Moving is a full-length independent feature film adventure shot (and edited) in eastern Virginia using entirely digital photography and sound. We did't using a single dime of investor money from anyone, anywhere (except for a $500 donation by the Friedmans' mother to help feed the actors). With only a couple of exceptions, we didn't use anybody else's equipment, borrowed or rented. We had a cast of over 75, and yet we did not pay our actors anything up front--they worked entirely for percentage points, plus a few bucks here and there out of our own pockets to cover transportation and crucial expenses. (We did feed them, however, and water them.) We had no special effects budget, no crew, no publicist, and no paid help of any kind. We did this website by ourselves.

When we set out to make a full-length independent no-budget feature film, with over twenty-five separate locations both indoors and out with both night and day shoots, with over 75 castmembers plus extras, special effects, a complex plot, several scenes involving 15 or more castmembers interacting precisely and simultaneously in uncontrolled public places without police cordoning or other official assistance, in a high-traffic city with three airfields including one naval base with regular fighter-jet flyovers, involving scenes of partial public nudity (don't ask), requiring such props as a brand-new black luxury car, a Dodge Viper, a used car which was to be totalled onscreen, over a dozen real firearms, a garbage truck, according to a script calling for dialogue shots in moving automobiles (including one in a convertible) and such scenes as the one with twenty or so fully outfitted gangsters who needed to provide their OWN costumes, a script requiring crane shots, Steadicam shots, dolly shots, and trick shots; a film to be shot in, among other places, a warehouse, several flea markets, an upscale office building, a classy nightclub, several open fields, city streets, highways, rural roads, restaurants, an attic, Atlantic City, a hotel, an overgrown yard, a gas station, a convenience store, a cornfield, and a mansion, all with no investment, a crew of four (yes, four), and just a few thousand bucks constituting our life savings, deciding to make the film come hell or high water, people said we were crazy.

As it turns out, they were right.

We got exactly what we asked for--it was hot as hell, and, as it turned out to be the third-rainiest summer here in over one hundred and twenty years, we got high water too. You'd think the two would at least cancel each other out. In fact, so many things went disastrously wrong, the cast and crew began to start whispering that maybe we were the object of some sort of unholy hex, which we began to call:

THE CURSE OF MOVING >