// BRASS: The Films - BRASS: Lair of the Red Widow
With liner notes by John L.
This was our first BRASS film, shot at the Georgetown Steam Plant in Seattle and the Knights of Pythia Fraternal Lodge in Tacoma in April 2016. It was also the most expensive and difficult, both logistically and creatively; we went through a series of directors and producing partners to pull the film together, and the transitions weren’t easy.
In many ways Red Widow was the start of the whole BRASS story—even though we ended up producing an entire season of the audio version and two plays before we were ready to shoot it. It had originally been planned as a “pilot project” to demonstrate the potential of our story–or rather the pilot for a pilot, as the original proposal for the show was as a half-hour TV show for the SyFy cable network. When this opportunity didn’t materialize, I decided to write an even SHORTER pilot that we could produce, which became this film.
While I’m proud of the work we did on Red Widow, in the end I think the greatest value of this fledgling work was as a teaching tool. We all learned a tremendous amount about film and film production during the process, about how to tell a story effectively, and of what (and who) you need, and don’t need, on a set.
Red Widow has had featured showings at three Steampunk conventions (Steamposium, Gearcon and The Brass Screw Confederacy) and was also an official selection of 2017’s Rose City Steampunk Film Festival.
It bears mentioning that our cinematic inventor Wordsworth Donisthorpe is based on a real Victorian film pioneer of the same name, who also happened to be a chess champion and an anarchist. You can watch his 1890 film of Trafalgar Square, all ten frames of it, on his Wikipedia page, and you can read more about him here.
Such inventions are central to BRASS, because they demonstrate the modern world coming to life in a new medium, and reflect our contemporary struggles to deal with technology that constantly reframes our society.
The production of The Kinesigraph was a joy. Shot in a lovely August at the beautiful home of our editor Tremaine and DP Evan as well as nearby Woodland Park, the shoot was fun, friendly and good-humored. One of my favorite hours in recent memory was a very short commedia mask refresher run by our director Tim Ruzicki, who proved again that he’s more than just an astonishing fight choreographer and teacher.
We had a budget of less than $200. We shot most of it in an evening. Tremaine edited it over a few weeks. We had our composer write this original score, which we then had recorded by a pianist.
It’s got a really cute dog who shows up three times.
I couldn’t be more pleased with the result.
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