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MONTANA PRODUCTION UPDATE: Winter-adventure film features the extreme beauty of Montana winter

Posted Wednesday, April 6th, 2011 - Comments Off on MONTANA PRODUCTION UPDATE: Winter-adventure film features the extreme beauty of Montana winter
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Montana’s Flathead Valley is currently the backdrop to independent filmmaker Andrew Wiest’s latest boyhood adventure. Aptly named the “Treasure State” after Montana’s own nickname, the film is a family-friendly action picture, featuring young people in peril and the Montana winter. The story centers around two teenage boys, whose families are both dealing with financial blows. They set off separately in search of valuable cargo from a plane that has crashed in the snow-covered wilderness of Montana, fending off the villains who caused the accident along the way. Action scenes showcase the Montana winter with the bad guys shooting at the kids sledding down a mountain.

The film, set in the striking Flathead Valley of Montana, offers a real-life portrait of the state’s Western landscape and lifestyle. Flanked by towering Rocky Mountain peaks and the largest freshwater lake west of the Mississippi, the valley is also home to the authentic Western communities of Kalispell and Whitefish and quaint lakeside villages like Bigfork.

Looking for snow to shoot your last-minute winter scenes?

La Nina has brought record snowfall to Montana this year. Ski areas are extending their seasons, and the Montana peaks are looking to be covered well into the summer. The state’s two largest winter resorts, Whitefish Mountain and Big Sky, as well as local ski areas around the state will offer easy access to the remaining snowfields well into the spring. The plains of northeastern Montana also remain snow covered under the big Montana sky. Check out photos of the eastern Montana landscape.

For more information on shooting your next project in the beauty of Montana, visit the Montana Film Office.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon