies were also mutilated, leading to police speculation that the women were the victims of a Satanic cult.
- Local television news report about the so-called 'railroad serial killer.'

What I understand is that you are a sick fuck. And I'll tell you something else: You fuck with me again and trust me, I will teach you everything you want to know about death, motherfucker!
- Carrie-Anne warns Morgan Bane during their first telephone conversation.

(CA) Have I ever lied to you?
(S) Yeah! Like a million times.
(CA) Yeah, well, this isn't one of them.
- Carrie-Anne reassures Suzanne (S) that there's nothing to fear from Morgan Bane.

In ancient times there was a mystical bond between man and the animals he hunted. The hunt was a ritual, based on the notion that the hunter must sacrifice his victim in order to survive. With the ritual, the killing was no longer personal, it is what man must do to in order to survive. It is an act of Nature.
- Morgan Bane explains his actions and beliefs to Carrie-Anne.

(CA) Goddamn it, Suzanne, you're either with me or against me. What is it?
(S) What do you think?
(CA) I don't know, you fucking tell me!
- Carrie-Anne (CA) confronts Suzanne (S) after Suzanne learns about Morgan Bane.

(J) I'm worried.
(CA) About what? Your father?
(J) Of course!
(CA) Jesus, I wouldn't think you'd care after the way he treated you.
(J) He's still my Dad.
(CA) Yeah, the same Dad who abused you, I remember. Do you? -
Jennifer Baldwin (J) expresses concern over her father's disappearance to Carrie-Anne(CA).

(N) What'd you do with him?
(CA) What?
(N) Jennifer's father.
(CA) Get your hand off me!
(N) You don't fool me. You had something to do with her father's disappearance, I can smell it.
- Jennifer Baldwin's friend Narida (N) confronts Carrie-Anne (CA) about the disappearance of Jennifer's father.

Forget God, honey, it's just you and me.
- Narida to Carrie-Anne.

It's like I'm King fucking Midas in reverse!
- Carrie-Anne after the blowup with Jennifer.

(CA) Deserve's got nothing to do with it. (B) No, Miss Rath, it has everything to do with it.
- Morgan Bane (B) debates Mike Baldwin's death with Carrie-Anne (CA).

We call it 'sacred medicine.' Carrie-Anne, it opens your heart in a way you've never experienced!
- Suzanne on the drug MDMA, also known as 'ecstasy'.

It looks almost real.
- Carrie-Anne questions the authenticity of Detective Jordan's badge.

Terrorists blew up the World Trade Center and killed thousands of people. During the war in Iraq, American warplanes dropped bombs and killed thousands more. In both cases, the killers had no relationship with their victims. Killing without reverence: That is slaughter, Miss Rath.
- Morgan Bane.

The hero is the one who participates in life through Nature, not through revenge or personal rancor.
- Morgan Bane.

Jesus forgave the people who crucified him. Do you think He'll forgive me?
- Carrie-Anne.

Father forgive us, for we know not what we do.
- Carrie-Anne.

I was born when all I once feared, I could love.
- Rabia of Basta, Die Before You Die, 800 A.D.

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