The film Consignment (Slice of Americana Films) was my take on New Jack City (The Jackson/McHenry Company) produced on a independent budget. After finishing the script I had two choices as a filmmaker. Water down a gritty story inspired by true events to fit a PG-13 audience or deal with showing strong subject matter including nudity and simulated sex. After some soul searching I knew it would be impossible for this movie to resonate with any true realism going the PG-13 route.

In order to give movie viewers an honest portrayal of characters involved in illicit drug deals, street violence, and the fast life some creative elements would have to be uncensored. This script wasn’t written to be produced as a feel good family movie. Consignment was inspired by true events that were not clean and proper.

New Jack City director Mario Van Peebles with screenwriters Barry Michael Cooper and Thomas Lee Wright caught heat in 1991 from a few critics for showing the scene where drugs are being packaged by topless women. What those critics missed was that scene was based on true events. To leave it out of the movie or depict it censored would have taken away from the impact of the story they were telling. I respect their choice to include that scene.

I was going to take the same creative path for Consignment then reality hit. Including nudity, sex, and graphic content in a movie wasn’t taught in any film class or workshop I had heard of. I’ve read a lot books on making movies, but none I remember covered those hot button topics. The only I recall was one my favorite filmmaking books. Make Your Own Damn Movie!: Secrets of a Renegade Director by Lloyd Kaufman gave the advice to shoot your nude scenes first in case an actor got cold feet later. That makes sense. Outside of Lloyd’s book a great majority never touch on the subject.

They read more like a technical manual full of camera positions, lighting set ups, or the best equipment to shoot and edit your movie with. I learned first hand to include nudity, simulated sex, and strong subject matter in a movie boils down to communicating with actors. I dedicated a full chapter in my recent book The First Movie Is The Toughest to this subject from casting to filming. Here is a sneak peek for interested readers -

When casting starts for roles that require an actor to appear nude be upfront to potential talent. It’s not fair to say to an actor they “might” have to appear nude in a scene if you know that “might” really means they “will.”  Reinforce this point at casting calls by highlighting specific roles and scenes in the script that will require nudity. Keep sides (not a full version of a script) available for actors to read. This allows an actor to read the context in which nudity plays a part in a scene.

I’ve been asked many different kinds of questions when casting roles that require nudity. Usually it’s “can you shoot the role without the nudity?” or “what will exactly be shown on camera?” It’s helpful to have this dialogue with potential actors early on. I have found as a filmmakers that when actors ask questions it helps tighten my vision of how I will shoot those scenes. Be clear and direct on what will be expected of actors and how you will shoot each scene. Share your creative vision for these scenes. Remember to be respectful and answer all the questions an actor might ask you about scenes involving nudity. Strong communication is important.

During the casting of Consignment there was a difficult role of a female gangster that gets raped and murdered by her sadistic drug connection. I needed someone with real acting professionalism to take on a role that dealt with such a strong subject matter. Mimi Moss (I Tried featuring Bone Thugs ‘n’ Harmony) reading for the part had a great audition. She was offered the role on the spot, but before she would accept it she wanted to talk to me as the filmmaker in more detail about the role and what was expected. We had a discussion and open dialogue on what my expectations were and what she felt about the role. When we were done talking she wanted to do the role.

There wasn’t any doubt it was going to be a challenging scene for her as an actor. The nudity wasn’t the focal point or at the heart of the scene. My goal was to reel in the emotions of viewers by showing this powerful female character at her most vulnerable. She ended up delivering a griping performance. The camera was focused on her eyes and facial expression drawing viewers in to experience her pain. Without open dialogue between us this creative collaboration wouldn’t have been possible.

I’ve always viewed sharing real life experiences making movies as a positive. Every filmmaker from James Cameron to Uwe Boll has different insight into making movies. I’ve never felt you can pattern yourself after another filmmaker. Look at each story you’re going to tell and do it justice from your perspective.

Learning from the process of making, marketing, and selling movies Sid Kali wrote The First Movie Is The Toughest . It’s packed with no-nonsense advice and entertaining stories about making movies outside of Hollywood on limited budgets. There are many books on making movies, but not many are as personal, entertaining and informative as this one.

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