Behind the Scenes 

"Plane Face" by Yellow Line Pictures (Astoria, NY, USA)

Best Film of 2008 Film Racing Tour and winner of 5 awards for the Brooklyn Film Race 2008



"Plane Face", by Yellow Line Pictures, was created in 24 hours for the Brooklyn Film Race 2008 based on a theme assignment (free) and a surprise element (placing a plug into a socket).  "Plane Face" took home 5 awards in Brooklyn and went on to win Best Film of the 2008 Film Racing Tour against the winning films from 17 other cities across North America.


Film Racing (FR): Tell us about your team, Yellow Line Pictures.

Adam Brown of Yellow Line Pictures (AB): We’re made up of a group of friends who are mostly from the  Midwest.  A majority of us graduated from the University of Iowa and are now working in some aspect of the NY film industry. A few of us have nonfilm jobs, but still find it amusing to dress up and participate in these film races.


FR: Break down the production schedule of “Plane Face”.

AB: 10pm-12pm: Group brainstorming session

12am-3am: Write the script, gather props, work out technical problems

3am-5am: Sleep

5am-7am: Round up stragglers and drive to the location

7am-10am: Blocking and Rehearsal

10am-3pm: Shoot

3pm-9pm: Edit

9pm-10pm: Hand in the film, drink a celebration beer, pass the f**k out


FR: What equipment and hardware/software was used during the pre-production, production and post-production of “Plane Face”?

AB: We used Celtx to write the script along with our trusty yellow legal pads. For the production, Plane Face was shot on the Panasonic HVX-200. Our friend Mike Fuchs is a steadicam operator so we used his rig to achieve our one shot. For post, we picked the best take and used Final Cut for the titles and sound mix, and Logic for the sound design.


FR: What was the most difficult part of the process?

AB: Coming up with the story was the most difficult part of the process. We had a lot of strong, creatively independent thinkers brainstorming ideas, so wielding everybody’s suggestions into a cohesive narrative was a challenge.


FR: Any good behind the scenes stories?

AB: We had two military officers appear on set during a take. I wasn’t sure if they were there to shut us down, but I didn’t want to stop the actors since the take was going well. The officers just stood there watching and looking really confused, especially when the dancing lampshade came running past them, dancing emphatically (the actor couldn’t see that they were there). Luckily, they shrugged their shoulders and walked away by the time we finished that take.


FR: You had a great location for the film. Where and what was the location you used?

AB: Oh yes, the murder shack. Yeah, it was great. We shot near a US Navy Reserve in Brooklyn out by Floyd Bennett Field. The building we were in was an abandoned military or police dormitory of some sort. We shot in that asbestos heaven for eight hours without electricity, heat, running water, working bathrooms or a clean place to sit. Good times.


FR: It appears that “Plane Face” had only a single shot for the entire film.  Was this something you were planning before you received the theme? How many rehearsals and takes before you moved on to postproduction?

AB: We came in wanting to do a one-shot for the race, but we were a little worried we weren’t going to be able to make it work for the theme/object and story we came up with until we got to the location.  When we first got to the set, we walked through it about 5 or 6 times with different key crew and cast members blocking it out before we actually shot. We ended up shooting ten takes, and I believe we used the 6th one for the festival. It would have been nice to get one more take in, but we were running an hour behind schedule.


FR: Who are some directors that influence your work?

AB: I guess it depends on the project. The works of Bergman, Fellini, and Kubrick have had a big influence on me. I’m also obsessed with Edgar Wright and Simon Pegg.


FR: What were some of your favorite films from this year’s Brooklyn Film Race?

AB: I enjoyed Mashed Potatoes, Delicate Balance, and Polarity.


FR: What advice would you give to someone that wants to get involved in the New York independent filmmaking scene?

AB: Just make friends that enjoy making films and be willing to help each other on projects.


FR: Do you have any ongoing or upcoming projects you would like to share?

AB: I just finished a spec commercial for the Doritos Superbowl contest, which was a lot of fun.  Watch it at It would be great to make a short this winter, too.


FR: Will you be back to defend your title in 2009?

AB: I hope so. I think my friends will be well rested by then.


CREDITS for “Plane Face”

Director: Adam R. Brown

Director of Photography: Spencer Gillis

Original Music: Harlan Muir

Editors: Adam R. Brown, Spencer Gillis

Sound Design: Dave Rife

Story: Josh Adler, Adam R. Brown, Erin Casper, Greg Eggebeen, Spencer Gillis, Liz Mathews, Jill Myers, Dave Rife, Bridget Riley, Alina Smirnova

Screenplay: Liz Mathews, Adam R. Brown

Steadicam Operator: Mike Fuchs

On Set Editor: Greg Eggebeen

Art Direction: Erin Casper, Alina Smirnova

Location Scout: Alina Smirnova

On Set Photographer: Bridget Riley, Liz Mathews

Grip: Andy Kromphardt

Craft: Jill Myers



Josh Adler – Plan Face

Alina Smirnova – Typist/Shoeshiner

Jill Myers – Umbrella Wrangler/Slap Artist

Erin Casper – Dancing Lampshade

Dave Rife – Kid Gloves


Additional Production Stills


Production Stills














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